Of later scene-painters, such as Roberts and Stanfield, Grieve and Telbin, and to come down to the present time, Beverley and Calcott, Hawes Craven and O'Connor, there seems little occasion to speak; the achievements of these artists are matters of almost universal knowledge. It is sufficient to say that in their hands the art they practise has been greatly advanced, even to the eclipse now and then of the efforts of both actors and dramatists. Some few notes, however, may be worth making in relation to the technical methods adopted by the scene-painter. In the first place, he relies upon the help of the carpenter to stretch a canvas tightly over a frame, or to nail a wing into shape; and subsequently it is the carpenter's duty, with a small sharp saw, to cut the edge of irregular wings, such as representations of foliage or rocks, an operation known behind the curtain as "marking the profile." The painter's studio is usually high up above the rear of the stage--a spacious room, well lighted by means of skylights or a lantern in the roof. The canvas, which is of course of vast dimensions, can be raised to the ceiling, or lowered through the floor, to suit the convenience of the artist, by means of machinery of ingenious construction. The painter has invariably made a preliminary water-colour sketch of his scene, on paper or cardboard. Oftentimes, with the help of a miniature stage, such as schoolboys delight in, he is enabled to form a fair estimate of the effect that may be expected of his design. The expansive canvas has been sized over, and an outline of the picture to be painted--a landscape, or an interior, as the case may be--has been boldly marked out by the artist. Then the assistants and pupils ply their brushes, and wash in the broad masses of colour, floods of light, and clouds of darkness. The dimensions of the canvas permit of many hands being employed upon it, and the work proceeds therefore with great rapidity. But the scene-painter is constant in his supervision of his subordinates, and when their labours are terminated, he completes the design with numberless improving touches and masterly strokes. Of necessity, much of the work is of a mechanical kind; scroll-work, patterned walls, or cornices are accomplished by "stencilling" or "pouncing"--that is to say, the design is pricked upon a paper, which, being pressed upon the canvas, and smeared or dabbed with charcoal, leaves a faint trace of the desired outline. The straight lines in an architectural scene are traced by means of a cord, which is rubbed with colour in powder, and, having been drawn tight, is allowed to strike smartly against the canvas, and deposit a distinct mark upon its surface. Duty of this kind is readily accomplished by a boy, or a labourer of little skill. Scenes of a pantomime order, in which glitter is required, are dabbed here and there by the artist with thin glue; upon these moist places, Dutch metal--gold or silver leaf--is