18-17.] 



THE CIVIL ENGINEER AND ARCHITECTS JOURNAL. 



187 



to be almost infinite. Our readers are familiar with the usefulness of the 

 " elastic bands" — but they may not be aware that the same fabric, adjusted 

 in size and strength to the purpose required, furnishes springs for locks 

 and for the racks of window blinds. It is also capable of being moulded 

 inio the most intricate ornaments ; its characteristic elasticity removing all 

 eniliarrassment in relieving the undercut parts. It furnishes impervious 

 bodies for volatile substances, like ether; as well as an excellent ink- 

 stand. It is adapted to protect Irom corrosion wires subjected to the ac- 

 tion of the sea. as in the case of the wires required for the projected electric 

 communication between England and France. For the same reason, air 

 lubes of vulcanized rubber are better suited for life-boats than those formerly 

 made of canvas, which are liable to be destroyed by the action of the water. 

 A similar tube has been used with success as a substitute for an iron band, 

 as the lire of a carriage-wheel ; and it is stated that a vehicle so arranged 

 runs much easier than on the present plan. But perhaps the most im- 

 portant application is in its use in railroads and railroad carriages. In the 

 fuiuier, it is laid between the rail and the sleeper, and thus prevents the 

 rails from indicating any traces of pressure; and the springs connected 

 with the buffers of the latter, when formed of vulcanized caoutchouc, can 

 neither be broken nor can their elasticity be surmounted by any degree of 

 toricnssive violence. In conclusion, Mr. Brockedon exhibited objects illus- 

 trative of the gieal physical change induced on caiiul<houc by vulcaniza- 

 tion. He showed a screw, with its recipient, both made of this substance, 

 as well as a form of letter-press (like a stereotyped page) for printing. He 

 also noticed its usefulness in making epithons for surgical purposes, gloves 

 and boots for gouty persons, &c. 



SCENERY AND DECORATIONS OF THEATRES. 



Abstract of a lecture delivered at the Decorative Art Society, April 14, 

 " On the Scenery and Stage Decorations of Tluutres," by Mr. John 

 DWYER, V.P. 



The author stated that the opinion which he had formerly expressed 

 [see Journal, p. '2X] on construction had, in the Tltditre Historique, re- 

 cently opened in Paris, been in many refpects exeinplilied. The criticisms 

 upon this theatre state, that every person obtaining a seat is enabled to see 

 the whole of the stage. With reference to the proscenium, he bad become 

 more forcibly impressed with the advantages arising from the form which 

 he had then suggested ; and he stated that Mr. Frederick Chatterton had 

 since infoinied him that his instrument (the harp) was more favourably 

 heard in Covent Garden than in any other of the metropolitan theatres. 

 In an ornamental and artistic view, the form which he proposed combined 

 some very essential properties. The proscenium, he considered, should 

 form a frame to the animated picture on the stage ; and the broad equal 

 surface offered through his suggestion aflbrded an ample and suitable field 

 on which to display rich and fanciful embellishmenis. The Surrey Theatre 

 has an example of this framelike character, — and, together with the drop 

 scene, exhibits thus far a satisfactory effect ; and in the ThiAtre Historique 

 this has been attended to wiih success. The usual arrangements within 

 the proscenium of crimson draperies frequently exhibit marvellous com- 

 positions — but of that commonplace nature which he would assist in 

 exterminating. A drop scene, he said, certainly required consunimate 

 skill. The pause in the excitement from the siage effects leads to the 

 contemplatiuu of the house in its tout ensemble — thus demanding a two- 

 fold consideration ; a subject of appropriate and interesting character, 

 together with a proper regard to the general interior of the theatre. Mr. 

 Dwyer noticed several devices which have been applied for drop-scenes, 

 such as the looking-glass curtain at the Cobourg some years ago — which 

 he termed a costly absurdity, although at that time thought " a great hit." 

 But a drop scene painted by Stantield for the opera of ''Acis and Galatea," 

 produced at Drury Lane some years ago, he pronounced to be a fine work. 

 It displayed in vignettes ideal scenes by the artist from the opera ; and 

 thus offered to the mind's eye congenial Art during the pauses between 

 the acts. Nevertheless, these pictures were placed within elaborate 

 frames, contrasting strongly with the general expression of the theatre. A 

 drop-scene painted by Mr. P. Phillips for Astley's was mentioned as a 

 proper application of art to this purpose. It was intended to harmonise 

 with the general business of the theatre, and was an excellent illustration 

 of it, the subject being " Victoria's return from Olympian games with a 

 procession to the sacrifice." The groups thus brought together had direct 

 relation to the features in the performances on the stage. Mr. Dvvjer 

 considered that the composition always ought to have relation to the action 

 on the stage ; and observed that this principle has been regarded, in some 

 degree, in the present drop-scene at Her Majesty's Theatre, where the 

 design embodies abstract ideas of opera and ballet, but in connection with 

 a massive architectural representation qui'e distinct from the general cha- 

 racter of the interior, of which it occupies so large a proportion. He con- 

 tended that more unity in this particular ought to be attempted; and stated 

 that he would treat the drop-scene as a picture to which the proscenium 

 should be an outer framework ; but he would have, also, an inner frame, 

 appearing on the scene, and partaking of the style ot ornament adopted in 

 other parts of the theatre. As approximating illustrations of his meaning, 

 he mentioned those of the Princess's and the Adelphi, both of which, 

 however, are defective in some minor qualities. This manner has also the 

 advantage «f contrasting with the stage scenery. 



