btained. But these are the result usually of
experiment, not of directed knowledge. Furthermore, little thought is
given to the emotional value of light, shade, and color. The flood of
light and the spot of light are varied with gaudy color-effects, but how
seldom is it possible to distinguish a deep relation between the
lighting and the dramatic incidents!

[Illustration: Soldiers' and Sailors' Monument

Jeweled portal welcoming returned soldiers

ARTIFICIAL LIGHT HONORING THOSE WHO FELL AND THOSE WHO RETURNED]

[Illustration]

[Illustration: THE EXPRESSIVENESS OF LIGHT IN CHURCHES]

In much of the foregoing discussion the present predominating theatrical
productions are not considered, for the lighting effects are good enough
for them. Many ingenious tricks and devices are resorted to in these
productions, and as a whole lighting is serving effectively enough. But
in considering the expressiveness of light the deeper play is the medium
necessary for utilizing the potentiality of light. These are rare and
unfortunately the stage artist appreciative of the significations and
emotional value of light and color is still rarer.

The equipment of the present stage consists of footlights, side-lights,
border-lights, flood-lights, spot-lights, and much special apparatus.
One of the severest criticisms of stage-lighting from an artistic point
of view may be directed against the use of footlights for obtaining the
dominant light. This is directed upward and the effect is an unnatural
and even a grotesque modeling of the actors' features. The shadows
produced are incongruous, for they are opposed to the other real and
painted effects of light and shade. The only excuse for such lighting is
that it is easily done and that proper lighting is difficult to obtain,
owing to the fact that it involves a change in construction. By no means
should the footlights be abandoned, for they would still be invaluable
in obtaining diffused light even when the dominant light is directed
from above the horizontal. In the present stage-lighting, in which the
footlights generally predominate, the expressiveness of light is not
satisfactory. Perhaps they are a necessary compromise, but inasmuch as
their effect is unnatural they should not be accepted until it is
thoroughly proved that ingenuity cannot eliminate the present defects.

The stage as a whole is a mobile picture in light, shade, and color with
the addition of words and music. Excep