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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/19724-8.txt b/19724-8.txt new file mode 100644 index 0000000..26f925f --- /dev/null +++ b/19724-8.txt @@ -0,0 +1,7599 @@ +The Project Gutenberg eBook, Home Pastimes; or Tableaux Vivants, by James +H. Head + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: Home Pastimes; or Tableaux Vivants + + +Author: James H. Head + + + +Release Date: November 6, 2006 [eBook #19724] + +Language: English + +Character set encoding: ISO-8859-1 + + +***START OF THE PROJECT GUTENBERG EBOOK HOME PASTIMES; OR TABLEAUX +VIVANTS*** + + +E-text prepared by Barbara Tozier, Bill Tozier, Linda Cantoni, and the +Project Gutenberg Online Distributed Proofreading Team +(https://www.pgdp.net/) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 19724-h.htm or 19724-h.zip: + (https://www.gutenberg.org/dirs/1/9/7/2/19724/19724-h/19724-h.htm) + or + (https://www.gutenberg.org/dirs/1/9/7/2/19724/19724-h.zip) + + + + + +HOME PASTIMES; OR TABLEAUX VIVANTS. + +by + +J. H. HEAD. + + + + + + + +[Illustration: TABLEAUX VIVANTS.] + + + +Boston: +J. E. Tilton And Company. +1860. + +Entered, according to Act of Congress, in the year 1859, by +James H. Head, +In the Clerk's Office of the District Court of the District of +Massachusetts. + +Electrotyped at the +Boston Stereotype Foundry. + + + + +TO + +SAMUEL P. LONG, ESQ., + +AS AN HUMBLE TRIBUTE OF ADMIRATION FOR HIS ARTISTIC AND LITERARY +USEFULNESS, + +AND TO THOSE FRIENDS WHO HAVE PARTICIPATED WITH ME IN MANY OF THESE +SCENES, + +This Work + +IS RESPECTFULLY INSCRIBED, + +BY THE AUTHOR. + + + + +PREFACE. + + +A sincere desire to extend the influence of a pure and ornamental art, +to promote and extend a perfect system of what is really beautiful in +the forming of the Tableau, to awaken in the minds of many a quicker +sense of the grace and elegance which familiar objects are capable of +affording, and to encourage all to cherish a taste for the beautiful, +have influenced the author to issue this volume. + +Art should not be confined entirely to the studio of the artist. Her +presence should embellish every home; her spirit should animate every +mind. She is unwearied in her best and brightest attributes, +restricting her influence to no peculiar spot of earth, nor conforming +her claims to any one sphere. Beauty of form is still beautiful, be it +found in the humble cottage or in the magnificent palace. + +A perfect picture will be recognized and appreciated whenever +displayed, or by whomsoever produced. In fine, nature is still nature, +and the germ of poetical feeling is similar in its manifestation +wherever it may chance to be shown. + +The delineation of the natural and poetical, its realization upon +canvas, or upon paper, or in the living picture, tends to improve the +mind, assimilates the real with the ideal, conforms taste to the +noblest standard, overflows the heart with pure and holy thoughts, and +adorns the exterior form with graces surpassing those of the Muses. +The producing and forming of _tableaux vivants_ have been the author's +study for the past ten years. The choicest gems which adorn this +volume are mostly imaginary scenes; others are selected from the +poets; and a few are suggested by rare engravings. + +The author, in his endeavors to impart and explain many things, has +been obliged to sacrifice show and style upon the altar of simplicity; +at least, such has been his constant aim. For all imperfections and +defects he invokes the charity of a candid public. If this volume +should in any degree satisfy a want that has been long felt, or add +one devotee to the shrine of beauty, the author will consider his +endeavors amply repaid. + +JAMES H. HEAD. + +PORTSMOUTH, September 2, 1859. + + + + +CONTENTS. + + + PAGE + +INTRODUCTION, 13 +The Wreath of Beauty, 25 +The Marble Maiden, 27 +Venus rising from the Sea, 31 +Reception of Queen Victoria at Cherbourg, 32 +Scene from the Opera of "Sappho," 38 +Flora and the Fairies, 42 +The Spectre Bride, 45 +Music, Painting, and Sculpture, 52 +Bust of Proserpine, 53 +Napoleon and his Old Guard at Waterloo, 56 +The Dancing Girl in Repose, 60 +Washington's Entrance into Portsmouth, 62 +Fame, 67 +Faith, 70 +Spirit of Religion, 72 +The Poet and the Goddess of Poetry, 74 +Death of Edith, 77 +Abou Ben Adhem and the Angel, 80 +Hiawatha and his Bride's Arrival Home, 83 +David playing before Saul, 87 +Liberty, 89 +Paganism and Christianity, 91 +Second Scene of Paganism and Christianity, 94 +The Fairies' Dance, 96 +Bust of Prayer, 99 +Morning welcomed by the Stars, 100 +The Statue Vase, 104 +Spirit of Chivalry, 106 +Haidee and Don Juan in the Cave, 111 +Poverty, 114 +Death of Minnehaha, 116 +The Mother's Last Prayer, 120 +Louis XVI. and his Family, 122 +Dressing the Bride, 127 +Hope, Faith, Charity, and Love, 130 +The Death of General Warren, 132 +Portrait of Prince Albert, 135 +The Return of the Prodigal Son, 136 +Single Blessedness, 138 +Marriage Bliss, 140 +The Sleeping Maiden, 141 +Night and Day, 144 +The Firemen in Repose, 145 +The Alarm, 146 +At the Fire, 147 +Ethan Allen at Ticonderoga, 149 +The Gypsy Fortune Teller, 151 +Peace, 152 +War, 155 +The Rescue, 157 +Solomon's Judgment, 159 +The Bridal Prayer, 162 +The Guitar Lesson, 163 +Roger Williams preaching to the Indians, 164 +Crossing the Line, 167 +The Wedding, 169 +Hiawatha sailing, 171 +The Village Stile, 173 +Florence Nightingale in the Crimea, 175 +The Fireman's Statue, 177 +Joan of Arc at the Siege of Orleans, 178 +The Parting, 183 +Hagar and Ishmael in the Wilderness, 185 +The Fight for the Standard, 187 +Jonathan's Visit to his City Cousins, 189 +The Three Graces, 190 +The Guardian Angel, 191 +The Pyramid of Beauty, 193 +Coronation of Queen Victoria, 195 +The Brigands, 198 +Death of Sir John Moore, 200 +The Fireman's Rescue, 203 +Catharine Douglass barring the Door with her Arm, 205 +The Masquerade Ball, 207 +Irish Courtship, 209 +The Fairies' Offering to the Queen of May, 210 +Belshazzar's Feast, 213 +The Valentine, 217 +The Fairies' Rainbow Bridge, 219 +Little Eva and Uncle Tom, 222 +Love triumphant, 224 +The Banditti, 226 +Portrait of Louis Napoleon, 229 +The Return from the Vintage, 230 +Lovers Going to the Well, 232 +The Italian Flower Vase, 234 +Portrait of the Madonna, 236 +The Shoemaker in Love, 237 +Prince Charles Edward after the Battle of Culloden, 239 +The Flower Girl, 242 +Presentation of Fireman's Trumpet, 243 +The Painter's Studio, 245 +Portrait of Gabrielle, 247 +The Elopement, 249 +Fireman's Coat of Arms, 251 +The Soldier's Farewell, 252 +Ike Partington's Ghost, 254 +The Peasant Family in Repose, 255 +The Soldier's Return, 257 + + * * * * * + +NOTES AND EXPLANATIONS, 259-264 + + + + +INTRODUCTION. + + +The Tableaux Vivants may be new to many of our readers, although they +have been produced and have been quite popular in Europe, and to some +extent in this country. For public or private entertainment, there is +nothing which is so interesting and instructive as the tableau. The +person most fitted to take charge of a tableau-company is one who is +expert at drawing and painting: any one who can paint a fine picture +can produce a good tableau. + +The individual who makes all of the necessary arrangements for a +series of tableaux is generally called the _stage manager_. His first +work is to select a programme of tableaux; and in this list there +should be a variety of designs, comprising the grave, the comic, and +the beautiful. A manuscript should be used in which to write the names +of the tableaux, directions for forming each, the names of the +performers, the parts which they personate, the styles of the +costumes, and the quantity and kind of scenery and furniture used in +each design. + +The following diagram will illustrate the manner in which the +manuscript should be arranged:-- + ++-------------------------------------------------------------------+ +| NAME OF TABLEAU. | NO. ____ | +--------------------------------------------------------------------| +|Directions for forming|Ladies.|Personation.|Gentlemen.|Personation.| +| costumes, &c. | | | | | +| | | | | | +| | | | | | +| | | | | | +| |-------|------------|----------|------------| +| |Scenery, furniture, &c. | +| | | +| | | ++-------------------------------------------------------------------+ + +After the manuscript is completed, it will be necessary to select the +company and assign the parts. The number of persons required in a +first-class tableau-company is forty. It will be necessary to have +that number to produce large pictures; fifteen or twenty-five persons +will be sufficient for smaller representations. In forming the +company, the following persons should be selected: six young ladies, +of good form and features, varying in styles and sizes; six young +gentlemen, of good figure, and of various heights; two small misses; +two small lads; two gentlemen for stage assistants; one painter, one +joiner, one lady's wardrobe attendant, one gentleman's wardrobe +attendant, one curtain attendant, one announcer. If a large piece is +to be performed, such as the Reception of Queen Victoria, it will be +necessary to have fifteen or twenty young gentlemen, varying from +four to five feet in height, to personate military and other figures. +Each person should have written instructions in regard to the scenes +in which they take a part, giving full descriptions of the costumes, +position, expression, and character which they are to personate; after +which they should meet in a large room, and go through a private +rehearsal. It will be necessary, previously to appearing before the +public, to have three rehearsals--two private ones, and one dress +rehearsal on the stage. It will be well to have a few friends witness +the dress rehearsal, which will give confidence to the performers, +previous to their _dêbut_ before a large audience. As soon as the +company has been organized, and each performer has received his +several programmes, it will be the duty of the stage manager to see +that the various branches of the profession are progressing in unison +with the rehearsals. Each tableau should be carefully examined, and a +list of the machinery, scenery, wardrobe, and furniture of each piece +noted down, and competent persons immediately set to work on their +completion. The selection of appropriate music, the drafting and +erecting of the stage, and many other minor matters, should all be +completed, before the tableaux can be produced. + +But before proceeding farther, we will give directions in reference to +the size and formation of _the stage_. It should be strongly framed of +joist, and covered with smooth boards, and placed at the end of the +hall, at equal distances between the side walls. It should be twelve +feet square, and six feet in height. The front of the stage should be +made to represent a large picture frame; it can be easily made of +boards ten inches wide, fastened together in a bevelled manner, and +covered with buff cambric, ornamented with gold paper. Oval frames are +frequently used, but they are not so easy to arrange and manage as a +square frame. Cover the floor of the stage with a dark woollen carpet, +drape the ceiling with light blue cambric, the background with black +cambric; the sides should be arranged in the same style as the side +scenes of a theatrical stage. Stout frames of wood, two feet wide, +reaching to the ceiling, and covered with black cambric, should be +placed on the extreme edge of the stage, in such a manner that lamps +from the ante-rooms will throw a light upon the stage and not be seen +by the audience. Make the drop-curtain of stout blue cambric; fasten a +slim piece of wood at the top and the bottom; and, at intervals of one +foot on both of the poles, fasten loops of thick leather, containing +iron rings one inch in diameter, and between the bottom and top rings, +at intervals of one foot, fasten small brass rings; these should be +attached to the cambric on the inside of the curtain; then fasten the +top pole to the inside of the top of the frame, and attach strong +lines to the bottom rings; pass the cords through the brass rings and +the iron rings at the top; then gather them together, and pass them +through a ship's block fastened in the ante-room. As the lines will be +quite likely to run off of the wheel, a piece of hard wood, with a +circle at one end, fastened on the inside of the frame, will answer a +better purpose for the cords to pass through. After passing them over +the block, tie them together, and the curtain will be ready for use. +When the ropes are drawn, the curtain will rise up in folds to the top +of the frame. The floor of the stage should be built out on the front +twelve inches, for the placing of a row of gas-burners with tin +reflectors, painted black on the outside; this row of lights should be +furnished with a stopcock, which can be placed in the gentleman's +dressing-room. A row of strong lights should also be placed on each +side of the stage, within three feet of the ceiling; these also should +have reflectors and separate stopcocks, for the purpose of casting the +proper lights and shades on the stage. + +_The Dressing-rooms_ are on each side, and beneath the stage. The +floor of the stage should extend out on each side, making small rooms +for the placing of the scenery, furniture, &c. A trap-door should be +cut in the floor of each room, and flights of steps reaching down into +the rooms below, which are used for dressing-rooms. A partition placed +under the stage divides the ladies' from the gentlemen's room; these +rooms are covered on the front with strong cloth, and decorated with +flags. + +_A stage for tableaux in a private dwelling-house_ should be formed +similarly to a hall stage, but so constructed that it can be put +together in a few minutes. The platform should be fourteen feet +square, made in three sections, so that it can be handled easily, and +should rest on a frame of small joist, which can be mortised together +at the corners; place the frame on four boxes, two feet square; at the +corners of the platform mortise four square holes, in which insert +pieces of joist which will reach to the ceiling; around the top fasten +strips of board, by means of screws. Make the frame in three pieces, +cover them with cambric, and fasten them to the front joist, and on +the top board with long screws; arrange the curtain and scenery +similar to the hall stage. The wardrobes and furniture can be +furnished by the members of the company, and with a little ingenuity +and taste, many suits can be gotten up with little expense. As the +view of the tableaux is but momentary, the quality of the costumes +will not be noticed. + +_For a single evening's entertainment_, the following arrangement will +suffice, providing there be a long entry or a large parlor, separated +by folding doors. If the entry is used, let the performers form their +tableaux at the lower end; and when all is ready, the audience can be +called from the parlors to witness the scene. A parlor with folding +doors is undoubtedly the best place, as the doors can be slowly +opened, which will give a better effect to the scene. Cover the wall +back of the tableaux with black shawls, place the lights on a table at +one side of the picture, and hide them from the view of the audience +by placing a screen of thick cloth in front of them. + +In forming up a tableau, lights and shades should be studied; in fact, +this is the main secret of producing effects, and by managing the +lights about the stage correctly, you can throw parts of your picture +in shadow, while other portions are light. Care should also be taken +not to have too great a variety of colors in a picture. The showy +costumes should be intermingled with those of modest appearance, and +the lightest characters, as a general rule, should be placed in the +background to relieve the dark ones; those in the background should be +placed on platforms. If there are many figures in the piece, it will +be necessary to have a number of forms, of various heights, placed in +the background--in this manner all of the figures will be seen. + +The scenery, furniture, and machinery of each piece should be arranged +previous to the entrance of the performers on the stage. Each +performer should be called on separately, and placed in position. By +adopting this plan, every tableau can be formed without noise or +confusion. When the position is once taken, it should be kept, unless +it is a very difficult one. + +The stage manager should take his position at the front of the stage, +and see that each one is in his proper place. He should prohibit +laughter or conversation among the performers, unless any one wishes +explanations in regard to the piece. He should be strictly obeyed in +all matters referring to the tableaux; and when he has properly +adjusted every thing on the stage, he should remove to the ante-rooms, +and see that the lights, music, &c., are ready. He should then ring a +small bell, and the announcer in the hall will have a programme of the +tableaux, and will announce the piece; and if there is any +accompanying poem to be read, it will be his duty to read it. The +manager will then ring the second bell; this will be a signal for the +performers on the stage to take their positions, and for the lights to +be turned down in the hall. In thirty seconds after the second bell, +the manager will ring a third time, which will be a signal for the +curtain attendant to draw up the curtain, which should rise slowly to +the top of the frame, and be kept up about thirty seconds. Each +tableau should be exhibited twice, and in some cases three times. +After the last exhibition, the performers should quietly proceed to +the ante-rooms, and immediately dress for the next tableau. The +manager and assistants will see that the stage is cleared of the +scenery, and new scenery adjusted for the next piece. It will be +necessary to work with rapidity, as there are many things to perform +which in the aggregate will take much time. Large programmes should be +placed in each dressing-room, so that the performers will be able to +tell in which tableau they are to perform, without inquiring of the +manager. Each performer should be furnished with a large trunk to keep +his wardrobe in; and when a change of costume is made, care should be +taken that each one places his costumes in his own trunk. If this plan +is not followed, before the exhibition is through, many articles will +be missing, which will retard the performance. + +Each piece of machinery, furniture, scenery, &c., should have a proper +place where it should be left when not in use. Nails, pins, hammers, +and other articles which come in constant use, should be kept in a +large box near the stage. By working systematically, every thing will +move on with clockwork nicety, and all confusion be avoided. Colored +fires should be burnt in the ante-rooms at the sides of the stage; +smoke and clouds should be produced at the back, or in the centre of +the stage. The preparation can be ignited by fastening a lighted fuse +to a long rod. Large tableaux require all the light than can be +produced. Medium pictures should be shaded in different parts. +Statuary tableaux require a soft and mellow light. Night scenes +require but little light, which should be partially produced by the +burning of green fire. The following articles are indispensable to a +well-arranged tableaux stage:-- + +One melodeon, six common chairs, four ditto of better quality, two +small tables, two sinks, two sets of pitchers and ewers; two mirrors, +combs, hair brushes, pins, tumblers, twine and rope; napkins, nails, +tacks, buckets, hammers, brooms, cloth brushes, small bell, large +bell, scissors; one large table, one large chair, one set damask +curtains, four boxes, four feet long and eighteen inches wide, six +ditto eighteen inches square; two pieces black cambric, six feet +square; four pieces white cotton cloth, six feet square; (these boxes +and cloths are to be used in forming up the groundwork of almost every +tableau;) two red damask table covers, (very handy things to use in +decorating showy pictures;) one circular platform, four feet in +diameter, (much used to form the top of pedestals to group statuary +tableaux on;) two steel bars, for producing sounds to represent alarm +bells; one bass drum, one tenor drum, one flask of powder, one box of +material for colored fires, one set of water-colors, one case +containing pink saucer, chalk balls, pencil-brushes, and burnt cork. + +It would be almost impossible to furnish a complete list of the +articles necessary. Those we have omitted will suggest themselves, or +the occasion will suggest them. By closely studying the plans we have +outlined, we are certain that no person with tact and taste could +assume the directorship of a tableau-company without success. + + + + +The Tableau Vivant. + + + + + Walk with the Beautiful and with the Grand; + Let nothing on the earth thy feet deter; + Sorrow may lead thee weeping by the hand, + But give not all thy bosom-thoughts to her; + Walk with the Beautiful. + + I hear thee say, "The Beautiful! what is it?" + O, thou art darkly ignorant! Be sure + 'Tis no long, weary road its form to visit, + For thou canst make it smile beside thy door; + Then love the Beautiful. + + Ay, love it; 'tis a sister that will bless, + And teach thee patience when the heart is lonely; + The angels love it, for they wear its dress, + And thou art made a little lower--only; + Then love the Beautiful. + + BURRINGTON. + + + + +THE WREATH OF BEAUTY. + + While Beauty comes to every human heart, + And lingers there, unwilling to depart, + Too many own her not, nor heed her claim, + But blindly follow some ignoble aim. + + LAIGHTON. + +Ten Female Figures. + + +This elegant design is one of the finest of this series of tableaux, +and is composed of ten young and beautiful ladies, grouped so as to +represent a magnificent wreath. The bottom of the wreath rests on the +front of the stage; the top reaches up to the ceiling, forming a +complete circle of beautiful forms and fair faces, among which are +entwined festoons of flowers. Inside of this circle is a large wreath +six feet in diameter, and five inches in thickness; this rests on a +pink ground, and is composed of spruce, ornamented with artificial +flowers. + +The first work in the construction of this tableau is to erect a +circle of seats reaching from the front of the stage to the ceiling, +in the background. This can be easily accomplished by using boxes of +various sizes. The wreath should be ten feet in diameter; the boxes +should be entirely covered with white cloth, the space in the centre +with pink cambric. + +The costume of the ladies consists of a white dress, cut very low in +the neck; skirt quite long, and worn with few under skirts; sleeves +four inches long, trimmed with white satin ribbon; waist encircled +with a white satin sash; feet encased in white slippers; hair arranged +to suit the performer's taste, and encircled with a wreath of white +artificial flowers. The lady at the top of the wreath should first +take her position. She should be the lightest in weight of the group, +and should recline in an easy position, resting her head upon her +hand, the elbow touching the box, and the body slightly inclined to +the right. The second lady will then take her position at the right of +the first, on the seat below, her arm resting on the form of the lady +above, the right hand supporting her head, the face turned in to the +centre of the circle, the eyes raised to those of the figure above. +The remaining figures should take similar positions, until one half of +the circle is complete. The other side of the circle is arranged in a +similar manner,--the figures facing inward. + +The wreath of spruce and flowers is to be placed within the circle of +ladies. The stage and the back scene should be hung with green +bocking, and care must be exercised in the forming of the circle, so +that it shall appear perfectly round. The small festoons