BIBLIOGRAPHY

 Theatre lighting is a never-ending study, and a book that would
attempt to treat it from all angles would be a voluminous
undertaking. A work of that kind might have value as a
contribution to theatrical literature; but I believe that to most
readers it would prove wearisome. So my effort is brief.
 In this book I have avoided using published data or quotations,
save in a few instances where I wanted to bulwark my own
opinions. For the most part I have used a series of impressions
which I have received during my many years of association with
David Belasco, whose training has molded my ideas of the theatre.
 Nevertheless, I cannot ignore the fact that earnest students
will want to read far more than this; and, for their benefit
especially, I append these suggestions of where to find other
printed data.
 It is symptomatic of the rapid increase of popular interest in
the present subject that, whereas a decade age the literature
upon it was almost negligible in bulk, one may find to-day the
nucleus of a library. There are still very few whole books, it is
true; but the diligent student will discover an ever-growing
number of useful and often valuable papers in the periodical
press.
 As to the history of stage lighting, it has not been the present
writer's concern in this place to go back further than the close
of the nineteenth century when factors commonly used in modern
equipment began to take shape. However, those readers of an
antiquarian turn of mind are referred to pp. 72-81, inclusive, of
William Burt Gamble's splendid bibliography, The Development of
Scenic Art and Stage Machinery, published by The New York Public
Library in 1920 and again in 1927.
 Closest, historically, to the first quarter of the twentieth
century are Bram Stoker's "Irving and Stage Lighting," in the
London Nineteenth Century and After for May, 1911; two articles
in the London Magazine of Art by Hubert von Herkomer (who
conducted one of the first of the modern "little" theatres at
Bushey, England), "The Pictorial Music-Play 'An Idyl' " (Vol.
XII, 1889, p. 316), and "Scenic Art" (Vol. XV, 1892, P. 259 and
p. 316); and, above all, the epochal book by the Belgian, Adolphe
Appia, proposing drastic reforms in the mounting of the Wagner
operas, Die Musik und die Inscenierung (Munich, 1899). Some of
the later lighting experiments of Herkomer are described in an
interview, "An R.A.'s Ideas on Scenery," in the London Era,
October 15, 1913.
 Of recent books the most thorough, in point of both
illustrations and text, is Stage Lighting, by Theodore Fuchs
(Boston, 1929). Buhnenbeleuchtung, by Alfred von Engel (Leipzig,
1926), is the technical handbook on the subject for Germany; and
apparently the English phase has thus far been represented mainly
by C. Harold Ridge's Stage Lighting (Cambridge, England, 1928).
Ridge's work seems to be an amplification and revision of his
Stage Lighting for Little Theatres (Cambridge, 1925). America has
another important technical treatise, still incomplete, but used
in the classroom by its author, Stanley R. McCandless, Assistant
Professor of Lighting in the Department of the Drama at Yale
University. Mr. McCandless is also the author of A Glossary of
Stage Lighting, defining the technical terms used in theatrical
practice (New York, 1926).
 Matthew Luckiesh, engineer in charge of the Lighting Research
Laboratory of the National Lamp Works of the General Electric
Company, has written many articles on the subject; but for
present purposes there may be cited just those pertinent chapters
in his books: Color and Its Applications (New York, 1915);
Illuminating Engineering Practice (New York, 1916); The Lighting
Art: Its Practice and Possibilities (New York, 1917), and Light
and Shade (New York, 1916). Bassett Jones, of New York, is
another engineer whose articles will repay reading. One of his
papers, "The Possibilities of Stage Lighting," is in the
Transactions of the Illuminating Society (July 20, 1916), while
the year before, in the Electrical World, running at intervals
over the twelvemonth, he had a series of five articles entitled
"Mobile Color and Stage Lighting."
