Scenic Art Articles – Page 3

Tales from a Scenic Artist and Scholar. Part 407 – “Scenery and Scene-Painters” 1871, Fifth installment

Part 407: “Scenery and Scene-Painters” 1871, Fifth installment

E. L. Blanchard wrote the article “Scenery and Scene-Painters” in 1871, reflecting on the history of English scenic artists. I divided this fifth and final section into two parts due the detail. This final installment describes the contributions of David Roberts, RA, and his contemporaries.

“The late David Roberts, who died November 25, 1864, won his spurs by painting scenery for an al fresco theatre at Venice, and for years displayed his mastery of architectural perspective in the Rialtos, Piazzettis, and Grand Canals, which enriched the Italian pictures presented on the boards of both Drury Lane and Covent Garden. He made his metropolitan debut at the Drury Lane, where he commenced his career in 1822, in conjunction with his friend and brother academician, Clarkston Stanfield. David Roberts was also famous for his dioramas, but he never produced works which equaled Stanfield’s moving dioramas, he never produced works which equalle Stanfield’s moving diorama of Alpine scenery, or the memorable views of Windsor and the neighbourhood, which included the sparkling tableau of Virginia Water, wherin the real element was so effectively introduced.

Garrick’s Temple to Shakespeare at Hampton, by John Zoffany

In 1828, the principal Covent Garden artists were David Roberts, and the famous scenic triumvirate, Messrs. Grieve, and T. and W. Grieve. The drop scene painted by Roberts for this Theatre, the Interior of a Temple to Shakespeare, consisting of fluted Corinthian Sienna columns, supporting a soffite dome, the perspective terminating with a monumental group introducing the immortal Bard, with St. Paul’s Cathedral in the distance, will be vividly remembered by the mature playgoer. The Grieves had long been famous for their Pantomime scenery, and in the brilliancy of their style, the strong feeling of reality which they communicated to the spectator, and in the taste and artistic beauty of their landscape compositions, they have since had few rivals and never been excelled. To Mr. T. Grieve, and his son Mr. Walford Grieve, the modern stage has been largely indebted. Several drop scenes for the late Theatre known as Her Majesty’s, though coloured by the later William Grieve, were drawn by Pugin, the great restorer of ecclesiastical Gothic architecture in this country.

At the present time [1871] the stage is richly supplied with scenic artists whose reputation needs no better security than the production they are constantly giving to the public. With a remembrance of the old days of Tomkins and Pitt at the Adlephi, or Philip Phillips at the Surry, and of the clever artist, Brunning, who died a mere youth, and yet figured conspicuously among the scenic corps of twenty years ago, we may pass confidently to the catalogue of our present distinguished representatives of the scenic art.

Drop curtain by William R. Beverly for the Memorial Theatre, 1879. Here is the link to the image: The act drop curtain painted for the 1879 Shakespeare Memorial Theatre posted online at: http://theshakespeareblog.com/blog/page/8/

Poster for the Christmas Annual with scenery by William R. Beverly. Here is a link to the image: The act drop curtain painted for the 1879 Shakespeare Memorial Theatre posted online at: http://theshakespeareblog.com/blog/page/8/

Mr. William Beverly, on his own ground at the Drury, is the unrivalled delineator of the fanciful region in which fairies may be imagined to dwell. Mr. William Callcott is a richly-endowed and skillful artist, whose “Transformation Scenes” have long won for him a special celebrity. Mr. John O’Connor, Mr. Lloyd, the late Mr. Charles James, Mr. Hawes Craven, Mr. J. Johnson, Mr. George Gordon. Messrs. Brew, Mr. Frederick Fenton, and his brother Mr. Charles Fenton, have severally produced works of art which will long keep their names vividly impressed on the memory of the playgoer.

Mr. Marshall, though not now before the public as a scenic artist, is not likely to be forgotten by those who can appreciate the services he has rendered to this important department of the stage; and Mr. Telbin has so distinguished himself by the triumphs he has achieved in the highest region of the Scenic Art that it is only to be regretted, for the sake of playgoers, his pencil is not now as frequently employed as heretofore for their own gratification.”

The end.

To be continued…

Tales from a Scenic Artist and Scholar. Part 406 – “Scenery and Scene-Painters” 1871, Clarkston Frederick Stanfield

Part 406: “Scenery and Scene-Painters” 1871, Clarkston Frederick Stanfield

E. L. Blanchard wrote the article “Scenery and Scene-Painters” in 1871 for “The Era Almanack.” This was to be the fifth and final section of the article. However, it describes in detail some of the designs by Clarkston Frederick Stanfield and David Roberts. I am going to split the last part of the article into two parts as there is just too much information to process at once.

Clarkston Frederick Stanfield by John Simpson, 1829

Here is fifth section, first part.

“Clarkston Stanfield, who died May 18, 1867, aged 73, first distinguished himself at Drury Lane by the scenic effects with which he illustrated the opera Der Freyschutz, produced on that stage in 1824. From that time he remained the chief of the Drury Lane painting-room; and the series of exquisite dioramic paintings he contributed to this theatre long gave special attraction to the pantomimes there produced. His earliest scenes of this kind were in “Harlequin and the Flying Chest,” and his Crystal Grotto in “Harlequin and the Talking Bird” created a marked sensation.

