The sun. [volume] (New York [N.Y.]) 1833-1916, 1907-07-07
ELHzABETRAN STAGE SCENERY.
Properties and Mechanical Devices In
Early English Theatres.
From he Fortni0htlu Repiev

From the Fortniohav Review.
We have some idea OF the appearance q,
the stage OF the Swan Theatre by a drauins
taken by John De Witt about 1893. copied into
Arend Van Buchel's Commonplace Book
preserved in the University Library q,
Utrecht, published by DR.. Gaedertz In a ram
phlet In 1888 and reproduced In Mr.. 7. r
Ordish's Early London Theatres" 1891, and
in other works since then. This precious
sketch shows the proscenium supported on
frame. the turned columns the actoria
house. with windows and doors OF entrance
and exit. A portable bench Ia all the furni-
ture represented. and there are three actors
rehearsing to empty galleries. The heavens"
are not represented at all. 1t Is evident,
OF the stage there was arras or tapestry
and some hangings. IL may be remem-
bered that shakespeare makes Hamlet XIII
the spy PoioniHs when listening behind
the arras". and the trick upon Malpolio could
hardly be played without some curtains or
%shrubbery for the conspirntors to hide in
in 1929, definitely mentions the tapestry called
arras cloths and faces, represented In the
hangings. When the drama revived after
Commonwealth this use OF. tapestry il re-
membered: Flecknoe In his short Dis
course on the stage IN iSss. oy which Iims
for the difference between our theatres and
those Of former years. they were but plain
and simple mil WITH d ne 9 sansst scenes snd or the ae sts.
strewed with PUSHES. Cory said in the pro-
loeue TO "The Generous Enemies. 1872.
Your aged q fathers Ni.n = cn nn,sn 70 p Ia x. for II, wit
Coarse ~hangings then, instead of scenes were worn.
And Kidderminster did the stage adorn.
We may Therefore iot down tapestry and
scenery. The frequent occasions In which
characters are made to speak from walls.
that they had some contrivance for repre-.
senting these by utilizing, the players house.
Yet any such representation might Justly be
evidently hyf'f fSrpissed with trap doors. "i In
Lupton's "All for Money, 1878, II Is directed:
Pleasure. rises from beneath the Stage
London and England. " 1891. there is the stage
direction. The Mo0i with their rods beat the
ground, and from M under Istsr The n ,s ssms Tiseth a
Rddaoon is swallowed
rises from the ground. Marston In his IAN.
tonio's Revenge" 1902. uses the same device.
and doubtless ghosts" entered In this way
mechanical contrivanccs by ropes and pulleys
to raise gods and spirits to the hea vens"
sometimes the chariot OF Phaethon and other
similar properties are stated thus To have
been elevated. Ben Jonson girds against
the pra ctices Of the romantic. dramstlsts In
general when he Gyts forward his " play
ing In the character OF the poet:
He rather prays you will be pleased 70 see
One such to day, as other plays should be.
Where neither chorus watts you DER the seas,
Nor creaking Throne comes down the boys 90 please
. . . nor rolled bullet heard.
To say II thunders: nor tempestuous drum
Rumbles TO tell you when the storm doth come.
In "Henslowe's Diary there IL an inventory
OF stage property about 1896 which includes.
beyond dresses, Rocks. cages, tombs. He'll
mouth, n pair Of stairs for Phdothon, a wooden
Canopie, and the Cloth Of the sun and the
moon" We know that the sudden fire which
destroyed the Globe in June. 1913, was caused
by a salvo Of cannon fired for the reioicings
during the performance OF All Is True; or.
Henry VIII"