“I have picked up much interesting furniture for my workroom, but, despite the joy I take in these things, I write with greatest comfort on a little sewing-table covered with green baize,--a relic of my attic days.... I really know of no other manager whose delight in his playhouse is greater than mine.... Here I spend my life and here I shall, I hope, end my days.” The second Belasco Theatre (originally called David Belasco’s Stuyvesant Theatre, by which name it was known until the fall of 1910) stands on the north side of West Forty-fourth Street, between Broadway and Sixth Avenue, on lots Nos. 111 to 121, inclusive. The site has a front of 105 feet and a depth of 100 feet. The building is of red brick and white stone, simple and graceful, in the style of architecture denominated as Colonial. It was, originally, three stories high, with a rectangular, tower-like eminence at the southwest corner. The entrance from the street is into a small lobby, at the right of which are large swinging doors opening into a clear space which extends, behind the orchestra seats, parallel with Forty-fourth Street, from side to side of the auditorium. In this playhouse, [Illustration: Photograph by Byron. Author’s Collection. BELASCO IN HIS WORKSHOP INSCRIPTION ON BACK: “Genius _doesn’t burn_ this morning, dear friend!--D. B.” ] as in the first Belasco Theatre, there is a handsome screen of carved wood and crystal glass at the rear of the orchestra, which protects the audience from drafts of air. The orchestra and balcony chairs are of heavy wood, upholstered in rich, dark brown leather, the back of each chair being embossed with the emblematic bee. The decoration of the interior is opulent and dark in tone,--deep browns, blues, and greens with dull amber and orange being the prevailing colors. There is a large painting above the proscenium opening and on either side are several mural paintings, of various sizes, with here and there a rich tapestry hanging. The groups and figures in these paintings are symbolical,--Music, Grief, Tranquillity, Allurement, Blind Love, Poetry, and the like being depicted. The ceiling is raftered into twenty-two panels, which are set with rich-colored stained glass and illumined from above. Each panel contains two shields, with heraldic mantling,--among the coats-of-arms displayed being those of Shakespeare, Goethe, Schiller, Racine, Molière, Goldsmith, Sheridan, and Tennyson. The seating capacity of the theatre is now (1917) about 1,000 persons,--430 on the orchestra floor, 320 in the balcony, and 240 in the gallery. There are no supporting pillars in the auditorium, the balcony and gallery being constructed on cantilevers, so that an unobstructed view of the stage is afforded from every part of it.