painted no more. The "priming" of a scene which I have mentioned in the preceding anecdote, consists in laying a coat of white mixed with sizing upon the canvas. When this is dry the artist outlines his scene in charcoal. He first gets his perspective, which he does by attaching a long piece of twine to a pin fixed at his "vanishing point." Then blackening the string and beginning at the top he snaps it so as to make a black line which is afterwards gone over with ink. This line is reproduced whenever the drawing requires, and the advantage it affords will be readily understood by all who know anything about art or appreciate the value of good perspective in drawing. The sky of the scene is first filled in rapidly with a whitewash brush, after which follows a swift but clever completion of the view. The side scenes which are to be used as continuations of the "flat," as the principal or back part of a scene is called, must be in perspective with the rest of the picture. Scenic artists work very quickly, and can prepare a view in a very short time. Morgan, Marston, Fox, and Voegtlin, in New York; Goatcher, in Cincinnati; and Dick Halley, Tom Noxon, and Ernest Albert, in St. Louis, are among the best scene painters in the country. The salaries paid in this branch of the profession vary from $40 to $150 a week. A New York artist, it is said, who works very fast, receives as much as $100 to $150 for one or two scenes. When it is taken into consideration that at the end of the run of a play these scenes are blotted out to make way for others, the price paid for them is simply enormous. [Illustration: THE "OLD WOMAN" OF THE COMPANY.]