to three feet wide-separated from one another by wings, or high rectangular screens. The number of entrances depends upon the depth of the stage; but rarely exceeds two in an amateur play-house.

Two principal sorts of scenes are used, side-scenes, or wings, and back-scenes. Narrow horizontal hanging-scenes, or soffits, are used to screen the space over the stage.

"Back-scenes are of two kinds, viz.: rolling-scenes, which are let down from above, and flats, which are formed of two sliding-scenes strained upon framing, like the wings, and meeting each other and uniting in the center. These are employed when what are termed practicable scenes are required; that is, doors, windows, etc., which admit of being used as real doors, etc., or else when there is occasion that the 'flat' should suddenly open and discover another scene behind it.

"In addition to these there are what are termed open flats, which are scenes cut out in places so that both the background is seen and the actors can pass through them. They are commonly used for the representation of groves or forests, but sometimes for interiors with open arches. There are, besides, what are technically known as set-piecesnarrow scenes placed obliquely on one side of the stage when it is wanted to show a cottage or corner of a house with a practicable door in it." Rolling-scenes are recommended for the amateur

theater.

They are raised and lowered like the drop

curtain, or even like an ordinary wall-map. Wings and flats may be made by stretching 'muslin or strong paper over stout wooden frames of the proper size. The muslin surface must be primed with a coat of sized whitening, which, when dry, leaves the cloth ready for the artist's design.

Scene-painting is an art which requires time, judgment, and skill. Only the simplest subjects should be attempted by the amateur. The design is first sketched lightly in charcoal. Suitable pictures may sometimes be selected from books, or drawn on a small surface and then enlarged to the scale required on the scene by a process often used in mapdrawing. The small picture must be of the shape required on the canvas. It is first divided into a number of equal spaces by means of a pencil and dividers. The canvas to which it is to be transferred is also divided by faint tracings, into the same number of similar spaces. The corresponding spaces in the two surfaces are numbered alike. Now, with the small copy in hand, it is easy to outline on the large surface, within each numbered space, what is represented within the corresponding space of the small copy.

The colors used in scene-painting are ground in water and mixed with thin size. The predominating hues should be such as will harmonize with the dresses of the actors. There should be little attempt at perspective effect in back-scenes unless the depth of the stage is considerable.

Substitutes for Painted Scenery.

When painted scenery can not be provided, the stage may be hung about with green, brown, or claret-colored curtains of muslin, or, better, of woolen. These may be made to part at points convenient for

entrance and exit. Side screens, covered with wallpaper and attached by hinges to the sides of the stage, as shown in the picture, answer the purpose of wings. If, in addition to these, two large, movable, folding screens be set upon the back of the

stage, a very good representation of a room may be made, with practicable doors on every side.

It was the custom, at and before the time of Shakespeare (1564–1626), to indicate to the spectators the place of action, by hanging conspicuously, at the back of the stage, a placard briefly describing the scene to be imagined. This may be done in the amateur theater. See the accompanying cut.

THE FOREST OF ARDEN

Lighting the Stage.

Whenever an evening performance is given, provision should be made for lighting the stage, either by means of gas, oil, or candles. If kerosene or coal-oil is used, it should be only in safety-lamps.

Extreme caution and care must be taken to avoid the possibility of accidents by fire. To this end every burner used about the stage should be surrounded by a glass chimney or globe, and further protected by guards of wire.

Foot-lights are indispensable. They are placed in a row across the front of the stage, and supplied with polished reflectors, which throw the light strongly upon the actors. Head-lights are also of great advantage; and a few side-lights are neces

sary to prevent the shadows of the actors from being visible on the wings. One great advantage of gas-light is that it can be so readily increased or diminished at pleasure.

When an intense light is required, as in the illumination of tableaux, magnesium strips or wires can be burned in front of a reflector at the side of the stage, behind the wings. Magnesium may be obtained in any large city.

"To produce darkness, a thick piece of crape doubled may be fixed in a frame and interposed between the foot-lights and the stage, and lamp-blacked glasses should be fitted on to the lights behind." Different colored illuminations are effected by placing different colored glass-globes upon the side lamps; or by the use of the apparatus known as the magnesium lantern, consisting of a tin box with slides of colored glass. The burning of chemical mixtures for illuminating the stage is scarcely to be recommended, unless the theater be very large, and wellventilated.

In order to give the light upon the stage sufficient brilliancy, it will sometimes be necessary to lower that in the auditorium.

Stage Effects.

Theatrical lightning is produced by throwing through a jet of flame a pinch of lycopodium, or of fine gunpowder mixed with a little sulphur. Thunder is imitated by shaking a long sheet of tin or