Brooklyn Museum Quarterly . l painters and decorators of the same period. Up to the beginning of the present century the devel-opment of scenic art in this country consisted for the mostpart in the effort to increase the deceptive realism of thescenes portrayed upon the stage, and the work of the scenepainter deteriorated in decorative sentiment even when show-ing technical proficiency. So, in spite of all the ugliness andcrudity for which the developments of the past fifteen yearsare responsible, the present period marks the beginning inmodern times of the conception of a stage setting as a s
Brooklyn Museum Quarterly . l painters and decorators of the same period. Up to the beginning of the present century the devel-opment of scenic art in this country consisted for the mostpart in the effort to increase the deceptive realism of thescenes portrayed upon the stage, and the work of the scenepainter deteriorated in decorative sentiment even when show-ing technical proficiency. So, in spite of all the ugliness andcrudity for which the developments of the past fifteen yearsare responsible, the present period marks the beginning inmodern times of the conception of a stage setting as a sympa-thetic, decorative, and suggestive accompaniment to theaction of the play, as opposed to vain striving after deceptiverealism. To speak of this tendency as modern or revo-lutionary is misleading. It should properly be regardedrather as a revival of the classic point of view—the only pointof view which makes possible the development of scenicdesign as a dignified, imaginative, and splendid branch ofdecorative art. 115. < _l< o < Q EC Z < O 2 o i a - PHARAOHS PRISONModel by GATES and MORANGE In considering an exhibition such as this, it should beborne in mind that a scenic model is properly nothing morethan a sketch in which the successive planes which are tocompose the finished setting are placed in their proper pro-jection according to the scale of the picture. It is in no sense
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