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Tales from a Scenic Artist and Scholar. Part 418 – Thomas G. Moses’ Design for “Around the World in Eighty Days” – 1901

Part 418: Thomas G. Moses’ Design for “Around the World in Eighty Days” – 1901

In 1900, Thomas G. Moses wrote, “Moses and Hamilton’s business kept increasing. Prices were good; also our collections.”

In addition to “Floradora,” Moses & Hamilton secured the contract for Henry Greenwall’s Stock Company productions. Of this work, he wrote, “We had some heavy shows, ‘Around the World in Eighty Days,’ ‘Romeo and Juliet,’ ‘Hazel Kirke,’ ‘Prodigal Daughter,’ forty shows in all. I had to make ground plans and models. I found I had my hands full.” “The Prodigal Daughter” opened the Greenwall Stock Company’s season on September 16, 1901.

Henry Greenwall (1832-1913) was a theatrical manager who fought the Theatre Syndicate at the end of the nineteenth century. A German immigrant, Greenwall grew to adulthood in New Orleans. He started out in a New Orleans brokerage firm, and soon moved to Galveston, Texas where he organized his own brokerage firm with his brother Morris. When a successful actress became financially indebted to the Greenwall brothers, they took over her management and began a new business venture in theatrical management.

Henry Greewall developed a circuit of theaters throughout Texas, in Galveston, Houston, Fort Worth, and Waco.

The Greenwall Theatre in New Orleans, from the “Picayune” (December 22, 1903, page 3).

He then expanded his holdings to include theatres in New Orleans, Atlanta, Memphis, Nashville, Savannah and even New York. Greenwall established the American Theatrical Exchange in New York, in opposition to the Theatrical Syndicate; the Syndicate was attempting to monopolize theatre in America. It was during Greenwall’s time in New York that he hired Moses.

By 1900, Greenwall spent most of the summer in New York forming stock companies to perform at his independent theatres (“Daily Picayune, 29 July 1900). By mid-August, the New York Clipper reported, “The Greenwall Theatrical Circuit Company, the new managers of the American Theatre, have taken possession of the house, and artists are now at work redecorating the lobbies and offices, and when the theatre is reopened on Saturday, September 1, it will present a decidedly attractive appearance” (11 August 1900).

An advertisement for Greenwall’s Stock Company, from the “Picayune” (6 Nov 1898, Page 7).

The Greenwall Stock Company at the American Theatre in New York was under the management of J. J. Coleman. This venture was so successful that Henry Greenwall soon expanded his holdings to add the Columbia Theatre in Brooklyn for the 1901-1902 season. Greenwall hired Moses & Hamilton to produce scenery for his touring stock shows, including “Around the World in Eighty Days.”

The New York Times reported, “The Christmas attraction at the American Theatre will be the revival of “Around the World in Eighty Days.” This spectacle was last seen in new York at the Bowery Theatre – now the Thalia – some six or eight years ago, and was produced a number of years ago at Niblo’s Garden” (22 Dec. 1901, page 28). The article was referencing the 1877 spectacle by the Kiralfy Bros at Niblo’s.

The 1877 production of “Around the World in 80 Days” by the Kiralfy Bros. at Niblo’s Garden.

The article continued, “Many improvements in stage devices, and especially in electrical effects, have been made since then, and these, it is said, will be taken advantage of in adding brilliancy to the present production” (“The New York Times” 24 Dec 1901, page 7).

The show toured to the Columbia Theatre next where the it did not receive rave reviews. The Brooklyn Eagle reported, “The large audience last night was inclined to show displeasure at the unexpected departure from the recent presentation of successful plays to Jules Verne’s well known and oft repeated spectacle, but it was soon won over by the clever acting of John Daly Murpy as Passe Partout, Frank E. Camp as Phineas Fogg, Asa Willard as John Archibald, E. L. Snader as John Fix and Valerie Bergere and Lillian Kemble as Ouda and Ayesha. They saved the presentation from failure, as one of two of the lesser lights had to be prompted, and several of the realistic features worked badly. The good ship Henrietta in the sixth act refused to explode as scheduled, the passenger coach in the famous trip over the Rockies in the fifth act tried hard to get ahead of the engine and partially succeeded, and one or two other similar incidents marred the performance. The redeeming features, however, outnumbered these partial mishaps, for the scenery at times was really splendid and the indications are that the play will run more smoothly as the week progresses” (The Brooklyn Eagle, 31 Dec 1901, page 6).

Henry Greenwall’s initial success in New York, however, was not meant to last. When the 1903-1904 season opened, the New York Clipper reported that the American Theatre was under new management – “Klaw and Erlanger and Weis” (15 September 1902). Similarly, Greenwall’s Columbia Theatre in Brooklyn was said to have transferred to the management of Albert Weis and Company and Jake Weeks (New York Clipper, 5 September 1903). By this time, Greenwall was 72 years old, and his focus was narrowing down to his first holdings in the Texas Circuit.

To be continued…

Tales from a Scenic Artist and Scholar. Part 417 – Moses & Hamilton’s “Floradora”

Part 417: Moses & Hamilton’s “Floradora”

A scene from “Floradora” with scenery by Moses & Hamilton, 1900

In 1900, Thomas G. Moses wrote, “We also secured paint frames at the 125th Street Theatre, which gave us four frames.” Moses & Hamilton hired Al Roberts, Edward Loitz and Otto Armbruster to do the majority of the stock work at Proctor’s 125th Street Theatre in New York. The theater building was designed by the New York architectural firm McElfatrick & Sons. Julius Cahn’s Official Theatrical Guide (1901-1902) reported that the theater was quite large and had a seating capacity of 4,450 people. The proscenium measured 40 feet wide by 39 feet high with a stage depth of almost 35 feet, and 70 feet between the sidewalls. There was also 70 feet from the stage and the rigging loft, with two bridges. The depth under the stage was 12 feet with six traps. One important feature that made make this place ideal for Moses & Hamilton was the addition of a scene room to the stage. Space and location were the key to any studio’s overall success; scenic artists needed access to multiple frames throughout a city when a very large project hit. Scenic studios would refer to these additional spaces as “annex studios,” or temporary locations that complimented their main studio and business offices.