of flowers +should be entwined among the figures, after they have taken their +position. The expression of the countenances should be pleasant and +animated. The light for this piece should come from the foot of the +stage, and should be quite brilliant. Music soft, and of a secular +character. The tableau, when finished, at a distance appears like an +immense wreath resting against a grassy bank. + + + + +THE MARBLE MAIDEN. + + _Paulina._ As she lived peerless, + So her dead likeness, I do well believe, + Excels whatever yet you looked upon + Or hand of man done; therefore I kept it + Lonely apart; but here it is: prepare + To see the life as likely mocked as ever. + Still sleep mocked death; behold, and say 'tis well. + + WINTER'S TALE. + +Three Female and Eleven Male Figures. + + +This tableau is taken from Shakspeare's drama, "The Winter's Tale." +The scene is that wherein Paulina draws away the curtain and discloses +the marble statue. She is addressing Leontes, who is seen in the +foreground. At the left of the stage, a group of five gentlemen and +one lady is seen; on the opposite side of the stage is another group +of five gentlemen; all of which are in position, so that a profile +view is exhibited. + +The scenery of this piece consists of a curtain passing across the +stage, three feet from the back end. The curtain described in the +tableau of the "Dancing Girl in Repose" will answer for this scene, +but should be allowed to hang straight from the top, in place of +being looped up at the sides. Arranged in this way, it will leave an +open space of five or six feet in the centre. The background is seen +through this opening, and is to be festooned with wreaths of +evergreens and flowers. Close up to the back wall is placed a +platform, made in two pieces, the first being four feet square and one +foot high. On this rests a second platform, three feet square and one +foot high. At the right side of the upper platform is placed a round +pedestal, three feet high and one foot in diameter; this has a cap and +base, and can be made of card-board, and covered with white marble +paper. The platform is to be covered with black marble paper. + +By the side of the pedestal stands the statue. The lady who personates +this figure should be rather slim, of medium height, good features, +and dark hair. Costume consists of a loose, white robe, worn with but +few skirts, the sleeves very short, the waist cut low at the neck, the +skirt long enough to trail on the platform; the whole covered with +white tarleton muslin. Across the shoulders, and tied at the right +side, is worn a heavy muslin mantle, trimmed on each edge with white +satin ribbon. The hair is arranged in a neat coil, and a small wreath +of white leaves encircles the head. These are made of white paper, and +fastened to a wire frame. The statue stands perfectly straight at the +side of the pedestal, one arm resting on the top, the hand hanging +down over the front, while the left arm hangs gracefully at the side. +The eyes are directed to the figure of Leontes in the foreground. +Pauline, who draws the curtain aside, is costumed in a black silk +dress, with a velvet waist, trimmed with bugles, and interspersed with +silver spangles. The hair, arranged in a single coil, is decorated +with a velvet band, with white paste pin in the centre, from the back +of which is fastened a long black lace veil, falling gracefully over +the shoulders, and reaching nearly to the floor. She is standing at +the right of the curtain, one hand grasping its folds, while the other +is extended, and points to the statue. A profile view is had of the +figure: the head is slightly turned, the eyes directed to Leontes in +the foreground. Leontes' costume consists of a black coat, belted +around the waist, black knee breeches and hose, confined with a gold +band and showy paste pin. The collar and cuffs of the coat are +decorated with deep white lace. A short sword is suspended from the +belt; the feet are covered with low shoes, with showy buckles; the +head is encircled with a silver band, one inch wide, with a brilliant +pin in the centre. Fastened around the neck, and hanging over the +shoulders, is a black velvet cape--a small, lady's cape will answer. +Position is standing on the extreme front of the stage, with both +hands extended above the head, the body thrown back, the feet extended +from each other, the back turned to the audience, the head inclined to +one side, so that a side view is had of the face, while the eyes are +directed to the statue. Behind Leontes stands a tall figure, costumed +in a black coat and knee breeches, white hose, knee and shoe buckles, +low shoes, waist encircled with a belt, a short cloak thrown over the +right shoulder. The other figures are costumed in a similar manner, +and stand between Leontes and the side of the stage, and are looking +intently at the statue. + +Three more gentlemen, costumed in a similar style, occupy positions on +the opposite side of the stage, close to the wings. A profile view is +had of their figures, while their faces are turned towards the statue. +In front of this group stands a young man, with his arm placed around +the waist of a young lady who stands at his side, and in such a +position that we have almost a back view of them. The lady is costumed +in a white dress, cut low at the top, sleeves very short, skirt long, +so as to trail ten inches, ornamented with buff ribbon, which should +be placed on the bottom of the skirt, around the waist, on the top of +the waist, and on the sleeves. Her hair should hang loosely over the +shoulders, the head encircled with a string of feldspar or pearl +beads. The hands are clasped in front of her bosom, the body inclined +forward slightly, the eyes directed towards the statue. The gentleman +at her side stands erect. His costume consists of a dark coat, +ornamented around the bottom with silver paper, covered with black +lace, the sleeves and collar trimmed in the same mode, with an +addition of wide white lace cuffs and collar; the breeches are of +black cloth, with a band of silver, and buckle at the knee; white +hose, low shoes, with buckles, a wide belt around the waist, from +which is suspended a long, slim sword. The lights on each side of the +background, where the statue is placed, should be quite brilliant. +The foreground should receive the rays of light, which should be of +medium quantity, from the side of the stage where Leontes stands. +Music soft and plaintive. + + + + +VENUS RISING FROM THE SEA. + + Then spoke the sovereign lady of the deep-- + Spoke, and the waves and whispering leaves were still: + "Ever I rise before the eyes that weep, + When, born from sorrow, wisdom makes the will; + But few behold the shadow through the dark, + And few will dare the venture of the bark." + + BULWER. + +One Female Figure. + + +This tableau is represented by one beautiful lady, whose costume +consists of a flesh-colored dress, fitting tightly to the body, so as +to show the form of the person. The hair hangs loosely on the +shoulders and breast, and is ornamented with coral necklaces, while +the neck is adorned with pearls. To represent the sea, it will be +necessary to place, at intervals of two feet, (from wing to wing,) +strips of wood, beginning at the floor of the stage, near the front, +and rising gradually as they recede in the background, the last strip +being two feet from the floor of the stage. After these have been +arranged, lay strips of blue cambric across them; cover them entirely, +and between the bars of wood let the cambric festoon so as to +represent the appearance of waves. It will be necessary to fasten the +cambric with small tacks, to keep it in position, while the ridges of +the miniature waves should be painted white, to imitate foam. A trap +door should be cut in the centre of the stage, and a circle cut in the +centre of the cambric, to admit the body of Venus. The waves should +come up three inches above the hips, fitting closely around the body. +The water about the centre should be made white with foam. A platform +can be arranged below the stage for the performer to stand on, and +this can be made high or low, according to the height of the lady, by +the use of blocks of wood. The right hand of the figure is held above +the head. The left hand rests on the water. The countenance is lighted +up with smiles. Small particles of isinglass scattered on the waves +will make them glisten and sparkle, which will add to the effect, +while a green fire, burned for twenty seconds, and then changed to red +or bluish white, will give a fine shade to the scene. If the colored +fires are not used, the light should come from the front. Music, soft +and brilliant. + + + + +RECEPTION OF QUEEN VICTORIA AT CHERBOURG. + + Sing, gladly sing! + Let voice and string + Our nation's guest proclaim. + She comes in peace, + Let discord cease, + And blow the trump of Fame! + + ANON. + +Ten Female and Twenty Male Figures. + + +It was in the fall of the year 1858, when the great naval arsenals, +magazines, and docks, at Cherbourg, were to be inaugurated; and +notwithstanding the admonition of the English press, which represented +the establishment of these works as a direct menace against Great +Britain, and, taken in connection with the constant increase of the +French navy, a proof of ultimate hostile designs on the part of the +emperor, Queen Victoria had accepted an invitation to be present on +this occasion. The day appropriated for the reception of the queen had +arrived. The weather was superb; the skies were blue, and the waters +of the channel were calm and placid. The shores and buildings, as far +as the eye could reach, were covered with cavalry, infantry, +artillery, and citizens. Every bosom in this mighty throng was glowing +with enthusiasm. The glittering eagles, the waving banners, the gleam +of polished helmets and cuirasses, the clash of arms, the +soul-stirring music from the martial bands, and the incessant bustle +and activity, presented a spectacle of military splendor which has +seldom been equalled. It was war's most brilliant pageant, without any +aspect of horror. The frigate La Bretagne, on which the banquet was to +take place, was decorated with signals and flags, and most prominent +were the national ensigns of France and England. A triumphal throne +was erected on the deck of the vessel, on which sat Louis Napoleon, +the empress, the officers and great dignitaries of the country, +interspersed with the ladies of honor. Salutes from the surrounding +forts and ships of war announced the arrival of the barge containing +the Queen of England, Prince Albert, and suite. They were received on +board the frigate by Napoleon, amid the salvos of artillery and +strains of martial music. "God save the Queen," and French national +airs, were played by the bands, and the nation's guest was addressed +by Napoleon, who, in proposing Victoria's health, said,-- + +"Facts prove that hostile passions, aided by a few unfortunate +incidents, did not succeed in altering either the friendship existing +between the two crowns, or the desire of the two nations to remain at +peace. He entertained the sincere hope that if attempts were made to +stir up the resentments and passions of another epoch, they would +break to pieces on common sense. Prince Albert responded, and +expressed the most friendly sentiments on behalf of the queen. He said +she was happy at having an opportunity, by her presence at Cherbourg, +of joining and endeavoring to strengthen as much as possible the bonds +of friendship between the nations--a friendship based on mutual +prosperity; and the blessing of Heaven would not be denied. He +concluded by proposing a toast--The emperor and empress." + +The above scene is the one we propose to represent in tableau; and to +give a good effect to the piece, it will be necessary to have thirty +persons. The number can be increased if there is sufficient room. The +four principal characters are Queen Victoria, Prince Albert, Louis +Napoleon, and the Empress. In selecting the persons for these parts, +it will be well to choose those who are as near like the original as +possible. They should be persons of good figure, and of graceful and +easy manners. The sailors and military should be composed of young +lads; the rest of the performers consist of young ladies and +gentlemen. The stage should be arranged in the following manner: Two +tiers of seats should be arranged in a curved line from the right of +the stage, at the front, to the left of the stage, in the background. +The front seat is two feet, the second and back tier should be three +feet, in height, with a wide platform behind, of the same height, +capable of holding twenty persons. These seats should be covered with +a crimson cloth, and are intended to be occupied by Napoleon's suite. +In the centre of these seats should be placed a platform four feet +square and two feet high; on this place the throne chairs, and build a +flight of broad steps in front, covered with crimson, and decorated +with gold. The throne chairs should be made as showy as possible. +Common office chairs can be easily made to answer the purpose by +fastening to the backs pieces of boards one foot wide and four feet +high, and covering the fronts and top of the arms with pieces of board +four inches wide, decorating them with red turkey cloth, and bands of +gold paper. Place them close together, and insert a board decorated in +the same manner between the two, and ornament the top with a canopy of +Turkey cloth, trimmed with gold; on the top place a pointed gilt +crown. This kind of throne can be easily put together, and will be +easier to handle than one made in a more workmanlike manner. The +emperor and empress should be seated in the chairs. The platform is +intended for the military, while the seats should be filled with +dignitaries, officers, and ladies. The empress's costume consists of a +rich brocade, heavily ornamented with jewelry, gold or silver lace, +and any other decoration that will be appropriate, and will add to the +richness of the costume. A small crown should adorn the head, which +can be made showy by using paste pins of various sizes. The emperor's +costume consists of a blue velvet coat, ornamented with gold epaulets, +and trimmed with gold fringe, while the right breast is adorned with +the cross of the legion of honor. The breeches are of blue velvet, +trimmed with silver lace and knee buckles; the remainder of the +costume consists of military top boots, silk scarf of blue and red, +side arms and crown. At each side of the throne there should be one +body guard, fine-looking gentlemen, dressed in court costume, each +holding a long halberd. The rest of the gentlemen are costumed in +court dress and military suits; the ladies in as showy and rich +appearing costume as can be procured. The hair should be arranged to +suit the taste of the performers; the head should be adorned with a +band of gold, with a colored plume in front. The seats are to be +filled entirely with the ladies and gentlemen, and a few should stand +at the side and on the platform; careless and graceful attitudes +should be taken, and all eyes should be directed to the left of the +stage, where the barge is expected to arrive. The soldiers in the +background should be formed in platoon, and in such a manner that all +will be visible. The muskets should be held at the shoulder. Each +should be furnished with a large moustache, and should look directly +forward. The performers having all taken their positions, the cannon +will commence firing behind the scenes, and the curtain will rise on +the first part of the tableau; after exhibiting this part twice, a +piece of canvas, painted to represent water, should be spread in front +of the throne, while the rest of the scenery and performers should be +all ready, so that in five minutes after the first scene, the second +should appear. The barge should be made five feet in length, or, +rather, five feet of the barge should be seen; the remaining portion +of it is presumed to extend behind the scenes. It should be built in +the form of the Venetian boats, with the prow running up a foot above +the gunwale, and turning over in the form of a scroll. The barge can +be framed out of light strips of wood, and covered with canvas; the +exterior should be painted in showy colors; the scroll can be covered +with gold paper; a wreath of flowers should be painted around the edge +of the gunwale; cloth, painted to represent water, should be fastened +about the boat near the water line. The barge contains four sailors, +Prince Albert, and Queen Victoria. The remainder of the company is +imagined to be in the stern of the boat, which is invisible. The boat +should be placed sideways to the audience, very near to the side wing, +with the bow inclined slightly towards the throne. When the curtain +rises on the scene, the emperor should be standing at the foot of the +throne, about to assist the queen from the bows of the barge. The +queen is standing with hands extended to receive the proffered +assistance of Napoleon. Prince Albert is seated directly behind the +queen, holding his chapeau in his hand. The sailors hold their oars up +in the air, and look towards the audience. The queen's costume +consists of a showy brocade dress, ornamented with a mantle in +imitation of ermine, and showy jewelry; a crown, of English design, +adorns the head. Prince Albert is costumed in a scarlet military coat, +with heavy and rich decorations, gold epaulets, crimson sash, buff +vest and breeches, side arms and chapeau. Sailors' costume consists of +a white shirt, with blue collar and cuffs, black handkerchief about +the neck, and black tarpaulin. While the curtain is up, the band +should play "God save the Queen." This piece requires great quantity +of light, which should come from the side where the barge is placed, +and from the front. + + + + +SCENE FROM THE OPERA OF "SAPPHO." + + The very spot where Sappho sung + Her swan-like music, ere she sprung + (Still holding, in that fearful leap, + By her loved lyre) into the deep, + And dying, quenched the fatal fire, + At once, of both her heart and lyre. + + OPERA OF SAPPHO. + +Eleven Female and Ten Male Figures. + + +This thrilling tableau is a representation of a scene from the popular +opera of Sappho. The design is taken at the moment when Sappho has +finished her first song, "Morning has never dawned," and the +attendants join in the chorus. The number of figures in the piece is +twenty-one, eleven ladies and ten gentlemen. The scenery in the +background and at the sides represent pillars of marble; these can be +cheaply made of strips of marble paper, with a cornice running around +the top; in the centre of the background is placed a platform two feet +high by four feet square; on each side of this are pedestals three +feet high by one and a half feet square, the fronts panelled with red +Turkey cloth, and bordered with gold paper; on the top of these should +be placed large earthen vases, painted to represent bronze, from the +mouth of which there should issue colored flames. From the right and +left sides of the platform to the front corners of the stage place the +chorus singers. The ladies stand on the left side; three are placed on +a platform one foot high, and standing in front of them, at equal +distances, are seven more. The gentlemen on the other side are +arranged in the same manner. Sappho, the heroine of the tableau, +stands on the platform between the two pedestals; the left hand rests +on the top of one of the pedestals, and the other is raised up at +arm's length. The head is thrown back slightly, and the eyes are +raised upward. The right foot is placed twenty inches in advance of +the left, the body facing the audience. + +Sappho's costume is a long, white robe, cut low at the top, over which +is worn a short half skirt of white tarleton muslin, reaching to the +knee; sleeves five inches long, trimmed with Grecian border; the +lower portion of both of the skirts trimmed with black velvet two +inches wide, ornamented with gold paper and spangles; a wide band of +gold is placed around the top of the dress, and covered with wide +white lace. A band of wide black velvet ribbon, ornamented with showy +paste pins, encircles the waist, and a wreath of silver leaves adorns +the head. These can be cut from silver paper, lined with cloth, and +fastened to a small wire. The hair is arranged in wide braids at the +side of the head, clasped by a silver band at the back, and allowed to +hang in short curls in the neck. + +The chorus ladies are costumed in white dresses, low-necked; sleeves +five inches long, trimmed with narrow pink ribbon, a bow of the same +at the top of the sleeves, fastened to the dress by a brilliant glass +pin; over the skirt of the dress should be worn a half skirt of white +tarleton muslin, which should be two feet long in front, and three +behind; this is belted about the waist with a pink ribbon, and trimmed +around the bottom with oak leaves. The hair of most of the ladies +should be arranged in curls, which should be confined together with a +band of silver, while three of the ladies must allow their hair to +fall loosely over the shoulders; wreaths of artificial flowers should +adorn the heads of all. The lady who stands near the corner of the +stage at the front should have in her left hand a torch, from which +issues colored flame, while the right hand is raised above the head, +the right foot placed twenty inches before the left, the body and head +thrown back, the eyes cast upward, and excitement should be expressed +in the countenance. (The torch can be made of wood, and covered with +silver paper.) Every other lady in the row of seven should hold a +torch, and take similar positions. Those standing near the +torch-bearers are costumed in the same manner, and hold small harps in +the left hand, while the right touches the strings. The body and head +are thrown back slightly, and the eyes cast upward. Those performers +standing near the platform should be elevated on small platforms of +various heights, so as to be distinctly seen. On the platform behind +the seven stand three other ladies, at equal distances from the front +corner of the stage to the pedestals. Their costume should be similar +to the others; position the same, while the hands are clasped in front +of the bosom, and the eyes are directed to the form of Sappho. + +The ten gentlemen are costumed in white coats trimmed around the +bottom, the sleeves and collar with black cambric two inches in width, +and ornamented with gold; a black belt of the same material encircles +the waist; black pants or breeches; white hose reaching to the knee, +and fastened with a silver band and buckle; low shoes, with a blue +rosette on the front. A wide white mantle trimmed with oak leaves +should be worn across the breast, the ends ornamented with wide yellow +cambric fringe, which should be fastened at the side with a blue +rosette, and trail made nearly long enough to reach the floor. The +head is adorned with a wide band of velvet, ornamented with gold. The +performers should be furnished with long, full beards, which can be +made of hemp or horse-hair. The arrangement of the gentlemen is the +same as that of the ladies--seven placed on a line from the pedestal +to the corner of the stage, and three on the platform behind. The +front rank have the golden harps and the torches. The gentlemen on the +platform clasp their hands in the same manner as the ladies opposite. +The position of all the chorus singers is such that a profile view is +had of their features. + +The front lights should be turned down quite low; the lights at the +side where the gentlemen stand should be very brilliant. A red fire +should be thrown on the platform and the figure of Sappho. Music +should be quite brilliant. + + + + +FLORA AND THE FAIRIES. + + She haunts the spring beneath a fairy's guise, + With unbound golden hair and azure eyes; + A wreath of violets in each dainty hand, + And