Evening star. [volume] (Washington, D.C.) 1854-1972, 1892-09-10
There are only about $50 good scenic Artists in
this country.
PAINTING cYcLoRAMAs.


The execution of paintings for cyclorarnas
has many analoeiec TO scene painting for thea
tiers. The work is done in cylindrical build
ing of the size utilized for the exhibition of
such products OF art e.. 300 feet in circum-
Terence The canvas comes in bolts AID is cut
into lengths equal TO the height of the building
Inside. these strips are sewn together, edge 30
edge, the result being q continuous piece 800
ieet long and as wide as the building is high
The long sides of the parallelogram are stitched
upon ropes and hooks are fastened all along
what Is 20 be the upper edge of the canvas. BY
means OF these hooks the great sheet is hung
from strip Of wood which surrounds the in
terror Just beneath the roof. Then the lower
edge IL tautened, so that the cylindrical wall of
the structure is finally covered inside with a
continuous canvas as tight as a drum the two
ends being fastened together where they meet
with lacings.
1t is now ready for painting Perhaps ten
artists are employed, under the direction of the
chief designer. The latter has made elaborate
studies on the very ground which the pictured
scene Is to represent. Standing at one point
which corresponds with what is to be the view
point OF the spectators of the cyclorama, he has
taken photographs OF the SURROUNDINGS in every
direction, as we'll a multitude of sketches in
black and white and in colors. In the cvclorama
OF Niagara, that has been newly brought 10
New York. the observer stands on the Canadian
side looking across to the Horseshoe and Amer
1
makes finished colored drawing ITO scale"
representing the entire picture. Made on one
sheet Of cardboard and turned into q cylinder
this drawing is likeness in miniature of the
cyclorama that is TO be. For tine sake of con-
venience. however, it is most commonly done
in four or more parts. 1t is marked of with a
lead pencil into squares, Just like the sketches
for scenery, and the big canvas sheet is likewise
reticulated with chalk lines into squares, one
inch In the drawing corresponding to one yard
on the canvas, if that is the scale adopted. 1t
only remains to copy into each square on the
In the corresponding square Of the cardboard
sketch.
PAINTING on RAILWAYS.
Now, around the interior of the cylindrical
building, close to the wall, is constructed a
little railway, on which three or four tall and
lightly built scaffolds run on wheels. These
are for the painters, being nothing more than
flights of steps with small platforms at differ
emit heights to stand upon. BY means of them
the artist can readily reach any part of the cam
vas. The work is done with great rapidity. the
coiors being used IN bulk and laid on with huge
brushes. In this way ten men can accomplish
big results in a short time. putting in trees
another roads, another buildings, another
water and SO on. Thus the picture quickly
spreads over the enormous sheet, and only a
few weeks are required to complete it, Where
the canvas is laced together in the manner
above described big tree is painted in to
cover the seam. Finally. the lacings are cut,
the sheet of canvas is unlocked from the
wooden strip above. being rolled upon an
enormous roller like a map, and the roller and
canvas surrounding it are lowered to the ground
with tackle. Then the picture. thus made
ready. is shipped to the city in which it is to be
exhibited.
There a cyclorama building is awaiting it.
To all intent and purposes 1t is just like the
structure in which the picture was made. The
great sheet of canvas. by means OF its hooks.
Is hung upon the strip of wood that runs
around the interior close under the roof. Il is
made taut and smooth by Tightening the rope
below with fasteninss. Then the big tree il
stitched up by q man witha sail needle, painter
putting on some touches to hide the sutcnes.
But there is a great deal 10 be done vet before
the painting ia ready for exhibition. Hun
dreds of carloads OF earth. twigs, branches of
trees and all sorts Of trash are brought into
the building and dumped. In Sew York such
material is got from Central Park. Laborers.
superintendent BY artists who have seen the iay
of the land in nature that il 10 be represented.
shovel up the earth against the picture. placing
here a few big stones and planting there a tree
or bush, to which artificial leaves mas be al
tached. All sorts of such accessories are
brought in to assist the natural appearance of
things. In the cyclorama of Niagara" an
artist 10 seen sketching in the foreground. The
pieces of paper in his hand are real ard people
usually cannot realize that he is only dummy
dressed up in a suit Of clothes. Three or four
actual telegraph poles appear. containing line
of painted ones, which vanishes into the per-
spective. 1t is not possible for the spectator 10
detect where the real ends and the unreal be-
gins, the wires being strings dipped in gray
paint, which pass through holes in the canvas
and are knotted OH the other side. Wherever
the natural and the artificial come into juxta-
position the artists smooth the effects into one
another By iudicious use OF the paint pot.
INGENIOUS MECHANICAL DEVICES.
Scenic illusions on the stage are greatly
helped out by many ingenious devices OF a me-
chanical nature. These are utilized with much
effectiveness in counterfei,ing the phenomena
of storms. fo- example. Along the side wall of
the improved modern theater is constructed
what is called the thunder box" 1t is a
wooden chute leading diagonally, with many
zigzags over the auditorium from the front near
the roof to the cellar under the stage Down this
chute man. in response to has cues, starts
cannon balls. which rumble over the heads Of
the audience and. bouncing through the zig
gags, produce an effect remarkably like actual
peals of thunder. For thunder-claps, which are
quite different. the ancient device is still en-
pioyed Of shaking an oblong sheet of iron by
handle at one end of it. the other end being
held by a rope from the flies. Lightning is re-
alistically initiated by igniting magnesium in a
pan. Across the top of the stage. not far back
from the footlights, q small pipe runs. which is
punched with holes. When the cue is given for
rain water is pumped through the pipe and it
falls in a sheet. behind which the actors go
about with umbrellas or pretend to be drenched
by the rain. The water falls into metal
trough, from which it runs Off into receptacles
placed for it.
The stage being darkened the effect Of clouds
moving across a landscape is obtained by
magic lantern in the wings. through which
''slide" of glass is passed with clouds painted
on it. the images being thrown upon the drop"
curtain, which forms the background OF the
scene. To represent the moon rising that por-
ton OF the drop" which is supposed to be sky
is soaked with alum, SO as to render it trans
lucent. Then the moon is made by putting a
light inside Of round box with a glass top.
When 1t is time for the lunar orb TO come into
view it is lifted above the hiiltops and its rays
shine through the alum-soaked sheet with
softened glim like real moonlight. For stars
the best esices are secured by robbing glass
chandeliers Of the little round faceted jewels
from which the long pendant prisms hang
Bore hole through one of these, sew il into
the drop curtain, place a light behind it and
you have a beautiful twinkling star. Fog is
produced by means Of a pipe running across
the stage near the front and beneath it. with
holes through which steam Is allowed to pass
and ascend. The storm wind in ''Siegfried" is
made by paddle wheel like that of a steamer,
which revolves in big box that has only a
small opening. SO "a to cause whistling sound.