ting the latter, it is an
expression of light worthy of the same care and consideration that the
painting, which is also an expression of light, receives from the
artist. The scenery and costumes should be considered in terms of the
lighting effects because they are affected by changes in the color of
the light. In fact, the author showed a number of years ago that by
carefully relating the colors of the light with the colors used in
painting the scenery, a complete change of scene can be obtained by
merely changing the color of the light. Rather wonderful dissolving
effects can be produced in this manner without shifting scenery. For
example, a warm summer scene with trees in full foliage under a yellow
light may be changed under a bluish light to a winter scene with ground
covered with snow and trees barren of leaves. But before such
accomplishments can be realized upon the stage, scientific knowledge
must be available behind the scenes.

The art museum affords a multitude of opportunities for utilizing the
expressiveness of light. This is more generally true of sculptured
objects than of paintings because the latter may be treated as a whole.
The artist almost invariably paints a picture by daylight and unless it
is illuminated by daylight it is altered in appearance, that is, it
becomes another picture. The great difference in the appearance of a
painting under daylight and ordinary artificial light is quite
startling, when demonstrated by means of apparatus in which the two
effects may be rapidly alternated. Art museums are supposed to exhibit
the works of artists and, therefore, no changes in these works should be
tolerated if they can be avoided. The modern artificial-daylight lamps
make it possible to illuminate galleries with light at night which
approximates daylight. A further advantage of artificial light is that
it may be easily controlled and a more satisfactory lighting may be
obtained than with natural light. Considering the cost of daylight in
museums and its disadvantages it appears possible that artificial
daylight with its advantages may replace it eventually in the large
galleries. If the works of artists are really prized for their
appearance, the lighting of them is very important.

Sculpture is modeled by light and although it is impossible to ascertain
the lighting under which the sculptor viewed his completed work with
pride and satisfaction, it is possible to give the best consideration to
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