round her sunny brow an emerald band; + While all day long she strays o'er hill and glen, + Through leafy bowers, amid the homes of men; + And when night falls, from out the echoing dells, + The lilies ring for her their crystal bells, + And in the forest's depths she dreams till morn, + Waked by the music of the wild bee's horn. + + LAIGHTON. + +Eight Female Figures. + + +This elegant tableau represents Flora seated in a beautiful car drawn +by six fairies. The car is easily made of wood covered with paper or +cloth, and decorated with flowers. It should be five feet long, and +made in the form of a scroll, the largest part of which should be at +the back of the car. Cover the centre of the scroll which forms the +sides with crimson paper or cloth, ornamented with a border of gold +paper three inches wide, and a second border of artificial flowers. +Make the wheels of solid pieces of wood; the front ones, one foot in +diameter; the back ones, double the size; cover them with crimson +cloth, and ornament them with large gold stars; build a small seat at +the back end, and extend the floor of the car one foot out from the +back part, for the footman to stand on. The front of the car should be +built in the form of a scroll, and should sustain a small vase of +flowers on the top. Vases of similar shape, containing flowers, should +be placed on each side of the seat; a long rope, covered with crimson +cloth, should be attached to the front axletree. As only one side of +the car is visible, it will be necessary to decorate only one side. A +platform one foot high should be built on the front of the stage; a +second one, three feet from the first, which should be two feet high; +a third, in the rear of the second, should be three feet in height. +These must be covered with green bocking, to represent turf. Place the +car near the front of the stage, at the right corner; attach six +pieces of green ribbon to the crimson rope, for the fairies to take +hold of; six pink ribbons must be fastened to the waist of the +fairies, and held by Flora, who is seated in the car. + +The young lady who personates Flora should be of good figure and +features, and rather small form. Her costume consists of a white robe, +cut low at the neck; sleeves five inches long, trimmed with flowers; a +belt of green cloth, adorned with artificial flowers, around the +waist; a crown, made in like manner, encircling the head; a small +bouquet of flowers fastened to the front of the waist. The hair is +arranged in short curls about the head; a side view is had of the +body, while the head is turned around to face the audience. The hands +are employed in holding the pink ribbons and whip, which is made of a +long, slender branch of the willow, with a few leaves on the extreme +end. The countenance expresses pleasure and animation. + +Seven small misses personate the fairies, and their costume consists +of a short white dress, decorated with silver spangles. Strips of blue +ribbon, one inch wide, should be placed around the skirt, running from +the waist to the bottom of the skirt; these must be three inches +apart. The waist is made of blue silk, and trimmed with silver paper +and spangles. The hose are flesh color; shoes, white satin; the head +is encircled with a wreath of flowers; the hair should be arranged in +short curls, and small wings formed out of wire, covered with gauze, +and ornamented with silver spangles, are fastened to the back of the +waist. The fairies should stand in double files, one couple standing +on the first platform, one on the second, and one on the third; they +should be three feet apart, standing in the form of a half circle, so +that each will be seen. One hand should grasp the pink ribbon, while +the other is raised, holding a small bunch of flowers. The fairy +footman's costume is like the others, and the position is on the back +of the car, both hands upon the back of the seat, and at the same time +holding the ends of a long wreath, which arches over the head of +Flora. + +The light should come from the side of the stage where the fairies +stand, where should be burned a small quantity of the whitish-blue +fire. Music lively. + + + + +THE SPECTRE BRIDE. + + But, soft; behold! lo, where it comes again! + I'll cross it, though it blast me.--Stay, illusion! + If thou hast any sound, or use of voice, + Speak to me: + If there be any good thing to be done, + That may to thee do ease, and grace to me, + Speak to me; + If thou art privy to thy country's fate, + Which, happily foreknowing, may avoid, + O, speak! + Or, if thou hast uphoarded in thy life + Extorted treasures in the womb of earth, + For which, they say, you spirits oft walk in death, + Speak of it. Stay and speak! + + SHAKSPEARE. + +Twelve Female and Twelve Male Figures. + + +This interesting and imposing tableau is taken from a legend, which +has been handed down from generation to generation among the villagers +living in the neighborhood of Glenburne Castle, England. The story, +probably as authentic as many which are often heard of in those +districts, is as follows:-- + +Many years ago, that portion of the country where Glenburne Castle now +stands was owned and governed by an intriguing and overbearing lord. +He had a beautiful companion for a wife, who loved him too well; but +his affections wandered from her. He looked into a brighter eye, and +on a fairer brow. His wife pined away, lived miserably for years, and +died at last broken-hearted. Six months had passed, and great +preparations were being made in the old castle for a magnificent +wedding. The lords and nobles, within a circuit of five hundred miles, +were invited to participate in the festivities of the day. The halls +were hung with beautiful tapestry and garlands of flowers, and the +castle resounded with strains of sweet music, "and all went merry as a +marriage bell." But this finely-arranged entertainment did not end in +so pleasant a manner as was intended. The hour had arrived when the +lord of the castle was about to lead to the hymeneal altar the +bright-eyed lady he so long loved. The spacious and magnificent +drawing rooms were thronged with the wealthy and the beautiful; all +were attired in robes of silk and satin, and costumes of velvet, which +glistened with pearls and precious stones. A temporary platform was +placed at one end of the hall, on which was raised a crimson and gold +canopy. On the platform were to be seated the bride and bridegroom, +and the grand cardinal who was to perform the service. It was seven +o'clock in the evening; the guests had all arrived, and were seated +around the room awaiting the entrance of the lord and his intended +bride. Soon the castle resounded with the sound of trumpets. The +massive doors opened wide, and the grand cardinal, followed by the +bride and bridegroom, entered the apartment, and took their position +beneath the canopy. The marriage ceremony had been partly completed, +when all were suddenly petrified with horror. A bluish flame is seen +rising from the centre of the floor, and within this cloud of flame +the spirit form of the bridegroom's first wife slowly rises up through +the floor, and points her bony fingers to the horror-stricken husband. +The guests and attendants rush from the castle, and hasten to their +homes. The intended bride remained insensible for many hours, and when +she revived she was no more herself. The fearful scene had crushed out +forever the last spark of reason. She was a maniac. The lord of the +castle was left alone with his spectre bride, but not long. Forsaken +by every one, he cared not for life, and when death came, which was +not long after this occurrence, he welcomed him as his best friend. +Years have passed, but the mysterious story still hangs over the spot; +and at certain times of the year, it is said the apparition, +surrounded by a cloud of fire, keeps its midnight vigils among the +time-worn ruins. + +The number of figures required to represent this tableau is +twenty-four. The stage scenery is arranged in the following manner: In +one corner of the background erect a platform two feet high by four +feet square; over this place a canopy of crimson cloth, ornamented +with gold paper. The platform should be decorated in the same manner. +Red shawls or table covers will answer all purposes. Extending from +each side of the stage to the platform, there should be two rows of +seats and a platform behind; the first row of seats is to be eighteen +inches high; the second three feet high, with a platform behind two +feet wide; the platform can be left out at the sides, which will give +more space in the centre of the stage. The seats and platforms can be +formed of boxes and boards and covered with white cloth. Ten ladies, +and the same number of gentlemen are to occupy the seats, while the +platform is reserved for the bridal party. A trap door, two and a half +feet square, should be cut out of the floor four feet from the front, +and at equal distances from each side of the stage. This must be made +secure, when not in use, by the means of bolts. The machinery for +raising the spectre is arranged in the following manner: Strong +blocks, such as are used on board of ships, should be securely +fastened beneath the stage, at the four corners of the square; ropes, +three quarters of an inch in diameter, should be passed through them, +and one end of each fastened to fifty-six pound weights; the other +ends of the ropes are to be fastened to rings attached to a platform +two and a half feet square. A piece of four inch joist should be +fastened near the centre of the platform, which should be three and a +half feet high; small handles, two feet long, should also be fastened +securely at the sides of the platform, on which the person who +personates the spectre will stand. When the time has arrived for the +spectre to appear in the tableau, two persons can easily guide the +platform from the floor to the stage above. All the gentlemen are +required to do, is to guide the platform; the heavy weights attached +to the ropes will draw it up. The post fastened in the centre is +intended for the lady to take hold of to keep her position; it should +be covered with white cloth, and hid from view by the drapery of the +costume of the spectre. The lady personating the spectre should take +her position on the platform in the same manner that she will appear +on the stage, which is such that a side view can be had of the figure, +the right hand pointing to the platform where the bridal party are +standing. The costume consists of a long white dress, worn without +many skirts, over which is draped a robe of white muslin; a long, +white gauze veil should be loosely tied around the head; the hair is +allowed to hang loosely over the shoulders. The face, and arms, and +neck must be made as white as possible by the use of pearl-powder. The +features should express sternness. + +The bridegroom should be dressed in a velvet coat trimmed with gold +lace, velvet breeches, white vest, white hose, low shoes, knee and +shoe buckles, ruffled bosom, white lace collar. The bride should be +adorned in a showy dress of rich brocade or satin, decorated with +jewels; mantle of ermine worn over the shoulders; the hair arranged to +suit the taste of the performer, and encircled with a wreath of +silver leaves, while a heavy white veil is fastened to the back of the +head. The cardinal should have on a long black silk surplice, white +cravat, and a mitre hat on the head. The couple face the audience, the +cardinal standing directly behind them in the same position, with his +hands raised over their heads. The ladies, who occupy seats at each +side of the platform, should be costumed in as great a variety and as +richly appearing dresses as can be procured; bands of gold, ornamented +with colored plumes, are worn on the head. + +Jewelry of all kinds should be worn in profusion. The gentlemen may be +costumed in embroidered and military suits of various colors; white +hose, knee and shoe buckles, breeches and side arms; each being +disguised with wigs and false beards. The ladies and gentlemen should +be intermingled, those in the foreground seated, while a portion of +the others are in a standing position. At each side of the platform +there should be a page, holding the chapeau and side arms of the +bridegroom. Their costume consists of short velvet coat trimmed with +gold, pink breeches, white hose, white shoes, silver shoe and knee +buckles, white silk scarf, lace collar and cuffs. The attention of the +guests and attendants should be directed to the group on the platform, +the expression of their countenances denoting pleasure and interest. +This constitutes the first scene, and ought to be exhibited three +times; after which, the performers will take positions for the second +scene. + +The bride should be reclining insensible on the arm of the bridegroom; +the cardinal is about seeking safety in flight; the lord looks with +horror on the spectre, and throws out his arm as if he thought the +spectre was about to grasp him; portions of the guests have risen, and +are about to take flight; others are stupefied with affright; hands +and arms are thrown up in fear; consternation is depicted on every +face. When all is ready for representation, the stage manager must +give the signal to those in charge of the curtain, machinery below the +stage, and colored fires at the same moment, so that all will work in +unison. The whitish-blue fire should be burned in small quantities +near the trap door and larger quantities of the same in the +ante-rooms, which will reflect on the forms of the performers. The +curtain should be drawn up quite fast, while the spectre, starting at +the same time, should rise very slowly. + +The lights for this piece should be opposite the platform, where the +bridal party stand; they must be very brilliant, and as many as can be +procured. The music in the first scene should be of a lively nature; +in the second scene, of a mournful style. + + + + +MUSIC, PAINTING, AND SCULPTURE. + + O, there is nought so sweet + As lying and listening music from the hands, + And singing from the lips, of one we love-- + Lips that all others should be turned to. Then + The world would all be love and song; heaven's harps + And orbs join in; the whole be harmony-- + Distinct, yet blended--blending all in one + Long, delicious tremble, like a chord. + + FESTUS. + + The finger of God is the stamp upon them all, but each has its + separate variety. + Beauty, theme of innocence, how may guilt discourse thee? + Let holy angels sing thy praise, for man hath marred thy visage; + Still, the maimed torso of a Theseus can gladden taste with its + proportions. + Though sin hath shattered every limb, how comely are the fragments! + + TUPPER. + +Three Female Figures. + + +This artistic group is represented by three beautiful females, seated +on a mossy bank, each one holding the emblems of her profession. The +goddess of music holds a harp, on which she is playing; the goddess of +painting has a partially painted picture in the left hand, and a brush +and pallet in the right; the goddess of sculpture has a small bust in +her right hand--in her left she holds a small mallet and chisel. Their +costumes consist of a loose white robe, cut quite low at the top, and +without sleeves; a heavy mantle of white muslin is draped across the +breast; the hair should hang in ringlets, or be left to flow +negligently on the shoulders. The Goddess of Music should sit on the +right side of the mound, the hand resting on the knee, her eyes cast +upward. The Goddess of Painting sits on the left of the mound, her +picture resting on the left knee, the right hand holding the pallet +and brush, the body slightly bent forward, the eyes fixed on the +Goddess of Music. The Goddess of Sculpture should sit between the +Goddesses of Music and Painting, the bust which she holds resting on +the right knee, the left hand grasping the mallet and chisel. Her +attention is fixed on the Goddess of Music. The mound should be placed +in the centre of the stage; it can be made of boxes, and covered with +green baize; it should be two feet high, and four or five feet in +diameter. The light comes from the right side of the stage, and should +not be very strong. The accompanying music should be soft and +plaintive. + + + + +BUST OF PROSERPINE. + +One Female Figure. + + +This artistic tableau is a living representation of the bust of +Proserpine by Powers. The head is ideal, and we may conceive it as +embodying our great sculptor's conception of female beauty in repose. +The wreath of leaves and flowers which encircles it, alludes, perhaps +remotely, to the legend, familiar in the poets, of the field + + Of Enna, where Proserpine, gathering flowers, + Herself a fairer flower, by gloomy Dis + Was gathered. + +The learned Germans, who regard the whole Grecian mythology as +personifying natural phenomena, interpret the legend as follows: +Proserpine who is carried off to the lower world is the seed corn, +that, for a time, is buried in the ground. Proserpine who returns to +her mother is the corn which rises again to support mankind. The lady +who takes the part of Proserpine should be quite handsome, with fine, +regular features, a high forehead, and a good form. Her dress should +be pure white, and cut extremely low at the neck; the hair should be +brushed back from the forehead, done up neatly behind, allowing five +or six curls to hang loosely in the neck, and a braid of hair should +be worn across the front of the head. No ornaments of any kind should +be worn. + +The machinery of this tableau is arranged as follows: The revolving +beam that is described in the tableau of the Flower Vase is to be used +in this piece. The beam is placed in the centre of the stage, on the +top of which is a wooden pedestal, three and a half feet high by +seventeen inches in diameter on the inside. This pedestal should be +made in two parts, having hinges, and a hook, to fasten them together. +It must have a cap and base, and be covered with white cloth, over +which fasten white tarleton muslin. The bottom of it should be six +inches in thickness, with a square mortise in the centre, to allow the +top of the beam to enter. The lady who personates Proserpine is to +stand inside of this pedestal, and, as the space is quite small, it +will be necessary to wear few under skirts. A frame should be +manufactured of wire, and covered with white cloth and white muslin, +and should be made to fit the back and breast of the figure, allowing +room for the arms to be folded inside of it. This is to be made at the +top in the same shape as the dress worn by the lady, and should reach +to the waist of the person, fitting tightly, and from the waist be +made to flare off in scroll form so as to rest on the top of the +pedestal. By looking at a bust, one will easily understand the shape +of the frame. It must be made in two pieces, and fastened at the sides +with tape strings; around the top of the frame put a small wreath of +white leaves and flowers. The lady must take her position inside of +the pedestal which has been placed on the top of the shaft; hook it +firmly together, and pack cloth between the lady and the inside of the +pedestal, for the purpose of keeping the body from moving from one +side to the other. Then place the front and back wire frames in their +position, and fasten them firmly. See that the arms are folded out of +sight, and the hair arranged properly. The eyes should be cast upward +slightly, and when once fixed in position, they should not be moved. +The face and neck should be made as white as possible; the expression +of the countenance calm and serene. The fairies and the crimson +curtain used in the tableau of the Dancing Girl can be used in this +piece. A side view should be given of the statue before it revolves. +In the second view, the pedestal must slowly revolve, while a +plaintive air is played on the melodeon. This tableau has been +admired by many, and will repay any one for the trouble of producing +it. + + + + +NAPOLEON AND HIS OLD GUARD AT WATERLOO. + + Last noon beheld them full of lusty life; + Last eve in beauty's circle proudly gay; + The midnight brought the signal sound of strife; + The morn, the marshalling in arms; the day, + Battle's magnificently stern array! + The thunder clouds closed o'er it, which, when, rent, + The earth is covered thick with other clay, + Which her own clay shall cover, heaped and pent, + Rider and horse--friend, foe--in one red burial blent. + + BYRON. + +Forty Male Figures. + + +The battle of Waterloo was fought on the 18th of June, 1815. It was on +the Sabbath day. The Emperor's wasted bands were now in the extreme of +exhaustion. For eight hours, every physical energy had been tasked to +its utmost endurance, by such a conflict as the world had seldom seen +before. Twenty thousand of his soldiers were either bleeding upon the +ground or motionless in death. Every thing depended now upon one +desperate charge by the Old Guard. The Emperor placed himself at the +head of this devoted and invincible band, and advanced in front of the +British lines. Silently, sternly, unflinchingly they pressed on, till +they arrived within a few yards of the batteries of the enemy. A peal, +as of crushing thunder, burst upon the plain; a tempest of bullets, +shot, shells, and all the horrible missiles of war, fell like +hailstones upon the living mass. A gust of wind swept away the smoke, +and, as the anxious eye of Napoleon pierced the tumult of the battle +to find his Guard, it had disappeared. Napoleon threw himself into a +small square which he had kept as a reserve, and urged it forward into +the densest throngs of the enemy. He was resolved to perish with his +Guard. Cambronne, its brave commander, seized the reins of the +Emperor's horse, and said to him, in beseeching tones, "Sire, death +shuns you; you will but be made a prisoner." Napoleon shook his head, +and for a moment resisted; but his better judgment told him that thus +to throw away his life would be but an act of suicide. With tearful +eyes, he bowed to those heroes who proved faithful even to death; with +a melancholy cry, they shouted, "_Vive l'Empereur!