September 1905
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VOL. XVIII. No. 3. SEPTEMBER, 1905. WHOLE No. 84 A NEW SERIES OF STAGE SETTINGS FOR SHAKESPEARE'S "ROMEO AND JULIET "ILLUSTRATED . 175 FRANK CHOUTEAU BROWN THE FAMOUS JAPANESE ROOM IN THE MARQUAND HOUSE ILLUS- TRATED 193 RUSSELL STURGIS DECORATIVE PAINTING IN MAN- TUA, ITALY ILLUSTRATED . ALFREDO MELANI A NOVEL COLLEGE CHAPTER- HOUSE ILLUSTRATED . SOME CALIFORNIA BUNGALOWS- ILLUSTRATED . 217 THE AMERICAN PANTRY ILLUS- TRATED ...... 225 KATHERINE C. BUDD NOTES AND COMMENTS ILLUSTRATED 233 C. W. SWEET, Publisher R. W. REINHOLJD, Business Mgr. H.W.DESMOND, Editor H. D. CROLY. Associate Editor Subscription (Yearly;, $3.00 Published Monthly ' ' ^- -*' ": '~ ''--^ -''-''- i '.':' i T ''< '.V- . t .'i.'V'l '.'.".'. '''.".' '!-" -'I'li-m '.'. ''.' V>v:f/r ,';,. ..-., OFFICE OF PUBLICATION: Nos. 14 and 16 VESEY STREET, NEW YORK CITY. WESTERN OFFICE: 511 MONADNOCK BLOC., CHICAGO, ILL. FIG. A. VIA DEL MELANGOLO, VITERBO. (See article, "A New Series of Stage Settings for Shakespeare's 'Romeo and Juliet.' ") Vol. XVIII SEPTEMBER, 19O5 No. 3 A New Series of Stage Settings for Shake- speare's "Romeo and Juliet." Designed by Frank Chouteau Brown, Architect. Although the designing of stage scen- Italy, architectural designers had also ery does not belong to the ordinary been employed upon stage scenery. Ser- routine of work in an architectural of- lio in one of his works on Architecture, fice, yet the architect's training should gives us designs for stage settings ap- eminently fit him to suggest interesting propriate to different kinds of classic and architecturally correct stage pic- plays, and at least one stage setting of or not he a his was in Palladio's tures ; whether possesses design employed sufficient knowledge of scenic require- native town of Vicenza. A little later, ments to fully work out in detail the Scamozzi designed the stationary scen- exact application of his ideas to the ery still in place in Palladio's Classic elaborate conventions of the stage. "Olympic" Theatre in the same city. For many of the most important Since the time of Inigo Jones, now English productions, especially those re- just 300 years ago, the conventions gov- quired to truthfully depict a definite his- erning theatrical scenery have become toric period or place, proper architec- so complicated and technical that, un- tural advice has been obtained in one less the designer possesses a most elab- or another form before starting the orate and intimate knowledge of the ne- scenery. Upon a few occasions it cessities of the problem presented by has even been entirely given into such its handling, setting, housing, and trans- in that competent hands ; the same way portation, a most impractical set of de- the costumes are often designed by such signs is likely to result. authorities as Sir Alma-Tadema, or Mr. That there exist to-day certain preju- Percy Anderson, for instance. For this dices against the architect as a scenic there exists ample precedent as, in the designer among even the best theatri- early days of the development of the cal managers, is apparent from a pre- English drama, we know that many set- vious personal experience of my own. tings were invented by the eminent Some six years ago, when work was just architect to a certain Inigo Jones ; whom, indeed, commencing on important pro- we are largely indebted for the present duction,! called on Mr. Daniel Frohman, of both Theatre and to the arrangement Stage ; .the producing manager, suggest even many of the actual scene con- possible advantages of having the Co- ventions still existing to-day in theatri- lonial and Georgian architectural set- cal presentations having been first origi- tings reproduce, with more fidelity than nated by him. the scenic studio would ordinarily com- Previous to this in another country, pass, the actual local surroundings of Copyright, 1905, by "THE ARCHITECTURAL RECORD COMPANY." All rights reserved. of 1879. Entered May 22. 1902, as second-class matter. Post Office at New York, N. Y.. Act of Congress March 3d, 176 THE ARCHITECTURAL RECORD. this early period in our development and Stock Company giving a matinee and history. He proved to be most ap- evening performance on all six days of proachable, but when it developed in the week is maintained. To realize the the course of the conversation that his designs by constructing and painting caller was an architect, it immediately the scenery and properties, the regular became apparent that he had no inclina- staff connected with the theatre could tion to further discuss the matter with alone be depended upon. There also ex- any one belonging to that profession. isted other unalterable conditions. From the impression obtained at that The matter of time was important. time it appeared that previous experi- The Management had so far deter- ence had quite convinced him that such mined the plays that were to precede gentlemen were as a class too narrow and