Wheeling register. [volume] (Wheeling, W. Va.) 1878-1935, 1890-05-23

the experienced anu tue III OlStiO oSC N"ii
tell when the required shade has been
attained. The tints are all mixed
wholesale, for they are used that way,
and the painter would find it difficult 10
exactly reproduce certain tint should
he RIM short of it before his scene is
completed.
Resides the tint mixed in bulk, the
scenic artist mngles others on palette.
This palette, by the way, is not the
light and graceful article held on the
thumb of the ordinary artist, ana upon
which the decorative young woman IS
fond of painting impossible poodieS ana
panSies. 1t is a table with smooth
Slab-tOp. Upon this the unmlXed coiors
are arrayed like the dabS OF color on
painters palette, and are mixed by the
artist as he requires them. The palette
only comes into use when the pots ana
big brushes have done their work, and
the artist gives the scene these touches
which make it characteristic of his
style.
But TO 90 back TO the beginning of the
Dainting of the scene. The first pro-
cess is the laying i'm of the local colors
of shy. walls and the like, which is done
according to the outlines on the canvas.
Then are applied the panels OF the
rooms. the doors and woodwork OF build
ings and the waves of color in the land
Scape. After this the shadows are
bleached in. and the work IS now ready
for the final touches. The lines OF arch
itectural scenes are ruled in with a
brush guided along long rule.
and the landscapes are nm
iShed free hand. In MAX
ing gilded ornaments, gold color Is
used, the high lights being emplevined
with dutch metal. For the dazzling ana
bewildering effects of fairy and trans
formation scenes, silver and colored
foilS are used in a similar manner.
Most if the cOlorS used in scene paint
ing are solid. or what are technically
known ae body colorS, but the shadows
of heavy draperieS, etc, are glazed with
transparent lakes and other pigments.
On some occasions some of the aniline
colors have been used with no little ef-
feet for this portion of the work. but, as
a rule, they do not mix well enough Tor
the more delicate tintS, and the old dry
cOlorS are far more preferable.
1t is customary in all tirSt-claSS thea
tres for the scene painter to make
working model of every important scene
before putting it on canvass. These
models are about the size of the mlnia-
ture theatres sold in the toy shops, and
are complete i'm every detail.
They are painted on cardboard in
water color, and give an excellent idea
of the scene as it will appear upon the
stage. This is another branch OF his
work. for the scene painter must be re-
regarded as what may be called an all
around artist. He must be good
draughtSman; he must know how TO
draw and paint figures; he must be
good landscape painter; he must have
a thorough knowledge of architec-
ture and be able to paint about
everything paintable. But when
he has well secured an established posi-
ton. the emolumentS are large, some
scene painters receiving regular salaries
of over 5000 a week, while others, OF
recognized ability, receive handsome
sums for special work.
Outside of the scene painters regular
ly attached to theatres there are several
where scenes are turned
out by the wholesale to supply the
aires in the smaller towns. These
keep regular
stock on hand, duplicates of
course, and can supply any theatre with
a set of scenery that will answer all or
binary requirements at much lower
cost than it would require to engage a
regular scene painter. These establish
mentS, however, are frowned upon by
the members of the craft, who denounce
them as examples of Chinese cheap la
Dor and a general disgrace to the art.
But they are making money neverthe-
less, and are willing to let the artists