Wichita eagle., 1889-09-25
THEATRICAL SCENERY.
ON THE PAINT BRIDGE OF A LEAD
ING NEW YORK THEATRE.

An Important Feature of Stasecraft.
Not long ago l stood in the dimness and
shadows of the interior of one Of our big
theatres gazing far into the upper realms Of
space above the stage. The scenic painter
was at work, and the platform upon which
he stood and changed blank canvas into
speaking pictures swung and creaked above
the tops of the scenery. How reached that
platform, after climbing up ladders and
walking along apparently perilous way,
would almost brighten me, even now, to de-
scribe. Finally, however, reached tho artist
and made known my errand.
Give you some points about scene paint
ing2" he repeated after me. Certainly I
will, and gladly; be seated and tell me where
to begin"
AT the beginning" answered, and with
brush in hand, he commenced:
GETTING THINGS TO FIT.
To-day when manager has decided upon
play and its production, the first person to
whom he has recourse is the scenic artist. If
he is wise In his generation he holds consulUa-
ton with him long before any announcement
of the play is made public, and together they
advise upon the character of the play to be
presented, the location of scene in which the
action is supposed to take place, the period in
which the events happen, the hour of the day
or night at which they occur, and the time
and expense that will probably be required
to do justice to the undertaking.
Most scenic artists have fine pictorial
library, and from these pictures in the col
lection of which we often expend much time
and money, l find landscapes, exteriors and
interiors that betit the play and period, and
submit them to the approval of the manager
When together we decide upon such as are
most suitable. | have a model Of the scene
made to a scale, and color the miniature
model to an exact fac-simile that the large
scene will present when finished. The di-
mansions being given to the stage carpenter,
ne purchases the lumber and other material
and constructs the scene to the size required,
and when completed places the scene in this
paint frame, which is, you see, mechanical
Continuance constructed usually against the
rear or side wall Of the theatre, and suspend
ed by ropes leading to windass in the fly
gallery.
''See, here is the fly gallery" he continued,
indicating wooden platform elevated con-
siderably above the stage or either side of it,
land from this are worked the sky borders
that the paint frames, one of which was sus-
pended on each side of US, could be raised or
lowered, as the artist required to suit his con-
venience as bis work advanced
This floor upon which we stand is plat
form which is termed paint BRIDGE and it
is one of the most commodious l have ever
seen, having all the space and conveniences
needed TO t g immediate the paraphernalia
~, fba ,,f%l no
upon this we paint the scenes hanging in the
paint frames.
The canvas you see is strong, heavy ma
terial called Russian linen and before paint
ing is begun upon it my assistant carefully
and thoroughly vets it all over with a size
composed of whiting, glue, alum and water.
This process is called printing. When this is
done l sketch in the outlines of my scene,
which may be either landscape, architectural
exterior or interior, and it is ready for the
colors to be applied"
Isn't this called painting in distemperw
inquired
Yes" he replied. "Many people who are
not familiar with scene painting ask me if it
isn't done in Oil. Now, on the contrary, not
a drop of oil is used; in the first place, it
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"
Istarted, but he did not open his mouth fur
ther than to utter the remark, and pointed
instead to solidiy built table, about five or
six feet long. mounted on casters, which al
lowed it to be moved TO any part of the bridge
most convenient to bis work 1 noticed it
was fitted with compartments to contain the
necessary colors, and that the brushes lying
near were of all sizes, fat and round varying
from fine to others of several inches width.
JUDGMENT AND SKILL.
what kind of colors are these you user
I asked, pointing to the little mounds of
paints that occupied the divisions 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, deity applying it to the canvas in
front of US. He worked rapidly and surprised
Inc by the handsome and striking effects he
produced with a few quick but well consd-
cred strokes. Experience judgment and skill
were needed, l saw, in placing the colors
upon the canvas being applied wet they
looked several shades darker than they APP
peared on the adjacent work, which had
dried
Turning again toward me he resumed the
conversation, saying: "Now when / have fin
iShed the painting of this scene, it will be
lowered in the paint frame to the stage,
where the carpenter again takes it in hand,
fastens it together and sets it up to be in
spected and approved by the management"
as the production Of elaborate scenery a
very modern idea''
We'll it IS only within the lsst thirty wears
should think, that so much time and
thought have been spent upon the subject.
Managers now appreciate the value of elabor-
ate scenery. 1t forms today most import
ant feature Of stagecraft. and it cannot be !
denied that the foremost players recognize
the Importance of pictorial setting, and for
the most part are willing and DESTROYS to sub
their abilitie' and benefit by the as
sistance of grand spectacular display. l /
suppose the London pautomimes, which en-
plov the highest artistic talent available, are /
unrivaled exhibitions OF scenic art"
The MA jority Of scene painters in our time /
are accomplished artists in oil and water !
colors, and specimens OF their talent are to be |
observed N the Academy exhibitions every /
season Many scenic artists, finding the physi- !
cal labor and a.snral anxiety OF the work 4
making inroads on their health, abandon this I
branch OF their vocation and find success in 1
marine or portrait painting.
Scene painting IS not Improbable voca- /
ton The weekly earnings Of skillful artists 4
range from 500 to $500, aud most OF them
may, if they choose. continue their labors /