Gilpin observer., 1912-01-25
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of scene painting in vogue at the great studios
which maintained adjuncts OF Americas
leading homes of the drama and of music I'm
der plan the scenic artists with their help
ers and paint-mixers, stand on what is known as
"scene painting bridge" This bridge. hemmed
in on either hand with great expanse OF canvas
undergoing decoration. presents. at first glance.
merely the appearance OF long narrow room.
but upon closer inspection 1t is that the
floor where the painters stand is in reality
bridge supported at the ends just as is any sus-
pension bridge. On either side OF the bridge one
may look down into great well or abyss and 1t
is into this seemingly bottomless pit that the
scenery in the making is lowered as the artists on
the bridge complete the decoration OF one section
of the surface and ready to turn their paint
brushes to a fresh surface. The advantage OF
such arrangement, 1t will be understood is
that 1t permits work on the largest expanse OF
canvass without the necessity of folding or roll
ing up the monster cloth-something that would
be disastrous to coating Of wet paint even II 1t
were not Objectionable for other reasons.
The second plan Of creating stage pictures is
known in the profession as painting "on the fiat.
Under this system the expanse OF canvas is not
suspended in midair as is done before bridge.
but is stretched on the floor OF the studio-a
specially constructed building with floor more
than two hundred feet in length. In welding his
paint brushes the artist literally walks over the
field OF operations. taking care OF course to COM
plete the decoration he progresses SO that he
will not have to retrace his steps Whichever
method OF decoration be employed the painting
of the canvas is only part OF the work OF pre-
pairing scenery. Frames OF wood must be care
fully and accurately prepared to support the vari
GUS set pieces and a dozen men are all the while
busily engaged in perfectly appointed carpen-
ter shop preparing these fantasticshaped backs
for the pictures.-the part the public never sees
There many supplementary operations. too.
including the delicate one OF saving out the out
line Of foliage stone walls or roofs after the
painted canvas has been mounted on the wooden
frames.
Extreme versatility is the first requirement OF
the men who manufacture theatrical and operate
properties" for they may be called upon at short
notice to fashion anything from the calf OF gold
to a bunch of flowers or from a royal throne to a
child's doll Wood and paper and plaster are
employed for most of these stage adJuncts. for It
is desirable that they be Of light weight. though
fairly durable. The statues. ETC.. are all nodded
in plaster and incidently 1t may be remarked that
some OF these stage sculptors are men OF ex-
ceptional ability. The costume department Is an
other Institution behind the scenes that con-
tributes to modern stage pictures and the
great opera houses now have not only dressing
making establishments Of their own. but 5ewery
shops armor makers, who fashion the helmets
and coats Of mail and. finally. special bootmakers.
who are adopts in making the fancy shoes and
slippers that in stage productions reproduce the
footgear of all ages. Finally the electricians lend
a hand In completing the average stage picture.
On the stage OF an upto-date city theater there
are as many 5000 incandescent electric lights.
to say nothing Of spot lights" that resemble
searchlights and this electric system must be
supplied with different coored globes in order
to carry the effect OF the white light Of mid
day, the ruddy glow Of the sunset hour and the
pale blue brilliance of the moonlight