: pp biti ail Cn ini Aan fi oe Qi io 7 5 Js oR LR Boy ee a MODERN OPERA HOUSES AND THEATRES. EXAMPLES SELECTED FROM PLAYHOUSES RECENTLY ERECTED IN EUROPE. WITH DESCRIPTIVE TEXT, A TREATISE ON THEATRE PLANNING AND CONSTRUCTION, AND SUPPLEMENTS ON STAGE MACHINERY, THEATRE FIRES, AND PROTECTIVE LEGISLATION; BY EDWIN O SACHS ARCHITECT. VOLUME 11. AMWITH ONE HUNDRED PLATES AND NINETY FIVE 1LLUSTRATIONS IN THE TEXT PUBLISHED BY DB. T. BATSFORD, HIGH HOLBORN. LONDON, 1397. / LIST OF ORIGINAL SUBSCRIBERS. THE ART LIBRARY, SCIENCE & ART DEPARTMENT, SOUTH RENSINGTON MUSEUM, LONDON. HM. PATENT OFFICE, LONDON. THE ARCHITECTURAL SCHOOLS, PRUSSIAN ROYAL ACADEMY, BERLIN. THE LONDON COUNTY COUNCIL. TEE MITCHELL LIBRARY, GLASGOW. THE PUDLLIC LIBRARY LIVERPOOL. THE IMPERIAL TECHNICAL COLLEGE, VIENNA. THE ASTOR LIBRARY, NEW YORK, USA. THE PUBLIC LIBRARY, TORONTO THE ENGINEERS DEPARTMENT 70 THE GAEKXKWAR OF BARCDA. THE BOARD OF WORKS, HAMBURG. THE POLICE ADMINISTRATION, HAMBURG. THE IMPERIAL ZNGINEARING COLLEGE, TOKIO. THE CITY FIRE BRIGADE ALTONA. THE CITY FIRE BRIGADE, BREMEN, THE CI7Y FIRE BRIGADE HAMBURG. THE IMPERIAL. UNIVERSITY LIBRARY, SIRASSBURG., THE TECHNICAL SCHOOLS, LEMBERG. THE TECHNICAL SCHOOLS, MAGDEBURG. THE ROYAL TECHNICAL AND. COMMERCIAL LIBRARY, STUTTGART. THE CORNELL UNIVERSITY LIBRARY, ITHACA, U.S.A THE PUBLIC LIBRARY, CINCINNATI U.S.A. THE PUBLIC LIBRARY, DETROIT, U.S. 4, THE ATHENZUM LIBRARY, MINNZAPOLLS, U.S.A. THE FOREIGN ARCHITECTURAL BOOK CLUB, LONDON, THE ALHAMBRA THEATRE DIRECTORATE, By A. Moul, Esg., London. PROFESSOR ERNESTO BASILE, Teatro Massimo, Palermo. FRANK R. BENSON, Esq., Maidenhead. SOHN CAMPBELL, Es, FRIBA., The Fort, Bombay. ARTHUR CAREY, Esg., AMICE., Rosary Gardens, SW, $. CHARLTON, Esq, Huntley, U.S.A. R. CHISHOLME, Esq., Heidelberg. ; MAX CLARKE, Esq. A.RI.B.A., Queen's Square, W.C. HENRY IVES COBB, Chimgn. ISAAC COHEN, Esq., Pavilion Theatre, Mile End, Z. A. 0. COLLARD, Bs, ARIB.A., Craig's Court, Charing Cross; SH. 7 7 COLLCUTT, Ey. FRLB.A, Bloomsbury Square, W.C. AUGUSTIN DALY, Esg., Daly's Theatre, Ww.C. ALFRED DARBYSHIRE, ZBsy, F.5.4., FRIB.A., College Chambers, Manchester. YAMES B. DUNN, Es. George Street, Edinburgh. WALTER EMDEN, Esq. Strand, W.C. 11.—0 THE EMPIRE THEATRE DIRECTORATE, By A. W. Zennapl, Esy., London, H ERNST, Ey. Zoid, HL. FLORENCE, ZFsy., LRLB.A., Vernlnm @ Builders, Gray's Inn, W.C. H. FORTILAGE, Esyq., College Roud, Dulwich, S.E. Messrs. GREEN & WICKS, Buffalo, U.S.A. FT. HAMP, Zsy,, High Lolborn, W.C. SIR AUGUSTUS HARRIS, Theatre Royal, Drury Lane. Ww. BANCOCK, Esy., Wardrobe Chambers, Z.C. SOHN. HEBB, Esy., FRIB. A. Assistant Awchitect, London County Council. H. AWDUS HILL, Esq., Theatres Department, London County Council. WALTER HILL, Esg., Southampton Row, W.C. EMIL HOLLANDER, Esq., Drvesdener Bank, Berlin. Y.. CHARLTON HUMPHREYS, Esy., Kuightsbridpe, WW. SIR HENRY IRVING, The Lyceum Theatre, W.C. 521616 LEOPOLD FACOBI, Esq. Ferdinandstrasse, Hamburg. Messrs. KAYE & SONS, High Holborn, W.C. Messrs, KAYSER & VON GROSSHELIM, Berlin. BOLOSSY KIRALFY, Esy., Obwpta, S.V. IMRE KIRALFY, Esp, Earls Court, S. WW. Z. BE. RNIGHILEY. Esy., BRILL. A. Conpon Styeet, EL. Mrs. LANE, The Britannia Theatre, Hoxton, N. CHARLES LONG, Esy, ARIB.A. Rossiyn Fill, Hompstond, NW. Messrs. MAPLE & CO. Tottenham Court Road, W.C. PROFESSOR OTTO MARCH, Charlottenburg. FRANK MATCHAM, Esq, Warwick Court, W.C. CARL MEYER, Esy., Hill Street, Berkeley Squave, WW. A. MCELLMANN, Esq., Woodsome Lodge, Weybridge. 7. B. MULHOLLAND, Esq., Theatre Métropole, Camberwell, SZ, | ALBERT OCHS, Esp, Hydé Park Strea, WW. 2. TAVENOR PERRY, FEsy, FRIDB.A. The Grove South Kensington, S.W. C, 7. PHIPPS, Esy, £84, FRIB.A., Malkicninrgl Sguare, W.C. P. ZB. PILDITCH, Esy., F.S1., Parkament Siyeet, S.W, FRANZ VON RAICHL, Esq., Buda-Pesth. ERNEST RUNTZ, Esq, Moorgate Street, E.C. My. E.G. ALLEN, London. Messrs. CALVE, Prague. Messrs. FLOR & FINDELZ, Florence. Mr. GLAISHER, London. Mr. IT. HENRY, Zoronto. Messys, HESSLING & SPIELMEYER, New York. Messrs. LANSON & WALLIN, Stockholm. FH REED, Esp, ARRIBA. Grow Ville, Les SE. GUSTAV SACHS, Esg., Marlborough Hill, N.W. ALBERT SAMSON, Esq., Avenue Louise, Brussels. GUSTAY SAMSON, Esy., Colttus. F. BENNETT SMITH, Esg, FRB LB.A., Manchester. W. G. BR. SPRAGUE, Esy., Arundel Street, Strand, W.C. HERBERT SPRAKE, Esy., Collins Music Hall, London. PROFESSOR IMRE STEINDL, Hon. Corr. Mem. RILB.A., Houses of Parliament, Buda-Pesth. SYDNEY STENT, Esy, PRIDE. A, Cite Town. INIGO TASKER, Esq., John Street, Bedford Row, W.C. BRANDON THOMAS, Esq., Cadogan Tervace, S.W. FRANK 7. VERITY, Esq, A.RI.B.A., Surveyor to the Lord Chamberlain, [Jermyn Street, W. LUDWIG WAGNER, Esq., North Finchley, N. RICHARD WIENER, Esq., Bendlerstrasse, Berlin. Messrs. WILLIAMSON & MUSGROVE, Princess Theatre, Melbourne. CHARLES WILMOT, Esq., The Grand Theatre, Islington, NM. MAJOR WINSTANLEY, Royal Opera House, Leicester. OSWALD: C. WYLSON, Esy, FRIBA., King William Styeet, W.C....° PROFESSOR FOS. ZITEK, Imperial Technical College, Prague. DALINT ZOLTAN, Esy., Buda-Pestl, Messrs. LEHMANN & WENTZEL, Vienna. Messrs. VAN NOSTRAND & CO. New York. Wy. ¥. 7. PENTLAND, Lowi. Messys, G. P. PUTNAM'S SONS, London, Messrs. SCHUSTER & BUFLERB, Bevin. Messrs. SCRIBNERS’ SONS, New York. Messrs. SIMPKIN, MARSHALL & CO. London. Messrs. B. F. STEVENS, London. SUPPLEMENTARY LIST, THE CITY FIRE BRIGADE, AMSTERDAM. THE PUBLIC LIBRARY, BOSTON. THE AMERY LIBRARY, NEW: YORE. HZ. BLANE, Bsy., Edipburgh, Messrs. A. G. BROWN & CO., London. RB. H BRUNTON, Esy., Lowiop. ARTHUR CATES, Ey, F.RL1B.A., Lowi. BERTIE CREWE, Zsy.,, London. C. 5. DUNHAM, Esy., Boston, U.S.A. 7HO0MAS ELSLEY, Bsy., London. W. S. GILBERT, Bsy., Hervow Weald. WILLIAM GREET, Esqg., Lyric Theatre, London. Messys. HH. GREVEL & CO. London. THE FREE LIBRARY, CARDIFF THE PUBLIC LIBRARY, WIGAN. Miss ALICE HALGARTEN, Hamburg. EE. D. HEINEMANN, Esq, Chicago. W. HOPE, Esq., North Shields. ZF MURRAY, Esq, ARIB.A., London. SIR DAVID SALOMONS, Bart., Tunbridge Wells. A. SELIM, Esq., London. Messrs. SHOOLBRED & CO., London. SYDNEY STOTT, Esq, Oldham, G. F. WARD, Esq., Birmingham. Mr. M. HOEPLI, Milan. «“« HER MAJESTY’S” THEATRE, LONDON. GENERAL VIEW. NOTE 10 VOLUME 1] HE encouraging manner in which the first volume of this work has been received compels me, on the issue of the T second, to express my great appreciation of the interest which has been shown in the undertaking, and I trust that those in whose eyes the first volume found favour will not be disappointed with the succeeding ones. It affords me special pleasure to be able to record that experts and others particularly associated with the Theatre have in every way supported my efforts. The reception by architects, engineers and public officials has been equally cordial, while playgoers and the general public, as represented by the Press, have not been ungenerous in their approval. I would add that owing to the Subscribers’ edition of the first volume having been exhausted a further issue of that part has been found necessary, and the number of copies of this present volume accordingly increased. In the original Preface I remarked on the length of time over which the compilation of the work had been spread, for, whilst I commenced to map out these two volumes early in 18go, they only saw their completion during 1896 and 1897. In consequence of this lapse of time it was practically impossible for me to keep strictly to my scheme as first conceived, or even to follow in every detail the definite programme made public in 1895. For, on the one hand, the favourable recep- tion of the first volume has enabled me to considerably extend the scope of the work, whilst, on the other, the enormous variety of material collected has compelled me either to abbreviate or entirely omit much I should like to have included. In so long a period, too, there have been great changes among those who have assisted me in the compilation, and I would particularly mention that, much to my regret, Ernest A. E. Woodrow, who during the short period of our professional association was always ready to help, has been unable to co-operate in the execution of the work as was originally anticipated. I believe, however, that the circumstances referred to have had but little effect on the general treatment of the subject, and, taken as a whole, I trust it will be found that it has been dealt with even more comprehensively than was promised. I would call attention to the fact that, whilst in this volume also I have adhered to the original idea of presenting all plans on a uniform scale, I have not considered absolute similarity in the reproduction of sections to be of the same importance. Where it has been possible, I have adopted the same reduction; but in the case of smaller theatres, where much of the detail would have been lost, a different scale has been introduced. I have attempted, as in the previous volume, to present the various plans and sections in a uniform manner, showing the main features of the respective buildings by a few geometrical lines. The illustrations in the text, which are necessarily limited in number, are, as before mentioned, still only intended to assist in the appreciation of the architectural or decorative features, whilst the letterpress is solely confined to recording facts, or to directing attention to noteworthy characteristics. There is one point, however, which I wish to emphasise. This work aims at continuing the valuable Atlas on earlier Theatres, published by Contant in 1842, and reprinted in 1860. Hence, it has not been my intention to notice buildings, however famous, previous to that date. These volumes, as may be seen from the title, deal essentially with modern structures, and, as a matter of fact, the earliest buildings treated of are the Paris Opera House and the Vienna Opera House, which were opened, respectively, in 1875 and in 1869, the designs for which, however, were prepared in 1861. I would here repeat what I said in my Preface regarding watchfulness to avoid errors in illustrations, text and tables. For any discrepancies that may be found I again crave indulgence, in view of the wide scope of the enterprise, and of the fact that it has not been found practicable to submit proofs to the various persons interested. Let me again take the opportunity of conveying to all who have so kindly assisted me in the issue of this work, my cordial thanks for their help and advice. EO 5 11 WATERLOO PLACE, Pall Marl, LoNDON, SW. June 3, 1897. LIST FRANCE. PARIS. PARIS. PARIS. MONACO. MONTE CARLO ITALY. PALERMO . MILAN TURIN SPAIN. BILLBAO AUSTRIA AND HUNGARY. VIENNA PRAGUE SALZBURG LAIBACH VIENNA GERMANY. FRANKFORT ESSEN ROSTOCK . BROMBERG BERLIN GREAT DRITAIN. LONDON LONDON LONDON LONDON LONDON STRATFORD-ON-AVON. LEEDS CAMBRIDGE GREECE. ATHENS HOLLAND. ROTTERDAM ROUMANIA. - BUCHAREST SWITZERLAND. GENEVA ZURICH 1.—C OF EXAMPLES IN VOLUME 11 PART 1 NATIONAL OPERA HOUSE NATIONAL “OPERA COMIQUE” “EDEN” VARIETY THEATRE CASINO THEATRE MUNICIPAL THEATRE *LIRICO” THEATRE PEOPLE'S THEATRE MUNICIPAL THEATRE PART -11 COURT OPERA HOUSE CZECH NATIONAL THEATRE MUNICIPAL. THEATRE MUNICIPAL THEATRE *RAIMUND” THEATRE MUNICIPAL. OPERA HOUSE MUNICIPAL. THEATRE MUNICIPA]. THEATRE MUNICIPAL THEATRE “LESSING” THEATRE «HER MAJESTYS” THEATRE “LYRIC” THEATRE “GARRICK” THEATRE « EMPIRE” VARIETY THEATRE “OXFORD” VARIETY THEATRE . SHAKESPEARE MEMORIAL THEATRE “GRAND” THEATRE . “NEW” THEATRE NATIONAL THEATRE MUNICIPAL THEATRE NATIONAL THEATRE MUNICIPAL THEATRE MUNICIPAL THEATRE ILLUSTRATED CHARLES GARNIER. Louis BERNIER. W. Kimv, A. Ducios. CHARLES (GARNIER. G. Basie, E. Basup. ACHILLE SFONDRINI. Camo Riccio. Joaquin Rucosa. VAN DER NULL, SICCARDSBURG. JoseEPH ZITEK, JOSEPH SCHULZ. F. FeLiner, H. HELMER. J. V. Hr4sky, Ant. HrOsy. Franz Rorn. LucAg, BECKER, GIESENBERG. HEINRICH SEELING. HEINRICH SEELING. HEINRICH SEELING. H. Von per Hupg, J. HENNICKE. C. J. Pairs, C. |. Puurps, WALTER EMDEN. Trowas Vzriry, F. T. Verity, OswarLp C. WyLsoN, CHARLES Lona. F. UNSWORTH. GEORGE CARSON. Eres Rintz. ERNEST ZILLER. J. VERHEUL. G. STERIAN. J. BE. Goss F. FeLLNer, H. HEeLMER. 1875 (1898) 1883 1879 1897 1894 1391 1890 1869 1383 1393 1892 1393 1880 1892 1395 1895 1888 1897 1888 1389 1882 1893 1879 1376 1896 1895 1887 (1898) 1879 1891 ILLUSTRATIONS DERIVED FROM OTHER PUBLICATIONS. NATIONAL OPERA COMIQUE, PARIS: GENERAL VIEW : : : : . ; g “THE BUILDER,” LONDON. “EDEN” VARIETY THEATRE, PARIS: GENERAL VIEW : ; ; : ; . ; : : “LLA SEMAINE DES CONSTRUCTEURS,” PARIS. THE PHOTOGRAPHS OF “HER MAJESTY'S” THEATRE, THE “GARRICK” THEATRE, AND THE “ EMPIRE” VARIETY THEATRE, LONDON, ARE BY ALFRED ELLIS; THE PHOTOGRAPHS OF THE SHAKESPEARE MEMORIAL THEATRE, STRATFORD-ON-AVON, ARE BY THE LONDON STEREOSCOPIC COMPANY, LIMITED. IN OTHER INSTANCES THE NAMES OF THE PHOTOGRAPHERS HAVE NOT BEEN OBTAINABLE. «“ EDEN” VARIETY THEATRE, ‘PARIS. DETAIL OF ELEVATION. LIST OF ILLUSTRATIONS NATIONAL OPERA ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, AREA. PLAN, THIRD TIER. LONGITUDINAL SECTION. FRONT ELEVATION, DETAILS AUDITORIUM, DETAILS. AUDITORIUM, CEILING. LOUNGE, DETAILS. BALLET ROOM, DETAILS. PART 1 FRANCE. HOUSE, PARIS ILLUSTRATIONS IN TEXT: BIL.OCK PLAN. GENERAL VIEW. SIDE VIEW. DETAIL OF FRONT ELEVATION. DETAIL OF ROOF. VIEW OF 1L.OUNGE. VIEW OF GRAND STAIRCASE. VIEW OF LOWER PART OF GRAND STAIRCASE. NATIONAL “OPERA COMIQUE.’ PARIS, ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, GROUND LEVEL. PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. ILLUSTRATIONS IN TEXT: BL.OCK PLAN. GENERAL VIEW. *EDEN” VARIETY THEATRE, PARIS, ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. FRONT ELEVATION, CENTRAL FEATURE. AUDITORIUM, DETAILS. ILLUSTRATIONS IN TEXT: BLOCK PLAN. GENERAL VIEW. DETAIL OF ELEVATION. ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, AREA. LONGITUDINAL SECTION. AUDITORIUM, DETAILS. AUDITORIUM, DETAILS. ILLUSTRATIONS ON PLATES: FRONT ELEVATION, PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. TRANSVERSE SECTION, ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. TRANSVERSE SECTION. ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, AREA. PLAN, THIRD TIER, LONGITUDINAL SECTION. MONACO. CASINO THEATRE, MONTE CARLO. ILLUSTRATIONS IN TEXT: BLOCK PLAN. GENERAL VIEW, VIEW OF PRINCIPAL ENTRANCE. VIEW OF AUDITORIUM. ITALY. MUNICIPAL THEATRE, PALERMO. ILLUSTRATIONS IN TEXT: BLOCK PLAN, GENERAL VIEW, VIEW OF CENTRAL FEATURE. *LIRICO™ THEATRE, MILAN. ILLUSTRATIONS IN TEXT : | BLOCK PLAN. | GENERAL VIEW. | PEOPLE'S THEATRE, TURIN. ILLUSTRATIONS IN TEXT: B1L.OCX, PLAN. SPAIN. MUNICIPAL THEATRE, BILBAO, LILUSITRATIONS IN TEXT : BLOCK. PLAN. | GENERAL VIEW. ILLUSTRATIONS ON PLATES: FRONT ELEVATION. PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. TRANSVERSE SECTION. FRONT ELEVATION, DETAILS. AUDITORIUM, DETAILS. GRAND STAIRCASE, DETAILS. PART 11. AUSTRIA AND HUNGARY, COURT OPERA HOUSE, VIENNA, LLUSTRAZIONS IN TEXT: BLOCK PLAN. GENERAL VIEW. VIEW OF CENTRAL FEATURE. VIEW OF AUDITORIUM. CZECH NATIONAL THEATRE, PRAGUE. ILLUSTRATIONS ON PLATES: ‘FRONT ELEVATION. -PLAN, AREA. PLAN, FIRST TIER. PLAN, THIRD TIER. LONGITUDINAL SECTION, FRONT ELEVATION, DETAILS. ILLUSTRATIONS ON PLATES: FRONT ELEVATION. BACK ELEVATION. PLAN, AREA. "PLAN, FIRST TIER. PLAN, SECOND TIER. LONGITUDINAL SECTION. JHLUSTRATIONS ON PLATES: FRONT ELEVATION, SIDE ELEVATION. PLAN, AREA. . PLAN, FIRST TIER. -PLAN, SECOND TIER. LONGITUDINAL SECTION, 1.—d HULUSTRATIONS IN TEX: BLOCK PLAN. GENERAL VIEW. SIDE VIEW. VIEW OF AUDITORIUM. DETAIL OF BOX DIVISION. MUNICIPAL THEATRE, SALZBURG, ILLUSTRATIONS IN TEXT: BLOCK PIL.AN. GENERAL VIEW. MUNICIPAL THEATRE 1 AIBACH. 2LLUST RATIONS IN TEXT: BLOCK. PLAN. GENERAL VIEW. AUSTRIA AND HUNGARY-—continued. *RAIMUND” THEATRE, VIENNA, ILLUSZRATIONS ON PLATES : ILLUSZRAZTIONS IN TEXT: ~-FRONT ELEVATION. BI.OCK PLAN. PLAN, AREA, GENERAL VIEW, ~PLAN, FIRST TIER. VIEW OF PROSCENIUM PLAN, SECOND TIER. J1.ONGITUDINAL SECTION. TRANSVERSE SECTION, GERMANY. MUNICIPAL OPERA HOUSE, FRANKFORT. ILLUSTRATIONS ON PLATES: LLUSTRATIONS IN TEXT: “FRONT ELEVATION. BLOCK PLAN. ~PLAN, AREA. GENERAL VIEW. PUAN, FIRST TIER. LONGITUDINAL SECTION, TRANSVERSE SECTION. MUNICIPAL THEATRE, ESSEN. LUSTRAZTIONS ON PLATES: ZLLUSIRATIONS IN TEXT : FRONT ELEVATION. | BLOCK PLAN, SIDE. ELEVATION, | GENERAL VIEW. -PLLAN, AREA. ~PLAN. FIRST TIER. "PLAN. SECOND TIER. | LONGITUDINAL SECTION. | MUNICIPAL THEATRE, ROSTOCK. ILLUSTRATIONS ON PLATES: : ILLUSTRATIONS IN TEXT: -SIDE. ELEVATION. BLOCK" PLAN. PLAN, AREA. : GENERAL VIEW. PLAN, FIRST TIER. LONGITUDINAL. SECTION. MUNICIPAL. THEATRE, BROMBERG. ILLUSTRATIONS ON PLATES: HLLUSTRATIONS IN TEXT : -FRONT ELEVATION. BL.OCK PLAN. SIDE EI.EVATION, VIEW OF TOWER. _PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. "LESSING" THEATRE, BERLIN. ILLUSTRATIONS ON PLATES: LUSTRATIONS IN TEXT - FRONT ELEVATION. BLOCK PLAN. PLAN, AREA, GENERAL VIEW. PLAN, FIRST TIER. PLAN, SECOND TIER, LONGITUDINAL SECTION. GREAT BRITAIN. "HER. MAJESTYS” THEATRE LONDON. ILLUSTRATIONS ON PLATES : FRONT ELEVATION. -S1DE ELEVATION. PLAN, AREA, PLAN, FIRST TIER. LONGITUDINAL SECTION. ILLUSTRATIONS ON PLATES ; "FRONT ELEVATION. -PLAN, AREA. PLAN, FIRST TIER. PLAN, SECOND TIER. PLAN, THIRD TIER. LONGITUDINAL SECTION. ILLUSTRATIONS IN TEBXT: BLOCK PLAN. GENERAL VIEW, FRONT ELEVATION OF BLOCK. VIEW OF AUDITORIUM. “LYRIC” THEATRE LONDON. HLUSTRATIONS IN TEXT: | BLOCK PLAN. GENERAL VIEW. "GARRICK * THEATRE, LONDON. LLLUSTRATIONS ON PLATES: PRINCIPAL ELEVATION. PLAN, AREA. PLAN, FIRST TIER. -PLAN, SECOND TIER. LONGITUDINAL SECTION. “EMPIRE ILLUSTRATIONS ON PLATES : - FRONT ELEVATION, PLAN, AREA. PLAN, SECOND TIER, LONGITUDINAL. SECTION. VESTIBULE, DETAILS, "OXFORD" JLLUSTRATIONS ON PLATES : FRONT ELEVATION. PLAN, AREA. PLAN, FIRST TIER. PLAN, SECOND TIER. LONGITUDINAL SECTION. SHAKESPEARE LLLUSTRATIONS ON PLATES: “FRONT ELEVATION. =SIDE ELEVATIONS, "BACK ELEVATION, ~PLAN, BASEMENT. - PLAN, AREA. ~PLAN, FIRST TIER. ~ PLAN, SECOND TIER, -LONGITUDINAIL SECTIONS, TRANSVERSE SECTIONS. ILLUSTRATIONS IN TEXT: BLOCK PLAN, GENERAL VIEW. VARIETY THEATRE, LONDON. ILLUSTRATIONS IN TEXT: BLOCK PLAN. VIEW OF AUDITORIUM, VIEW OF PROMENADE. VIEW OF VESTIBULE, VARIETY THEATRE 1ONDON, ILLUSTRATIONS IN TEXT: BI.OCR PLAN. GENERAL VIEW. MEMORIAL THEATRE, STRATFORD-ON-AVON, ILLUSTRATIONS IN TEXT: BIL.OCEK PLAN. GENERAL VIEW. + VIEW FROM RIVER. | VIEW OF TOWER, GREAT BRITAIN -—ontinudd. *GRAND” THEATRE, LEEDS LLL USTRATIONS ON PLATES: LLLUSTZRAITIONS IN TEXT: FRONT ELEVATION. | BIL.OCK PLAN, -PLAN, AREA. | -PLAN, SECOND TIER, ~LLONGITUDINAL SECTION, VIEW OF AUDITORIUM. "NEW" THEATRE CAMBRIDGE, ILLUSTRATIONS ON PLATES: ILLUSTRA ZIONS IN TEXT: ~ PLAN, AREA. -PLAN, FIRST TIER. PLAN, SECOND TIER. LONGITUDINAL SECTION. B1L.OCK PLAN. VIEW OF PROSCENIUM. VIEW OF GRAND VESTIBULE. VIEW OF 1.0BBY. GREECE. NATIONAL THEATRE, ATHENS, ALLUSTRAZTIONS ON PLATES: ILLUSTRATIONS IN TEXT: ~ FRONT ELEVATION. PLAN, AREA. PLAN, FIRST TIER. LONGITUDINAL SECTION. BLOCK PLAN. DETAIL. OF FRONT ELEVATION. HOLLAND, MUNICIPAL THEATRE, BOTTERDAM. ILLUSTRATIONS ON PLATES: ILLUSTRATIONS IN TEXT: FRONT ELEVATION. | BLOCK PLAN. PLAN, AREA. | VIEW OF LOUNGE. —~PLAN, FIRST TIER. | PLAN, SECOND TIER. | LONGITUDINAL SECTION. | TRANSVERSE SECTION. ROUMANIA. NATIONAL THEATRE, BUCHAREST, LLLUSTRATIONS ON. PLATES: ILLUSTRATIONS IN TEXT: + FRONT ELEVATION. BLOCK PLAN. SIDE ELEVATION. GENERAL. VIEW. " PLAN." AREA. “PLAN, FIRST TIER. L.ONGITUDINAL SECTION, | SWITZERLAND. MUNICIPAL THEATRE, GENEVA. ILLUSTRATIONS ON PLATES : LLLUSTRATIONS IN TEXT: "FRONT ELEVATION. BLOCK PLAN, ~-SIDE ELEVATION. GENERAL VIEW, PLLAN, AREA. PLAN, SECOND TIER. ~ PLAN, THIRD TIER, - LONGITUDINAL SECTION. MUNICIPAL. THEATRE, ZURICH. . ILLUSTRATIONS ON PLATES: ILLUSTRATIONS IN TEXT: “FRONT 'ELEVATION. BLOCK PLAN. PLAN, AREA. GENERAL, VIEW, — PLAN, SECOND TIER. | VIEW OF AUDITORIUM. “PLAN, THIRD TIER. VIEW OF PROSCENIUM. LONGITUDINAL SECTION. | TRANSVERSE SECTION. MUNICIPAL THEATRE, BORDEAUX. GRAND STAIRCASE. 1I.—¢ SHAKESPEARE MEMORIAL THEATRE, STRATFORD-ON-AVON. VIiEw oF TOWER, MODERN OPERA Houses AND THEATRES VOLUME: 11. INTEODUCTION. IN preparing the first volume, I purposely limited the contents to a selection of playhouses recently erected in Great Britain, Germany, Austria, Russia, Scandinavia and the Netherlands, with the view of keeping together all structures where the influences apparent are either of Teutonic or Anglo-Saxon origin. I had intended to devote the second volume to theatres of Latin countries, since their individuality is similarly distinct. But, in arranging my material, I found that, whilst the latter countries no doubt made a great epoch in theatre construction during the first half of the present century, comparatively few playhouses had been recently erected showing any great progress either in plan, architectural rendering or construction. Little, if anything, is to be learnt from modern theatres in France, Italy and Spain. Taken generally, the examples from countries subject to Teutonic and Anglo-Saxon influences alone show a marked development in theatre construction. Among these countries I should, perhaps, add that Greece and Roumania have been included, for the same reasons that the Russian playhouse was placed with this group in the first volume. It was owing to the fact of finding so few theatres of interest in the Latin countries that I decided to devote only a section of the second volume to examples from these localities, retaining the other section for the further illustration of more instructive work. It will now be found that this volume is divided into two parts, the first comprising examples from France, Italy, Monaco and Spain, the second representing Austria, Germany, Great Britain, Greece, Holland, Roumania and Switzerland. In my former Introduction an attempt was made to explain briefly the various circumstances under which playhouses exist in Europe, for I considered it essential to the right appreciation of the buildings to know the intentions which have guided their erection and the purposes for which they were built. Though generalising for the whole of Europe, my remarks were offered perhaps more particularly in connection with the examples dealt with in the first volume. It should be emphasised that what I have said there holds good for the examples of Latin countries, and I will only supplement those particulars with a few additional notes respecting local peculiarities. It will be remembered that I divided all theatres into the five following classes, namely :—Court Theatres, National and Government Theatres, Municipal and District Theatres, Subscription Theatres—with or without Court, Government or Municipal subsidy—and Private Theatres, with or without such assistance. Firstly, I must now point out that in the same manner as the Court Theatre is a particular feature of the German Empire, so in France, or, to be exact, in Paris, there exists the peculiarity of the state-subsidised Theatre, over which a manager or lessee is appointed by the Government. Subscription Theatres proper are unknown in France, and ‘the Municipal Theatre is only to be found in the Provinces. Further, I would call attention to the fact that similarly, as England is essentially the home of the Private Theatre, 2 | MODERN OPERA HOUSES AND THEATRES Spain also now holds, to a lesser degree, this reputation. Moreover, there 1s a likeness between the objects for which the audiences assemble in the two countries, the desire being more for amusement than for instruction; whilst, it will be remembered, the people of Germany and Austria generally regard the playhouse as a kind of educational institution. A feature of the smaller Spanish theatre, peculiar to that country, is the nightly production of several minor plays, each of short duration, and for which there is a considerable change in the audience, separate tickets being issued for each individual presentation. An arrangement of this description, it will readily be understood, to some extent influences the planning. Then, as regards Italy, it is well to bear in mind that the theatre fulfils functions of a quite unique character. In the first place it is a rendezvous, a playhouse only in the second, the performance itself, as a rule, receiving but limited attention. The system of box-holdings is particularly developed, and accounts for much in the plan, whilst the essentially different purposes of the accommodation devoted to stalls and pit likewise call for a different treatment in the design. The private theatre managed on commercial principles, I may mention, appears of late to be becoming a common adjunct to the more important Italian towns. Since the issue of the first volume, in which I pointed out that the latest development of the Subscription Theatre had taken the form at Worms of a People’s Theatre, subscribed for and managed on democratic lines, a further evolution has been heralded by the proposed presentation of a playhouse to a rural community in the neighbourhood of our metropolis. Here, if I may say so, the subscriptions take the form of an individual donation, and the gift will certainly be a remarkable one in the history of English theatres. To-day the Pree Library is one of our favourite objects of munificence. Why should not the People’s Theatre become equally popular among our would-be benefactors ? I have remarked before on the great difference of feeling common to individual Continental countries respecting the suitable housing of Dramatic Art: I have called attention to the absence of interest in theatre architecture common to this country. A London audience will rest content if it can hear and see well and is comfortably seated: the architectural rendering of their surroundings is considered immaterial. I would now emphasise the fact that certain Continental countries, in their enthusiasm for a suitable framing for their plays, even go to the extreme of attempting such exact distinctions as the definition of a Palace of Art and a Temple of Art. 'Reference to the plans illustrated in these volumes will assist an appreciation of the meaning of these terms, for there is no difficulty in seeing how the Paris Opera House may be considered to figure as a Palace, whilst the evident cold severity of a so-called Temple of Art will also be found embodied in various examples. I hold, however, that it appears almost trivial to English eyes when such fine distinctions become the matter of controversy; for the purpose should be defined at the outset, and the architectural rendering should be a characteristic expression of the original intention. The excessive attention given to such artificial distinctions distracts the architect, and even leads to regrettable technical omissions. What, for instance, is the value of a well-known Austrian critic’s opinion that the grand “ Hofburg” Theatre at Vienna should be classified as a Temple of Art, when, on the other hand, we have the lamentable fact that the acoustics of the auditorium are defective and the sight-lines unsatisfactory ? Perhaps I should here add that these faults, of which complaint was made in the first volume, have actually been found so serious as to necessitate considerable alterations being taken in hand and a heavy expenditure incurred. : It is not my intention here to dwell on the development of theatre planning, but, as I pointed out in the preceding volume, it is essential to bear in mind such evolutions in theatre design as were there so forcibly illustrated by the gradual changes in the amangement of certain playhouses, culminating in the design of the proposed Opera House for St. Petersburg. A diagram illustrating the principal stairs of the old theatre of Bordeaux will now again show the origin of such a well-known feature as the Grand Staircase of the Paris Opera House. I cannot but impress upon those who ~ seriously study modern theatre architecture the value of carefully examining the gradual progress so evident in kindred examples of consecutive dates, for the most successful designs are doubtless the result of evolutions in which some distinct idea has been developed. Such development may have been brought about by a number of architects aspiring to the same purpose, or, as is more commonly the case, by an individual member of the profession who has had sufficient opportunity to gradually evolve certain schemes. Gottfried Semper had such opportunities, as has already been shown, and so have Ferdinand Fellner and Hermann Helmer at Vienna, Heinrich Seeling at Berlin, Victor Schroeter at St. Petersburg. In this country, though theatre design has generally been in a few individual hands, I am afraid I cannot speak of the development of ideals in theatre planning by any particular architect, though a certain growth of special features in theatre construction—as, for instance, the cantilever gallery or the double staircase—is quite evident. We can only boast of improvement in certain practical features as distinct from a specific evolution in the general design of our playhouses. The contents of these volumes undoubtedly emphasise the advantages of designing with purpose to end and with an ideal. Our theatre architecture would, I am sure, greatly benefit if this were kept in mind. lng Brock PLAN. NATIONAL OPERA HOUSE, PARIS. GENERAL VIEW. PART 8, FRANCE. NATIONAL ‘OPERA HOUSE, PARIS CHARLES GCARNIER. THE first volume of this work opened with a description of the ‘“ Hofburg” Theatre at Vienna, and in the same way as that institution claimed priority in every respect among the examples selected from countries where Teutonic and Anglo-Saxon influences predominate, so too there can be no doubt that the National Opera House at Paris occupies the most eminent position among playhouses subject to Latin influence. The present volume, as I have mentioned, is divided into two parts, according to the different tendencies prevailing, but I think it will readily be acknowledged that the Paris Opera House takes precedence of all buildings presented here, including the Opera House at Vienna, which stands at the head of the second part. It is, however, more than doubtful whether the Paris Opera House should be placed before all the theatres illustrated in this work as a whole, for, although, as a structure, it is the largest and most important that has so far seen completion, still it cannot compare favourably from a technical point of view with so essentially a modern institution as the “Hofburg” Theatre at Vienna. In the eyes of the world, it is true the Paris Opera House is considered the most unique building of its kind, and has generally been accorded the first position among playhouses. For my part, I should, nevertheless, be inclined to place the “ Hofburg” Theatre far higher as an example of modern theatre construction. The word “ National,” prefixed to the title of the Opera House in Paris, must in no way be considered meaningless, for we have in it an institution that is in every respect national. Owned as it is’ by the [State, its managers, though not actually officials of the Government, are under its control, while the doors of the building are thrown open on all 1.~—B 4 MODERN OPERA HOUSES AND THEATRES, occasions of great national festivity, the works presented are chiefly of French origin, and French art is primarily encouraged. The Paris Opera House is one of the “show places” of Paris, and is undoubtedly the pride of the French nation. We may even go further and say that it is also the pride of the civilised world, or, at least, of that world which regards Paris as the chief centre of art. So elaborate and costly a monument has, as yet, nowhere else been devoted to the interests of any one special branch of art, and the only structure in which a possible rival may some day be found for it is the great Opera House at St. Petersburg, which has been so long under consideration, and the original plans for which were presented in the foregoing volume. It was during the execution of the great street improvements in Paris, introduced by Napoleon III. and his minister Baron Haussmann, that, by an Imperial decree dated December 29, 1860, a competition was opened for the great Opera House. In spite of the fact that only a few weeks were given to the competing architects to prepare their plans, no less than one hundred and seventy designs were sent in. By a process of selection on the part of the assessors this number was successively reduced to forty-three and to seven, but, no final choice having been made, a second limited competition was immediately instituted. It was in this latter competition that Charles Garnier was unanimously declared the victor. The author of the successful design was still a young man and as yet unknown to fame, but the commission for this great a undertaking, its masterly éxecution, and also the | 2 controversies which arose about many of its archi- tectural features, soon brought him a world-wide celebrity. Before com- mencing his task, however, Garnier determined to make a tour through Euro- pean countries for the purpose of studying the theatre in all its aspects. After thoroughly investi- gating the Italian and German methods of theatre construction, he came to the conclusion that the so-called French type of auditorium was the one most adapted to modern requirements. His views on the subject, based on the results .of this early research, have been em- *Le Théitre.’ the new structure were bodied in a treatise entitled The foundations of begun as early as August 1861, an important fact to be borne in mind when we judge the general concep- tion of the Paris scheme; since: it ‘shows that very little time was allowed for maturing the general de- sign and laying out the principal lines, which no amount of attention sub- sequently given to detail could materially alter. In works of such a monumen- tal character it will be re- membered that quite a number of years frequently elapse between the com- petition and the commence- ment of the building. From the very out- set of the operations it was perceived that, owing oy | to the excessive depth of . NATIONAL OPERA HOUSE, PARIS. GENERAL VIEW OF GRAND STAIRCASE. the foundations, nearly seventy feet, considerable difficulties would have to be encountered with the water, and for a whole year the work consisted almost solely in securing a solid bottom and adopting the necessary precautions to prevent the earth from shifting. From March to October, 1862, no less than eight large pumps were kept working day and night, until, at the end of this period, the site was sufficiently free from water to enable a start to be made. It was not until 1863 that the foundation-stone was laid. The ground covered is about 450,000 square metres in extent, and the quantities of materials for the building can be fairly well gauged by the dimensions of the walls shown in the plans and sections. In the year 1869 the enormous mass of brickwork and masonry was already sufficiently forward to receive the roof, but then the disturbances of the FFranco-German War of 1870 and 1871 intervened and hindered further progress. The carcase was successively converted into a hospital and a military store, and during this latter period it is thought that part of the construction must have been strained through being subjected to the great weight of arms, etc. At the time of the investment of Paris, alsb, a semaphore station was erected and worked on the roof by the naval authorities, and a portion of the interior was used as a prison, while at a later date again the building was occupied by the Communists. Although, in the midst. of these vicissitudes, the Opera was luckily saved from irreparable damage, a sum of 12,000/ was afterwards required to make good the injuries inflicted by the uses to which the house had been put. Soon after Paris had recovered from these disturbances, building operations were again quietly commenced, and the completion of the building was promised by Garnier for 1876. The destruction of the old Opera by fire, however, made it necessary to push on with the work as rapidly as possible, and Garnier, by dint of great energy and application, succeeded in placing the fabric in the hands of the administration on January 5, 1875, the opening performance taking place that day. So much has been written about the work of Charles Garnier, and the Opera House has been so excellently illustrated and described in his monumental volumes entitled ‘Le Nouvel Opéra de Paris,’ that it is difficult for me to add anything of much value to the literature of the subject. In the volumes referred io Garnier gives expression to his views on this building, and furnishes a defence of the points upon which he was attacked. There is one feature, however, which though charac- teristic of his work has not been generally recognised, namely, that Garnier designed with a very distinct purpose in mind, that every line in his sketches and drawings was based on a system, and what may appear eccentric or even ill-advised in the architectural rendering was in no case the outcome of an unthinking mood. We find in Garnier, in fact, an architect who most studiously examined the requirements of his client, and the public taste of the period for which he had to cater. He was no mere talented artist who, as is often the case, designs spontaneously but without method. The very fact of his tour of inspection immediately after obtaining the commission speaks forcibly on this point. Combined with his natural genius and his great facility with the pencil was a power of application and, further, a strict regard for business. It is this combination that has given him the position which he holds to-day. It may appear curious to have to state so simple a fact here, but general opinion, particularly in art circles, has been disinclined to accord to Garnier anything but great talent. He has always been regarded as an artist of genius, and rarely as an architect in the fullest sense of the term, who gave equal - attention to the three aspects of architecture—the business, the scientific and the art sides... Anyone who has followed ‘the history of the Paris Opera House NATIONAL OPERA HOUSE, PARIS. DETAIL OF ELEVATION. closely will comprehend what infinite pains the architect expended upon the most trivial technical details, and what amount of thought was, for instance, given to stage machinery, a department too generally relegated to other hands than those of the designer. It may indeed be news to some that official documents show that Charles Garnier was actually considering the resignation of his commission should the Government, his client, compel him to use in the auditorium sfrapontins, a kind of seat which he deemed a dangerous obstruction in the gangways in the event of a panic. We have heard much, on the one hand, of Garnier’s grand. conception. of the Opera House, and, on the other, of the novelty of his architectural rendering. It will now be well to remind his admirers and opponents that the building was designed and executed not only in a most painstaking manner, but also under exceptional difficulties; : These were not merely of a technical character, but arose from circumstances so frequently found on the Continent when great Government works are entrusted to outsiders, to the envy of the official architects or surveyors. Even political difficulties had to be .encounterved, . for the archives: contain letters, dated. ‘September 4, 1870, from two leading officials, ordering Garnier, from political motives, to remove certain imperial emblems from the facade, a demand to which he gave an unqualified refusal. The history of the National Opera House is in many respects unique, but especially, perhaps, is it: a record of the firmness and independence of the architect. NATIONAL OPERA HOUSE, PARIS, SpE VIEW, Speaking of the purposes for which the Opera House was designed, it must not be forgotten that the original intentions were to provide Paris with a home for its opera which should also be a national memorial of the position accorded to music during the #dgime of Napoleon IIL, while perpetuating, by means of an important structure, the architecture characteristic of the same reign. It was distinctly ola OR TH ON ny : 5 1 8 : & 4 7 RR MODERN OPERA HOUSES AND THEATRES. defined that, in size, in design, and in elaboration, the building should take the leading position in its class for some considerable time, and by it the prominence of the new Vienna Opera House, which had already been decided on in 1860, was to be overshadowed. = Further, the Paris Opera House was to lend itself to such special national receptions as have from time to time been associated with it since its erection. It is scarcely too much even to say that it was the intention of those in authority to give to the world that which in its way would be an eighth wonder. As to the manner in which the original purposes of 1860 were fulfilled, the building on its opening in 1875 showed that the architect had in every way grasped the desired idea, and though Paris was a very different city after the war, as regards its requirements and capacity for pleasure, from what it was in the sixties, there is no doubt that the building in every way embodied the sentiment of the time in which it was conceived, and was a brilliant memorial of the »dgime of the then reigning monarch. ~The site, on which so much depended for the carrying out of the idea, was not, perhaps, the most suitable that could be wished for, and I hold that Garnier had reason to complain, since he was thus materially hindered from giving his building the breadth necessary for a monument of this description. The block is decidedly hemmed in, and though a fine aspect is obtainable for the central feature of the principal elevation, much of the grandeur is lost by the close proximity of the surrounding buildings. If the whole frontage as shown in the geometrical elevation were unob- structed, the noble proportions of the building would be far better appreciated. = The site, too, was not by any means a level one, and this materially affected the general dis- positions of the plan. As in the first volume, no lengthy description of the examples presented is attempted, and in each case I am limiting my remarks to some comments on features of par- NATIONAL OPERA HOUSE, PARIS. VIEW OF LOUNGE. ticular importance. In the case of the Paris Opera House, it would in fact be worse than injudicious to try to fully explain the plans, for those especially interested will, as I have remarked, find in Garnier's own writings on this building an amount of information which it would be impossible to present, even in the briefest form, in a work-of this description. I have already touched on the requirements which governed the general conception of the block and would only add that the principle with which the plan is identified is the adoption of what I will term the “central” system with one grand staircase as distinct from Semper’s so-called ‘radial ” system with its two main stairs. The idea which has found embodiment is no doubt adapted from some of the older playhouses of the Continent, whilst the actual lines of the grand staircase show, as I have already explained, a development of those at the Bordeaux Theatre, of which an illustration is presented. The manner in which this particularly effective “central” arrangement has been obtained, in such a way as to allow an extensive vista in nearly every direction, is one of the greatest achievements ever accomplished in the planning of a public building, and the beauty of the scheme can, I think, be most appreciated when the structure is employed for some great official function, with a larger number of visitors on the stairs than is the case at an ordinary performance. If there is any fault in this fine production, it is, perhaps, the excessive amount of space accorded to this part of the building, for the individual is dwarfed, and appears quite lost in the large halls at his disposal. Here I would, however, suggest that the audience and its entertainment perhaps only had a subsidiary place in the general conception of the Opera House, for I contend that the grand staircase, with its surroundings, speaks far too forcibly of having been designed mainly with an eye to state functions, regardless of the comfort of the playgoer. As for the architectural rendering of the grand staircase, the lounge and its loggia, the almost barbaric splendour of the decorations and the richness of the colour-study are too well known to call for comment, and I would merely repeat that Garnier only too thoroughly understood the requirements of the nation at the time of his design, and if he erred in excessive lavishness, it was through a belief that the national taste for luxury in the early sixties would increase as the completion of the building drew near, whilst, as a matter of fact, the reverse was the case. As regards the general proportions I must say that the fault throughout is the accentuated height of every section, and in the case of the long and narrow lounge this is especially observable. Garnier seems to have delighted in stilted proportions, to the material detriment of some of his most interesting features. Of the other passages and general offices in the “front of the house,” with the endless lobbies, vestibules and saloons, I can only say that in their extent they have no precedent. It is only to be regretted that, where so much space was at the disposal of the architect, the requirements of 1860 did not include a liberal supply of staircases for the upper MODERN OPERA HOUSES AND THEATRES. 7 tiers, since the stairs of the Opera House are unsatisfactory in plan as well as in dimensions, and the separation of the different parts of the audience for purposes of entry and exit has been disregarded. The principal feature of the auditorium is the manner in which the ceiling is supported by columns, to the disadvantage of the “sighting” in various parts of the house. The all too logical method of dealing with the ceiling has further compelled the architect to place that part of the audience which is situated on the uppermost ter in a “well,” a particularly unsatisfactory makeshift for a building of this class. As to the “back of the house,’ the ballet-room specially calls for remark on account of its elaborate architectural treatment. The same roominess which characterises the “front of the house” is also found behind the curtain, for the offices and dressing-rooms with their passages are very ample, and the stage is simply immense. The equipment, however, throughout is, unfortunately, not in accord with the requirements of to-day, for the general installations at the time of opening did not comprise the latest achievements of science, nor have any important improvements been since introduced. As to the stage appliances, these will be described elsewhere. Of the exterior, it may be said that the grouping on the whole is particularly satisfactory, with the exception only of the manner in which the cupola over the auditorium is joined to fhe. block containing the stage. In judging .the architectural rendering of the facades, I cannot but insist that the requirements which were made of the architect should be borne in mind. The Paris Opera House, it should always be remembered, is not essentially a playhouse - It is, primarily, to borrow the Continental expression already referred to, a ‘“ Palace of Art,” in which the auditorium supplies indeed the official raison d'dZre, but is. by no means the sole object of the erection. Gamier's design reveals this to the full; and were this not so—had he striven merely to present the idea of a theatre by his treatment—his conception of the elevations must have been pronounced a failure. In conclusion, I would only remark that the total expenditure on the Paris Opera House is believed to have been nearly 1,500,000/.; nevertheless, this building is, perhaps, in a worse state of repair than any of the larger theatres which I have seen. Much in the equipment appears extremely defective, and the decorations require thorough renovation. There have even been fatal accidents on account of this condition of affairs. It. would indeed seem a pity if so grand a monument were to practically fall into a state of ruin from lack of careful attention. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at A : : : ; : . ga! 6 16°00 m, Height of Proscenium Opening at Curtain Line : ‘ ; ‘ ; : 45’ o 13°75. m, AUDITORIUM. : STAGE. Curtain Line to Front of First Tier . : 33 6" 25°20'm, Width inside Containing Walls . : « ayst of 52°75 m. Curtain Line to Front of Third Tier . ; 34 6” 25 »5 4m, Curtain Line to Containing Back Wall : 86' 9 26°50, mi, Curtain Line to Furthest Seat . : +2 10Th 9 31°00: m. Curtain Line to Furthest Wall of Back Stage 156’ ¢” 47°75 m. Sunlight Opening above Area . : : G5! 3 20750 ‘Mm. Gridiron Floor above Stage at Curtain Line * 119’ oo” 36°25. m. Highest Seat above Street . : ; : wal al 22°00. Mm. Cellar Floor below Stage at Curtain Line . 46! o 14725 m. Lowest Seat above Street . : : 20) 6” 6°25 m. Stage Floor at Curtain line above Street. 24 67 7's 50 “1. Swe PEE . i NATIONAL OPERA HOUSE, PARIS. LOWER PART OF GRAND STAIRCASE. 11.-C 8 MODERN OPERA HOUSES AND THEATRES. NATIONAL OPERA CoOMIQUE. PARIS LOUIS BERNIER. Tue lamentable loss of life on the occasion of the fire at the Opéra Comique, Paris, was one of those calamities which have, unfortunately, from time to time been associated with places of public amusement throughout the world. The particulars of the catastrophe will be found in the supplement to Volume III. of this work, dealing with Theatre Fires, and it need only be mentioned here that the conflagration took place on May 25, 1887, and that the number of those who succumbed to the fire exceeded one hundred. This establishment, it should at One he said, is one of the subsidised theatres of Paris, the structure being the property of the nation, while the lessees, who are responsible for the management, are appointed by the Government. No less than ten years have elapsed since that conflagration, but owing to considerable delays Paris has not yet been able to open its new Opéra Comique. The building has, in fact, only been recently taken in hand, and it will not reach a state of completion until next year. By some curious lack of sentiment quite uncommon to Paris, the site of this house of gaiety—unsatisfactory as it is for a National institution, being in a narrow square of secondary importance—will be the same as that of its unfortunate predecessor. Several proposals for a new theatre had already been made soon after the fire, but none seemed to find favour, and when, in February, 1889, the Chamber of Deputies suggested an open competition for the design, their scheme was rejected ‘by the Senate. The matter then remained in ‘abeyance until 1892, when the Government apparently entered into some provisional agreement with a firm of contractors to erect a new playhouse from the plans of Dutret and Charpentier. But even this arrangement failed to gain acceptance from the Senate, for the latter body now chose to reverse its earlier decision, and recommended the competition scheme. Eventually, this method was resorted to, a sum of 1200/. being set aside for premiums, and the conditions for the competitors were framed on the basis of providing seating accommodation in the auditorium for 1500, while the total expenditure was limited to 140,000/. Unfor- tunately, however, the designs put before the assessors were most disappointing, the work being quite below the average, and no new features of any practical value being apparent. The award of the first premium to Louis Bernier, of Paris, in whose hands the commission was ultimately placed, cannot be termed popular. It would be premature to speak of the details, the equipment or the execution of the new Opéra Comique at this date, when it is merely in carcase, but on reference to the plans taken from the architect's working drawings, and a view of the exterior furnished in the competition design, the general characteristics of the building will be sufficiently apparent. To my regret, however, I do not feel justified in saying anything in favour even of the general lines of this most recent example of French theatre construction. As I have indicated elsewhere, there has been little or no progress in France since the erection of the Paris Opera House, and Bernier's work shows, if anything, a retrograde movement. One would almost imagine on looking at the plan that the architect was unacquainied with the advance which has been made in other countries during the last few decades, and that he had overlooked the fact that his site had been the scene of a terrible fire. The isolation of staircases and the separation of the audience into sections, which are the most elementary features of a modern theatre plan, have been neglected, although the ground offered fair opportunities for skilful planning in this direction. As to the academic rendering of the exterior, its mediocre treatment can only be termed regrettable. In the selection of the site, and in permitting this design to be carried out, the French Government has, for once, given us an exception to the good traditions which are usually connected with the architecture of its public buildings. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curiain-Line . ‘ : . . : 33’ o” 10°25 m. Height of Proscenium Opening at Curtain Line . : : : : . 42a" 13°00 Mm. AUDITORIUM. STAGE. Curtain Line to Front of First Tier . a a | 15°00. m. Width inside Containing Walls . . : i 17°50 m. Curtain Line to Front of Third Tier. ! ge! oft 17°00 m. Curtain Line to Containing Back Wall ‘ 42 of 13°00 m. Curtain Line to Furthest Seat . . . za! off 22:50 m. Gridiron Floor above Stage at Curtain Line wa! of 22°23 m, Ceiling Centre above Area . ‘ : : gph 3H 17°50 m. Cellar Floor below Stage at Curtain Line . 23 oO" 7°00 m. Highest Seat above Street . : : 63 o! 21°00 Mm. Stage Floor at Curtain Line above Street . 13 o 24950 Mm, Lowest Seat above Street . . : . EE 4°75 m, MODERN OPERA HOUSES AND THEATRES 9 IDEN" VARIETY THEATRE PARIS Wo. KLEIN, A. DUCLOS. failure, and the structure after only having been in use for a few years. had to be demolished. THERE is no doubt that the “Eden” Variety Theatre at Paris was the most important building that has ever been devoted to a form of entertainment comprising, primarily, great spectacular ballets, and in the second place the many kinds of performances more particularly associated with the music-hall of old. Unfortunately, the enterprise of the promoters, whose plans were highly ambitious, was attended with At the present time, an hotel is being erected on the site which it occupied. Though the building is no longer in existence, I considered that this institution should rightly be included in my work on account of its conception, its plan, and its architectural rendering, and because many of its technical details have considerably influenced the design of other buildings erected for somewhat similar purposes. The “Eden” Theaire at Paris marked the commencement of a new epoch in the history of Variety establishments, and its characteristic features found considerable favour in other countries, leading to various adaptations and imitations on a smaller and less: lavish scale. To. the influence of this Paris theatie is due much that is found in the ¢ Linden” Variety Theatre at Berlin, illustrated in my first volume, and its sister establishments at Vienna and Buda-Pesth, as well as much which we now see at our own “Empire” and “ Alhambra” Variety Theatres, also presented in ‘this work. ' It is, indeed, a matter for regret that so important an example, in the history of theatre construction, as the “ Eden” Theatre, has had such a brief existence, ‘though. li'trust that iis inclusion among my illustrations will help to prevent its lines from being altogether forgotten. The task entrusted to the architects of this building was to construct a house suitable for small variety shows as well as for most elaborate spectacular performances. Moreover, all such facilities as promenades, smoking-rooms, bars, etc., had to be pro- vided. architectural pretensions existed elsewhere. At the time of its erection no variety theatre of any The conception of W. Klein and the late A. Duclos was undoubtedly novel, and their design showed a breadth which was in every respect praiseworthy, especially as the ground, though having a frontage on an important thoroughfare, possessed none of the advantages of a detached site, and was to a certain degree irregular. The architects commenced operations in January, 1881, and completed their task in January 1883, the total cost of the block amounting to 220,000/. The structure may be said to have consisted of an iron skeleton clothed in cement and plaster, and as such was a pioneer in this special form of construction, in fact the only portions built of masonry and brickwork were the containing walls and the principal facade, the latter being in Scotch granite. - The style which prevailed in the rendering may be termed Indian, but though the details were very carefully worked out, the RY SC) i } 2 2 PE / o Rn = fis Z TF 4 : : | =F IS == ko) (0 A ' sy ° A g : : - VS) 7 1 + Le PENNS \ i ils , \ | v iH i Ly Pet ald - \ hy Pk pay wal \ ASSESS EL) ? . oy . i ISRSUSSSRA A) =e ANE to, | out CENA I dl GENERAL VIEW. “EDEN” VARIETY THEATRE, PARIS. effect was rather heavy. The colour study was excellent, and the workmanship much above the average. Among the main features of the “Eden” Theatre, the arrangement of the wvesiibule and the staivcase calls for particular notice; and attention should also be paid to the manner in which the promenades, lounges, and refreshment 10 MODERN OPERA HOUSES AND THEATRES, rooms were planned. The only fault in connection with the lounges is that the performance could not be viewed from them, and it seems curious that no staircase accommodation beyond the principal flights should have been provided from the first tier, especially when it is remembered that the work here was carried out shortly after the theatre fires at Vienna and Nice. The seating capacity of the house included about 350 places in the area, and 450 places on the first tier, and, as may be seen from the plans, there were numerous boxes. In an establishment of this description the actual number of seats available or occupied is small when compared with the number of the audience as a whole, since those using the standing room, together ‘with the visitors to the parts of the house other than the area and first tier, form a large proportion of the total. The back part of the house included accommodation for a staff of six hundred. ‘Taken generally, the “Eden” Variety Theatre is certainly the most interesting example of theatre construction executed in France since the completion of the Paris Opera House. In the first place, the building was a pioneer for a certain “type” of playhouse, and in the second, a forerunner in so-called skeleton construction. In many respects it showed a marked advance, and afforded the one instance during the last decades where two French architects have been able to prove themselves alive to the evolution of modern requirements in theatres. I am sorry that I cannot say this of any other French architect engaged in theatre work. It is not that there has been a lack of opportunity, since the preceding example of the Paris Opéra Comique is only too plainly an instance where a talented and studious architect might have distinguished himself. I am afraid that the splendours of Garnier's Opera House have prevented his French confréres from going outside their own country for examples of modern theatre construction. At the most the playhouse of Italy may have been visited by some of them, and, as will be illustrated, that country alfords, as {af as recent theatre architecture is concerned, but little deserving of study, except, perhaps, in a negative sense. Probably, however, when a change is made, and Charles Garnier's notable journey on receiving his commission is imitated, the home of the French drama will again make rapid progress, and French architects will produce work equal to, if not better, than that of their contemporaries in other countries. In conclusion, I would remark that the ‘“ Eden” Theatre has shown to what extent the abode of the Variety Entertainment may be elevated by an enterprising management, assisted by thoughtful and talented experts. APPROXIMATE DIMENSIONS, Width of Proscenium Opening at Curtain Line . ; . : ' ‘ 37 of 11°30 m, Height of Proscenium Opening at Curtain Line. : . . . Siig og” 11°50 m. AUDITORIUM. STAGE. Curtain Line to Front of First Tler : 65’ 6" 20'00 m. | Width inside Containing Walls . ‘ . 101g" 31°00 m. Curtain Line to Furthest Seat . : . ws! of 24°00 m.. | Curinin Line to Containing Back Wall ; 78 of 24°00 m. Sunlight Opening above Area . : : 649” 19°75 m. | Gridiron Floor above Stage at Curtain Line 67-3" 20°50 m. Highest Seat above Street . ; : . 13 o g295:m, +4 Cellar Floor below Stage at Curiain Line . 3 oo 5°50 Mm, Lowest Seat above Street . . ’ : 2’ 6" 0°75 m. | Stage Floor at Curtain Line above Street . 1.6" 0°50 m. CASINO THEATRE, MONTE CARLO. GENERAL VIEW. MODERN OPERA HOUSES AND THEATRES. Il MONACO. CASINO THEATRE: MONTE CARLO CHARLES GARNIER. : IT was a matter of some difficulty to decide whether or not the Casino Theatre at Monte Carlo should be included among these examples, since though the building was primarily intended to fulfil the purposes of a small play- house in connection with the great gambling establishment of the Riviera, the object of its construction was also to afford suitable accommodation for concerts and the lesser forms of entertainment customary at a fashionable winter resort. It appeared to me doubtful whether the Monte Carlo Theatre should not be rather classified among - the minor private establishments, such as the Theatre at Craig-y-nos, the Castle Theatre at Totis, and similar structures, to be dealt with in the third volume. But, taking into consideration the fact that the performances are essen- tially of a public character, and that plan and execution alike speak forcibly of the designer's intention of making this hall primarily the home of the opera and the drama, rather than a concert or assembly room, I concluded that it might not inappropriately be placed among the few examples which I have thought advisable to present in this volume, as illustrating work subject to the influence of Latin countries. Though small, the Monte Carlo Theatre, to my mind, holds a prominent position in modern theatre architecture, owing to the clever fulfilment of the unusual requirements of a miniature play- house, and to an architectural treatment which is thoroughly adapted to its purpose as well as being of considerable merit. The mere mention of the fact that Charles Garnier is the architect of this building, and that it was erected by him whilst still under the inspiration of his great work, the Paris Opera House, will go far to explain to what an extent the sentiment of the theatre pervades the Casino hall, and how all other purposes for which this auditorium was erected are made sub- servient “to its ~mmin object. Garnier's individuality in theatre design is strongly evident throughout the plans, the facade, and the interior decorations, as it is in nearly all his public work. No doubt everything is on a miniature scale, but Garnier's characteristics are as conspicuous - here as ‘in the National Opera House at Paris, and are particularly noticeable in the colour study and in the detail of the auditorium; the difference, if any, lying CASINO THEATRE, MONTE CARLO. VIEW OF AUDITORIUM. only in the direction of a greater refinement in the mouldings. To this improvement in detail is due the fact that many architects prefer Garnier’s work as shown at Monte Carlo to that in his greater undertaking. As regards situation, the Monte Carlo Theatre certainly has a unique position, for it is placed high up on the Casino grounds overlooking the Mediterranean. As viewed from the sea it thus partly screens the halls of the gambling I.~D 12 MODERN OPERA HOUSES AND THEATRES. establishment proper, while serving to mark the position of the whole institution in the landscape. The floor of the auditorium is practically on the same level as that of the gaming saloons, and can, in fact, be used in conjunction with the main establishment, there being the necessary communication from the central hall of the Casino either to the lobby of the theatre or direct to its area. The plan, however, admits of the building being used quite separately, since it has its own main entrance and vestibule, with independent staircases to the small balconies which serve as a first tier. Very great care is visible in the manner in which the planning is adapted to the limited space the architect had at his disposal; and it is noticeable that the stage, with its various offices, is thoroughly well equipped. As regards the architectural rendering, this will be sufficiently explained by the illustrations, but attention should be directed to the fact that the walls of the stage exhibit a treatment almost identical with that of the auditorium proper; while the green-room also shows considerable elaboration. The effect of the colour study, largely dependent on the use of gold, bronze, yellow ochre and red, though exceedingly rich, is fully in keeping with the objects of the institution and the purposes for which it is frequented. I have before had occasion to remark that the requirements of the audience in the matter of architectural treatment should not be overlooked, and I have indicated how a system of decoration in Rococo style would be inconsistent for a theatre ‘in a small provincial town. In a locality frequented by all nations, alike by visitors on pleasure bent, and by habitués of the gambling saloons, desiring some form of distraction, this luxurious and highly decorated piece of work is not only very appropriate but particularly agreeable, and the architect is to be congratulated on the manner in which he has understood the interests of his client and the taste of the people for whom the building is intended. Of course, it would be quite correct to speak of the Principality of Monaco being represented by a playhouse of peculiar interest, for the Casino Theatre stands in that small state, and the work which Charles Garnier executed at Monte Carlo can no more be included among the buildings of France than the theatres of Fellner and Helmer at Berlin, Odessa and Ziirich can be classed among the structures of Austria. Nevertheless, the individuality of the architect, and the influence of a French management, are much more palpable in the Monte Carlo example than the individuality of the Viennese architects and Austrian influence are observable in, say, the Municipal Theatre of Odessa. The Casino Theatre is essentially a French production, and it will be generally regarded as such, no matter what the geographical or technical distinctions may be. APPROXIMATE ‘DIMENSIONS. Width of Proscenium Opening at Curtain Line . : . : : ; 39 3” 12°00 m. Height of Proscenium Opening at Curtain Line . : : ; : aria? 9°50 m. AUDITORIUM. STAGE. Curtain Line to Front of First Tier . . ay of 19°50 m. Width inside Containing Walls . ‘ : 44’ of 13°50 m, Curtain Line to Furthest Seat . 25 of 24°50 Mm. Curtain Line to Containing Back Wall 26! 3 8:00 m. Sunlight Opening above Area . : 62! 3 19°00 m. Cellar Floor below Stage at Curtain Line . 175” 52% m. Highest Seat above Street . 2 : . 33 oF 072% 1m, Stage Floor at Curtain Line above Terrace 12" o 3°72 Mm, Lowest Seat above Street . . , gl of 3:00 m. CASINO THEATRE, MONTE CARLO. ViEw OF CASINO ENTRANCE. MODERN OPERA HOUSES AND THEATRES. 13 FP TALY. MuNIcIiPAL THEATRE PALERMO GB. FILIPPO BASILE, ERNESTO BASILE. DURING the period under consideration in these volumes, few theatres of any importance have been erected in Italy, and in those establishments which have been opened little or no progress has been visible, either in the general planning or in the equipment of the building. As a matter of fact, the ignorance usually displayed in the fulfilment of even the most elementary requirements (as, for example, the safety of the audience) has been remarkable. A visit to many of the modern Italian playhouses is extremely disheartening, for a structure of recent date usually reveals, if anything, a retrogressive tendency, whilst in no instance have I been able to discover the slightest sign of any advance. In the early part of this century—an important epoch in theatre construction in Italy—the designs, though not in accordance with the requirements of to-day, were at least impressive, owing to a certain breadth of treatment, and one seldom discovered examples of theatre-architecture actually Brock PLAN, displeasing to the eye. To-day, however, we do not even meet with such redeeming features as characterised the old Italian theatre. With few exceptions, everything pertaining to the modern playhouse in Italy is far from satisfactory. It is not my purpose here to examine the causes of this deteriora- tion, since such a discussion would lead too far, and I merely record the unfortunate factt As a rule, however, it is not so much the Italian architect who is responsible for this lamentable condition of the playhouse in his country, as the speculative builders, in whose hands are placed the EB commissions to design and erect theatres for ‘a stipulated payment, and who dispense with the services of an expert. These * master-builders,” as they are popularly called in Italy, have as little idea of either archi- tectural design or modern theatre construction as they are notoriously conversant with all the most contemptible forms of “jerry-building.” To my mind, the only exception to the general inefficiency of the modern Italian playhouse is to be found at Palermo, where a Municipal Theatre has been erected which in many respects ranks among the most important examples of Europe. In size this building comes next to the great Opera Houses at Paris and Vienna. It is true that it cannot in any way be classed with such a modern building as the “ Hofburg” Theatre in respect to the manner in which it fulfils the later day require- ments of plan and equipment. This is chiefly due to the circumstances of its erection, for the design dates back as far as 1865, though the in- auguration of the building was only witnessed last year. But, taken as MUNICIPAL THEATRE, PALERMO. VIEW OF CENTRAL FEATURE, a whole, this theatre is a remarkable piece of architecture, and stands as a monument to the energy and enterprise of the Sicilians, headed by their leading architect, the late Filippo Basile. In 1864 the Municipality of Palermo resolved to erect a monumental playhouse. A competition was opened for the design of a building on a grand scale, the sum of 4500/ being set aside for premiums. The finest site in. Palermo, near the Porta Macqueda, was chosen for the block, and great enthusiasm prevailed throughout Sicily, the proposed 14 MODERN. OPERA HOUSES, AND THEATRES. A jury, presided over by Gottfried Semper, selected the Building operations were, structure being regarded as a kind of National Monument. design of Filippo Basile, of Palermo, who was entrusted with the execution of the work. however, not commenced until January, 1875, and then frequent interruptions occurred owing to lack of funds, while between 1882 to 1889 little or nothing was accomplished. In 1890, however, the works were again seriously taken up, but in 1891, soon after their resumption, Basile died. The completion of the undertaking was then placed in the hands of his son, Ernesto Basile, who, after further delays, placed the building at the disposal of the authorities in 1896. In size, as 1 have said, this example ranks next to the Opera Houses of Paris and Vienna, whilst the seating accommodation is for an audience of 3200, and the total outlay on the structure has almost reached 270,000/ The plan of the auditorium is typically Italian. The area has the usual small number of stalls, and an exceedingly large pit, the main approach to the latter being through a spacious central lobby. There are no less than five tiers of boxes arranged on the so-called ‘pigeon-hole” system, and above these is a small gallery. The ceiling is almost flat, whilst the “fall” of the area floor is reduced to a minimum. A State Box, it will be observed, has heen provided over the entrance to the pit. The grand vestibule and also the main lobbies are on the same level as the area, whilst the level of the principal lounge Accommodation for a club which enjoys certain privileges had to The general arrange- and the various saloons is that of the State Box. be provided on one side of the building, and some large boxes are reserved for its members. ment of the block, however, as I have indicated, is scarcely in keeping with modern requirements, and this fact is very The severe style of architecture adopted is impressive, but, if The principal feature of the facade is its main entrance, which, noticeable in the unsatisfactory planning of the staircases. anything, too sombre in a building for public entertainment. with its flight of steps and the grand portico, is most imposing, while the excellent effect of the masonry should also be commented on. The method of joining the cupola to the block containing the stage, is, however, a weak point in the grouping. In conclusion, I would particularly emphasise that the Palermo Theatre must be judged with reference to the date of the design, and not to that of its completion. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line 43 6" 13:25 m, Height of Proscenium Opening at Curtain Line 43 14°75 m. AUDITORIL/ AL. STAGE. Curtain Line to Front of State Box 86’ o' 26° 50 Mm. Width inside Containing Walls 11g’ 6" 36°50 m. Curtain Line to Front of Third Tier. 36’ o 26*50 m. Curtain Line to Containing Back Wall oy. go" 27°75 m. Curtain Line to Furthest Seat gf 6” 30°00. m. Curtain Line to Furthest Wall of Back Stage 119 6” 36°50 m. Ceiling Centre above Area . 64 6 19°75 Mm, Gridiron Floor above Stage at Curtain Line 106’ 0” 32°25 Mm. Highest Seat above Street 70 67 21°50 Mm. Cellar Floor below Stage at Curtain Line 37 of re 25 Mm. Lowest Seat above Street 14’ of 4°50 m. Stage Floor at Curtain Line above Street 20 6" 6°25 m. MUNICIPAL THEATRE, PALERMO. GENERAL VIEW. MODERN OPERA HOUSES AND THEATRES. 15 *Lirico THEATRE MILAN ACHILLE SFONDRIN/. < SON = nl Brock Paw, +15 made up by the owner in ithe interests of his hobby. and much interested in theatrical matters, provided the necessary funds. I am Tue “Teatro Lirico Internazionale” of Milan, which was opened in 1304, takes the place of the old Canobiana Theatre, and its erection is due to the initiative of Edoardo Sonzogno, who, being a man of considerable wealth It has been difficult to ascertain whether this playhouse is intended to fulfil the purposes of commercial enterprise, or whether it should be regarded, to a certain extent, in the light of an institution for providing entertainment at popular prices, in which any deficit inclined to think that the latter idea predominated at the time of its erection. At all events, the work was taken in hand under the sole direction of Edoardo Sonzogno; his requirements were embodied in the building, and he has since managed the establishment regardless of conventional business methods. No architect, however, was employed to design the theatre, the com- mission for the execution of the block being entrusted to a ‘master-builder,” whose terms included the preparation of the design; and what I have already indicated regarding the execution of work on such lines practically holds good here. The ‘ master-builder” in this case was named Achille Sfondrini, a specialist who travels from town to ‘town erecting theatres and other places of public entertainment. He is certainly quite an extraordinary character, and one cannot but be struck, on the one hand, by his remarkable ability in directing his men and managing his work, and, on the other, by his ignorance of the most elementary principles of design and the necessities of modern theatre construction. In the instance of his Milan theatre, I understand that a surveyor of some experience assisted in setting out the main lines, and also provided some sketches for the facades and interior decorations; but, otherwise, the block was practically carried out without any plan, as has been the case with Sfondrini’s other buildings. To construct a playhouse of this size under consider- Tr 3 CR 1b i 2 aw: > h ] W IY Th = A 7 : 7 Sih 75 wr y , (sewn Amr oe fin 7 7 ’ 1. | wil 01h, ~ 7 / 7 iin ram A, rae (Pee hight { It “LIRICO” THEATRE, MILAN. GENERAL VIEW. able difficulties, without any of the facilities afforded by draughtsmanship, and without even the knowledge afforded by ordinary school education or elementary technical instruction, is no mean achievement in the annals of this age of progress. I have selected this particular example because I. consider it to be one of the best of its class, and because the auditorium shows several features, especially in the arrangement of the tiers and the ceiling, which are not usually found in Italian theatres. In other respects the requirements of former generations have apparently been carefully fulfilled without much consideration for the necessities of the present age. comment owing to the entire disregard of the safety of the audience; and it is surprising that in a city like Milan such arrangements should be permitted in a new playhouse. When examining the plans, it should be noted that some of the The planning of the staircases, in particular, calls for walls of the previous building had to be utilised. The treatment of the facades, which are in plaster, is above the average for work of this description. APPROXIMATE DIMENSIONS. / n Width of Proscenium Opening at Curtain Line 41’ © 12750 m, Height of Proscenium Opening at Curtain Line . 30’ 6 Gg 2% m. AUDITORIUM. STAGE. Curtain Line to Front of First Tier . . Gy 2" 20° 50 m. Width inside Containing Walls . . : 65’ Curtain Line to Front of Third Tier. : mill 21°25 m. Curtain Line to Containing Back Wall : a Curtain Line to Furthest Seat . : : 33 o 29'50 m, Gridiron Floor above Stage at Curtain Line 60 Sunlight Opening above Area . . : nol 6 24°25 Mm. Cellar Floor below Stage at Curtain Line . ry’ Highest Seat above Street . : . : 4b of 14°25 Mm. Stage Floor at Curtain Line above Street . x’ Lowest Seat below Street . . 2! oF o"y5 m, II.-E 20°00 22°00 18°50 3°50 1:75 583 38 3 16 MODERN OPERA HOUSES AND THEATRES. PEOPLES THEATRE, TURIN. CAMILLO RICCIO. IT has been necessary to call attention to the unfortunate lack of progress shown in the architecture of modern playhouses of Italy, and my remarks will have indicated why this country should be so poorly represented in these volumes. The examples in this section only include three Italian theatres, for, as I must again emphasise, the great epoch in Italian theatre construction belongs to a much earlier part of the century than that with Brock PLAN. which this work deals. . The buildings of the last few decades call for but little comment. The most important structure of the modern era which I have selected is that of the Municipal Theatre at Palermo, designed by one of the leading architects of Italy. The “Lirico” Theatre, on the preceding page, affords one of the best instances of a comparatively large block designed and executed by a “ master-builder.” I will now add a building at Turin, designed and executed by an architect in private practice, which, though small compared with the two preceding theatres, exhibits by far the best plan among recent Italian playhouses, and fulfils present day requirements to a greater extent than is the case elsewhere in Italy. This theatre even has a certain individuality in its rendering which is interesting and instructive, while the workmanship shown is better than that customarily found in theatres of this country. The People’s Theatre at Turin is an institution where plays are rendered at popular prices, but otherwise it has nothing in common with the bond fide People’s Theatre, such as we find at Worms. The plan shows how, on an irregular site, the superficial area available has been utilised to the utmost advantage without in any way interfering with the clearness of the arrangements or the facilities of exit. It is true that the auditorium has only one tier, and the difficulties which frequently attend the provision of staircase accommodation are thus lessened, but, as will have been observed, one- tier houses, even when standing on their own ground, only too frequently show little regard for the most elementary rules governing the safety of the audience. The principal features of the structure are the breadth of the auditorium, the presence of only one tier, the architectural treatment of the proscenium, and the section of the ceiling with its lantern light. It is also worthy of notice that there are six broad exits from the pit, three of which lead directly into the open and three into lobbies, and the stalls have two exits. The first tier has two staircases, one on each side of the block, as well as “emergency” balconies. The exterior, it is true, scarcely gives the impression of masking a playhouse, although, in an unostentatious manner, it fulfils the purpose of indicating the public character of the building. Camillo Riccio is the name of the architect who held the commission, and if all modern theatres of Italy had been planned with as much forethought as that at Turin, there would be little reason to raise any complaints against them as a whole. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . ; : : 32" of 10°00 m. Height of Proscenium Opening at Curtain Line . : : : : . 25’ 6" 7:95 m, AUDITORIUM. STAGE. Curtain Line to Front of First Tier ~. : 55’ o" 1700 m. Width inside Containing Walls : ] 50 o 15°50 m. Curtain Line to Furthest Seat : : 68" 9” 21°00 Mm. Curtain Line to Containing Back Wall : 27. 9" 350 m. . Sunlight Opening above Area . : 49’ 3" 15°00 m, Gridiron Floor above Stage at Curtain Line 42 6" 13°00 m. Highest Seat above Street . / 17 & 5°22 ‘m, Cellar Floor below Stage at Curtain Line . 13.0 4°00 m. Lowest Seat below Street . : : : 1’ 6 0’50 m, Stage Floor at Curtain Line below Street . 4’ o 1"25 m. MODERN OPERA HOUSES AND THEATRES. 17 SPAIN, MUNICIPAL THEATRE BILBAO JOAQUIN RUCOBA. JE, IN my Introduction, I indicated that various purposes have to be fulfilled by theatres erected in countries | @ rendezvous in the first place, and as a theatre only in the second. I also pointed out the distinguishing 2 JN features of the Spanish Theatre in regard to its entertainment. The general public in Spain favours the 7 subject to Latin influences, and I mentioned how, in Italy, for instance, the playhouse is regarded as a Tog Be Pas. custom of attending one or two of the several performances given nightly at private theatres at intervals of an hour, each play occupying only about forty minutes, for which separate tickets are sold. The Spaniards treat their theatres in a similar fashion to that in which our music halls and variety theatres are used—that is to say, they avoid the restraint of a seat booked for a play which absorbs the whole evening. It is only at two or three of the older theatres that the opera or drama is presented in the same way as it is in this country, and even in these isolated instances, the Italian method of using the playhouse as a social centre, particularly on the part of the governing classes, is greatly in vogue. The performances which attain to the greatest popularity in the last named institutions are those of a light character, such as operettas or comedies which do no more than amuse; for the Spaniard, unlike the German, attends his theatre not so much as a matter of education as merely from a desire to be entertained. To my knowledge, there are only two first-class playhouses at Madrid—the Teatro Real and the Teatro Espafiol— both of which are owned by the Municipality. The former is used for opera, and the latter for drama. Though a municipal institution, the Teatro Real is annually leased to an impresario, who makes the highest bid for the privilege of running an opera season; whilst the Teatro Espanol, which is associated more with the classic drama, is in the hands of a manager, who receives a subsidy from the Govern- ment in order to cover the deficiency arising from the production of a species of play which, as a rule, is particularly unfavourably received. The other theatres in Madrid, and for the most part those in the provinces, are institutions run solely on commercial lines, which cater for an ever- increasing taste for the lighter forms of amusement. The buildings are generally erected by syndicates, and, as a rule, a well-known architect is employed to prepare the design. This was the case with the Bilbao Theatre, now under consideration, which, MUNICIPAL THEATRE, BILBAO. GENERAL VIEW. although denominated —and to a certain extent rightly—a “ municipal ” playhouse, fulfils that function to about the same extent as do the so-called “Stadt” theatres of Germany mentioned in the Introduction to the preceding volume. The municipality has supported the enterprise only to the extent of providing a site, which is granted under certain conditions, not unlike those which governed the erection of the theatre at Amsterdam, and including one by which the building becomes the property of the ratepayers on the 18 MODERN OPERA HOUSES AND THEATRES expiration of the term of ninety-two years. As a matter of fact, the management is a limited liability company, and the commission was given by its direction to the city architect, Joaquin Rucoba. With regard to the size of the building, the auditorium has been planned to accommodate an audience of 1600 persons, whilst the superficial area covered by the building is 1675 square metres. Its total cost, including furniture and a stock of scenery, amounted to over 40,000/., and the time occupied in its construction extended from July, 1886, to May, 1890, the inaugural ceremony taking place on the last day of that month. Though the theatre stands on an isolated site, it is a matter for regret that a considerable portion of the ground-floor level has been devoted to shop premises and to restaurant accommodation. On examining the plan it will be seen that there is in the arrangement of this theatre much similarity to that of the Théitre de la Renaissance at Paris, and, unfortunately, the defects of that structure have been reproduced in the present example. In the first place, the area level of the building is on the second floor, and the lowest seat of the auditorium is as much as twenty-six feet above the street. Owing to the arrangement of the shops and restaurant, the facilities for ascent and descent are most unsatisfactory, three out of the four staircases being even curvilinear in plan. There are, moreover, but four staircases for the joint use of the area and the four tiers, which prevents the necessary isolation of the different sections of the audience. It is curious that the authorities at Bilbao should have permitted such dangerous planning, more especially in view of the serious fire by which the theatre at Oporto was destroyed in the month of March, 1888, when over 170 people were killed—an incident occurring whilst building operations were in progress. The principal characteristic of the structure is, if I may say so, the aforesaid position of the auditorium at so high a level above the street, and I would also call attention to the manner in which the superficial area available has been utilised for an auditorium of such considerable breadth. The outline of the latter is distinctly observable in the front elevation, a clever piece of designing on this irregular site. The central feature of the principal facade, curvilinear in plan, flanked first by two turrets containing staircases, and again by two wings of less height than the main block marking the position of the lounges, is a conception that would do credit to any architect. Joaquin Rucoba must be congratulated on the very pleasing effect produced by the grouping of the block. Unfortunately, however, the details of his mouldings are not up to the same standard. With regard to the division of the auditorium, it will be observed that there are two tiers) of partly open boxes, and two tiers of galleries, the uppermost seats of which are almost on ceiling level... On either ddd of the auditorium the lounges just referred to have been placed, and a very effective appearance has been obtained by allowing these halls to cut through two tiers, and by so constructing small galleries as to overlook them. The corridors are of ample width, and I notice that two lifts have been provided to assist the visitors in reaching their seats. . So far as theatre construction in Spain is concerned, little progress has been made during recent years, although it is curious to observe in the case of the Bilbao Theatre that, while the general arrangement of the staircases and the position of the auditorium are so unsatisfactory, the treatment of the facade has been executed in a manner which not only shows great skill, but is also quite in accordance with the most recent ideas of designing with a set purpose. In closing, I would say that, in spite of the absence of any new features in this example, I consider it to be the only one of interest among Spanish theatres of the modern epoch. APPROXIMATE DIMENSIONS, Width of Proscenium Opening at Curtain Line . , : : ; . ga’ 6 16°00 m. Height of Proscenium Opening at Curtain Line . : : 37 0" 11°50 m. AUDITORIUM. ST ACE. Curtain Line to Front of First Tier . zz’ 17°00 m. | Width inside Containing Walls . . : 78 of 24°00 m. Curtain Line to Front of Third Tier. zg! off 17:00 1. | Curtain Line to Containing Back Wall . x5’ of 17°00 m. Curtain Line to Furthest Seat . . 24 9" 22°75 m. Curtain Line to Furthest Wall of Back Stage 29" 6" 24°25 m. Sunlight Opening above Area . 40 3 15'00 m. | Gridiron Floor above Stage at Curtain Line 62’ 3” 19°00 m. Highest Seat above Street . ; , 75" 6" 23-00 m; Cellar Floor below Siage at Curtain Line . 25! ot 850 m. Lowest Seat above Street . ; : 26 2" 8:00 m. Stage Floor at Curtain Line above Street . 29 6" 9*00 m, COURT OPERA HOUSE, VIENNA. GENERAL VIEW. PART 11 AUSTRIA AND HUNGARY, COURT OPERA HOUSE VIENNA VAN DER NULL SICCARDSEURG. ONE of the results of the proclamation of the Emperor of Austria, in 1858, directing that the. fortifications of Vienna should be destroyed and large boulevards established in their place, was the growth of a brilliant school of architects whose works have made Vienna a formidable rival to Paris. It is seldom that such an exceptional opportunity as the development of a city occurs for the display of talent, and the Ringstrasse, with its stately buildings, testifies to the wisdom which has distinguished the Viennese in taking full advantage of the occasion. Among the first buildings to be designed and completed was the great Court Opera House at Vienna, now before us. This block, which ranks in size next to the Paris Opera House, may, perhaps, be said to belong to the same epoch that saw the creation of the latter and also that of the Brock Paar ~ Municipal Theatre at Palermo, since the original designs for these buildings were all prepared at approximately the same time, je carly in the sixties. Of these three examples it occupies the second place, and though, as I have already declared, I consider the ““ Hofburg” Theatre, presented in Volume I., to be of greater architec- tural importance than either of the others, there is much in the Vienna Opera House which gives it a most prominent position among recent playhouses, and its technical equipment more particularly makes it a pioneer in certain directions. It was originally intended that the new Court Opera House should occupy the square in front of the old Kirtner Gate, but as the general grouping of the new buildings was evolved, the present site, which is far more spacious and appropriate, was allotted to this purpose. A competition for the design was opened in 1860, and resulted in the commission being entrusted to Van der Niill and Siccardsburg, architects who had been prominently associated with the scheme for laying out the Ringstrasse. The necessary alteration of their competition plans, consequent upon the change of site just referred to, however, prevented building operations from being commenced before the beginning of 1862. Owing to the illness of Siccardsburg in 1867, the supervision of the work was temporarily relegated to G. Gugitz, who, after the decease of the former, and the subsequent death of Van der Niill, was permanently appointed in their place, with J. Stork as his collaborator in the decorative work. But it would be an injustice to the original authors not to state most emphatically IL—F 20 MODERN OPERA HOUSES AND THEATRES, that the conception of the Opera House, even to the veriest detail, was practically completed before their decease, and that the chief work devolving upon their successors consisted in attending to the execution of the plans. The ceremony of laying the foundation stone only took place in 1863, some fifteen months after the commencement of the work, and the first performance was given in May 1869. The total cost of the building amounted to about 500,000/., and while the actual seating accommodation is limited to seventeen hundred and twenty, the total number of persons for whom space can be provided, if the standing room is fully utilised, is two thousand eight hundred and eighty. As regards the purposes of the building, there is little doubt that, although no inclination was shown towards that ostentation which characterised the Paris Opera House, conceived during the »dgime of Napoleon III, still the Emperor of Austria intended to make the block a monument worthy of the position occupied by operatic art in Vienna at the time, besides serving as a suitable place for receptions or special entertainments arranged for his Court. The administration of the institution is identical with that of the “ Hofburg” Theatre, as its management falls under the same department— that of the Lord Chamberlain. There was no intention of making the building a National Monument in the sense in which the Paris Opera House is regarded, for, as In the case of the “Hofburg” Theatre, its purpose is essentially that of a Court playhouse, where the head of the State passes a considerable part of his leisure, and also entertains his guests on different occasions. The Vienna Opera House, as I have said, was one of the first buildings to appear during the great evolution of the main boulevards of Vienna; hence it is not surprising to learn that the architects of this building had far greater financial difficulties to contend with, especially with regard to the outlay on the architectural rendering, than was the casé at a later peviod, when one monumental building after another had arisen ‘at Vienna in a kind of friendly rivalry. One might almost say that the principal difficulty which the architects had to face was a somewhat niggardly spirit on the part of those who controlled the exchequer, and much that cannot be under- stood at first sight in a building conceived on such broad lines must be attributed to this parsimony. As in the case of the “ Hofbug” Theatre, I regret to say that this building has been the subject: of a considerable amount of criticism and controversy, which, however, has fortunately been out- lived, and both design and execution are COURT OPERA HOUSE, VIENNA. VIEW OF CENTRAL FEATURE. now deservedly accorded general appro- bation. What is, perhaps, the most pleasing feature considering the date of erection, and at the same time an idea which has since been most favoured in the development of Continental theatre construction, is the very distinct manner in which the various parts of the block are grouped round the main body containing the auditorium and the stage. It is only to be regretted that the architects did not see their wav to go a step further at the time and make a greater distinction between that part of the structure which holds the audience, and that which is used for the presentation of the drama. Nevertheless, the individuality shown in the grouping is of considerable merit, and, undoubtedly, the facades plainly mark the different divisions of the structure. Next to the general arrangement of the building, a feature of considerable interest is the large amount of space devoted to storage purposes and to the various offices of the stage. Taken as a whole, the Vienna Opera House is an example of the application of the so-called “central” system of planning, which was likewise adopted for the Paris Opera House, for here again we find the arrangement of the grand central staircase distinct from the two main staircases, so characteristic of Gottfried Semper’s designs. It will, however, be at once observed that, in this instance, the central staircase is not given the same significance as at the Paris Opera House, for, with the different foyers, saloons and lobbies, it takes an essentially subsidiary position in relation to the auditorium. The latter, together with the stage, unmistakeably occupies the principal place in the building, and even the portions reserved for the Court are of less prominence in their architectural treatment than the auditorium proper. If I may say so, the building embodies the practical qualities, the dignity and unassuming demeanour for which its Imperial owner is noted, without, however, in any way being too sombre for its purpose. In the same manner as the Opera House at Paris is representative of a special period, so in every way the Vienna example reflects the characteristics of the Imperial Court to which it belongs. On examining the plans in detail there is little that calls for comment, except perhaps that in so important a MODERN OPERA HOUSES AND THEATRES 21 bailding, where space had to be so little considered, there is a marked lack of staircase accommodation. This, however, is easily explained when we remember that the structure was opened in 1868, before much thought was given to the subject of the safety of the public. A feature demanding attention is, perhaps, the great open Loggia in front of the principal public lounge, to which an unusual amount of space has been given. The situation of the ante-room to the State Box, only to be reached by crossing a passage, which rightly should be open to the public, calls for remark as being a somewhat unsatisfactory arrangement, though this form of planning can scarcely be avoided on account of the central position of the grand staircase. It should, however, be remembered that, as a rule, the side proscenium boxes are used by the Emperor and Court, and that when the State Box is occupied, practically the whole of the building is reserved for the Emperor and his guests. At such times, perhaps, only a small section of the house, such as a few rows of the stalls or an upper gallery, is available for public use. At the back of the house, as I have said, the accommodation provided for offices is very unusual, whilst as to the spacious scene-stores, I must repeat that I hold them to be dangerous. With regard to protective measures against fire in this part of the house, I would here take the opportunity of remarking that the two sets of corridors on either side of the stage already show the slots for working hydrants referred to elsewhere. From a technical point of view the general equipment of the block shows much forethought; while the ventilation and heating apparatus are unique. It would lead too far to go into detail here as to the various appliances used, but 1 would again emphasise what a very high state of efficiency is shown, more particularly when the time of erection is considered. Speaking, in conclusion, of the architectural rendering, I would only say that I consider the treatment of the facades particularly successful, while there is much that is novel in their design and in the execution of the masonry. The mouldings and other details of the facades are thoroughly harmonious, and the group as seen from different points is always effective. In the interior the decoration, though frequently sombre in colour, is most pleasing. The building reflects Renaissance feeling, and, taken as a whole, the treatment of this example is worthy of considerable study. APPROXIMATE. DIMENSIONS, Width of Proscenium Opening at Curtain Line . : . . : . 47. 6" 14°50 m. Height of Proscenium Opening at Curtain Line . . : ; . . 397 3" 12°00 m. AUDITORIUM. STAGE. Curtain Line to Front of State Box . 37! o 26°50 m. Width inside Containing Walls . . : 03 6" 30°00 Mm. Curtain Line to Front of Third Tier . : 87’ o 26°50 Mm. Curtain Line to Containing Back Wall 8s 3" 26°00 m. Curtain Line to Furthest Seat . : 101 9 31700 Mm. Curtain Line to Furthest Wall of Back Stage 164’ 3" 50°00 m. Sunlight Opening above Area . ; 64 0" 19°50 Mm. Gridiron Floor above Stage at Curtain Line 3s 3” 26°00 m. Highest Seat above Street . : ) ; 64’ © 10:30 m, Cellar Floor below Stage at Curtain Line . 30 3 12°00 m. Lowest Seat above Street . pe 9 o 3°00. m. Stage Floor at Curtain Line above Street . 14’ 0” 4°50 m. COURT OPERA HOUSE, VIENNA. VIEW OF AUDITORIUM. 22 MODERN OPERA HOUSES AND THLRATRES CZECH NATIONAL THEATRE PRAGUE. FOSELH ZITEL, FOSEPH SCHULZ, IT is notorious how exceedingly enthusiastic all classes of the Czech race are in maintaining the traditions of the old Kingdom of Bohemia, and the various institutions pertaining to their nationality. Among the methods which they favour for a retention of their individuality, not the least has been the institution of so-called. national’ theatres, established both at Prague and other Czech towns. The Czech "National Theatre in the capital of Bohemia is regarded by many as possessing the character of a monument, not merely in a national sense, but also as a means of perpetuating their native tongue. In the previous volume 1 have rveferred- to ‘the origin of the new “German” playhouse at Prague, erected by an essentially German society. Similarly, the National Theatre is the outcome of the energy of ito Ph a private association of prominent members of the Czech community specially formed in 1850 with the view of encouraging the Czech drama. It was this association to which belonged the old Czech Theatre of Prague, a structure but ill-adapted to their requirements. The executive, however, did not rest content with that building, for already in 1868 the erection of a new playhouse was decided on, and the foundation stone for the building actually laid in that year. With this ceremony and some preliminary works the progress of the structure had, unfortunately, for a time to come practically to an end, there being considerable difficulty at the outset in obtaining the necessary funds. Not until quite a number of years afterwards was more rapid progress made, and it was 1881 before the building saw its opening performance. Though not quite finished as far as interior decorations were concerned, the formal inauguration of the insti- tution took plate with some ceremony in August of that year, shortly after which a few plays were presented. Unfortunately, however, only eleven performances in all were destined to be given, for, owing to some yet unexplained reason, the structure, on which so much labour and skill had been bestowed, was destroyed by fire on the 12th of the following month. Only the principal containing walls remained after the conflagration, and I am glad to say their facades were only slightly damaged. The duty of planning and executing this national theatre had been entrusted to Joseph Zitek, an architect of con- siderable local standing, and it is | interesting to observe that the amount of money expended under his direc- tion was about 135,000/. Nothing daunted by this disaster, the Czech people with indomitable energy succeeded in raising, by volun- tary subscription, a sum of 94,000/, in the short space of six weeks, and within two years of that date they had the satisfaction of seeing the second CZECH NATIONAL THEATRE, PRAGUE. GENERAL VIEW. opening of their new National Play- house. For this work of reconstruction, however, the architect who had in the first instance been responsible for the plans was not again employed, for Zitek had to make room for Joseph Schulz, also an architect of considerable position in Prague. The precise reasons for this change I have been unable to discover, as the reports are contradictory, but I am afraid I must MODERN OPERA HOUSES AND THEATRES. 23 here notice that the fact of two architects having been engaged has again given rise to much controversial literature as to the responsibility for the building as it now stands. On careful examination of both the original set of plans which Zitek had prepared and the working drawings of Schulz for the reconstruction, and after a comparison of photographs of the original building and its condition after the fire, and a later personal examination on the spot, I have come to the conclusion that the fairest method will be to bracket the names of the two architects as collaborators. If I place Joseph Zitek’s name first, I do so because I consider that the general conception of the block must be attributed to this architect, no matter what alterations and extensions were subsequently made. It was at first my inten- tion to present a plan explaining the building as it stood in 1881 and indicating what had been done after the fire, but I have since thought it better merely to illustrate the building as it 1s at the present day. Much that appears anomalous, both in plans and sections, must, however, be attributed to the somewhat extra- ordinary experiences of the block. It would be unfair to judge it in the same manner as we should if it were a theatre designed and executed by one architect without any obstacles of the character alluded to. The situation chosen for the Czech National Theatre at Prague is exceedingly picturesque, for the block stands on the banks of the Moldau, with its principal elevation facing the main thoroughfare of the city, and its side elevation overlooking that river. It has thoroughfares also on its other two sides. CZECH NATIONAL THEATRE, PRAGUE. VIEW OF AUDITORIUM. The building comprises the theatre proper, which occupied exactly the same site used on the first occasion, as well as 2a block of offices at the back, which was afterwards added on some adjoining ground. As regards seating capacity, the audience is considered to be limited to seventeen hundred, but with standing accommodation, room can be found for two thousand. As I have said, the structure involved an outlay of 135,000/ up to the date when it was destroyed by fire; the reconstruction actually cost 108,000/. more. On examining the plans as the building now stands, and without in any way considering the fact that it is a structure which has seen two phases of erection, it will in the first place call for comment that the great irregularity of the site must have given the architects no little trouble in laying out the principal lines. As regards the theatre proper, I hold that the arrangement of the grand entrance, the main vestibule, with the staircases on either side, and of the large lounge above, has been very cleverly managed in spite of unfavourable circumstances. Further, I contend that the superficial area available has been extremely well utilised by the way in which the auditorium has been planned. There have not, however, been difficulties only in f= planning, but also in the elevation, a Secon of the site having different levels; in fact, the deep slope to which the building had to be worked from front to back, was not at all helpful to the monumental rendering desired. On glancing at the views of the building the difficulties which had to be encountered will be fully appreciated, but it will be noted that the grouping as a whole has been very satisfactory. As a matter of fact, the difference of angle to the various corners of the block is scarcely observable to the eye, owing to the ingenious way in which the various parts of the CZECH NATIONAL THEATRE, PRAGUE. DETAIL OF Box DIVISION. building have been set out. It will be perceived that, as in the case of the Vienna Opera House, an attempt has been made to draw distinctions between the architec- tural rendering of the part which holds the auditorium with the stage proper, and the Seng sections oontining the foyers, saloons and offices. It is only regrettable that here, as at Vienna, it was impossible for the architect to make variation in the treatment of the exterior of the auditorium from that of the stage. There are no special features in the building such as those 1 have been able to point out in many other instances, but the arrangement of the auditorium with its two tiers of side boxes with central balconies, its third tier entirely a 11.