Then came his panoramic display under the title “Naumetaboia,” in Jack of all Trades (Christmas, 1825), showing the adventures of a man-of-war, from the launch at Dover, its encounter with a gale, the wreck, and the towing into a foreign port. In 1826, the “Man in the Moon” introduced further illustrations of his powers as a marine painter, in two remarkable scenes called “England’s Pride” and “England’s Glory.” In 1827, “Harlequin and Cock Robin” was enriched with a fine representation of “Portsmouth in a Gale of Wind.”

In 1828, Stanfield painted a moving diorama for “Harlequin and the Queen Bee,” representing Spithead at Sunrise, entrance to Portsmouth Harbour, the Dockyard, Gosport, Mother Bank, Isle of Wight with the Royal Yacht Club, Cowes Regatta, the Needles by Moonlight, the Ocean, and the Rock of Gibraltar. In 1829, the pantomime of “Jack in the Box “was distinguished by his diorama of the pass of the Simplon, the Valley of the Rhome, Domo D’Ossola, and Lago Maggiore, with the Boromean Islands. In 1831, was painted the diorama of Venice for “Harlequin and Little Thumb.” In 1832, “Harlequin Traveller” displayed a magnificent painting of the Falls of Niagara, seen from the approach to Buffalo on Lake Erie, and the Horse Shoe and Great American fall from Goat Island. The Christmas equestrian spectacle of 1833 (St. George and the Dragon) was rendered remarkable by his Egyptian diorama, commencing with the great cataracts and showing the ascent of a pyramid. The next year this accomplished scenic artist illustrated King Arthur with some admirable scenery, depicting Penrith and Carlisle in the days of yore.

When Mr. Macready became lessee of Covent Garden, and there produced (December 26, 1837) the pantomime of “Peeping Tom of Coventry,” Stanfield painted for it a beautiful diorama comprising a series of views in the north of Italy, Savoy, the Alps, and through “French Flanders” to the sea. A special paragraph in the play-bill recorded how the distinguished artist had, “as a sacrifice and in the kindest and most liberal manner, quitted for a short time his easel in order to present the Manager with his last work in that department of the art he has so conspicuously advanced to mark his interest in the success of the cause this Theatre labours to support.”

Stanfield, however, in June, 1839, once more complied with Mr. Macready’s request, and for the famous Shakspearian revival of “Henry the Fifth” he painted the panoramic illustrations of the Storming of Harfleur, the Battle of Aginciurt, and the view of Southhampton with the departure of the Fleet. When Mr. Macready resumed his exalted purpose as Manager of Drury Lane, Stanfield, for similar reasons, furnished the exquisite Sicilian views, illustrative of “Acis and Galatea,” and this was the last of the artist’s labours for the stage.

To be continued…

Tales from a Scenic Artist and Scholar. Part 405 – “Scenery and Scene-Painters” 1871, fourth section

Part 405: “Scenery and Scene-Painters” 1871, fourth section

E. L. Blanchard wrote the article “Scenery and Scene-Painters” in 1871 for “The Era Almanack.” Here is the fourth of five sections.

“John Richards, the old Secretary of the Royal Academy, painted many years for the stage. His rural scenery for The Maid of the Mill is perpetuated in two line engravings, which are in the portfolios of all our old-fashioned collectors of English prints.

The first scene of “The Maid of the Mill,” designed by John Inigo Richards. Painting by John Inigo Richards (1731-1810)

Image: The first scene of “The Maid of the Mill,” designed by John Inigo Richards. Richards was a noted scenic artist, machinist and theatre designer. Engraving by William Woollett (1735-1785) after the painting by John Inigo Richards (1731-1810). 1768. Here is the link to the image: https://www.lubranomusic.com/pages/books/29668/samuel-arnold/the-first-scene-of-the-maid-of-the-mill-as-designed-by-mr-richards-fine-large-engraving-by-william

De Loutherbourg, who for some time delighted and astonished the town by his interesting dioramic exhibition, which he called “The Eidophusikon,” was the first to increase the effect of scenery by lighting from above the proscenium, and using colored glasses for the lamps.

De Loutherbourg’s “Eidophusikon.” Image from http://picturegoing.com/?p=4354

The key to De Loutherbourg’s “Eidophusikon, or Moving Diorama of Venice” from https://www.rc.umd.edu/gallery/key-eidophusikon-or-moving-diorama-venice

Philip-Jacques de Loutherbourg, R.A. (1740 – 1812), became known for his large naval works, scenic designs, and mechanical theatre called the “Eidophusikon.”

“An Avalanche in the Alps,” 1803, Philip James De Loutherbourg (1740-1812). Presented by the Friends of the Tate Gallery, 1965. Image at http://www.tate.org.uk/art/artists/philip-james-de-loutherbourg-145

Many ingenious devices, now familiar, in their effects at least, to a playgoing public, owe their adoption to the dashing, vigorous Flemish battle-painter, whose appearance was as martial as his pictures, and who Jack Bannister nicknamed “Field-Marshal Leatherbags.”

