rs. Barbier and Thomas,
has recently been put upon the stage of the Opera at Paris with superb
settings. One of the most important of the several tableaux exhibited
is the last one of the third act, in which appears a vessel of unusual
dimensions for the stage, and which leaves far behind it the
celebrated ships of the "Corsaire" and "L'Africaine." This vessel,
starting from the back of the stage, advances majestically, describes
a wide circle, and stops in front of the prompter's box.

[Illustration: FIG. 1.--SHIP OF THE "TEMPEST," IN PROCESS OF
CONSTRUCTION.]

[Illustration: FIG. 2.--SETTING OF THE SCENERY BEFORE AND AFTER THE
APPEARANCE OF THE SHIP.]

As the structure of this vessel and the mechanism by which it is moved
are a little out of the ordinary, we shall give some details in regard
to them. First, the sea is represented by four parallel strips of
water, each formed of a vertical wooden frame entirely free in its
movements (Fig. 2). The ship (Figs. 1, 2, 3, 4 and 5) is carried by
wheels that roll over the floor of the stage. It is guided in its
motion by two grooved bronze wheels and by a rail formed of a simple
reversed T-iron which is fixed to the floor by bolts. In measure as it
advances, the strips of water open in the center to allow it to pass,
and, as the vessel itself is covered up to the water line with painted
canvas imitating the sea, it has the appearance of cleaving the waves.
As soon as it has passed, the three strips of water in the rear rise
slightly. When the vessel reaches the first of the strips, the three
other strips, at first juxtaposed against the preceding, spread out
and thus increase the extent of the sea, while the inclined plane of
the preceding tableau advances in order to make place for the vessel.
The shifting of this inclined place is effected by simply pulling upon
the carpet that covers it, and which enters a groove in the floor in
front of the prompter's box. At this moment, the entire stage seems to
be in motion, and the effect is very striking.

[Illustration: FIG. 3.--SHIP OF THE NEW BALLET, THE "TEMPEST."]

We come now to the details of construction of the vessel. It is not
here a question of a ship represented simply by means of frames and
accessories, but of a true ship in its entirety, performing its
evolutions over the whole stage. Now, a ship is not constructed at a
theater as in reality. It does not suffice to have it all entire upon
the stage, but it is nece