Mr. Dwyer next directed attention to light. He observed that the 

 reflectors to the foot-lights in our theatres present an objectionable appear- 

 ance ; and he showed a sketch of ornamental screen-work for concealing 

 them. He also suggested that they admit of a very different arrangement 

 on the Bude principle with modifying reflectors ; and that it would be 

 advantageous to carry off the noxious result of combustion. He advocated 

 the use of stronger side-lights, having their intensity regulated in accord- 

 ance with the shadowing on scenery ; and he mentioned, with approval, 

 the elfects thus occasionally produced in moonlight scenes. Mr. Dwyer 

 then explained the management of colours for artificial light, — the exagge- 

 ration necessary, — the vigorous lights and shadows, and the broad and 

 dashing touches which form the scene-painter's art. A slight knowledge 

 of the stage, he observed, would be suflicient to prove that, at the present 

 time, with one or two exceptions, the imitation of outward things is very 

 imperfect. They are but half represented. The banquetiing hall is re- 

 splendent with gold and silver, and gorgeous magnificence everywhere but 

 on the floor;— and the forest luxuriant with foliage, and intricate with 

 beauties in form and colour, is robbed of half its fair proportion of effect 

 by the poverty on which it stands. 



Mr. Dwyer stated that success had usually attended the careful "getting 

 up" of plajs; and that taste extended to the merest trifles had generally 

 been appreciated by the public. A desitription was given of the arrange- 

 ment of " wings, flats, and fly borders ;" and the ludicrous contretemps of 

 the scene-shifiers in their working dresses appearing on the stage to remove 

 refractory scenery, together with other casualties incidental to the change 

 of scenes during the acts, were adduced as sufficient reasons for advocating 

 a less frequent resort to that practice. 



April 28. — Mr. Dwyer read the second portion of a paper on the above 

 subject, commencing with an examination of the advantages derivable 

 from placing the scenery obliquely on the stage, referring of course to the 

 wings and set scenes, the flats or back scenes being in the usual position. 

 Some dillitulties in perspective having been alluded to, it was stated that 

 for drawing-rooms and apartments, the scenery ought to be arranged with 

 due regard to the ground-plan of what is to be represented. This would 

 enable actors to enter or take leave in a complete manner ; they would not 

 be ob>ervable by those in the side-boxes when approaching or lingering for 

 that purpose, and their voices would reverberate and be carried into the 

 body of the theatre. A scene in the " Flowers of the Forest," now being 

 performed at the Adelphi, was described as an example, and also as clearly 

 showing that with some attention to ground plan in setting out an interior, 

 together with an introduction of bay windows, octagonal recesses, &:c., 

 the variety and perfection of scenery would be greatly advanced. 



Mr. Dwjer then directed attention to the principles of design, which he 

 considered as mainly divisible into two classes, ideal and constructive ; 

 the former embodying certain characteristics without reference to natural 

 laws, and the latter demanding strict attention to the fundamental princi- 

 ples of composition in art. Ideality, it was said, had in some extrava- 

 ganzas been developed in a surprising and ingenious manner, and delicate 

 conceptions in a refined taste were frequently introduced with that remark- 

 able freedom peculiar to the School of Art. 



Some chalk sketches, designed for the scenery to the " Enchanted Fo- 

 rest," lately performed at the Lyceum, were exhibited as illustrations of 

 the vigorous manner and spirit of this class of compositions. Constructive 

 design was described as necessary to architectural subjects. The opinions 

 of Prof. Cockerell and others were quoted in acknowledgment of the art- 

 istic talent, together with accurate knowledge of the architecture of remote 

 ages, which are frequently displayed in our theatres; and the reader sug- 

 gested that if the attention of the students in decorative art at the Govern- 

 ment School of Design were directed to the contemplation of the better 

 scenic productions, having the beauty and principles of design explained, 

 this would be found one of the most practical and efficient modes of ac- 

 quiring knowledge. 



He regretted that many admirable works of art, executed for theatres 

 should have had such a transient existence, leaving scarcely a trace behind 

 them. The creative fancy and design in numerous instances ought to have 

 been preserved at any cost; and he argueil that students in art would, in 

 a careful contemplation of scenery, realise more freshness and originality 

 in ideal and constructive design than from any other class of examples. 

 Knowing its power and vast unexplored range, he felt an earnest desire 

 that scene painting should be fully and properly estimated. Engraved 

 examples might ofler an interesting collection ot the most ingenious fancies 

 of the most eminent ariists. 



Perspective, the reader observed, constitutes one of the greatest obsta- 

 cles to perfection in scenic eflects, and he alUided to the defects which 

 ordinarily appear in set-scences, from their being made up of various parts, 

 placed at intervals along the stage, each part drawn, probably, at a differ- 

 ent perspective angle. The peculiar manner of treating perspective for 

 theatrical purposes was explained. While the situation of spectators 

 varies greatly, the treatment must necessarily be imperfect. It is, there- 

 fore, usual to set out scenery with two points of sight, but he preferred, 

 in architectural subjects, to have tliree. and to have them placed near the 

 centre, so as to counteract the ellecl of opposition in the horizontal features 

 of the wiugs, whereby the scenes are frequently made to appear hoisted. 

 Scenes showing ground in perspective, are frequently spoiled by the visible 

 junction of the wings and ihe floor, thus disturbiug the illusion of distance 

 attempted by the artist; and he would tiul the lower purtion of the scene 

 with colour simihir tu that of the stage. Architectural drop-scenes were 



