Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1889-09-10
THEATRICAL SCENERY.
on The PAINT BRIDGE or 4 LEAD
,He NEW YORK THEATRE

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Not long ago seond In tho dirns. end
shatioxs q the interior Of one Of our big
thsasrss gazing far into the upper realms d
Esce above the stage. Ths scenic painter
wa< at work. and the platform upon which
be stood agai changed blank canvas into
Speaking psesrr's swung and cressk'si abovs \
the tos- II the ~1nsry How reached thss !
platform. a'ter climbing up ladders and
walking along an apparently peritous way.
souhi almost frigsssn tns, even NOS, 70 Do
scyite. Finally, however. reacEei the artize
and maize known my srraad
Give ysa anne points about scene paint
ingT ne sesss.lt.si after no Certainly ]
viii. snd gladly: hs .satsd. and tell me where
70 begin
AT tlie beginning" answered. and with
brush la hand, be commenced;
GETTING ra1sos TO III
'1Today when a manager has decided upon
play and iss production, the first person TO
whom hs has recourse Is the scenic artist. II
~ Is wise in his generation he holds consuitar
tion sith hin ioas before any announcements
Of the play lis made public. and togetsaer they
sdyiss upon the character Of tbs play TO be
preaentesi, the location Of scene In which ths
action i. supposed 10 take place. thu period In
WHICH the events happen, the hour Of the day
OF night at which they occur. and tho time
ant expense that will probably be required
70 do justlce 70 the undertaking.
Most scenic artists have fine pictorial
library. aud from these pictures, in the col
lection Of which We often exp@nd much time
and money, find Landscapes, exteriors and
interiors that befit the play and period, and
submit them 10 the approval Of the manager.
When together We decide upon such as are
most suitable have model Of the scene
made t. Il sale, and color the miniature
model to an ezact fac-simile that the large
scene Will present when finished Tbs DR.
menslotls b.ing given to the stage carpenter,
hs purchases the lumber and other material
and constructs the scene 10 the size required
and when completed places the scene in this
paint frame, which is you see, mechanical
contriyanco constructed usually against the
rear or side wall Of the theatre, and suspend
sd by ropes leading to windia~ in the fly
gallery
See, here is the fiy gallery" he continued.
indicating wooden platform elevated con
siderably above the stage ON either side Of it,
and from this are worked the sky borders
and the ceilings used In play" observed
that the paint frames ono OF which was sus-
pended on each side of liz, could he raised or
lowered, as the artfst required 10 suit bis con
venience a. bis work advanced
This door upon which We stand Is a plat
,orm which is termed paint BRIDGE and 1t
: one Of the most commodious ] have ever
secn having all the space and conveniences
lees.ed TO accommodate the paraphernalia
red la the execution OF the work. Standing
ipon this paint the SCENES hanging in the
,aint frames.
THE canvas you see Is a strong, heavy ma
Lerial called Russian linen. and before paint
ing /, begun upon it my assistant carefully
and thoroughly vets 1t all over with a size
composed Of whiting, glue, alum and water
This process LIS called printing. When this is
done | sketch in the outlines Of 10Y scene
which uiay be either landscape, architectural
exterior or Interior and it is ready for the
colors to he applied"
Isn't this called painting in distenperf' !
inquired
YES" he replied MANY people who are
not familiar with scene painting ask me il it
isn't done in oil Now, on tho contrary, not
a drop Of oil is used; in the first place, 1t
would increase the weight Of the scenes and
make them more difficult To handle, and
moreover greatly increase the danger in case
of fire, against which in these days we take
every precaution in theatres. Now let me
show you my palette"
lstarted, but he did not pen his mouth fur
ther than to utter the remark, and pointed
instead to a soidly built table, about five or
six feet long, mounted on casters, which al
lowed it tobe moved to any part Of the bridge
most Convenient to his work. ! noticed it
was fitted with compartments to contain the
necessary colors, and that the brushes lying
near Aere Of all SIZES, fiat and round, varying
from tine to Others of several inches width.
JUDGMENT AID SKILL
What kind Of colors are these you useF'
| asked, pointing to the little mounds Of
paints that occupied the di visions on the pal
cite table
They are powdered colors Of the best
quality and mixed with glue and water" he
answered, taking the brush he held in his
hand. dcttly applying it TO the canvas in
front OF US He worked rapidly and surprised
me by the handsome and striking effects he
pruducesi with few quick but well consid-
cred STROKES Experience. judgment and skill
were needed. ! saw, N placing the colors
upon the canvas, AS being applied wet they
looked several shades darker than they ap
pared on the adjacent work, which had
dried
Turning again toward Tue he resumed the
conversation saying: Now when have fin
shcd the Painting OF tais scene, it will be
lowered Il, the paint frame to the stage,
where the carpenter again taxes it in hand.
fastrns it together and sets it up to be in
spected and approved by the management"
"ls the production Of elaborate scenery
very modern ideaf"
well, IFS only within the last thirty years.
| should think. that 50 much time and
thought have been spent upon the subject
Managers now appreciate the value Of elabor
ate scenery It forms today a most import
ant feature Of stagecraft and it cannot he
denied that the foremost players rAt, ize
the Importance OF pictorial setting, and for
the most part are willing and DESTROYS to sub
ordinate their abilities and benefit by the as
sistance of grand spectacular display. l
suppose the London pilntomimes. which EN-
ploy the highest artistic talent available, are
unrivaied exhibitions OF scenic art"
The ma loritv of scene painters in our time
are accomplished artists IN OIL ana water
eulors, and specimens Of their talent are to 10
observed in the Academy exhibitions every
ssason Many scenic artists finding the physi-
cal itbar and mental anxiety of the work
making in:oaels On their health. abandon this
branch Vt their vocation and find success in
landscape marine or portrait painting.
Scene painting is unt M Improbable voca-
ton. The weekly earnings Of skillfui artists
range from 800 to $,DO, and most of them
may. II they Choose continue their labors
through every week of the year. Grace Con-
roy In New York star