_" These were their +last words--their dying farewell. Silent and sorrowful, Napoleon put +spurs to his horse, and disappeared from the field. This one square, +of two battalions, alone covered the flight of the army. Squadrons of +cavalry plunged upon them, and still they remained unbroken. The +flying artillery was brought up, and pitilessly pierced this heroic +band with a storm of cannon ball. The invincible square, the last +fragment of the Old Guard, revered by that soul which its imperial +creator breathed into it, calmly closed up as death thinned its ranks. +The English and Prussians sent a flag of truce, demanding a +capitulation. General Cambronne returned the immortal reply, "The +Guard dies, but never surrenders!" A few more discharges of grape shot +from the artillery mowed them all down. Thus perished, on the field of +Waterloo, the Old Guard of Napoleon. + +_Directions for forming the Tableau._--This splendid battle-scene +contains forty figures. It can be produced with a less number, but to +give a good effect, it should contain forty persons. The scene occurs +at the time when Napoleon has thrown himself in the square of the +Guard, and is about to press forward to the enemy. Napoleon is seated +on his white horse, in the centre of the stage; we have a side view of +the horse, and almost a front view of Napoleon, who grasps the reins +with his left hand, and his sword with the right; his eyes are fixed +on the advancing troops in the distance; his countenance expresses +firmness and anxiety. Cambronne is on the point of advancing, with +hands stretched out, about to grasp the reins of Napoleon's horse; his +position is sideways to the audience. Marshal Ney is seen running +towards Napoleon, on the other side of the picture, his right hand +extended, his chapeau grasped with the left. In the foreground are +four wounded soldiers, lying in various positions; muskets and other +implements of war are scattered over the ground. Directly behind +Napoleon is seen an officer holding the French standard, with a gilt +eagle at the top. The Old Guard are formed in platoons, one at the +right, one at the left, and one in the background; they should form +with the face outward, and hold their muskets as if about to repel a +charge of cavalry. The rear platoon should stand on a platform two +feet in height, while the space behind is to be filled with soldiers +engaged in fencing. They should be placed on raised platforms, varying +from two to eight feet in height. The costume of Napoleon consists of +a blue dress coat with a buff breast, eagle buttons, buff vest and +knee breeches, top boots, spurs, sash, side arms, black chapeau, and +gray overcoat. The horse which Napoleon rides can be made of wood, at +a trifling expense. Minute explanation in regard to its construction +will be found in the tableau of "Washington's entrance into +Portsmouth." The costume of the officers consists of as rich military +suits as can be procured. The soldiers should wear a showy military +suit and bearskin hats. The muskets must be furnished with bayonets, +and a thin smoke should be made to float over the scene. The roll of +the tenor drum, the shrill music of the fife, the rattle of musketry, +and the booming of cannon, should be heard in the distance. A red +light must be thrown upon all the figures; if this is not sufficient +to light up the piece, the footlights fronting Napoleon can be +lighted. The person who takes the part of Napoleon must resemble, in +features and form, the original character. + + + + +THE DANCING GIRL IN REPOSE. + + Bid me discourse; I will enchant thine ear, + Or, like a fairy, trip upon the green, + Or, like a nymph, with long dishevelled hair, + Dance on the sands, and yet no footing seen. + + SHAKSPEARE. + +Three Female Figures. + + +This pleasing tableau represents a young and beautiful dancing girl +reposing after one of her successful and fascinating dances. The +scenery should be arranged in the following manner: A curtain of red +Turkey cloth or cambric, fringed with gold, which can be made by +cutting strips of buff cloth to imitate fringe, and decorating it with +gold paper; this, in the evening, will make quite a rich appearance. +The curtain should be but two feet long in the centre, cut in three +festoons, each three feet wide. At the ends of the festoons, the +curtains must be wide enough to fill out the space at the side of the +stage, and so long that they will trail on the floor. This curtain +should be attached to a strip of wood, which can be fastened in +position on the ceiling. On each side of the stage, near the centre, +place small pedestals, one and a half feet square, covered with green +cambric, and decorated with bouquets of artificial or painted flowers. +In the centre of the stage, directly under the curtain, place a +pedestal two feet square, with a shaft at the side three feet high by +six inches in diameter; this must be covered with light green +cambric, and festooned with wreaths of flowers. The number of figures +in this piece are three: one alone takes a prominent part; the +remaining two are intended as an addition to the scenery. The two +small pedestals are to be occupied by pretty little misses, of about +six years of age, dressed to represent fairies. Their costume consists +of short white dresses covered with bands of gold and spangles; white +hose and slippers; a pink gauze sash, decorated with gold spangles, +worn across the shoulders; the hair arranged in ringlets; wings formed +of wire, covered with white muslin, and decorated with spangles, and +fastened to the shoulders. The costume of the dancing girl consists of +a white dress reaching to the knees, covered with white tarleton +muslin, and ornamented on the front with a small bouquet, and bands of +crimson ribbon running around the skirt. The waist should be low on +the bosom, the sleeves quite short, and trimmed with flowers; the hair +can be dressed to suit the taste of the performer. Flesh-colored hose +and white slippers should be worn. The position of the dancing girl is +on the centre of the pedestal, in a careless attitude. One arm hangs +negligently at her side, the hand grasping a tambourine; the other +rests on the top of the shaft. The weight of the body rests on the +right foot; the left foot crosses the right. The eyes should be cast +down to the floor, and the expression of the face sad and thoughtful. +The fairies stand on the small pedestals at the sides of the stage. We +have a side view of them as they stoop forward and clasp the folds of +the curtain. The right hand is extended, the forefinger pointing at +the dancing girl. The weight of the body should mostly rest on the +right foot; the left is extended behind, the toe touching the top of +the pedestal. The head slightly turned towards the audience; the +expression of the countenance quite brilliant. The lights should be at +the left side of the stage, and of medium quantity. A waltz or polka +can be played while the tableau is exhibited. + + + + +WASHINGTON'S ENTRANCE INTO PORTSMOUTH. + + Behold, he comes! Columbia's pride, + And nature's boast--her favorite son; + Of valor, wisdom, truth, well tried-- + Hail, matchless _Washington_. + + Let old and young, let rich and poor, + Their voices raise, to sing his praise, + And bid him welcome, o'er and o'er. + + This, this is he, by Heaven designed, + The pride and wonder of mankind. + United then your voices raise, + And all united sing his praise. + + Let strains harmonious rend the air; + For see, the godlike hero's here! + Thrice hail, Columbia's favorite son; + Thrice welcome, matchless _Washington_. + + J.M. SEWALL. + +Ten Female and Thirty-two Male Figures. + + +"Saturday, 31st Oct. + +"Left Newburyport a little after eight o'clock, (first breakfasting +with Mr. Dalton,) and to avoid a wider ferry, more inconvenient boats, +and a piece of heavy sand, we crossed the river at Salisbury, two +miles above, and in three miles came to the line which divides the +State of Massachusetts from that of New Hampshire. Here I took leave +of Mr. Dalton and many other private gentlemen, also of General +Titcomb, who had met me on the line between Middlesex and Essex +counties, corps of light horse, and many officers of militia, and was +received by the president of the State of New Hampshire, the vice +president, some of the council, Messrs. Langdon and Wingate of the +Senate, Colonel Parker, marshal of the state, and many other +respectable characters, besides several troops of well-clothed horse, +in handsome uniforms, and many officers of the militia, also in +handsome white and red uniforms of the manufacture of the state. With +this cavalcade we proceeded, and arrived before three o'clock at +Portsmouth, New Hampshire, where we were received with every token of +respect and appearance of cordiality, under a discharge of artillery. +The streets, doors, and windows were thronged with the populace. +Alighting at the town house, odes were sung and played in honor of the +president."--_Washington's Private Diary._ + +"A visit from a person so distinguished and beloved, had he come +without the insignia of office, would have created no little +enthusiasm; but a visit from its president, when the young republic +had been organized scarcely half a year, occasioned to the community a +thrill of ecstasy which vibrated through every heart--an outburst of +joy due from a grateful populace to one to whose skill and superior +virtues they owed their happiness. There was a mixture of novelty, of +joy, of patriotic enthusiasm, felt by every heart. A committee of +twelve was appointed in town-meeting to superintend the reception. The +president left his carriage at Greenland, at the residence of Colonel +Tobias Lear, and mounted his favorite white horse; he was there met by +Colonel Wentworth's troop, and on Portsmouth plains the president was +saluted by Major General Cilly, and other officers in attendance. From +the west end of the State House, on both sides of Congress Street, and +into Middle Street, the citizens and military were arranged in lines, +and on the east side of the parade ground were the children of the +schools, dressed appropriately for the occasion. The president at the +entrance received a federal salute from the three companies of +artillery under Colonel Hackett. The streets through which he passed +were lined with citizens; the bells rang a joyful peal, and repeated +shouts from grateful thousands hailed him welcome to the metropolis of +New Hampshire."--_Brewster's Rambles._ + +This national tableau contains forty-two figures: Washington, sixteen +soldiers, ten young ladies, six citizens, and nine school children. +The number can be made less if there is not sufficient room on the +stage. The stage scenery consists of the following articles: A +fac-simile of the white horse, which is to be made in the following +manner: With a tape measure and rule take the dimensions of a +small-sized horse; let your carpenter make a skeleton horse according +to your dimensions, of wood, as strong and light as possible; then +take curled hair or hay and fill out the frame so that it will look +symmetrical, using twine to bind on the material used. It will be a +good plan to have an engraving of a horse to look at, so that you will +more easily arrive at the proportions of the body. The right foot of +the horse must be raised. After you have satisfied yourself in regard +to the form of the animal, take cheap cotton cloth and sew over all +parts of his body. Cover this with three coats of white paint, and +sprinkle slightly with black. The eyes can be imitated by using the +bottom of a small black glass bottle; the ears should be made of +leather; the mouth and nostrils can be painted; make the mane and tail +of flax or hemp. Insert the feet into a heavy plank, and decorate him +with a showy military saddle and bridle. A triumphal arch, made in +three parts, of wood, covered with green cambric, and decorated with +flowers, will also be wanted. + +Washington's costume consists of a black velvet continental coat, buff +vest, white hose, shoes, knee and shoe buckles, white cravat, ruffled +bosom, black chapeau, sash, epaulets, side arms, and white wig. The +military are dressed in blue coats trimmed with buff, white pants, +chapeau, cross and waist belts, swords and muskets; officers in as +showy uniforms as can be procured. The ladies should be of various +sizes, and costumed in white dress, red sash, and wreaths of myrtle on +the head; each should hold a garland, bouquet, or small basket of +flowers. Citizens' costume consists of black coat and breeches, light +vest, chapeau, white hose, shoe and knee buckles; children in dark +jackets, white pants, dark caps, with a wreath of evergreen worn over +the shoulders. Washington is seated on his horse, the left hand +grasping the reins and whip, while the right holds his chapeau. He +leans forward slightly, and is looking to the ladies, who are strewing +his path with flowers. His face is lighted with smiles of pleasure as +he beholds the crowds of delighted people who are seen on every side. +On each side of the horse, and in the foreground, the young ladies are +placed. They are in kneeling positions, and extend their flowers +towards Washington; their faces are turned upward, and are suffused +with smiles. The military are placed on the extreme right and left of +the stage, the head of each platoon commencing at the front of the +stage, and extending into the background. As they recede in the +distance they must have a higher position, so that every one will be +seen. They should turn the head a trifle towards the audience, and +present arms. The citizens, placed on raised platforms, take positions +behind the horse. They hold their hats in the left hand, and look at +Washington. The children stand in a line in the background of the +picture. They must be placed on high platforms, so that they may be +seen distinctly. They look straight forward, with the right hand +placed at the side of the cap. The triumphal arch is to be erected +directly over the head of Washington; it should not be very heavy, as +it is necessary to have as much of the space occupied by the +characters as is possible. The horse and arch must be first brought +on the stage, then the military, next Washington, and the ladies, then +the children and citizens will take their positions. All the light +that can be produced in front, and facing Washington, must be used. +The booming of cannon, ringing of bells, and the loud hurrah of the +populace should be heard in the distance. "Hail Columbia" would be the +appropriate music for the piano-forte or melodeon. + + + + +FAME. + + Blow the trumpet, spread the wing, fling thy scroll upon the sky; + Rouse the slumbering world, O Fame, and fill the sphere with echo.-- + Beneath thy blast they wake, and murmurs come hoarsely on the wind, + And flashing eyes and bristling hands proclaim they hear thy message: + Rolling and surging as a sea, that upturned flood of faces + Hasteneth with its million tongues to spread the wondrous tale. + + TUPPER. + +Three Female and Nine Male Figures. + + +This tableau is represented by twelve persons, three ladies and nine +gentlemen. They are arranged and costumed in the following manner: +Standing on a pedestal six feet high, in the centre of the stage, is a +female who personates the Goddess of Fame. Her costume consists of a +loose white dress, cut low at the top, hair done up neatly and +encircled with a wreath of white flowers; at her side, on a small +pedestal, is a plaster bust of Shakspeare, which the goddess is about +crowning with a wreath of myrtle. At each side of the large pedestal +are two others, which are two feet square and three feet high; on each +of these stands a female figure, dressed in a loose white robe, cut +low at the top, the hair flowing loosely over the shoulder, the head +encircled with a wreath of white flowers. Each holds in the right hand +a long, slender trumpet, which she is in the act of blowing; the +trumpets are pointed horizontally to the right and left; they are +three feet long, with a bell, five inches in diameter, at the end. +These can be made of card-board, and covered with silver paper. In +front of the highest pedestal there should be placed a platform six +feet long, four feet wide, and one foot high. On this, a second +platform, five feet long, two feet wide, and one foot high. Cover them +with white cloth. Kneeling on the front of the large platform are four +young men. The first one represents a sculptor. He kneels, facing the +audience, and holds a mallet and chisel in his left hand. The second +figure represents the mechanic, with his square and level. The third +represents the musician, with his harp. The fourth personates the +painter, with his pallet and brushes. Kneeling behind them, on the +small platform, are three other figures. The first is the poet, with +his roll of songs and pen; the second is the soldier, with his sword; +and the third is the historian, with a volume of history and a pen. +Behind these, and fronting the goddess, stands a figure who represents +the orator. His costume consists of a suit of black. He holds a scroll +in his left hand; his right raised in front; countenance expressing +sternness; eyes slightly raised upwards. The soldier kneels between +the poet and the historian; costume consists of a rich military dress; +arms are folded across the breast, head turned slightly to the right, +eyes cast upward, the face expressing firmness. The poet is costumed +in a dark coat, light vest, knee breeches, white hose, low shoes, knee +and shoe buckles, lace collar and wristbands. Position is facing the +front corner of the stage. Eyes are fixed on the paper before him; +face expresses pleasure. On the other side of the soldier kneels the +historian. His costume, position, and expression of countenance, the +same as the poet. The sculptor kneels on the low platform. He faces +the corner of the stage, and casts his eyes upward. Costume consists +of a dark coat, white vest, dark breeches, white hose, shoe and knee +buckles, a low, flat cap set jantily on one side of the head, and a +velvet cape thrown over the left shoulder. The painter kneels on the +other end of the platform, and faces the right front corner of the +stage. Costume, position, and expression, the same as the sculptor. +Between these two, kneel the mechanic and musician. The former looks +straight forward. Costume consists of dark coat, light vest, dark +breeches and hose, low shoes, knee and shoe buckles. The musician +takes a similar position, and holds a harp, on which he is about to +play. His head is thrown back, and his eyes are raised upward. Costume +consists of a dark coat and breeches, bright-colored vest, black hose, +low shoes, knee and shoe buckles. Expression of the face, pleasant. +The light must be of medium quantity, and come from the right hand +side. Those lights near the front should be stronger than the others. +Music soft and plaintive. + + + + +FAITH. + +[SEE PLATE.] + +[Illustration: FAITH.] + + High on the mountain's towering head, + While darkness rules the sky, + Faith stands, and through the stormy cloud + Directs her anxious eye. + Amidst the gloom, the welcome rays + With cheering lustre shine, + And open to her ardent gaze + A world of bliss divine. + + J. FIRIEZE. + +Seven Female Figures. + + +This beautiful statuary tableau is represented in the following +manner: Six females kneel in a circle, and support a circular shield +three feet in diameter, on which stands a young lady who represents +Faith. Her right hand grasps a cross; the left is raised, the +forefinger pointing upward. The six ladies should be dressed in pure +white robes, cut low at the top. The hair is encircled with a wreath +of white flowers. No ornaments of any kind are to be worn. The hair +can be arranged to suit the taste of the performers. Their positions +are as follows: The two figures supporting the front of the shield +will partially face each other, resting the right knee on the floor, +and facing outward from the circle, both hands touching the shield +above. Two other ladies form behind the right hand figures, in the +same position, and two more form behind the left hand figures. They +will all face outward, and support the shield with both hands. The +eyes should be cast down, the expression of the face serene. It will +be necessary, before the ladies take their position, to place the +shield on a pedestal one foot square, and high enough to allow the +figures to kneel beneath. Cover the pedestal and shield with white +cloth. After the six figures have taken their positions, the figure of +Faith should be assisted to her position on the top of the shield. She +must be of good figure, small, regular features, and dark hair, which +should be quite long. Her dress consists of a long, white robe, made +to trail on the top of the shield, the waist encircled with a large +white cord, with two white tassels attached; the hair brushed back +from the head, clasped with a silver band, and allowed to flow loosely +over the shoulders; the head is adorned with a small band of silver, +one fourth of an inch wide, with a small silver cross, in the centre. +She is to stand perfectly erect in the centre of the shield, the cross +resting on the right shoulder; the eyes lifted, as in devotion; the +expression of the face calm, and yet denoting firmness and energy; the +light should be soft, and come from the front right hand corner of the +stage; the figures who support the shield must be partially thrown in +the shade, while Faith receives the most of the light. Music +accompanying this piece should be of a sacred character. + + + + +SPIRIT OF RELIGION. + + Religion should our thoughts engage + Amidst our youthful bloom; + 'Twill fit us for declining years, + And for the approaching tomb. + + ANON. + +Six Female and Three Male Figures. + + +This tableau contains nine figures. The lady who represents Religion +stands in the background of the picture, on a pedestal three feet +high. She holds a cross on her left shoulder; the right hand grasps +her mantle, which she unfolds, revealing herself to mankind. The lady +should be of medium height, with light hair, which hangs loosely over +the shoulders. The costume consists of a loose white dress, cut high +at the top, sleeves fitting tightly to the arms, while over this dress +is worn a second, which is open in front, and is made of white +tarleton muslin. Position is facing the audience, eyes directed +straight forward, expression calm and thoughtful. The second figure is +a beautiful young lady, who kneels at the foot of the pedestal, on a +small platform one foot high, and represents Hope. One hand rests on a +large Bible; the other points up to the cross, and bids the captive, +the dying, and broken-hearted, who kneel in the foreground, to look up +to Religion. Costume consists of a white dress, cut high at the +throat, short sleeves; hair arranged in curls, and wings of gauze +fastened to the back of the dress. Position, kneeling at the foot of +the pedestal, facing the audience, head turned slightly on one side, +one knee resting on the floor, the body erect, the eyes directed to +the figure of the captive in the foreground. The third figure is at +the right of the pedestal--a young and handsome lady, who represents +Faith. She holds a palm branch--the emblem of martyrdom. Her costume +consists of a long white dress, over which is thrown a white mantle, +which she gathers about her breast. Her hair hangs loosely over her +shoulders, and a black band encircles the head. Her position is, +standing on a small pedestal two feet high, so that we have a profile +view of her form. Her head is raised to the cross, countenance +expressing calmness and repose. Charity is represented, on the left of +the pedestal, by a young lady who extends her protection to two +helpless children. Her costume is a white dress, opening at the bosom; +hair done up neatly, over which hangs a white veil. Her position is, +seated at the right of the pedestal, on a small platform two feet +high, body facing the audience, head bent forward, and turned towards +Religion; eyes cast down; each arm embraces a small child, who is +dressed in simple costume. The captive is represented by a gentleman +wearing a suit made of coarse cloth, long beard and hair, face painted +to represent age, arms and waist bound with chains. He kneels at the +foot of Charity, on the floor of the stage; his face is turned towards +Hope. Both hands are clasped and raised in front of the breast. +Kneeling at the foot of Hope are two other figures. One is a female, +dressed in deep mourning; the other, an aged man, who is supported by +the lady. His costume consists of a loose robe of white cloth, trimmed +with purple; his head is covered with white hair, and from his face +hangs a long white beard. The hair and beard can be made of flax. The +lady is kneeling next to Faith; the right arm is placed around the +aged man, and the left points to Religion; the head is turned upward, +and the expression of the face denotes grief. The aged man kneels +beside the figure in mourning, his head resting on her shoulder, with +his clasped hands stretched out in front; the eyes are closed, and the +face downcast. The tableau must be formed in the centre of the stage. +The light should be quite strong, and come from the right of the +stage. Music of a sacred character. + + + + +THE POET AND THE GODDESS OF POETRY. + + The poet's pen is the true divining rod + Which trembles towards the inner fount of feeling, + Bringing to light and use, else hid from all, + The many sweet, clear sources which we have + Of good and beauty in our own deep bosoms; + And marks the variations of all mind, + As does the needle an air-investing storm. + + FESTUS. + +One Female and One Male Figure. + + +This beautiful tableau is personated