Part 403: “Scenery and Scene-Painters” 1871, second section
E. L. Blanchard wrote the article “Scenery and Scene-Painters” in 1871 for “The Era Almanack.” Blanchard was an author of Drury Lane Pantomimes from 1852-1888. This article is one of three that I transcribed a few months ago as I examined a series of newspaper publications describing the scenic art and design process for the theatre. I just completed a five-section series titles “A Gossip about Scenery and Scene-Painters” that was published in “The Era” (February 4, 1866). This second article gives another viewpoint of scenic art five years later. Much of the information is the same about the history of theatre scenery and scenic artists as in the previous article – almost a little too similar, but it is a delightful addition for historical context. I am posting it in five parts; here is the beginning of the second part.
“Jameson, called the Scottish Van Dyke, designed the scenery for private theatricals at Holyrood House for his patron, King James VI.”
George Jameson (the Scottish Van Dyke, 1588-1644) was the son of Marjorey Anderson and Andrew Jamesone. The elder Jameson was a master mason and architect whose father (Deacon William Jamesone) apprenticed him in 1576 to Andrew Bethleam in Aberdeen for a period of seven years. As a noted mason, Andrew Jamesone rose to become a Burgess of Guild in the city and his work included Provost Ross’ House. George Jameson was sent to study under Peter Paul Rubens in Antwerp. In 1620, he returned to Aberdeen and established himself as a portrait painter.
I’ll start the article again: “Jameson, called the Scottish Van Dyke, designed the scenery for private theatricals at Holyrood House for his patron, King James VI. This monarch [King James VI], when called to the English throne, selected Inigo Jones, his renowned architect, to design the scenery for his Theatre at the palace of Whitehall. His successor, Charles I, and his tasteful Queen Henrietta, during their happier days, gave a new character to the stage.
All was elegance at their youthful Court. There, Ben Johnson presented his Masques, and Inigo Jones was still retained as scene-painter and machinist. Charles spared no expense in the decorations for these romantic pieces, in which himself and his Queen and the young lords and ladies of the Court took an active part in the performance. The skill and ingenuity displayed in these scenic contrivances seem to have been remarkable. Streater, a painter of eminence, and who sketched many views of old buildings for his royal patron, Charles II, designed the scenes for Dorset Gardens Theatre and the Phoenix. When this house fell under the management of Fleetwood he employed his gay friend, Frank Hayman, as principal scene-painter to the Theatre.”
To be continued…