Another distinguished artist of the period was Mr. Greenwood, the grandfather of Mr. T. L. Greenwood, so long associated with the management of Sadler’s Wells Theatre. For many years the scenery of the Royal Circus (now the Surrey Theatre) was painted by Mr. Greenwood, who invested the ballets and serious musical spectacles brought out there by Mr. J. C. Cross with remarkable scenic attractions, and, when the artist was transferred to Drury Lane, he became even more prominent. Byron, in his “English Bards and Scottish Reviewers,” speaks of “Greenwood’s gay designs” as being then the chief support of the Drama of that period.

When John Kemble became Manager of Covent Garden Theatre, the accuracy of scenery and costume became more studied. One of the most eminent scene-painters of this period was William Capon, who died in September, 1827. He was born in 1757, and studied under Novosielski, the architect of the Italian Opera House, during which time he designed the Theatre and other buildings at Ranelagh Gardens, and painted several scenes for the Opera.

On the completion of New Drury, in 1794, Kemble engaged Capon for the scenic department, by which means the Manager was greatly assisted in his reformation of the stage. The artist had a private painting room, to which Kemble used to invite his friends to witness the progress of this scenic reform. Among these specimens were a Chapel of the pointed style of architecture, which occupied the whole stage, and was used for the performance of oratorios; six chamber wings of the same order, for general use on our old English plays, and very elaborately studio from actual remains; a View of New Palace Yard, Westminster, as it was in 1793, forty-one feet wide, with corresponding wings; the Ancient Palace of Westminster, as it was three hundred years back, carefully painted from authorities, and forty-two feet wide and thirty-four feet to the top of the scene; six wings representing ancient English streets; the Tower of London, restored to its earlier state for the play of Richard the Third; and for Jane Shore was painted the Council Chamber of Crosby House. All these scenes were spoken as the time as historical curiosities. Capon painted for John Kemble two magnificent interior views of Drury Lane and Covent Garden, for which he received about two hundred guineas. Unfortunately all his scenes were destroyed by the fire at Drury Lane in 1809, but he afterwards painted many scenes for Covent Garden which for several years must have completely satisfied the more critical eye of even a later generation, for several needed only a little re-touching to serve the Managements which preceded that of Mr. Macready.

In Elliston’s time Marinari and Stanton painted a beautiful drop scene for Drury Lane which was substituted for the green curtain. It was a fine composition of Grecian ruins, and figures within a splendidly-wrought frame, heightened with gold ornamentation. The figures were by Stanton, and the cost of the scene was nearly 700L.

In 1828 the principal scene-painters of Drury Lane were Stanfield, Andrews, and Marinari. Stanfield’s panoramas, at this period introduced into each successive pantomime, were triumphs of pictoral art. The two drop scenes then used between the acts were much admired. One, including the Coliseum, with other remains of classic architecture, was painted by Stanton; the other, from a picture by Claude, was from Stanfield’s pencil. The weight of each of these drops, with the roller and necessary adjuncts, was about 800lbs. In marine scenery Clarkston Stanfield had never been surpassed. Born at Sunderland in 1798, he had commenced life as a sailor, and he had well profited by his early experience of the lights and shadows of the seas. For many years Stanfield taught the pit and gallery to admire landscape art, and the occupants of the boxes to become connoisseurs. He decorated Drury Lane Theatre with works so beautiful that the public annually regretted the frail material of which they were composed, and the necessity for “new and gorgeous effects,” which caused this fine artist’s work to be successively obliterated. He create, and afterwards painted out with his own brush, more scenic masterpieces than any man, and in his time Clown and Pantaloon tumbled over and belabored one another in front of the most beautifully dazzling pictures which were ever presented to the eye of the playgoer.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 404 – “Scenery and Scene-Painters” 1871, third section

Part 404: “Scenery and Scene-Painters” 1871, third section

E. L. Blanchard wrote the article “Scenery and Scene-Painters” in 1871 for “The Era Almanack.” Here is the third section.

“Great improvements in the scenic department were made at the beginning of the last [18th] century, when Rich, who was Manager of the Playhouse in Lincoln’s Inn-fields, denominated the New Theatre, and set up in rivalry of Drury Lane, designed a series of spectacular entertainments, which drew the audiences from the old house, although it retained a strong company under the management of Wilkes, Booth, and Cibber.

Italy had long been famous for its scene-painters and the splendor of its pantomime representations. Canaletti, the great painter, designed the scenery for the Venetian stage. Some of these foreign artists were employed by Rich, and then it was the English first beheld the delightful effect of the picturesque as viewed through a splendid proscenium on a lengthened stage. The Managers of Drury, in self-defense, were compelled to attempt the same kind of entertainment, and they pressed into their service a celebrated scene-painter, named Devoto, and a ballet-master, Monsieur Thurmond, who projected a pantomime of which Jack Sheppard was the hero. This set the wits of the town on the managers, who, with the scene-painter, were dragged to the satiric whipping post. On these pantomimic pieces they were lavish of expense, as the scenery and machinery were the principal attractions.

