Theatre lighting in this period was provided by wick-fed illuminants concealed behind the wings and proscenium arch and at the edge of the stage apron. In the auditorium either a large, single, central fixture, as at La Scala, or a number of smaller ceiling fixtures, as at Versailles, was the custom. All were kept burning during performance, and the habit of lighting the auditorium persisted until late in the 19th century.

The court masques served to introduce Italian staging to England. The masques were allegories designed to honour a particular person or occasion by comparing them favourably with mythological characters or situations. Inigo Jones, the foremost English architect of his time, produced masques and other entertainments at the English court from 1605 to 1640. He had visited Italy between 1596 and 1604 and was the individual most responsible for acceptance of Italian stage design in England. From his sketches it is known that Jones went through several phases in his designs, starting in 1604 with the décor simultané, mentioned above, in which different localities were represented on different portions of the stage. In 1605 he introduced simple perspective settings—two painted representations of houses with a painted back shutter. The same year he experimented with periaktoi, creating a globe, with no visible axle, that revolved to reveal eight dancers sitting inside.

His masques all had painted proscenium arches, into which he set a falling curtain. By 1635 Jones designed a setting that utilized four angled wings, like Serlio’s, and four shutters at the rear, three of which could be drawn to the sides in two parts. Jones’ design for a masque in 1640 is considered the first design of the Baroque theatre in England. Four sets of side wings were placed on each side of the stage, each wing consisting of two flats. There were four shutters at the rear, with each dividing into two parts for easy removal. Each wing had either a header (i.e., a horizontal unit that joins two upright wings, to form a flat arch) or a sky border (a horizontal piece of scenery, designed to look like the sky, which masks the space above the set). To give the illusion of distance, the side wings were made in exaggerated perspective, with each succeeding wing in significantly smaller scale than the one preceding. The disadvantage of using smaller sized flats toward the back of the stage was that if the actors stood too close to them the illusion would be destroyed. The actors were therefore restricted to the front of the stage. In successive decades, attempts were made to give the stage area greater depth by multiplying the number of flats on each side. In sum, with the exception of the chariot-and-pole system of scene changing, Jones introduced all of the major Italian developments into England.

After Inigo Jones, English scenery practices and stage conventions were similar to those of Italy. Sets were changed by sliding them in grooves in the stage floor and overhead. Since the curtain was raised after the prologue and remained up throughout the performance, all scene shifting was in view of the audience. It was not until 1750 that an “act drop” was used; previously, even intermezzi were performed in front of a full stage setting.

As interest in spectacle increased, the scene painter became more important, and by the late 18th century each theatre had two or more permanent scene painters. The best known designer around the end of the 18th century was Philip James de Loutherbourg, a painter; from 1771 he worked for the actor-manager David Garrick as scenic designer at the Drury Lane Theatre in London, and he is credited with changing the orientation of design from the architectural to the landscape era, thus marking the end of the Baroque in England. He was one of the pioneers of the cut cloth, a double back cloth in which there was an opening in the one nearer the audience that revealed a vista painted on the back one. He also utilized transparent scenery; in one production he cut the moon out of the canvas back cloth, replaced it with gauze, and lit it from behind. The importance that Loutherbourg’s landscape painting of the back cloth assumed is shown by the fact that the Drury Lane pantomime of 1779 was specially written for the scenery he had designed while on a trip to Derbyshire. His depiction of actual places in England started a vogue for “local colour.” Loutherbourg’s single most important contribution, however, was that he achieved a unity of design because he directed both the scenery and the lighting and effects of a single production.

Scenic design

Significant changes in scenic design were made by Italy’s Bibiena family, of whom the best known members were Ferdinando, Francesco, Giuseppe, Antonio, and Carlo. Around 1703, at Bologna, Ferdinando introduced angled perspective. Previously, stage design was based on one-point perspective using a single vanishing point, in which all lines appear to recede with distance toward one point at the centre of the background. Bibiena, however, used perspective with two vanishing points; if this technique were used to render a large, flat building as seen from one corner of it, for example, the base and roof lines of one side extended into the distance would appear to meet at some point off to the right and those of the other side at another point off to the left. Furthermore, by locating these points quite low, Bibiena gave the structures the effect of immense size. Buildings, walls, or courtyards were placed in the centre of the set and vistas at the sides, and the scale of settings, which had previously been designed to make the scenery an extension of the auditorium, was altered. The front wings were painted as though they were only the lower part of a building. The result of these innovations was that Bibiena’s sets seemed so large that they created a feeling of fantasy. Despite its apparent size, though, an angled-perspective setting required less stage space than one with a central alley. Many of the settings divided the stage into a foreground, for the actors, and a background, for distant objects. A drop, designed to resemble a series of arches or columns, often marked the rear of the acting area.

Another designer who developed the angled scene independently of Bibiena was Filippo Juvarra, a major Italian architect of the early 18th century, who began his work, as did many artists of the period, with the decoration of court entertainments. Some of his most intriguing scenic designs, in terms of architectural fantasy, were executed for a marionette theatre owned by his patron. These designs are of particular interest to theatre historians because Juvarra usually included plans of the stage settings showing exactly how the wings were placed. Juvarra’s sets were basically curvilinear, leading the audience’s eye to the foreground instead of the sides. In several sketches he designed a permanent set with a large archway opening up to a series of vistas, which varied from a landscape to a perspective corridor. His designs foreshadowed the interest in landscape that was not to find its complete development until almost a century later.

In the second half of the 18th century, several new directions in thinking led to stylistic changes in scenery. One was the increased interest in history, spurred by the rediscovery of Pompeii in 1748. Scenery of classical ruins overgrown with vines became popular. Plays based on folk literature were produced with Gothic architectural settings. The most important new direction was that scenic designers introduced “mood”; they started to emphasize light and shadow to create an atmosphere. The best known artist of this period was the Italian engraver Giambattista Piranesi, who executed more than 1,000 engravings of Roman ruins and prisons. He did not particularly apply himself to the theatre, yet his designs were inspired by contemporary stage settings and were in turn themselves an inspiration for other designers.