The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-11-30

other man has added his weight. A third
man does ,ha same thing when II Is nects-
gary and that is the power that brings the
drops up so smoothly
The production Of new scenery IL the
work that brings out 10 the greatest degree
the skill Of the modern scene painter;
The scene painter first reads the play, and
il II is historical acquaints hirnsef WIN
the period in which il was written
Then he dc-itrs the GENES o,thning mem
with lead pencil and then painting them.
Next he makes his model. and In IN" making
of this ro Il j one s,es at it, highest develop
mout TN. art of stage setting.
A description Of model on IN" s'cnhn
act scene Of Aida" which Sun reporter
saw IT, Mr.. Emcn-s studio last week
viii show the amount of care that II pun
/ into this work. TIL" stag" setting IN 'he
mo III was inst ~ complete ~ " was on
4, the stage and IN" "ntlf" thihg ""e "''oe
on "A half-inch scale.
The painting Of the scenery in the mod"'
was a. car, fully done a. II was later "hen
! the model was reproduced III me gi"u
| 70 merry of IN" opera, am lusi to 'il' tlvn'
| was "A coiuplaie equipment OF elect re hgl'r
| of the same pow, r and Of the same color
| as thos. in service H. the wings Of IA" opera
| house From thu plant the same ~had'~
| Of light can be thrown on the model AZ are
| used on the real stage, ana p'lor' any
| scenery H. painted from -uch ihuu'r 49,
| ,iglt effect II tried ON the colorlng, ddN
! h-irg sometime, consumed in this work
alone. ~
! The aypr-pr,scnt fear with the scene
| painter l. that from seats on TN" "N'r'i'''
| right or left Of the body of IN" hou-" or
| from seats In the upper galleries, 'iu'l'r
| of the stage setting NOT di~C,rhihl" lfo'h
| the centre Of the house may bn observed
| Therefore railways in Interior scenes arr
| GA rri,d gtr'at distances back on 'h' lug
trc"t scenes ar" carried all 'he way r"ullu
| and n great deal of money ana VINE ar'
! -prut ON scenery that s never seen ave
hv the handful of people who occupy sea-
| away on on the sides.
Mr.. Emmeus showed a SuN reporter
several panels of hallway seen" " men az I
used in carving a hallway back on 'h'
stage for the hCuctit Of about hali doHtl
| people "A season. Bur III the opinion OF Va
| scene painter better pain, and sct my
such panels than le, five persons see whei'
that hallway come to its abrupt ending Oh
th, rear of the stage.
The exact distances that Railways an'
streets have to hc carried around IN ordtI
to escape this difficulty can he inquired on
10y the model, and hen that ha, been done
and the scenery and color effects nave p'''
| satisfactorily adjusted to all shades
| light, the model l. done and the aitisl
ready for the heavy work
On the second floor OF the Metropolitan
| storehotise for scenery CA West forti'u
stree, Is carpenters shop. " here Doe
men are kept constantly employed H'i
| the frames are made.
These frames are swung in the palitil
| room, " hich runs from cellar 10 rool, IN
| canvas is tackled securely GA them ana inc
| the, painting begins. Sometimes three an
four artists will be- painting away AT on
| scene at once, but II IL all done under "
eve of MIR Emmcns. Piece by piece III
scenic equipment of an opera l. done, an
hen il j. all finished II goes over 70 t'
OPERA house, where those remarkab
men, the mechanics Of the stage, put II
| place
While the painting Of the scenery L. 81
!, hea West part of the work, there are II
y Vulnerable other things for TIA" seen
4 artists to do. There are other stage -
q tirg- besides the big sliding scenes and Il
] drops Then there are the proPrtie
= Away. a host of them in Metropollta
production. which must bc as Careful
Il Designed and looked out for a. any oth'
Z | part Of the scenery.
:, A. a rule there j. plenty Of time for ma
n ing the scenery for IA new opera. The Doc
= j. usually ia III. hands Of the scene paint
II months before the production. But som
. times IL happens that lev scenery must
X painted in short order and then come q
troubles of the scene painter.
: Lack OF time IL not regarded as an .
u cuse for inferior scenery. Mr. tne
u had only six weeks in which to make
I, scenery for "Salammbo" He ought
II have had six months; nevertheless, he ina
" aged to get the work done ola time,
p though TO do il he had to hire every see
IN painter in New York to help him and ke
:, The work going on in a dozen places
= once.