When Rich removed his dramatic corps from Lincoln’s Inn-fields to the newly erected Theatre in Covent-garden, Hogarth caricatured the whole house moving in a procession across the market-place in front of the piazza, not forgetting to have a hit at his friend George Lambert, who scenes he piled in a wagon wherein the thunder and lightning were made conspicuous. Lambert, who had been joint scene-painter at Lincoln’s Inn, was appointed principal in that department at Covent-Garden, and it was in the scene-room here that he founded the Beef-steak Club. Harvey, a landscape painter, and Amiconi, who painted the fine groups on the upper part of the staircase at the old Buckingham House, executed the decorations of the proscenium, an allegory of Shakespeare, Apollo, and the Muses. John Laguerre, the historical painter, occasionally designed the scenes for Lincoln’s Inn stage, and the curious scene-cloth representing the Siege of Troy, depicted in Hogarths’ Southwark Fair, is from his design.

Michael Angelo Rooker, whimsically Italianized himself into Signor Rookerini, and who was at once painter, Harlequin, Scaramouch, and engraver, was principal scene-painter to the elder Colman at his Theatre in the Haymarket.”

Michael Angelo Rooker St. Mary’s Abbey, 1778, York, Google Art Project

Michael Angelo Rooker, A.R.A., The_Gatehouse of Battle Abbey Sussex 1792, Pencil, Royal Academy of Arts, London

The Abbot’s Kitchen, Glastonbury c.1795 Michael Angelo Rooker 1746-1801 Presented by the Art Fund (Herbert Powell Bequest) 1967 http://www.tate.org.uk/art/work/T01013

Michael Angelo Rooker, Part of North Wall of St. Joseph’s Chapel, Glastonbury Abbey, Somerset, Victoria and Albert Museum

To be continued…

Tales from a Scenic Artist and Scholar. Part 403 – “Scenery and Scene-Painters” 1871, second section

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.

George Jameson (1588-1644), known as the Scottish Van Dyke.

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…

“Frank Hayman; a Tale” was intended for recitation at the Haymarket Theatre. The verse opens with a comment that Hayman would stop his art for any type of mischief. Here is the link to the British Museum: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1467004&partId=1&people=43101&peoA=43101-2-70&page=3

Francis Hayman (1708-1776) Illustration for a scene from “Hamlet.” Comments. Here is the link: https://www.themorgan.org/drawings/artist/hayman-francis

Francis Hayman, See-Saw, 1742. This is one of the few surviving panels painted by Francis Hayman and his assistants between 1738 and 1760. It was created as decoration for the supper boxes at Vauxhall Pleasure Gardens. Vauxhall’s proprietor, Jonathan Tyers, awarded Hogarth with free entry for the attraction for his work. Here is the link: http://www.tate.org.uk/art/artworks/hayman-see-saw-t00524

The painting is by Francis Hayman and illustrates a scene from “As You Like It” (1599) in Act I, Sc.vi. It depicts the moment when Orlando throws Charles, the Duke’s wrestler, to the ground, watched by Duke Frederick, Rosalind and Celia. The painting is based on a drawing made by Hayman for a six-volume quarto edition of Shakespeare’s works published in 1743-4 by Sir Thomas Hanmer (1677-1746). http://www.tate.org.uk/art/artworks/hayman-the-wrestling-scene-from-as-you-like-it-n06206

Tales from a Scenic Artist and Scholar. Part 402 – “Scenery and Scene-Painters” 1871, first section

Part 402: “Scenery and Scene-Painters” 1871, first 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. He established a style of rhyming verse and wit that was often topical. Contemporary pantomimes seldom have rhyming couplets beyond the prologue. I find it fascinating that he wrote a substantial article about the history of scenery and scene-painters in 1871 – right in the middle of his pantomime-writing career.

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 four sections, as there are lovey gems of information about our craft.

“The ancient scenery employed for open-air representations at first consisted of mere boughs, but afterwards of tapestry, not painted canvas. The Greek stage consisted of three parts,- the scena, across the Theatre, upon the line of the curtain in our Theatres; the proscenium, where the actors perform; and the postscenium, the part behind the house. To form parts of the scenes there were prisms of framework, turning upon pivots, upon each face of which was stained a distinct picture, one for tragedy, consisting of large buildings, with columns, statues, and other corresponding ornaments; a second face, with houses, windows, statues, and balconies, for comedy; a third applied to farce, with cottages, grottoes, and rural scenes. These were the scenes versatiles of Servius.

Besides these there were scena ductiles, which drew backwards and forwards, and opened a view of the house, which was built upon the stage, and contained apartments for machinery and retirement of actors. As to the patterns of the scenes in comedy, the most considerable building was in the centre, that on the right hand was a little less elevated, and that on the left generally represented an inn. In satirical pieces they had always a cave in the middle, a wretched cabin on the right, and on the left and old ruined temple or landscape. In these representations perspective was observed, for Vitruvius remarks that “the rules of it were invented and practiced from the time of Æschylus by a painter names Agarachus, who has even left a treatise upon it.”