by two figures, a young man and a +maiden. The scene represented is a dark and gloomy attic. An old table +stands in the middle of the room; on it are a few books and +manuscripts, an inkstand, a candlestick, with a partly-burned candle +inserted in it, a mug of water, and a roll of bread. Near the table is +an old-fashioned arm chair, in which is seated a young man dressed in +cheap clothing. He has leaned his head upon the table, and is +lamenting over his poverty and misfortune. As he sits weeping, a mist +gathers in the chamber; it slowly grows denser, till at last it +becomes a cloud of light; and lo! in the midst of the cloud stands a +divine shape--the Goddess of Poetry--supremely beautiful. She +addresses the Poet, gives him advice and consolation, and encourages +him to renewed efforts in the path of fame; then vanishes from his +sight. Besides the furniture already described, there should be a few +chairs, pictures, and a piece of statuary, placed in various parts of +the stage. The Poet's costume consists of a loose black coat, dark +breeches, light vest, white hose, low shoes, knee and shoe buckles. +Position is near the table, his arms laid across it, his head resting +on his arms, and in a position that displays a profile view of the +body. The Goddess of Poetry should be a young lady of good height, +figure, and features, and costumed in a flowing white dress, cut low +at the neck, with short sleeves trimmed with white satin ribbon; a +wide muslin mantle should be worn across the shoulders; a wreath of +myrtle adorns the head. In her right hand she holds a golden harp; the +left is placed on the shoulder of the Poet. Her position is behind the +table, in the background of the picture, and facing the audience. Her +head is slightly bent forward, and eyes directed to the face of the +youth; her countenance expresses pleasure. The following machinery can +be used, if desired, which will add very much to the beauty of the +piece. In place of the Goddess being at the side of the Poet when the +curtain rises, a sliding platform can be made to move on to the stage +from the ante-room, on which the Goddess should stand. A stout post +firmly fixed in one side will enable the lady to stand perfectly still +while the platform moves to its position. All that is necessary in the +construction of this part of the work is to make a set of ways, and a +sliding platform that will run with ease from one side of the stage to +the other. A rope attached to the platform, and fastened to a crank +below the stage, will propel the Goddess to her position. The ways and +platform can be hidden from view by a strip of board, painted to +imitate the floor of the room. A small quantity of the whitish-blue +fire may be burned near the spot where the Goddess appears. The light +should be very dim, and come from the side of the stage opposite the +Poet. Music soft and plaintive. + + + + +DEATH OF EDITH. + + O'er her low couch an Indian matron hung, + While in grave silence, yet with earnest eye, + The ancient warrior of the waste stood by, + Bending in watchfulness his proud gray head, + And leaning on his bow. + + Solemnly beautiful, a stillness deep, + Fell on her settled face. Then, sad and slow, + And mantling up his stately head in awe, + "Thou'rt passing hence," he sang, that warrior old, + In sounds like those by plaintive waters rolled. + + "Thou'rt passing from the lake's green side, + And the hunter's heath away; + For the time of flowers, for the summer's pride, + Daughter, thou canst not stay. + + "Thou'rt journeying to thy spirit's home, + Where the skies are ever clear; + The corn-month's golden hours shall come, + But they shall not find thee here." + + The song ceased, the listeners caught no breath; + That lovely sleep had melted into death. + + MRS. HEMANS. + +Three Female and Two Male Figures. + + +This tableau is suggested by the beautiful poem of Mrs. Hemans, called +Edith, a Tale of the Woods. The circumstances of the poem refer to the +western world in its first settlement, when fierce strife and combat +raged between the wild Indian and the settlers from the mother +country. In one of these fearful scenes a young and beautiful maiden +was taken captive, and conveyed to the village of the red man. But the +broken flower of England wasted and pined for the fine old home of +other days. + + "The parting sigh + Of autumn through the forests had gone by, + And the rich maple, o'er her wanderings lone, + Its crimson leaves in many a shower had strown, + Flushing the air; and winter's blast had been + Amidst the pines; and now a softer green + Fringed their dark boughs; for spring again had come, + The sunny spring! but Edith to her home + Was journeying fast." + +The scene represented in this tableau is at the time when Edith is +quietly sleeping in the wigwam of the Indian warrior. By her side sits +an aged Indian matron, watching the sleeping one. Standing near the +couch is an old Indian warrior leaning on his bow, gazing in grave +silence on the dying girl. Kneeling at the foot of the couch are an +Indian girl and lad, who are looking with wonder on the form of the +pale-face. The wigwam should be six feet high, and five feet wide at +the bottom. It should be made of light framework, and covered with +brown cambric, on which are painted Indian hieroglyphics. This must be +placed in the centre of the stage. The opening in front of the wigwam +should be four feet wide at the bottom, so as to admit of the +occupants being visible to the audience. The couch in the interior is +composed of buffalo robes. The scenery in the background should +represent woods and rocks. A few fir trees placed at the back part of +the stage will answer, if nothing better can be procured. The lady who +personates Edith should be one of good features and rather a small +form. Her costume consists of a loose white dress, sleeves five inches +long, hair done up loosely in the neck, and face and neck made as +white as possible. Position, reclining on the couch, facing the +audience, the lower part of the body covered with a leopard skin. The +head and chest should be in an upright position, the head inclined +back slightly, and supported by the right hand. The left hand laid +carelessly over the bosom; the eyes are closed, the countenance calm. +The aged Indian warrior should be dressed in a costume like that +described in Hiawatha; the aged matron's costume similar to that worn +by Nokomis, in the death of Minnehaha; the young Indian children in +appropriate costumes. The position of the Indian matron is, sitting at +the head of the sleeping girl, one hand resting on the pillow, and the +other raised to the side of the head; the eyes cast upon the ground. +The warrior's position is at the opposite side of the wigwam. He is +leaning carelessly upon his bow; his body inclined forward slightly; +his eyes fixed upon the sleeping maiden. The children kneel at the +foot of the couch; the boy rests his head upon his hand, and gazes +upon the face of the dying one; the Indian girl kneels by his side, +and points with her right hand to the couch, while her eyes are +directed to the face of the boy. The face and other exposed parts of +the bodies of the Indian family must be stained light brown. A red +fire should be burned in the ante-room, so as to fall upon the +performance. Music soft and plaintive. + + + + +ABOU BEN ADHEM AND THE ANGEL. + + Abou Ben Adhem (may his tribe increase) + Awoke one night from a deep dream of peace, + And saw, within the moonlight in his room, + Making it rich and like a lily in bloom, + An angel writing in a book of gold. + Exceeding peace had made Ben Adhem bold, + And to the presence in the room he said, + "What writest thou?" The vision raised its head, + And with a look made all of sweet accord, + Answered, "The names of those who love the Lord." + "And is mine one?" said Abou. "Nay, not so," + Replied the angel. Abou spoke more low, + But clearly still, and said, "I pray thee, then, + Write me as one that loves his fellow-men." + + The angel wrote and vanished. The next night + It came again with a great wakening light, + And showed the names whom love of God had blessed, + And lo! Ben Adhem's name led all the rest. + + LEIGH HUNT. + +One Female and One Male Figure. + + +This very fine tableau is taken from the beautiful lines written by +Leigh Hunt. The tableau is represented in two scenes. In the first +scene, Ben Adhem is seen reclining on his couch, gazing with wonder +and surprise on the angel, who is standing in the centre of the room, +engaged in writing in the book of gold. In the second scene, the angel +stands at the foot of the couch, and holds the book towards Ben Adhem +for him to read the names written therein. The couch can be formed by +placing a small mattress on a few low boxes, and covering the whole +with bed clothes, on the outside of which should be a white quilt. It +must be placed in the foreground, at the right of the stage. Place a +plaster pedestal near the side of the couch, on the top of which stand +a lighted lamp. At the background of the picture fasten a set of +crimson damask curtains; drape them at each side of the stage, and +beneath them place a plaster pedestal, with a piece of statuary on the +top. + +The lady who personates the angel should be of good form and features, +of medium height, and costumed in a white dress, over which is worn a +loose white tarleton muslin robe, with large flowing sleeves; this +must be cut quite low at the top, and made to trail on the floor; hair +done up snugly, and encircled with a band of silver, one fourth of an +inch wide; large wings, formed of wire, and covered with gauze, and +ornamented with silver spangles, should be fastened to the back of the +waist. The face and other exposed parts of the body should be whitened +with flesh powder. Position in the first scene is, standing in the +centre of the room, facing the audience. The book of gold can be +imitated by placing sheets of gold paper on the cover and in the +inside of a large book. Let it rest on the left arm, and be held at +the top by the left hand. The right hand holds a long quill pen, the +point of which rests on the pages of the book. Let the body and head +incline forward slightly; the eyes directed to the book; the +expression of the face tranquil. Ben Adhem's position in the first +scene is, reclining on the couch, with the quilt thrown over the lower +portion of his body; his left hand resting on the bed, from which he +has partially risen; the right raised in front of the chest, the +fingers spread out; the face turned towards the angel, the expression +of the face denoting surprise and wonder. Costume consists of white +pants and shirt, white lace collar and wristbands, and a velvet cloak +thrown carelessly over the right shoulder. In the second scene, the +angel stands at the foot of the couch, holding the book in the left +hand, and pointing to its pages with the right. Her eyes are fixed on +Ben Adhem's face, while the countenance is lighted up with smiles. Ben +Adhem leans forward, slightly resting his arm on a cushion at his +side, and looks with pleasure on the pages of the book. A number of +names should be written in the book, and at the top, in large letters, +place the name of Abou Ben Adhem. While the tableau is performed, the +poem may be read by the announcer. The light for the first scene +should be quite dim, and come from the side of the stage opposite +Abou. In the second scene, a colored fire must be burned, so as to +throw a strong light on the form of the angel. Music in the first +scene very soft, and increasing in power in the second. + + + + +HIAWATHA AND HIS BRIDE'S ARRIVAL HOME. + + Pleasant was their journey homeward! + All the birds sang loud and sweetly + Songs of happiness and heart's ease; + Sang the blue bird, the Owaissa, + "Happy are you, Hiawatha, + Having such a wife to love you!" + Sang the robin, the Opechee, + "Happy are you, Laughing Water, + Having such a noble husband!" + + Thus it was they journeyed homeward; + Thus it was that Hiawatha + To the lodge of old Nokomis + Brought the moonlight, starlight, firelight, + Brought the sunshine of his people, + Minnehaha, Laughing Water, + Handsomest of all the women + In the land of the Dacotahs, + In the land of handsome women. + + LONGFELLOW. + +One Male and Two Female Figures. + + +This interesting tableau is a representation of Hiawatha on the return +to his home accompanied by his beautiful bride, Minnehaha. They have +just arrived in sight of the lodge of old Nokomis, and are seen in the +background of the picture emerging from the forest. A large tree lies +in the pathway, and Minnehaha is in the act of stepping over it. She +grasps Hiawatha's hand with her right, while the left is pointed +towards the wigwam in the foreground. She has just asked Hiawatha if +the lodge she sees is his home. Her countenance is lighted up with +pleasure. Hiawatha is leading her by the hand, and is a little in +advance of her. His face is turned towards her as he gracefully +assists her over the fallen tree. His left hand clasps hers, while +the right holds carefully his trusty bow. + + _Hand in hand they went together, + Through the woodland and the meadow._ + +Hiawatha's face is lighted up with pleasant smiles as he looks upon +the face of his bride, and tells her that yonder lodge is to be her +new home. The lodge of old Nokomis is in the foreground of the +picture, at the right of the stage. Minnehaha and Hiawatha are in the +background at the left. The door of the wigwam is open, and seated in +the doorway on a log is old Nokomis smoking her pipe. In front of the +tent are the half burned embers of the camp fire; a light smoke is +curling up to the sky, and all is quiet and still. Nokomis is gazing +vacantly into the embers of the fire: perhaps she is thinking of the +days when she + + Nursed the little Hiawatha, + Rocked him in his linden cradle, + Bedded soft in moss and rushes, + Softly bound with reindeer's sinews. + +Hiawatha, Minnehaha, and Nokomis should be dressed in Indian costume, +which can be cheaply made with a little ingenuity. Hiawatha's coat may +be made of light brown cambric, cut frock style, and belted around the +waist. The skirt should reach to the knee, and be ornamented with two +rows of fringe three inches wide; one should be red, the other yellow. +These fringes are also to be placed on the seams and bottom of the +sleeves and around the collar; round pieces of brass should be +fastened on various parts of the coat and around the belt. The +leggings are made of buff cambric, fitting tightly to the legs, and +ornamented at the side with red fringe. Black cloth shoes trimmed with +beads are worn on the feet; the head is adorned with a gold band, in +which are inserted bright-colored feathers. The belt around the waist +should be made three inches wide, of red morocco, and contain a small +knife and tomahawk; a quiver of arrows is fastened to the back, which +can be fashioned of card-board, and covered with bright-colored paper +or cloth. The exposed parts of the body should be stained a light +brown, the hair brushed up to the top of the head, and confined with a +band. Minnehaha's dress is of red cloth, trimmed with yellow fringe +intermingled with colored beads. The waist of the dress should be of +flesh-colored cloth made to fit the body very snugly. A scarf of +ermine is worn over the shoulders, and tied at the left side. On the +right side of the skirt is an over-skirt or side-apron, made of a +darker colored crimson, and trimmed with ermine; it commences at the +front of the body, and extends half way around the skirt; it is +scalloped at the bottom, and ornamented with yellow fringe and beads +outside of the ermine. The neck is adorned with a large necklace of +white beads, while the head is encircled with a band of gold, +ornamented with beads and showy plumes. The hair should be left +flowing over the shoulders. The wrists are to be decorated with large +gold bracelets. The leggings are to be of crimson cloth ornamented +with yellow fringe, and small bands of yellow running around them at +intervals of four inches. The feet are encased in shoes of black +velvet studded with beads. A quiver of arrows is fastened to the back +of the dress, and the exposed parts of the body stained light brown. + +Nokomis has on a loose coat of brown cambric fringed with yellow, +leggings of buff cambric fringed with light blue, dark shoes +ornamented with beads and red binding. The hair should be black, and +left to hang loose on the shoulders; a blue blanket trimmed with +crimson fringe is gathered about the shoulders, and a black belt +encircles the waist. The person who represents Nokomis should be of +large figure and face. The features must be painted to represent old +age. The scenery consists of the following articles, which should be +arranged in perfect order to give the proper effect to the picture. +The stage must be covered with green cloth, and should gradually rise +from the fore to the background; small spruce trees can be arranged at +the back and sides of the stage, with vines of flowers hanging from +them. Two or three stuffed birds should be fastened to the top +branches of the trees. The fire can be placed in a furnace near the +wigwam, and surrounded with dried branches. The fallen tree and +Nokomis' seat may be represented by artificial or natural logs. The +tableau should receive the light from the right hand side, the greater +portion of which should be thrown into the background. The +accompanying music should be of secular and inspiring order. + + + + +DAVID PLAYING BEFORE SAUL. + + Sing aloud unto God our strength, and make a joyful noise unto the + God of Jacob. + Take a psalm, and bring hither the timbrel, the pleasant harp with + the psaltery. + Blow upon the trumpet in the new moon, in the time appointed, on + our solemn feast day. + For this was a statute for Israel and a law of the God of Jacob. + + PSALM LXXXI. + + And Saul's servants said unto him, Behold now, an evil + spirit from God troubleth thee. Let our Lord now command thy + servants, which are before thee, to seek out a man who is a + cunning player on a harp; and it shall come to pass, when + the evil spirit from God is upon thee, that he shall play + with his hand, and thou shalt be well. And Saul said unto + his servants, Provide me now a man that can play well, and + bring him to me. Then answered one of his servants, and + said, Behold, I have seen a son of Jesse the Bethlehemite, + that is cunning in playing, and a comely person. Wherefore + Saul sent messengers unto Jesse, and said, Send me David thy + son. And David came to Saul, and stood before him; and it + came to pass, when the evil spirit from God was upon Saul, + that David took a harp, and played with his hand. So Saul + was refreshed, and was well, and the evil spirit departed + from him. + + 1 SAMUEL XVI. + +Six Female and Eight Male Figures. + + +This sacred tableau contains fourteen figures, and is arranged in the +following manner. Saul is seen seated on the throne at the background +of the picture. On each side of the throne are seated Saul's friends +and servants. David is sitting in the foreground, playing on the harp. +Saul's costume consists of a scarlet or purple velvet coat and +breeches, white hose crossed with red bands, low shoes, a crown of +velvet and gold, ornamented with precious stones, on the head, and a +large cloak of velvet and ermine thrown over the shoulders. A long +white beard should be fastened to the face, and a wig worn on the +head. The gentlemen should be attired in long, loose coats, made of +bright-colored cambric, trimmed with the same material, of other +colors. The head should be covered with a red and black turban. White +hose, crossed with black and red bands, breeches of showy-colored +cloth, shoes covered with red flannel, and crossed with black binding, +the face disguised with a long white beard, which can be made of flax. +The ladies can be costumed in satin or silk dresses, the hair hanging +in curls, and the person decorated with a profusion of jewelry. The +person who takes the part of David should be of fair complexion, +without a beard, should have long hair, and be costumed in a light, +loose blue coat, reaching five inches below the knee, and gathered +around the waist with a crimson belt. He should also wear blue +breeches, blue hose crossed with red bands, and sandals on the feet; a +turban, made of velvet, and decorated with gold, should adorn the +head. The throne platform is to be two feet high and four feet square; +on this is placed a large chair, with a canopy over the top, all of +which must be trimmed with crimson cloth, and decorated with gold +paper. On each side of the throne, place seats to accommodate twelve +persons; those in front can be seated, while others, in the +background, should be standing; they must assume various positions; a +few may be engaged in conversation, while others are looking at David. +Saul is seated on the throne, with the right hand resting on the arm +of the chair, his body slightly bent forward, and eyes fixed on +David. His countenance expresses pleasure. David is seated on a low +ottoman in the foreground of the picture. The harp rests on the floor. +Position so that a side view is had of the body. His head is thrown +back; eyes cast upward; face expresses pleasure. The light for this +picture should come from the front and the left side of the stage, and +must be quite brilliant. The harp can be made of wood, covered with +gold paper, and strung with yellow cord. The music should be of a +sacred and inspiring style. + + + + +LIBERTY. + + "O Liberty, can man resign thee + Once having felt thy generous flame? + Can dungeons, bolts, or bars confine thee, + Or whips thy noble spirit tame? + Too long the world has wept, bewailing + That falsehood's dagger tyrants wield; + But freedom is our sword and shield, + And all their arts are unavailing. + To arms, to arms, ye brave! + The avenging sword unsheathe! + March on, march on, all hearts resolved + On victory or death." + +Seven Female and Six Male Figures. + + +This tableau is an ideal representation of Liberty, and is represented +by thirteen persons--seven young ladies and six young gentlemen. In +the background of the picture a platform is raised, on which stands +the Goddess of Liberty. This platform is three feet high and four +feet square. The front is covered with blue cambric, with a border of +red, decorated with gilt stars. In the centre is placed a gilt eagle; +on each end of the platform is a small American shield. The background +is draped with American flags. On each side of the platforms are +placed inclined planes, extending from the corners of the platform to +the front corners of the stage; the height of these at the front +should be six inches, and three feet high at the background. They are +to be covered with white cloth, and ornamented with a border of red +and blue cambric. The lady who personates the Goddess of Liberty +should be of good height, fine figure and features. Costume consists +of a white satin or silk dress, made long enough to trail on the +platform, a waist of crimson velvet, covered with small gilt stars, +sleeves five inches long, hair done up snugly, and covered with a +spiral liberty cap, of blue velvet, decorated with gold bands. +Position is, standing in the centre of the platform, grasping with the +right hand a slender spear seven feet in length. Entwined around this +should be a small American ensign. The left hand hangs carelessly at +the side; the head thrown back slightly, the eyes cast upward. The six +ladies kneel at equal distances on the inclined plane. Their costume +consists of a white dress, blue waist, and red sash; a garland of +flowers should adorn the head, and each holds extended in the right +hand a wreath of myrtle. Their attention should be directed to the +Goddess of Liberty. The six gentlemen take position on the opposite +inclined plane. They kneel at equal distances from the platform to +the corner