As noted yesterday, Moses & Hamilton used the paint frames at three theaters for their projects: Proctor’s Twenty-third Street Theatre, the American theatre, and Proctor’s 125th Street Theater. Moses was the lead scenic artist at the American Theater, Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic artist for Proctor’s 125th Street Theatre, with Otto Armbruster and Ed Loitz working there most of the time.

One of the early productions that Moses & Hamilton designed in 1900 was “Floradora.” John C. Fischer, John W. Dunne and Thomas Ryley secured the American rights for “Floradora,” producing the first Broadway version. Of the production, Moses wrote, “Mr. John C. Fisher had closed the season with Mme. Modjeska and had got an interest in ‘Floradora.’” The previous year, Moses designed all of the scenery for Modjeska and Fischer in California, then he left for New York to work for Henry W. Savage at the American Theatre.

The London premiere of “Floradora” at the Lyric Theatre opened on November 11, 1899, running for 455 performances. The Broadway “Floradora” production with Moses’ designs opened 10 November 1900 at the Casino Theatre (39th Street and Broadway). Moses wrote, “I was called in and made models and was soon started on the production. We turned out some very effective settings.” By 1901, the production was reported to be the “reigning success of the East” (San Francisco Call, 24 July 1901, page 7).

1910 postcard of the Casino Theatre in New York City

“Floradora” was based on the book by Owen Hall (1853-1907). Here is a brief synopsis of the play for those who are unfamiliar with the show:

Floradora – Act I

Floradora is a small island in the Philippines where the essence of the Floradora flower is manufactured as a perfume. Cyrus W. Gilfain, an American, owns both the island and the perfume factory. Gilfain swindled the business away from Dolores, who has rightful claim to the Floradora fortune; he also now controls the island, forcing Dolores to work for him. Enter Lord “Frank” Abercoed. Frank arrives in disguise to act as Gilfain’s manager, immediately falling in love with Dolores. When Gilfain discovers that Frank and Dolores are in love, he attempts to split up the lovers and marry Dolores himself.

Enter Lady Holyrood, who is titled, but in a penniless situation. Holyrood has traveled to find a husband at Gilfain’s suggestion and she waits aboard ship in the harbor. She is accompanied by Gilfain’s daughter Angela, who is betrothed to Captain Arthur Donegal (Lady Holyrood’s brother). Also aboard the ship is Anthony Tweedlepunch, a detective who is searching for the girl who rightfully owns the perfume business – Dolores. Tweedlepunch comes to the island disguised as a traveling showman, phrenologist, hypnotist, and palmist.

Gilfain hires the “actor” Tweedlepunch to break up the love affair between Dolores and Frank, thereby making Dolores available to marry him, and Frank available to marry Angela. He introduces Tweedlepunch as a highly respected phrenologist, plotting to marry off all his clerks to the young Floradora farm girls, granting him even more control over the island.

At the end of Act I, Frank refuses to marry Angela and is subsequently discharged by Gilfain, forcing him to return to England. Before he departs, he tells Dolores to wait for his return.

Floradora – Act II

Six months have passed and Gilfain is the the new owner of Abercoed Castle, Frank’s ancestral home in Wales. Tweedlepunch also discovers that Dolores is the rightful heir to the Floradora fortune and reveals that her father was his only friend, promising to help retrieve her family fortune. As they attempt to leave they are confronted; in desperation they try to convince everyone that they are the evening’s entertainment.

Although Frank is banned from the castle by Gilfain, he manages to make his way inside the courtyard where he sees Dolores for the first time since leaving the island. Frank reveals his true identity as Lord Abercoed and his mission. Tweedlepunch finally confronts Gilfain, spinning a tale that terrifies Gilfain into admission of his wrongful deeds. Gilfain returns the properties that he swindled from Dolores and Frank, Frank marries Dolores, Gilfain marries Lady Holyrood, and Angela marries Captain Arthur Donegal.

The ballroom setting for “Floradora” by Moses & Hamilton, 1900

The sextette in “Floradora” with scenery by Moses & Hamilton

The Buffalo Morning Express and Illustrated Buffalo News, reported that Edna Wallace-Hopper, who was cast as “Angela,” spent two weeks in London studying the role, as it was performed in the London production (16 Sept. 1900, page 21). Francis “Fanny” Reynolds Johnston played the part of Dolores. Sydney Deane, the English Baritone, played the part of Frank. Willie Edouin, the English Comedian, was also engaged for the production.

“Floradora” introduced the famous female sextette and their song “Tell Me, Pretty Maiden;” it was one of the highlights that made the show a success.

The sextette’s popular song from “Floradora” – “Tell Me Pretty Maiden”

Interestingly, during the fall of 1900, the Gramaphone Company invited the members of the cast of “Floradora” into its studios to record some of the songs. Some consider this to be one of the first known “cast recordings.” “Floradora” records were made over the course of four sessions during October 1900.

The New York show was directed by Lewis Hopper and staged under the supervision of Willie Edouin. Moses & Hamilton’s painted settings depicted the island of Floradora, the garden at Abercoed Castle, and the ballroom at Abercoed Castle. Of the show’s very first performance, Moses traveled to its debuted in New Haven, CT, on November 9, 1900. He wrote, “I went to New Haven with the show for the first performance. I didn’t like it, and a great many others thought the same. The show went back to New York; opened at the Casino; after several weeks of doubtful existence, it sprang into flame and went like a cyclone – a wonderful hit. We did four other productions for the same show and Fisher and Ryley cleaned up a net profit of $637,000.00 before it began to dwindle.”

On Broadway, it played at the Casino Theatre for 379 performances before transferring to the New York Theatre for a grand total of 549 performances on Broadway. Then the show started a tour, returning to New York in 1902, where it ran from November 10 to January 25, 1902.

After the success of “Floradora, “ Moses wrote, “Fisher thought he could do as well with anything he saw fit to produce. He jollied himself with the idea that it was his fine management that made a success, so he put on “Princess of Kensington” next and soon lost $30,000.00.” After that loss, Fisher put on “Glittering Gloria,” “Crystal Slipper” and “Medal and the Maid – not a winner among them.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 416 – Moses & Hamilton’s Paint Crew – Loitz, Armbruster and Roberts

Part 416: Moses & Hamilton’s Paint Crew – Loitz, Armbruster and Roberts

In 1900, Moses & Hamilton assembled a paint crew at the Proctor’s 125^th Street Theatre. The scenic studio was spread out over three theatres: The American Theatre, Proctor’s Twenty-third Street Theatre, and Proctor’s 125^th Street Theater. Thomas G. Moses was the lead scenic artist at the American Theater, William F. Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic artist at Proctor’s 125^th Street Theatre, with Otto Armbruster and Ed Loitz working there most of the time. Of this period, Moses wrote, “We depended on Al Roberts to get the stock work done. Otto Armbruster was with us and he was a very valuable man. He and [Ed] Loitz worked at 125^th Street most of the time.”