—G 24 MODERN OPERA HOUSES AND THEATRES. occupied by a balcony, and its fourth tier in the form of a gallery set back on to the main containing-wall, the ceiling being supported by columns, has a particularly pleasing effect. Nor is there anything of importance that calls for adverse criticism, except, perhaps, that the upper gallery seats are in a well, which is a fault I have already had occasion to condemn ; and, further, that the staircase accommodation is scarcely adequate for modern requirements, a defect due, no doubt, to the early date at which the building was first conceived. The arrangement of the doors of the main entrance and main vestibule, as well as those of the side carriage entrance, is specially advantageous to the occupants of the stalls and the first tier, and the manner in which a box on the right-hand side of the auditorium has been reserved for Royal visitors, with its own approach and ante-rooms, is very convenient. As regards the architectural rendering of the building, I think the illustrations sufficiently explain this, and I would only add that the dignity of the principal loggia in front of the lounge is exceedingly impressive. The colour study of the interior is pleasing, and were I to select any detail of the decoration for special remark, it would be the treatment of the Royal rooms, on which considerable skill, particularly in plaster work, has been bestowed. Taken as a whole, the building amply fulfils the requirements of a national institution for the Czech community resident in Prague. In judging its design we should not forget the early date at which the building was planned, and how irregular was the site chosen for its erection, and we should also bear in mind the experiences this theatre passed through before it was finally completed. APPROXIMATE DIMENSIONS. In Width of Proscenium Opening at Curtain Line . : : 36 o L123 m. Height of Proscenium Opening at Curtain Line . . ' . : 39" 3 12°00 Mm. AUDITORIUM. STAGE. Curtain Line to Front of First Tier . : 60 of 13’ 50 m, Width inside Containing Walls . : : 63 of 21°00 m, Curtain Line to Front of Third Tier . : 64! o 10°30 m, Curtain Line to Containing Back Wall a4 3 13°50 m, Curtain. Line to PFurthest Seat : : ot’ o 27% 1m, Curtain Line to Furthest Wall of Back Stage 62’ 3" 19°00 m. Sunlight Opening above Area . : : 8g 67 aves mh, Gridiron Floor above Stage at Curtain Line 35’ 6" 27100 m, Highest Seat above Street . : . : bel GY 23°00 m. Cellar Floor below Stage at Curtain Line . 32’ of 10°00 m, Lowest Seat above Street . ; : , hilt 2*25 1M. Stage Floor at Curtain Line above Street . 10’. 6" 3725 m. CZECH NATIONAL THEATRE, PRAGUE. SIDE VIEW. MODERN OPERA HOUSES AND THEATRES 25 MUNICIPAL THEATRE “SALIDURG. FERDINAND FELINER, HERMANN HEIMER In the first volume 1 had frequent occasion to refer to the work carried out by the Austrian architects, Ferdinand Fellner and Hermann Helmer, and in this volume two fwrther examples of their designs are given. As I have remarked, these architects, who, to my mind, must be considered the leading specialists of Austria, 0 have executed several fixed “types” of buildings, and there.dis a certain sameness between their one-tier Brock PrAN. theatres, their two-tier theatres, etc. Though, in some cases, their playhouses may be to a large extent mere variations of one model, all, however, possess some particular feature that calls for comment, and many are interesting examples of modern theatre construction. While in each production the individuality of the architects is exhibited in excel- lence of plan, in general equipment, and in the satisfactory treatment of the interior, I regret to have to repeat that practically all, however, reveal that same mediocrity in the architectural rendering of their exterior which I have already condemned. The example here under consideration is a small two-tier house for a provincial town well known as a summer resort, and may practically be considered a Municipal institution. The structure, like the majority of Fellner and Helmer's theatres, occupies an isolated site. a As will be seen from the plans, the site was a tri- angular one, and the architects have overcome the difficulties they had to encounter, arising from this unusual outline, with considerable skill, for the arrangement of the semi- circular grand vestibule, with its two staircases on either side leading to the first and second tiers respectively, is not only very practical, but most effective. The second-tier staircases, as will be seen, have also been so set out as to have their own exits directly into the open, besides those through the principal vestibule. The auditorium is a typical example of the work of the Vienna architects, except that it is perhaps MUNICIPAL THEATRE, SALZBURG. GENERAL VIEW. unusual to find the whole of their first tier given up to boxes. The decoration of both the auditorium and vestibule, as well as of the lounge, is almost identical with that of other buildings erected by the same firm. The seating accom- modation is for 630 and there is additional standing room for 370. Comparatively small as the establishment is, a suitable vestibule, staircase and ante-room have been provided for a royal box on the first tier; and.-it 1s noticeable that the cloak-room conveniences are specially well placed. It should be emphasised, however, that the arrangement of the vestibule and staircases at the apex of a triangular site remains the chief characteristic of this building. In conclusion, I would say that the Salzburg Municipal Theatre, as a whole, fulfils its purpose in a most admirable manner, while its equipment accords in every respect with our most recent requirements. The scene-store, it may be added, has been wisely relegated to another building, instead of having a position found for it under the same roof as the auditorium. The cost of the institution, exclusive of the scene-store, amounted to about 25,000/. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : ; . : : 32’ of 9°75 m. Height of Proscenium Opening at Curtain Line . . . ; ; . gal 6 7+ 50 Mm. AUDITORIUM. STAGE. Curtain Line to Front of First Tier . : go! o" 15°50 m. Width inside Containing Walls . : ‘ 63 of 21°00 m. Curtain Line to Front of Second Tier \ 1’ of 15°75 Mm. Curtain Line to Containing Back Wall : 29’ 6" 9°00 m. Curtain Line to Furthest Seat . . ‘ 63’ 6 20°00 m, Curtain Line to Furthest Wall of Back Stage z0 of 15°50 m Sunlight Opening above Area . : . 23 6" 11°75 m. Gridiron Floor above Stage at Curtain Line 30 of 19°50 Mm. Highest Seat above Street . : . i 26! a $0 m. Cellar Floor below Stage at Curtain Line . ag o 3°00 Mm. Lowest Seat above Street . . . ; 2’. 6" 0's m, Stage Floor at Curtain Line above Street . 5! of 175m. 26 MODERN OPERA HOUSES AND: THEATRES. MUNICIPAL THEATRE, I1.AIBACH. J. VLAD. HRASKY, ANT. HRUBY. Tue Municipal Theatre at Laibach plays as important a 7d/e in the life of the Slav community which pre- dominates in the division of Carniola, as does the National Theatre at Prague in that of the Czechs. The entertainments at this theatre are intended essentially to foster a certain sentiment of patriotism in which the members of Slav nations much delight. The new Laibach Theatre takes the place of the old building destroyed Plas oes by fire in 1837, and its erection’ is in a great measure due to the liberality of the various local authorities. The design ‘is the result of a cominission placed, in 1889, in the hands of the local architects, Hrdsky and: Hruby, for a set of provisional plans. The accommodation to be provided was for an audience of one thousand, and the cost was limited to 20,000/. It was not, however, until August, 1890, that the foundations were commenced, and the building was completed in the year 1892. | | In examining the plans for this theatre I would lay emphasis on the fact that, like the National Theatre at Prague, this structure was designed by local architects, who had but little experience in work of this class. The manner in which the building has been grouped is in the first place noticeable as following the lead of structures of far greater importance, for the architects have indicated the outline of their auditorium by a curvilinear facade, in which the central feature marks the main entrance and grand foyer, while two towers, one on either side, serve to show the position of the principal staircases and the two side entrances. Though the building is by no means of particular architectural merit so far as the rendering of the exterior goes—in fact, much of the detail is unsatis- factory—I would remark that this general grouping is deserving of attention, and again affords an example where, by careful study of the development of other MUNICIPAL THEATRE, LAIBACH. GENERAL VIEW. work, a satisfactory result has been obtained. The plan is particularly clear in its main lines, and, from an English point of view, it is noticeable as one of the few instances of Continental theatre building where two sets of stairs, overlapping one another, have been constructed within the same containing walls. The auditorium has also been very effectively contrived, though the arrangement of the boxes on the second tier should certainly not be imitated. Both in cloak-room accommodation and in the arrangement of the offices at the back of the house, our most recent requirements have been fully considered, and we also again find that the principal scene-stores are not in the same block as the auditorium, but are located in a detached building not far distant. In conclusion, I would only say that, though making no pretensions as an architectural achievement, this theatre, in a small town of some thirty thousand inhabitants, does credit to those who have conceived it. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : . ; : 31 0 9°50 m. Height of Proscenium Opening at Curtain Line . : . : : 3 of 9'50 m. AUDITORIUM. STAGE. Curtain. Line to Front of First Tier . ; 46! of 14°00 m. Width inside Containing Walls . : . 30 o 18°00 m. Curtain Line to Front.of Second Tier : 46' 9 14°25 m. Curtain Line to Containing Back Wall \ 32’ of 075 'm. Curtain Line to Furthest Seat . ; 67" of 20°50 ‘Mm. Curtain Line to Furthest Wall of Back Stage 40" 3” 15°00 m. Sunlight Opening above Area . : al goto 12°25 Mm, Gridiron Floor above Stage at Curtain Line 840" 630m. Highest Seat above Street . 34 3 19°50 m, Cellar Floor below Stage at Curtain Line . 6 3" 5°00 m. Lowest Seat above Street . ; ; 23 1°00 m. Stage Floor at Curtain Line above Street .. 6 6" 2°00 m. MODERN OPERA HOUSES AND THEATRES. 27 "RAIMUND” THEATRE. VIENNA FRANZ ROZH. IN speaking of the “Grand” Theatre at Islington, in my first volume, | remarked how that establishment was practically the pioneer of suburban theatrical enterprise. The application of the idea of giving the outlying districts of a metropolis separate playhouses has not only been most markedly developed of late in London, but the principle, as I have already had occasion to observe, has found considerable favour in various Con- tinental cities. There are several foreign capitals in which such institutions have lately been opened. Berlin, Brock PLAN. for instance, has only recently seen the inauguration of a theatre equipped on a most lavish scale in one of its western suburbs, and the example at Vienna, here under consideration, though, at present, the only one of its kind in Austria, is already being followed by similar ventures. The “Raimund” Theatre at Vienna is essentially a suburban theatre; I might almost call it a suburban People’s Theatre, for it is an institution where plays of a popular character are given at popular prices; and, though the subscriptions for its erection were not raised from every part of the community for which it was particularly intended, as was the case with the dona fide People’s Theatre at Worms, its erection is nevertheless largely due to the co-operation of all classes, and the support accorded to it is of an essentially democratic character. Besides being the first suburban theatre of a Continental capital, and fulfilling the idea ‘of a people's plavhouse, the “ Ralmund” Theatre at Vienna also holds a prominent position .on account of the fact that it embodies, to a great extent, the principles of theatre construction promoted under the name of the ‘“ Asphaleia” system. This system, which was propounded in 1882, directly after the great catastrophe of the “Ring” Theatre fire, included in. its programme an almost entive reform in all parts of the building, though no doubt more particularly in regard to the equipment of the stage. Of the latter 1 shall speak at some ‘length in. the third volume, whilst the general scheme will also receive attention in my chapter on types of theaire planning. The * Asphaleia” scheme, as I have said, dates from 1882, but it was not until 1893, when the “ Raimund” Theatre was opened, that the principles brought forward were actually applied to a structure of con- siderable dimensions. As a matter of interest, Faas: or Se ee eer EL Teg St re ONT LP Be : . i . 5 23 nn = - — Str PPT I would mention that, though a comparatively rales SE Sr im — 1 : Ze 537 [NC] Rg AH Nal ANE 72 I large superficial area is covered by the block, 7m 0 1 Ed ATH LN lie? i Ni A — RE—- x= iF / - the total expenditure on its erection did not exceed 37,500, and that the time occupied in carrying out the contract was the remarkably short period of six months. The archiiect was be 0 ll rn] TT {| {I m J ! YR Reb Franz Roth, who had been long associated with WET dire: LD those who proposed a material alteration in it 1 = |=rwfl = ] Gi : Hr hr =. Jl = {] the arrangement of our places of entertainment. As to the position of the theatre, it is in a populous suburb, and occupies a prominent site at the junction of several thoroughfares. ““ RAIMUND” THEATRE, VIENNA, GENERAL VIEW. Three of the frontages overlook streets, whilst at the rear a yard of comparatively large proportions separates the block from the adjoining property. Here again, as in the case of the Laibach Theatre—the example given on the preceding page—we have an instance where the auditorium finds full expression in the grouping of the building generally, and particularly in the outline of the principal facade. Reference to the third volume, in which the original plan of the so-called model ‘ Asphaleia” theatre is presented, will show the basis on which the design was conceived. Next in importance to the expression of the exterior is the auditorium, which calls for special notice on account of its very deep tiers, its peculiar ceiling, and the unusual form of its proscenium opening, all tending, I consider, to make the building a notable one in the annals of theatre construction. 11.-H 28 MODERN OPERA HOUSES AND THEATRES. The shape of the ceiling is due to the adoption of certain theories of acoustics, and certainly the hearing qualities of the building are of a very satisfactory nature. The depth of the tiers has its origin in an attempt to imitate the section of the amphitheatre of old; and though the sighting is satisfactory throughout, and on the upper tier the accommodation is all that can be desired, I regret to find that the overhanging galleries are extremely oppressive both to the occupants of the first tier and to that part of the audience in the area which is not seated in the “well” of the house. The effect of these heavy galleries as they appear from the stalls, I must add, is somewhat unhappy, for the fronts of the tiers are brought too close to the proscenium to allow for any semblance of dignity or breadth in the auditorium. The device, too, of introducing boxes into a plan of this description is by no means pleasing, for they seem to be entirely out of scale in comparison with the general proportions of the interior. It would, in fact, have been preferable if the proscenium boxes had | been: cancelled in the design. The framing of the pro- scenium proper is, to a certain extent, governed by an experiment in lighting the stage on an improved method, with powerful side lights. These are hidden from the audience by a very clever arrangement of the principal mouldings, and I consider that this new form of illuminat- ing the scenes is a great improvement on the antiquated footlights. But here, again, 1 must not dilate on this point, as the question of stage lighting is dealt with elsewhere. As regards the halls or promenades which have been placed round the auditorium, they are certainly spacious, and, as far as cloak-room accommodation is con- cerned, very convenient. The staircases are ample, though, as at Laibach, it is observable that two stairs to different tiers are placed within the same walls. The purposes of the “ Asphaleia” system of construction will, as I have said, be dealt with in detail in Volume III., and, hence, “RAIMUND” THEATRE, VIENNA. VIEW OF PROSCENIUM. I need not indulge here in any discussion of the theories involved. In conclusion, I would only say that the equipment of the building is thoroughly practical, but as regards the architectural rendering of the exterior and the decoration of the interior, unfortunately, nothing favourable can be said. It is remarkable that in this particular instance, where an experiment in theatre construction of considerable interest was attempted, the building had to be carried out with such great rapidity that the architect had but little time for the development and necessary maturing of his plans. With more thought accorded to questions of detail in regard to the plan, better results would no doubt have been obtained. This refers primarily to the arrangement of the auditorium, but the same remark is applicable to the position of the staircases, which, though spacious, do not appear to fit in well with the architect's general scheme. With more time at his disposal, moreover, Franz Roth, I am sure, would scarcely have left the architectural treatment of the exterior in its present condition, and he would have availed himself of the great possibilities for interior decoration. The ‘ Raimund” Theatre, to repeat, embodies an experiment, and as such deserves careful study. It is not a beautiful playhouse, but it exhibits much that is of interest to those associated with theatre construction. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : ‘ ‘ gol 47 6" 14°50 m, Height of Proscenium Opening at Curtain Line . ’ . . ; : 36" o 112% m. AUDITORIUM, STAGE. Curtain Line to Front of First Tier . . 41’ o 12°50 m, Width inside Containing Walls ie us oo 23°75. 1, Curtain Line to Front of Second Tier : 46" of 14°00 m. Curtain Line to Containing Back Wall : 39! 3" 12°00. m. Curtain Line to Furthest Seat . ; el al 22°00 Mm. Gridiron Floor above Stage at Curtain Line #8 24°00 m. Ceiling Centre above Area . . ; zo’ of 18°00 m. Cellar Floor below Stage at Curtain Line . 19) go 6°00 m. Highest Seat above Street . ey, 42 6" 13°00 m. Stage Floor at Curtain Line level with Street. Lowest Seat below Street . : : : alia 1'00 m, MODERN OPERA HOUSES AND THEATRES. 20 GERMANY MUNICIPAL. OPERA House, FRANKFORT LC AE, BECKER, GIESENBERG In the Frankfort Opera House we find a typical example of an institution which, though essentially a Subscription Theatre in the first instance, is considered a municipal establishment and known as a * Stadt” theatre, owing to the support accorded to it by the local authorities and the fact that the management is practically carried on under their auspices. Instead of the Municipality, or, perhaps, some society granting the funds for this playhouse, which would have been the more usual procedure in Germany, the erection of this remarkable building is mainly due to the efforts of private citizens, for in the year 1870 a number of prominent men offered the town a very considerable sum for the erection of a theatre, merely stipulating that they should have the first refusal of tickets for certain boxes in the principal tier and a specified number of stalls. Brock PLaN. The offer was at once accepted by the Municipality, who, on behalf of the ratepayers, responded by presenting a site on the ‘“ Rahmhof” and by further contributing to the fund, which was managed under their direction on lines similar to that of a company, ie. by a directorate elected from among the subscribers, whose votes are proportionate to their share in the capital. A limited competition for the design of the Opera House between the architects Lucae and Strack of Berlin, Brueckwald of Leipsic, Bordiau of Brussels, and Bernitz of Frankfort, was then instituted, and Lucae was declared successful and obtained the commission. Soon after this competition, however, the site was changed from the “ Rahmhof” to a yet more suitable spot on the boulevard near the Bockenheim Gate, and it became necessary for Lucae to prepare new plans, so that it was not until the Spring of 1873 that the work was actually commenced. Four years later, when only the carcase of the building had been roofed in, Lucae died, and the completion of the work was transferred to Albrecht Becker and E. Giesenberg, both of whom had been employed in the office of the deceased for some considerable time. The opening ceremony was performed by the Emperor on the zoth Novem- ber, 1880. In examining the plans of the MUNICIPAL OPERA HOUSE, FRANKFORT. GENERAL VIEW. Frankfort Opera House, it would be well again to bear in mind that the design for this example dates back as far as 1870, and if one remembers this, the comparative excellence of the arrangements for a building of that date will be more perceptible. 1 know of no playhouse, completed prior to that of Frankfort, in which the same clearness of plan and the same grasp of the requirements of the audience, as regards accommodation, are to be found as in the case before us. The gengral conception of the 30 MODERN OPERA HOUSES AND THEATRES. scheme stands particularly high, and as an example of “central” planning as distinct from “radial” planning, the structure is also remarkable. As will be seen, there is a main entrance leading into the grand vestibule, and there are also two side vestibules. This main entrance is particularly convenient for that part of the audience reaching the building by carriage, whilst the side vestibules afford facilities for the entrance of foot passengers without their having to cross the line of vehicular traffic. The conception of the grand staircase is peculiarly satisfactory, and what is more, there is no undue waste of space in obtaining the vistas which are so important a feature for stairs of this description. The manner in which the latter can be overlooked from the grand lounge on the one hand, and from corridors surrounding the auditorium proper, on the other, is extremely clever. The . staircases to the upper tiers have been very suitably arranged on either side. - The entive planning of these vestibules, staircases and passages is essentially academic in feeling, and it is only right to say at once that the same classical influence is apparent in their decoration. In the auditorium, which has four tiers, the principal feature is an exceedingly deep proscenium. The architec- tural rendering shows the same treatment as is observable in other parts of the building. In the equipment at the back of the house and also in that of the “front” the Pramkiort Opera- Houses is far ahead of any other building completed about the same time, excepting only the Vienna Opera House, already referred to. The appliances for ventilation and heating and for the distribution of water are particularly noticeable, and one of the chief items in the equipment is the electric intercommunication which has been installed between all parts of the structure, jor use either in the event of an outbreak of fre or for the general purposes of .the establishment. More exhaustive remarks upon this point will he found. in the third volume. Considering the date of the erection, .it is not surprising that no very considerable use has been made of iron; in fact, practically everything on the stage and in the roof is of timber. In other respects, however, a fair amount of attention appears to have been given to the prevention of a spread of fire by the employment of so-called fire-resisting construction in the floors, and by the introduction of such special appliances as “ sprinklers.” As to the exterior, the grouping is very successful, for the methods which have been used with such marked effect at the Vienna Opera House and the Czech National Theatre at Prague have been applied here. There is again a distinct separation of the block which contains the auditorium and stage from the surrounding parts holding the lounge, offices and various adjuncts. It is further observable that the treatment of these reveals a greater endeavour to express the interior than has been the case elsewhere, for the side elevation is an instance where the situation of the dressing-rooms and minor offices are clearly indicated on the facades. The arrangement of the two circular entrances on either side of the central feature of the front elevation has a very pleasing effect. The classic rendering of the exterior, with its excellent detail, gives the Frankfort Opera House a certain dignity which is very impressive, and the structure certainly has the semblance of what has been called a “Temple of Dramatic Art,” as aspired to by the original donors. In conclusion, I would only say that the scene-store had, even at that date, been wisely located in a detached building, although in close proximity to the opera house. As a matter of fact, it faces one side of the square in which the theatre is situated, being connected with it by a subway. Most of the machinery has also been placed in this house, and the necessary pipes and wires pass through an underground passage to the main building. The total outlay on the Frankfort Opera House was approximately 230,000, and it 1s interesting to observe that although the work according to the original competition design was not to exceed a cost of 60,000/, after various alterations and additions, the Municipality finally accepted an estimate for 200,000/., and this sum was again exceeded by 30,000/. In this country we cannot imagine work being taken in hand in such a manner. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : . i . z 40! o 12°25. m, Height of Proscenium Opening at Curtain Line . ‘ ; : . 32! 0’ 9°75 m. AUDITORIUM. STAGE. Curtain Line to Front of First Tier . : 68" o" 31°00 m. Width inside Containing Walls . . . 63 o 19°50 m. Curtain Line to Front of Second Tier og! aH 22°00 1. Curtain Line to Containing Back Wall : 3) 3? 10°50 m. Curtain Line to Furthest Seat . . nS of 24°00 m. Gridiron Floor above Stage at Curtain Line 46’ o 14°25 Mm, Sunlight Opening above Area | : ; 50’ 9 15°50 m, Cellar Floor below Stage at Curtain Line . xo’ 6” 3:28 my, Highest Seat above Sireet . . zy’ 3 6'50 m, Stage VPloor at Curtain Line above Street , 49 1*50 m. Lowest Seat above Street . : i! 6 O50 m. MODERN OPERA HOUSES AND THEATRES 31 MUNICIPAL THEATRE LESSEN HEINRICH SEELING. IN presenting no less than three further examples of playhouses designed by Heinrich Seeling, I am guided by the fact that the work of this architect, to whom I have alluded as the theatre-specialist of Germany, -merits particular attention from all interested in modern theatre construction. I have, in the first volume, dealt with his Municipal Theatre at Halle, and the private establishment erected from his drawings at Berlin. The former, it will be remembered, was described as being a pioneer of particular importance, and the second as an example of unusual interest. I now present illustrations of the municipal theatres erected at Essen, Rostock and Bromberg respectively; and though, no doubt, each block exhibits the individuality of the designer, there is not observable in Seeling’s work, as I have already indicated, that tendency to follow one model or type of building which has so frequently distinguished the productions of other architects. To assist the study of these examples, I would particularly request reference to my previous remarks in connection with the theatres at Halle and Berlin. Heinrich Seeling obtained the commission for the Municipal Brock PLAN. Theatre at Essen in an open competition held during 1889, for which the requirements were laid down in considerable detail. The expenditure was not to exceed 20,000/., and, whilst the number of the audience was to be eight hundred, there were specific restric- tions in regard to the distribution of the seats, a limitation no doubt attributable to the fact that Essen is a manufacturing town, in which a special class of spectator had to be catered for. The principal accommodation had to be provided in the upper tier, or, in other words, the seats for which the smallest charge is made were to predominate. Hence, without going into detail, I would at once say that the Municipal Theatre at Essen chiefly calls for attention as a two-tier house, with an unusual seating capacity in the upper tier, and an exceptionally small area. The lines of the auditorium show that no part of the first-tier gallery over- hangs the stalls, and the area exhibits the novel arrangement MUNICIPAL THEATRE, ESSEN. GENERAL VIEW. of a row of open boxes at the back. - There are none of the usual half-open side boxes so common in the German playhouse, while the closed boxes are limited to two in the proscenium. The plan is a model of clearness, and though the facilities for approach to the actual seats from the spacious corridors do not attain that very high standard which we are accustomed to find in Seeling’s work, there is no great cause for complaint. Whilst there is here a marked difference in plan from other playhouses by this designer, the architectural treatment of the exterior and the decoration of the auditorium possess considerable similarity. In equipment the building in every way fulfils modern requirements. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : : 24, 0" 7° 20241, Height of Proscenium Opening at Curtain Line . ; ; : 23’ of 2+00 Mm. AUDITORIUM. S7AGE, Curtain Line to Front of First Tier . ‘ 43 6 14°75 m, Width inside Containing Walls . ‘ . 55 1700 Mm. Curtain Line to Front of Second Tier : zo!" of 15°50 m. Curtain Line to Containing Back Wall . 42 6" 13°00 Mm. Curtain Line to Furthest Seat . ‘ . 76' o 24°00 m. Gridiron Floor above Stage at Curtain Line 62! 3 10.00 ‘Mm. Ceiling Centre above Area . : : a 1350 m, Cellar Floor below Stage at Curtain Line . 14 9" 4°30 m. Highest Seat above Street . i ; : 44: 3" 13°50 m, Stage Floor at Curtain Line above Street . 6 6 2°00. Lowest Seat above Street . ; . 3l 3 1°00 Mm, .~1 32 MODERN OPERA HOUSES AND THEATRES. MUNICIPAL THEATRE: ROSTOCK HEINRICH SEELING. IN the Municipal Theatre, Rostock, we have another specimen of Seeling’s work, but in this case the building is oT a three-tier house. The commission was again obtained in competition, the accommodation required being for ’ A an audience of one thousand, at a total cost of not more than 21,500/. As a matter of fact, however,- the ; : elaboration of the design during its execution, and the fuller equipment of the building, involved an extra UT expenditure, bringing the total outlay to nearly 30,000/. Teoce fon As regards the auditorium, generally so ably dealt with by this architect, I cannot but say that it is here below the average of his work, not only in its lines, but also in its decoration. To my mind, it is mainly in the area that Seeling’s principles fully assert themselves, the method of approach to the different rows of seats exhibiting all the advantages to which I have referred in. speaking of the Halle Theatre. In clearness of plan, again, there is nothing to be desired, while all passage and staircase accom- modation is as ample and as well arranged as usual If any adverse criticism is made, it should be in con- nection with the two flights of winding stairs to the first tier, which in no way accord with recent ideas of safety, and are quite at variance with the architect's usual forethought for the protection of the audience. The disadvantage of these stairs is the more marked here, in that there appears to have been no particular 1 reason why the flights should not have been set out TY types y . without “winders.” As to the proscenium boxes, there Er are in this instance three pairs, -and, further, we find F several open. -hoxes on either side of the first tier; besides several half-open boxes placed at the back of ag Teme alEe ah = ; that level. These latter, by a siniple arrangement . of movable partitions, can be provisionally converted into PAL TRnATAL. BOSTOCK. Suvirst View. a large state hox for use at official functions. As regards the architectural rendering of the exterior, I need only refer to my remarks on Seeling’s work in the first volume, adding that the treatment of the interior decorations is considerably simpler than in other playhouses by the same architect. The grouping of the block and the central feature of the front elevation call for notice. The general equipment of this theatre is of a high standard. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . ; ‘ ; 32! 0” 10°00 m. Height of Proscenium Opening at Curtain Line . : . Lo : 24 6" 7°30 m, AUDITORIUM. STAGE. Curtain. Line to Front of Pirst Tier . ‘ 47 6" 14°50 m. Width inside Containing Walls . : : 62’ 3” 19°00 m. Curtain. Line to Front of Third Tier. ; £2! A 16°25 m, Curtain Line to Containing Back Wall : ad’ 3” 13°50 m. Curtain Line to Furthest Seat . ; 6587 o 21°00 1m. Curtain Line to Purthest Wall of Back Stage 57 3” 17°50 wm. Sunlight Opening above Area . 44 3" 13'50 m. | Gridiron Floor above Stage at Curtain Line 57 3” 17°50 im. Highest Seat above Street . : 42! 6” 13°00 m. |" Cellar Floor below Stage at Curtain Line . 15 6" 4°75. mu Lowest Seat above Street . : : : ito o'so m. | Stage Floor at Curtain Line above Street . 