46 Mr. Ainger on the Illumination of Theatres. 



to be quickly covered with soot, and the second renders it 

 visible ; so that this part of the theatre becomes disgust- 

 ingly dirty before the remainder is sensibly soiled. Nor can 

 this be guarded against by the use of glass chimneys to im- 

 prove the combustion of the gas, because they would be too 

 inaccessible to be cleaned, and they would moreover be pro- 

 ductive of danger to the frequenters of the pit. 



In addition to the smoking and flickering of the foot-lamps, 

 immediately between the spectator and the scene, they injure 

 the sight by the currents of unequally heated air which they 

 interpose, and which, by irregularly refracting the light, give a 

 wavy and disagreeable appearance to whatever is seen through 

 them. The effect of these lights on the performers is rendered 

 evident by the obviously constrained aversion of their eyes, 

 while the expression of the features is almost destroyed by the 

 reversal of the shadows under which the face is usually and 

 best seen. The figure suffers as much as the face from this 

 inversion; and it becomes peculiarly inappropriate when 

 viewed in conjunction with a scene where the shadows are 

 evidently derived from a superior light. 



A further objection to all the lights is, that being in sight of 

 the audience, they cannot conveniently receive those atten- 

 tions which it would occasionally be useful to bestow on them, 

 and also that their combustion is rendered imperfect by the 

 impurity and agitation of the atmosphere about them. Their 

 immense consumption of air adds materially to the draughts, 

 which too frequently prove prejudicial to the health of delicate 

 visiters to the theatre ; and the velocity which they lend to the 

 general upward current through the roof, together with the 

 rarefaction and impurity they impart to it, must interfere 

 considerably with the transmission of sounds from the stage to 

 that part of the audience which is below or but little above 

 its level. 



The mode of illumination which I am about to suggest will, 

 if practicable at all, remove the whole of the objections I have 

 enumerated. It will be sensible to the audience only through 

 its indirect and intended effect, and it will give appropriate 

 shadows to the performers. The light may be obtained under 

 the best circumstances for securing good combustion ; the 