After the downfall of the Roman Empire these decorations for the stage were neglected till Peruzzi, a Siennese, who died in 1536, revived them. Classical scholars will readily understand the various opportunities for scenic effect afforded by the Greek dramatists, and there is some reason for believing the illusions of the ancient stage were much more perfect than has been generally supposed. There were three entries in front, and two on the sides. The middle entry was always that of the principle actor; thus, in tragedy, it was commonly the gate of a palace. Those on the right and left were destined to the second-rate actors; and the two others on the sides, one to people from the country, and other to those from the harbor, or any other public place.

Sipareum was the significance of the tapestry curtain; it was let down, not raised, when the performance commenced, and at the beginning of new acts. The auleum was probably a drop scene or curtain, to draw before doors, and contract the stage; choragium, the property room, where were kept the dresses, scenes, and musical instruments, and where were sometimes disposed the choir of musicians. In the Greek Theatre it was a place behind the scenes, used also for a dressing-room. This was an inner dressing-room named postsceniun. Thus even at a remote period we see that attention to the comforts of the performers was by no means overlooked by the theatrical architects of that period.

That the scene-painter’s accommodations has been, down to very recent times, completely lost sight of by those who have had the arrangement of our theatres, may be mentioned in curious contracts with the reliance now placed on the result of the artist’s powers. According to Malone, moveable scenes were not in use in England till 1605, when three plays were performed at Oxford before James I, thus described by a contemporary writer:- “The stage was built at the upper end of the hall, as it seemed at the first sight, but, indeed, it was but a false wall, faire painted; which pillars would turn about, by reason whereof, with other painted clothes, the stage did vary three times in one tragedy.” It was observed the writer was not acquainted with the word scene, but used “painted clothes” in that sense. In the early part of Shakespeare’s time, as is well known, the want of scenery was supplied by writing the names of the different places of action on the boards, which were so placed as to be visible to the audience. Thus [Sir William] Davenant, in the introduction to The Siege of Rhodes, 1656, says, “In the middle of the freeze was a compartment wherein was written Rhodes.” Movable scenes were first used in Rome in 1508. The first who painted moveable scenery in England was Richard Aggas, a specimen of whose work may be seen at Painter-Stainers’ Hall, in Little Trinity-lane.”

A few comments about Davenant’s production:

“The Siege of Rhodes” was actually titled, “The Siege of Rhodes Made a Representative by the Art in Prospective in Scenes, and the Story Sung in Recitative Musick.” The plot was based on the 1522 siege of Rhodes, when the island was taken by Suleiman the Magnificent’s Ottoman fleet. The score was by five composers; the vocal music by Henry Lawes, Matthew Locke and Captain Henry Cooke, with the instrumental music by Charles Coleman and George Hudson. Davenant is credited with the first attempt to revive English drama after Oliver Cromwell’s ban closed dramatic performances and closed public theaters.

He secured special permission from Cromwell for his production for his first dramatic work was “The First Day’s Entertainment,” a work disguised under the title “Declamations and Musik” and labeled the production as recitative music. He then created the first public opera in England, “The Siege of Rhodes” and is credited with introducing three innovations to the public stage: opera, painted stage sets, and a female actress singer.

The opera was first performed in a small private theatre constructed in the back portion of Davenant’s home at Rutland House in the upper end of Aldersgate-Street, London. The 1659 reprinting gives the location at the Cock-pit in Drury Lane. Although the score has been lost to time, the original designs by John Webb, a pupil of Inigo Jones are extant. They are available at https://restorationstaging.com/2014/01/26/john-webb-scene-designs-for-the-siege-of-rhodes/

‘The Siege of Rhodes’: shutter, prospect of Rhodes. Image from https://restorationstaging.com/2014/01/26/john-webb-scene-designs-for-the-siege-of-rhodes/

‘The Siege of Rhodes’: shutter, Rhodes besieged. Image from https://restorationstaging.com/2014/01/26/john-webb-scene-designs-for-the-siege-of-rhodes/

‘The Siege of Rhodes’: relieve, Solyman’s throne and camp. Image from https://restorationstaging.com/2014/01/26/john-webb-scene-designs-for-the-siege-of-rhodes/

‘The Siege of Rhodes’: relieve, Mt. Philermus. Image from https://restorationstaging.com/2014/01/26/john-webb-scene-designs-for-the-siege-of-rhodes/

‘The Siege of Rhodes;: shutter, the general assault. Image from https://restorationstaging.com/2014/01/26/john-webb-scene-designs-for-the-siege-of-rhodes/

‘The Siege of Rhodes’: frontispiece and wings. Image from https://restorationstaging.com/2014/01/26/john-webb-scene-designs-for-the-siege-of-rhodes/

For more information about Davenant, here is a link to the online “Encyclopædia Brittanica” https://www.britannica.com/biography/William-Davenant

To be continued…

Tales from a Scenic Artist and Scholar. Part 401 – “A Gossip about Scenery and Scene-Painters,” 1866, fifth section

Part 401: “A Gossip about Scenery and Scene-Painters,” 1866, fifth section

The article “A Gossip about Scenery and Scene-Painters,” was published in “The Era” on February 4, 1866. Here is the fifth of five installments.

