THE “SUN ROBE.”
The illusion which we are about to describe is employed in the “Peau d’Ane” for producing the fairy robes in the story—the color of the sun, the color of the moon, and the color of the sky—required by the play. In the midst of a brilliantly illuminated procession come two porters carrying a large chest by means of handles at the end. Having reached the royal throne they place the chest on the floor and raise the cover. There is immediately seen a fabric the color of the sun, a luminous golden yellow. Afterwards two other porters come with a similar chest, which, when opened, exhibits a bluish-white phosphorescent fabric. The third chest contains a robe of a celestial blue. This robe is also luminous. The fabrics are moved by the porters to make them sparkle. The secret of the illusion is that the bottom of each of these chests is capable of being opened over a trap, and by means of an electric lamp the electric light is directed upon a light and transparent fabric so that it really seems to be on fire. A yellow light suffuses the fabric of the same color and incorporates itself with it. After the cover has been shut down upon the stage, the bottom is closed from beneath, the light is extinguished, the trap is shut up, and the chest is carried away by the porters. The same is done with a slightly bluish-white fabric and a white light, for the moon-colored fabric; and then with blue tarleton and a light with a bluish tinge for the sky-colored fabric.
THE SUN ROBE IN THE FAIRY SCENE OF THE “PEAU D’ANE.”
THE SHIP ON THE STAGE.
An opera or ballet which requires a ship taxes the powers of the stage machinist and the property master to the utmost. The ship which we illustrate was made for the ballet called the “Tempest,” at the Paris Opera House, and is superior to most of the ships in the “Corsair” and “L’Africaine.” The vessel, starting from the back of the stage, advances majestically, making a graceful curve, and stops in front of the prompter’s box. Our [illustrations] give detailed views of the vessel and the setting of the scenery. The sea is represented by four parallel set rows, the location of which is indicated in our second [engraving].