The stage was carefully designed with the purpose of facilitating in every possible way the setting and shifting of scenery. It is eighty feet wide and twenty-seven feet from the curtain-line to the back-wall. The proscenium opening is thirty-two feet wide and thirty feet high. The “gridiron” is seventy-six feet above the stage; the fly galleries, of which there are two, one on each side of the stage and thirty feet above it, have forty-five feet of clear space between them. In recent years an adjustable apron, five feet wide, has been constructed in front of the curtain-line, covering the musicians’ pit. The stage can be opened at any desired spot, and the centre of it is an elevator-trap, ten feet from front to back and twenty feet long. Upon this trap the paraphernalia of an entire scene can be lowered to, or raised from, the level of a cellar floor, thirty feet below the stage. The original cost of this theatre, including the land upon which it stands, was more than $750,000, and various alterations and improvements made in it down to the present time (1917) have increased the total investment to nearly $1,000,000. In the summer of 1909 a one-story and mezzanine addition was built upon the roof of the Stuyvesant, in which Belasco has made his studio,--a strange, romantic place in which he has assembled priceless objects of art and antiquarianism. That studio (an adequate description of which would necessitate weeks of examination and would, alone, fill a large volume, and which, here, can be given only passing notice) is entered by a narrow, low, heavy-latticed door from the business offices of the Belasco Company. The first room is a small, low-roofed one, in itself somewhat suggestive of an old cathedral crypt. Along the walls are ranged shelved cases containing a wondrous collection of specimens of precious glass, the most recently made piece of which is more than eighty years old. A sort of alcove opens from this room, at the right side, which is stored with scores of relics associated with that arch-villain the great Napoleon,--a collection which includes a lock of his hair, cut from his head after death, and in which Belasco takes special pride and joy. Beyond the entrance room is a larger one; beyond that are low, dim passages; a library with stairs to a gallery; a dining-room; an odd little bedroom, exquisitely furnished in Japanese style,--with a miniature Japanese garden built outside its window,--and luxurious facilities for bathing. These passages, rooms, and stairs,--ceilinged with multi-colored banners, carpeted with soft, rich rugs, and almost everywhere lined with shelf on shelf of books,--are somewhat maze-like to a stranger, and in them is gathered a vast, confusing medley of collectors’ treasures: here, a sinister, black-steel armor; there, a stand of French halberds; beneath that old table, an unmatchable set of rapiers; upon this one, nearly twoscore different styles of dagger; yonder, a huge carved wooden chest,