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Article THE NEW THEATRES IN PARIS.* ← Page 3 of 3
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The New Theatres In Paris.*
1836 , the Quai de la Ferraille was again reconstructed , and greatly improved , at a cost of 700 , 000 francs . At this time an archway which led from the river under the houses of the quay was removed . Lastly , in 1860 , the roadway was raised so as to leave the old houses at eight or ten feet below the new level , and render necesthe demolition and reconstruction which is the work
sary of the present year . The system of lighting and ventilation which eventually determined structural arrangements of the two buildings that have been completed , in the locality we have spoken of , was founded on a report , or reports , made by Messrs . Boussingault , Pelouze , and Dumas „ ancl the General Moriu . These authorities , according to Mr .
Devinok in the Corps Legislatif ( Moniteur , 28 th June , 1861 ) , stated that 8 to 10 cubic metres of air per hour were necessary for each spectator , whilst there was no theatre in Paris answering those conditions . A number of the Bevue et Gazette des Theatres , of September , 1861 , speaks of a report drawn up by General Morin , for the commission appointed by the Prefect of the Seine , and
forming a thick volume ; in which report , the fresh air required , and capable of being provided , was stated as 30 metres for each spectator , in the course of each performance . The bulk of the matter of the reports / and the results of numerous experiments by General Morin , which extended to the subject of lighting of the stage and auditory , will doubtless bo found in the
Gomptes-Mend'iis ofthe Academie des Sciences , and the Annates du Conservatoire Imperial des Arts et Metiers . The conclusions arrived at appear to have been turned to account in the Iheatre de la Gaiete in the system there , of lighting , which is spoken of as the invention of Mr . Cusin , the architect of that new theatre . Postponing any account of the plan and decorative details of the new theatres on the quay , we may say that the system of lighting and ventilation consists in what has been called " exclusive lighting , " or like what is in
use at the House of Commons , combined with the utilisating ofthe heat in the roof-space which is above the glazed ceiling , as extracting force . The first application of the method of lighting , in Paris , was made in the solles of the Corps Legislatif in February last . In that case , instead of the central chandelier , or lustre , there is in the ceiling , a central space of ground-glass , above which are
numerous jets of gas backed by a large reflector . The light , when the arrangement was first adopted , was found to be much better than that of the old system . The question suggested is as to cost of gas . If we may credit one writer , the expense per night in one of the old theatreswas one-fourth what it is in the new building . But we imagine that the difference will bo
greatlrey duced by application of the best forms of reflectors ancl after general study of the subject . In the Western Annex of the International Exhibition building is a new form of magneto-electrical apparatus , shown to be applicable to lighthouses ; and in which , constant meeting of the charcoal points , and non-intermittence of the light , are fully attained . The ingenious machinery by which
this is managed , would require longer explanation than might be adapted to this present article . One feature of the machine is the use of a small steamengine , which turns a large wheel , on the periphery of which are placed the magnets . Mr . F . H . Holmes is the inventor . In fact , the whole subject of artificial lightingis in its infancy ; and if we mistake not , the French will
make something of Mr . Holmes ' s invention as well in the lighting of buildings and streets , as in their lighthouses , which are most assiduously looked after . As to another question in the application of the system of " exclusive lighting , " a thermometer in the luminous chamber of the salle of the Corps Legislatif has shown 90 degrees , centigrade scale , of heat , or equal to 194 Fahrenheit . Such heat would seem to involve danger , unless where there is special instruction ; an opinion similar to one which was freely expressed by the architect
of tho Houses of Parliament , when the method in question was adopted by the Commissioners of Works . In the Theatre Lyrique , and in the Theatre Historique , as we shall probably be right now in calling the ( circus ) , the architect has of course formed the roof framing wholly of iron ; and he has brought a large amount of constructive skill to this part of his task . What degree of heat is
necessary in the case of the theatres , as motive power , we do not at present know . One of the earliest proposals for the improved ventilation of theatres was that of Darcet , described as comprising admission of air , supplied from the basement , by numerous openings in the jont of the boxes , and its escspe ban opening in the roofbelow which
y , was the great chandelier , or lustre . This method , in principle , and in some details , therefore is the same as that of the London theatres . The defect of the system has been considered to be that it renewed only that portion of thejair which was the least vitiated ; and that , as inducing a current of sound from the stage to the ceilingit was unfavourable to hearing and especially