 Of special lighting methods the greatest literature deals with
the system of indirect lighting developed by Mariano Fortuny, of
reflecting light from strips of colored cloth; and in the
references now to be given for that also may in most cases be
found descriptions of the horizont, or fixed cyclorama for
effects of sky. Huntley Carter's stimulating and suggestive book,
The New Spirit in Drama and Art New York, 1913), was one of the
earliest to tell of these devices. Hiram Kelly Moderwell's The
Theatre of Today (New York, 1914, new ed. 1927), followed
closely. One of the best accounts of the Fortuny scheme is
"Moderne Buhnenbeleuchtung,'' in the Elektrotechnische
Zeitschrift for July 29, 1909, and in English, during the same
year, there is Charlotte Porter's "The New Stage Art: Fortuny,"
in the Drama (Chicago, May, 1914)ú In French there is notably
Jacques Rouche's L'art theatral modern (Paris, 1910).
 The lighting of the Charles Frohman production of Rostand's
"Chantecler," which at the time was hailed as another revolution
in stage methods, was described by Samuel Howe in the
International Studio (October, 1912). This was also the period of
Livingston Platt's lighting experiments at the Toy and Castle
Square Theatres in Boston, which are sketched briefly in the New
York Dramatic Mirror (May 28, 1913). A new departure, taken as
this book goes to press, is the production of "light plays," in
the theatres of E. M. Schwabe at Berlin and Vienna, where, it is
said, profound emotional effects are obtained without actors and
merely by changes from day to night, summer to winter and so on.
A convenient but necessarily brief account of this, by Irma
Kraft, is in the New York Herald Tribune (August 11, 1929). These
"light plays" are no doubt highly original; but the thought
inevitably suggests the exhibitions devised by Garrick's
scene-painter, De Loutherbourg, for his "Eidophusikon" about
1800.
 Much that has been written about colored light will be found in
the library catalogues in the general division of Optics. Of
especial interest here, however, may be named the passage dealing
with the aesthetic effect of color on human beings in The
Beginnings of Art, by Ernest Grosse (in German, 1893; in English,
1900, pp. 53ff.), a subject treated in more popular fashion by
Augustus Thomas in his play, "The Harvest Moon," while even the
scantiest reference must include also Color Music (London, 1911),
the book by A. Wallace Rimington, Professor of Fine Arts at
Queen's College in London, and inventor of the celebrated "color
organ," used with regular orchestral instruments at the recital
of Scriabine"s "Poem of Fire," at Carnegie Hall, New York, March
20, 1915. But for practical stage application of color
aesthetics, a very interesting bit of collateral reading is Hugh
Ford's "Throwing a New Light on the Drama," in the Sunday
Magazine of the New York Tribune (December 28, 1913)ú
 Books containing extended references to the lighting
achievements of David Belasco are William Winter's Life of David
Belasco (2 vols., New York, 1918) ; Montrose J. Moses' The
American Dramatist (Boston, 1911, new ed. 1925), and Arthur Edwin
Krows's Play Production in America (New York, 1916), the
last-named having several photographs of equipment at the Belasco
Theatre, New York. An account of stage lighting at the Belasco
Theatre, as it was at the start of the century, is Irving B.
Smith's "A Modern Theatre Installation," in the Electrical World
(March 14, 1303)ú A description of the arrangement at the same
house in the middle of the second decade is Joseph M. Feeney's "A
New Method of Stage Lighting," in the Lighting Journal (New York,
October, 1915)ú
 On equipments in general, see, in addition to titles already
given, "The Construction and Installation of Stage Lighting
Equipment," in the General Electric Review (1914, PP. 133-145),
by H. H. Reeves, and "The Requirements of Theatre Lighting," by
S. L. E. Rose and H. E. Mahan, in the same publication (1913, pp
977-980). The elaborate equipment of the old New Theatre, New
York, that opened so auspiciously in 1910 but is now to be
supplanted by a skyscraper, is detailed in the Electrical World
(January 6, 1910) by N. M. Schoonmaker, under title, "Electrical
Equipment and Illumination of the Most Artistic Theatre in
America." For the more general subject of house lighting, see
particularly, "Theatre Illumination," by F. A. Vaughn and G. H.
Cook, in the Transactions of the Illuminating Society (December,
1911).
 Apparently unique is "Eine Versuchsbuhne fur
Beleuchtungproben"--"A Trial Stage for Lighting Investigation'-by
Adolf Winds, being a description of the model stage used by W.
Burgman of Leipzig for studying light effects. It is in Buhne und
Welt (April, 1910).