Lets look at the three scenic artists who were employed by Moses & Hamilton in 1900.

Ed Loitz had worked with Moses since the 1883. He was a loyal assistant and friend who had followed Moses across the country, working alongside him at Sosman & Landis, or departing when Moses left the studio to form another partnership. Loitz assisted Moses over the years; he was always one step ahead, preparing the next jobsite before Moses’ arrival. Little is known of Loitz’s personal life beyond a few newspaper articles and announcements. In 1895, Loitz was married to Mary Weinrich. Their marriage was published in the Chicago Tribune, listing their ages at the time – 30 and 18 (1 Jan., 1895, page 6). This information provides a birth year for Loitz – 1865, making him nine years younger than Moses.

In October 1923, Moses and Loitz were still working together. The “Press and Sun-Bulletin” (Binghamton, New York) reported, “Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts” (17 October 1923, page 3). The pair was working on another Masonic job – the Binghamton Scottish Rite Theatre. During this time, they were working for New York Studios, the eastern affiliate of Sosman & Landis managed by David H. Hunt.

*Binghamton Scottish Rite in New York. Thomas G. Moses and Edward Loitz painted scenery for the venue as part of New York Studios – the eastern affiliate of Sosman & Landis.*

In 1923, they had been working together for forty years together, and there respective ages were 67 and 58. A few years earlier Mrs. Edward Loitz became a lifetime member at the Art Institute of Chicago (Bulletin of the Art Institute of Chicago, Vol. 19, No. 3, 1920, page 38). I have not been able to locate when Loitz passed away.

Otto Armbruster, Loitz’ painting companion in 1900, came from a well-known scene painting family in Columbus, Ohio. He was one of three sons born to Mathis Armbruster (1839-1920), founder of Armbruster Scenic Studios (est. 1875). Mathias was a native of Wurttemburg, Germany and immigrated to the United States in 1859, settling in Cincinnati as an art-glass painter. It is recorded that he was first engaged to design stage scenery in Cincinnati. He married Katherine Wahlenmaier and had three sons: Albert, Emil and Otto. Albert was the eldest, and first to join their father’s studio. All of the boys were trained in at a young age. By ten, Albert started in the studio cleaning brushes in 1878, gradually becoming a scenic artist in his own right. Albert was known for his exteriors, landscapes, and drapery work for front curtains, while Emil specialized in interiors. Otto left the family business at the age of twenty, to strike out on his own in New York. He established himself at the Broadway theatre and worked on a variety of projects, such as those for Moses in 1900. Armbruster and Loitz were working under the direction of Al Roberts at the 125^th Street Theatre while employed by Moses & Hamilton. So who was Al Roberts?

“Al” was actually Albert Roberts. The first listing of Roberts working at a theater is in 1866. “The New York Clipper” notes that Albert Roberts was the doorman for the Walnut Theatre in Philadelphia. Interestingly, J. B. Roberts is listed as the stage manager for the same venue (18 August 1866, page 150). By the way, this is not the same English scenic artist, James W. Roberts, nor have I found any relation of him to Albert. In 1867, Albert Roberts is again listed as a doorman at the Chestnut Theatre in Philadelphia (The Daily Evening Telegraph, 5 July 1867, page 3).

In 1880, Albert Roberts is employed at the Madison Square Theatre Company as a stock company actor (“The Cincinnati Enquirer, 20 August 1880, page 4). A few years after that, I found mention of Albert Roberts as a scene painter, providing settings for a Hanley Co. production of “Squatter’s Sovereignty” (“A Bibliographical Dictionary of Scenographers, 500 BC to 1900 AD). A scenic rendering remains from Edward Harrigan’s 1882 production of “Squatter’s Sovereignty,” a production written Charles Witham. (Theatre and Music Collection of the Museum of the City of New York).

Scenic rendering for Edward Harrigan’s production of “Squatter’s Sovereignty” by Charles Witham, 1882 (Theatre and Music Collection of the Museum of the City of New York, photo by Thom Loughman). Image publish in “Theatrical Evolutions, 1776-1976”

This 1882 show was performed at the Howard Athenæum in Boston, MA. This venue was also known as the Old Howard Theatre; it was originally the site of a Millerite temple, rebuilt as a playhouse in 1845. The original structure burned down only a few months later and was rebuilt by Isaiah Rogers in a Gothic style. The entertainment venue became very famous for opera productions, plays and ballet, eventually showing vaudeville and other variety acts. By the twentieth century the theater transitioned to burlesque and then became home to strippers and prostitutes.

*Howard Athenæum in Boston, MA, 1883. This is from the same time when Albert Roberts worked here.*

From 1888 to1889, Roberts was reported as working in Kansas City as part of Tschudi, Loffing & Roberts at 400 E. 12^th Street (from Susan Craig, “Biographical Dictionary of Kansas Artists Active before 1945”). The studio was founded by John U. Tschudi, Antoine Loffing and Albert Roberts. After working for Moses & Hamilton in 1900, I have found no more concerning the scenic art projects of Roberts. What a interesting group of individuals.

To be continued…

Tales from a Scenic Artist and Scholar. Part 415 – Moses & Hamilton, established 1900

Part 415: Moses & Hamilton, established 1900

It was during the fall of 1899 that Thomas G. Moses and William F. Hamilton connected again in New York; their first meeting was in 1892. Hamilton was painting at Proctor’s Twenty-third Street Theatre in New York City. Moses wrote, “Several weeks before Christmas Will Hamilton dropped in to see if I could make some designs for decorations to be used in Siegel and Coopers store for Christmas. I did them and I received $200.00 for my Christmas money.”

Siegel & Cooper Department Store, New York, 1903.

