The Providence news. (Providence [R.I.]) 1891-1906, 1898-10-24

AY, OCTOBER 24,
more shine forth from their hiding
places I'm the graceful convolutions and
recesses OF the rococo work extending |
TO the limits OF the frame
No more can or need be said and the |
same is equally applicable. with refer
ence to his brilliant and strikingly anil
mated depletion OF Apollo and the |
Muses. on the curving sounding board |
over the proscenium arch. in which the |
true artistic instinct, coupled with a
freedom OF treatment depth and wealth
of color that challenge instant admira-
ton, seem To breathe from every SYM
metrical outline and graceful curve,and
cannot fail to delight equally the
most intelligent critic and the merest
tyro i'm art. The MUSES. are represented
engaged i'm the dance TO the music or
Apollo's Tyre: and the graceful aban-
don OF the poses. the wonderful life and
spirit OF the whole scene, are worthy
of unstinted praise
At either side. i'm the curve or the
great ceiling arch, are two vertical
panels representing, respectively, the
four seasons; and here Tojetti's skill as
a figure drawer is most effectively DEM
onstratcd. Each of the panels is en-
closed by an ornate rococo frame In
white and gold, outside which ~ bor-
der OF French gray, a remarkably soft
and mellow tint OF indefinable quality
and exceedingly effective in setting off
the beauties of the panel pictures. Each
Of the seasons is represented by fe-
male figure and cherub: and the artist
has departed entirely from all traditions
and precedents, and has produced an
| actually new treatment of a hackneyed
| theme. The limits of this article will
not permit the detailed description that
this work deserves: but IL may be said
| that in the originality and intellectual
| ity Of his conception. in the breadth and
| individuality with which he has treated
| his subjects. in the ease and grace OF
| the poses, i'm the strength and poetic
| sentiment OF his work in the wonderful
| drapery effects, and in the refinement
| of his work i'm every detail, Totetti has
| by these pictures added much 10 his al
| ready high fame as an artist.
| The proscenium "arch" is i'm the form
| of a huge frame with rounded corners
| i'm which the stage pictures are pre-
| sented TO the eyes. IL consists OF par
| allel columns of rOcoco work In ivory
| white and gold. set off near the outer
| edge with a band OF French gray. ter
! minatng at the bottom on each side In
| broad marbleized pedestal. giving the
| effect OF huge pillars supporting the
| upper part of the frame. In the centre
| of each pedestal is the announcement
opening. IN "a design OF lpollc plldSltTs,
| frieze and cornice.
| The boxes. which are entered from the
| orchestra floor through an arch sup
1 ported by marbleiZed pillars and hung
| with heavy portieres of rose silk vel
| ours, are in three tiers on each side.
| The front Of each Of the two upper
| tiers. which project like bay windows.
| is divided into three swelling curves.
| the inner and middle ones Of which are
| each respectively n few inches lower
than the one next away from the stage
| and the floor of each is lowered 10 cor
| respond. The front ornamentation is of
| elaborate rococo work in ivory white
and gold. the draperies are of rich old
rose silk damask, lined with delicate
| Nile green to match the faScinatingly
| blended tints Of the walls. The shape
| and arrangement OF the boxes are such
that every seat commands an excellent
| view Of the stage: and their design and
ornamentation play most important
part i'm the general decorative effect Of
! the interior.
Above the second balcony is a lofty
/ dome, in the centre of which is large
| ventilator, surrounded by circle of
! lights, which shed a most effective
| glow upon the blended hues Of rose,
yellow and pale green on the sides and
| ceiling.
The general architectural effect Of the
house is Romanesque, the firmness and
| severity Of which are most pleasingly
| relieved and softened by the rich ro-
coco ornamentation in ivory white and
| gold of the graceful Louis XIV. style.
| There is nowhere TO be seen any solid
! color, even though TO the uninitiated
| such may seem to be the fact; but
everywhere that the eye may gaze the
! wonderfully soft effect of sheen OF
| changeabla satin under brilliant lights
| is secured by an artistic blending of
many warm and delicate tints that has
| been pronounced by artists familiar
| with the most notable decorative work
! of this country and Europe unequalled
| by anything before attempted except
| in Mr.. Keith's Boston house.
| In the general decorative work of the
| house Mr. Albee has had, as i'm Mr..
| Keiths other houses, the valuable as
| sistance Of Mr.. Frank Maxwell who
| has held the position OF chief decorator
| during the past five years, and who is
| i'm thorough sympathy with Mr.. Albee's
| ideas and well qualified TO carry them
! out consistently and intelligently. IT is
| simple justice to say that TO Mr.. Max
] we'll belongs a generous share or the
credit for the beautiful results attained.
| Mr. Maxwell has also had the assist
| ance OF Mr.. Haverstroh of Boston,
| whose artistic decorative work is we'll
| known throughout New England
| In the cosy hooks and corners are bits
| of Carara statuary by noted Italian
sculptors. and in unique and beautiful
! cabinets are seen choice bits Of bric-a-
| brac of the latest importation, includ
| ing rare old Royal Vienna, Dolton,
| Royal Worcester. Crown Derby and
| Sevres. while pedestals and jardinieres
| Of the newest designs and decorations
containing potted plants and rare palms
contribute to the general artistic effect.
The architect Of the new theatre was
| Mr.. George Leach of this city. and the
! work Of construction has been done by
: Mcguire & Penniman OF Providence;
and ii is TO their credit that this play
80