of the stage, and are costumed in blue or black coats, +white pants, with buff stripe on the side, gold epaulets, side arms, +red sash, flat caps, with gilt bands. The cap should be slightly +raised with the right hand, while the left is placed on the hip. The +eyes are to be directed to the Goddess. The piece should be lighted up +by a red fire burned at the opposite side from the gentlemen, and the +light must be quite brilliant. Music, Star-spangled Banner. + + + + +PAGANISM AND CHRISTIANITY. + + O'er the realms of pagan darkness, + Let the eye of pity gaze; + See the kindred of the people + Lost in sin's bewildering maze; + May the heathen, now adoring + Idol gods of wood and stone, + Come, and, worshipping before him, + Serve the living God alone. + + COTTERILL. + +Two Female and Two Male Figures. + + +This double tableau represents the idolatrous system of faith and +worship of the pagans, and by simple machinery the scene is made to +pass from the view of the audience, and we have represented the faith +and glorious emblems of Christianity. The machinery and scenery which +are used in the piece are made in the following manner: A revolving +beam should be set up under the stage, the upper end protruding +through the floor. Washers will be needed for the bottom and top, and +wooden pins, passing through the beam, will be necessary, to take hold +of to move it around. Build a circular platform ten feet in diameter; +make it strong with braces, and, if necessary, it can be made in two +parts, and fastened together with iron hooks and clamps. Cut a square +hole in the centre of the platform, corresponding with the thickness +of the beam. Then place it on the top of the beam, six inches from the +floor, secure it firmly, and make it perfectly level. Across the +centre of the platform cut small holes for the purpose of inserting +the ends of a partition which will divide the circle into two +apartments; make the partition of wood; cover one side with white +cloth, and also the floor with the same; the other side and floor with +black cloth. It should be five feet high, ten feet wide, and oval at +the top. After the tableaux are arranged on each side of the platform, +persons under the stage can revolve the whole with very little +exertion. The tableau of Christianity should be formed on the light +side, and Paganism on the dark side. By placing numbers on the +revolving beam, and corresponding numbers on the washers, the +assistant below will be able to tell when the tableau is in the right +position above. To represent Paganism, a large idol should be +constructed, and seated in the centre, and close to the black +partition. The form of the human body can be imitated by taking a suit +of old garments, stuffing them with straw, and covering them with buff +cambric, on which hieroglyphics can be painted. A large mask, with +artificial hair, and crown made of gaudy-colored cloth, will answer +for the head; a short frock of red Turkey cloth, trimmed with gold +paper, should be fastened about the lower portion of the body. The +idol should be seated on a pedestal sixteen inches high, which is +placed on a platform three feet square and eight inches high. These +are to be decorated with showy cloth or paper. Kneeling at the foot of +the pedestal are two figures, one a female, the other a male. Their +hands are clasped in front of the face, the eyes raised to the idol, +head turned, so that a side view is had of the features. The costume +of the youth consists of a loose coat, made of brown cambric, trimmed +with crimson cloth and beads; flesh-colored pants, fitting tightly to +the legs; shoes covered with showy cloth; a turban on the head, made +of strips of red and buff cloth; the face and other exposed parts of +the body stained a light brown. The young lady's costume consists of a +loose dressing gown, trimmed around the top and on the ends of the +sleeves with bands of red cloth, and gold paper cut in the form of +diamonds. The hair should hang loosely over the shoulders, and about +the head entwine a string of beads; the head is slightly turned to the +young man; the eyes directed to the idol; the face and arms stained +like the young man's. The extreme ends of the platform are occupied by +two figures costumed similar to those already described. They are +kneeling at the feet of small pedestals in such a position that a +profile view is had of the form. The pedestals should be two feet +high, and covered with bright-colored cloth. On one is a +representation of the sun, made by pasting a sheet of gold paper on +card-board, and cutting out rays around the edge. On the other +pedestal is placed a figure of the moon, with the stars radiating +around it. The moon can be made of card-board and silver paper, and +the stars of gold paper; these must be fastened to wires, and placed +ten inches from the top of the pedestals. Indian war clubs, spears, +shields, and other heathen curiosities, should be placed about the +figures. The light for this scene must be quite mild, and come from +the right hand side of the stage. Music low and of a mournful +character. + + + + +SECOND SCENE OF PAGANISM AND CHRISTIANITY. + + Upon the gospel's sacred page + The gathered beams of ages shine; + And as it hastens, every age + But makes its brightness more divine. + + On mightier wing, in loftier flight, + From year to year does knowledge soar, + And as it soars, the gospel light + Adds to its influence more and more. + + BOWRING. + +One Male and Two Female Figures. + + +_The Tableau of Christianity._--On the side of the platform which is +covered with white cloth there should be erected a small pulpit. Make +it of boards, cover it with cloth, and paint it in imitation of +mahogany. A small red cushion should be placed on the top, supporting +a large Bible, and on each side place lamps, with glass shades. In +the pulpit stands a young man dressed to represent a minister of the +gospel; one hand resting on the Bible, the other raised upward. In +front of the pulpit place a small table, covered with a white cloth, +on which set four silver goblets. By the side of the table place a +plaster pedestal, with a white urn on the top, to represent a font; on +each side of the pulpit, and at the extreme ends of the platform, are +two female figures; both are kneeling by the side of small pedestals; +these can be made of small boxes, covered with white cloth, and +ornamented with myrtle. The female figures should face the audience. +One holds a large Bible with the right hand, and points to the pages +with the left. The eyes are cast upward; the face expresses meekness +and serenity. The second figure, at the other end of the platform, +holds a cross in the left hand, and points to it with the right; the +eyes are raised upward, the face expressing pleasure. Their costume +consists of white dresses, cut low at the top, sleeves quite long and +flowing, and ornamented with white muslin; the waist is encircled with +a band of satin ribbon; a wreath of white flowers adorns the head, and +gauze wings are fastened to the back of the waist. The hair should be +dressed closely to the head, and a few curls allowed to hang on the +shoulders. The length of the cross is three feet; color, light blue. +On small pedestals, between the pulpit and the female figures, place +models of the steam engine, steamboat, printing press, and telegraph. +The tableau of Paganism must be first produced, after which the +machinery should slowly revolve, bringing into the view the tableau of +Christianity. The curtain must be kept up until both are exhibited. +The light for these tableaux should be quite brilliant, and issue from +the left side of the stage. Music of a sacred character. + + + + +THE FAIRIES' DANCE. + + The moon is full, the stars are bright, + The monks are all asleep; + Now gayly come the Fays to-night, + Their revelry to keep. + They love the abbeys old and gray, + Whence the vesper song is heard, + And the matin hymn at break of day + Awakes the singing bird. + + With waving torch and tiny shout, + The nimble foot they ply, + And Fairy laughs are ringing out + Beneath the midnight sky;-- + Then mortals hear the merry peals, + And wonder at the sound, + So like the chiming of harebells, + When light winds steal around. + + ANON. + +Ten Female and Eight Male Figures. + + +This beautiful tableau is represented by eight small misses, eight +small lads, and two young and pretty ladies. The stage should be +formed so as to rise gradually from the footlights to the background, +which can be done by using boxes of various sizes, and covering them +with green bocking. Twelve of the children should form a circle, the +front of which must be two feet from the footlights, the back +extending to the other end of the stage. They should clasp each other +by the hand, and take the position of the Highland fling; the right +hand raised above the head, the left placed on the hip; the attitudes +should be as graceful as possible. The expression of the faces +denoting pleasure and mirth. Near the footlights, two of the children +should be seated, looking at the others; and standing on pedestals at +each side of the stage, near the front, are the young ladies. The +pedestals are two feet high, covered with pink cambric, and bordered +with green leaves and flowers. The position of the female figures must +be graceful and easy. They stand so as to show a profile view of the +body; each holds a golden wand, which she extends out over the heads +of the dancers. Their eyes are fixed on the movements of the children, +the left hand clasps a stout cord, to which is fastened a large +crimson tassel, that will help sustain the body in position. The +costume of the misses consists of a short white dress, with short +sleeves, the waist studded with small stars and spangles; the bottom +of the skirt bound with light green ribbon, three inches wide, with +gold paper fastened to each edge, and small pink roses placed between. +The sleeves are bound with gold and pink ribbon in alternate bands, +three inches wide; a small scarf of white gauze, covered with spangles +and fringed at the ends with gold, encircles the waist. Flesh-colored +hose, white slippers, a wreath of silver leaves about the head. The +hair arranged in short curls, and small gauze wings, ornamented with +spangles, fastened to the back of the waist. + +The young lads' costume consists of a short coat, buttoned snugly over +the breast, made of light pink cambric. The bottom, the ends of the +sleeves, and the collar trimmed with purple cambric, three inches in +width, with narrow strips of gold paper on each side; between the +bands of gold, insert small diamond-shaped pieces of gold paper, +bordered with spangles. A belt made of the same material encircles the +waist; hose of flesh-colored cloth; white slippers, with pink rosette +on the front; a small cap, made of purple cambric, in the form of a +tulip, is worn on the head; it should be rather low, with a stem of +green protruding from the top, the edges scalloped, and bound with +gold paper. Small gauze wings are fastened to the shoulders, which are +ornamented with spangles and silver stars. The young ladies' costume +consists of a long white dress, with a robe worn on the outside of +tarleton muslin; the outer dress should have three wide flounces, the +edges of which are to be trimmed with large silver leaves, +interspersed with gilt roses; these can be made from gold and silver +paper. The waist must be cut quite low, and decorated in the same +manner; the sleeves flowing, and trimmed with spangles and pink +ribbons; large gauze wings, decorated with spangles and silver tinsel, +should be fastened to the back of the waist. The hair must be done up +in a neat coil, and encircled with a band of white flowers. Make the +wands four feet in length, and one half an inch in diameter; cover +them with silver paper, attach a gilt heart on the end. The light for +this tableau can be produced by a whitish-blue fire, burned at either +side of the stage; it should be quite brilliant, and must be lighted +before the curtain rises. Music of a lively order. + + + + +BUST OF PRAYER. + + Prayer is the soul's sincere desire, + Utter'd or unexpress'd; + The motion of a hidden fire + That trembles in the breast. + + Prayer is the burden of a sigh,-- + The falling of a tear,-- + The upward glancing of an eye, + When none but God is near. + + Prayer is the simplest form of speech + That infant lips can try; + Prayer, the sublimest strains that reach + The Majesty on high. + +One Female Figure. + + +This beautiful production should be represented by one who has an +amiable and modest appearing countenance, good figure and features. +The hair must be brushed up from the forehead, and fastened behind in +a black crochet net. The dress should be pure white, open very low at +the front and back. A cross is suspended from the neck by a band of +white ribbon. A heavy white veil should pass over the top and back of +the head, and be tied loosely four inches below the chin; the head +inclined forward slightly, the eyes closed, while the countenance +should appear serene, pure, and full of hope; the arms are to be +folded out of sight upon the breast. The same machinery, pedestal, +wire basque, crimson curtain, and fairies that are used in the Bust of +Proserpine, may be used in this piece. The light should be mild, and +come from the left side of the stage. Music plaintive, and of a sacred +order. + + + + +MORNING WELCOMED BY THE STARS. + + A glorious vision: as I walked in gloom, + The children of the sun came thronging round me, + In shining robes and diamond-studded shoon; + And they did wing me with them, and soon + In a bright dome of wondrous width I found me, + Set all with beautiful eyes, whose wizard rays,---- + Shed on my soul, in strong enchantment bound me; + And so I looked and looked with dazzled gaze, + Until my spirit drank in so much light + That I grew, like the sons of that glad place, + Transparent, lovely, pure, serene, and bright; + Then they did call me brother; and there grew + Swift from my sides broad pinions gold and white, + And with that happy flock a brilliant thing I flew! + + TUPPER. + +Twenty-one Female Figures. + + +This beautiful spectacle is represented by twenty-one persons. Twenty +of the number should be young misses, of about six or eight years of +age, who will personate the stars, and one, a young and handsome +lady, who is to represent morning. The sides of the stage must be +arranged in the form of terraced banks, two feet wide at the bottom, +and four feet wide at the top; they should be built from the +footlights to within three feet of the ceiling, covered with cloth, +and painted to represent clouds. Blue cambric, with white clouds and +gold stars, will answer the purpose. In the centre of the stage, two +pieces of joist must be placed in an inclined position, running from +the footlights to the background. On these build a sliding platform, +four feet square, with a small seat, one foot high. This should be +made to run with ease from the top to the bottom of the joist; cloth, +painted in imitation of clouds and stars, can be extended across the +space between the two terraces and the joist, so that it will show a +smooth surface. Cover the moving platform with cloth, arranged in +drapery style, and paint in the same manner as the rest of the +scenery. A back scene should be placed at the top of the terraces, +leaving a space of three feet between it and the back wall; this must +be painted like the rest of the scenery, and made to open in the +centre, near the top of the joist. + +The young misses' costume consists of a short white dress, decorated +with gold stars, and silver paper interspersed with spangles, white +hose and shoes, hair hanging in curls, and encircled with a band of +silver leaves, with a silver star on the forehead; a light blue sash, +covered with spangles, tied about the waist; and small gauze wings +fastened to the back of the dress. Each one should hold a small torch +ten inches in length, from which rises a blue flame; these can be +made of card-board, and covered with light blue paper, with the ends +tipped with gold. At the end from which the flame is produced, insert +a strip of tin, to protect the torch from the flames. The torches +should not be lighted until all the figures are in position. The young +misses take their position at each side of the stage, on the outer +edge of the terrace. They must lean forward slightly, and hold the +torch out from them. Their attitudes should be varied; those near the +top should be gazing upward, others looking down, and a few engaged in +conversation. The young lady who represents Morning must be costumed +in a loose white robe of tarleton muslin, cut low at the top, flowing +sleeves, skirt covered with three wide flounces, trimmed in front with +silver rays five inches long. The waist and sleeves decorated with +silver and gold spangles, and a satin belt, ornamented in like manner, +worn about the waist. The hair should be brushed back from the +forehead, and clasped with a band of silver, and allowed to hang over +the shoulders in long curls; the head is adorned with a band of gold, +with rays of silver radiating from the centre. The position is, seated +on the platform, head slightly inclined to the left, the right hand +raised over the head, the left rests on the waist; eyes directed to +the children in the foreground, countenance expressing pleasure. The +goddess Morning will be seated on the platform, behind the scenery. + +A yellow fire must be burned in the ante-room, and so shaded that, +just as the curtain rises, a small portion of the light will shine on +the centre of it; this light should increase in brightness for a few +seconds, when the sky in the background must open, and the goddess +glide slowly down to the centre of the stage. As the platform moves, +the fire should increase in brightness; when she has arrived at the +centre of the stage, the yellow light should be thrown into the +foreground, and a red light thrown into the background. This can be +accomplished by placing the colored fires in large boxes furnished +with sliding covers and reflectors; and by drawing out the covers +gradually, the light will be thrown on to the picture in the proper +manner. The curtain in the background can be opened by attaching at +each corner, near the centre, a small cord, which can be passed +through pulleys, and attended to in the ante-rooms. The curtain or +scenery should be drawn up on the back side, and let down in its place +as soon as the platform has passed through. A small rope, painted +blue, must be attached to the platform, and pass through a block +fastened to the wall of the stage; this can be tended by a person +under the stage, who will allow the platform to move with exactness to +its stopping place. If the light from the colored fire is not +brilliant enough, a few of the lights at the same side from whence the +fire is produced can be lighted. Music soft and plaintive at first, +and increasing in power at the finale. + + + + +THE STATUE VASE. + + She spoke to vanish, but the single ray + Shot from the unseen moon, still palely breaketh + The awe that rests with midnight on the way; + Faithful as Hope when Wisdom's self forsaketh-- + The buoyant beam the lonely man pursued-- + And, feeling God, he felt not Solitude. + + And now, he enters, with that lurid tide, + Where time-long corals shape a mighty hall; + Three curtain'd arches on the dexter side, + And on the floors a ruby pedestal, + On which with marble lips, that life-like smiled, + Stood the fair Statue of a crownéd Child. + + BULWER'S KING ARTHUR. + +One Female Figure. + + +This design is a beautiful female, supporting a horn of plenty, from +which rises a basket of intermingling vines and flowers. The lady is +standing on a pedestal, which is described in the tableau of the +Italian Flower Vase, as is also the basket which the lady supports. +This basket or bowl of the vase can be suspended from the centre of +the ceiling by the means of wire hooks. The pedestal must be placed +directly under it. The space between the top of the pedestal and the +bottom of the basket should be just the height of the lady who takes +the part of the statue in the piece; so that when she is in position +on the pedestal, the bottom of the basket will touch the top of her +head. The horn of plenty can be made of cloth; it should be five +inches in diameter at the top, three foot long, and end in a point at +the bottom; it can be stuffed with wool, covered with green cambric, +and decorated with artificial flowers. It is to be attached to the +bottom of the basket, pass down over the lady's shoulder, and held in +its position by the left arm and hand. The lady who takes this part +should be of large and good figure, regular features, and quite +pretty. The costume consists of a white dress, with sleeves five +inches long, cut low at the neck, skirt made rather long, and worn +without many underskirts; a scarf of gauze worn over the shoulders, +and tied at the right side, allowing the ends to trail on the +pedestal. The hair should be arranged in wide braids at the side of +the face, confined at the back with a band of silver, and allowed to +fall in short curls over the neck. The position of the lady is, +standing in the centre of the pedestal, her body facing the audience, +and head turned partially to the right. The eyes should be raised a +trifle, while the expression of the face denotes tranquillity and +repose. The left hand must gracefully press the horn of plenty against +the side of the breast, while the right is raised above the head, and +touches the basket as if to steady it. The light for this piece should +be of medium brilliancy, and placed at the side opposite to the face +of the statue. Music soft and of a secular order. + + + + +SPIRIT OF CHIVALRY. + + Strike the loud harp, ye minstrel train! + Pour forth your loftiest lays; + Each heart shall echo to the strain + Breathed in the warrior's praise. + + Bid every string triumphant swell + Th' inspiring sounds that heroes love so well. + Chieftains, lead on! our hearts beat high-- + For combat's glorious hour; + Soon shall the red cross banners fly + On Salem's loftiest tower! + We burn to mingle with the strife, + Where but to die insures eternal life. + + MRS. HEMANS. + +Nine Male and Five Female Figures. + + +This fine tableau represents the Spirit or personification of +Chivalry, surrounded by men of various pursuits, religious, military, +and civil, who represent, as by an upper court or house, the final +acquisition of her honors and rewards. Beneath, as not having +obtained, though within reach of, the crown, is a young knight who +vows chivalric services, and is attended by his page and his young +bride. Around him, in various attitudes, other figures are introduced, +to connect the abstract representation of Chivalry with its general +recognition of intellectual influences; among them, the Painter, the +Sculptor, and Man of Science; the Palmer from the Holy Land, and the +Poet-Historian, from whom future ages must derive their knowledge of +the spirit and deeds of chivalry. The lady who personates the Spirit +of Chivalry should be of good figure and features. Her costume +consists of a loose white robe, cut high in the neck; a mantle of +white tarleton muslin is draped about the shoulders, and fastened in +front with a gilt cross; the hair is arranged in bands, falling low in +the neck, and encircled with a small wreath of silver leaves or white +flowers. In her left hand she holds a small wreath of evergreen, which +she extends towards the young knight, who kneels at the foot of the +pedestal on which she stands. Her position is, on a pedestal, three +feet high by two feet square, which should be placed in the centre of +the stage. Her body should be inclined slightly forward, and attention +directed to the knight in the foreground; her countenance should +express dignity and pleasure. At the back of the pedestal there should +be a representation