The great West., 1889-12-13

naked eye. The soft tones of the
arched ceiling, in old ivory and
gold, and the marble mosaic floor
contrast strongly, yet harmonic with the
rich dark mahogany pillars and other wood
work. At either end is an appropriate
painting, well calculated to quicken the
pulse of every sportsman. In one, an an
gler stands, rod in hand, knee deep in the
mountain stream-a poetic spot; yet who
can appreciate natures beauties while
watching to see the rod bend like a whip
lash, and to hear the music of the whizzing
reel? The other represents the hunter stand
ing erect in fat-bottomed skiff, sighting
along his gun barrel at the leader of flock
OF mallards just recovering from the down
ward swoop toward the decoys.
Everywhere in the building is the same
principle adhered to in the decorative
scheme, namely, the use of but one color in
a room, and that associated with gold. In
some cases gradations from dark to light
shades of the color, sometimes it is inter-
mingled with gold. and again the colors are
distinct and separate. Various rooms are
treated in different colors; for instance, the
auditorium in old ivory and gold: the res
taurant in brown and gold, one of the hotel
The little recital hall is a symphony in
white aid gold. In the daytime won
drously charming effect is produced by the
blending of the sunlight coming through
the soft-colored stained glass with the yell
low light of the incandescent lamps. This
hall contains 500 seats, and as in the audi
torium the tiers are ranged high above each
other, so that from every one is a good view
OF the stage obtainable
In the office part of the building and the
main entrance thereto Georgia marble is
much used; throughout the other parts in
the public rooms lavish use is made of
rich foreign marbles, such as Siena, Nu-
indian and Jaune Saint Beaume, also Mex
lean onyx and fine woods. In each case
they furnish the basis for the other wall
decorations, which either by contrast OF
analogy of tones harmonic with the nat
ural colors
Under the tower is the main entrance to
the Auditorium, leading into a chamber
with walls and ceiling of marble, directly
under the foyer. From it are four passage
| ways leading to the parquet, and on the OPP
posite side three broad flights of stairs to
the foyer.
The stage is 113 feet wide and 70 feet deep.
Its scenery and settings by far the most
| complete and elaborate in the country.
Opening from the foyer are the ladies' re-
firing and the gentlemens smoking rooms,
each spacious and luxuriant in appoint
ments. There are forty boxes in the two
tiers on either side. An ornamental railing
separates them from each other, and in
front are draperies corresponding in color
to the prevailing tones of the general deco
| ration.
The great organ is at the right ofthe stage,
| almost entirely concealed from view by in
genious and ornamental devices. The total
| number Of seats is 4, ,O51, but as economy OF
space has not been studied, in addition to
the occupants of these, fully 5000 more
people can be accommodated. Here the
| color design is grand in its simplicity, gold
and graded tones of old ivory alone being
employed. Stained glass in colors accord
ing with the general tone of decoration is
also used.
On the side walls and over the proscenium
arch are three large allegorical paintings
expressive of natures great law of harmony.
The central painting consists mainly of fig
ures symbolizing different emotions and
sentiments. The types of exultent and
| downcast despair, careless childish glee and
the calm submission of old age of joy and
grief, of strength and weakness, all are
there. From the dawn to the twilight, the
growth and decadence of nature are ex-
pressed. In the central group is the type OF
the present. holding Tyre in her hand, the
| symbol of song. For this IS the theme OF
| the painting: '"The utterance of life is a
ho cx,v,xhorxv of A.,
the mountain top in the twilight one looks
down on the peaceful valley and sees the
river, winding hither and thither, through
meadows and clumps of trees, past human
habitations and out into the solitude of the
plains, but ever a clear, distinct silvery line,
so the theme of the song Of life is inter
woven through all the range of human pas
sions that form its accompaniment: The
| allegory of hope, the melancolico of grief,
the appasslOnamentO of intense emotion,
the andante of resi- gnation.
In the side paintings the solitary poet
listens to the refrain of natures song. In
| one, at break of day. he stands on the bank
| of a gentle stream, the sky suffused with the
bright tints that herald the rising sun, the
soft fresh green grass, the budding trees, and
the carol of awakening birds betokening the
early spring This is the morning of life,
the allegretto Of the song, and from the po-
cts heart bursts forth the joyous response:
"Oh, soft, melodious spring time, first boru
of life and love-"
On the opposite side is the andante-the
dirge. Here in bleak autumn, the bare
| trees standing out against the cold gray
sky. the brown, sere leaves huddling close
to the ground, seeking refuge from the ed
dying winds, nature stripped of her glorious
garments, puts on the shroud and prepares
for her last long rest.
Sadly the refrain echoes in the poets
soul: GA great life has passed into the
tomb, and there awaits the requiem of win
ter's SHOWS"