The sun., 1900-08-05
SCENE PAINTERS TASK.
IMPORTANCE or HIS WORK ~ THE
THEATRES or TO-DAY.

uhNs-EIOus W tne froIesNon Are Large
Tendencies OF the Work for the Future.
Probably tho average spectator seated In
theatre thinks that the scenery Is Of more
importance in creating an illusion than any
other feature OF the stage performance that
he may observe. Undoubtedly badly painted
scenery may sometimes mar the pleasure OF
the least exacting audience. but on the other
hand 40 much Illusion Is created by even the
humblest shreds Of canvas that nothing seems
to create great effect with such small means
Us the scenery used 10 form the background
for play. This may be the simplest painted
canvas or the finest specimen Of Athe scene
painters art In either case II Is the one ele-
ment OF a stage performance that seems abso-
lutely indispensable. Skilful Use OF lights
may add greatly TO the effectiveness Of scenes
and enhance their beauty. increase their eff
cheney 10 create the Illusion for which they were
designed and throw into relief the results Of
the painters work. All these requirements
are made possible by the iudicious use Of lights
which are so highly priced by stage managers.
But It Is the scenery itself which IL the more
important material aid TO creating the illusion
demanded by drama.
The scenery used in the American theatres
to-day has improved In quality as much as
ahy feature of our stage. Persons who re-
member the old backgrounds that used to dash
out from each side OF the stage and meet in
the middle whenever a change In scene was
necessary will not be likely TO dwell on the
palmy days of the drama from a scenic point
Of view. 1t is NOT however. from this stand
point that the glory Of those imaginary old
days Ia ever extolled. These old flats" that
represented castle, or waterfall or an interior
scene cut down the middle were invariably
smudged disgracefully at the edges OF union
by the soiled fingers OF the stage hands and If
the scenes were at oil light In color this imper-
fection was plainly visible 10 the whole audi
ence. But Ia those days such details wers not
regarded as severely "a they would be to-day.
These scenes that shot into view from the wings
were on castors and dusty scene shifters leaning
their shoulders against them propelled them
more or less violently into their places
The wings" at the sides projected in q way
that made it impossible TO give a very CON-
vincing illusion OF an interior. 1t always
appeared as II tho room had no walls or else
that through violent collision Of some kind
they had all been knocked sideways. For
IN those days the canvas wings intended 10
represent the walls Of rooms stood sidewise
Just as the wings that represent forest or
any exterior do to-day. Under such circum-
stances it was OF course impossible to have
door or a window that bore any possible re-
semblance 10 the genuine article. II 1t was
there. nobody could look or walk through 1t.
Persons who came on the stage or left 1t used
to walk through the wall which was in reality
merely indicated by the three wings" Of painted
canvas which faced the audience and we're
separated by stretches OF emptiness.
The correction Of this absurd old habit was
one OF the first advances of modern scene paint
ing. and began about quarter OF q century
ago. Then lor the first time a so-called box"
scene, which represented in canvas the three
walls Of q room, was introdneed. The doors
shut like those In the background. and TO this
day the boxed interior survives. lt marked
Of course great advance in scenic decoration.
no apartments that had ever existed since the
world began. What are called In the profession
practical" doors and windows, that Is, doors
we're already known. and were regarded as
one of the marked advances OF the time. They
were confi1ed. however 70 the pIa,ckgroands dI,s N
that really had three solid-lookng walls like
any real room. it seemed "a II the last round in
realism had been reached.
Since that time Improvement In the scenic
effects of the theatres has gone on continually
The betterment here has not been merely In the
@ Of Ss has pso o6sad G
The men who paint scenery for the New York
theatres to-day are all skilled artists who have
Ss5rsa S6rs they % Begun themselves as asals stants
10 well-known scene painters, and gradually
learned for themselves the secrets OF the pro-
fession Most of them ars better than their
New York predecessors were. and few of them
were the pupils Of New York scene painters
The ma ority Of them served their apprentice
ship abroad Some Of them came from Europe
and their object In becoming Americans was
to get sOme share Of the large sums OF money
paid out every year by New YORK managers
As the services Of most Of them are IN demand
long term OF preparation
The rewards Of the successful scene painter
the year in which there is not demand for his
work. The summer Is passed in executing
orders for the forthcoming winter productions
and as managers continue to make new produc-
tlons during the winter months, there is always
work to be done during that time. The scenic
artist. unlike the actor. does not fnd himself
with long vacation on his hands without pay,
and whether he wants 1t or not, at the close Of
every theatrical year.
Every New York theatre has a regular scene
painter conpected with the house and he may
have several men to help him IN the work Of
that theatre or the theatres under the control
Of the manager who engaged him, This Is
painters, however and his work will usually
be in the sature Of touching up, One scenic
artist. who for q long time had everything
nndor S %" engogement Wa ne to two managers who held
him on a sort Of retainer and had the first call
on his services But he was able TO take work
from other theatres when neither OF these
managers required him. Ordinarily managers
engage the scenic artists they consider best
adapted to do certain work Most OF them
have specialties, Some are famed for their
Interiors, while others are distinguished for
their landscapes. Others who stand high
In their profession have devoted themselves
70 no particular phase Of their work. This
specali alton Is more and more demanded
In the bl,s sness After manager has accepted
play. it Is usually put into the hands OF some
n the stage managers who like to be called
10 painting the scenery is engaged After
consultations between him. the stage manager
and the author, the aceno pa inter Is supposed
10 understand what Is required, and after read
ing the nnrts Of tho play that would be Of as
tie models OF tho different scenes and they
are submitted 70 the manager, stage ,manager
and author. All of the designs for hills, plat
forms, balconies or any peculiar structure
that may be needed bv the eyigences Of thu
evacution Of them il handed over TO the stage
carpenter. II the models 9rs satisfactory
the scene painter sets TO work
The method Of pa hitting scenery IN this
country l. different from that prevailing In
France, There tho canvas IA stretched on
these are hung in the theatres above the stage.
The rointprs stand on bridges high IN the air
and pant the plctures under the directions
OF their head All Of the theatres ere supplied
York i said to 10 that built bv Charles Fletcher
in the Fourteenth Street Theatre, II is situated
IN the high building at the rear nf tho theatre
Tho neVt hest paint lofts nre IN the NotrOuoli-
tan snd the Grand Opera houses Paint lofts
In theatres nre yery rarely In constant use
A it,. 10 rpp he. g,r