4 of 1°50 m. MODERN OPERA HOUSES AND THEATRES. MUNICIPAL THEATRE, BROMBERG. HEINRICH SEELING. \ ll namely, from May, 1895, to October, 1896, the total cost of the structure amounting to 23,000/. 33 THE Bromberg Municipal Theatre, which replaces a structure destroyed by fire in 1889, is, to my mind, one of Heinrich Seeling’s happiest efforts. The work here was carried out in accordance with a commission given him by the municipal authorities. The actual building operations only extended over some eighteen months, Stade Lae In this instance again, the clearness of the plan is so evident that comment appears quite unnecessary. The manner in which the vestibule, the staircases on either side, and the broad passages with the cloak-counters have been arranged, is as satisfactory as it at first sight appears simple. It is only regrettable that, for some reason, the dangerous “winders” are again used in the lower flights of the several staircases, and it is inexplicable that they should have been permitted in a country where the regulations governing the construction of theatres are particularly stringent as regards the safety of the audience. Speaking of the auditorium, I would only say that the distribution of seats in this instance shows the more customary division of the audience and allows of full use being made of the area. In this theatre, however, we find, for the first time, that there. is’ no proscenium ‘as we generally understand it, There are two pairs of proscenium boxes, but these are built into the auditorium indepen- dent of the general lines of the ceiling. This latest departure in a design by Seeling certainly deserves attention. In his Berlin example, it will be remembered that there was only a narrow proscenium, several boxes being built up irrespective of the main framing, whilst in other playhouses by this architect a proscenium of ordinary depth was adopted. As regards the architectural rendering of the block, I consider it to be the most successful of Seeling’s work. The grouping is particularly effective, whilst the detail is far above the average. The manner of framing the central feature of the principal facade by two turrets, marking the position of the staircases, is worthy of imitation. There is much similarity of treatment in the interior decoration to that of the Berlin theatre, more particularly in the detail of the mouldings; and, without being unnecessarily ostentatious, or displaying a richness that would be incongruous in a small provincial town, the effect obtained is pleasing. MUNICIPAL THEATRE, BROMBERG. ViEw OF TURRET. Altogether, Heinrich Seeling’s work takes a leading position among the smaller theatres of the Continent, and particularly deserves the attention of English architects, as many of the features which distinguish his buildings could, subject, of course, to modifications, be adapted to the requirements of larger private establishments in this country. APPROXIMATE: DIMENSIONS. Width of Proseenitm* Opening at Curtain Line . ; : : : 27 of 3:50 m. Height of Proscenium Opening at Curtain Line . : ; : : Jia 950 Mm. AUDITORIUM. STAGE. Curtain Line to Front, of First Tier ..° 42 6 13:00 Mm, Width inside Containing Walls . : zr! go 15°75. m. Curtain Line to Front of Second Tier 43 of 13" 75 my Curtain Line to Containing Back Wall 143" 13°50 m. Curtain Line to Furthest Seat . ; 63 657 20°00 m. Curtain Line to Furthest Wall of Back Stage sol of 18:00 m. Ceiling Centre above Area . : . \ 39. 3 12°00 m. Gridiron Floor above Stage at Curtain Line wal 6 16°00 m. Highest Seat above Street . : . 36 of 11700 m. Cellar Floor below Stage at Curtain Line . 14 of 4°50 m. Lowest Seat above Street . : oly” O25 Mm. Stage Floor at Curtain Line above Street . 3a 1°00 m. 34 MODERN OPERA HOUSES AND THEATRES. * LESSING: THEATRE. BERLIN H. VON DER HUDE, J. HENNICKE. « ) In the preceding volume I have had occasion to refer to the “New” Theatre at Berlin as an establishment 0 | managed essentially on commercial lines, and as the result of private enterprise. =~ The opening of that building 3 took place in 1892, some years after the very stringent regulations which now govern the construction of places i of entertainment at Berlin had come into force. The “Lessing” Theatre is similarly established only as a i . money-making concern, and owes its existence to an enterprising playwright, who erected it chiefly with the Brock Prax. yijew of producing comedy. As the regulations referred to only came into force in 1890, whilst this building was opened two years previously, the requirements of that code did not affect it; nevertheless, through the selection of an excellent site, open on all sides, and the owner's distinct purpose of making his theatre as safe as possible, even more was done for the public than would now be demanded, the building, thereby, becoming a model of its class. This is a lesson for us in England, for I am afraid that neither the owners nor the architects of our theatres vie with one another in making the Metropolitan playhouses any roomier or safer than our London County Council regulations require. If any- thing, as I have already said, the tendency is in the opposite direction. In the Spring of 1887 the commission was entrusted to H. Von der Hude, an architect of considerable local standing, who was assisted by his partner, the late J. Hennicke. There was some delay in beginning the work, but directly the founda- £2 tions were taken in hand the rapidity with which the Frm" : building was completed did credit to all concerned, for Be 1 | ig ie £3; WV ik) i i HAT i . lg} ; \ A TL SE 1 \ ie OTT ese mind A dT g \/N == 1 Hl == 4: the time between the commencement of the excavations and the inauguration was only some twelve months. vb \ i | 4. The exact date of the opening performance was the 11th ENS { v- 3) 7 VW IY Te = I 4 J, t Lon ’ x Se of September, 1888. Accommodation had to be provided , A — Teed) 3 i lu. on —= I: a J : 9 a ip SE - 5: nw \ = ; \ NN HERONS aed = = I / { — « A ee IS = = IR for an audience of 1160, including standing room for —_ N= = A sixty, whilst the total expenditure on the block amounted = Nf) to nearly 40,000/. a = Ri ¢ i — = “— x Ze Es The plans of the ‘‘ Lessing” Theatre are worthy Lg | 1% / / A I LR ; Ah Tf ET of favourable notice on account of the very clear al = = ——— = =_ arrangement of the vestibule, the principal passages, See S === and the staircases, and the ease with which the audi- “LESSING” THEATRE, BERLIN. GENERAL VIEW. . ence can reach the open in ‘case of emergency. The auditorium calls for remark on account of its flat ceiling, and its decoration, I may add, is very pleasing, the effect mainly depending on some fine plaster-work with a light colour-study. As for the “back of the house” and the equipment of the building generally, I can but say that the most recent methods and appliances have been adopted throughout. The only unsatisfactory part is the exterior, which is commonplace and displeasing in detail, though the grouping of the block is by no means so bad. Taken as a whole, however, the “ Lessing” Theatre again shows us that a well-equipped playhouse abroad is not necessarily subsidised, or the property of a Court or public body. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . ; 32. o" 9°75 m, Height of Proscenium Opening at Curtain Line . : 32’ o 10°00 m. AUDITORIUM. S7AGE. Curtain Line to Front of First Tier . ; sa! 4 16°00 m, Width inside Containing Walls . ) . 64 o 19°75 m, Curtain Line to Front of Second Tier . vile 17°50 m, Curtain Line to Containing Back Wall . 59 of 13:00 m. Curtain Line to Furthest Seat . . 28" of 24°00 m. Gridiron Floor above Stage at Curtain Line 50' of 13°25 m. Sunlight Opening above Area . . 30 3 12°00 m. Cellar Floor below Stage at Curtain Line . 16’ 3” 5°00 m. Highest Seat above Street . : : : 34 3 10' 50 m, Stage Floor at Curtain Line above Street . 4g" 1*25 m. Lowest Seat above Street . . o of 025 m. MODERN OPERA HOUSES AND THEATRES 33 GREAT BRITAIN. "HERZ MAIESTYS THEATRE .ONDON C. ¥ PHIPPS. \ 2 = | Brock PLAN. In the preceding volume I had frequent occasion to refer to the spirit in which theatres are generally built in this country, and I referred to the unfortunate disregard of architectural rendering in its higher sense. I mentioned, however, that D’Oyly Carte’s Opera House was an exception among the theatres of London, and there is a further exception illustrated in this work, namely, that of the Shakespeare Memorial Theatre. Of playhouses planned to fulfil the usual requirements of the metropolis, i.e. those of a commercial establishment where the architect is restricted by financial considerations, the example now before us, known as “Her Majesty's,” no doubt takes the leading position. It is, in fact, the most complete embodiment of the customary demand for economic planning and modern equipment with due regard to our local regulations. 1 have already spoken of the work of .C. 1. Phipps in connection with his theatre at Wolverhampton, and I observed that quite forty theatres had been erected from his designs. In “Her Majesty's” Theatre he has, however, undoubtedly surpassed all his previous efforts, and while founding for himself a monument likely to perpetuate his name with a class of structure with which he was particularly familiar, he has also furnished London with a playhouse so admirable in arrangement that it will long be considered a model of its kind. Since the issue of the first volume, C. J. Phipps, our leading specialist, has, unfortunately, gone from among us—as a matter of fact, but a few weeks after the opening of the building here reproduced. With his departure we have lost a man who has excelled in his speciality to an extent that can scarcely be understood by an outsider. He had been able to satisfy the requirements of the typical theatrical speculator, who primarily demands the greatest accommodation in a limited space at as low a cost as possible, and what is more, he enjoyed full confidence, since no one had cause to fear any inclination on his part to incur expenditure merely in the interests of art. 1 hold that the deceased could have achieved far better work from an artist's point of view, but, had he sought to do this, his large practice would have dwindled, and he would not have retained the support of those whose financial ‘ald was necessary for the development of his schemes. It is, alas, 2 sad fact, bui onc that is only foo “HER MAJESTY’S” THEATRE, LONDON. VIEW OF PROSCENIUM. true. The theatre architect who aspires to treat his work from a more ideal standpoint, would not, in London at least, ind favour with those promoters who are responsible for the origin of the majority of our playhouses, unless they were con- vinced that the higher standard of work cost neither extra time nor money, or, that, if put to a greater expense, they would be amply recouped by the greater popularity of the house with the general public. “ Her Majesty's” Theatre is the outcome of the practical financial ability of the late C. J. Phipps, for the develop- ment of the large site of which the theatre only occupies a section, is practically due to his management. The playhouse, II.-.K 3% MODERN OPERA HOUSES AND THEATRES, as it now stands, was executed to meet the requirements of Herbert Beerbohm Tree, whose success as an actor-manager is well known, and there is no doubt that he had considerable influence in the planning of the building as well as in its decoration. The date of the opening was April 28th, 1897, the work of erection having been completed in a remarkably short space of time. The exact cost is not yet available, but it is generally assumed that the structure has involved an outlay of some 60,000/. The site on which it stands has long been associated with theatrical enterprise, and fronts the broad thoroughfare known as the Haymarket. There is another street on one side, and an arcade at the back; while, on its remaining side, high party-walls separate it from other sections of the property. The building accommodates an audience of about fifteen hundred. On examining the plans, in the first place we find what is exceptional for London, namely, the area practically on the same level as the pavement. The arrangement of the entrances with the main vestibule is no doubt one of the most ingenious instances of planning associated with a modern theatre, and I would particularly call attention to what I consider the brilliant manner in which the box office has been placed, so as to allow every section of the audience to purchase its tickets from different sides of the same room. No doubt the plan is not of the most academic character, and the lines of the facades can scarcely be said to agree with the divisions of the structure ; but for practical purposes and for this class of building, the arrangement of the vestibules, passages and staircases very nearly approaches perfection. As regards the auditorium, I would only say that there are two tiers, the second of which includes accommodation for a comparatively large proportion of the audience. This part of the house presents a dignity and breadth which is very striking, but the decora- tions, though above the average, are, to my mind, far too small in scale for an interior of such dimensions. In the offices and general equipment the most recent requirements have been fulfilled, and, of the various appliances, those adopted for electric lighting call for special remark. The stage floor, I would add, has no gradient. As for the rendering of the exterior, the theatre, through forming part of a large block, has peculiarities which would otherwise not be comprehensible, the waste of space above the lounge being quite anomalous in view of other economies effected. The treatment is considered to be in the French Renaissance style, and stone has been used throughout. The detail cannot, however, be termed satisfactory, nor does the exterior architecturally .express the purposes of the building. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . \ : ; : : 35 o! 10°75 m. Height of Proscenium Opening at Curtain Line . : : : : 20! 6” 9°00 m. AUDITORIUM. STAGE. Curtain Line to Front of First Tier . . 34 of 10 25 m. Width inside Containing Walls . ; 69’ 6" 20°25 Mm. Curtain Line to Front of Second Tier : 40! o” 12°25 m, Curtain Line to Containing Back Wall ; 49" o 15°00 m. Curtain Line to Furthest Seat . ; : 20! of 24°00 m. Gridiron Floor above Stage at Curtain Line $4 of 16°50 m. Sunlight Opening above Area . : ; 50’ o 12°25 m, Cellar Floor below Stage at Curtain Line . 19’ of 6°00_m. Highest Seat above Street . : ; : 43’ 0” 13:75 m, Stage Floor at Curtain Line above Street . 2’ ¢" 075 m. Lowest Seat below Street . | ; : oo o’2% m, n: 1c 7 mma tl PLE 1 ey B “HER MAJESTY’S” THEATRE, LONDON. FroNT ELEVATION OF BLOCK. MODERN OPERA HOUSES AND THEATRES. 37 "LYRIC THEATRE 1 ONDON C. ¥. PHIPES. IN the same way that the Wolverhampton Theatre is a typical example of the provincial playhouses designed by C. J. Phipps, so the * Lyric” -Theatre In London must stand as a type of his work in the metropolis, for, as I have said, the preceding example, ‘“ Her Majesty's,” was an instance wherein this architect achieved a work far above the average found in his other buildings. The “Lyric” Theatre, which may be considered one of Brock PLAN. our most popular modern establishments, was built to fulfil the requirements of Comic Opera, with a capacity for an audience of 1600. The total outlay on the structure was 43,000/., and it was opened in December, 1888, having been erected in the short space of ten months. The irregularity of the site is most marked, and occasioned considerable difficulties to the architect, especially as accommodation for offices and chambers had to be provided, in order : to augment the renting capacities of the property. These offices, it must be said, mar the general arrangement of the building to a great extent, as the space they occupy would have been far better utilised in connection with the theatre proper. As to the auditorium, the stalls and pit have their customary position below the level of the street. There are three tiers, and the seats at the back of the uppermost level are again in a “well” constructed in the manner I have so frequently condemned. [Features calling for comment are the depth of the different tiers and the variety shown in the lines of the box fronts. The planning of the staircases, passages, etc., is no doubt exceedingly clever, but owing to undue intricacies the scheme, as a whole, loses in clearness. Perhaps, one of the most noticeable arrange- ments in this part of the building is the manner in which the semi- circular main entrance has been contrived, for the approach to the vestibule is far more effective than might have been expected on such an irregular piece of ground. Regarding the decoration of the interior, and the rendering of Nee THE AGY. On li the exterior, the less said about them the better, while as to the equip- : ment of the building I would only note that the structure was one of the first in which hydraulic stage machinery ras applied in London, a set of “bridges” worked by water power having been provided. Taken as a whole, the example no doubt merits the attention of those who have to overcome special difficulties in the planning of playhouses on unfavourable sites, while it is certainly most characteristic of the class of structure it represents. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : . : . : 30 o 9°00 m. Height of Proscenium Opening at Curtain Line . ; ; ; : 253 of $50 m. AUDITORIUAL. STAGE. Curtain Line to Front of First Tier . ; 33'.0” 11°50 ‘Mm, Width inside Containing Walls . : ; reli 21°25 m. Curtain Line to Front of Third Tier . 17 6” 14 350 Mm. Curtain Line to Containing Back Wall : 40’ o” L200 1. Curtain Line to Furthest Seat . : me! of 22°75 m, Gridiron Floor above Stage at Curtain Line 30’. o 152% Mm. Sunlight Opening above Area . . : 42> 12°75 m, Cellar Floor below Stage at Curtain Line . 16’ oo 4°75 m. Highest Seat above Street . : . 35’ 6” 10°75 ‘Mm, Stage Floor at Curtain Line below Street . 20 1°73 mh. Lowest Seat below Street . : ; 9 o 2'y3 m. 38 MODERN OPERA HOUSES AND THEATRES. “GARRICK” THEATRE l1.ONDON. 2 WALTER EMDEN. Tue “ Garrick” Theatre falls under the same class as the example with which we have just dealt, and though in this instance the architect responsible for the original conception of the block was Walter Emden, whose AA ht! “ Trafalgar” Theatre was one of the subjects of the preceding volume, the execution, if I am correctly informed, — was, to a great extent, in the hands of C. J. Phipps, who in different directions modified the plans. As regards Bock PLAN. the position of the block and the irregularity of the site, a certain similarity exists between the ‘‘ Garrick” and the “ Lyric,” and here, as there, the building has had to be planned in a most intricate manner in order that the as § “GARRICK” THEATRE, LONDON. GENERAL VIEW. available superficial area might be economically utilised. There is also a likeness in the semicircular entrance to the vestibule. In the “ Garrick” Theatre there are, again, three tiers, with the area level below that of the street, and the same unfortunate ‘ well” for the uppermost seats. The ceiling of the auditorium, however, is different, for it somewhat resembles, in its dome-like shape, that of the ¢ Trafalgar” Theatre. In architectural rendering and in decora- tion I would only say that the block here under consideration is of the most nondescript character, while in equipment it has nothing that calls for notice. Taken as a whole, the “ Garrick ” Theatre, no doubt, typically represents the modern theatre of the metropolis, and, like the preceding example, undoubtedly merits some attention as an instance of particularly clever planning under most difficult circumstances. The sites of both buildings, let me say in conclusion, in no way accord with the purposes of a playhouse, and would not even be sanctioned to-day by the local authorities, as our latest regulations require a theatre to have a more extensive frontage on public thoroughfares than is the case with either of these examples. Owing to the various complications which arose during its construction, no details are available in regard to the actual time of erection, the accommodation afforded, or the cost of the structure, but the opening performance took place in 1889. I need hardly say that this establishment had its origin in a desire for theatrical speculation. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . « . .. .: . . 310" 9'50 m. Height of Proscenium Opening at Curtain Line . : ; : : sor aol gl 10°00 m. AUDITORIUM. STAGE. Curtain Line to Front of First Tier 34’ of 10°25 m, Width inside Containing Walls . . 50 0” 15"25 m. Curtain Line to Front of Third Tier . 37 0" 11°25 m, Curtain Line to Containing Back Wall : 40 of 12°25 m, Curtain Line to Furthest Seat 50! of 15°25 m. Gridiron Floor above Stage at Curtain Line 45’ ©” 13°75 m. Sunlight Opening above Area 44’ oO 13:50 m. Cellar Floor below Stage at Curtain Line . 19! 6" 6°00 m. Highest Seat above Street . 23 6! *25 Mm. Stage Floor at Curtain Line below Street . 130" 4°00 m, Lowest Seat below Street 16 6" *00 m. MODERN OPERA HOUSES AND THEATRES. 39 "EMPIRE" VARIETY THEATRE: LONDON. THOMAS VERITY, FRANK 7. VERITY. THE purposes fulfilled by the “ Empire” Variety Theatre are identical with those of its contemporary, the “Alhambra” Theatre, which was included in the first volume. I there referred to the requirements which an architect is expected to fulfil in a building of this description. As I have also indicated, the “ Eden” Variety Theatre of Paris has had considerable influence on the general conception of similar establishments both on the Continent and in this country. The “ Empire” Variety Theatre practically stands on a piece of back land, having only a comparatively Brock PLAN. narrow frontage on a square, and a small side entrance from an adjoining thoroughfare, while at the rear it overlooks an insignificant street. The theatre occupies the same site on which formerly stood the historic Savile House, which was destroyed by fire in 1865. Subsequent to this conflagration the ground had been occupied by a panorama, which, however, did not prove a success, and in 1882 the late Thomas Verity was commissioned with the adaptation of that building to the purposes of a high-class music hall. As a matter of fact, an almost entire reconstruction of the premises became necessary, as only the foundations of the old panorama could be utilised. These, however, to a certain extent influenced the planning, and the outlines of the original walls are still distinctly discernible in the drawings of the new house produced here. In the period intervening between the opening of the establishment and the production of these volumes, there have been a number of material alterations in the structure and in the general equipment and decoration of the interior, partly with a view to conforming to the more stringent demands of the local authorities, and partly for the purpose of providing improved accommodation for the audience. The plans presented here are taken from the original working drawings, but the side entrance, which I have been able to embody in my illustrations, is one of the recent additions. The views of ‘the house, I should add, are from recent photographs, and, hence, show the interior in its present form. On entering the building one is struck by the great breadth and dignity of the auditorium, the lines of which must be considered highly satisfactory, while the general decoration is of pleasing effect. The detail of the architectural rendering, it is true, might have received more attention, but the impression, as a whole, leaves little to be desired. It is this breadth and dignity of the auditorium, combined with the spaciousness of the promenades and the convenient position of the saloons, which so materially adds to the popularity of this establishment. The “ Empire” Theatre is, no doubt, the best known institution of its kind in the world, but apart from the forms of entertainment associated with the playhouse, I believe that its success is, to a great extent, due to the ingenious method of planning adopted by Thomas Verity. The various alterations and additions referred to, and the remodelling of much of the decorations, I should add, have been undertaken by Frank T. Verity, who succeeded his father as architect to the building, and to whom considerable credit is also due. The side entrance above mentioned is, for instance, from his plans. | The area level is here again well below that of the street, the promenade of the first tier being on a line with the EE Semel “EMPIRE” VARIETY THEATRE, LONDON. VIEW OF AUDITORIUM. pavement. The second tier is reached by a flight of stairs from the grand vestibule, and slightly above the second tier level we find the principal lounge, from which, by-the-bye, a fair view of the stage can be obtained. There is also a third tier, the seats of which are, however, largely in a “well,” and the “sighting” of this part of the house is much interrupted by the row of columns which support the ceiling. Both the first and second tiers have the usual promenades, and there is also extensive standing-room on either side of the stalls, On the first tier level are two sets of boxes besides the large proscenium boxes, and their doors, I would add, open on to the promenade just referred to. The hearing J1.-L 40 MODERN OPERA HOUSES AND THEATRES. qualities are above the average, but the ventilation of the auditorium might be materially improved, as smoking is, of course, permitted in an establishment of this description. As to staircase accommodation, and the general facilities for approach and exit, I do not consider them to be of the Whee Le “EMPIRE” VARIETY THEATRE, LONDON. VIEW OF SIDE VESTIBULE. same high standard of efficiency evident in other portions of the structure, but this cannot well be otherwise, considering the position of the building on a site with such limited frontage. Such improvements as have been made from time to time, more particularly in the arrangement of the extra side entrance referred to, are only too necessary. As for the general equipment of the auditorium, excepting, perhaps, the ventilation referred to, and, to a certain extent, the lighting, the requirements of the audience have been observed in every respect; but, on the other hand, the “back of the house” in no way reflects the influence of modern progress. The stage and the accommodation for the staff require almost entire remodelling, and it is strange that the economy derived from modern appliances has not been considered in connection with the stage machinery, as the constant expenditure on the many makeshifts necessarily introduced now and again for the production of various spectacular effects, appears far too wasteful, while the large staff of stage-hands seems somewhat superfluous when suitable mechanism is available as a substitute for manual labour. Taken generally, however; there is no doubt that the “Empite” Variety Theatre not only occupies the leading position among English insti- tutions of its kind, but can hold its own among many of the structures of greater architectural pretension to be found on the Continent. The plan may not be altogether academic in its character, and it may fail, to a certain degree, to meet some of the requirements in technical equipment to which such an establishment newly opening its doors to-day is put, but for all that it is undeniably a remarkable example of theatre construction, and the manner in which the comfort of the audience has been considered has certainly not been surpassed, even in the most recent production of any other country. It is curious to find so frequently some of the most successful work in theatre design associated with the home of the variety entertainment, both in England, and also abroad. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : : : : 32' off 075m. Height of Proscenium Opening at Curtain Line . ; : : : . 32! of 10° 30 m. AUDITORIUM. STAGE. Curtain Line. to Front of First Tier . : 53 o' 16-22 m. Width inside Containing Walls . =. ; 6% o 20°50 m. Curtain Line to Front of Third Tier. : 64' 6" 19°75 m, Curtain Line to Containing Back Wall : 7, of 14°50 m. Curtain Line to Purthest Seat . : . 30 o 24°50 m. Curtain Line to Furthest Wall of Back Stage 62’ o” 19°00 m. Sunlight Opening above Area . : . 34 0 16°30 m. Gridiron Floor above Stage at Curtain Line 47 oF 14°50 m. Highest Seat above Street . : ; 32! of 10°00 1m. Cellar Floor below Stage at Curtain Line . 13 oo £50 m, Lowest Seat below Street . ; ; 4°75 Mm. Stage Floor at Curtain Line below Street . 12) 3? 373 m, “EMPIRE” VARIETY THEATRE, LONDON. VIEW OF PROMENADE. MODERN OPERA HOUSES AND THEATRES. v "OXFORD. VARIETY THEATRE 1.ONDON OSWALD C. WYILSON, CHARLES. LONG. important institutions. Brock PLAN. 41 WHILST the “ Empire” and ““ Alhambra” Theatres are specially adapted for entertainments on a large scale, including the production of great spectacular ballets, the ““ Oxford” Variety Theatre is to a far greater extent a music hall of the old type. The promenade, too, does not occupy the same position as in the larger establishments, since the audience pays far greater attention here to the actual performance than in the more The “Oxford” Variety Theatre, as it now stands, dates from 1893, when it was erected under the supervision of Oswald C. Wylson and Charles Long, an example of whose work has already been under consideration in the preceding volume. Only a very short time was available for the building operations to be carried out, and the difficulties encountered were numerous. The great irregularity of the site was due to the fact that the superficial area had from time to time been extended by the purchase of adjoining property, the original Music Hall, situated on this spot and dating from 1862, having occupied much less ground. This building, it should be mentioned, was destroyed by fire in 1868, and was rebuilt in 1869, only to experience the same fate after a brief existence of two years. In 1873 a more ambitious structure was erected, and this house was gradually altered to fulfil the increasing demands made upon it, until what had become a mere piece of structural patchwork had to be entirely demolished, to make room for the new building now before us. As regards the plan, 1 can only say that the difficulties occasioned by the outline of the site have been overcome in a manner highly creditable to the architects, whilst the decoration of the interior, though perhaps somewhat heavy in its detail, is above the average of similar work in London. There is a certain dignity in the architectural fecling of the auditorium which calls for comment, and it is only to be regretted “OXFORD?” VARIETY THEATRE, LONDON. GENERAL VIEW. \ ) ZW iE I ) IND Mr Wi i {id that the same characteristics are not observable in the principal facade, which is by no means so successful as the other parts of the block, and has undoubtedly also suffered by the addition of two porticos. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line Height of Proscenium Opening at Curtain Line . AUDITORIUM. Curtain Line to Front of First Tier . : 40 6" 14°25 m. Curtain Line to Front of Second Tier : 50’ 6 15°50 m. Curtain Line to Furthest Seat . : ; 62' 6" 19°00 m. Sunlight Opening above Area . : 44 3" 13°50 m. Highest Seat above Street . : . , 28! of 8+50 m. Lowest Seat below Street . ; : o of 0°25 m. ag 6" 9°00 m. 24’ 6" 7:50 m. STAGE. Width inside Containing Walls Curtain Line to Containing Back Wall Curtain Line to Furthest Wall of Back Stage Gridiron Floor above Stage at Curtain Line Cellar Floor below Stage at Curtain Line , Stage Floor at Curtain Line above Street 6 17°00 m, 5°25 m, 12°50 Mm. 11°50 m, 4°25 m. 1°00 mh. 42 MODERN OPERA HOUSES AND THEATRES. SHAKESPEARE MEMORIAL THEATRE ; STRATFORD-ON-AVON. Ww. FE. UNSWORTH. IT is remarkable that so many years were allowed to elapse after Shakespeare’s death before anything like a fitting monument was erected to his memory. Even at the present time the memorials of this great master which we have in London are utterly unworthy of their purpose, both in design and execution. It is not Brock PLAN, pretended that the most magnificent monument could add anything to the position his work occupies in history, but it is highly discreditable to the metropolis that we do not pay some slight token of reverence to the greatest of English dramatists. It was not until the tercentenary of his birth that a serious suggestion was made for the erection of some permanent and worthy memorial in his native town of Stratford-on-Avon, but owing to difference of opinion as to what form such a monument should take, nothing was done in this direction until quite ten years later, when a site for the erection of a memorial theatre was presented, together with a considerable sum of money towards its cost. An influential committee was then formed for the furtherance of the scheme as well as for the raising of additional funds, and the local authorities at Stratford-on-Avon gave a great impetus to the movement by both subscribing themselves and by issuing an appeal to other public bodies in different parts of Great Britain. Nevertheless, the money thus obtained would not have been sufficient to meet the proposed expenditure, and the original donor actually found it necessary to guarantee any possible deficiency, in order that the undertaking might be proceeded with. For once in this country a com- petition was opened for the design of a theatre, and the lh plans of Dodgshun and Unsworth having been selected as the most suitable, building operations were commenced, the foundation stone being laid in April, 1877, and the inaugura- | tion of the theatre proper taking place two years later, i.e. on April 23¢d, 1879. The scheme, 1 should ‘at once say, | comprises, in. addition to the Memorial Theatre proper, a library, a picture gallery, and a room for mementos relating to the poet and his works, which were placed in a sepa- rate block known as the Museum, subsequently connected with the theatre by a gallery. This Museum was only opened in 1881. Another feature in the conception of the scheme is a tower, which marks the position of the block in the landscape, and, I might almost say, gives the whole the character of a monument. This tower also ‘was not com- SHAKESPEARE MEMORIAL THEATRE, STRATFORD-ON-AVON. a pleted till after the opening of the theatre. As for the cost of the erection, the approximate outlay on the buildings has been 20,000/.,, of which nearly 11,500/. were expended on the theatre proper. The accommodation is for an audience of nine hundred. The situation of the block in its own grounds near the river is very picturesque, and when the gardens have been developed, the memorial will no doubt have one of the most attractive positions ever accorded to a playhouse. In examining the plans the purpose of the block must not be forgotten, the requirements including much that referred to the necessarily economic management of an institution of this kind. Thus, one of the conditions was that the number of check-takers should be limited to two, an instruction that was very difficult to fulfil and which had some influence on the planning. Another demand was for the possible isolation of the Museum from the theatre, in order to lessen the risk of fire, while it was also’ deemed requisite that the main approach to the playhouse should be through the building that contained the collections. As I have said, the competition for the design was won by Unsworth and Dodgshun, but the collaboration did not extend far as Unsworth must be considered wholly responsible for the execution of the block. All concerned, however, deserve congratulation for the manner in which the undertaking was conceived and eventually carried out, and not the least to whom it is due are the contractors, on account of the excellent workmanship shown. MODERN OPERA HOUSES AND THEATRES. 