, unsuited to opera-houses . As wrote Mr . About in Le Const itutionnel , "the public of the orchestra and the boxes obtain of music little , and breathe of bad air much . " Darcet's arrangements , it is said , were much improved upon by Mr . Charpenties , an architect , hi the Theatre de l'Opera Comique ; but whatever the latter improvement was , it has since been got rid of by one or other
management of the theatre . It has been proposed to adopt the system of a downward current in theatres , with the opening of escape , or exhaustion , in front of the stage : but this has not been carried into effect in any
building in Paris . The only improvement we can discover as having been made prior to the construction of the new buildings , was that in the rampe , or "float , " for lighting the stage , which we described when it was first introduced at the Grand Opera House . We attributed the suggestion of this arrangement to Mr . Lissajouk , to whom we were indebted for information ; and Mr . About
following the Annates d'Hygiene prefers the claim of the professor to the credit of the invention . Such credit General Morin in his report has omitted to accord , receiving himself whatever praise may be due for it . Mr . Lloyd ' s patented plan has points of difference from the French arrangement , originally described by us ; but there is much in his arrangement that would be
suggestive to the French , especially in connection with the point to which we referred at the time , the necessity of making the elevation of the reflector above the floor line of the stage , as slight and as sightly as possible . Mr . Lloyd's arrangement as shown and described would allow the smoke and gaseous products of combustion to take their usual course , producing an effect which
interferes with the view of the scene from tbe house , and perpetuating the inconvenience and prejudicial results to actors and singers . In the French arrangement , on the other hand , as noticed by us , the lights are completely encased ; the front next the stage is not wire-gauze , but ground glass ; and the ends of the tube or chamber have each attached to them at the sides of tho stage , a
perpendicular tube for the escape of the products of combustion from the chamber . What modifications in the form have been made in the new theatres , we are not yet aware .
MADAME TASSAUD ' S . — -An accession of some merit has just heen made to the interesting groups of great personages in which Madame Tassaud ' s historical gallery abounds . It is a group representing the marriage ceremony on the joining of hands of her Eoyal Higness the Princess Alice and his Eoyal Highness the Prince of Hesse . The likenesses of the bride and bridegroom are perfect . This addition will be duly estimated by all people of taste . The crowds by which the gallery has been for many weeks visited appear to suffer little or no diminution in numbers . It would seem almost a necessity to visit the gallery .
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The New Theatres In Paris.*
1836 , the Quai de la Ferraille was again reconstructed , and greatly improved , at a cost of 700 , 000 francs . At this time an archway which led from the river under the houses of the quay was removed . Lastly , in 1860 , the roadway was raised so as to leave the old houses at eight or ten feet below the new level , and render necesthe demolition and reconstruction which is the work
sary of the present year . The system of lighting and ventilation which eventually determined structural arrangements of the two buildings that have been completed , in the locality we have spoken of , was founded on a report , or reports , made by Messrs . Boussingault , Pelouze , and Dumas „ ancl the General Moriu . These authorities , according to Mr .
Devinok in the Corps Legislatif ( Moniteur , 28 th June , 1861 ) , stated that 8 to 10 cubic metres of air per hour were necessary for each spectator , whilst there was no theatre in Paris answering those conditions . A number of the Bevue et Gazette des Theatres , of September , 1861 , speaks of a report drawn up by General Morin , for the commission appointed by the Prefect of the Seine , and
forming a thick volume ; in which report , the fresh air required , and capable of being provided , was stated as 30 metres for each spectator , in the course of each performance . The bulk of the matter of the reports / and the results of numerous experiments by General Morin , which extended to the subject of lighting of the stage and auditory , will doubtless bo found in the
Gomptes-Mend'iis ofthe Academie des Sciences , and the Annates du Conservatoire Imperial des Arts et Metiers . The conclusions arrived at appear to have been turned to account in the Iheatre de la Gaiete in the system there , of lighting , which is spoken of as the invention of Mr . Cusin , the architect of that new theatre . Postponing any account of the plan and decorative details of the new theatres on the quay , we may say that the system of lighting and ventilation consists in what has been called " exclusive lighting , " or like what is in
use at the House of Commons , combined with the utilisating ofthe heat in the roof-space which is above the glazed ceiling , as extracting force . The first application of the method of lighting , in Paris , was made in the solles of the Corps Legislatif in February last . In that case , instead of the central chandelier , or lustre , there is in the ceiling , a central space of ground-glass , above which are
numerous jets of gas backed by a large reflector . The light , when the arrangement was first adopted , was found to be much better than that of the old system . The question suggested is as to cost of gas . If we may credit one writer , the expense per night in one of the old theatreswas one-fourth what it is in the new building . But we imagine that the difference will bo
