d to make a scale model. When this model is finished it is a
perfect miniature scene of the opera as it will appear on the night the
opera is produced.

The author and composer are then called in to meet the impresario and
myself for a final consultation. We now finally criticize our plans,
making any alterations which may seem necessary to us. When these
alterations are completed the plans are handed over to the carpenter,
who immediately starts making his frames and covering them with canvas,
working from the scale model. The scenic artist is now able to commence
his work in earnest.

The "properties" are our next consideration. Sketches and patterns are
made, authorities are consulted, and everything possible is done to aid
the Property Master in doing his part of the work.

Unless the opera in question calls for special mechanical effects, or
special stage machinery, the scene is adapted to the stage as it is. If
anything exceptional has to be achieved, however, special machinery is
constructed.

The designing of the costumes is gone over in much the same way as the
construction of the scenery. The period in which the opera is laid, the
various characters and their station in life, are all well talked over
by the composer, author and myself. The costume designer is then called
in, and after listening to what every one has to say and reading the
libretto, he submits his designs. These, when finished, are criticized
by the impresario, the composer, the author and myself, and any
suggestion which will improve them is accepted by the designer, and
alterations are made until everything is satisfactory. The designs are
then sent to the costume maker.

The important matter of lighting and electrical effects is not dealt
with until after the scenery has been completed, painted and set up on
the stage, except in the case when exceptional effects are demanded. The
matter is then carefully discussed and arranged so that the apparatus
will be ready by the time the earlier rehearsals are taking place.

The staff required by a Technical Director in such an institution as the
Metropolitan Opera House is necessarily a large one. He needs an able
scenic artist with his assistants and an efficient carpenter with his
assistants to complete the scenic arrangements as indicated in the
models. The completed scenery is delivered over to the stage carpenter
who has a large body of assistants, and is held responsible for the
running