“The imitation of different fabrics depends chiefly upon the character of the folds and, in the next place, upon the appearance they present as rough or smooth, dull or brilliant. This is evident by their easy representation by various means, such as simple crayons or the strokes of the graver. Even their texture, as coarse or fine, is denoted in the same manner; so that the color has but little or no part in their indication. This is as a general rule, of in case of satins, velvets, and some other stuffs of silk, we perceive that the configuration of the folds, though important, does not hold the principle place. Thus satin, with its large, sufficiently remarkable folds, is distinguished still more by its singular brilliancy and the beauty of its reflection.”
Excerpt from Frank Atkinson, “Scene Painting and Bulletin Art” (1916, page 60)
Below are two Scottish Rite drop details depicting drapery. The first is from Fort Scott’s Treasure chamber and the second is Salina’s front curtain.
Author: waszut_barrett@me.com
Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.
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