43 The Museum has its library on the ground floor, and its picture gallery and collections on the first-floor level, the latter having top-lights. The hall is carried up through both floors, and whilst the first floor is connected by a gallery to the first tier of the theatre, the approach to the area level of the playhouse is through the open, and under the shelter of this gallery. The auditorium has two tiers, and the manner in which its lines have been laid out is worthy of remark. The way in which the structure expresses its purpose on the exterior, I would add, is fully in accordance with the most recent ideas on that point, and both its picturesque grouping and the architectural rendering are extremely pleasing. The Gothic feeling in the treatment is unique in the annals of theatre construction, where, with few exceptions, the Renaissance and lighter French styles have alone been employed. I know that many would have preferred to see the theatre dealt with in a more classic manner, expressing, perhaps, the character of Shakespeare's work; but, though such a memorial theatre would no doubt be appropriate for London, it would have been lamentably out of place at Stratford-on-Avon. If anything falls short of the standard aspired to in this building, it is the interior decoration of the auditorium, which requires considerable elaboration. As a whole, however, the memorial scheme may be said to be one of the most successful achievements of its kind, and though the playhouse, no doubt, only occupies a secondary position in relation to the main idea of providing a fitting monument to the poet, that part of the block which contains the auditorium and stage must be recognised as a bona fide theatre of no slight architectural pretensions. APPROXIMATE DIMENSIONS, Width of Proscenium Opening at Curtain Line . ; : ; ; ; oi. of 8:-23.m, Height of Proscenium Opening at Curtain Line . ; ; ; : : 2% o 8:50 m. AUDITORIUM. : STAGE. Curtain Line to Front of First Tier . ; 39. 9 LI*30 m. Width inside Containing Walls . . : 52’ of 16°00 mW. Curtain Line to Front of Second Tier : 37 of 11°50 m. Curtain Line to Containing Back Wall vi ool ol 8-475 m. Curtain Line to Furthest Seat . 47 of 14°25 Mm. Curtain Line to Furthest Wall of Back Stage 41 of 12°50 m. Sunlight Opening above Area . ; 43 6" ¥3’25 m. | Gridiron Floor above Stage at Curtain Line 45’ 6" 13°75 Mm. Highest Seat above Street . ; . : 32 o 9:75 m. | Cellar Floor below Stage at Curtain Line . 18’ of 5°50 m. Lowest Seat above Street . : gl of 1°50 m. Stage Floor at Curtain Line above Street . 3 o 2°50 Mm. SHAKESPEARE MEMORIAL THEATRE, STRATFORD-ON-AVON. GENERAL VIEW FROM RIVER. 11.-M 44 MODERN OPERA HOUSES AND THEATRES. "GRAND THEATRE. LEEDS GEORGE CORSON. TraoucH the earliest example among the English playhouses presented in this work, the “Grand” Theatre at Leeds is by no means the least important establishment of its class to be found in the United Kingdom. Its conception comprises the somewhat unusual combination of a theatre, a concert-hall and an assembly-room, in the same block. There may be doubts as to the advisability of thus uniting in one group these various places of entertainment, together with a number of shops and offices, since Brock PLAN. s . . 3 : pn the safety of the audience is certainly lessened by such an arrangement. Nevertheless, for a provincial town, the breadth of the conception is noteworthy, and, as will be observed in the plans, no little skill has been bestowed on the endeavour partially to divide the block into two separate buildings, so that the one contains the theatre only, while the other is devoted to the various halls, together with the business premises. It is only to be regretted that the main approach to the auditorium had to be constructed through that part of the block containing the shops. The intention of those responsible for the “Grand” Theatre was to provide Leeds with a large and well-equipped playhouse, and after making allowance for the date of its erection, and the little attention which was paid at the time to protection against fire, I hold that the original purpose has, to a great extent, been attained’ in the design of this structure. In its architectural rendering also it stands above the average of buildings of its class. The Leeds Theatre, I might mention, took the place of two other establishments, which had been successively burnt down within ten months of each other. Building operations on the new block were commenced in 1875, and the inauguration took place on the 13th November, 1376. The cost of the erection was 60,0004, and seating accommodation was provided in the auditorium for 2600 persons, besides standing room for an additional 6oo. The com- “GRAND” THEATRE, LEEDS. VIEW OF AUDITORIUM. mission was placed in the hands of a local architect, George Corson, who designed and executed the building in collaboration with J. R. Watson. The plans are sufficiently clear to explain themselves, and I need only add that the general lines of the auditorium are very effective. There are few features that call for special comment, but the staircase accommodation must be said to be insufficient. The facade gives the structure the character of a public building, but scarcely explains its purpose as a place of entertainment. As I have already indicated, the early date of the erection must not be overlooked if we would form a true estimate of the value of this playhouse. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : : . : ; 30 3” 9°25 m, Height of Proscenium Opening at Curtain Line . \ : : ; 40-0” 12°25 m, AUDITORIUM. STAGE. Curtain Line to Front of First Tier . : 55’ of 16°75 m. | Width inside Containing Walls . : ' 20 o 21°50 m, Curtain l.ne to Pront of Third Tier. , 61’ 1350 m. | Curtain Line to Containing Back Wall 47 6" 14°50 m. Curtain Line to Furthest Seat . : : oi’ of 27°75 m, | Curtain Line to Furthest Wall of Back Stage 63’ of 19°75 m. Sunlight Opening above Area . . : gz! of! 16°75 m. | Gridiron Floor above Stage at Curtain Line 59’ of 18°00 m. Highest Seat above Sireet . . : 24! 3 16: 50 m. Cellar Floor below Stage at Curtain Line . 26' of 8:00 m. Lowest Seat above Street . : 6 of Ios m, Stage Floor at Curtain Line above Street . 10 0 3'00 Mm. MODERN OPERA HOUSES AND THEATRES. 45 "NEW" THEATRE. CAMBRIDGE. BRNEST RUNTZ THE concluding example of this series of theatres erected in London and the provinces is but a comparatively small building. Nevertheless, to my mind, it is one of the most important instances of recent theatre construction, since we find in it, for once, a playhouse which, though essentially a commercial establishment, and situated on a piece of back land, reveals, in every detail, evidence that the greatest possible pains have been taken to give it an architectural rendering fully in accord with its purpose. I have every reason to believe that financial considerations Bock received, in this venture, the same marked attention as in other enterprises of the kind, but for all that the archi- tectural treatment was not here limited to the achievements of the plastic decorator in the interests of vulgar advertisement. Both the owners and the architect should be congratulated on the result, but, more particularly, perhaps, the latter, Ernest Riintz, who, in the face of conventional ideas, regarded the interests of architecture in its higher sense, and strove to provide both client and public with a piece of work which should in every way surpass the usual standard of the provincial playhouse. I have already remarked that, as a rule, the theatre architecture of this country is in the hands of men who are primarily financial agents, and who only give architecture, as such, quite secondary attention. The architect, in this instance, is no doubt also thoroughly familiar with the financial aspects of theatre enterprise, and has indeed already shown considerable ability in this direction, yet he has not disregarded the claims of his profession, as is generally the case with the theatre specialist. He has even been bold enough to risk the confidence of those who employed him by giving them something better than they had perhaps desired. In other words, he has treated his commission from the point of view of an architect IN i WN ce in the best sense of the word, and on this account alone, although new to this class of work, he already holds an important position in the annals of theatre construction in this country. The “ New” Theatre at Cambridge has to cater for the requirements of a University town, and, this has, to a certain extent, influenced the plan, more especially in the division of the various sections of the audience. Accom- modation has been provided for 1400 spectators. The inaugural ceremony took place in January, 1896, after a comparatively short period of building operations ; the total cost of the structure, with all decorations, and its installa- tion for lighting, etc., being 15,500. The block is screened from the main thoroughfare by two buildings, and can only be approached by a passage between them leading to the main entrance and the principal vestibule. From the latter, a broad corridor leads to the stalls, whilst the first tier is reached by a staircase overlooking the vestibule. The entrance to the second tier and to the pit are kept distinct. Suitable saloons have been provided for each section of the audience, and it is noticeable that their arrangement is particularly adapted for serving rapidly. It is only too usual to find the bar fronts much too small in comparison to the accommodation offered, but in this instance there is no reason for complaint on that account. The position of the two saloons for the stalls and pit, with the “NEW” THEATRE, CAMBRIDGE. VIEW OF PROSCENIUM. lavatories leading out of them, has been especially well managed. The con- spicuous position of lavatories generally, I would here say, is a fault extremely common in our playhouses, and the approach through the saloon is an improvement. As for facilities for entrance and exit and the arrangement of the staircases, they are far better than might have been expected on a site of this description. There should, however, have been two distinct stairs to the first tier. The principal characteristic of the rendering in the lobbies, refreshment rooms and passages is one of dignity and comfort, without any redundancy of decoration. | The auditorium has only two tiers, both of which are deep, but, unfortunately, the upper seats of the second tier are situated in a “well.” Among the principal features are the lines of the auditorium and the arrangement of the 46 MODERN OPERA HOUSES ARD THEATRES. proscenium with its boxes on either side. The ceiling, I would add, is a flat one. The colour study in this part of the building is excellent, and the plaster work throughout is most pleasing in detail. The colours employed are old gold, blue, cream and white, and the feeling of the architecture is that of the Renaissance period. A particularly satisfactory effect is obtained by a frieze over the proscenium opening, giving representations of Shakespeare's characters as depicted in his plays, but the division between the. proscenium boxes of the first and second tiers cannot be termed satisfactory, nor does it accord with the otherwise careful conception of the interior. The manner in which the drapery is here arranged to partially screen the upper boxes is not in keeping with the apparent purposes of the latter. The general impression, however, throughout the auditorium is that the decoration has been used to contribute, to a great extent, to the well-being of the audience, and that all the usual methods of vulgar elaboration and unnecessary gilding have been scrupulously avoided. It is not often one can say so much of a theatre situated in the provinces. I consider it a particularly pleasant duty to be able to say na Aa Tee some words of praise in regard to the building by Ernest Riintz at Cambridge, and 1 hold it to be only a matter of regret that so much adverse criticism has had to be offered in regard to English examples of theatre construction generally. The “ New” Theatre only too distinctly shows that, with due regard for the financial aspects of theatre enterprise, it is possible to erect a playhouse without ignoring the claims of architecture, and I trust that the lesson which this building affords will be appreciated. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . .. : : ‘ : 23! 6" 8:75 m. Height of Proscenium Opening at Curtain Line . : : : : : 26' 6" 8:00 m. AUDITORIUM. STAGE, Curtain Line to Front of First Tier . . 34 6 10°50 Mm, Width inside Containing Walls . : ‘ 34 of 16°50 m. Curtain 1.ine to Front of Second Tier 37 vg! 1125. m, Curtain Line to Containing Back Wall ; 35 3” 10°75 m, Curtain Line to Furthest Seat . : 60’ o 13°22 wm, Gridiron Floor above Stage at Curtain Line 53 6” 16°25 m. Sunlight Opening above Area . ; : 49.3" 12725" m, Cellar Floor below Stage at Curtain Line . io of 300m, Highest Seat above Street . : ; 37 of Eit50 m. Stage Floor at Curtain Line above Street . ol go” O' 25 Mm, Lowest Seat below Street . : : glint 1°00 m, “NEW?” THEATRE CAMBRIDGE. VIEW OF GRAND VESTIBULE. MODERN OPERA HOUSES AND THEATRES 47 GREBCE. NATIONAL THEATRE, ATHENS. ERNEST ZILLER. GREECE is usually only associated with the drama of the classical era and the great amphitheatres of that period. Nevertheless, its capital, Athens, has to-day several modern playhouses of some architectural iw pretensions, as well as various minor establishments, whilst Piraeus has lately been given a small Summer 9 BLOCK PLAN. are the Municipal Theatre erected in 1872, affording accommodation for an audience of 1800, and -the Theatre built on the principles of the Bayreuth Opera House. The two leading institutions of Athens National Theatre now before us, built at the expense of the King of Greece and opened in 1895. Both are designed by Ernest Ziller, a German architect practising at Athens. Considering the associations of this city, it would not have been unnatural to expect a building which, in its architectural rendering, would take a high place among the playhouses illustrated in these volumes, but, as a matter of fact, though there is a distinct attempt to give this block a classical appearance, the manner in which the lines have been set out, as well as the execution of the detail, cannot be said to vr support any claim for special consideration. It has, no doubt, as I So a have indicated, architectural pretensions, and the theatre occupies an important position, while the general grouping is ambitious. The difficulties, however, which the architect had to encounter, owing to the unequal levels of the site, have not been quite satisfactorily over- come, and the result is that the effect he desired has scarcely been attained. The plan shows a very distinct division between the main section containing the auditorium with its offices, and another con- taining a restaurant on ground level, with a large hall above, which, though serving as a lounge in connection with the . theatre, must also be regarded in the light of an assembly room, and is frequently used separately for various forms of entertainment. The theatre proper is most economically planned, and the fact of the site not being a deep one has received full consideration with a view to the best possible utilisation of the space available. As will be seen, it is a two-tier house, in which the area is, compara- tively speaking, a small one, whilst the first tier is of an averag depth, and the second tier unusually spacious. The Court has been provided with a Royal Box on the left of the proscenium, having an ante-room and its own staircase. The plan is a clear one, and the staircases have been carefully thought out, though their position, with windows overlooking the small areas only, by no means accords with the requirements of to-day. The offices appear NATIONAL THEATRE, ATHENS. DETAIL oF FRONT ELEVATION. to be somewhat cramped, and there is a great lack of cloak-room and lavatory accommodation. On examining the lines of the auditorium in greater detail we find that the area rises somewhat steeply, as compared with other playhouses. Next we notice that the first tier only overlaps the area to a very small extent, while the latter is 1I.—N 48 MODERN OPERA HOUSES AND THEATRES. divided into three sections, each of which has separate sets of doors. As in the case of one of Seeling’s theatres, illustrated in this volume, there is no proscenium here, as we understand it, for the grand box of the first tier, which is reserved for royal visitors, is simply built into the auditorium irrespective of the lines of the ceiling, and the box opposite has been treated in a similar fashion. Underneath are some minor boxes, but otherwise, there are no half-open boxes in this building, such as are found elsewhere on the Continent, the whole of the seats being in continuous rows. The total accommodation provided is for about 1100. The ceiling of the auditorium is practically flat, only rising slightly towards the opening in the centre. The back of the second tier is in the form of a “well,” but its arrangement is far more spacious than is commonly the case, so that the impression given is not unsatisfactory. In the architectural rendering, the classical feeling gives the auditorium a severity which does not quite accord with the purposes of a place of public entertainment, though it may be fitting for an establishment where the presentation of drama is intended to be a means of education. The idea of treating the front of the second tier on the same principle as a balustrade is exceptional, but very satisfactory in appearance. The absence of the proscenium, however, detracts much from the dignity of the framing of the stage picture. ; Taken as a whole, the block merits attention more on account of the associations of the city in which it stands than for any special structural merits, and yet it affords an interesting example of its class. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : : : : so 9'50 Mm. Height of Proscenium Opening at Curtain Line . Sen : : 25’ 6" 7+ 95m, AUDITORIUM. STAGE. Curtain Line to Front of First Tier . : a3 3 13°25 m. Width inside Containing Walls ; ; 60’ 6" 18°50 m. Curtain Line to Front of Second Tier / ay 6" 14°'30'm, Curtain Line to Containing Back Wall : 42 6" 1300 m. Curtain Line to Furthest Seat . : : gst 6Y 23*co m. Curtain Line to Furthest Wall of Back Stage 59’ o” 18°00 m. Sunlight Opening above Area . 36! 0” 11°00 m, Gridiron Floor above Stage at Curtain Line 35’ o" 14° 25 m, Highest Seat above Street . ; : . 3% 6 11” 50 11. Cellar Floor below Stage at Curtain Line . 13 of 4'25 m. Lowest Seat above Street . ; : 33 1°00 Mm, Stage Floor at Curtain Line above Street . tial 2°25 m. day kil (E00) MA ls v5 |} vena Arma J 4 in 3 nium, YG \ he ne Fe : a 1 Wh £3 I J i ited o \ \ | ! Ala] MUNICIPAL THEATRE, ROTTERDAM. VIEW OF LOUNGE. MODERN OPERA HOUSES AND THEATRES. 49 HOLLAND AND BELGIUM. MUNICIPAL. THEATRE, ROTTERDAM ¥. VERHEUL. rl IN the preceding volume, when the Municipal Theatre at Amsterdam was presented, I referred to it as having = almost attained perfection in planning and construction, especially in the direction of the safety of the audience against fire. The Municipal Theatre at Rotterdam is by no means a despicable rival, for here, likewise, we find “that the general arrangement is of considerable merit. It is strange that we should discover in Holland, one of the smallest of Continental countries, such marked instances where great attention has been given to modern requirements, whilst such countries as France and Italy leave so much to be desired in this respect. Brock PLAN. The playhouse at Rotterdam possesses the peculiarity of having to fulfil two purposes, namely, that of an Opera House on the one hand, and that of the home of national drama on the other, each species of entertainment having a separate management. The inauguration of this establishment took place on the 15th of September, 1887, the building operations having been spread over three years. Both the design and execution of the plans were in the hands of a local architect, J. Verheul, who had to provide seating for an audience of 1250, at a total outlay of 58,000/. The general lines of this structure claim attention on account of the very commendable clearness of the plan, and it will also be seen that the vestibule, halls and stairs are of ample dimensions. The auditorium has three tiers, and, though the manner in which both the tiers and the ceiling are supported by columns is detrimental to the “sighting” from many of the seats, the accommodation, as a whole, is by no means unsatisfactory. Besides the large proscenium boxes, there are half-open boxes on either side of the area, as well as round the entire first tier and at the back of the second. In the latter case they have been so constructed as to allow one or two rows of seats being placed in front of them. The manner in which the seats of the area are reached from two main gangways leading direct out of the vestibule contrasts markedly with the ideas of Heinrich Seeling, who generally contrives to give each sequence of rows its own entrances from the sides. In the general equipment of the building a number of recent improvements are visible, though these cannot lay claim to the same high standard as is apparent in the Amsterdam Theatre. In regard to the architectural rendering of this block, little need be said as to either the exterior or the interior, though the appearance of the building as a whole is pleasing. If I may say so, the Rotterdam Theatre is a thoroughly practical playhouse of an essentially symmetrical plan, but without any particular architectural pretension. APPROXIMATE DIMENSIONS. I" Width of Proscenium Opening at Curtain Line . ; : ; : ; 36 0 11°00 m. Height of Proscenium Opening at Curtain Line . . ; . 39 6 11250 Mm. AUDITORIUM, STAGE. Curtain Line to Front of Furst Tier . : sgl. 13°25 'm, Width inside Containing Walls . ’ 82! o 25°00 ni. Curtain Line to Front of Third Tier . ; 6a’: 3! 19°00 m, Curtain Line to Containing Back Wall 56! 6 17°25 mi. Curtain Line to Furthest Seat . . . yl 24°00 m. Curtain Line to Furthest Wall of Back Stage 62 of! 10° 50. 1m, Sunlight Opening above Area . : : ga! 6 16°00 nm. Gridiron Floor above Stage at Curtain Line 62 19°00 m. Highest Seat above Street . . : zo’ ¢” 15°50 m. Cellar Floor below Stage at Curtain Line . 16.3" 00 m. Lowest Seat above Street . : ; go 3°00 m. Stage Floor at Curtain Line above Street . to! of 27s mn, 50 MODERN OPERA HOUSES AND THEATRES ROUMANIA. NATIONAL THEATRE, BUCHAREST G. STERIAN. PZ =) THe National Theatre at Bucharest can scarcely be considered an entirely new building, for, as a matter i of fact, it is an old National playhouse remodelled. The new work, however, has assumed such pro- SA es 13 L portions that but little of the original theatre remains, except, perhaps, the main containing walls, which to a certain extent have governed the general arrangement. The building operations are in the hands of George Sterian, an architect of considerable local standing, and will see completion next year. 2 No doubt one of the most notable features of this block is its grouping on a particularly difficult site, Bock Prax. for, as may be seen from the illustrations, the ground which it occupies falls to so steep a gradient that various makeshifts had to be resorted to, such as the arrangement of a large terrace on one side, in order to obtain a practical plan. It is on account of these differences of level that, for instance, a somewhat unusual device had to be contrived for the entrance and exit of the audience, for it will be observed that, while the main carriage approach and the grand vestibule are situated on what I will term the terrace level, there is a special side door in the basement for foot passengers, with a further vestibule beneath the auditorium proper. | It is noticeable that this building is an example of the so-called “central” system of planning, with a grand staircase in the middle and minor stairs on either side. The latter, I should perhaps at once say, accord in their arrange- ment with the modern requirements of isolation. There appear also to be ample facilities for exit on one side of the area level, as the passage to this part has no less than three doors into the open. Unfortunately, however, the difficulties of the site have apparently prevented a similar treatment on the other side, for which the exits are by no means sufficient. There is little in the arrangement of the auditorium or in other parts of the building that calls for comment, except, perhaps, that the staircase produces an exceedingly good impression, and the manner in which it is overlooked from the balconies in the second tier is very pleasing. The equipment, when complete, will conform to recent demands, both in the matter of warming and ventilation as well as in minor appliances, and the scenery has its separate storehouse. Of the details of the decoration in the interior little can as yet be said, but to judge from the careful ornamentation shown in the drawings of the exterior, there is no doubt that a high standard will be reached in this part. Taken as a whole, the building is a notable example of theatre construction in a city that is seldom associated with architecture in the higher sense, and we should not forget the peculiar circumstances which have governed its erection. APPROXIMATE DIMENSIONS, Width of Proscenium Opening at Curtain Line 7. : Sharh . : 33.5" 10°75 m. Height of Proscenium Opening at Curtain Line . . ‘ : : : 36! o 11°00 m. AUDITORIUM. STAGE. Curtain’ Line to Pront of First Tier . : gal af 16°00 m, Width inside Containing Walls . ’ . 6g’ 6" 20°00 m. Curtain Line to Front of Second Tier . sg o’ 13:00 m. Curtain Line to Containing Back Wall ; 52 of 17°00 m. Curtain Line to Furthest Seat . ’ , 63" 0” 21°00 m. Gridiron Floor above Stage at Curtain Line pa! 3” 22°00 m, Sunlight Opening above Area . . sq! 16°50 m, Cellar Floor below Stage at Curtain Line , 19g" 6°00 m Highest Seat above Terrace . . 46’ o” 14:00 Mm. Stage Floor at Curtain Line above Terrace zo 1°50 m. Lowest Seat above Terrace 3 x6" 0’ 50. Mm. MODERN. OPERA HOUSES AND THEATRES 51 SWITZERLAND MUNICIPAL. THEATRE GENEVA JB GOSS WE are not accustomed to associate Switzerland with the production of dramatic entertainments of any great value, though, as a matter of fact, many of the towns in that country possess theatres of some pretensions. It is true that the capital, Berne, has a playhouse of only secondary importance, but what Berne at present lacks will be found amply supplied by Geneva and Ziirich, both of which have modern establishments. Of these two the example at Ziirich is the most recent, having been opened in 1891, whereas the theatre at Geneva was completed in 1879. BLOCK PLAN. I encountered some difficulty in selecting the position which these two Swiss examples should occupy in this volume, for there is no doubt that the building at Ziirich as plainly shows Teutonic influence as the establishment at Geneva exhibits much that is common to Latin countries. Their situation, of course, somewhat accounts- for this, Zurich belonging essentially to so-called “German” Switzerland, whilst Geneva may be called the capital of the French cantons. The architects, too, are equally distinguishable, in that the author of the Geneva building had a training on Parisian lines, and no doubt considered the Paris Opera House as his model, whilst the Ziirich establishment was the work of the Austrian specialists, Felner and Helmer: The latter ” had no restrictions put upon them as regards akiEmeameEE local requirements, and hence, naturally, de- signed their building practically on the same lines as those of the playhouses in their own country. On consideration, however, I deemed it right to” place these two examples among buildings exhibiting Teutonic influence, as it seemed inadvisable to divide Switzerland into two parts for the purposes of a book of this description. I was the more inclined to adopt this course, as an examination of the plans will show that the Geneva building is not so markedly a typical French playhouse as one would imagine from its exterior. The absence of the great supporting columns, which are characteristic of a French auditorium, RUNIGIVSL CREASE SENEAL. Mick Sm. and the manner in which the rows of seats : are placed in front of the half-open boxes of the first and second tiers, do not speak of Latin influence, nor does the open third tier. Another feature of the French playhouse is that its area reaches back with a sharp gradient to the front of the first tier as in the case of the Paris Opera House, and this characteristic again is absent at Geneva. Altogether, one might almost say that the example is a compromise between the two distinct types of planning which I have illustrated. In its architectural rendering, more particularly in the exterior, the building is no doubt thoroughly French in feeling, but, otherwise, Teutonic influence is strikingly observable throughout the block. The Municipal Theatre at Geneva replaced an old structure which had long been the only playhouse in that town, and which, as far back as 1861, had been declared inadequate for its purposes. There appears to have been a lack of funds IL.—O 52 MODERN OPERA HOUSES AND THEATRES for the new establishment, for it was not until the Municipality had received a considerable legacy from the Duke of Brunswick that the building could be commenced. As I have said, the inauguration took place in 1879, or, to be exact, on the 2nd of October of that year. Building operations were spread over five years, and the total expenditure incurred reached nearly 100,000/. The seating capacity of the auditorium, I should add, is for 1200, whilst there is standing room for an additional hundred. The architect of the building was J. E. Goss, who held a commission from the Municipality. With regard to the plan, it may be considered a symmetrical one, as far as entrances, lobbies and staircases are concerned. One of the features of the arrangement 1s the manner in which the first tier is approached by two flights of main stairs on either side of the inner hall. The second tier stairs do not accord with the ideas of to-day, owing to their having no windows, and the “winders” on their lower flights, as well as their approach from the main hall, are scarcely satisfactory. As for the entrances and exits from the seats on the area level, it would have been advisable if some means of gaining the open had been provided besides those through the hall, for, as will be seen, not only the spectators in the area, but also those on both the first and second tiers have to pass through one vestibule on entering and leaving the house. It was quite unnecessary that the cloak-room accommodation should have been so planned as to prevent there being doors from the side passages directly into the streets. As to the lines of the auditorium, I would only remark that the effect obtained is a very pleasing one, and the way in which the rows of seats have been placed in front of the half-open boxes, as was also the case at Rotterdam, is particularly convenient. The decorations are in good taste, without being ostentatious. The equipment, however, scarcely accords with recent demands, As to the exterior, the illustrations fully express the character of the design, and I would only say that the manner in which the freestone has been worked adds much to the appearance of the building. If anything, parts of the exterior, perhaps, show too marked an assimilation of some of the features of the Paris Opera House, as, for instance, in the treatment of the roofs. Taken as a whole, however, the Municipal Theatre at Geneva must be considered to rank among the leading structures which were erected in the seventies. APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . seg : ; 30! 3 1200 m. Height of Proscenium Opening at Curtain Line . ; 39 2 12°00 m, AUDITORIUM. STAGE. Curtain Line to Front of First Tier . ; g3l af 16°25 m, Width inside Containing Walls . 29 9 24°00 m. Curtain Line to Front of Third Tier. ; 50 Oo” 1300 m. Curtain Line to Containing Back Wall : 30’ gp 15°50 m. Curtain Line to Furthest Seat . 63’ 6" 20°00 Mm Gridiron Floor above Stage at Curtain Line 740" 23°50 Mm. Sunlight Opening above Area . ; : 52" 4 16°00 m. Cellar Floor below Stage at Curtain Line . 30! 1” g'25 m. Highest Seat above Street . : : : 55" of 14700 nv. Stage Floor at Curtain Line above Street . 13. oO 4°00 m. Lowest Seat above Street . ; ; . g of 278m, : MUNICIPAL THEATRE, ZURICH. VIEW OF AUDITORIUM. MODERN OPERA HOUSES AND THEATRES. 53 MUNICIPAL: THEATRE ZURICH FERDINAND FELINER, HERMANN HELMWER. THE example with which I close the series of playhouses illustrated in this volume again testifies to the very \\ -. | | usual, shown in the clearness of plan, with the brilliant arrangement of the main vestibule and staircases, and, LJ | : Brock PLAN. excellent work of the Austrian theatre specialists, Fellner and Helmer. The great skill of the designers is, as I 0 further, by the practical manner in which the auditorium has been set out. We find again also, on the one hand, their customary and very pleasing decorations of the interior; but, on the other, I regret to say, the commonplace rendering of the exterior which so frequently marks the productions of these architects. That the building under examination is almost a repetition, or rather, a modification of one of their regular types of theatre planning goes without saying; nevertheless, it will be observed that this example contains several points greatly differing from other buildings executed by the same firm and illustrated in these volumes. In this case we have, for instance, in the absence of the extension of the area level below the first tier, a special variation of their so-called “three-tier” type. The area in this building rises with a steep gradient to the level of that tier, a point no doubt borrowed from French architecture. This variation, I should perhaps at once say, appears disadvantageous to the plan generally, for, to my mind, it detracts somewhat from the clearness which otherwise so markedly distinguishes the general conception. The Municipal Theatre at Ziirich is an institution managed in a similar way to that in which the Frankfort Opera House is conducted, for it is owned by subscribers, and managed under the auspices of the Municipality, which has given a free lease of the ground as well as a grant of money towards the execution of the scheme. The present building replaces an old theatre destroyed by fire in 1890, and the necessary funds were, to a large extent, raised a few weeks after that catastrophe. There was no competition in the usual sense of the term, though designs by various Swiss architects were submitted. The commission was eventually given to the Vienna specialists, regardless of the claims of local members of the profession. In June, 1890, the works were commenced, and in spite of serious difficulties with the foundations, and from the severe weather, the opening performance took place in October, 1891, or, after a lapse of some fifteen months. The accommodation pro- vided includes seats for an audience of 1238, and there is also some additional standing room. After having presented several of Fellner and Helmer's examples, it seems almost unnecessary to speak at any length of the characteristics of this building, except, perhaps, again to draw attention to the excellence of the staircases and cloakroom arrangements, and also, perhaps, to the breadth and dignity obtained in the audi- torium, with the spacious accommodation afforded for the uppermost tier, without placing the s€ats in a “well.” The depth of the proscenium calls for comment, as do also the general facilities for exit from the stalls. In equipment, the block reaches a MUNICIPAL THEATRE, ZURICH. GENERAL VIEW. high standard, more particularly through the adoption of fire-resisting construction, and the application of light ironwork to the roof. Considerable attention has also been paid to ventilation and warming, as well as to the installation for lighting. In the stage machinery, modern methods and appliances have been introduced, though manual labour has not been replaced by any motive power. The architectural rendering of the auditorium exhibits the characteristic treatment associated with all the designs of the Austrian firm, but, if I may make one criticism, it is that the decorations in this establishment are too elaborate for a Zirich audience. The 54 .