“The late David Roberts, who made his debut in London as a scene-painter at Drury-lane, where he commenced his career in 1822, was also famous for his dioramas, but he never produced works which equalled Stanfield’s moving diorama of Alpine scenery, or the memorable views of Windsor and the neighbourhood, which included the sparkling tableau of Virginia Water, wherein the real element was so effectively introduced.

The principal Covent-garden artists at this time (1828) were David Roberts and the famous scenic triumvirate, Messrs. Grieve, and T. and W. Grieve. Mr. Roberts, who only died recently, was a fine architectural scenic draughtsman, and the drop scene he painted for this Theatre, the Interior of a Temple to Shakespeare, consisting of fluted Corinthian Sienna columns, supporting a soffite dome, the perspective terminating with a monumental group introducing the immortal Bard, with St. Paul’s Cathedral in the distance, will be vividly remembered by the mature playgoer. The Grieves had long been famous for their Pantomime scenery, and in the brilliancy of their style, the strong feeling of reality which they communicated to the spectator, and in the taste and artistic beauty of their landscape compositions, they have since had few rivals, and have never been excelled. The Covent-garden Pantomime of Aladdin, this year, shows that Mr. T. Grieve has still the right to wear the laurelled crown. The last scene of The Master of Ravenswood, at the Lyceum with the storm effects introduced, may be cited as a fine specimen of this artist’s powers.

At the present time the stage is richly supplied with scenic artists whose reputation needs no better security than the productions they have this year given to the public. With a cherished remembrance of the old days of Tomkins and Pitt at the Adelphi, of Philip Phillips at the Surrey and of the clever artist, Brunning, who died a mere youth, and yet figured conspicuously among the scenic corps of twenty years ago, we may pass confidently to the catalogue of our present distinguished representatives of the scenic art.

Mr. William Beverley, on his own ground at Drury is the unrivalled delineator of the fanciful region in which fairies may be imagined to dwell. Mr. William Galleon is a richly-endowed and skillful artist, whose “Transformation Scenes” have long won for him a special celebrity, and whose latest triumphs of pictorial ingenuity, as exhibited at the Alhambra, would suffice to establish his name as a highly-original producer of peculiar “effects.”

Mr. O’Connor at the Haymarket, Mr. Lloyd at the Princess’s, Mr. Charles James at the Prince of Wales’s Theatre, Mr. Hawes Craven at the Olympic, Messrs. Brew at Astley’s, Mr. Gates at the Surrey, Mr. Frederick Fenton at the Victoria, and his brother, Mr. Charles Fenton at the Strand, have severally produced works of Art which will long keep their names vividly impressed on the memory of the playgoer. Nor should those who have so successfully laboured for the Theatres we have not here named be passed over in silence. In the ample accounts we have rendered of the last Christmas novelties they will find, however, the fullest recognition of their respective merits. Mr. Marshall, though not now so much before the public as a scenic artist, is not likely to be forgotten by those who can appreciate the services he has rendered to this important department of the stage; and Mr. Telbin has so distinguished himself by the triumphs he has achieved in the highest region of the Scenic Art that it is only to be regretted, for the sake of playgoers, his pencil is not now as frequently employed as heretofore for their gratification.”

End of the article.

To be continued…

Tales from a Scenic Artist and Scholar. Part 400 – “A Gossip about Scenery and Scene-Painters,” 1866, fourth section

Part 400: “A Gossip about Scenery and Scene-Painters,” 1866, fourth section

While researching the English scene painting families, I came across an interesting article from 1866. It seems an appropriate time to share this article, as my house is full of friends. It is the perfect time to examine how the history of scenic art was presented during the mid-nineteenth century in the United Kingdom.

The article “A Gossip about Scenery and Scene-Painters,” was published in “The Era” on February 4, 1866. Here is the fourth of five installments.

When John Kemble became Manager of Covent-garden Theatre the accuracy of scenery and costume became more studied. One of the most eminent scene-painters of this period was Mr. William Capon, who died in September, 1827. He was born in 1757, and studied under Novosielski, the architect of the Italian Opera House, during which time he designed the Theatre and other buildings at Ranelagh Gardens, and painted several scenes for the Opera. On the completion of New Drury, in 1794, Kemble engaged Mr. Capon for the scenic department, by which means the Manager was greatly assisted in his reformation of the stage. The artist had a private painting room, to which Kemble used to invite his friends to witness the progress of this scenic reform. Among these specimens were a Chapel of the pointed style of architecture, which occupied the whole stage, and was used for the performance of oratorios; six chamber wings of the same order, for general use in our old English plays, and very elaborately studied from actual remains; a View of New Palace Yard, Westminster, as it was in 1793, forty-one feet wide, with corresponding wings; the Ancient Palace of Westminster, as it was three hundred years back, carefully painted from authorities, and forty-two feet wide and thirty-four feet to the top of the scene; six wings representing ancient English streets; the Tower of London, restored to its earlier state for the play of Richard the Third; and for Jane Shore was painted the Council Chamber of Crosby House. All these scenes were spoken of at the time as historical curiosities.