Postcard of Siegel & Cooper Department Store, New York

Siegel & Cooper was a department store founded by Isaac Keim, Frank H. Cooper and Henry Siegel. It opened in Chicago during 1887 and by 1896, the company expanded to New York, advertising their new store as the largest in the world. In New York City, it was located on 6^th Avenue and 18^th Street in the heart of Ladies Mile. Siegel had been inspired by the use of monumental architecture, such as that at the 1893 Columbian Exposition in Chicago, to draw customers into a store. “The New York Times” reported that 150,000 people attended the opening and they were prepared for 190,000 visitors a day. The company employed 8,000 clerks and 1,000 drivers and packers and the store was referred to as “a shopping resort.” In addition to merchandise, there was also a telegraph office, a long-distance telephone office, a foreign-money exchange, stock-trading services, a dentist, and an advertising agency in the massive complex.

Interior of Siegel & Cooper Department Store, New York

Moses recorded that he journeyed to Proctors Theatre every evening to help Hamilton with the painting of Christmas display. Proctor’s Twenty-third Street Theatre was just west of Sixth avenue (Nos. 139-154 W. 23rd Street). Constructed in 1889 by Frederick Francis Proctor, the architectural style was Flemish Revival. The building boasted electric lighting, with gas fixtures as a back up. By 1900, the general manager of the venue was J. Austin Fynes. The theater’s seating capacity was 1,551, and the large proscenium that measured 31’-6” wide by 41’-6” high. The depth of the stage was 39 feet and the height from the stage to the rigging loft was 57 feet. “Julius Cahn’s Official Theatrical Guide” (1899-1900) reported that the theater had a “Right counterweight system.” I have no idea what that was at all. The venue became famous for the “Home of Novelty,” as its programs were varied and original. By 1896, the theater was presenting projected moving pictures with Edison’s Vitascope as part of its variety programing. Moving pictures would remain as featured entertainment in vaudeville programs during the theatre’s first few decades.

Proctor’s Twenty-third Street Theatre, New York, 1895.

Proctor’s Twenty-third Street Theatre with sign advertising moving pictures

One variety act at Proctor’s Twenty-third Street Theatre -the “Cycle Whirl,” 1901. The stock scenery in the background was possibly painted by Moses & Hamilton, as they were painting for the theatre at the time.

Hamilton and Moses worked on a few projects in New York during the first few months of 1900. Moses was working for Henry W. Savage, painting opera settings for the Castle Square Opera Company at the American Theatre, while Hamilton was working at Proctor’s. Soon the two were partnering to complete a variety of projects. Of this time, Moses wrote, “I was convinced that I ought to stay in New York as there was plenty of business to be had at good prices.”

Despite the numerous opportunities, Moses missed his family, writing that he loathed living in these temporary accommodations without Ella. Of his lodging in New York, Moses commented, “I was awfully tired of my theatrical boarding house on 38^th street. I heard nothing but shop at every meal. I disliked to leave, so I kept on. I should write an account of what happened there. We had fully a dozen steady borders and at least two dozen transients; members of companies playing in New York for a few weeks, and how they all did love “Dear Old Broadway.”

In January of 1900, Moses invited Ella out to visit and the couple decided to move, securing a big house about 13 miles out of New York City in Mt. Vernon. By spring, Moses’ adventures with Hamilton truly began as the two opened the scenic studio of Moses & Hamilton at Proctor’s 125^th Street Theater. Moses’ wrote, “I took the Stock Company’s work in September. We had some heavy shows, “Around the World in Eighty Days,” “Romeo and Juliet,” “Hazel Kirke,” “Prodigal Daughter,” forty shows in all. I had to make ground plans and models. I found I had my hands full. We depended on Al Roberts to get the stock work done. Otto Armbruster was with us and he was a very valuable man. He and [Ed] Loitz worked at 125^th Street most of the time. As we closed the year’s work, we found that we had done very well, and I didn’t regret going East; but we did miss our Oak Park home, and the Harrison Street house was a constant source of worry for us.”

Moses & Hamilton’s studio would last almost four years, until Joseph S. Sosman traveled to New York to plead with Moses for his return; they were short-handed in Chicago at Sosman & Landis. Abraham “Perry” Landis had taken ill and Sosman needed someone to supervise the studio while he was out on the road selling scenery.

Moses’ would always lament leaving New York. The first few years of the Twentieth century were an exciting time to be on Broadway and working at Coney Island; the region offered unique opportunities for a variety of visual spectacles and fine art. The theatrical center of the country was in the process of relocating once again; this time traveling east from Chicago to New York. Although Moses & Hamilton’s studio would cease to exist during 1904, this time would remain a golden period in Moses’ heart, and in some ways the pinnacle of his artistic growth. His home would return to Chicago, but his spirit would yearn for a return to New York, trips to the Catskills and his friends at the Salmagundi Club.

Tomorrow, I’ll start looking at the individual scenic artists hired by Moses and the specific shows mentioned during 1900. What a great time to be alive.

To be continued…

Tales from a Scenic Artist and Scholar. Part 414 – William F. Hamilton and the Sterling Opera House in Derby, Connecticut

Part 414: William F. Hamilton and the Sterling Opera House in Derby, Connecticut

In 1899 William F. Hamilton was listed as the scenic artist at the Columbia Theatre in Boston. He was working along the East Coast when he reconnected with Thomas G. Moses in New York City. Julius Cahn’s Official Theatrical Guide of 1899-1900 listed “W. F. Hamilton” as the scenic artist at the Sterling Opera House in Derby, Connecticut.

On a whim, I decided to see if I could locate any images or postcards of the Sterling Opera House. Imagine my surprise when I stumbled across a whole series of current pictures by Darren Ketchum in an online article – “Sterling Opera House – Under Renovation.”

The Sterling Opera House proscenium opening and backstage. Photograph by Darren Ketchum’s “Sterling Opera House – Under Renovation.” Here is the link: https://darrenketchumphotography.wordpress.com/tag/derby/

View of the auditorium from the stage. Photograph by Darren Ketchum.

I was especially thrilled to find two images that depicted the backstage area with some of the original stage machinery – and a CLEAT rail! When I noticed the cleat rail, instead of a pin rail, I immediately contacted Rick Boychuk to share this discovery.

Notice the cleat rails on the stage left side. Detail in photograph by Darren Ketchum.

