SCENE-PAINTING, for the theatre, is executed in distemper, that is, with colours mixed up with size, the design being first sketched, and accurately laid down to scale, from which the perspective outlines are trans ferred to the larger surface. Instead of be ginning with dead colouring and then gradu ally working up his picture, the artist puts in all his effects at once (as in fresco-painting) —the full- tone of the lights and shadows finishing as he proceeds, and merely retouch ing those parts afterwards which require addi tional depth or brilliancy. It is important that the scene-painter should not only be well skilled in architectural delineation, but also well informed as to the styles of different countries and periods.
Much of the effect of scenery depends upon a skilful mode of lighting it ; in which respect ;onsiderable improvements have taken place of late years, and the light is now occasion ally thrown from above, as well as from the ;ides and the foot-lights: A variety of me thanical contrivances have also been brought
. to to great perfection so as to imitate particular effects in the most deceptive Manner, such as those of moonlight, where the moon breaks through the clouds and gleams upon water, &c. ; changes of the sky from clear to stormy, -or the contrary; the sudden glare of fire, &c.
With the exception of the Drop-Scene, which is let clown between the acts, and is a single picture, the scenes of a theatre gene rally consist of several parts : of narrow up right pieces called Side-Scenes, or Wings ; of Hanging. Scenes, painted to imitate a sky or ceiling ; and of the Back-Scenes, which are either rolling scenes, let down from above, or Flats, which are pushed on from the sides, and meet in the centre. There are various other smaller portions of scenery used occa sionally* for balconies, Fie.; and many other contrivances and arrangements in order to produce pictorial effect.