William Capon prints available at: https://www.magnoliabox.com/products/houses-on-the-corner-of-chancery-lane-and-fleet-street-city-of-london-1619094

Capon painted for John Kemble two magnificent interior views of Drury-lane and Covent-garden, for which he received about two hundred guineas. Unfortunately all his scenes were destroyed by the fire at Drury-lane in 1809, but he afterwards painted many scenes for Covent-garden which for several years must have completely satisfied the more critical eye of even a later generation, for several needed only a little re-touching to serve the Managements which preceded that of Mr. Macready.

In Elliston’s time Marinari and Stanton painted a beautiful drop scene for Drury-lane, which was substituted for the green curtain. It was a fine composition of Grecian ruins and figures within a splendidly-wrought frame, heightened with gold ornamentation. The figures were by Stanton, and the cost of the scene was nearly ‘£700.

In 1828 the principal scene-painters of Drury-lane were Stanfield, Andrews, and Marinari. Stanfield’s panoramas, at this period introduced into each successive Pantomime, were triumphs of pictorial art. The two drop scene’s then used between the acts were much admired. One including the Coliseum, with other remains of classic architecture, was painted by Stanton. The other from a picture by Claude, was from Stanfield’s pencil. The Weight of each of these drops, with the roller and necessary adjuncts, was about 8001bs.

In marine scenery Clarkson Stanfield had never been surpassed. Born at Sunderland in 1798, he had commenced life as a sailor, and he had well profited by his early experience of the lights and shadows of the sea. For many years Mr. Stanfield taught the pit and gallery to admire landscape art, and the occupants of the boxes to become connoisseurs. He decorated Drury-lane Theatre with works so beautiful that the public annually regretted the frail material of which they were composed, and the necessity for new and gorgeous effects, which caused this fine artist’s works to be successively obliterated. He created, and afterwards painted out with his own brush, more scenic masterpieces than any man, and in his time Clown and Pantaloon tumbled over and belaboured one another in front of the most beautiful and dazzling pictures which were ever presented to the eye of the play-goer.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 399 – “A Gossip about Scenery and Scene-Painters,” 1866, third section

Part 399: “A Gossip about Scenery and Scene-Painters,” 1866, third section

While researching the English scene painting families, I came across an interesting article from 1866. It seems an appropriate time to share this article, as my house is full of friends for the Helios Masonic Symposium in St. Cloud today. It is the perfect time to examine how the history of scenic art was presented during the mid-nineteenth century in the United Kingdom.

The article “A Gossip about Scenery and Scene-Painters,” was published in “The Era” on February 4, 1866. Here is the third of five installments.

“Great improvements in the scenic department were made at the beginning of the last century, when Rich, who was Manager of the playhouse in Lincoln’s Inn-fields, denominated the new Theatre, and set up in rivalry, of Drury Lane, designed a series of spectacular entertainments, which drew the audiences from the old house, although it retained a strong company under the management of Wilkes, Booth, and Cibber. Italy had long been famous for its scene painters and the splendour of its Pantomimic representations. Canaletti, the great painter, designed the scenery for the Venetian stage. Some of these foreign artists were employed by Rich, and then it was the English first beheld the delightful effect of the picturesque as viewed through a splendid proscenium on a lengthened stage.

The Managers of Drury, in self defense, were compelled to attempt the same kind of entertainment, and they pressed into their service a celebrated scene-painter, named Devoto, and a ballet-master, Monsieur Thermond, who projected a Pantomime of which Jack Sheppard was the hero. This set the wits of the town on the Managers, who, with the scene-painter, were dragged to the satiric whipping-post. On these Pantomimic pieces they were lavish of expense, as the scenery and machinery were the principal attractions.

When Rich removed his dramatic corps from Lincoln’s Inn-fields to the newly-erected Theatre in Covent-garden, Hogarth caricatured the whole house moving in procession across the market-place in front of the piazza, not forgetting to have a hit at his friend George Lambert, whose scenes he piled in a wagon wherein the thunder and lightning were made conspicuous. Lambert, who had been joint scene-painter at Lincoln’s Inn, was appointed principal in that department at Covent-garden, and it was in the scene-room here that he founded the Beef-steak Club. Harvey, a landscape painter, and Amiconi, who painted the fine groups on the upper part of the staircase at old Buckingham House, executed the decorations of the proscenium, an allegory of Shakespeare, Apollo, and the Muses. John Laguerre, the historical painter, occasionally designed the scenes for Lincoln’s Inn stage, and the curious scene-cloth representing the Siege of Troy, depicted in Hogarth’s “Southwark Fair,” is from his design. Michael Angelo Rooker, whimsically Italianized himself into Signor Rookerini, and who was at once painter, Harlequin, Scaramouch, and engraver, was principal scene-painter to the elder Colman at his Theatre in the Haymarket.