Here is a little information about this old opera house, now a mere shadow of its former glory. The building was constructed in 1889 on 104 Elizabeth St, across from the town green. The venue was designed by H. Edwards Fickens, co-designer of the famous Carnegie. The doors opened to the public on April 2, 1889, and remained open until 1945, when the curtain closed for the last time. The building was added to the National Register of Historic places on November 8, 1968, and there has been continued discussions about various renovations since 2011; anticipated restoration costs remaining a primary deterrent. U.S. Representative Rosa DeLauro received a grant for $150,000 thousand dollars to go towards cleaning up the interior. Possible future plans include public tours and relocating City Hall back to the building.

The Sterling Opera House was also the setting for a 2011 episode of “Ghost Hunters.” This was the moment that really brought the old theater back into the public’s focus. “Ghost Hunters” was an American television series about paranormal activities that ran from 2004 to 2016. The Sterling Opera House hauntings reported on the show were like many covered in a variety of old theaters across the country. The examination of paranormal activities in old opera houses has also been a way to advertise these historic venues. During my recent visit to appraise a painted drop in Toledo, Iowa, I learned that the Wieting Opera House was included as a chapter in Adrian Lee’s publication “Mysterious Midwest: Unwrapping Urban Legends and Ghostly Tales from the Dead.” The opera house in Toledo was reported as being home to forty ghosts.

In Derby, local citizens reported witnessing un-explainable things in the opera house, such as shadowy figures and orbs of light. All though there were no deaths or tragedies recorded during the operation of the theatre, some believe that the haunting is the spirit of Charles Sterling, namesake of the opera house. Other sightings involved a little boy named “Andy” who played with a soccer ball in the balcony area. Throughout the building, people have reported a variety of children’s toys that periodically move or disappear. Why there were still toys scattered throughout an abandoned theater is anyone’s guess.

The Sterling Opera House is a second-floor theater with a seating capacity of 1,470; a combination of fixed and temporary seats. Julius Cahn’s Official Theatrical Guide reported that the proscenium measured 30 feet by 30 feet with a stage depth of 34 feet. The height to the rigging loft was 40 feet with a groove height of 18 feet. There were five grooves on each side of the stage; all could be taken up flush with the gallery. There was also one movable bridge above the stage. The depth under the stage was 8 feet, with four traps. Interestingly, there was also a jail beneath the stage. This might have come in handy during some productions. The two lower levels of the building, along with the basement, functioned as the town’s City Hall and police station. Almost as convenient as having a theatre building connected to a fire station!

Auditorium seating at the Sterling Opera House in Derby, Connecticut. Photograph by Darren Ketchum.

Some temporary seating at the Sterling Opera House, in Derby, Connecticut. Photograph by Darren Ketchum.

To be continued…

Tales from a Scenic Artist and Scholar. Part 413 – William F. Hamilton

Part 413: William F. Hamilton

Thomas G. Moses partnered with William F. Hamilton in 1900; they set up their new studio at Proctor’s 125^th Street Theatre, a variety theatre in New York City that included a scene room.

Little is known about “Will” Hamilton beyond that recorded by Moses in his memoirs. For years, I have tried to piece together Hamilton’s background and story. With the advent of online research capabilities, I have been able to discover a little more about this primarily unknown scenic artist.

Hamilton was born in Oil City, Pennsylvania – the exact date is unknown – but newspaper articles refer to him as scenic artist who started out as an “Oil City Boy.” Oil City, Pennsylvania was located in Verango County, at the confluence of the Allegheny River and Oil Creek in the foothills of the Appalachian Mountains. It became a central site to the petroleum industry, the first oil wells being drilled in 1861. The city later became the hosting headquarters for the Penzoil, Quaker State, and Wolf’s Head Motor Oil Companies.

The first mention of Hamilton’s connection to the theatre is mentioned during 1884; this is eight years before meeting Moses. An 1884 issue of the “Oil City Derrick” reported that three members of the Oil City Exchange had bought the interest of C. S. Mark in the South Side Rink and that, along with the other owner, W. F. Hamilton, were planning to convert the space into an opera house (September 25, 1884). The article announced that October 8, 1884, was the last night the building would operate as a rink. Meanwhile the scenic artist Frank H. Johnson had arrived and planned to complete his work in a short time, and the carpenters were expected to finish their work within twelve days. So, Hamilton was getting involved in theater, but not necessarily painting yet. Another “Derrick” article from November 13, 1884, described the extensive remodeling of the skating rink. The new auditorium was 53 feet by 73 feet with a ceiling that arched from 12 feet high on the sides, to 23 feet high at the apex. The floor of the auditorium was raked, with the back 3 feet higher than the front. The ceiling was covered with canvas and painted to appear as “substantial and elegant plaster.” Other murals included a “beautiful landscape showing the Kinzua bridge in the foreground” (page 228). Nothing is reported of the scenery, or Frank H. Johnson’s work.

Eight years later, Hamilton met Moses in 1892 when they were both hired to design a model and paint the scenery for the “Ben Hur,” the pantomime tableaux (see past installment 256). After this project, Hamilton’s whereabouts remain unknown for the next three years. It is likely that he was working throughout the country on various theatre projects.

By 1896, The “Wilmington Morning Star” reports, “Mr. F. C. Peckham, of New York, assistant to Mr. W. F. Hamilton, scenic artist and stage manager of the Standard Theatre, arrived in the city yesterday and will commence work on the scenery and a new drop curtain at the Opera House (Wilmington, NC, 26 August, 1896, page 1). By 1897, Wilmington, North Carolina’s, Opera House was advertise to include a variety show featuring “Edison’s Projectoscope, Producing Life Size Animated Pictures, The Worlds Latest Invention” the following year (Wilmington Star, 14 March 1897).

An advertisement for the Edison Projectoscope from the “Los Angeles Herald,” 30 Sept 1898.

By 1899, Hamilton appears in print again and is listed as the scenic artist for the Columbia Theatre in Boston. The “North Adams Transcript” reported, “The trustees of the F.M.T.A. society met last evening, and decided on several matters of importance in connection with the rebuilding of the theater. Two representatives of scene painting firms were present and the contract was awarded to W. F. Hamilton, scenic artist of the Columbia Theatre in Boston, to do the work. He has an excellent reputation, and will provide a complete set of scenery, with drop and fire proof curtains. It is expected that some of the scenes will be more elaborate than anything the house has had. It was also decided in the rebuilding to put in an exit on one side of the theatre provided for a fire escape. Work on the building is progressing in good shape. The alteration in the height of the stage will enable it to accommodate almost any piece of scenery” (North Adams, Mass.,10 March 1899).

