The times., 1901-05-19


simple Apparatus for Making
Rain, wind, and Lightning
Stage effect. that is the production Of
Impressions by means Of scenery, acces-
sories, etc, is today an art. desirable in
all dramatic performances and indis-
pensable in eXtravsganzas. burlesques,
comic operas, etc. The ordinary effects
of sunrise. moonlight. thunder lightning,
wind. rainbows fires, etc, are obtained
in great variety of ways, according to
the taste and skill of the stage manager,
who in some cases combines the faculties
Of the artist and the mechanician.
Scene painting is, of course an art by
itself There is no other branch of paint
ing like it, either in the variety of sub
jects embraced or in the methods en-
ployed. The scenic artist must be thor
oughly conversant with landscape, ma
rine, and architectural painting. He
must be able TO produce at any time the
mountainous passes Of Switzerland, the
fat meadows of Holland, the Rialto
of Venice or Newspaper Row of New
York. There is some scenery at present
being painted in this city, and it is inter
esting to watch the artist at work. He first
makes a pasteboard model of his scene
and gives it to the stage carpenter or
mechanic who buEss the framework and
secures the canvas to IL. 1t is then ready
for the paint frame" This is a huge
wooden affair hung up with ropes, with
CONFERENCE.-The attached. 1t is usually
places against the wall at the back of
the stage, and is connected with wind
lass by which it may be raised or lowered.
The artist works upon a bridge in front
of this frame, the paint bridge usually
giving a passage between the two hy
galleries.
BY hoisting or lowering the paint frame
the artist is enabled to reach any part OF
the scene. He is plentifully supplied with
brushes. ranging from a heavy one.
weighing two pounds, such as Is used ny
house painters, TO a small sharp one.
used for putting in fine lines. In addition
TO these. he has several whitewash brush
es for laying in fat washes and skies.
Speed is a requisite for the scene painter,
both because Of the colors with which
he works. and the demands Of the pro
prietor of the theatre. An expert scene
painter has been known to paint a scene
Of twenty by thirty feet in less than four
hours Jewels IN the walls of an Eastern
palace, for example. cannot be painted in
s scene with sufficient realism TO stand
the light. so they are usually made of
zinc and set in the canvas They are
made Of all colors. and are often covered
with Iaquers or else the painted surface
is laquered.
In ice scenes mica powders are used in
large quantities, so as TO produce glitter
and sparkle The last thing the scene
painter does before the introduction Of
new play is to have his scenes set upon
the stage at night either before or after
a performance. or on Sunday, in or
der that the lighting Of them 10 the best
advantage can be arranged. The artist,
on this occasion. sits IN the centre Of the
auditorium. and minutely observes every
mock and corner Of the scene under the
glare of the electric lights. Here bunch
light is set on or removed, here one Is
turned up or lowered, until the proper
effect is obtained. The stage electrician
takes careful note Of the directions Of
the artist. and the stage manager over
sees everything.
The effect of sunrise is obtained In sew
eral ways A semi-circular screen is placed
across the stage and forms the back
ground, as for mountains. Upon pat
form Immediately behind the centre OF the
stage is placed an arc protector which is
maneuvred by hand, and throws a lu-
minous disc upon the canvas OF the screen.
I UGn Lfit stage are suspended EfItNFEN H.
candescent border lights In other suitable
places there are arranged groups OF lamps
provided with refiectOrs OF special form
These lamps may be introduced sIfcCes-
sively into the circuit. ColUred selatlne
plates may be slid over the ranectOrS 50 as
TO give the light the color desired. The
electrician first puts into the tlTcGit the
group Of lamps that produce the blue
light, and at the same time turns the blue
sha des over the lamps. At a given signal
the operator pulls the rope so as TO bring
the red cOlored shades in front Of the
lamps When the signal is given to him
the operator IN charge Of the are lamp
places a red glass il front OF the lenses Of
the protector and switches the current on
TO the lamp. The resistaacss ia the cir |
cult Of the various inca aades-ent lamps
are successfully withdrawn so as to
heighten the red light of the rising sun.
After the sun has risen above the noun
the case may be, the red light is din1in-
ished, the red glass placed before the aper-
ture Of the protector is gradually re-
moved, and the color screens are removed
from in front Of the lamps. Motion is
given 10 the sun by means of ar inclined
plane. up which the arc lamp IS carried by
means Of d winch, which is manipulated
slowly 10y an assistant.
One Of the most skillful and beautiful
effects produced upon the stage is the |
change from day TO night. One Of the /
methods for accomplishing this is as fol
lows; The back drop is made nearly dou-
bic the height of the usual scene; the
upper half is painted to represent a sun
set SKY. and the lower half to represent
1t is hung so that the upper
half alone is visible. The scenery Of the /
distance is then painted upon separate |
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