The turret that surrounds the large mast is formed of vertical trusses
provided with panels of painted canvas and carrying a floor for the
figurants to stand upon.

The bowsprit is in two parts, one sliding in the other. The front
portion is at first pulled back, in order to hide the vessel entirely
in the side scenes. It begins to make its appearance before the vessel
itself gets under way. Light silken cordages connect the mast, the
bowsprit, and the small mast at the stern.

On each side of the vessel, there are bolted to the frame that
supports it five iron frames covered with canvas (Fig. 3), which reach
the level of the water line, and upon which stand the "supers"
representing the naiads that are supposed to draw the ship upon the
beach. Finally at the bow there is fixed a frame which supports a
danseuse representing the living prow of the vessel.

The vessel is drawn to the middle of the stage by a cable attached to
its right side and passing around a windlass placed in the side scenes
to the left (Fig. 2). It is at the same time pushed by machinists
placed in the interior of the framework. The latter, as above stated,
is entirely covered with painted canvas resembling water.

As the vessel, freighted with harmoniously grouped spirits, and with
naiads, sea fairies, and graceful genii seeming to swim around it,
sails in upon the stage, puts about, and advances as if carried along
by the waves to the front of the stage, the effect is really
beautiful, and does great credit to the machinists of the Opera.

We are indebted to _Le Genie Civil_ and _Le Monde Illustré_ for the