Idaho semi-weekly world. [volume] (Idaho City, Idaho Territory) 1875-1908, 1891-06-26
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one who valued health 49,, IONS that A.
care to paint in; hence an' N.Y. sight Womb
speedily built and itteS l'S ~l,, ICONS
necessary apparatus for ,. WIN all Ia
ne, merry and stretching tie l 'a,Slng these
mere are three ver, q ge canyaps
me The older theatres-cov,ea,nS, ICONS d
t D,u eo,. lane and Her Majestv,. y, uaardes
Ter Tor some reason il ill., Je''y 8 1.-THE ht
10 pant in Of the throo u'oSt agreeah.
thoroughfare through H. ~ There i M
Garden and Drury Lane , acrOss cOven
in other departments !. rooms Worker
way The room NJ Cn ,ase a right d
OF vast proportions 100 foa. ' uarden i
leet vide and about IS feet long By %
possesses four separate stre,a ' ,lgh, and
the largest AZ feet bv "a sa irana
enormous stretcher is woa u 'eet Thu
down I oy means of very pow aeu Up and
lass with multiplying gear r ara wind.
iron chains The canvas to @ ooa hung
frame would cost about e yesef slleha
sewing SC The physical strain nh IN with the
80 large a surface, and in waIl; so'erllg
ward and forward from ono ang back
room to the other to judge Of s ,n o. the
Is exceedingly severe H. ~ 'he effect,
r ,' in England are a p, prea, a.
vahcemeht upon the older m s,,a' ad
spreading the canvas out unon ,' -, Of
and painting it standing m m lug .,e lOOr,
banded brushes reaching to the @'s ar,. long
scenery In France, and on the ca s,Uund
generally, is still painted So. No. u uo,I'lneai
Her MaJesty's" the painting W., ,'g ! Old
on IT, bhe iioor over the auditorium - u0le
The income of the most sn.
scene painter is certainly verv ' @''l
smaller than that of a yery So ~. aiuch
caolhet picture painter, or even 'l !. ave
toierably successful draughtsman ~ t u
chiei illustrated journals Yet con NJ lls
ing the amount each scenic pictura ' oa,
the nahagement-for it mus h. 'oss
IN mind that the frame maker ,bo "olus
vas ana the scene setter are all nchSas
IN the cost of the picture-it w;u '.i
! iN"'@-L VIII Ia
readily understood that the scon;a -
ture would not amount to less thsn t a
work of highly successful nic,u "''
painter Thus heavy "set" at Cova.,
Garden or Drury Lane would cos, e,0a
or t5oo' and at other theatres in proO0r
ton, according to their size p'OP'r
When the scene painter receives Il,
commission from the manager ba =
ceives with it some sort of particnl,,,s,
what is wanted. Some manacers oaa
graphically illustrate their Requirements.
others, not possessing this hapny facutr
give the key to the idea and rponira
ments OF the situation by word of month
Others can only explain the sitnation.
and "practicablities, leaving the an;s,
absolutely free handed, reserying IL
themselves the right of alteration wbo0
they have a tangibilty before them
either in the sc0le itself or in the model
But, when all is said, the material peuq,.
ally furnished us is of the slightest.
The most satisfactory way to proceed
is to spend time on the model (which isa
representation of the stage to scalel and
thoroughly to understand from il 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 lie greatly amused to
see the collection of miscellaneous ari
Giles in modelling that are scattered around
us-bits of silk, gcatine, tissue papers,
muslin, coal, birch brooms, plaster Of
Paris, books, sticks and the indispensa.
Bile 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 pas-
ter, we construct our trees, clothe in
verdure oul hillsides; and with silk,
colured geIatines, 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 ana print furnish us with our
authorities for detail
The model completed after being duly
inspected and approved by the manage
I ment, the master carpenter comes to see
it with respect to the construction Of 1t
mechanically, and to hear your sugges
tons as to setting and striking 1t 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
A few DAYS after, almost acres OF frame
work and bales Of canvas are 0TousD'
in. one great surface Is stretched o." u,'
frame. and. having been duly prepared
upon it you first start-thls genefah'
represents the back portions OF the scene
Then YOU paint the different pieces u
order till YOU arrive at the Foreground
gaining in strength as you advance
Then for day or two the stage Is gwen
up entirely to the artist for the scene ~
be set and lighted This setting u''
most anxious time of all, and the tl nus
experienced of us cannot help asAu,3
himself. How will it come together ~
last, after dawdling about perhaps i' 'ta
0 in the morning until . at Higll'' u, :,
setting" is begun, and If happ"Y ,ha
comes well and quickly together IN
artist may proceed at once to "i'sn !., a.
The best scene ever designed ana lai 'i,..
can be ruined by injudiclouS ils"' a,os,
for the illumination is the last anu INV INV
important touch to the plcture-i'1, -
life.-Wm Telbin in Magazine Oh a"
How We should Breathe, ~
DR. Campbell said the object oil o a,sd
,.;l,- tp VitnIlZe the UiVVN