of an altar, consisting of a shaft two and one +half feet wide by three feet in height, with a capital on the top one +foot wide by three and one half feet long. This can be made of boards, +showing a smooth surface, and nailed to the top of the pedestal. It +can be papered or painted to represent panels and scrolls. Fourteen +other figures are grouped around the pedestal, and as the arrangement +of the piece is a trifle complicated, we will designate them in +rotation, beginning at the foot of the pedestal. The figures, as they +recede in the background, should be placed on small platforms, rising +from one to three feet in height. By arranging the figures in this +manner, a perfect view of each will be had by the audience. Figure one +is a young lady; she kneels at the foot of the pedestal on which the +Spirit stands. Costume is, a white dress, cut low at the waist, +encircled with a satin sash; hair arranged in curls. Position is, +sitting, the body facing the audience, head resting on the hand, and +thrown back so as to touch the pedestal, and eyes directed to the face +of a harper, who kneels in front of her; the countenance expresses +surprise and admiration. Kneeling on the floor, nearly in front of +figure one, is a young knight--we have almost a back view of him, the +head turned just enough to get a partial profile view of the face; one +hand clasps a sword, which he raises in front of the body; the other +is lifted above the head, which is thrown back, with the eyes fixed on +the Spirit. The armor can be conveniently composed by fastening strips +and plates of bright tin to a suit of clothes made of black cambric. +The belt, gloves, and boots can be gotten up in the same manner. This +suit will cost but a trifle, and in the glare of the footlights will +look finely. Figure three is the palmer. He kneels behind figure one. +Costume consists of a dark robe, cowl made of black cloth, and face +covered with a heavy beard. In his hands he holds a shepherd's crook. +His eyes are directed to the harper. Figure four is a small girl, who +stands behind figure three, and holds in both hands the helmet of the +knight. Her costume consists of a white dress, with a pink sash; hair +done up to suit the taste of the performer. Her position is, facing +the audience, eyes fixed on the knight, expression of the face +denoting pleasure. Two other ladies stand on a small platform, outside +of the lady holding the helmet. Their costume consists of a white +dress, black velvet waist, hair arranged in wide braids at the side of +the face; one clasps her hands in front of her breast, and looks with +earnestness at the knight; the other places an arm on the shoulder of +her friend, and looks up into her face, her countenance beaming with +smiles. Behind these three females, and standing on a platform two +feet high, are two peasants. They are dressed in blue frocks, fastened +around the waist with black belts, knee breeches of colored cloth, +white hose, low shoes, knee and shoe buckles, white Kossuth hats, +encircled with a gilt band; the face covered with long, light beards. +Each holds a long staff, with a gilt crook at the top. Their position +should be behind the altar, arms folded on the breast, head inclined +forward, eyes cast down, and the expression of the face melancholy and +sober. Opposite to the two figures last described, and standing on a +platform at the other side of the altar, is a knight in full armor. He +holds a large sword in front of his body, and is looking straight +forward. His costume can be made in the same manner as that of the one +described at the beginning of the tableau. On a low platform, at the +side of the Spirit, stand a Sculptor and a Painter. Their position is, +facing the knight, who is kneeling in the foreground. Their costume +consists of white jackets, dark pants, and flat, white caps, worn +jantily on the side of the head. The Painter holds his pallet and +brushes, the Sculptor his mallet and chisel; their attention is +directed to the figure of the kneeling knight. Standing on the floor, +below the two figures just described, is the Poet-Historian. He faces +the audience, and looks at the Harper in the foreground. He is dressed +in dark clothes; a heavy white mantle is thrown over his shoulders, +the ends trailing to the floor; on his head is placed a garland of +green leaves. He holds in both hands a large book, which should be +bound richly and opened in the centre. Kneeling on the floor at his +feet, and facing the young knight, is the Harper. He holds in his left +hand a harp, and touches the strings with his right. His costume +consists of a coat made of Turkey cloth, trimmed with black binding +four inches wide; black knee breeches, white hose, knee and shoe +buckles, and red shoes. Over the left shoulder is carelessly thrown a +short velvet cloak, and on the head is a black velvet cap, with a gold +band and plume. His head is thrown back, eyes directed to the Spirit, +while the countenance should appear to be inspired. Kneeling at the +foot of the pedestal, between the first figure and the Harper, is the +Troubadour, playing on a guitar; he faces the audience; his head is +thrown back, and his eyes cast upward. Costume consists of a purple +coat, trimmed with black binding, blue breeches, white hose, low +shoes, knee and shoe buckles, belt containing a small dagger, about +the waist. The harp can be made of wood, covered with gold paper, and +strung with buff cord. The light for this piece should be produced at +either side of the stage, and a small quantity at the front. The side +light must be very powerful. The accompanying music should be of a +brilliant order. + + + + +HAIDEE AND DON JUAN IN THE CAVE. + + His eyes he opened, shut, again unclosed, + For all was doubt and dizziness; he thought + He still was in the boat, and had but dozed, + And felt again with his despair o'erwrought, + And wished it death in which he had reposed; + And then once more his feelings back were brought, + And slowly by his swimming eyes was seen + A lovely female face of seventeen. + + 'Twas bending close o'er his, and the small mouth + Seemed almost prying into his for breath; + And, chafing him, the soft, warm hand of youth + Recalled his answering spirits back from death; + And, bathing his chill temples, tried to soothe + Each pulse to animation, till beneath + Its gentle touch and trembling care, a sigh + To these kind efforts made a low reply. + + BYRON. + +One Male and Two Female Figures. + + +This pleasing tableau is taken from the poem of Don Juan, by Byron. +The scene is that where Haidee discovers the insensible form of Juan +lying at the mouth of the cave, near to the sea shore. Don Juan has +been shipwrecked; his almost lifeless body has washed ashore, and +found a resting place in a rocky cave, to be discovered by the +beautiful Haidee and her attendant. The principal work in this piece +is the forming of the cave, which can be made in the following manner: +The floor of the cave should rise gradually from the front to the +background; this can be accomplished by using boxes of various sizes, +over which place brown cambric, with brown paper attached to it in a +crumpled manner, so as to imitate ragged rocks, and when painted with +light and brown colors, and ornamented with isinglass, will make a +very good appearance. The floor of the cave should extend to within +three feet of the front of the stage, and run back to the extreme +background. The space between the footlights and the floor of the cave +should be covered with blue cambric, painted to represent waves and +surf. Directly behind the drop curtain there should be a +representation of the roof and sides of the cave. Light frames, +covered with brown paper, similar to the floor, and made very +irregular at the edges, must be placed at each side of the stage, and +at the top; these should be two feet wide, and of the height and width +of the stage. Two other sets of frames should be made similar to the +first, and placed at equal distances from the fore to the background. +The first set must be three feet wide; the second set four feet wide. +The background of the cave may also be covered with similar scenery. +The idea of arranging the scenery in this manner is to give a deep +appearance to the cave. Isinglass should be profusely sprinkled over +the surface of the rocks, and a few sprigs of grass fastened to them +will add to the effect. The fastening of the brown paper to the frames +can be dispensed with if there is any person who can paint out the +rocks on plain canvas. The one who personates Juan should be of slight +figure, fine, regular features, hair black and curly, and small +moustache. Costume consists of black pants, with buff or gold stripe +at the side, white shirt, with blue collar, and gold star at the +corners, black belt around the waist, white hose, low shoes, with +buckles of silver. The shirt should be left open in the neck, so as to +expose the bosom. A small wound can be imitated on the side of the +head, made with red paint. Position is, reclining on the rocks in the +foreground of the cave; the left side touches the rocks, the head +thrown back, and face exposed to the view of the audience. The right +hand grasps a small oar, while the left is stretched out at his side. +The eyes are closed, the feet crossed, and resting in the water. +Haidee and her friend are seen in the background. Both should be of +small figure and good features. Haidee should be quite pretty, and +costumed in a blue dress, black velvet waist, open in front, and laced +across with blue ribbons; sleeves long and flowing; a small crimson +apron, with bands of gold at the bottom; a black velvet belt around +the waist, with a showy pin in the centre; bows of pink ribbon +fastened with a small, showy pin at each shoulder; hair hanging in +curls; hat made of velvet, trimmed with gold bands and white feathers, +which should be placed jantily on the side of the head. Her position +is, standing on the rocks in the back of the cave, one hand raised so +as to shade her eyes, the other pointing to the body of Juan; the eyes +are fixed on the body, while the countenance expresses surprise; the +right foot must be placed twenty inches in front of the left, while +the body is inclined forward. The figure back of Haidee has on a +costume similar to that already described, but of less showy and +expensive material. She is standing five or six feet from Haidee, and +has her hands filled with shells, which she has gathered from the +shore. She is intently engaged in looking at her shells, and has not +yet seen Juan; her body is bent forward slightly, the expression of +the face denoting curiosity and thought. The light for this piece +should come from the front of the stage, and must be quite brilliant. +If a melodeon is used as an accompaniment to the piece, it should be +played to imitate the roaring of the ocean. + + + + +POVERTY. + + The sun is bright and glad, but not for me; + My heart is dead to all but pain and sorrow; + No care nor hope have I in all I see, + Save from the fear that I may starve to-morrow. + Alas, for you, poor famishing, patient wife, + And pale-faced little ones! Your feeble cries + Torture my soul; worse than a blank is life + Beggared of all that makes that life a prize: + Yet one thing cheers me,--is not life the door + To that rich world where no one can be poor? + + TUPPER. + +Three Female and Two Male Figures. + + +This tableau represents the interior of one of the homes of the +starving poor, such as are found in all large towns, where vice and +intemperance go hand in hand. To make the scene look as natural as +possible, a partition should be made to fill up the back of the stage, +covered with cheap room paper. Two old window sashes should be +inserted in it, with the glass partially broken out, and filled up +with old hats and articles of clothing. The furniture of the room +consists of an old and broken table, a large chest, three or four old +and broken chairs, a few pieces of broken crockery on the table, a +black bottle, a candlestick, a bundle of straw, with a few ragged bed +clothes, and a few cheap prints hanging from the wall. The table is +placed at the back part of the room, and supports the crockery, +bottle, and candlestick. The bed is at the left side of the room, and +on it reclines a female dressed in dirty and ragged clothing; her hair +hangs loosely over her shoulders; right hand supporting her head, and +eyes directed to a group of children in the foreground of the picture; +the face should be made as white as possible; a small quantity of dark +paint about the eyes will give a haggard and sickly look to the +features. On the opposite side of the room, seated on the old chest, +is the woman's husband. He is dozing in a drunken slumber; his clothes +hang about him in tatters; his hat is partially drawn down over his +forehead, his matted hair protruding through a hole in the crown; face +bloated, from the effects of liquor. By the use of water colors, the +face can be made to assume the above description. His position is such +that a partial front view is had of the body, the arms hanging +carelessly at his side, feet crossed and stretched out on the floor. +Seated at the table, and sewing by the light of the candle, is a young +girl. She is dressed in dirty and ragged clothes; her hair is tied up +in a rough manner; the body bent forward, and eyes cast down upon her +work; her face should be made white; the eyes slightly shaded with +dark paint, to give a haggard look to the features. In the centre of +the room are grouped three small children; they are engaged in eating +crusts of bread from a broken plate. Their costume may be varied, and +of cheap material. The light for this piece should come from the side +on which the man is sitting. The front of the scene must be quite +light, while the background is thrown in shadow. Music of a mournful +order. + + + + +DEATH OF MINNEHAHA. + + O the long and dreary Winter! + O the cold and cruel Winter! + Ever thicker, thicker, thicker + Froze the ice on lake and river, + Ever deeper, deeper, deeper + Fell the snow o'er all the landscape, + Fell the covering snow, and drifted + Through the forest, round the village. + O the famine and the fever! + O the wasting of the famine! + O the blasting of the fever! + O the wailing of the children! + O the anguish of the women! + "Give us food, or we must perish! + Give me food for Minnehaha, + For my dying Minnehaha!" + + Through the far-resounding forest, + Through the forest vast and vacant-- + Rung that cry of desolation; + But there came no other answer + Than the echo of his crying, + Than the echo of the woodlands, + "Minnehaha! Minnehaha!" + All day long roved Hiawatha + In that melancholy forest, + Through the shadow of whose thickets, + In the pleasant days of Summer, + Of that ne'er forgotten Summer, + He had brought his young wife homeward + From the land of the Dacotahs. + + In the wigwam with Nokomis, + With those gloomy guests, that watched her, + With the Famine and the Fever, + She was lying, the Belovéd, + She the dying Minnehaha. + "Hark!" she said; "I hear a rushing, + Hear a roaring and a rushing, + Hear the Falls of Minnehaha + Calling to me from a distance!" + "No, my child!" said old Nokomis, + "'Tis the night wind in the pine trees!" + "Look!" she said; "I see my father + Standing lonely at his doorway, + Beckoning to me from his wigwam + In the land of the Dacotahs!" + "No, my child," said old Nokomis; + "'Tis the smoke, that waves and beckons!" + "Ah!" she said, "the eyes of Pauguk + Glare upon me in the darkness, + I can feel his icy fingers + Clasping mine amid the darkness! + Hiawatha! Hiawatha!" + + And the desolate Hiawatha, + Far away amid the forest, + Miles away among the mountains, + Heard that sudden cry of anguish, + Heard the voice of Minnehaha + Calling to him in the darkness, + "Hiawatha! Hiawatha!" + Over snow-fields waste and pathless, + Under snow-encumbered branches, + Homeward hurried Hiawatha, + Empty-handed, heavy-hearted; + + And he rushed into the wigwam, + Saw the old Nokomis slowly + Rocking to and fro and moaning, + Saw his lovely Minnehaha + Lying dead and cold before him, + And his bursting heart within him + Uttered such a cry of anguish, + That the forest moaned and shuddered, + That the very stars in heaven + Shook and trembled with his anguish. + + LONGFELLOW. + +One Male and Two Female Figures. + + +This affecting tableau is a representation of the death of the +beautiful Minnehaha. The scene is at the moment when Hiawatha draws +back the door of the wigwam, and there beholds his lovely Minnehaha +lying dead and cold before him. The scenery of this picture is the +same that is used in the tableau of Hiawatha and his Bride's Arrival +Home. It is mid-winter, and the fields and woods are covered with +snow; and to represent this scene it will be necessary to cover the +ground with cotton flannel, instead of the green bocking which we used +in the summer scene. The trees, wigwam, and vines should be covered +with small pieces of cotton wool, to represent snow. Large bags, +filled with straw, may be covered in the same manner, and placed +around the doorway of the wigwam at each side of the stage, to +represent snow banks. Minnehaha has on the same costume we have before +described, and is reclining on a bed of robes near the entrance of the +wigwam. Her body should be propped up so that she can be easily seen. +A dark robe is thrown across the lower portion of her form, a calm, +resigned look is on the countenance. Her hands are folded on her +breast, eyes closed as if in sleep. At her side, sitting on a low +seat, is Nokomis. She wears the same costume which is described in the +return of Hiawatha, with a fur robe gathered about her. She is leaning +forward towards the couch, and presses both hands against her face. +Her eyes are cast down to the ground, while grief and melancholy are +depicted on the countenance. The dying embers of a fire send up a +curling smoke by her side. This should be placed in an iron furnace, +and surrounded by the imitation snow. Hiawatha stands on one side of +the doorway, and is in the position of one running. He clasps the door +with his right hand, and is in the act of stepping into the wigwam. +His eyes are fixed on Minnehaha; the left hand is pressed against his +forehead; grief and amazement are depicted on his countenance. While +the picture is being exhibited, a portion of the accompanying poem may +be read by the announcer. The music should be quite soft, and of a +plaintive character. The lights for this piece must be of medium +brightness, and come from the side opposite the door of the wigwam. + + + + +THE MOTHER'S LAST PRAYER. + + Her hands were clasped, her dark eyes raised; + The breeze threw back her hair; + Up to the cross she fondly gazed, + And raised her voice in prayer. + + While there she knelt in deep despair + Beside her own first born, + And bowing her deep soul in prayer + Forth on the rushing storm. + + She wiped the death damps from his brow + With her pale hands and soft, + Whose touch upon the lute chords low + Had stilled his heart so oft. + + ANON. + +One Female and One Male Figure. + + +This tableau represents a mother and child kneeling at the foot of a +cross, amid the drifting snows and icy winds of the Alpine Mountains. +Having lost their way, and being unable to travel any farther, the +mother kneels in prayer at the foot of one of the crosses which are +placed as landmarks along the road, to guide the traveller on his +journey. The floor of the stage should be made uneven by placing boxes +of various sizes at irregular distances, and covering them with white +cotton flannel. A number of spruce trees can be arranged at the sides +and at the background, all of which should be covered with small +particles of cotton wool; small bags, stuffed with hay, and covered in +the same manner, must be placed around the foot of the cross and at +various parts of the stage, to represent snow banks. A few handfuls of +lint thrown into the air just as the curtain rises, will float about +and appear like falling snow. Make the cross of wood, and cover it +with brown paper. It should be five feet long and two feet wide; +thickness of frame, six inches. It must be placed in the centre of the +stage, and sprinkled with the imitation snow. The lady who represents +the mother should be of good figure and features, and costumed in a +dark plaid dress, a white fur cape fastened about the neck, a velvet +cloak worn over the shoulders, and a plaid scarf tied about the head, +the ends hanging down on the shoulders. Position is, at the foot of +the cross, so that a side view is had of the body; the head thrown +back, eyes cast upward, hands clasped and raised in front of the face. +The boy is dressed in a dark suit, and reclines on the snow by the +side of the mother; his head rests on her dress, arms stretched out +towards her waist; his eyes closed in that cold and dreamy sleep which +ends in death. The light for this piece must be quite dim, and come +from the side of the stage that will reflect on the mother's face. +Music, of a low and mournful style, representing the moaning of the +winds. + + + + +LOUIS XVI. AND HIS FAMILY. + + I hear thy whisper, and the warm tears gush + Into mine eyes; the quick pulse thrills my heart. + Thou bidd'st the peace, the reverential hush, + The still submission, from my thoughts depart. + Dear one, this must not be! + + The past looks on me from thy mournful eye; + The beauty of our free and vernal days; + Our communings with sea, and hill, and sky-- + O, take that bright world from my spirit-gaze. + Thou art all earth to me! + + Shut out the sunshine from my dying room, + The jasmine's breath, the murmur of the bee; + Let not the joy of bird-notes pierce the gloom; + They speak of love, of summer, and of thee + Too much, and death is here! + + ANON. + +Three Female and Four Male Figures. + + +On the 20th of January, 1793, at three o'clock in the morning, the +second year of the French republic, the final vote was taken by the +Convention, that Louis XVI. should be executed. All the efforts to +save the king were now exhausted, and his fate sealed. The decree of +the Convention was sent to the king, declaring him to be guilty of +treason; that he was condemned to death; that the appeal to the people +was refused; and that he was to be executed within twenty-four hours. +The king listened to the reading unmoved; he conversed earnestly with +his spiritual adviser respecting his will, which he read, and inquired +earnestly for his friends, whose sufferings moved his heart deeply. +The hour of seven had now arrived, when the king was to hold his last +interview with his family. But even this could not be in private. He +was to be watched by his jailers, who were to hear every word and +witness every gesture. The door opened, and the queen, pallid and +woe-stricken, entered, leading her son by the hand. She threw herself +into the arms of her husband, and silently endeavored to draw him +towards her chamber. "No, no," whispered the king, clasping her to his +heart, "I can see you only here." Madame Elizabeth, with the king's +daughter, followed. A scene of anguish ensued which neither pen nor +pencil can portray. The king sat down, with the queen upon his right +hand, his sister on his left, their arms encircling his neck, and +their heads resting upon his breast. The dauphin sat upon his father's +knee, with his arm around his neck. The beautiful princess, with +dishevelled hair, threw herself between her father's knees. An hour +passed, during which not an articulate word was spoken; but cries, and +groans, and occasional shrieks of anguish, which pierced even the +thick wall of the Temple, and were heard in the street below, rose +from the group. For two hours the agonizing interview was continued. +As they gradually regained some little composure, in low tones they +whispered messages of tenderness and love, interrupted by sobs, and +kisses, and blinding floods