At this time, Hamilton also returned to his hometown, verifying his work as a scenic artist in Boston. The “Oil City Derrick” reported, “Another Oil City boy to visit us was Will Hamilton, brother-in-law to Lieutenant Scribner, who is now a scenic artist of some prominence with head quarters in Boston. (8 March 1899, page 8).

To be continued…

Tales from a Scenic Artist and Scholar. Part 412: Moses & Hamilton – “Quo Vadis”

Part 412: Moses & Hamilton – “Quo Vadis”

Thomas G. Moses & William F. Hamilton established the scenic art firm of Moses & Hamilton during the spring of 1900. Their first production, “Quo Vadis,” was a project for the theatrical management firm of Sosman, Landis & Hunt – the same Sosman & Landis who owned the scenic studio in Chicago. Earlier that spring, the “New York Times” reported, “Manager David H. Hunt was one of the gentlemen interested in the production of the Jeanette Gilder’s version of Quo Vadis” (6 April 1900, page 2).

The Sosman, Landis & Hunt production of “Quo Vadis” used a script that was prepared by Jeanette Leonard Gilder (1849-1916). Gilder was a pioneer for United States women in journalism. She came from a family of distinguished journalists. By the age of ten, she had published her first story in the “New York Weekly,” – “Kate’s Escapade.” Later, she worked with her brother, Richard Watson Gilder, for “Scribner’s Monthly.” Gilder also worked for the New York Tribune as “J. L. Gilder,” and spent six years on the staff of the New York Herald as their literary, musical and dramatic critic. In 1881, she established “The Critic” (later “Putnam’s Magazine”) with another one of her brothers, Joseph B. Gilder, and was the co-editor of the magazine during her time there. Gilder also wrote several books of that included “Pen Portraits of Literary Women” in 1887. She was a friend of Robert Louis Stevenson and his family.

There were a few “Quo Vadis” productions that appeared alongside Gilder’s. Each production was an abstract of Henry Sienkiewicz’s historical and religious story; a love story set in imperial Rome. Sienkiewicz’s story was published in three installments in Polish; his novel told of a love that developed between a young Christian woman, Lycia (Ligia in Polish) and Marcus Vinicius, a Roman patrician. It takes place in the city of Rome under the rule of emperor Nero in 64AD.

One “Quo Vadis” dramatization was written by Marie Doran for the Baker Stock Company, while another was written Stanislaus Stange. Stange’s version was produced by F. C. Whitney and Edwin Knowles, it opened at the New York Theatre. Many criticized that all versions of “Quo Vadis” too closely resembled Wilson Barrett’s 1895 production of “The Sign of the Cross,” that appeared prior to Sienkiewicz’s writings. Barrett explained that the Christian theme was an attempt to bridge the gap between the church and the stage.

Gilder’s production opened at the Herald Square Theatre – 1331 Broadway (the corner of 29^th and 35^th Street). The premiere was April 9, 1900, but it closed after only 32 performances. The competing Whitney and Knowles production at the New York Theatre ran for 96 performances. The “Buffalo Courier” later reported, “Mr. Whitney’s production forced Hunt out of the business in New York, where it was billed for an indefinite run, and compelled its withdrawal after a run of four weeks” (Buffalo, New York, 10 May 1900, page 9). Of the Herald Square production Moses wrote, “It was not a success, as another company with the same play got in a week ahead of this production at a better theatre, which naturally killed the Herald Square Show.” Regardless of their failure in New York, Sosman, Landis & Hunt toured their production to other cities.

Alice Fisher as the Empress Poppaea in “Quo Vadis” at the New York Theatre. This show opened at the same time as the “Quo Vadis” production that Thomas G. Moses worked on in 1900.

The “New York Tribune” characterized the New York Theatre production as “literary art” and labeled the Herald Square production as a “scenical picture,” commenting that each show included “considerable stage carpentry” (14 April 1900, page 9). The production was often credited solely to David Hunt, instead of the theatrical management firm of Sosman, Landis & Hunt. It would be Hunt’s name, and neither Sosman nor Landis, who would later be connected to the failed show – smart men.

Interestingly, the Sosman & Landis Scenic Studio did not produce the scenery for the production either; instead they secured a variety of scenic artists to produce individual scenes. Maybe they sensed that this production was a sinking ship. The use of multiple scenic artists, however, was a common practice throughout the nineteenth century, as individual artists were selected to be responsible for a single scene.

In addition to Moses & Hamilton, other scenes were created for the show by John H. Young, Gates and Morange, and Fred McGreer. From an April article in the “Cincinnati Enquirer” we know that McGreer designed and painted the setting for Nero’s banquet hall and the arena scene (15 April 1900, page 12). The show was reported to be “rich in scenic opportunities.” The article provided some details about the “Quo Vadis” banquet hall and arena settings:

“The entire scene was originally painted on one big drop and then after it was completed I ‘red lined’ the whole scene. This is to outline the columns and vases with a delicate red line, which the carpenter follows in sawing out these separate sections. They are then all placed in position on the stage and the stuff that has been cut out is fastened together with a delicate netting which is invisible to the audience. The perspective created the impression that they are standing alone though really the entire set is one big drop. Some idea of the work required can be gained from the explanation that a single drop of this description generally requires the efforts of the carpenter and four assistants an entire evening to fix up. On the drop for this garden scene we used 1080 feet of cloth and about 75 pounds of paint. In order to attach them to the rigging loft about 300 feet of rope is also used. Now another heavy scene is in the arena setting for the last act, in which over 700 feet of platform space is required, built up to a height running from two feet and reaching the topmost platform 15 feet above the stage. These platforms are all hinged and made so they will fold for shipment as the piece goes on the road after it is used here. In ‘Quo Vadis’ every scene is numbered and arranged so that it can be put together hurriedly and when brought into a theater is very much like the animal puzzles that are so popular with the Children at Christmas. Only the stagehands will just know where every piece goes without being puzzled.”

In addition to McGreer’s contribution to the production, Young painted two scenes, and Gates and Morange painted one scene. It is unknown which scenes Moses & Hamilton painted, but the “Buffalo Courier” reported, “The play was produced in seven acts and nine scenes” (22 May 1900, page 7). This meant that Moses & Hamiton would have created four of the nine scenes. One spectacular scenic effect was the burning of Rome.

