Those who have not viewed stage-lighting from behind the scenes would often be surprised at the crudity of the equipment, and especially at the superficial intellects which are responsible for some of the realistic effects obtained.  But these are the result usually of experiment, not of directed knowledge.  Furthermore, little thought is given to the emotional value of light, shade, and color.  The flood of light and the spot of light are varied with gaudy color-effects, but how seldom is it possible to distinguish a deep relation between the lighting and the dramatic incidents!

[Illustration:  Soldiers’ and Sailors’ Monument

Jeweled portal welcoming returned soldiers

ARTIFICIAL LIGHT HONORING THOSE WHO FELL AND THOSE WHO RETURNED]

[Illustration]

[Illustration:  THE EXPRESSIVENESS OF LIGHT IN CHURCHES]

In much of the foregoing discussion the present predominating theatrical productions are not considered, for the lighting effects are good enough for them.  Many ingenious tricks and devices are resorted to in these productions, and as a whole lighting is serving effectively enough.  But in considering the expressiveness of light the deeper play is the medium necessary for utilizing the potentiality of light.  These are rare and unfortunately the stage artist appreciative of the significations and emotional value of light and color is still rarer.

The equipment of the present stage consists of footlights, side-lights, border-lights, flood-lights, spot-lights, and much special apparatus.  One of the severest criticisms of stage-lighting from an artistic point of view may be directed against the use of footlights for obtaining the dominant light.  This is directed upward and the effect is an unnatural and even a grotesque modeling of the actors’ features.  The shadows produced are incongruous, for they are opposed to the other real and painted effects of light and shade.  The only excuse for such lighting is that it is easily done and that proper lighting is difficult to obtain, owing to the fact that it involves a change in construction.  By no means should the footlights be abandoned, for they would still be invaluable in obtaining diffused light even when the dominant light is directed from above the horizontal.  In the present stage-lighting, in which the footlights generally predominate, the expressiveness of light is not satisfactory.  Perhaps they are a necessary compromise, but inasmuch as their effect is unnatural they should not be accepted until it is thoroughly proved that ingenuity cannot eliminate the present defects.