The garden bench in Act II was made by a pupil who had made a special study of gardens. When one of the boys found that a lute was needed for this scene, he went to the art museum where he had the good fortune to find two lutes, a large one and a small one, both of Italian make. He then went to the historical museum where he found pictures of similar lutes used in England, in the time of his play. He now decided to use the large lute in the museum as a model for the lute of his minstrel, and the smaller one for Lady Alice. He then made careful drawings to scale, proceeded to carve the instruments from wood, and to stain them, and enrich them with gold. When they were finished, with the little detail of strings, they were such an exquisite note of perfection that they added much to the beauty of the scene, and gave a thrill of delight to all who saw them.
In Act III, a Gothic throne and a Gothic chest were needed. The boy who was responsible for these went to the art museum to look for Gothic furniture. He found a Gothic chest, and adapted its proportions and design to both the throne and the chest. He copied a XVth Century stool for the minstrel to sit upon. The carpet and hangings for this scene were made from large scraps of rich crimson velvet given by a generous upholsterer.
In Act IV, the royal box was historically true, as it was made from drawings of a royal box found in an old illuminated manuscript. It was constructed from wood and beaver board. Tapestries hung from the front of the box and pennants from tall poles at the corners.
Sometimes, when scenery has been especially well designed, it makes properties almost unnecessary. For instance, in the throne room of King Elf in Sigurd, the Volsung the background is a dark, richly colored tapestry. Against this was placed the throne on a raised dais. With this single property the scene was a satisfying picture. When the three fair-haired maidens, dressed in white and gold, with flowing veils of pale rose, came to present the baby Sigurd to King Elf, it was a lovely picture.
The materials used for making properties are usually wood, cardboard, tacks, glue, ½-inch linen or cotton tape, papier-mâché, gesso, and paints. The tools needed are hammer, coping saw, scissors, and a sharp knife. Drawings should be kept before the worker for constant reference. They are his guide for proportion, design, and scale.
Accidents are as likely to happen in puppet families and at puppet parties as they are to happen in our homes and at our own parties. If the chairs are unsteady and the tables too light, they may cause trouble and embarrassment. Think what might have happened at Bob Kratchet’s Christmas party in Charles Dickens’ Christmas Carol, when all the puppets sat down to the well-laden table, if some thought had not been given to making it secure. How do you imagine this was done? The table and all the chairs were glued to a large piece of cardboard. When the scene was set, this was placed on the stage. In the time of Bob Kratchet, just as in our own time, houses contained many pieces of furniture and other things of daily use. Imagine what would happen, if we made all the properties that are mentioned in the story and then tried to crowd them on to the stage. There would be no room for the puppets to move about in. Our eyes would be confused with details and the picture would be ruined. Here is a list of the properties that were chosen by the group of children who gave The Childhood of David Copperfield:
Act I. Sitting room in the Copperfield house An armchair for Peggoty A table for Peggoty and work basket Stool for little David Curtains for the windows Act II. In the boathouse A chair for Peggoty A chair for Mrs. Gummage A table for Peggoty’s work basket and balls of bright-colored wool. A chest for David and Emily to sit upon A small box for Ham A chest of drawers, on top of the drawers a tray, teapot, two cups, and saucers Curtains for the windows Act III. The seashore A log for David to sit upon A large rock for Emily to sit upon Two or three small rocks to complete the picture Act IV. The schoolroom Six benches for the schoolboys Two desks, one for the master, one for his assistant Two chairs Books for the desks Act V. Betsy Trotwood’s garden A long bench where David rested A large kite for old Master Dick Three or four flower pots to complete the picture
Nearly all properties need some decoration. Some need color, others need merely stain. Occasionally it is necessary to give the effect of carved wood. This is necessary in plays of the Middle Ages like Sigurd, the Volsung, and Men of Iron, where your properties represent old wood carving. Gesso may be used to suggest this carving. Gesso was used by the craftsmen of the Middle Ages, especially in Italy, for enriching surfaces. This is the formula for making it: 2 tablespoons of varnish, 12 tablespoons of glue (best quality), 8 tablespoons of linseed oil. Mix these three ingredients together and allow to stand. In a separate dish put 20 rounded tablespoons full of whiting and then mix with water until it is the consistency of thick cream. Pour this into your first mixture and cook in a double boiler for ten minutes, stirring constantly. Then pour into a bottle and cork tightly. The gesso is now ready for use.
Work out your design and then draw it carefully upon the chair, chest, or throne which you mean to decorate. Apply the gesso with a small brush. Be very careful to keep well within the line of your design. The gesso will give you a pattern in relief. You must keep each surface flat for at least 12 hours, or until dry. If the design is not high enough when it is dry, a second coat may be applied. When you have covered all the parts which are to be painted and the gesso is dry, rub it over with a bit of oil paint mixed in these proportions: ¾ of ivory black, ¼ of burnt sienna thinned with a little turpentine. After the oil paint has dried, add a coat of dull finishing wax and rub down.