But the trials and tribulations for the theatrical management firm of Sosman, Landis & Hunt did not end after the show’s short run. Two years later, “The New York Times” published an article, “Miss Gilder Goes to Law.” It reported a court case against Sosman, Landis & Hunt filed by Miss Gilder (Oct 19, 1902, page 1). The company failed to produce Gilder’s exact version of “Quo Vadis ” for five weeks each in two years at their various theatres, including the Pike Theatre Opera House in Cincinnati.” A legal battle with a member from a family of well-respected journalists must have been costly, and it could have contributed to the quick end of Sosman, Landis & Hunt around this same time.

“Quo Vadis” tableau, Act I, scene 2 – Departure of Lygia for Nero’s Palace. Image is from the article “The Adelphi Version of Quo Vadis” “Sketch: A Journal of Art Actuality, Vol. 30, Dec. 31, 1900 (pages 78-79). The Adelphi version was by well-known impresario, Messrs. A. H. Canby and F. C. Whitney. This is the same show that played at the New York Theatre when Moses’ show was at the Herald Square Theatre.

“Quo Vadis” – Lygia rescued from the arena by Ursus. This photograph is from the article “The Adelphi Version of Quo Vadis” “Sketch: A Journal of Art Actuality, Vol. 30, Dec. 31, 1900 (pages 78-79).

“Quo Vadis” Act 3 – Petronius Villa at Antium. Image is from the article “The Adelphi Version of Quo Vadis” “Sketch: A Journal of Art Actuality, Vol. 30, Dec. 31, 1900 (pages 78-79).

To be continued…

Tales from a Scenic Artist and Scholar. Part 411: Thomas G. Moses in 1900

Part 411: Thomas G. Moses in 1900

Two distinct styles of painting were apparent during the development of scenic art in the United States. Over the past few weeks, I explored the English tradition of glazing. This artistic approach was widely accepted by American scenic artists who worked in cities along the Eastern seaboard. I examined articles from 1866, 1871 and 1881 that traced the artistic lineage of English scenic artists and the history of painted scenery for the London stage. Meanwhile in the Midwestern region of the United States, the European tradition of an opaque application of solid colors dominated the scenic art word in studios such as Sosman & Landis.

Thomas G. Moses was trained in the Midwestern tradition; the “slap dash” application of solid colors in an opaque manner, not the English glazing tradition. This gives some context when Moses decided to leave Chicago and live in New York. Remember that in 1899, Henry Savage, John C. Fisher, and Jacob Litt all wanted to hire Thomas G. Moses to be their scenic artist. Sosman & Landis also wanted Moses to work in their Chicago studio. Moses traveled to New York during August 1899 to work for Savage at the American Theatre in New York for $165 a week.

Savage contracted Moses to produce scenery for the Castle Square Opera Company’s third season. Moses’ first project for Savage was designing and painting “Die Meistersinger.” This was the show that would open the third season on October 2, 1899. Other notable scenic artists who had worked for Savage during the first two seasons were Walter Burridge, Frank King, H. Logan Reid, and John Clare. The increased volume of subscriptions during the first three seasons of the Castle Square Opera Company, supported Savage’s plan to establish a permanent home for opera in English at the American Theatre. The opera company also had branches in Chicago and St. Louis. By 1900, it was advertised as “the largest operatic company in the world,” having “gained a larger clientele than any other established musical organization.”

In early January 1900, Moses wrote, “I sent for Ella to come on and see if she would care to move to New York. We looked over the ground pretty thoroughly, and made up our minds to try it.” The couple secured a large house at Mt. Vernon on New Haven Road, approximately 13 miles outside of New York City. In the early 1900s Mount Vernon was experiencing significant development; it was an important stop on the Harlem Division and warranted a new, larger station.

Postcard depicting the Mt. Vernon depot. It was built in the early 1900s to accommodate the increased traffic from New York City.

Map depicting the distance from New York City to Mt. Vernon, NY. Thomas G. Moses and Ella moved to Mt. Vernon in 1900.

After only a week’s visit in New York, Ella returned to Chicago, rented out their Oak Park home, packed up the furniture, and moved the family to New York. Ella’s capacity to do this all on her own while Moses remained working in New York demonstrates that she was quite a strong and capable woman.

The 1899-1900 season with Savage closed on June 1, and with it, Savages’ operatic company and business venture. The reason that Moses had moved his family to New York evaporated into thin air. Moses wrote, “Savage felt he was not making enough money.” So, a new firm took over the American Theatre and Moses was contracted to furnish all the necessary scenery at $150.00 per week. Moses was to have use of the paint frames and light. This meant that he could to paint any project during the upcoming season, if there was not a production on the stage. It was at this point that Moses decided to partner with William F. Hamilton.

To be continued…

Tales from a Scenic Artist and Scholar. Part 410 – “Art on the Stage” 1881, Other Materials Used

Part 410: “Art on the Stage” 1881, Other Materials Used

“The Building News and Engineering Journal” published an article on the art of scene painting in 1881. Here is the third, and final, part.

Bag of Van Dyke Brown pigment. Photograph by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

Ultramarine blue dry pigment. Photograph by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

Bag of turquoise b pigment. Photograph by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

“Other Materials Used
The scene-painter, however, is not confined to colours in producing his effects. There is a number of other materials of great importance in scene-painting. The gorgeous dashes of blue, crimson, yellow, and purple that make the resplendent fairy grotto are not alone sufficient. The glitter that is seen on the many-coloured stalagmites and stalactites is produced by ordinary gold and silver leaf. Sometimes it becomes necessary to produce upon the scene a smooth, glittering surface which shall be coloured. This is produced by foil papers. They are made of paper with a polished metallic surface, and are very effective in fairy scenes. What are known as bronze powders are made of all shades. They are metallic powders of gold, silver, bronze, steel, blue, red, purple, and other shades. A brush full of glue is drawn across the required surface, and the bronze is spread over it. The consequent appearance is that of a rough metallic surface similar to that frosted silver.

