The Washington times., 1894-06-10

recsived with storms Of applause, which are
indeed meritcd from an artistic standpoint.
AZ far Is possible In this exhibition art is
adhered to as closely a. possible. Not 20
with the irnitators. In the dance halls and
beer gardens the stage performance presented
has developed into regular exhibition OF
shameless nudity. Also In these instances
tho women who are secured to pose are not
models from studios, bot women who are
gathered from the dives Of the worst districts
OF the town, md who glory In their brazen ef-
frontery and receive visitors on the stage b.
tween posing times in the costume OF the
pictures.
Despite these facts the pictures are un-
doubtedly universally popular and almost
every New Yorker has seen them. The CAS-
nal observer has no idea of the immense
amount Of labor and expense that 10 involved
IN placing on the stage \ credttable per-
Torrance Of this style. It b bigger task
as much. The background, Rigging and
properties used In each picture cost about as
much as scene for An ordinary play. Then
suitable people are much harder to Ret than
competent actors or actresses. They must
necessarily be intelligent persons who can
understand the character they are to repre-
sent and imbue themselves with thespirit In
order to get the right facial expression and
pose. Again women must be well nigh per-
lection IN face and figure. Women with
classic feature, unmarried by dissipation and
with symmetrical forms, who arc willing to
exhibit: themselves in the heshings are hasd
to ind. Naturally tho managers resorted to
artists models as q way out OF the dimcuity.
Since the advent Of the living picture craze
there has been a boom In the modal market.
The work 10 light and the pay good. In many
OF the pictures artificial support Is necessary,
and they are secured IN a most peculiar man
ner When q model has been selected for .
picture she is dressed In an old suit OF tights
and then told TO lie down In box OF soit
plaster OF paris. The poser then ariangcs her
In the position that he wishes her to hold, and
she Is compelled 10 lie in that position until
the plaster burdens, and then sho Is taken out.
In this manner the blacksmith gets model
10 work on IN making his supports, which
must bs correct TO tho minutest detail.
The scene on the stage when the perform
ance is about to begin strangely represents
the garden Of Eden, but there is more excite
ment than that historic spot ever witnessed.
Grouped around every place are magnificent
tropical plants and other flowors, as well rs
set figures TO be used in the pictures. Fitting
around among these with easy grace are lot
Of womsn, nymph-like in their costumes, but
In many instances using language that would
ostracize . nymph from associating with her
kindred. I. is a strange picture, and charac-
terIstic Of our nineteenth century civilization.
Ten minutes before the flrst picture Is to be
shown tho models come tripping down stairs
from their dressing rooms. Some are gaily
costumed, others wear cloaks as protection
from the draughts Of the stage, and the scanty
clothing makes those cloaks u luxury even on
warm nights. Some of the scenes witnessed
preparatory TO going on are supremely ludf-
crous. A person walking along will suddenly
tumble onto a group where couple OF marble
statues are wrinkled in smiles as they chat
with Venus and q sea- nymph; while dying
soldier, with blood streaming down his face,
sits on a box nonchalantly chewing an un-
lighted cigar, and Sappho is humming "Ma-
mie, Come Kiss Your Honey Boy"
Most of the models are called into requisi-
ton fer three or four pictures. In many
instances the change in costume lie 80 slight
that it is only wig or a single garment and
can be made on the stage.