greatlrey duced by application of the best forms of reflectors ancl after general study of the subject . In the Western Annex of the International Exhibition building is a new form of magneto-electrical apparatus , shown to be applicable to lighthouses ; and in which , constant meeting of the charcoal points , and non-intermittence of the light , are fully attained . The ingenious machinery by which
this is managed , would require longer explanation than might be adapted to this present article . One feature of the machine is the use of a small steamengine , which turns a large wheel , on the periphery of which are placed the magnets . Mr . F . H . Holmes is the inventor . In fact , the whole subject of artificial lightingis in its infancy ; and if we mistake not , the French will
make something of Mr . Holmes ' s invention as well in the lighting of buildings and streets , as in their lighthouses , which are most assiduously looked after . As to another question in the application of the system of " exclusive lighting , " a thermometer in the luminous chamber of the salle of the Corps Legislatif has shown 90 degrees , centigrade scale , of heat , or equal to 194 Fahrenheit . Such heat would seem to involve danger , unless where there is special instruction ; an opinion similar to one which was freely expressed by the architect
of tho Houses of Parliament , when the method in question was adopted by the Commissioners of Works . In the Theatre Lyrique , and in the Theatre Historique , as we shall probably be right now in calling the ( circus ) , the architect has of course formed the roof framing wholly of iron ; and he has brought a large amount of constructive skill to this part of his task . What degree of heat is
necessary in the case of the theatres , as motive power , we do not at present know . One of the earliest proposals for the improved ventilation of theatres was that of Darcet , described as comprising admission of air , supplied from the basement , by numerous openings in the jont of the boxes , and its escspe ban opening in the roofbelow which
y , was the great chandelier , or lustre . This method , in principle , and in some details , therefore is the same as that of the London theatres . The defect of the system has been considered to be that it renewed only that portion of thejair which was the least vitiated ; and that , as inducing a current of sound from the stage to the ceilingit was unfavourable to hearing and especially
, unsuited to opera-houses . As wrote Mr . About in Le Const itutionnel , "the public of the orchestra and the boxes obtain of music little , and breathe of bad air much . " Darcet's arrangements , it is said , were much improved upon by Mr . Charpenties , an architect , hi the Theatre de l'Opera Comique ; but whatever the latter improvement was , it has since been got rid of by one or other
management of the theatre . It has been proposed to adopt the system of a downward current in theatres , with the opening of escape , or exhaustion , in front of the stage : but this has not been carried into effect in any
building in Paris . The only improvement we can discover as having been made prior to the construction of the new buildings , was that in the rampe , or "float , " for lighting the stage , which we described when it was first introduced at the Grand Opera House . We attributed the suggestion of this arrangement to Mr . Lissajouk , to whom we were indebted for information ; and Mr . About
following the Annates d'Hygiene prefers the claim of the professor to the credit of the invention . Such credit General Morin in his report has omitted to accord , receiving himself whatever praise may be due for it . Mr . Lloyd ' s patented plan has points of difference from the French arrangement , originally described by us ; but there is much in his arrangement that would be
suggestive to the French , especially in connection with the point to which we referred at the time , the necessity of making the elevation of the reflector above the floor line of the stage , as slight and as sightly as possible . Mr . Lloyd's arrangement as shown and described would allow the smoke and gaseous products of combustion to take their usual course , producing an effect which
interferes with the view of the scene from tbe house , and perpetuating the inconvenience and prejudicial results to actors and singers . In the French arrangement , on the other hand , as noticed by us , the lights are completely encased ; the front next the stage is not wire-gauze , but ground glass ; and the ends of the tube or chamber have each attached to them at the sides of tho stage , a
perpendicular tube for the escape of the products of combustion from the chamber . What modifications in the form have been made in the new theatres , we are not yet aware .
MADAME TASSAUD ' S . — -An accession of some merit has just heen made to the interesting groups of great personages in which Madame Tassaud ' s historical gallery abounds . It is a group representing the marriage ceremony on the joining of hands of her Eoyal Higness the Princess Alice and his Eoyal Highness the Prince of Hesse . The likenesses of the bride and bridegroom are perfect . This addition will be duly estimated by all people of taste . The crowds by which the gallery has been for many weeks visited appear to suffer little or no diminution in numbers . It would seem almost a necessity to visit the gallery .