The following is taken from an article which first appeared in The Daily Evening Telegraph in 1871:
Bona-fide stage furniture is easily distinguished from the kind that people use in real life. In its ornamentation it is especially rich and rare. The idea in manufacturing this species of goods is to avoid a conflict with any given age or time, and in this it is successful, for it is unlike anything that is or ever has been. Wonder has often been expressed concerning the makers of this furniture. It is the joint handiwork of the Property Man and the stage carpenter; and when it is remembered that oftener than not these worthies know as much about cabinet-making as they do about the economy of the steam engine, the wonder really should be that the furniture is as good as it is. But there is this peculiarity about a Property Man, that there is nothing he can not make—after some fashion. In the Adrienne case above mentioned the man had not time, or he would have manufactured a set of “Louis Quatorze” furniture calculated to make that monarch turn in his grave. There would have been plenty of paint and Dutch metal upon it, and a great many people would have thought it a great deal finer than the real thing.
It is hard to say what class of work gives the Property Man the most trouble. When a burlesque or show piece is produced there is a quantity of special preparation to be made, which at first sight would be the most troublesome of his labors. Take such a piece as the Naaid Queen. All the masks, the marine productions of every sort, are furnished by the Property Man. Of course they have to be made, for no shop in Christendom deals in such wares. Such things are often quite elegant in design, and show the Property Man to be something of an artist, just as he is at other times carpenter, machinist, and chemist. To no man can the legend, “Jack of all trades, and master of none,” be applied with as much propriety as to him.
Originally published in The Daily Evening Telegraph, Philadelphia, May 12, 1871, pg 5.