- MODERN OPERA HOUSES AND THEATRES. style adopted does not harmonise with the essentially democratic garb of those who frequent the building. The exterior, though showing more satisfactory grouping than any other examples by Fellner and Helmer, is, to repeat, marked by their comparative indifference to the treatment of this part of their work, which is particularly observable in the details. In bringing this volume to a conclusion with two theatres in Swiss towns, I cannot but remark on the similarity of purpose and the many identical requirements which prevail in the playhouses of all countries, whether the influences under which they are built be Anglo-Saxon, Latin or Teutonic. It appears to me that dramatic entertainments throughout Europe are really too cosmopolitan in character to necessitate many of the arbitrary distinctions made at present in theatre design, and hence that there should be a greater assimilation in the planning and construction of modern playhouses generally, APPROXIMATE DIMENSIONS. Width of Proscenium Opening at Curtain Line . : , : : sy o 11°50 m. Height of Proscenium Opening at Curtain Line . ; ; : : 29! 6" 0°00 m. AUDITORIUM. STAGE. Curtain Line to Front of First Tier ; 63 o 19:50 m. | Width inside Containing Walls . : : 67 o 20°50 m. Curtain Line to Front of Third Tier . 62’ 3" 19°00 m. Curtain Line to Containing Back Wall : 46' o 14°00 m. Curtain Line to Furthest Seat . ; : 55. 3" 2600 wm. Curtain Line to Furthest Wall of Back Stage mal of! 22°50 Mm, Sunlight Opening above Area . : 42. 6 13°00 m; Gridiron Floor above Stage at Curtain Line gyl-20 17°50 Mm. Highest Seat above Sireet . : : 40’ 9" 12°50 m, Cellar Floor below Stage at Curtain Line . 12 3°75 Mm, Lowest Seat above Street . ; sg! of 150 10 Stage Floor dat Curtain line above Street 3.0" 250 Mm. AES fds Se IS MUNICIPAL THEATRE, ZURICH. VIEW oF PROSCENIUM. END OF VOLUME iL NOTE. NATIONAL OPERA CoOMIQUE, Paris. For Revised Elevation see Plates. NATIONAL OPERA COMIQUE, PARIS. GENERAL VIEW. (From the Original Competition Drawing.) ERRATA IN PLATES. People’s Theatre, Turin : for Joaquin Rucoba read Camillo Riccio. Czech National Theatre, Prague: for Bihmen Eingang read Biikhnen Eingang. Municipal Opera House, Frankfort: for Gliessenberg read Giesenberg. DPERNEAUS PARIS. : OPERA, PARIS cs ce ecvoe 4 wu LT N n Np Ho ~~ ~ ~N A I PY ~ a iD NY DANN AN PX aN r~\ ASAIN NY YY NRE RIP RAC TE PR 078 0 2 a2 AR OE RR TR I TR a AR io 7 aa), z LUA 5 A LF oN Ng =F = N Vie fo N = a 20 SR 5) OOOO RE Se rN Ee == Sin ASA XX a A ae : : 4, P 7 Ez RC} VV = os JY NT = (\ NO) = } $ / 0) 7 > Ray or al s D N\A SANS 4 ro ~~ ye a > 3\ = oa a as EN ee 2 8 DEI SORRa plans = i >= "2 Sr S$ : Ne WIR A 7 el AN i . $ NY : y= J QL NS: TAN N ~~ ORY JN =~ (2X \ oN] = oo C7 RS Sr ED = Se ET > C= P= = r= a) i << 2 = a NE NL 2 GE i ee Ss i, S— a = Ne OT a Ea SEE ee 2 Samoa SE ZZ =< — = / : ; 3 Z 3 — Th TR ®t == >= Jo De ee J : : 9) 5 A re eT NAS TSN TT LC Se =, — OX TE Sey J SSE [eR SC NC SNE = Lo BNE d= 5 2a D = > SY AUR N, 4 x 7 INAS J / VIAL === SS; ge == ee ATS = C\ \ : X} 2 No v) 5 NE ¢ IS or TS AUDITORIUM CEILING. Decke des Zuschauerraums. | Plafomd de la Salle. 06%08 5900 Edw O.Sachs ed: ar a a ad at NATIONAL OPERA HOUSE. PARIS Er fant : Feet. Metres. Charles Garnier. i a FX Hg Ba 5 Haile ii i 5 | / yo OPERNHAUS, PARIS. OPERA PARIS e_e 0 WP 0 0 ~ Vorder Ansicht. FRONT, ELEVATION. Fagade Prmcipale. ~ Edwin O. Sachs ed: 10 LLL 0 10 20 1 30 40 Feet. 50 100 NATIONAL. OPERA HOUSE, PARIS Charles Garnier. | OPERNEALIS, PARIS OPERA PARIS A. (Grand Staircase, (Haupt Treppenhaus, Grand Fscalier B. Lounge, [Erfrischungssaal, Foyer) C. Logéa, (Of fene Halle, Loggia |) D Ante Room, (Vorzimmer, Salon.) F. Smoking Room, [Rauchsaal, Fumorr) EF Promenade, (Wandelgang, Promenade ) G Saloon (Frfris ehungsraum, Restaurant.) H Lobby, (Vorraum, Dé gagement J 1. Service, (Dienst. Service) a. Stall Stare (Parkett Teeppe, Escalier des Stalles) b. I&II Ther Stairs, (1&1 Rang Treppe Escalier des 1%°%et 2 das) c. II&IV Tier Stairs, ([&IVRang Treppe, Escaher des 3Mmes qt gms) d. Pass Stages (Verbindungs Treppe, Escalier de Communication.) of © Pe FLAN, AREA. Grundriss, Saal. Flan Salle. J. Dressmg Room, \Ankleideraum, Loge des Artistes) K. Ballet Room, (Tanz Saal, Foyer de la. Danse. Music Room, (Musik Saal Foyer du Chant) i M. Chorus Room, (Gesang Zimmer, Foyer des Choristes) N Chorus (oy A NT] : \ (Danger, Choristes)) 0. ' Court, (Hof, Cour) 0 Wardrobe Room (Klerderkamme r, Costumes) Q. Wig Room, [Perriickenkammer, P erruques) R. Stores, (Magazin, Dépot) Private Box Stairs, [Logen Treppe.Escalier des Loges) Service Stairs, (Personal Treppe Escalier de. Service) 1aft, [(Aufzug, Ascenseur) Lavatory, (Retirade, Toilette) F.dwm O. Sachs ed: 25 0 25 50 Feet. NATIONAL OFFERA HOUSE, PARIS Charles Garnier. OPERNDALIS PARIS A. Grand Starrcase, Haupt Treppenhaus, Grand Escaher)) | Ford rischungssaal,n oyer, } Otfene Halle Loggia. \ ) Ante Room \ | | Vorzimmer, Salon) F.. labrary, (Bibliothek, Bibhothéque ) F Treasury, (Haupt Kasse, Bureau des Comptes) II& IV Tier Stairs, 2 (M[&IV Rang Treppe Escaher des 3™*%et, 4™°%) ¢ Pass Stars \Verbindungs Treppe, Escalier de Communication) g. Private Box Stairs, Logen Treppe, Escalier des Loges) G. Stores, \ (Ma.gazm Depot ) YH. Lobby | Vorraum, Dégagement ) oO [. Supers Room, \Statisten, Fi gurants, J. Dressmg Room, (Ankleideraum, Loge des Artistes | K. Ballet Room, (Tanz Saal, Foyer de la Dance ) 0. Court, (Hof, Cour] | 1 > Een ETE { DEI VICE Stars Uo [Personal Treppe Escaher de Service) fy Tuvan Aufzug Ascenseur) z. Lavatory \Retirade, Toilette) ar PLAN II TIFR. i E Crundriss, III Rang. Plan, 3" Loges. dwn O. Sachs ed: 25 0 25 50 10 0 10 : i : = i fT T I T I 4 Feet. NATIONAL OPERA HOUSE. PARIS Charles Garnier. OPERNHAUS, PARIS. | : Es | OPERA. PARIS LONGITUDINAL. SFCTION. Laengsschnitt. | | a : Coupe Longitudimale. ~ Edwm O.Sachs ed: TTI g 2 oo 3 40 : 80 . i 100 : : : = 10 3 0 10 20 : a0 Feet, | ” | | NATIONAL OFFRAFICLISE, Pals : | on | Charles Garnier. OPERNHAUS, PARIS. OPERA PARIS \ PRONT TIEVATION, DETALLES. Vorder Avmcht, FPinzelheiten. ; Facade Principale, Details. Edwm O. Sachs ed: : 5 : ¥ NATIONAL OPERA HOUSE. PARIS i RS Charles Garnier. +2 OPERNEAS PARIS ma | OPERA PARIS. QW 9 ¥ LAA = “a sr. 7 EK N 2UE N | N 7% 7 ~ = ( Wi 3 of A xi ARAN NAA RAINGRANRIRIRIIR RATER TIRTRTEINIRIRI EIR 0p ks Oks] Off Ofipf OF al Oa 0 FP [er OK @ fy EE EE ETT — TER ST AR A Jo 0 oy iy 660 XO Nei SOP = QF ) | 1 JAN ) \ J i {! J ) : QD C — —1 re ce . ER 2 § Ee hi i = p : $ = EGR - «D F 2 ’ : 3. lie 2) | Arad | gr © fed hed] i Tor 3 / R 5 Lord | { 1 y 1 = — I 1 | I { % Si aie Bh ® 2 To : ¢ 7 A i) {15} | Al (A) . As VOI VL, 0 | WV, | ITTY eve: 5 : 0 ] oe 75 53° = A ~- > / 5c Sy NZ 5 Un S ) Sl y Zh std Z Ze lo a a J 2 23] % Eval Tz Xe BBO EH = == > 7 » = 2) i i | I © | ERA ARAL: > TIVE 558 == & a TT AED) Gort 7 a NK ENO DROIT RR Li — Th GR & Box (gdh ee das (54 NX \A Te OX jy | DI =X nt =39 Go) Sate eck 2 5 ! z | 1c : 5 A | inl) pe ; S TN Oe ; / 2a 7 z = | ai 08 PE ; % \ 4 = z iS hve Sm .0 i 1 { ’ . ° eo ® © ee : so. Sie Z o 5 z 7 EE | ge tnt . eo : . LJ | AUDITORIUM, DETAILS. a, Zuschauerraum, Einzelheiten. Salle, Details. Edwm O. Sachs ed: g 3 a t 1 1 t Wd : om = 1 z 2 i J jo = = Gui ee ; hietres. NATIONAL OPERA OUUSE. PARIS Charles Garnier. 7% OPERNHAUSG, PARIS OPERA PARIS LOUNGE, DETAILS, Friris chungs saal Finzelhetan LAA A= Los $0 § Eo ill £2 ZH il | [I Se > Se 7 . » oo S tse s 0 : ® Foyer, Dotujise..i ei i8; Fdwm O. Sachs ed: : - eestor + NATIONAL OPERA HOUSE. PARIS Charles Garnier. oo w Ho Hon | no Métres. Te OPERNHAUS, PARIS, 5000 os ° se i | BALLET ROOM, DETAILS. Tang Baal, Fmselhiciten. Foyer de 1a Danse, Details. OPERA PARIS. Fdwm O Sachs ed: 15 i Feet. NATIONAL OPERA HOUSE. PARIS Charles Garnier. Te 2 Hse Lon Metres. £4 KOMISCHE OPER, PARIS OPERA COMIQUE, PARIS. Vorder Ansicht . A. Grand Vestibule, (Vorhalle, Grand Vestibule.) B. Lobby, (Vorraum, Degagement ) C. Vestibule, (Vorhalle, Vestibule.) a. Stall Stairs, ( Parkett Treppe, Escalier des Stalles) b. ITier Stairs, (I Rang Treppe, Escalier des 17°) FRONT ELEVATION. Facade Prmmcipale. D. Hall, Wartehalle, Vestibule d’Attente) I. Police, (Polizei, Sergents de Ville) z dtage-door Keeper, ( Pfirtner, Concierge du Theatre.) G. Office, ( Geschéftsraum , Bureau.) H. Stores, (Magazin, Dépét.) c. IL TI, IV, Tier Stairs, (11, IT, IV, Rang Treppe, Escalier des 2% 37 4m) p. Box Office, ( Kasse, Caisse) | d. Service Stairs, ( Personal Treppe, Escalier de Service.) w.- Bar, (Anrichtetisch, Buffet) Crundriss, Frd Geschoss. PLAN CROUND 1EVET, Plan, Rez de Chsussée. Edwin O. Sachs ed: 10 0 19 20 30 } 3 1 a nies Slee 5 1 ; a NATIONAL OPERA COMIQUE, PARIS Wore Feet. 10 0 10 Metres. Louis Bernier. es seed pk fis z Ge ile if 9 ROMISCHE OPER PARIS, OPERA COMIQUE, PARIS. Z PLAN, ARTA Zz Grundriss. Saal. | Plan, Salle. CGrundrmss, | Rang. 7 72 i Laengsschmtt. LONGITUDINAL SECTION. Coupe Longitudinale. A. Grand Vestibule, (Vorhalle, Grand Vestibule.) DD Saloon, (Erfrischungsraum Restaurant.) G. Green Room, (Unterhaltungsraum, Foyer des Artistes.) B. Lobby, (Vorraum,Degagement | + Dressing Room, (Ankleideraum, Loge des Artistes) H. Scene Store, ( Coulissen Magazin, Depot des Decors) C. Lounge, ( Erfrischungssaal, Foyer) F. General Management, (Verwaltung, I’ Administration.) 1. Store, ( Magazin, Dept.) a. tall Stairs, ( Parkett Treppe, Escalier des Stalles) c. II IILIV Tier Starrs, ( ILIIL IV Rang Treppe, Escalter des pdos.gmes. gmes) yy Bap. ( Anrichtetisch, Buffet.) b. I Tier Stairs, (IRang Treppe, Escalier des °°) d. Service Stairs, (Personal Treppe, Escalier de Service.) Z Lavatory, (Retirade, Toilette.) PLAN 1 TIER Fan, | Logen. Edwin QO. Sachs ed: fo eiicas aad] 5 » NATIONAL ‘OPERA COMIQUE, PARIS . Feet. | Louis Bernier. FT -. Metres. SPECIALITAETEN THEATER PARIS. | THEATRE DES VARIETES PARIS FRONT ELEVATION. Vorder Ansicht. Fagade Principale LONATUDINAL, SECTION. Laengsschmitt. Coupe Longitudmale. FEdwm OQ. Sachs ed: BW 23 oq 10 20 30 40 50 : i 5 8 10 nv EDEN’ VARIETY THEATRE, PARIS i W. Klem, A Duclos. SPECIALITAETEN THEATER PARIS. THEATRE DES VARIETES, PARIS. [Tier Stairs, [Rang Treppe, Escalier des Fes) Pass Stairs, | Verbindungs Treppe, Escalier de Communication.) Qo E c. Service Stairs, z (Personal Treppe, Escalier de Service e y. Cloak Counter, [Kleiderablage, Vestiaire | z. lavatory (Retirade, Toilette ) C T G 7 / = kL. ff z z be HE] [1] 5 b X LIFLIp LI 4 Sa a oo . ree DEE Em D rr pm D SOOT rors ae TTT rw 3 | . I . Z D | Fe TN Ce : ig mg n B li ®| oe . A. Grand Vestibule, F. Tehesresl Room, (Grosse Vorhalle, Grand Vestibule) L hd Probe Saal, Salle de Repetition) B. Vestibule = G. Green Room, |Vorhalle, Vestibule | (Unterhsltungsraum, Foyer des Artistes) CC. Promenads, H Scene Store, (Wandelgang, Promenade | (Coulissen Magazin Depot des Decors | D ‘Saloon ] Stores, [Erfrischungsraum, Restaurant | Magazin, Dépot | E. Dressing Room, : K. Service, (Anklerderaum, Loge des Artistes.) PLAN, AREA. (Dienst, Service) - 8) Grundriss, Saal. Flan, Salle. Edwin O. Sachs ed: 25 0 25 50 y J BR : fo ot 5 EDEN’ VARIETY THEATRE, PARIS rie 3 W Klein, A Duclos. SPECIALITAETEN THEATER PARIS. THEATRE DES VARIFETES PARIS - EDEN-THEXTRE FRONT TITVATION, CENTRAL FUATURE, Vorder Ansicht, Mitte! Partie. | Fagade Principale, Partie Centrale Fdwm O. Sachs ed: 5 ¢ 5 2 1 9 5 10 1 0 1 2 3 eee 1 1 t 1 t 1 faa EDEN VARIETY THEATRE, PARIS plo W Rlemn. A Duclos. SPECIALITAETEN THEATER, PARIS. THEATRE DES VARIETES, PARIS, A Hall (Wartehalle, Vestibule D'Attente] B., Promenade, (Wandelgang . Promenade) 3 1her Stars, URang Treppe, Escalier des 17%) 5 Pass Stasrs (Verbmndungs Treppe, Fscalier de Communication) C. Loungs, Prfrischungssasl, Foyer) D. Offos, (Ceschaftsraum Bureau ) y. Cloaklomter, [Kleiderablage, Vestiaire z. Lavsiory Retar ade, Toilette | Fy YT VT TT TS Grundriss, [| Rang. AUDITORIUM, DETAILS Zuschauerraum Einzelheiten. Salle, Détails. PLAN I TIER Plan, I" Loges. Edw O. Sachs ed: 10 5 10 : itil : : : : =) EDEN VARIETY THEATRE, PARIS . sing W Rlemn: A Duclos, decay a THEATER MONTE CARLO. | THEATRE, MONTE CARLO. AUDITORIUM, DETAILS. oy e 0 © e® © © Zuschauerraum, Finzelheiten. Salle, Details. Ho 1 2 3 J . . + bl > t f f Es t a Y gh | ‘TASINO THEATRE, MONTE CARLO. Charles Garnier. 1 Metres. THEATRE. MONTE. CARLO. THEATER MONTE CARLO. I | i on | rf 1 om 2 7 mm [] Metres. ptt et 10 Salle, Details. ORIUM, DETAILS. Charles Garnier. AUDIT V TASINO THEATRE. MONTE CARLO. Zuschaunerraum Zinzethsiten 15 10 Feet. 57 THEATER PALERMO THEATRE. PALERMFE FRONT ELEVATION. Vorder Ansicht Fagade Principale. Edwin O. Sachs ed 20 30 40 Feet. 50 99 8 9 By. B 10 =H" Co MUINIC DAT, THEATRE, PALERMO. | G Basile, I Basile Metres. THEATER, PALERMO. THEATRE PALERMO. 1 Pols, (Polizei, Sergents de Ville ) A Mam Fntrance, (Haupt Fmgang, Grande Entree B. Grand Vestibule, (Grosse Vorhalle, Grand Vestibule) K. Lobby IV&V Tier, [Vorhalle IV& VRang, Vestibule 4¢s et, 5mes) C. Lobby, L. Stage Lobby, [Bithnen Vorhalle, Vestibule du Théatre) (Vorraam, Degagement | D. Vestibule, [Vorhalle, Vestibule) M. Fire Service, [Feuerwehr, Service des Pompiers) N Scene Store, (Couhssen Magazm, Dépot des Décors) FE. Promenade, (Wandelgang Promenade) F: Smokmg Room. 0. Engmeer, [Rauchsaal Fumoir) (Maschimenmeister, Ingémeur G. Saloon (Frfiis chungsraum, Restaurant ) P Sore, (Magazin, Dépét ) Q. Scene Shde, (Couhssen Rampe, Entree des Decors) H. Club Vestibule, (Vorhalle desVeremes, Vestibule du Cercle) a. Stalls Fntrance, g. Pass Starrs, (Parkett Fingang Fntrée des Stalles) ( Verbindungs Treppe, FE scaler de Communication) bh Club Starrs. (Treppe des Vereines, Escalier du Cercle) b. Pit Potrance (Parterre Emgang, Entrée du Parterre) ¢.. 1 Tier Staars 1 Service Stairs, (IRang Treppe,Escalier des 1763) (Personal Treppe, Escalier de Service) ?. Box Offices (Kasse, Caisse | d. Tier Stairs, (TRang Treppe, Escalier des 2 429) e. [lTer Starrs, | ITRamng Treppe, Escaher des gmes) IV&V Tier Stairs, \IV&V Rang Treppe, Escaher des 4™¢%et 55) y. Cloak Counter, (Kleiderablage Vestiaire ) Hy z. Lavatory, (Retirade, Toilette) PLAN, AREA. 2900 esse Grundriss, Saal. Plan, Salle. eee ¢ e®0e sev Fadwin O. Sachs ed: b 1 rt 3 25 0 25 50 — I I I I I 5 MUNICIPAL THEATRE, PALERMO. ees OL Da oile UB Daails A ——————— i ———— A THEATER, PALERMO THEATRE, PALERME B. Grand Vestibule H Green Room . : A VE ; (v1 1 - To A: 3 od ( 3 3 \Unterhaltungsraum, foyer des ATTISIES | \Grosse Vorhalle, Grand Vestibule) [Un IT 3 C. Lounge, i Dresemg Room iat Peto Babnal Faves] \Ankleideraum, Loge des Artistes | DD Chibi od. Ch Box ; ih / = 1 T - - - 17 3} lo Ee 1 oe a arele (Halle des Klubs) Vestibule du Cercle) [Klubloge, Log: era. FE. Promenade K. Supers Room [Wandelgang Promenade) | Statisten, Comparses F. Saloon L. Ballet Room, : hci , a (Tamz Saal Fover de la Dance. {Ertrischungsraum, Restaurant ] | La&TL dad ye a Lan G. Club Room M. Wardrobe Room, ei PC ns e ( 1) |Kleiderkammer, Costumes.| | Klubzimmer, Salon du Cercle | (Kleide > bub ¢. 1Ter Stews @® @® O OO @® @® * Dab Staurs, Rang Ireppe Escaher des 17°) (Treppe des Veremes, Escalier du Cercle) d. Her Stars 1 Dervice Stairs, \lIRang Treppe, Escalier des 2 %°°) (Personal Treppe, Escaher de Service) eM Ter Stars, y. Cloak Counter, \[IRang Treppe, Escaher des 3™¢® Kleiderabla ge Vestiaire ) f V&V TherStaws 2. Lavatory, \IV&V Rang Treppe Escaher des 4™% et 5° (Retrade, Toilette) . > Jose . : ” re 2 Grundrmss, | Rang Plan. I Loges, oN ol on oO mi 2 MUNICIPAL THEATRE, PALERMO | ee Fest. CRRA eed THEATER PALERMO. THEATRE PALERME ed e0 e000 Laengsschnitt. LONGITUDINAL SECTION. Coupe Longitudmale. + , CLIT ITLL LIT 10 20 30 40 Feet. 50 60 70 I 80 _%0. 1 MUNICIPAL. THEATRE PALERMD. | mm : 2 2 Meétres. G. Basile. FE Basile, THEATER MAILAND. THEATRE. MILAN FRONT ELEVATION. Vorder Ansicht Fagade Principale LONGITUDINAL SECTION. Laengsschmtt. Coupe Longitudinale. TRANSVERSE -. BRC TION. Querschnitt. Coupe Transversale. Edwin 0. Sachs ed: g Feet. 5 10 TIRICO THEATRE MILAN = Actulle & fondrmu. Metres. THEATER, MAILAND. THEATRE, MILAN A D 2 O =F 1K) Grundriss, | Rang. Main Entrance 3 \Hax UpT PP ang any, Grand Vestibule, ; SE : \Grosse Vor halle, Grand Vestibule) Grande Entree) O bt YN _ |Vorraam, Degagement ) 11 Tier Lobby; [Ve ywwholle [IRang, Vestibule des Ddes Ter Stars \ Rang | Treppe, Fscalier des 1798 J ir ler = ars = ULRang Tr eppe, Escalier des 2 des) I Tio Stare. (TR; ang Treppe, Escalier des 3™€%) Grundriss. Saal. PLAN, 1 TIER. E. lowmdgs {Erfrischungssaal, Foyer) Saloon [Erfrischungsraum, Restaurant GC. General Management, |Verwaltc he, 1 Adore stration) Ff d Service Stars, (Personal Treppe, Escaher de Service) p.. Box Office, {Ka S8e. s. Stage Door BitmenFmgang, Entree du Théatre] Caisse) PLAN, ARTA a) N BJ 1 1 | | =i ab Plan, 1’ Loges. H. I K ~~ Dtore ; Magazin, D oa Dressmg Room [Ankle lders.um 31 Oge ges fh rtistes) Sc ene Stop e, |Coulissen Magazin, Depot des Decors) Restaurant, \Bierhalle, Brasserie) Bar |Anrichtetisch Buffet) Cloak Counter, Kleider -ablage, Vestiaire | lavatory [Retirade Toilette] 3 — El C— Plan, Salle. Fdwm O. Sachs ed: Feet. LIRICO THEATRE MILAN Achille Sfondran. YOLESTHEATER TURIN, A. Grand Vestibule, (Grosse Vorhalle, Grand Vestibule) B. Vestibule, (Vorhalle, Vestibule.) C Lounge, ( Erfrischungssaal, Foyer.) D. Saloon, (Fri schungsraum, Restaurant.) PLAN, ARTA Grundriss, Saal. Plan, Salle a. I Tier Stairs, (1Rang Treppe, Escalier des 17) | b. Pass Stairs, (Verbindungs Treppe, Escalier de Communication.) c. Service Stairs, (Personal Treppe, Escalier de Service.) Querschnitt. E Dressing Room, (Ankleideraum, Loge des Artistes.) F. General Management, (Verwaltung, Administration) G. Lobby, (Vorraum, Dégagement.) H. Scene Store, (Coulissen Magazin, Dépst des Decors. TRANSVERSE ‘BECTON. Coupe Transversale. 000 LONGITUDINAL SEOTION, Laengsschnitt. Coupe Longitudinale. PLAN, I TIER Grundriss, I Rang Plan, 1'Loges. p. Box Office, (Kasse, Caisse.) V. Cloak Counter, ( Kleiderablage, Vestiaire) z. Lavatory, (Retirade, Toilette) FRONT EBEIBVATION. Vorder Ansicht. Facade Principale. Edwin O. Sachs ed: 25 0 25 50 Feet. PEOPLES THEATRE TURIN. vt z Joaquin Rucoba. THEATRE POPULAIRE, TURIN. TEEATER BILEAD THEATRE, BILBAO. a Stalls Stairs, Fscalier [Verbmdungs Treppe, FRONT FIEVATION. Vorder Ansicht Fagade Prmcipale. A Lomge C. Scene Store, . \Erfrischungssaal, Foyer) [Coulissen Magazin, Dépot des Decors) B. Promenade, D. Stoves |Wandelgang, Promenade | (Magazm, Depot) FE. Dressmg Room, (Ankleideraum, Loge des Artistes.) a. Service Sisirs, [Personal Treppe, : Escalier de Service] (Parkett Treppe, Escaher des Stalles)) b Ther Stairs, raf: [Rang Treppe, (Auf abl} Fscaher des 17°) Ascenseur) c. EIN Ber Stars, v * Cloak Comer AST Rony Ireppe. ny Benning scolier des 29% of 30 estiaire. d Pass Stairs, z. Layotory, Retarade, Toilette) e Communication.) Plan Salle. Grundriss, Saal. PLAN, AREA Edw O. Sachs ed: Ln MUNICIPAL, THEATRE, BU.BAD SE Feet. Joacum Rucoba, THEATER EBILEAD. THEATRE. BILBAO. Laengsschnitt. Saloon, [Erfrischungsraum, Restaurant.) PE. Promenads, (Wandelgang Promenade) A g AL &I Ter Stairs, [L&I Rang Fr eppe, Esealier den 2078 g, mes) L.ONOITUDINAL RECTION, Coupe Longitudmale. . Spene Stove, (Coulissen Magazin, Dépot des Decors) D. Rehearsal Room, (Probe Saal, Salle de Répétition) E. Dressing Room, [Ankleideraum, Loge des Artistes.) r - D = 7 r 18, [Aafzug, e 6 Ascenseun) Cloak Counter d Tass Stairs, v |Verbindungs Treppe, [Kleiderablage, F scalier de Communication) Vestiaire e Bervice Stairs, 7. Lavatory [Personal Treppe, Retrade, Escalier de Service) TF E Toilette) C) C) Cc c A A y z d d ¥ J Crundriss, II Rang. Pan, 2 Loges PLAN 11 TIFR Fdwm Q. Sachs ed: J 10 25 50 Feet. 10 0 Metres. MINICIEAL, THEATRE BU EAL Joaquin Rucoba. HOFOPERNHAUS WIEN, THEATRE ROYAL, VIENNE. AOR) {AON °° 89.1" 3 a'e Sse Bo gare oo 11 OOO OOOO FRONT BI1EVATION. Vorder Ansicht . Fagade Principale. AOD Fdwin O. Sachs ed: B® 5 0 10 20 30 SS 2 COURT. OPERA HOLISE WITNNA, Feet. ’ Van der Nl, Siocardsturs, Metres. 10 20 HOFOPERNHAUS WIEN. THEATRE ROYAL, VIENNE e + A. Grand Entrance, M. Band Room (Haupt Fmgang, Grande Entree) (Musiker Musiciens) B. Grand Vestibule, N Instruments, (Grosse Vorhalle, Grand Vestibule) fr sirmmenan Lnmmmen Tnstrtiments C. Vestibule 0. Caretaker (Vorhalle, Vestibule ) |Hausmeister, Concierge de 1" Admmstration.| D. Vestibule Il & IV Tier, P Fire Service, (Vorhalle I & IV Rang, Vestibule des 328 et, 44s) (Feuerwehr, Service des Pompiers) FE Grand Staircase Q. Enpgmeers, \Haupt Treppenhans, Grand Escalier.| (Ma.schmenmeister, Ingénieur) F: Lobby R. Works Office, | Vorraum, Degagement.) : (Bauverwaltung, Bureau du Batiment G. Distmguished Strangers Fatrance, | 5. Accident Room, : (Fmgang der Fuersthehkerten Frtrée des Notabilites) \Kranken Zimmer, Laboratoire duMedecm | 2 Lk T. Treasury, |Aufzug, Ascenseur) [Haupt Kasse, Bureau des Comptes | 1 Shops, U Arcade, (Laden, Magazins (Laaben, Passage) Scene Store, V. Scene Shde, |Couhissen Maga zm Depot des Decors (CoulissenRampe, Entrée des Decors Store, (Magazm Depot] W. Service Siasirs, [Personal Treppe, Escalier de Service) 5. Stalls Entrances, 1. Private Stairs, ; (Parkett Fangang, Entree des Stalles) |Treppe zur Dienstwohnung, Escaher Particulier, b. Ther Stairs, k. Orchestras Starrs (IRang Treppe, Escatier des 1788) Musiker Treppe, Fscalier des Musiciens ¢. Ther Stars p. Box Office (IRang Treppe Fscaher des 2908) (Kasse, Caisse d. WMTher Slavs, s. Stage Door, : (MRang Treppe, Escalier des 3™€8) (Bubnen Fangang, Entrée du Theatre ¢. IVher Stairs, y. Cloak Counter. ([VRang Treppe, Escalier des 4728) (Kleiderablage, Vestiare)) f Pass Staws, 2. Lavatory | (Verbmdungs Treppe, Fscalier de Commumcation.) \Retairade, Toilette | ¢. Distingmshed Strangers Stairs, (Treppenhaus der Fuersthichkeiten, Fscaher des Notabilites) PLAN, ARFA Grundriss, Saal. Plan, Salle. F.dwm O. Sachs ed: 25 0 25 50 10 0 10 Foot COURT OPERA HOUSE VIENNA. oo | Van der Null Siccardsburg. HOFOPERNHAUS, WIEN. THEATRE ROYAL VIENNE. A Lounge, of rfrischungssaal, Foyer | B. Saloon. : (Erfrischungsraum Rest aurant.| C. Loggia, (Offene Halle, Logdia | D Tenement, \Dienstwohnung, Appartement | I. Grand Staircase, Haupt Treppenhaus, Grand Fsealier] IF. Lobby, (Vorraum, Degagement | G. Disungwmshed Strangers’ Box, ~~ [Fuersten Loge, Loge des Notabilites | H Distinguished Strangers Ante Room I. General Management, \Verwaltung, L.’Administration) K . Committee Room, \Sitzungssaal, Salle du Comte) oO [Tier Stairs, \IRang Treppe,Escaher des 17° c. ITer Stairs (IRang Treppe, E scaler des 2 des) d IILTer Starrs. : \IIRang Treppe, Escaher des 3™°8) ¢. IVTer Stairs, (VRang Treppe, Escalier des 4-708) f Pass Stawpee (Ve ¢. Distmgmshed Strangers Stairs, \ Treppenhans der Fuersthchkeiten ° ° > ° ° . ese *y 02a >? sede ° eso en ee ° +* ° es ce 2000 LEX) 2000 ° °° .* ° Veo 2% . » 2 ° oe eve ° ° * ® i ®e ave ® ° . ° ee . LJ eco . eo cee $ ° . s, oe eo ® \Conversations Zimmer der Fuersthehkeiten oY { ] ’ oalon des Notabihte Verbmdungs Treppe, Escalier de Commumcation.) Fscaher des Notabilites) s.) / Grundriss, | Rang. L Want Ing E Don (Wartersum, Salle d Attente | W. Offs, \Geschaftsraum, Bureau | N Rehearsal Room |Probezimmer, Salle de Repetition) A ™ ~ 3 \Loulissen Magazm, )epot aes NN. a. TS. \ Tr - horus R0¢ YT} (Musik Saal Foyer des Choristes (1 Engmeer mn 1 Y \ \Ma.schmenmeister, Ingemeur| y NT oi CT ? R. Wardrobe Room, {Kleiderkammer, Costumes | S. Ballet Room, \lanz Ss.al, Foyer de 1a. Dance | 1. DErvIos ~~ h Dienst Service | 11 Dramdins Ramm (tr. WTESSITNIS OO ie ] ] \ \ |Ankleaderaum, Loge des Artistes | h Service Starrs, : |Personal Treppe, Escaher de Service | 1. Private Starrs, : iS ? : . (Treppe zur Dienstwohnung, Escaher Particuher) Ww Par \Anrichtetisch, Buffet | y Cloak Counter. (Kleiderablage, Vestiaire) galsveiory = \Retarade, Toilette PLAN 1 THR Plan, | Logan. Fdwm OQ. Sachs ed: 26 0 25 50 Feet _- COURT OPERA MOUCE., VIENNA. Van der Nill Siccardshimrs | | i *ATRE, ROYAL, VIENNE. - HOFOPERNHAUS, WIEN. : THEA LONGITUDINAL SECTION. Laengsschnitt. | Coupe Longitudmale. ~ Edwm O. Sachs ed: 10 pee 5 4&4 3r2.1.9 5 10 15 20 25 5 0 10 20 30 40 50 60 70 80 90 100 Err tre ! Photo-Lithographed & Printed by James Akerman, 6, Queen Square, W.C 30 i Metres. E. | COURT OPERA HOUSE. VIENNA. of . Van der Nill, Siccardsburg, HOFOPERNHAUS, WIEN. | THEATRE ROYAL, VIENNE. TRANSVERSE BECTION Querschnitt. Coupe Transversale Toa O. Sachs ed. mie o 10 20 30 40 50 100 nt : asses 10 20 Eo | COURT OPERA HOUSE, VIENNA. m= Van der Null, Siccardsburg. Y/ THEATRE ROYAL, VIENNE, HOFOFPERNHAUS, WIEN. i 5 a B g 9% 7 V B ‘ 4K A A LESeSA i [IOL1 ASST ARI ANT ANITA I [aS SO ZEROES [JEESOIERNIASNOAN NOLAND VIN INTe 4 I ® 2V7ON 7 Z< Z2OS0 PAN oO ° ee * 2 e ® ®o PS e o ° \ Vietrss, rT Tr rr rrr je Facade Prmep ale, Détails OPERA HOUSE, VIENNA Van der Null. Siccardsburg | PRONT ELEVATION, DETAILS COUR errr rrr LL LL LTT TT ROR OR NPN] O 8A K (ROR ORY ARI OT LL Tf I It ITT I rrr rr Ir rrr i si Vorder Ansicht, Finzelheiten Fast. Fdwm 0 Sachs ed: HOFOPERNHAUS, WIEN. | THEATRE ROYAL, VIENNE. iain NS ts on Ln Vestiaire.) A Zz. Lavatory, (Retirade, Toilette.) d. Pass Swirs, (Verbindungs Treppe, Escalier de Communication.) = PLAN U7 TIER. ; Grundriss, III Rang. Plan, 3’ Loges. Edwm O. Sachs ed: fb 5 20 30 40 50 80 : rem 10 15 20 a5 Free : : gt : 2 , 3 Metres. os CZECH NATIONAL THEATRE, PRAGUE. i : 25 0 25 5 | vce 3 a Feet. Joseph Zitek, Joseph Schulz. Metres. THEATRE, NATIONAL PRAGUE. NATIONAL THEATER, PRAG. | .. Main Entrance, (Haupt Fingang , Grande Entrée ) (rand Vestibule, (Grosse Vorhalle , Grand Vestibule.) C. Carriage Entrance, (Unterfahrt, Porte-Cochere .) Vestibule, : (Vorhalle, Vestibule) FF. Dressing Room, (Ankleideraum, Loge des Artistes.) | Tier Stairs, (I Rang Treppe, Escalier des 17°) b. Il Tier Stairs, (11 Rang Treppe, Liscalier des 2 des) g. Ja lV Ter Stairs, Private Box Stairs, (Logen Treppe, Escalier des Loges) (IM&IV Treppe, Escalier des 3M & 40s) fas y . Stage Management, (Regie, Direction de la Scene.) G. Store, (Magazin, Depot .) H libvary (Bibliothek, Bibliotheque .) : . Rehearsal Room, (Probe Saal, Salle de Repétition) — Q ; 3 : Dervice otairs, (Personal Treppe, Fiscalier de Service.) Box Office, (Kasse, Caisse) he Door, Buhmen Fingang, Entree du Theatre ) Cloak Counter, (Kleiderablage, Vestiaire Lavatory, (Retirade, Toilette.) 2 = 2 = i il Ld = PLAN, ARTA, Plan, Salle. Crundrss, Saal. Edwin O. Sachs ed: 25 0 25 Feet. 50 10 3 ae) eid Metres. 700M NATIONAL THEATRE PEACHY. Joseph Zitek Joseph Schulz. NATIONAL THEATER, PRAG . THEATRE NATIONAL PRAGUE. — A. Lounge, (Erfrischungssaal, Foyer) gaia. Offene Halle, Loggia) C. Balcony, (Balkon, Balcon) b.. Office (Geschaltsraum, Bureau.) E. l.o a. } Ber Stairs. bh. I Tier Stairs, c. Ja V Tier Stairs, d. Private Box Stairs, I Rang Treppe,Escalier des 17%) (I Re ang Treppe, Escalier des p,des) (II&IV Rang Treppe Escalier des Ta IV™™* (Logen Treppe, Escalier des Loges.) E. Engineer, (Maschinenmeister, In gel eur.) FF. Ballet Room, danse) (Tanz Saal, Foyer de la G. Chorus Room, (Musik Saal, Foyer des Choristes.) ~ General Management (Verwaltung, JAdministration.) ferred A e. Service Stairs, (Personal Treppe, Escalier de Service.) w. Bar, (Anrichtetisch, Buffet.) y. Cloak Counter, (Kleiderablage, Vestiaire.) Zz. Lavairy, (Retirade, Toilette) . Me NN oe J xy Ey | PLAN 1 TIER Crundriss, | Rang. Plan, I" Loges. F.dwin O. Sachs ed: 2 0 25 Feet. i CZECH NATIONAL, THEATRE TRAGER Joseph Z1tek Joseph Schulz Metres. NATIONAL, THEATER PRAG THEATRE. NATIONAL PRAGUE gir oy : LONGITUDINAL, SECTION, | i Laengsschmtt. Coupe Longitudmale. $560 sev CIRCH NATIONAL THEATRE PRAGUE, y 0 10 Feet. | Joseph Zitek Joseph Schulz NATIONAL THEATER PRAG THEATRE, NATIONAL PRAGUE. Vorder Ansicht, Emzelheiten 3) [NERY : <4 = (ETA 7 SLC J Pts r HR FRONT ELEVATION, DF TAILS. Fagads Frmoipale, Délails. ; Edwm O Sachs ed: ened Feet. CZECH NATIONAL THEATRE PRAGUE, Joseph Zitek Joseph Schulz. | os go Ty Metres. Len THEATER. SALZBURG, THEATRE, SALZBURG. 0 Ny -- ey ~ XN nil a Grundriss, Saal. Plan, Salle. J Grand Vestibule, (Crosse Vorhalle, Grand Vestibule.) Lobby, (Vorraum; Degagement.) General Management, (Verwaltung, L' Administration.) Treasury, (Hauptkasse,” Bureau des Comptes.) Dressing Room, (Ankleideraum, Loge des Artistes) Stores, ( Magazin, Deépét) . Rehearsal Room, (Probe Saal, Salle d’Audition.) FERPA PLAN 1. TIER Crundriss, I Rang. Plan, 1" Loges. . Stage Door, (Bihnen Eingang, Entree du Thedtre) a. 1 'Tier Stairs, (I Rang Treppe, Escalier des res) S b. IITer Stairs, (I Rang Treppe, Escalier des pis) w. Bar, (Anrichtetisch, Buffet) Cc. Service Stairs, (Personal Treppe, Escalier de Service) y. Cloak Counter, (Kleiderablage. Vestiaire) p. Box Office, (Kasse, Caisse.) z. Lavatory, (Retirade, Toilette.) | FRONT BIBVATION a Vorder Ansicht Fagade Primncipale. FEdwm O. Sachs ed: fl Bel 2. i 1 5 0 0] 9 2 Feet. Matres. ¥ : - " MUNICTEAL, THEATRE SALZBURG hls ! —_——_— Feet. | : ; : YY § Ferdinand Fellner, Hermann Helmer £3 THEATER, SALZBURG. | THEATRE. SALZBURG b. I Tier Stairs, (II Rang Treppe, Fscalier des p des) c. Service Stairs, (Personal Treppe, Escalier de Service) w. Cloak Counter, ( Kleiderablage, Vestiaire) z. Lavatory, (Retirade, Toilette ) 10m m BACK FIEVATION 5 Dbm Himter Ansicht. Fagade Fostériewr ©» Words Bom, (Erfrischungsremm, Restaurant ) (Kleiderkammer, Costumes.) B Lathy, : E. Brogyny Pron, orraum, Dégagement.) (Ankleideraum, Loge des Artistes.) C. Workshop, : F Sore, (Werkstatt , Atelier) \ (Magazin, Dépét,) [ nnn 1 IDE iL He bo ] rd, I] LONGITUDINAL SECTION. a Laengsschnitt. | Coupe Longitudmale. E F c F Z B | D Sy b (in A fl w D ni b C B C F C PLAN UI TIER Grundriss, II Rang. Plane, 2° loges. Edwin O Sachs ed t Ss 2 7 MUNICIPAL THEATRE, SALZBURG. Sst : Feet. Ferdmand Fellner, Hermann Helmer. THEATER, LAIBACH. THEATRE. LAIBACH PRONT FILFVATION. Vorder Amnsicht. Fagade Principale. A. Grand Vestibule, ( Crosse Vorhalle, Grand Vestibule.) D. Ante Room, ( Vorzimmer, Salon.) F. Stores, { Magazin, Depot.) BE. Lobby, IITier, (Vorhalle, 11 Rang, Vestibule des odes) W Dressing Room, (Ankleideraum, Loge des Artistes) G. Treasury, (Hauptkasse Bureau des Comptes) C. Lounge, ( Erfris chungssaal, Foyer) H Stage Management, ( Regie Direction de la. Scene.) a. I Tier Stairs, (IRang Treppe, Escalier des 17%) c. Service Stairs(Personal Treppe, Escalier de Service) y. Cloak Counter, ( Kleiderablage, Vestiaire.) b. Il Tier Stairs, (II Rang Treppe, Escalier des 29%) p. Box Office, ( Kasse, Caisse.) z. Lavatory, (Retirade, Toilette.) Wi 0.3 hem TY 3 = Lr a] I 4.) rod Ee — ol ® ®) | y [11 ST, : : lara ee w We rE E B Z ho a b b C Grundriss, Saal. Plan, Salle. Grundriss, 1 Rang. Plan: {:Luges. PLAN, AREA PLAN, I TIER. Fdwm O. Sachs ed: Ce 10 20 30 | RAR AONE JO JO. WR 4 WS PE : : — Metres. : Toe y MUNICIPAL THEATRE. LAIBACH : y Sant, Vlad. Hrasky THEATER. LAIBACH. THEATRE, LAIBACH. Seiten Ansicht. S1DF BIFVATION. Pagade Lateérale. I] (] J] =n 1 i url L 2 a [i = fer lll EE - = EERE NEVE) i Ao® EEE il . on LL C AERA EAE ol a an iid) T= Wi oli! olf Toll eid Ad a —0 | Les 10 Le IOC I <0 Of — Sy = i 1] ; cic i IL.ONGITUDINAL SECTION. Laengsschnitt. Coupe Longitudmale. z B R B 7 eC ec A A A. Chorus Room, B. Stores, : ad (Musik Saal, Foyer des Choristes.) (Magazin, Depot.) Z Z | "Cloak Counter b. I Ter Stairs, Y rs Vvtiale (Il Rang Treppe, Escalier des des) 1 B : na c. Service Stars, 2 i Toilette.) (Personal Treppe, Escalier de Service.) ; te. J y b b z 5 y 7 Grundriss, II Rang. Plan, 2° Loges. PLAN, II THR Edwin O. Sachs ed: 8. 0 25 50 » TT : SRT | : rh Feet. MIBICIPAL THEATRE TAIBALH Metres Vlad. Hrasky. "RAIMUND THEATER WIEN. Vorder Ansicht. FRONT ELEVATION Pp Box Office, (Kasse, Catsse) w. Bar, (Anrichtetisch, Buffet.) : PLAN, AREA Grundriss Saalflache. D. Lobby I Tier, (Vorhalle [Rang, Vestibule des F=) F Creen Room, (Unterhaltungsraum, Foyer des Artistes.) THEATRE RAIMUND, VIENNE.. Fagade Principale. des) C. Service Stairs, (Personal Treppe, FKscalier de Service) A. Main Entrance, (Haupt Eingang, Grande Entrée) B. Main Vestibule, (Grosse Vorhalle, Grand Vestibule) E. Lobby II Tier, (Vorhalle Il Rang, Vestibule des 2%*) G. Stores, (Magazin, Dépét.) C. Hall, (Wartchalle, Vestibule d’Attente) H. Yard, (Hof, Cour.) a. ITier Stairs, (I Rang Treppe, Escalier des I") b. Il Tier Stairs, (IIRang Treppe, Escalier des 2 ¥ y. Cloak Counter, (Hleiderablage, Vestiaire.) Z. Lavatory, (Retirade, Tonlette) Plan Salle Edwin 0. Sachs ed: 25 miei Kec z5 Feet. Yranz Roth BAMUIND' THEATRE, VIENNA Metres. 10 "RAIMUND THEATER WIEN. THEATRE RAIMUND VIENNE. A Lounge, (Erfrischungs saal, Foyer ) B Balcony, (Balkan, Balcon) 2. 