In some scenes it is necessary to represent precious stones. The jewels in the walls of some Eastern despot’s palace cannot be imitated by paint with a sufficient degree of realism to stand the glare of gas and calcium light. Hence, theatrical art resorts to what are called “logies.” These are made of zinc, in the shape of a large jewel, and are set in the canvas. They are made in all colours; and thus, by a very cheap and easy process, the barbaric splendour of Persia or of Turkey may be reproduced in all its original opulence. Sometimes it becomes necessary to represent that changing sheen that is visible upon highly-polished metals when exposed to the rays of the sun. This is done by means of coloured lacquers. The surface of the metal is painted, and a wash of those lacquers, blending from one tint into another, is put over it. The light reflected from these different coloured washes produces the desired effect, and gives a highly realistic representation of a surface of metal.

An ice scene is never complete without some thing to produce glitter and sparkle. This effect is produced by “frostings” of crushed glass, which are made to adhere to the canvas in the same manner as the bronze powders. The elaborate ornamental work of interior scenes is always done by means of stencils cut in pasteboard. There are books published on fresco painting which give large numbers of beautiful designs for panels, ceilings, mouldings, and other ornamental work. Every scene-painter has a collection of these works. The ingenious artist, however, is constantly combining the different designs, and often invents new ones. He is thus enabled to present to the public an ever-changing variety.

The last thing that the scene-painter does before the production of a new play is to have his scenes set upon the stage at night in order that he can arrange the lighting of them. The “gas-man” of a theatre is the artist’s mainstay. It lies in his power to ruin the finest scene that was ever painted. Ground lights turned too high upon a moonlight scene, calciums with glass not properly tinted, or the shadow of a straight edged border-drop thrown across a delicate sky – all these things are ruin to the artist’s most careful work. The proper lighting of a scene is, therefore, a matter that requires the most careful study. The artist sits in the centre of the auditorium and minutely observes every nook and comer of his scene under the glare of gas. Here a light is turned up and there one is lowered until the proper effect is secured. The gas-man takes careful note of his directions, and the stage-manager oversees everything. Long after the audience has left the theatre on the night before the production of a new play, the stage-hands, the artist, and the stage manager are at work, and the public sees only the charming result of their labours when the curtain rises on the next night.

The end.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 409 – “Art on the Stage” 1881, Secrets of the Scene Painter

Part 409: “Art on the Stage” 1881, Secrets of the Scene Painter

“The Building News and Engineering Journal” published an article on the art of scene painting 1881. Here is the second of three parts.

“Secrets of the Scene-Painter

The next step is the laying in of the groundwork. The sky is, of course, the first point. This is done with whitewash brushes, the painter being absolutely free from all restraint in his method of putting on the colour. The principal point is to get it on quickly. And here the great advantages of painting in distemper become thoroughly plain. These advantages are two in number: the first is, that the colour dries very quickly, thus affording the artist a high rate of speed in working; secondly, all the colours retain, when dry, precisely the same tint as they had before being mixed. The addition of the sizing makes each colour several shades darker than it is when simply in the powdered state. The knowledge of this fact and thorough understanding of the effect the tints will produce after drying is one of the great secrets of the art. Oil-painters of high standing have been known to try the distemper method with utterly disastrous results. Colours mixed with oil always darken several shades and remain dark. Colours mixed with sizing always dry out to their original shade.

Image by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

Different painters have different methods, and there is as much variety in the school of scene-painting as in other branches of art. The German, French, and American artists use opaque washes, or, as it is usually expressed, work in “body colour.” The English school, in which the greatest advances have been made, use thin glazes. This in scene painting is the quickest and most effective. Morgan, Marston, Fox, and Voegtlin are among the leading representatives of this school in America, and their method is gradually spreading among the artists of that country. Its rapidity may be judged from the fact that one of these artist’s lately painted a scene measuring twenty by thirty feet in less than four hours.

One of the greatest differences in scene-painting from ordinary water-colour painting is that, while the colours of the latter are transparent, those of the former are opaque. For instance, the water-colour painter can lay in a wash of yellow ochre, and, by covering it when dry, with a light coat of madder lake, can transform it to a soft orange. In distemper, however, the coat of madder lake would not allow the yellow to show but would completely hide it, and the tint presented would be pure pink. From this fact results a total difference in the painting of foliage. The water-colour painter lays in his light tints first and puts in his shadows afterwards. The scene-painter may do this or not as he pleases. He may put his light tints over his dark ones and they will not lose any of their brilliancy. The advantage of this in regard to speed may be easily seen. If the water-colour painter wishes to put a high light in the middle of a shadow, he must first erase with a sharp knife a portion of his dark tint, or else put on a heavy spot of Chinese white. Over the spot thus erased or whitened he puts the required tint. The distemper painter is relieved of this roundabout process, for he simply dots in his light colour wherever he needs it over the darker shade, and it shows with perfect brilliancy. Again, in painting skies the scene-painter works by a method of his own, not unlike that adopted by oil-painters. The water-colour painter must leave all the broad light of his sky when putting in the main colour, and is obliged to work with his tints wet. The scene-painter may lay in the entire sky with blue, and paint his light yellowish clouds over it afterward. If the ordinary water-colour painter were to do this, his clouds would be green. Some scene-painters, however, work their entire skies wet. The effect of a sky painted thus is always very fine, but only an artist thoroughly conversant with the values of his several pigments can do this. For the colours, it will be remembered, present a very different appearance when wet from that which they have when dry.

Scene-painting has become so important an art that one large firm in New York makes a great specialty of imported materials. There is a long list of colours and other things used exclusively in scenic art, and improvements are being constantly made. Formerly scene-painters were obliged to grind their own colours, but these are now prepared in “pulp” – that is, ground in water. Among the colours used almost exclusively by scenic artists are English white, Paris white, zinc white, silver white, drop black, Frankfort black, Turkey umbers, Italian siennas, Cologne earth, Dutch pink, Schweinfurter green, Neuwieder green, ultramarine green, Bremen blue, azure blue, Persian scarlet, Turkey red, Tuscan red, Solferino, Magenta, Munich lake, Florentine lake, Vienna lake, and blue lake. Some of these colours are also used by fresco painters.

Those which are never used except by scenic artists are celestial blue, golden ochres, green lakes, Milori greens, French green and yellow lakes. The colours specially imported for scene-painters are carnation, royal purples, green lakes, and the English chromes. Indigo is used in very large quantities by scenic artists, but it is used very moderately by water-colour artists. It adds considerably to the expense of getting up scenery.

To be continued…