twice the usual length, painted one half in a sunset and the other half in moonlight. If the change from day to night, which is the more effective, is desired, the sunset sky occupies the upper half of the drop--that is nothing but the sunset sky is presented to the eyes of the audience. The distance scenery is painted upon a separate piece and the outlines of the objects are sharply cut out so that the sunset sky can be seen above the irregular outline of the horizon. A gauze drop hangs in front to give the picture the required hazy effect, and red lights give a sunset glow to the entire scene. Rolling up the back drop the change is made slowly and carefully until the moon is discovered in the night half of the sky and goes up with it, while the usual moonlight mediums are brought into requisition to increase the brightness of the view. [Illustration: SOL SMITH RUSSELL.] There are two ways of producing ocean waves. Sometimes a piece of blue cloth with dashes of white paint for wave-crests covers the entire stage, when the necessary motion of the waters is obtained by having men or boys stationed in the entrances to sway the sea. Again, each billow may be made to show separate with the alternate rows of billows rearing their white crests between the tips of the row on each side. These billows are rocked backward and forward--to and from the audience--while the ocean's roar comes from a wooden box lined with tin and containing a small quantity of bird shot. The desired sound is produced by rolling the box around. [Illustration: ROSE COGHLAN.]