1 fer Starrs, I Rang Treppe, Escalier des sy b. L Ter Stairs, (I Rang Treppe, Escalier des Odes) w. Bar, (Anrichtetisch, Buffet) Laengsschnitt. LONGITUDINAL SECTION. Coupe Longitudinale. C. Accident Room, (Hranken Zimmer, Laboratoire duMédecin) E. Dressing Room, (Anklerderaum, Loge des Artistes) D. General Management, (Verwaltung, L'Admmustration.) G Treasury, (Haupt Kasse , Bureau des Comptes. c. Service Starrs, (Personal Treppe, Escalier de Service.) y. Cloak Counter, (Kleiderablage , Vestiaire) Z Lavatory, (Retirade, Toilette.) PLAN, I TIER. prt Grundriss, I Rang. | Pian, I Loges. FEdwm O.Sachs ed: Feet. 0 : 0 RAIMUND' THEATRE, VIENNA ‘Franz Both. "RAIMUND THEATER WIEN Querschritt. A. Promenade, TRANSVERSE. SECTION Coupe Transversale. B. Stores, E. Dressmg Room, | Wandelgang, Magazin, (Ankleideraum, Promenade.) Dépot.) Loge des Artistes) b. LTer Stars, c. Service Stairs, w. Bar, (Il Rang Treppe, (Personal Treppe, (Anrichtetisch, Escalier des 2%s Escalier de Service. | Buffet. | y. Cloak Counter, z. Lavatory, (Kleiderablage, (Retirade, Ve stiar e) Tonlette.) : 1 G eG Z " | c Zz = - o E y I Bf x * b b 7 Z ol O 9 ® Oo A A J Y W 5 " Grundriss, II Rang Plan, 2° Loges. PLAN 11 TTR Fdwm O. Sachs ed: 2 : 5 2 Feet. THEATRE RAIMUND, VIENNE. Franz. Roth RAIMUND' THEATRE, VIENNA. fos OPERNHAUS, FRANKFURT, OPERA FRANKFURT FRONT FLEVATION. Vorder Ansicht or Fagade Principale. TRANSVERSE BECTION. Querschnitt. Coupe Transversale. Edwm O. Sachs ed * + ® MUNICIPAL OPERA HOUSE, FRANKFORT. ice Lucae Becker (iessenberg. Feet. OPERNHALS, FRANKFURT OPERA FRANKFURT A. Man Entrance, (Haupt Eingang, Grande Entree) B. Grand Vestibule, (Grosse Vorhalle, Grand Vestibule) C. Vestibule, (Vorhalle, Vestibule) D. Grand Staircase, (Haupt Treppe, Grand Escalier) Fr Lobby, (Vorraurn, Degagement ) F. General Management, (Verwaltung, L’Administration.) a. otalls Entrance, (Parkett Eingang, Entrée des Loges) bh: Pit Stairs, (Parterre Treppe, Escalier du Parterre) c. | Ter Stairs, (IRang Treppe, Escalier des 177°) d. 1 Ber Siairs, (1 Rang Treppe, Escalier des 2408) e. lI Tier Stairs, (Il Rang Treppe, Escalier des 372%) ff. IV. Ter Stairs, (IV Rang Treppe, Lscalier des 4%) Grundriss, Saal. Green Roam, (Unterhaltungsraum, Foyer des Artistes) . Library, (Bibliothek, Bibliotheque) Dressmg Room. (Ankleideraum, Loge des Artistes) Store, (Magazin, Dépét.) . Engineer, (Maschinenmeister, Ingénieur) M. Accident Room, (Kranken Zimmer, Laboratoire du Médecin.) Pass Stal IS, (Verbindungs Treppe, Escalier de Communication.) Service Stairs, (Personal Treppe, Escalier de Service.) Box Office, (Kasse, Caisse.) Cloak Counter, (Kleiderablage, Vestiaire.) Lavatory, (Retirade, Toilette.) PLAN, AREA Plan. Salle. Edwm O. Sachs ed: 25 » MUNICIPAL OPERA HOUSE, FRANKFORT. Lucag Becker (iessenberg 10 OPERNEALS, FRANKFURT. OPERA FRANKFURT A longs, (Erfrischungssaal, Foyer.) B. Sslom, (Frfrig chungsraum, Restaurant) C. Balcony, (Balkon, Balcon) D. Grand Staircase, Haupt Treppe, Grand Escalier) F.. Ante Room, (Vorzimmer, Salon.) F. Chorus Room, on (Musik Saal, Foyer des Choristes) G. Ballet Room, Tn (Tanz Saal, Foyer de la danse) Dressing Room, : (Ankleideraum, Loge des Artistes.) c. 1 Tier Stairs, (I Rang Treppe, Escalier des 177°) g Il Tier Stairs, . (I Rang Treppe, Escalier des 2 a8) 111 Tier Stairs, (If Rang Treppe, Fscalier des gms) ff. IV Ter Stairs, (TV Rang Treppe, Escalier des 4™%) Grundrmss, I Rang N . Pass Stairs, (Verbrin dungstreppe, Fscalier de Communication) | Q : oe: 1. dervice airs, (Personal Treppe, Escalier de Service) y. Cloak Counter, Kleiderablage , Vestiaire) N Lavatory, (Retirade, Toilette ) PLAN, 1 TEER Plan, I" Loges. Edwm O. Sachs ed: 25 0 SN) fi o1 + MUNICIPAL. OPERA HOUSE, FRANKFORT 0 Feet. Lucag Becker Giessenberg OPFRNHALIS FRANKFURT, OPERA FRANKFURT. ° ° 53% Tou0® Laengsschnitt. LONGITUDINAL, SECTION. Coupe Longitudmale. Edwin O. Sachs ed: Feet. 25 5 MUNICIPAL OFFRA HOUSE, FRANKFORT. Lucae Becker Giessenberg Metres. THEATER ESSIEN | THEATRE, ESSN FRONT FILEVATION, TaN : Facade Principale. Vorder Ansicht . A. Mam Entrance, ( Haupteingang, Grande Enteee.) B Lobby, (Vorraum, Dégagement ) gets F Scene Stores, (Coulissen Magazin, Dépét des Decors.) B. Grand Vestibule, ( Grosse Vorhalle, Grand Vestibule) DD. Green Room, (Unterhaltangsraum, Foyer des Artistes) ~~ G. Stores, (Magazin, Dépét.) E Dressing Room, ( Ankleideraum, Loge des Artistes) a. Tier Stairs, (1 Rang Treppe, E scalier des 15°) 5 Tier Stairs, (11 Rang Teeppe, Bscalier des 29°) «@ . ervice Stairs, ( Personal Treppe, Escalier de Service) WwW. Bar, (Anrichtetisch, Buffet) . Box Office, (Kasse, Caisse) z. Lavatory, (Retirade, Toilette ) 7, Cloaks, (Kleiderablage, Vestiaire) ind o = PlL.AN, ARFA reagan Grundriss, Saal. Plan, Salle Ah Edwin O. Sachs ed: - . 7) ST y £ 10 15 I TE 20 y 30 1 "4 MINI IBAL THEATER BEEN, btnlaltad es | eet. 10 0 25 0 z8 50 : y : 4 = I = I I 1 I Feet. Hemrich Seelmng. Voges, THEATER, EGSEN. THEATRE, FSSEN or Grundriss, | Rang. c Jom ge, ( Erfrischungssaal, Foyer.) . Lobby, (Vorraum, Dégagement.) : Stage Management, (Regie, Direction dela Scene.) . [Ter Stairs, (IRang Treppe, Escalier des 17°) . Il Tier Stairs, (11 Rang Treppe, Escalier des iid PLAN TT TIER ; Dressing Room, (Ankleideraum, Loge des Artistes ) Scene Store, (Coulissen Magazin, Dépot. des Decors) fot G2 Stores, (Magazin, Dépét.) . Service Stairs, (Personal Treppe, Escalier de Service.) w. Bar, (Anrichtetisch, Buffet) e Grundriss, II Rang, FLAN 11 TIER Plary 1 Loges I. Supers Room, (Statisten, Comparses ) . General Man agement, (Verwaltung L'Administration.) H. Wardrobe Room. (Kleiderkammer, Costumes.) K. Rehearsal Room, (Probe Saal, Salle de Repetition.) y. Cloak Counter, {Kleiderablage, Vestiaire) 7. Lavatory, (Retirade, Toilette ) Pan. 2° Lopes. Edwin O. Sachs ed: 25 0 Feet. 25 MINICIEAL, THEATRE, ESSIEN. Hemrich Seelmg i I + THEATER ESR, THEATRE ESSEN. Seiten Anmcht SIDE. ELEVATION LONGITUDINAL. SECTION. Facade Latérale. Coupe Longitudmale. Laengsschnitt. Edwin O. Sachs ed: 0 5 10 20 30 40 50 60 0 5 10 15 20 err ot t t t er] — = end) Metres. Teet. MUNICIPAL, THEATRE, EOSEN Hemrich Se sing, THEATER ROSTOCK THEATRE ROSTOCK f/f ! A XS XN 3S A, RY nS Z uy, | KY ! Co] PLAN, 1: TIER, Crundrmss, [ Rang. Flor, | loges A. Grand Vestibule, (Grosse Vorhalle, Crand Vestibule ) BE. lothy (Vorraum, Dé gagemernit. C. Lounge, . [Erfrischungssaal, Foyer) D. Caretaker |Hausmeister, Concierde de IAdmnistration) E. Dressmg Room, (Ankleideraum, Loge des Artistes) General Management, (Ver waltung, L Admmstration 5 Soens Stoves, (Coulissen Magazm,Dépdt des Decors) H Store, (Magazin, Dépot ) 2. 1 Tier Stas, (IRang Treppe, Escalier des 17¢8) 5. Uher Stairs, : [[TRang Treppe Escaher des Cd ¢.. Ter Stars, \IlIRang Treppe Escalier des 33 | gd. Service Stars, (Personal Treppe, Escaher de Service) pv. Box Office, (Kasse, Caisse) vy. Cloak Counter, (Kleiderablage, Vestiaire ) 7. Lamtoey (Retirade, Toilette.) Grundriss, Saal. PLAN, ARTA, Plan. Salle. Fdwm O. Sachs ed: 25 MUNI C ICAL THEATRE BOSTOCK Hemrich Seelng. Fre eee errr Yer TT 0 10 T 1 THEATER ROS TOCK THEATRE ROSTOCK Seiten Ansicht. Finzelheiten. Laengsschnitt. | EIT) olo ESET =H BIDE FIEVATION DETAILS Facade Latérale. Details. 1LONOITIEANAY, BECTON. Coupe Longitudinale. Fdwm O. Sachs ed: 25 0 E 1 I "e =: 25 Foot. MUNICTFAL THEATRE ROSTOLA. 0 10 Hemrich Seelmg. : THEATER. BROMBERG. THEATRE, BROMBERG. 0.0.0 FRONT FIEVATION Vorder Ansicht Fagade Prmncipale. A. Crand Vestibuale, E. Dressmg Room, (Crosse Vorhalle, Crand Vestibule) |Ankleideranm, Loge des Artistes | B. lobby, ¥ Lbmory \Vorraum, Degagement | (Bibliothek, Bibliotheque) C. Lounge, 3 Stops, [Erfrischungssaal, Foyer] Magazin, Dépot | D. GeneralManagement, H. Dose Slide, [Verwaltung, Administration) (CoulissenRampe, Entrée des Decors) He a 5. “Ber Stairs, [Rang Treppe, Escalier des feos) b. OTer Stars, : TRang Treppe, E.scaher des 2 des) a Services Sumrs, | Personal Treppe, Escalier de Service) p Box (fbes, (Kasse, Caisse] es. Tage Door | (Bilmen Fin gang, Fires duThestre WwW. Bar, |Anrichtetisch, Buffet) vy. Cloak Counter, (Kleiderablage, Vestiaire) 2. Lavatory, [Retirade, Toilette) > SN alii Hi NI SE ON ree PLAN, AREA. gre PLAN. [ THER: Crundriss, Saal. Plan, Salle. brundriss, | Rang. Plan, I” Loges. Edwin O. Sachs ed 0 10 20 30 40 80 0 5 10 15 J MUNICIPAL THEATRE, BROMBERG. : ee : 2 : = = pe eR ¥ Feet. Hemrich Seelng Metres. THEATER, FROMBERG. THEATRE. BROMBERG. Seiten Anmwcht Laengsschmtt. Facade Latérale LONGITUDINAL SECTION. Coupe Longitudimale. Edwin O. Sachs ed. 0 8 10 20 30 40 50 i 1 1 1 1 Feet. 0 iL 23 4 5 10 I t 1 t t Metres. MUNICIPAL THEATRE. BROMBERG. Hemrich Seelng. “LESSING THEATER BERLIN. THEATRE DE LESSING BERLIN. 2. b, Vorder Ansicht . Maan Entrance, Haupt Fingang, Grande Entrée) Grand Vestibule, (Grosse Vorhalle, Grand Vestibule) I Ther Staars, TRang Treppe, Escalier des 1¥¢8] II Ther Stairs, ITRang Treppe. Escalhier des 24 des] C 2 FRONT BILEVATION Caretaker, Hausmeister, Concierge de L' Admmistration,) Scens Store [Coulissen Magazin, Dépot des Décors) Service Stairs, [Personal Treppe, Escahier de Service) Yom Office, Kasse, Caisse] Fagade Principale. Dressing Room, (Ankleideraum, Loge des Artistes) Green Room, [Unterhaltungsraum, Foyer des Arustes J Cloak Counter, (Kleiderablage, Vestiaire ) Lavatory, Retrrade, Toilette) PLAN, ARCA Plan, Salle. Edwin O. Sachs ed: gun 25 = Fast Feet. "| RESID THEATRE. DEELIN. Von der Hude. Metres. 10 0 Metres. ‘LESSING’ THEATER BERLIN. THEATRE DF. ‘LESSING BERLIN. PLAN JI TIER Crundriss, II Rang. Plan, 2° Loges. A Lounge, ( Erfrischungssaal, Foyer.) C. General Management 4 Verwaltung , I’Administration.) F Rehearsal Room, ( Probe Saal, Salle de Repetition.) B Balcony, (Ballon, Balcon.) D. Scene Store, (Coulissen Magazin, Dépot des Decors.) G. Stores, ( Magazin, Dépdt.) Z Dressing Room, (Anldeideraum, Loge des Artistes) a. Tier Stairs, (I Rang Treppe, Escalier des 1°) ¢. Jervice Stairs, (Personal Treppe, Escalier de Service.) Y. Cloak Counter, ( Klexderablage, Vestiaire.) bh: UL Ber Stairs, (x Rang Treppe, Fiscalier des 2%) w. Bar, ( Anrichtetisch, Buffet.) 7 Lavatory, ( Retirade, Toilette) PLAN. 1 TIER Grundrss, | Rang. Plan, | Loges. Edwm O. Sachs ed: Er : LESSING THEATRE, BERLIN. gis | Von der Hude. — 49 "LESSING THEATER, BERLIN. Laengsschnitt. THEATRE DF LESSING BERLIN. LONGITUDINAL, SECTION. Coupe Longitudmale. Fdwm O. Sachs ed: 0 10 20 30 40 50 60 L 1 1 1 Paat. 10 5 0 \ I l { 1 I 1 1 1 1 I 1 "1 ESSING THEATRE, BERLIN. | Metres Von der Hude. THEATER. LONDON. THEATRE LONDRES. | TRIONT PIUATION Vorder Ansicht SIDE ELEVATION Seiten Ansicht. Fagade Principale. Facade Latérale. Edwin O. Sachs ed: 0 : 10 20 40 Feet, "ER MAJESTY S THEATER LONDON: fe C.J. Phipps. 10 Netrss, THEATER LONDON, THEATRE LONDRES. A Seloon, Irfrischungsraum, estaurant | os : - Lounge, Erfrischungssaal, Foyer] . Dressing Room, Grand Vestubule, Grosse Vorhalle, Grand Vestibule | Lou = Offene Halle, Loggia) |\Ankleideraum, Loge des Artistes Laengsschnitt, a. Stall Stairs, : (Parkett Treppe, Escalier des Stalles) b. PitPassage, | Parterre Gang, Coulier du Parterre) oT her Stars 1Rang Treppe, Escalier des 179%) d. I Tier Starrs, : 2 [TRang Treppe, Escahier des 299°) [2 Grundrmss, Saal. PI.AN. AREA r= oy 0) CS a XJ EY — eon neeeee gH o Plan, Salle. AR : Ma Sesdsanesd Wages TONOITUDINAL, SECTION. Wher Stowe, [I'Rang Treppe, Escalier des 3™°°) Privates Boo Stars, : [LogenTreppe, Escalier des Loges) Service Stairs, : [Personal Treppe, Escalier de Service) Box Office Kasse Uninge. (rundriss, | Rang. TF General Management, (Verwaltung, L'Admimistration) 3 Often, (Geschaftsraam, Bureau. H Stores, $£a.z1n, : 1 Bath Boom, Badezimmer, ams.) Kr Ee hn Keeper, f6riner, r Concierge du Theatre Coupe Longitudimale. s. Stage Door ) \BuhnenFingang, Entrée du Théatre w. Bar, (Anrichtetisch, Buffet) v. Cloaks 7 Kleiderablage Vestiare ) z. Lavarory (Retarade, Toilette) —- Plaf TIES ses | PLAN, 1 TIER Fdwmn O. Sachs ed: 25 0 : 25 50 Feet. C.J Phipps. 10 0 "HER MAJESTY'S THEATRE, LONDON. Dh TYRISCHES THEATER LONDON. THEATRE, LYRIQUE LONDRES. . YRONT ELEVATION, Vorder Ansicht . Fagade Principale A. Main Entrance, (Haupt Eingang, Grande Entree) DD. Saloon, (Erfrischungsraum, Restaurant) B. Grand Vestibule, ( Crosse Vorhalle, Grand Vestibule) EF. Dressing Room, (Ankleideraum, Loge des Artistes.) & Lobby, (Vorraum , Degagement ) G. Green Room, ( Unterhaltungsraum, Foyer des Artistes.) B Stage-door Keeper, (Pfoertner, Concierge du Theatre) I. Stage Manager, (Regie, Direction de la Seine) 5 Caretaker, (Hausmeister, Concierge de LAdministration.) FF. General Management, Verwaltung, L Administration.) K. Stores, ( Magazin Dept) a. Stalls Stairs, (Parkett Treppe, Fscalier des Stalles) d. [11 Tier Stairs, (II Rang Treppe, Escalier des 3™°°) b. Fit Stairs ,(Parterre Treppe, [iscalier du Parterre) c. ll Ter Stairs, (1 Rang Treppe, Escalier des 23%) p. Box Office, (Kasse, Caisse) e. Dervice Stairs, (Personal Treppe, Escalier de Service). S tage Door, (Biihnen ingang, Entrée duThéstre) f Offi Stairs (Treppe zur Verwaltung, Escalier del Administration) W. Bar, (Anrichtetisch, Buffet) y. Cloaks, (Kleiderablage, Vestiaire.) z. Lavatory, (Retirade, Toilette) oO J a errr (Cl , lr PLAN, ARTA PLAN, I TER, Grundriss, Saal. Plan Salls. Crundriss, [| Rang. lhe Pity T loge Fdwm O. Sachs ed: 10 5 0 10 20 30 40 50 ¥ ary asymm : 10 brevet Co” : AR be Sail ph sobre ts wr . Metres. LYRIC THEATRE. LONDON : : 3 25 0 25 oh a a i > Feet. C.J Pps. a LYRISCHES THEATER, LONDON THEATRE LYRIQUE, LONDRES = : LONGITUDINATL, SECTION, Laengsschnitt. Coupe Longitudinale. AL ounge, (Erfrischungssaal, Foyer) B. Office, (Geschaftsraum, Bureau) DL Saloon, Erfrischungs Resta; 5 C. Wardrobe Room, ( Kleiderkammer, Costumes.) (Erfrisc ungsraum, nes pa ) E Dressing Room, (Ankleideraum, Loge des Artistes) c. II Ter Stairs ( II Rang Treppe, Escalier des Ddes) e. Service Stairs, (Personal Treppe, Escalier de Service) w B ar, (Anrichtetisch, Buffet ) d. [Tier Stairs, (1 Rang Treppe, Escalier des 3%) f. Office Stairs, (Teppe zur Verwaltung, Escalier de Administration) V. Cloak Counter, (Kieiderabl age, Vestiaire)) Zz. Lavatory, (Retirade, Toilette ) PILAN, II TIER PLAN I TIER Grundriss, II Rang. Plan, 2° 15ges Grundriss, [II Rang Plan, 3° Loges. Edwm O. Sachs ed: 25 0 25 50 STEERS J Feet. TYRIC THEATRE. LONDON. C.J Pops. Jos GARRICK THEATER LONDON FRONT FLFEVATION. 5. Stalls Saree fT a Treppe, “oe ~ Escalier des Stalles b. Pit Stairs, Parterre Treppe : scalier du Parterre) 6. her Stairs [IRang Treppe, Escalier des 23%) d. ler Stairs IRang Treppe, . ' Estolier des 3590 e. Service Stairs, Personal Treppe, scalier de Service) PLAN, II TER. Grundriss, II Rang. Vorder Ansicht. Fagade Prmcipale. Plan, 2 Loges. Grundriss, Saal. Plan, Salle. — gal 0 / ANN DN | 3 00 = : Lo i = ~ bes | y FE A | 11 1 J Na Gir i = 7B 0 K 9 = Pe 7 Es A Lt LONGITUDINAY SECTION. a | I ITE) COT Iori rrr nisi outs Lindi CLT rr rrr Ir) HF Te 1 1 J 27 Cr LT Ly eI) ol I Ta © EL ry n. Box Office. Rasse, iy Caisse) s. Stage Door, [Buhnen Fingang. on Fntreée Ber Bg atre.) w. Bar | (Anrichtetisch, Buffet) y. Clos, Counter, Kleiderablage, estiaire) Zz. lavajory Retirade, Todlette ) PLAN, ARFA. Maan Entrance, (Haupt Fingang, Grande Entrée.) Grand Vestibule, (Grosse Vorhalle, Grand Vestibule ) Lounge, : |[Erfrischungssaal, Foyer) Saloon, (Frfris chungsraum, Restaurant) F. DressmgRoom, (Ankleidersmm, Lo ge des Artistes) TF Stored (Magazin, Dépot) 2 oo B > PLAN, 1 TIFR. Grundriss, | Rang. Plan, I Loges. vn O.Sachs ed: 25 0 25 50 Feet. 10 0 10 GARRICK THEATRE LONDON. Ee Walter Fmden. SPECIALITAERTEN THEATER, LONDON THEATRE DES VARIETES, LONDRES. 0. RTer3taivs (TRang Treppe,Fscalier des 2%] d [Ter tars [MIRang Treppe, Fscalier des 3™es g. Pass Stairs, f. Service Stars. (Personal Treppe, Escalier de Service.) (Verbindungs Treppe, Escaher de Commumecation ) Vorder Ansicht. Vorhalle, Finzelheiten. Lounge Stairs, (Treppe zum Erfrischungssaal, Escaler duFoyer) Stage Door, [Buehnen Fingang, Entrée du Thédtre) Bar (Anrichtetisch, Buffet) lavatory, [Retirade, Toilette) FRONT ELEVATION. Fagade Prmecipale. VESTIEULE, DETAILS. Vestibule Détails. D e . : a fF f B as td % be. gill 3 : 5 | E | CY al = g 7 S F 0 | O I ° A Lounge, : ott (Erfrischungssaal, Foyer) 2 I Promensde, (Wandelgang, Promenade ) G C. Saloon, : B Q (Erfrischungsraum, Restaurant ) a D. HITierEntrance, 9] [Engang [lIRang, Entrée des 37°) e Ha ¥. Dressmg Room, (C) z (Ankleideraum, Loge des Artistes) ¥ StagelDoor Keeper (Pfoertner, Concierge du Theatre) z CG Scene Shds, 5 (Coulissen Rampe , Entrée des Décors.) PLAN, 1 TIER. ; : Grundriss, II Rang Plan, 2" Loges. Edwin O. Sachs ed: " ” - - 0 130 30 40 80 100 150 Yea Ses = B5 Gs wp wap wa FMPIRE VARIETY THEATRE. LONDON. 543210 ; 10 15 20 bree : : ~ etres. Feet. : : : T. Varity, FT Verily. 10 0 10 25 0 25 50 et T a v] Ee Metres. Feet. SPECIALITAETEN THEATER LONDON. THEATRE DES VARIETES, LONDRES >. 7 > LONGITUDINAL: SECTION. Laengsschmtt. Coupe Longitudinale. H E, Dressmg Room, Saloon, [Ankleideraum, Loge des Artistes) [Frfrischung sraum, Restaurant FP. Scenes Store, ru. Lobby (Coulissen Magazin, Depét des Décors.) [Parterre Vorrawm, Degagement duParterre) CG Stores, Workshop, Magazin, Dépot (Werkstatt, Atelier) H Cdl Engmeer, (Reller, Caves.) 1. fren (Ma.schinenmeister, Ingénmieur) (Lichthof Cour) a. Stalls Stairs [Parkett Treppe, Escalier des Stalles) h. Pit Starrs, [Parterre Treppe, Escalier duParterre) Pass Stars, (Verbmdungs Treppe, Escalier de Communication.) f Bervice Stairs (Personal Treppe, Escalier de Service) w. Bar \Anrichtetisch Buffet ) y. Ulonks, [Klexaderablage, Vestiaire.) z. Lavatory [Retirade, Toilette) @® PLAN ARTA Crundriss, Saal. Plan, Salle. Edwm O. Sachs ed: k wed + < EMPIRE VARIETY THEATRE, LORDON. ee = Feet. T- Verity, F. T Very. ermal SPECIALITAETEN THEATER LONDON. THEATRE DES VARIETES, LONDRES. 8. 1 Ber Stairs, (I Rang Treppe, Escalier des 17°) b. II Ter Stairs, (I Rang Treppe, Fscalier des 2des) ¢. Private Box Stairs, (Logen Treppe, Escalier des Loges) d. Pass Stairs, (Verbindungs Treppe, Escalier de” Communication) e. Service Stairs, (Personal Treppe, Fscalier de Service.) f. Pit Passage, (Parterre Gang, Couloir du Parterre) Vorder Ansicht Crundriss, Saal. | an 6 es FRONT PIEVATION. 3 g. 1 Tier Passage, (IRang Gang, Couloir des 17°) p. Dox Office, (Kasse, Caisse) s. Stage Door, Buhnen Eingang, Entrée du Theatre) w Bap, (Anrichtetisch, Buffet) y. Cloak Counter, (Kleiderablage, Vestiaire.) z. Lavatory, (Retirade, Toilette) Fagade Principale. PLAN, ARTA A B. LC. D. E. PF G. Bn 1 K 1 Stalls Entrance, (Parkett Fingang, Entrée des Stalles) Pit &I Tier Entrance, (Parterre & [Rang Eingang, Entrée du Parterre & des {rss) [I Tier Entrance, (Eingang II Rang, Entrée des 29%) Grand Vestibule, (Grosse Vorhalle, Grand Vestibule) Vestibule, (Vorhalle, Vestibule) Promenade, ( Wandelgang , Promenade.) Saloon, (Erfrischungsraum, Restaurant.) General Managem ent, (Verwaltung, I’Administration) Office, (Geschaftsraum , Bureau) Dressing Room, (Ankleideraum, Loge des Artistes) Refreshment Room, ( Bierhalle, Brasserie.) Plan, Salle. . o_* ec © "e Edw O. Sachs ed: g 5B 20 30 40 £0 60 Feet. 28 0 28 5 Bap a Feet. Oswald C Wylson, Charles Long. OXFORD VARIETY THEATRE, LONDON . & 1 . —_—1 rr xT SPECIALITAF TEN THEATER LONDON. a. 1Ter Stairs, bb. 1 Ter Stairs, (I Rang Treppe, ' Escalier des 1°) (IT Rang Treppe, Escalier des 29°%) c. Private Box Stairs, (Logen Treppe, Escalier des Loges)) | LONGITUDINAL, SECTION. Laengsschmtt. Coupe Longitudmale. WwW ; Cc A. Saloon, 7 C. Grand Staircase, (Erfrischungsraum, (Haupt Treppenhaus, Restaurant .) ol Grand Escalier.) B. Refreshment Room, PD. Offices, (Bierhalle, - (Geschaftsraum, Brasserie) L Bureau.) z of b # Grundriss, II Rang fo Fan, 2° Loges. PLAN 11 TIER e. Service Stairs, (Personal Treppe, Escalier de Service) w." Bar, (Anrichtetisch, Buffet) y. Cloak Counter, (Kleiderablage, Vestiaire.) 7. Lavatory, THEATRE DES VARIFETES LONDRES. d Pass Stairs, (Verbindungs Treppe, (Retirade, Escalier de Communication.) Toilette.) Grundriss, | Rang. Plan, | Loges. PLAN, © THIEL, Fdwm O. Sachs ed: 25 0 25 > : Y teva a Feet. OXFORD VARWTY THRATEE LONDON. Morey. Oswald C Wylson, Charles Long le THEATER, STRATFORD. THEATRE. STRATFORD, A. Mam Entrance, ( Haupt Emgang, Grande Entrée.) D. Library, (Bibliothek, Bibliothéque.) B. Hall, (Wartehalle, Vestibule d’Attente FE. Readng Room, (Lesezimmer, Selon de Lecture) C. Grand Staircase. (Haupt Treppenhaus, Grand Escaker.) F. Museum, (Museum, Musée.) a. Museum &ITier Stairs, (Treppe zar Sammlung & zum [Rang Fscalier du Musée & des 1res.) b. Pass Starrs, (Verbindungs Trepp, Escaber de Communication. ¢. 1 Fer Stars, (I Rang Treppe, Escalier des 2 be Seiten Ansicht. SIDE. E1EVATION. dof.” . = A d M ~ d H pon 3 of AuTi Rel ear TCH REL N Grundriss, Saal. ee Plan, Salle. Fagade Latérale. Grundriss, 1 Rang. G. Ante Room, (Verziromer, Salon.) L. Stores, (Magazin, Dépst.) H. Stalls Entrance, (Packets Eingang, Entrée des Stelles) M. Office, (Geschafispaum, Bureau) [. Vestibule, (Vorhalle, Vestibule.) Na Entrance, (Parterre Emgang, Entrée du Parterre)) K. Green Room, Unterhaltungsraum, Foyer des Artistes.) d. Service Starrs, (Personal Treppe, Escalier de Service) Zz Lavatory, (Retirade, Toilette 3 PLAN, TI TIER. Plan, I’ Loges. Edw O. Sachs ed. © 5: 9 10 20 30 40 50 Feet. Feet. WE Unaworth SHAKESPEARE. MEMORIAL THEATRE, STRATFORD on AVON. 5 4 3 230 5 10 Metres. 1 g 10 Metres. — LL — THEATER, STRATFORD. THEATRE, STRATFORD. Hinter Ansicht. ::: ‘Grundriss, II Rang. PLAN, Tamil) Saks ed. 25 0 REAR ELEVATION. ¥lan il TIFR, — tei IF iS] 1} 10 Hsin {tI ot gl FRONT ELEVATION. Fag ade Postérieur. Vorder Ansicht. Fagade Prmocipale. El. Dressmg Room, (Aukleideraum, Loge des Artistes.) b. Pass Starrs, (Verbmdungs Treppe, Fiscaher de Communication.) d. Service Starrs, (Personal Treppe, Escalier de Service.) c¢. I Ther Starrs, (1 Reng Treppe, Escalier des 2 des.) z. Lavatory, (Retirade ; Tollette.) 2 Loges. LONGITUDINAL SECTION. Grundriss, Kellergeschoss. Plan, Souterrain. Laengsschmtt. Coupe Longitudinale. PLAN, BASEMENT. Feet. Te Oo SHAKRFSDE AREF MEMORIAL THEATRE. STRATFORD ow AVON. WF. Unsworth. THEATER, STRATFORD, THEATRE, STRATFORD Querschnitt. Coupe 'lransversale. TRANSVERSE SECTION. x SIDE. ELEVATION. LONGITUDINAI, SECTION. Seiten Ansicht. Fagade Latérale. Laengsschmtt. Coupe Longitudinale. © AN 2 L OVEN F || fe: 5 Tee et = E3 imnmeirielon seinen DOE OE OE E0000 Oj 00 0 00 010 0|oj} 0|0 aia 1 (0 TRANSVERSE SECTIONS. Querschntte. Coupe Transversales. Edwm OQ. Sachs ed: 25 0 25 5 ¥ CRA — Metres. Re CHAKESPEARE MEMORIAL THEATRE, STRATFORD on AVON. | W.F Unsworth. THEATER LEEDS. THEATRE, LEEDS. B rE Hn by! W. Vorder Ansicht Oi a na Stalls Entrance, 1 1 ¢ Po 1 Ny, mm |Parkett Eingang Entree des Stalles) = Et mn ris Ci. ntrances, Dartayre Bandon Putri dn Sept e \ (Partert e fnngang Fntréee duParterre) TET so Eitan 1&1 her Entrance, Fmgang 1&1 Rang Entrée des F°%et Lobby, \Vorraum, Degagement | >des) & ) t Gang, Coulorr des Stalles) (T n ~ -- q : [Rang Treppe, Escalier des 1798) d 1 har Stairs {rr *r 1 y > de [Rang Treppe Escalier des 298) 1 Ter Stairs UIRang Treppe, FE oat vw dos Sign] L.8C3LEer des Pass Stairs, |Verbmdungs Treppe, F.scalier de Communication) D NL aan Private Box otaars, \(Logen Ireppe, : Fscaher des Loges) Service Stairs, [Personal Treppe, Fscalier de Service) Tl ok i L 2% ; (Aafzug, Ascenseur) z ~~ 2 T = 1] Stairs to Concert Hall, | Treppe zum Concertsaal; F.scaler, Salle de Concert) Box Office, {TZ jhagse, on cies Laasse | ANT { 9 a nrichtetisch, r ani A] Buffet Grundriss, Saal. NT TAN AYA TAN 70 \/ FRONT EIEVATION Facade Princrpale. EZ. Saloon, I DressmgRoom, Erfrischungsraum Restaurant.) (Arklerderaum, Loge des Artistes) ¥. Tresswry [Hauptkasse, Bureax des C omptes ) 7. Shops, Laden, Maga zins | H Frtrsnce to CencertHsll [Fangang zum Concertsaal Futrée, Salle de Concert Workshop, (Werkstatt, Atelier) Pd Boom. Musiker Musiciens) Scene Store, (CoulissenMagazin, Depot des Décors | 2 © -H™ vy. Cloaks, (Kleiderablage, Vestaaare | z. Lavatory, Retirads, Toilette | PLAN, AREA dln ° ° ecoo © « ° > P a eo oo » © ® eo Da” 6 og io ; ..h 8 - .u® © « a. © P ° © e ce ceo e « © @ So a e_eo . . © Sr), e . e eos ° e eo ¢ © oe Edw O. Sachs ed: 25 T 50 0 25 Rh Feet. 1 0 ey CRAND THEATRE. LEEDS SNE George Carson. THEATER LEEDS. THEATRE, LEEDS. : LONGITUDINAL, SECTION. \ tik Laengsschmitt. Coupe Longitudmale. A. Grand Staircase, DP loth 1 Dresswmg Room as ji, nh Treppenhans, Grand Escaher) Vorraum, Degagement | |Ankler eraum,Lo ge des Artistes J B Saloom EL. Wardrobe Room, X. ConcertPsll [Erfrischamgsraam, Restaurant | Kleiderkarnmer, Costumes ) (Conc ertsaal, Salle de Concert ) C. Smokmg Room G. Ballet Room, L Supper Room, : (Ramchsaal, Fumorr) (Tanz Saal, Foyer de la Dance] (Speise Saal, Salle a Manger) Rehearsal Room [Probe Saal, Salle de Repetition) nanan nmnnannnmMnn - HHHHHIHHHHHAHHHAHHHHRAHARR ol : IE I TE HH HHH HH HHH AHHH HHH HHH HHH 1g §% LA el kf 0 HHH AHHH HHH HH HH HH = 4 gd I Le Sn ITRang Treppe, Fscaher des 29s) J e. Ill Tier Stairs (ITT Rang Tr eppe, Banat des aymies) ff Pass Stairs [Verbindungs Treppe, Fscalier de Communication | ¢. PrivateBox Stairs, Logen Treppe Fscalier des Loges)] h. Service Stairs, Personal Treppe, Escalier de Service) r 18 : Aufzug, Ascenseur) k i” 8 to Conan Hall y (Cloaks re zam Concertsaal; (Klerderabla ge, Escahier, Salle de Concert) Vestiaire | w_ Bar z. Lavatory, (Anricht etisch, (Retirade, Buffet Toilette | PLAN 11 TIFR Grundriss, II Rang, Plan, 2° Loges. Edwm QO. Sachs ed: Ered t = GRAND THEATRE. LFEDS Fem— > Feet : : Metres. George Carson. THEATER, CAMBRIDGE. THEATRE, CAMBRIDGE. LONGITUDINAL SECTION. v 7, Laengsschmutt. Coupe Longitudinale. A. Main Entrance, (Haupt Fmgang, Grande Entrée.) C. Saloon, Erlobunimanm Restaurant. ) E. Dressing Room, (Ankleideraum, Loge des Artistes.) G. Stores, (Magazin, Depot.) B. Grand Vestibule, (Grosse Vorhalle, Grand Vestibule) D. Lobby, (Vorraum, Dégagement F. Scene Stores, (Conlisnen Magazm, Dépot des Décors.) H. Office, (Geschiftsranm, Bureau.) a. Stalls Entrance, (Parkett Fmgang, Entrée des Stalles) e. Private Box Stars, (Logen Treppe, Eiscahler des Loges.) s. Stage Door, [Buehnen Emgang, Entrée du Théare. b. Pit Entrance, (Parterre Emgang Entrée du Parterre.) f. Service Stairs, (Personal Treppe, Escalier de Service.) Ww. Bar, (Anrichtetisch, Buffet ) ¢. ] Tier Stairs, (IRang ‘Treppe, Escalier des fos) p Box Office, (Kasse, Caisse.) y Cloaks, (Kleiderabgabe Vestiaire) d. [Ter Starrs, (1 Rang Treppe, Eiscaher des 2%) 2. Lavatory, (Retirade, Toilette ) FF OO TC 10 CO 0 VO J | CY TTT I TI TT ri Tari] | A A J 1 OA A) OR 0 FL RR 0 Err rrr yr yy a re or) LY 1 Tera Tt Ln. EL LTT FLT Er Try rrr 7 TTT Tr tT TTT] 0 SC RW TY OR OR 0 | 0 a FE 1 OR A JE OY 1 JA FR TD 1 AO EL Err rr rr er er Ee LT) CE rT Tr TTY VY Ty YY TT ET I TT TT TTY 17 PI.AN. 1 TIER. PLAN, ARFA PLAN IL TER, Grundriss, I Rang. Plan, | Loges. Grundriss, Saal - Plan, Salle Grundriss, II Rang. Plan, 2° Loges. Edwm O.Sachs ed: DS einai 25 50 10 0 10 Feet. NEW THEATRE, CAMBRIDGE Frnest Runtz, THEATER ATHEN. THEATRE ATHENES FRONT ELEVATION Vorder Ansicht. Fagade Primmcipale. A. Grand Vestibule, (Grosse Vorhalle, Grand Vestibule.) C. Refreshment Room, (Bierhalle, Brasserie) F. Scene Store, ( Coulissen Magazin, Dép6t des Decors ) B. Lobby, ( Vorraum, Deégagement ) D. Green Room, ( Unterhaltungsraurs, Foyer des Artistes.) G. Store, (Magazin, Dépbt) E.. Dressing Room, (Ankleidersum, Loge des Artistes) a. 1 Tier Stairs, (I Rang Treppe, Escalier des fres) D. Box Office, (Kasse, Caisse) b. Il Tier Stairs, (11 Rang Treppe, Fscalier des 27%) d. Pass Stairs, (Verbindungs Treppe, Escalier de Communication) y. Cloak Counter, ( Kleiderablage, Vestiaire.) c. Service Stairs, (Personal Treppe, Escalier de Service.) z. Lavatory, (Retirade, Toilette) PLAN, ARTA Grundriss, Saal. Plan, Salle. Fdwm O. Sachs ed 1 po gg hed Shan = aie] 5 SS a | : Tot. : El 3 s Metres. : a , oo NATIONAL, THEATRE, AT HENS a ; ’ E rt I I 3 ny + = a a SE ne ae eee Se de i Bc ah Sa Ee eT a eee I I THEATER. ATHEN THEATRE ATHENES. dH LONGITUDINAL, SECTION. Laengsschnitt. | | Coupe Longitudmale. A. Lounge, ( Erfrischungssaal, Foyer) C. Lobby, (Vorraum, Dégagement.) B. Promenade, (Wandelgang, Promenade) D. Creen Room, (Unterhaltungsraum, Foyer des Artistes) td : Dressing Room, ( Ankleideraum, Loge des Artistes) rr} Scene Store, (Coulissen Magazin, Depét des Decors) a. [Ter Stairs, (IRang Treppe, Escalier des 17%) ¢. Service Stairs, ( Personal Treppe, Escalier de Service.) y. (oak Counter, ( Kleiderablage, Vestiaire) b. IlTier Stairs,(1I Rang Treppe, Escalier des Jas) z. Lavatory, (Retirade, Toilette.) PIAN 1 THR Grundrmss, | Rang. Plan, I" Loges. Fdwm O. Sachs ed : rT 2 + on + X t - 6 3 + 1 1 t 2 B 0 Feet. Metres. ; [ _ NATIONAL THEATRE. ATHENS : ; Feet. E 2 fap 3 Vowes, THFATER ROT TERDAM THEATRE, ROTTERDAM FRONT ELEVATION. Vorder Ansicht. 57 Fagade Principale. LONGITUDINAL, SECTION. : Laengsschnitt. Coupe Longitudmale. Fdwin O. Sachs ed: et — 3 4 Rr —— Feet. Metres. [3 0 25 50 1 10 se Ter. g MUNICIPAL, THEATRE, ROTTERDAM. a =i J Verheul Sie AL GRAIN Be Chine THEATER ROTTERDAM, THEATRE ROTTERDAM PLAN 1 TIER Crundriss, I Rang. Plan, 1" Loges. A. Main Entrance, (Haupt Eingang , Grande Entrée) DD. Grand Staircase,(Haupt Treppenhaus, Grand Escalier) G. Store, (Magazin, Dépét.) Li. Lounge, ( Erfrischungssaal, Foyer) B. Grand Vestibule, ( Grosse Vorhalle, Grand Vestibule.) FE. Dressing Room, (Ankleideraum, Loge des Artistes.) H. Scene Store, (Coulissen Magazin, Dépét des Decors.) M Balcony, (Balkon, Balcon) C, Lobby, (Vorraum, Vestibule.) F. Library , ( Bibliothek, Bibliotheque.) K. Green Room, (Unterhaltungszimmer. Foyer des Artistes) N. Ante Room, (Vorzimmer, Salon) 8. Ter Hairs, (1 Rang Treppe, Escalier des £s) d. Service Stairs, (Personal Treppe, Escalier de Service) ~~ w. Bar, (Anrichtetisch, Buffet.) b. [Ter Stairs, (I Rang Treppe, Escalier des des) D- Box Office, (Kasse, Caisse.) vy. Cloak Counter, ( Kleiderablage, Vestiaire.) c. lll Tier Stairs, (111 Rang Treppe, Escalier des 37m) z. Lavatory, ( Retirade, Toilette) | PLAN, AREA. Crundrss, Saal. Plan Salle. Edwin O. Sachs ed: 25 =x x8 oO S—— - J MIINICTIPAL, THEATRE ROTTERDAM. J . Verheul. THEATER, ROTTERDAM. THEATRE, ROTTERDAM Querschnitt. E Dressing Room, (Ankleideraum, Loge des Artistes.) TRANSVERSE SECTION Coupe Transversale. G. Store, (Magazin, Dépét .) N. Ante Room, ( Vorzimmer, Salon.) b Tl Ter Stairs, ( IT Rang Treppe, Escalier des 2%=Y: Jd Servies Stairs, ( Personal Treppe, Escalier des 29¢°) y. Cloak Counter, ( Kleiderablage, Vestiaire.) c. III Tier Stairs, (TI Rang Treppe, Escalicr des 3™%) w. Bar, (Anrichtetisch , Buffet.) Sa Crundriss, II Rang. PLAN 11 TITR z. Lavatory, (Retirade, Toilette.) oT ™ Plan, 2° loges. Edwin O. Sachs ed Feet. J Verheul 10 | + = MUNICIPAL THEATRE, ROTTERDAM sss Metres. THEATER BURAREST THEATRE. BUCHAREST Vorder Ansicht . A. Lounge, (Exfrischung ssaal, Foyer.) BE Hall (Wartehalle, Vestibule d’Attente.) a. ] Ter Stairs, (1 Rang Treppe, Fscalier des 17%) b. II Tier Stairs, (IIRang Treppe, Escalier des 24°) c. III. Tier Stairs, (II Rang Treppe, Fscalier des 3™®°) d. .Box3maivs, (Logen Treppe, Escalier des Loges.) Grandriss, | Rang. FRONT FILEVATION. Fagade Principale C. Ante Room, (Vorzimmer, Salon) "D. Grand Staircase, (Haupt Treppenhaus | Grand Escalier.) c. Service Stairs, (Personal Treppe, Escalier de Service.) w. Bar, (Arrichtetisch, Buffet ) Cloak Counter, (Kleiderabl age, Vestiaire.) 7. Lavatory, (Retirade , Toilette.) Plan, 1" Loges. Edwin O. Sachs ed: Feet. 50 10 0 10 NATIONAL THEATRE, BUCHAREST GC Sterian. THEATER BUKARFEST THEATRE, BUCHAREST A. Main Entrance, (Haupteingang, Grande Entree) B. Grand Vestibule, (Grosse Vorhalle, Grand Vestibule .) C. Vestubule, (Vorhalle, Vestibule.) D. Grand Staircase, (Haupt Treppenhaus, Grand Escalier.) E. [Tier Lobby, (Vorhalle II Rang, Vestibule des 29%) F. II Ter Lobby, (Vorhalle II Rang, Vestibule des 3%) G. Ante Room, (Vorzimmer, Salon.) H. General Management, (Verwaltung : [’Administration.) I. Office, (Geschaftsraum, Bureau.) K. Engineer, (Maschineumeister, Ingénieur.) L.. Stores, (Magazin Dépot.) M. Dressing Room, (Ankleideraum Loge des Artistes ) N. Stage Management ( Regie, Direction de la Scene.) ) a. 1 Tier Stairs, (I Rang Treppe, Escalier des 1°) b. II Tier Stairs, (II Rang Treppe ; Fscalier des 2 9) . 1 Tier Stairs, (I Rang Treppe, Fscalier des 3M) d. BexSiairs, oO Pass Stairs, (Verbin dungs Treppe, Fscalier de Communication.) Box Office, (Kasse, Caisse.) s. tage Door, (Buhnen Fingang, Entree du Theatre.) y. Cloak Counter, (Logen Treppe, LAN, AREA (Kleiderablage, Escalier des Loges.) Vestiaire.) e. Service Stairs, z. Lowey, (Personal Treppe, a 4 \R tirade, Escalier de Service.) Grundriss ; 228 al Pian S alle ; Toilette.) Edwin O. Sachs ed: 25 0 = NTAIDIAYNT AT "TIT ATT ST Tr 5 rr — =} Toot NATIONAL, THEATRE BUCHAREST Metres. GG Starian. THEATER BUKAREST. | THEATRE. BUCHAREST. SIDE ELEVATION Seiten Ansicht. | Facade Latérale. P| Fl 0000] LONOITUDINAL, SECTION. Laengsschnitt. Coupe Longitudmale. Edwm O. Sachs ed: 26 0 25 50 10 0 B® ne 5 NATIONAL THEATRE, BUCHAREST “etres. G. Sterian. THEATER, GENF. THEATRE, GENEVE. Vorder Ansicht . A. Main Entrance, : [Haupt Emgang, Grande Entrée) B. Grand Vestibule, Grosse Vorhalle, Grand Vestibule | C Loh. [Vorraum, Dégagement | BB. Hall Ha (Wartehalle, Vestibule d’Attente) 3. Ber Stars Rang Treppe, Escaher des 176%) b HTer Stairs : [TRang Treppe, Escalier des 29e3) Grundriss, Saal. 52 Td a FRONT ELEVATION. Saloon (Erfrischungsraum, Restaurant J Police, (Polize1, Sergents de Ville) Scene Store, CoulissenMagazin, Depot des Décors) 1 Ther Stairs : Rang Treppe, Escalier des 30°] Service Stairs, : (Personal Treppe, F.scalier de Service) in /] iL PLAN, AREA Fagade H. i K. Pr Principale. GreenRoom, : [Unterhaltungsraum, Foyer des Artistes) Stage Management, Regie, Direction de la. Scéne) Stores, : Magazin Dépot Engimeer, : (Maschmenmeister, Ingemieur) Cloak Counter, Kleiderabla ge, Vestiaire ) Lavatory, [Retirade, Toilette) Plan, Salle. FEdwm O. Sachs ed: 25 0 25 50 — < MUNICIPAL, THEATRE -CENEVA. Feet. J 2 Coss eo I 1 Metres. Ls THEATER, GENE. THEATRE. OENEVE. ly SIDE FLEVATION. Seiten Ansicht, Lounge, D. Hall, Exrfrischungssaal, Foyer) [Erfrischhmgsraum, Restaurant ) - 0 {Wartehalle, Vestibule d'Attente EB. Saloon, E Ave Room (Vorzimmer, Salon) Smmokmg Room, ¥. Accident Room, (Rauchsasl, Fumoir) b OTGer Stairs, Kranken Zimmer, Laboratoire du Médeom.) (MRang Treppe Escalier des 2.des | d. Service Stairs, cc. WTEer Starrs, IIRang Treppe, Escahier des 309) Grundriss, II Rang. [Personal Treppe, Escalier de Service. PLAN i TIER Fagade Latérale. Scene Store, (Coulissen Magazin Dépdt des Décors) Stage Management, Regie, Direction de la Scene) Dressmg Room, D) (Anklerderamm, Loge des Artistes) Cloak Counter, [Kleiderablage, Vestiaire ) Lavatory, Retirade, Toilette] Plan, 2° Loges. © ® 0 ,¢ ° Edwin O. Sachs ed. Feet. = MUNICIPAL, THEATER, CENEVA. JF Cons Metres. Tm TTI a THEATER, GENF THEATRE, GENEVE. Laengsschmitt. Saloon, Ertrischungssaal, Foyer) BD. Police, \Polize1, Sergents de Ville) e. J fer Stairs, (MIRang Treppe Escahlier des 3T€S) d Serviee Stairs, [Personal Treppe, Eiscalier de Service) LONGITUDINAL SECTION. C. GeneralManagement, (Verwaltung, I/Admimistration) D. Tenement, (Dienstwohnun g, Apartement | Coupe Longitudinale. FE. Sores, Magazin, Depot) G. Scene Store, (Coulissen Magazin, Dépdt des Decors) yy Llosa Courier, (Klerderablage, Vestiaire J z. Lavatory, [Retairade Toilette) PLAN 01 TIER. Grundrmss, [lI Rang. Plan, 3 Loges. Edwm O. Sachs ed: 25 Feet. MUNICIPAL, THEATRE CENEVA. I = o BB Cogs, 10 THEATER ZURICH THEATRE, ZURICH Lounge oo alcony; a. 1Ter Starrs, b. Ther Stairs, ¢. Mller Stars, (Balkon, Balcon) Vorder Ansicht . [Erfrischungssaal, Foyer) IRang Treppe Escalier des Fes [IRang Treppe, Escalier des 2989) ([ITRang Treppe, Escalier des 3™eS) FRONT PILEVATION. C. Offs, (Geschaeftsraum Burean.) g. Pass Safes ; | (Verbmdungs Treppe, Escalier de Communication.) e. Service Stairs, (Personal Treppe, Escalier de Service) Crundriss, II Rang. TEE Pl aN I Fagade Principale. General Management, Verwaltung, Ea stration) Dressmg Room, exderaum, Loge des Artistes) Bar (Anrichtetisch, Buffet ) Cloak Comer, [Klerderablage, Vestiaire ) Lavaiory, = [Retirade, Toilette) Pan. 2° Loges. Edwm O. Sachs ed: 10 3 0 10 20 Fr t t = ree. Feet. 40 80 - 10 MUINICIDAL, THEATRE ZURICH Ferdinand Fellner, Hermann Helmer. I 4 { = I 5 0 } = Metres. 10 0 Metres. THEATFR, ZURICH. THEATRE, ZURICH. fx JE, a oe I Rl Sit a] na) Lobby, __ [Vorraum, Dégagement lI Tier Lobby, : : (Vorraum {itunes Yeutzibule dog S28 Dressmg Room, exderaum, Loge des Artistes) mE ome a8. lTer Stars, : [Rang Treppe, Fscalier des b.: Ter Stars, [Rang Treppe, Escalier des 2 9¢8] c. Ter Stars, [ITRang Treppe, Escalier des 3™es) fees] Crundriss, Saal. i JR ol | 0 = = Il — | En ka EN A I I TIER PLAN II Scene Store, | Couhssen Mag azn, Depot des Décors | re Service, Feuerwehr, Service des Pompiers ) e Door Keeper, foertner, Concierge du Théatre Balcony, : Ty , Balcon.) Crundriss, III Rang. Maan Entrance : Haupt Fingang, Grande Fntrée,) Grand Vestibule, : (Grosse Vorhalle, Grand Vestibule) Ha d. Pass Stiaws, : Verbmdungs Treppe, Fscalier de Commumecation.) 8. Bervice Stairs (Personal Treppe, Escalier de Service) p. Box Office, Kasse, Caisse | s. StageDoor, : BuehnenFingang Fntree du Theatre) PLAN, AREA. Plan, 3’ Loges. Kk Saloom, [Frfrischungsraum, Restaurant) L. Suners Rodm ; i Comparses) M. Chorus Room, : : Musik Saal, Foyer des Choristes) N. Rehearsal Room, [Probe Saal, Salle de Repetition) J. Library, nit (Bibliotek Bibhothe que) w. Bh Tr, (Anrichtetisch, Buffet y. Cloak Counter, (Kleiderablage, Vestiare.) z.. Lavatory [Retirade, Toilette) Plan Salle. Edwin O. Sachs ed: Feet. MUNICIPAL, THEATRE, ZURICH Ferdinand Fellner, Hermann Helmer. T THEATER, ZURICH. | THEATRE, ZURICH. TRANSVERSE SECTION. Querschnitt, | Coupe Transversale. LONGITUDINAL, SECTION, Laengsschnitt. | Coupe Longitudnale. TlmO ido aa 10 5 0 10 20 30 40 50 rrr 1 10 : a ay 10 Feet Metres. MUNICIPAL THEATRE, ZURICH Ferdinand Fellner, Hermann Helmer. id on li Fat al | b | I | i I k / 3 : I { | y I i i ¥ | y