The Century illustrated monthly magazine . cein Wilmington that will not be amiss at thispoint. I have before said that a portion ofmy early theatrical education was drawn fromhard work in the paint and property room ofa theater, so that when I became a managerI delighted in the get-up, as it was technic-ally called, of plays, so far as our slender meanswould permit. To fashion and paint a rusticbridge, with a wide board behind it, set upontwo shaky trestles, for Rob Roy to cross over,was a special privilege. A profile boat for the Lady of the Lake was another delight. Thisperfectly unsafe-loo
The Century illustrated monthly magazine . cein Wilmington that will not be amiss at thispoint. I have before said that a portion ofmy early theatrical education was drawn fromhard work in the paint and property room ofa theater, so that when I became a managerI delighted in the get-up, as it was technic-ally called, of plays, so far as our slender meanswould permit. To fashion and paint a rusticbridge, with a wide board behind it, set upontwo shaky trestles, for Rob Roy to cross over,was a special privilege. A profile boat for the Lady of the Lake was another delight. Thisperfectly unsafe-looking skiff was always set ona trunk mounted upon four little wooden wheelsthat no amount of black-lead could induce tokeep from squeaking. The rope must besteadily pulled — the slightest jerk and overgoes her ladyship into the gauze waters. Butlet us return to the story. Romeo and Juliet being announced, I feltthat the balcony scene should have some at-tention, and I conceived a simple and eco- THE AUTOBIOGRAPHY OF JOSEPH JEFFERSON. 379. JlLIA DEAN. (AFTER A PHOTOGRAPH BY BRADLEY & RULOFSON.) nomical idea that would enable me, at a daysnotice, to produce the effect in a manner hitherto unparalleled in the annals of thestage. Skirmishing about the wharves andthe ship-chandlers, I chanced to light upon ajob lot of empty candle-boxes. By taking aquantity the cardboards were thrown in, andnothing inakes a finer or more imposing butunsubstantial balustrade than cardboard. Theboxes, placed one by one on top of each otherand painted a neat stone color, formed a pleas-ing architectural pile. Before the play beganI had cautioned Juliet that when she leanedher cheek upon her hand she should let herelbow rest gracefully but lightly on the frailstructure that was to support it. Romeo alsohad to be cautioned, for as the house of Capu-let was already about his ears, it was necessarythat at least his shins should escape any con-tact with the foundation. The scene openedwith a backing of som
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