The Daily times. [volume] (Richmond, Va.) 1886-1889, 1889-05-24
PAINTING SCENERY.
How Stage Pictures Are Designed MADE Up
n.d Put Into Place.

care TO paint in; hence any painrifg that
has to be done il painted outside III rooms
specially built and fitted with all tho
necessary apparatus for raising the see
merry and stretching the largo canvases-
There arc three very fine rooms In
the older theatres-Covent Garden.
Drury Lane, and Her Majesty's (the lat
ter for some reason is the most agreeable
10 paint in Of the three, as there is no
thoroughfarc through IL: across Covcnt
Garden and Drury lane rooms workers
In other departments have right OF
way). The room ut Coyent Garden Is
Of vast proportions go feet long by 10
feet wide. and about IS feet high, and
Possesses four separate stretching frames
the largest AZ feet by 20 feet. This
enormous strctcher is worked up and
down by means Of a very powerful wind
lass with multiplying gear, and hung by
iron chains. The canvas TO cover such
frame would cost about Gl5 with the
sewing. The physical strain in covering
so large a surface, and in walking back
ward and forward from one end or the
room TO the other 10 judge OF the effect,
is exceedingly severe. The present ar
rangements i'm England are n great adj
vancement upon the older method OF
spreading the canvas out upon the floor,
and painting it standing up with long
handled brushes reaching TO the ground.
Scenery in France, and on the continent
generally, is still painted so; in the old
Her Majesty's" the painting was done
on the floor over the auditorium.
The income OF the most successful
scene painter is certainly very much
smaller than that Of very second rate
cabinet picture painter, or even OF
tolerably successful draughtsman for the
chief illustrated journals. Yet, consider
ing the amount each scenic picture costs
the management-for it must be borne
in mind that the frame maker. the can
vas and the scene setter are al included
IN tho cost Of the picture-it will DO
readily understood that tho scenic pic
ture would not amount TO less than the
work Of highly successful picture
painter. Thus a heavy "set' at Covent
Garden or Drury Lane would cost 600
or 600, and ut other theatres in proper
ton. according to their size.
When the scene painter receives his
commission from the manager. he re-
ceives with it some sort OF particulars OF
what is wanted. Some managers can
graphically illustrate their requirements;
others, not possessing this happy faculty,
give the key to the idea and require
ment8 of the situation by word Of mouth.
Others can only explain the situations
and "practicablities," leaving the artist
absolutely free handed, rescrving to
themselves the right Of alteration when
they have a tangibility before them.
either in the scene itself or in the model.
But. when all is said, the material gener-
ally furnished US is of the slightest.
The most satisfactory way to proceed
is to spend time on the model (Which is n
representation Of the stage to scale). and
thoroughly 30 understand from it what
you propose doing-not only the "prac-
liabilities, but also your composition,
color and scheme Of lighting. Any al
terations considered necessary are then
easy to make The uninitiated in affairs
theatrical would be greatly amused to
see the collection Of miscellaneous arti-
cles in modelling that are scattered around
us-bits of silk. gelatne, tissue papers,
muslin, coal, birch brooms, plaster Of
Paris, books, sticks and the indispensa-
Die glue pot, photographs. tools, color
box and scissors. With coal and plaster
we create our mimic rocks and beetling
crags; from selected portions Of the
broom, dipped in and modelled with plas-
ter. we construct our trees. clothe in
ycrdurc our hillsides; and with silk,
cOorcd geatncs, etc, we make our at
mosphere. and night or day is according
To- the density and color Of the medium
in which we clOthe it. Over ledge OF
rock pours a torrent Of floss silk; the
more distant portions, Of course, are
painted. The books, photographs,
sketches and print furnish us with our
authorities for detail.
The model completed, after being duly
inspected and approved 10y the manage
ment. the master carpenter comes TO see
il with respect to the construction of il
mechanically, and 10 hear your sugges-
tons as TO setting and striking ii in
something like reasonable time. When
all is understood he traces the various
portions of the model, and from the
duplicates constructs the actual scene,
one foot to every half inch Of the model.
4 few DAYS after, almost acres Of frame
work and bales of canvas are brought
in; one great surface ID stretched on the
frame, and, having been duly prepared,
upon it you first start-this generally
represents the back portions of the scene.
Then YOU paint the different pieces in
order till you arrive at the foreground,
gaining in strength as you advance.
Then for day or two the stage is given
up entirely to the artist for the scene TO
be set and lighted. This setting is the
most anxious time of all, and the most
experienced Of us cannot help asking
himself, How will it come together Al
last, after dawdling about perhaps from
0 in the morning until at night, the
setting" is begun, and If happily j,
comes well and quickly together, the
artist may proceed at once to Eight it.
The best scene ever designed and painted
can be ruined by injudicious lighting;
Tor the illumination is the last and most
important touch to the picture-its vers
liie.-Wm. Telbin in Magazine Of Art.