Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1890-01-11

intentions, and we are thereby subjected
to great mental strain to determine plan
of action, and great amount of unneces-
sarily hurried labor to produce the work
in prescribed time. You have no idea,
either. how our patience is tried some
times by an economical or stingy manager,
who wants US TO violate our artistic taste
and indulge in what is known as taking
up a scene in order to utilize some mate
rial in stock or harmonic with some dra-
peries and furniture on hand"
ais the production of elaborate scenery
very modern idea?"
"Well, it is only within the last thirty
wears. l should think, that so much time
and thought have been spent upon the
subject. Managers now appreciate the
day a most important feature of stage
craft, and it cannot be dented that the
foremost players recognize the Importance
of pictorial setting, and for the most part
are willing and DESTROYS to subordinate
their abilities and benefit by the assistance
of grand spectacular display. suppose
the London pantomimes, which employ
the highest artistic talent available, are
unrivaled exhibitions of scenic art"
do you not think that the newspapers,
instead of complimenting the management
on the way in which play is mounted,
ought to devote more space to the work of
the scene painter p
"Well, l think it would be a matter of
qualification TO every artist to have his
work carefully considered from an artistic
standpoint, and receive the advantage Of
iudicious criticism, which would stimulate
him to an exhibition of his efforts. The
custom of calling an author before the cur
tain TO personally receive the compliments
of an audience on the initial performance
of his play, is said to be French idea,
and not adopted in England until quite as
late as Garrick's time. The calling out of
scenic artists to receive the public's appro-
baton has come into vogue within our own
recollection, and there are but few artists
who have enjoyed this recognition of their
talents"
At this point the artist took up his
brush with little sigh Of WEAKNESS, and l
saw that he longed to be again at work.
So, through the mazes of the ladders, seem
cry and broken-down furniture, and all
sorts of theatrical properties, I wandered
out into the crowded street again.
Many people labor under the erroneous
impression that scene painters are ordi-
nary individuals, with little knowledge of
true artistic work; but there are in this,
as in every profession, all grades, ranging
from artists who take pride in their
work to those who handle their brushes in
a careless, Indifferent manner.
The majority of scene painters of our
time are accomplished artists in oil and
water colors, and specimens of their talent
are to be observed in the Academy exhibi-
tions every season. Many scenic artists,
finding the physical labor and mental anx-
iety of the work making inroads on their
health, abandon this branch of their yoca-
ton and find success in landscape marine
or portrait painting. w. II. Lippincott,
of the Academy of Design and Society OF
Water Colors, is notable instance. Be-
ginning as a scenic artist, he has since
turned his attention TO the less arduous
pursuit of portrait painting, but if he were
called upon to oblige brother artist in
the scenic line could turn to his old-time
speciality with undiminished skill.
1t was formerly the custom of every
theater to employ painter of its own, but
owing to changes that have taken place in
the methods of conducting the theatrical
business, there are but few artists on the
regular salary list of the New York thea
tiers. Henry E. Hoyt, of the Metropoli-
| tan Opera House; Homer f. Emens, OF
the Fourteenth-street Theater James Rob
erts, of Days Theater; Richard Marston,
of Palmer's and the Madison Square Thea
ters, are prominently known. Many Of
these gentlemen frequently execute a great
deal OF work by contract with well-known
stars and theaters that are getting up the
scenery of play in an elaborate manner.
They frequently do this work in the studio
of the house that benefits by their regular
services, and their business is largely ex-
tended and their income greatly augmented
thereby.
Homer f. Emens, who, though very
young man, has already turned out work
which stamps him as one Of the foremost
artists of the day, and promises him dis
| tinction in the history of scene painting
in this.country, has one of the largest pro-
fessional connections in this country, and
his work upon the scenery for the repro
duction of "The Old Homestead" next
season will probably add to the excellent
reputation he has already achieved.
Gaspard Maeder, in the employ of Mr..
Miner for his various enterprises, also car
ries on a large branch of work in this
direction. Many theaters which do not
employ regular artist frequently call
into requisition the services of several
gentlemen, and intrusting to one the ex-
teriors, to another the interiors, we get a
pictorial display from the accomplished
hands of several frst-class artists in one
play, and it is no uncommon thing to find
upon one programme such distinguished
names as Hoyt, Goatcher, Emens, Young,
and others equally well known.
Scene painting is not an Improbable
vocation. The weekly earnings of sksllful
artists range from 500 10 $780, and most
of them may, if they choose, continue
their labors through every week In the
year, while their less fortunate brothers of
the sock and buskin are forced to spend
several months in Improbable idleness. 1t
is no more than fair that the public,
which, generally speaking, fails to appre-
ciate the artistic qualities of a scene
painters work, should be compelled to pay
him, as it does, good round sum for his
labor.
The Chinese Theory of Evolution.
The rocks are the bones of the divine
body, the soil is the flesh, the metals are
the nerves and veins; the tide, wind, rain,