John Richards, the old Secretary of the Royal Academy, painted many years for the stage. His rural scenery for “The Maid of the Mill” is perpetuated in two line engravings, which are in the portfolios of all our old-fashioned Collectors of English prints.

The first scene of “The Maid of the Mill,” designed by John Inigo Richards. Richards was a noted scenic artist, machinist and theatre designer. Engraving by William Woollett (1735-1785) after the painting by John Inigo Richards (1731-1810). 1768. Here is the link to the image: https://www.lubranomusic.com/pages/books/29668/samuel-arnold/the-first-scene-of-the-maid-of-the-mill-as-designed-by-mr-richards-fine-large-engraving-by-william

De Loutherbourg who for some time delighted and astonished the town by his interesting dioramic exhibition, which he called “The Eidophusikon,” was the first to increase the effect of scenery by lighting from above the proscenium, and using coloured glasses for the lamps. Many ingenious devices, now familiar, in their effects at least, to a playgoing public, owe their adoption to the dashing, vigorous Flemish battle-painter, whose appearance was as martial as his pictures, and whom Jack Bannister nicknamed “Field-Marshal Leatherbags.”

Another distinguished artist of this period was Mr. Greenwood, father of Mr. T. L. Greenwood, so long associated with the management of Sadler’s Well’s Theatre.

Sadler’s Wells Theatre, ca. 1745-1750. For additional history on the Sadler’s Wells Theatre and this image, see: http://www.british-history.ac.uk/survey-london/vol47/pp140-164

For many years the scenery of the Royal Circus (now the Surrey Theatre) was painted by Mr. Greenwood, who invested the ballets and senior musical spectacles brought out there by Mr. J. C. Cross with remarkable scenic attractions, and, when the artist was transferred to Drury-lane he became even more prominent. Byron, in his “English Bards and Scottish Reviewers,” speaks of “Greenwood’s gay designs” as being then the chief support of the Drama at that period.

To be continued…

Tales from a Scenic Artist and Scholar. Part 398 – “A Gossip about Scenery and Scene-Painters,” 1866, second section

Part 398: “A Gossip about Scenery and Scene-Painters,” 1866, second section

While researching the English scene painting families, I came across an interesting article from 1866. It seems an appropriate time as we are preparing for a Masonic Symposium this weekend, allowing me to reunite with some of my favorite people in the world. My evenings will be occupied with other activities instead of preparing a post.

The article “A Gossip about Scenery and Scene-Painters,” was published in “The Era” on February 4, 1866. Here is the second of five installments.

“Classical scholars will readily understand the various opportunities for scenic effect afforded by the old Greek dramatists, and there is some reason for believing the illusions of the ancient stage were much more perfect than has been generally supposed. There were three entries in front, and two on the sides. The middle entry was always that of the principal actor; thus, in tragedy, it was commonly the gate of a palace. Those on the right and left were destined to the second-rate actors; and the two others on the sides, one to people from the country, the other to those from the harbour, or any other public place.

Sipareum was the signification of the tapestry curtain; it was let down, not raised, when the performance commenced, and at the beginning of new acts. The auleum was probably a drop scene or curtain, to draw before doors, and contract the stage. Choragium, property room, where were kept the dresses, scenes, and musical instruments, and here were sometimes disposed the choirs of musicians. In the Greek Theatre it was a place behind the scenes, used also for a dressing room. There was an inner dressing room named post-cenium. Thus even at a remote period we see that attention to the comforts of the performers was by no means overlooked by the theatrical architect of that period.

That the scene-painter’s accommodation has been, down to very recent times, completely lost sight of by those who have had the arrangement of our Theatres may be mentioned in curious contrast with the reliance now placed on the result of the artist’s powers.

According to Malone, moveable scenes were not in use in England till 1605, when three plays were performed at Oxford, before James I., thus described by a contemporary writer: “The stage was built at the upper end of the hall, as it seemed at the first sight, but, indeed, it was but a false wall, faire painted; which pillars would turn about, by reason whereof, with other painted clothes, the stage did vary three times in one tragedy.” It will be observed the writer was not acquainted with the word scene, but used “painted clothes” in that usage.

In the early part of Shakespeare’s time, as is well known, the want of scenery was supplied by writing the names of’ the different places of action on the boards, which were so placed as to be visible to the audience. Thus Davenant, in the introduction to The Siege of Rhodes, 1656, says, “In the middle of the freeze was a compartment wherein was written Rhodes.”

[George] Jameson, called the Scottish Vandyke, designed the scenery for the private theatricals at Holyrood House for his patron, King James VI. This monarch, when celled to the English throne, elected 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.

George Jameson (1589/1590-1644) was known as the Scottish Van Dyke. Here is a link to the image: https://www.nationalgalleries.org/art-and-artists/2866/george-jamesone-1589-1590-1644-portrait-painter-self-portrait

All was elegance at their youthful Court. There Ben Jonson 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…