follow "Romeo and Juliet," that it in their of view as was to make substan- and assured point ; impossible any tial in their and for well as too impracticable and expensive change sequence ; in their designs, to make it worth his the painting of scenery, but an absolute while to undertake any additional two weeks was available. During the bother for what was so far as any di- first of these two weeks, too, it became rect financial return or artistic apprecia- necessary to finish up and put into final tion from an audience could be counted shape the scenery for Boucicault's "Col- upon a comparatively unimportant de- leen Bawn," the play that occupied the tail. And this represents the position stage of the Theatre for the week im- taken by one of the most enlightened, mediately preceding "Romeo and intelligent, and probably least com- Juliet." This popular Irish melodrama mercial among our theatrical producers. required the handling of some 14 sep- It was with sur- arate scenes at each consequently some presentation ; prise and pleasure that the preferred which was. in itself, unfortunate, as it opportunity to work up a set of designs occupied all the stage hands and prop- for scenery to accompany Shakespeare's erty men continuously during every af- "Romeo and Juliet" was accepted by ternoon and evening of the week. It the writer. Even under the greatly re- was this sequence that largely proved stricted conditions that in this case nec- the responsible cause for the inability essarily accompanied the commission, of the Theatre staff to finally realize, the ideal beauty of the scenic problems in some two or three of the scenes, the presented by such a play was in itself an utmost of the intentions expressed in inspiration. the scene models. In further explaining the circum- In laying out this scenery too, not stances attending this venture there is only was the designer held down by the no intention of begging allowances on ordinary considerations that hold true account of undue restrictions, as to cost of any production of a Shakespearian or otherwise, having been imposed by drama ; so many scenes to be quickly the Theatre management. Such is far handled requiring especially simple from being the case. The more thor- construction, but other restrictions, as the actual facts oughly are known, the well, resulted from the special . condi- more remarkable and interesting the tions governing the case. A due regard experiment becomes. The Management for the short length of the run, one itself displayed a surprising liberality, week, made impossible the use of any and seemed actuated only by the de- elaborately constructed or built-up set- sire to put on a Shakespearian play in tings, as well as those requiring many the best manner that was humanly pos- "flats" of characteristic or special out- sible in a Repertoire theatre, with the line. It thus became necessary to de- resources at their disposal. pend almost entirely upon simple The performance was to be given "for "drops," "borders," and plain stock one week only" at the Castle Square "wings" of ordinary size, to realize the Theatre, in Boston, where a dramatic effects of each scene. These necessary STAGE SETTINGS FOR NEW "ROMEO AND JULIET." 177 limitations were all most reasonable, picturesque background was intended. and instead of restricting the scenic pos- Above all, it was important for the sibilities, they even added an additional settings to be picturesquely and strong- zest in making the problem the more ly suggestive of the romantic atmos- in no case can of the it difficult of solution ; while phere story, and is this reason it be said that they prevented the reali- alone that makes the North Italian zation of an appropriate and effective locale so scenically valuable, offering as set. it does picturesque possibilities of much Besides requiring thorough experi- greater importance than absolute his- ence, a practical knowledge of the tech- toric or architectural veracity. Any ro- nical restrictions determining the con- mantic suggestiveness possibly deriva- struction and use of scenery, the archi- ble from period, landscape, environment, tect has certain other temperamental color or line were made to assist psy- and educational influences to overcome chologically or visually toward produc- before he can be relied upon to pro- ing upon the audience the temperamen- duce successful stage pictures. In this tal mood most desirable for their appre- capacity there are demanded of him ciation of the various scenes of the play. many of the imaginative, picturesque Of the many versions of this story and compositional traits of the success- that appear as probable sources for the ful that are little derivation of the painter ; qualities likely plot, the one included to survive the conventional architectural in Matteo Bandello's collection (pub- training with its insistence upon clas- lished in 1554) may be considered as the sic balance and repetition of feature, ten- most important.