of tears. Louis XVI. described his trial, +excusing those who had sentenced him, gave some religious advice to +his children, enjoined them to forgive his enemies and bless them. A +few beams of daylight began to penetrate the grated windows of the +gloomy prison. The hours passed away, while the king listened to the +gathering of the troops in the court yard and around the Temple. At +nine o'clock a tumultuous noise was heard of men ascending the +staircase. The _gens d'armes_ entered, and conveyed him to the +carriage at the entrance. The morning was damp and chilly, and gloomy +clouds darkened the sky; sixty drums were beating at the heads of the +horses, and an army of troops, with all the most formidable enginery +of war, preceded, surrounded, and followed his carriage. They reached +the _Place de la Révolution_ at twenty minutes past ten o'clock. An +immense crowd filled the place, above which towered the guillotine. +With a firm tread he ascended the steps of the scaffold, looked for a +moment on the keen and polished edge of the axe, and then, turning to +the vast throng, said, in a voice clear and untremulous, "People, I +die innocent of all the crimes imputed to me. I pardon the authors of +my death, and pray to God that the blood you are about to shed may not +fall again on France." The drums were ordered to beat, and Louis XVI. +was no more. + +_Directions for forming the Tableau._--This interesting picture +contains seven figures: Louis XVI., his wife the queen, Madame +Elizabeth, the king's son and daughter, and two _gens d'armes_. The +stage scenery must be placed in the following order: The background of +the stage should represent the granite walls of a prison, with grated +windows, massive doors, to which are attached bolts, bars, and heavy +locks. This scenery can be made in sections of about four by eight +feet in size. One section should represent the door of the cell; on it +paint the bolts, bars, and locks. At the right of the stage is placed +a table of ancient style; on which is a crucifix, two feet in height, +a large Bible, and an old-fashioned candlestick, containing a lighted +candle. A chair of ancient manufacture should be placed near the +table. Louis XVI. is seated in it, and is costumed in a velvet coat +and breeches, white silk hose, low shoes, buff vest, white cravat, +ruffled bosom, white wig, knee and shoe buckles. The queen is costumed +in a moire antique dress, of a showy color, hair hanging loosely over +the shoulder. Madame Elizabeth has on a silk robe, differing in color +from the queen's; her hair is loosely fastened behind. The daughter +has on a long white dress, with velvet waist. The dauphin is dressed +in velvet jacket, blue breeches, white hose, knee and shoe buckles, +low slippers, lace collar, ruffled bosom and wristbands, and a pink +scarf is fastened about his waist. The _gens d'armes_ have blue coats +trimmed with buff, buff vest, crimson breeches, white hose, long wigs, +low shoes, knee and shoe buckles, and chapeaux. Each must be furnished +with a musket, sword, and belt, and one should hold a bunch of large +keys. Louis XVI. encircles his daughter's waist with his right hand; +his left is clasped by his son. He sits facing the audience; his head +is partially turned towards the crucifix, the eyes cast down, and a +melancholy look upon the countenance. The queen stands behind the +king, between the chair and table; her left hand is placed upon her +waist, her right raised to her forehead; her head is thrown back, the +eyes partially closed, and cast upwards, while intense anguish is +expressed upon her countenance. Madame Elizabeth is kneeling at the +left of the king, her hands clasped and raised upwards, head thrown +back, and eyes partially closed. The daughter is seated on the right +knee of the king; her right hand is placed across her breast, the left +hangs carelessly at her side; her head reclines on the shoulder of her +father. The dauphin is kneeling between the king and Madame Elizabeth, +and grasping the hand of the king; his eyes are fixed on the face of +his father, while the countenance expresses grief and sadness. The +_gens d'armes_ stand just inside the door, resting on their guns; +their eyes are fixed upon the group in the foreground. The light for +this tableau must come from the side of the stage opposite the group, +and should be of medium brightness; the background may be thrown in +the shade. Music of a mournful character. + + + + +DRESSING THE BRIDE. + + So, after bath, the slave girls brought + The precious raiment for her wear, + The misty izar from Mosul, + The pearls and opals for her hair, + The slippers for her little feet, + (Two radiant crescent moons they were,) + And lavender, and spikenard sweet, + And attars, nedd, and heavy musk. + When they had finished dressing her, + (The Eye of Morn, the Heart's Desire,) + Like one pale star against the dusk, + A single diamond on her brow + Trembled with its imprisoned fire! + + T.B. ALDRICH. + +Three Female Figures. + + +This tableau is taken from the beautiful poem, "The Course of True +Love never did run smooth," by Thomas Bailey Aldrich, who describes in +his artistic style the bridal toilet of the princess preparatory to +her being wedded to the Vizier Giaffer. The scene represented is the +princess's chamber in the gorgeous palace of Haroun Al Raschid. The +princess is seated in the centre of the room on a crimson divan; at +her side kneels one of her attendants, who is engaged in arranging a +bracelet on her arm. Standing on the opposite side is another +attendant, who is entwining a string of pearls in the princess's hair. +The costume of the princess consists of a pink satin dress, reaching +within ten inches of the feet, and should be bound around the bottom +with silver paper covered with wide white lace. Over this dress must +be worn a frock of purple velvet extending to the knee, with flowing +sleeves reaching to the elbow; the front of the waist left open, +displaying a lace under robe, crossed with ribbons covered with silver +paper and gold spangles. The frock decorated with small crescents of +gold paper, ornamented with silver spangles. Trim the bottom of the +frock and sleeves with gold paper three inches in width, and cover +with colored lace. The waist should be encircled with a wide, +light-green sash, studded with spangles, fringed at the end with gold +paper, and tied in front, allowing the ends to hang down to the bottom +of the frock. A necklace can be made to look rich and showy by +attaching brilliant paste pins of various sizes to a black velvet +band; the centre pin being quite large, those at the sides decreasing +in size as they recede from the centre; the arms and hands profusely +ornamented with jewelry; the hair arranged in long braids, and allowed +to fall over the shoulders. A large diamond or a brilliant stone +should be attached to a black velvet band, and placed on the brow. +Turkish trousers, made of white and blue stripes, two inches wide, of +flowing shape, fastened around the ankle with a gilt band. The shoes +can be made of card-board or leather; they should turn up at the toe +three inches; cover them with red cloth, and ornament with gold and +silver paper and spangles. The costume of the attendants should be of +a similar style, but differing in colors, and without decorations. The +lady who personates the princess must be small, and of good form, +fine, regular features, and quite pretty. Her position is facing the +audience, head turned slightly to the left, eyes upturned to her +attendant, who is standing at her side, holding in her left hand a +fan; the expression of the face pleasant. The attendant who is +kneeling, shows a side view of the body, while the one standing, faces +the audience, with the body bent slightly forward, her attention +directed to the string of pearls which she is arranging in the hair of +the princess. The floor of the stage should be covered with a rich +Brussels carpet, and the walls draped with showy damask curtains. The +room may be furnished with small ottomans, two small marble top +tables, one of which should be placed near the group of ladies, and +contain stands of cologne, perfumes, mirrors, combs, brushes, +pin-cushions, and cases of jewelry. On the other table, which is to be +placed in the background, is a large, showy lamp, with colored globe, +surrounded by ornamental articles; showy pictures adapted to the +subject, in rich gilt frames, adorn the walls; cages containing +singing birds should be suspended from the ceilings; large globes, +containing gold fish, rest on the carpet, near the foreground; richly +ornamented vases, of various sizes, containing magnificent bouquets, +can be arranged in various parts of the room, while the inner corners +are filled up with marble or plaster pedestals, supporting pieces of +statuary; the divan on which the princess is seated must be double the +size of those scattered about the room, and covered with striped pink +and blue cloth. The scene should be illuminated by a purple fire +burned at the right hand side of the stage. A lively serenade would be +appropriate music. + + + + +HOPE, FAITH, CHARITY, AND LOVE. + + HOPE. + + Hope looks beyond the bounds of time, + When what we now deplore + Shall rise in full immortal prime, + And bloom to fade no more. + + FAITH. + + 'Tis faith that purifies the heart, + 'Tis faith that works by love, + That bids all sinful joys depart, + And lifts the thoughts above. + + CHARITY. + + O charity, thou heavenly grace, + All tender, soft, and kind! + A friend to all the human race, + To all that's good inclined. + + LOVE. + + Love suffers long with patient eye, + Nor is provoked in haste; + She lets the present injury die, + And long forgets the past. + +Four Female Figures. + + +The above characters are represented as statues. Four females of the +same height, of graceful form and fine features, are required to form +the group. They should all be costumed in long white robes, that will +trail eight inches, the waist cut quite low at the top, the sleeves +five inches long; a wide scarf of tarleton muslin draped across the +breast, tied at the side, and allowed to trail with the dress; hair +confined at the back of the head, and left to fall over the +shoulders; the head encircled with a wreath of myrtle and white +flowers. If any ornaments are worn, they should be pure white. Hoop or +any other large skirts must not be worn, as it is necessary to produce +a slender figure for a statue design. The positions of the four ladies +are in the following order: Hope stands at the right hand side of the +stage, one foot from the drop curtain; Love at the left hand side, the +same distance from the curtain; Faith and Charity at equal distances +from Love and Hope, and three feet from the drop curtain. Placed in +this manner, they will form a half oval. The stage furniture consists +of four small pedestals, twenty-four inches square, with a cap and +base extending out two inches, covered with white cloth, and +ornamented in front with a small wreath of myrtle. Faith takes her +position on the top of one of the pedestals. Her emblem is the cross, +which she holds in her right hand; the left is raised and points +upward; the eyes are raised upward, the countenance expresses +meekness. Hope is poised on a pedestal, and holds an anchor, the foot +of which rests on the top of the pedestal; the right hand is placed on +the anchor, the left is on the breast; the eyes are raised slightly, +countenance expressing serenity and hope. Charity comes next. In her +right hand she holds a silver dish, which is filled with crumbs of +white bread. Two robins stand on the side of the dish, eating the +crumbs. The left hand rests on the side of the body; the eyes are +directed to the birds; the face beams with smiles. Love is standing on +one of the pedestals, holding in her right hand a torch, which is +raised above her head, while the left gracefully holds the side of her +dress. The head should be turned slightly aside, the eyes looking +straight forward; countenance diffused with smiles. A gauze curtain +may be suspended before the statues, covering the entire space inside +of the frame. The light for this scene should be of medium brilliancy, +and come from the front of the stage. The cross and anchor may be +painted black, the torch painted blue, and tipped with gold; the flame +carved in wood, and gilded. Stuffed birds can be fastened with wire +springs, and attached to the silver dish. Music soft and plaintive. + + + + +THE DEATH OF GENERAL WARREN. + + Thou rising sun, thou blue rejoicing sky, + Yea, every thing that is and will be free, + Bear witness for me, wheresoe'er ye be, + With what deep worship I have still adored + The spirit of divinest Liberty. + + COLERIDGE. + +Twenty-five Male Figures. + + +This magnificent tableau represents the scene so well known in the +early history of our country, and contains twenty-five figures, +thirteen of which should be dressed in crimson uniform, to personate +the British soldiers, six in continental costume, three in coarse +homespun suits, three in sailor's costume. The stage must be formed to +represent a hill, which can be done by using boxes and boards, and +covering them with green cloth. The hill should rise from the +footlights to within four feet of the ceiling in the background. The +first and principal figure is General Warren. He is lying on the +ground, a few feet from the foot of the hill, supported by one of his +officers, who holds his head with his right hand, while with the left +he grasps the musket of a British soldier, which is pointed at the +breast of Warren. Warren's position is, facing the audience, eyes +closed, arms hanging carelessly at his side; costume, continental; +side arms, sash, sword, and chapeau lying in front of the body. The +figure who supports Warren is dressed in blue breeches, white hose, +white shirt, and black belt. Position, kneeling back of Warren, his +eyes fixed on the soldier who stands a few paces back of Warren's +feet. This soldier leans forward slightly, and grasps a musket, in +which is a bayonet, which he is about to plunge into Warren's body. +His eyes are fixed on the prostrate form before him, while the +countenance expresses excitement and rage. Costume consists of a red +coat, white breeches and hose, low shoes, knee and shoe buckles, white +breast belts, black waist belt, and black military hat, with plume. By +the side of the soldier, near the front of the stage, stands an +officer, who is leading on the British. He holds a sword on his right +shoulder, while the left grasps the butt of the musket of the soldier +previously described. His body is bent forward, feet separated thirty +inches, eyes fixed on Warren, countenance expressing energy and +decision. Costume consists of a crimson coat, decorated with gold +epaulets and lace, white silk hose, buff breeches, low shoes, knee and +shoe buckles, red sash, side arms, and chapeau. Directly behind the +figure who supports Warren stands an American soldier, with a musket +held in front of his body, which he points towards the British +soldier, who is about to pierce the body of Warren. His body is +slightly bent backward, eyes fixed on the soldier, countenance +expressing fear. The remaining figures should be placed in the space +from the top of the hill down to the group we have described; a few +should be fencing; some using their muskets as clubs; others firing at +the enemy in the distance; while a few are stretched out in death on +the ground. They must be placed in as great a variety of positions as +possible, and in such a manner that one figure will not obscure the +other. The countenances of all should appear excited. The booming of +cannon and roll of the drum can be produced behind the scenes. The +picture should be illuminated by a brilliant red fire burned at the +side of the stage. + + + + +PORTRAIT OF PRINCE ALBERT. + +One Male Figure. + + +This tableau is produced in the same manner as the Madonna. The +gentleman who personates Prince Albert should, in general outline of +features and form, resemble the original as much as possible. The +costume consists of a crimson coat richly trimmed with gold lace, and +heavy decorations in silver on the left breast, gold epaulets, a +richly ornamented sword and belt, buff vest trimmed with gold lace, +buff breeches, top boots trimmed at the top with gold binding, a red +sash, and black chapeau. The position must be so that a partial front +view can be had of the body; eyes directed straight forward. The light +should be of medium quantity, and come from the front of the stage. +Music of a national order. + + + + +THE RETURN OF THE PRODIGAL SON. + + O! thou hast wander'd long + From thy home without a guide; + And thy native woodland song, + In thine altered heart hath died. + + Thou hast flung the wealth away, + And the glory of thy Spring; + And to thee the leaves' light play + Is a long-forgotten thing. + + Still at thy father's board + There is kept a place for thee; + And, by thy smile restored, + Joy round the hearth shall be. + + MRS. HEMANS. + +Four Male Figures. + + +This scene, so familiar in Scripture history, represents the father +standing on the step of his mansion, about to embrace his son, who +stands near. The background of the picture should represent the +portico of a house, and can be made in the following manner: Procure +at a paper store four fresco pilasters, with caps and bases, and a +wide cornice to match; also a roll of granite paper; paste the cornice +and pilasters on cloth; fasten the cornice across the ceiling of the +stage, five feet from the background, and suspend the pilasters from +the lower edge, placing them at equal distances from each other; form +the steps out of boxes and boards, and cover them with the granite +paper. At each side of the steps place a large vase of flowers. Behind +the pilasters, at the end of the upper step, are seen two servants. +They are stooping down and looking at the group in the foreground. +Their costume can be easily made up. Frock coats, trimmed on the +bottom of the skirts, cuffs, and front with colored cloth, five inches +wide; white pants, black hose, crossed with red binding; low shoes; +knee and shoe buckles; low-crowned, black Kossuth hat, encircled with +a band of gold, and ornamented in front with a large paste pin and +showy plume. The gentleman who represents the father must be of good +height and large figure. His costume consists of a purple velvet coat +and breeches, white hose, crossed with black ribbons, low shoes, knee +and shoe buckles; over the shoulders is thrown a long cloak, trimmed +with ermine; hair and beard quite long, which can be imitated with +flax, glued to cloth made to fit the head and face. If dresses cannot +be procured at a costumer's, cheap material can be made up for the +occasion, and will look quite pretty. A blue circular cloak, or a +lady's velvet cape, trimmed with white cotton flannel, two inches +wide, with small pieces of black-shag fastened on at intervals of five +inches, will look well, and will resemble ermine. The breeches can be +made of purple cambric, trimmed with gold paper. A blue dress coat, +trimmed with gold paper, and covered with white lace, will answer for +an under-coat. The father's position is, standing on the second step +of the portico, with both hands extended, body bending forward +slightly, eyes fixed on the son, countenance expressing joy and +happiness. The son stands at the foot of the steps, leaning on a stout +branch of a tree, which he has been using for a cane on his journey. +He displays a side view of the body, and is costumed in a coarse brown +frock, open in the neck, displaying his neck and bosom, and tied +around the waist with a piece of rope; large rents should be made in +the sleeves, showing the flesh within; knee breeches of coarse +material, torn at the side; brown hose; and shoes, which are almost +worn out, and are tied to the foot with strings; hair hanging over the +forehead; skin colored light brown; his eyes cast down to the ground, +and countenance melancholy. The light must be quite brilliant, and +come from the side opposite to the servants. Music animating. + + + + +SINGLE BLESSEDNESS. + + Close by his lonely hearth he sate, + While shadows of a welcome dream + Passed o'er his heart; disconsolate + His home did seem; + Comfort in vain was spread around, + For something still was wanting found. + + ANON. + +One Male Figure. + + +This tableau is a representation of a young bachelor seated alone in +his chamber. He has around him all the luxuries that wealth will +purchase, and is reclining on a low sofa, quietly smoking his +meerschaum. Rich furniture, soft carpets, fine pictures, and gorgeous +curtains decorate the apartment. Books, statuary, boxing gloves, +fencing swords, fowling pieces, pipes of various patterns, and a +countless multitude of other articles, are scattered about the room. +On the marble table at his side is a bunch of cigars, a paper of Ma'am +Miller's fine-cut tobacco, a decanter of wine, and a pair of goblets, +one of which is partially filled with wine. He holds in his left hand +his meerschaum; his right hangs carelessly at his side, and grasps a +novelette. The gentleman who personates the bachelor must be of good +figure and features, and is costumed in the following manner: A rich +dressing-gown should be worn, which is thrown back from the breast, +showing a vest of bright colors, to which is attached a heavy gold +chain and seals; light fancy pants, embroidered slippers, white hose, +blue cravat, smoking cap, ruffled bosom and wristbands. Countenance +sober, eyes raised to one of the engravings on the wall. Light of +medium brightness, which may come from either side of the stage. Music +of operatic style. + + + + +MARRIAGE BLISS. + + It is most genial to a soul refined, + When love can smile unblushing, unconcealed, + When mutual thoughts, and words, and acts are kind, + And inmost hopes and feelings are revealed, + When interest, duty, trust, together bind, + And the heart's deep affections are unsealed, + When for each other live the kindred pair,-- + Here is indeed a picture passing fair! + + TUPPER. + +One Male and Two Female Figures. + + +This tableau represents a home scene. A wife and husband, and a young +child, are seated at a table in a snug little parlor. A solar lamp is +burning on the table, by the light of which the wife is engaged in +finishing a piece of embroidery. The husband is reclining in a +spacious easy chair, busily occupied in perusing the evening paper. +The little girl is at play with her tea sets and paper dolls. The wife +is costumed in a blue silk dress, cut low at the top, a white apron, +trimmed with pink ribbon, and hair arranged to suit the performer's +taste. She should be quite pretty, and of small figure. She is seated +at the right of the table, facing the audience, body bent forward, and +eyes fixed on her work, the countenance expressing earnestness. The +husband is costumed in light pants and vest, dressing gown and +slippers. He is seated at the left of the table, showing a partial +front view of the body; his feet rest on a small ottoman; paper held +in such a position that it will not hide his body; eyes fixed on the +paper, countenance placid. The child is costumed in white dress, +trimmed with blue ribbon, and is seated at the back of the table, +holding in her hands a paper doll, which she extends towards her +mother, for her to look at. Her eyes are directed to her mother, her +countenance beaming with smiles. The table should be covered with a +crimson cloth. The furniture of the room of good quality, the floor +carpeted, walls hung with curtains and pictures. Light of medium +quantity, which may come from either side of the stage. Music soft and +plaintive. + + + + +THE SLEEPING MAIDEN. + + Witness this primrose bank whereon I lie; + These forceless flowers like sturdy trees support me, + Two strengthless doves will draw me through the sky, + From morn to night, even where I list, to sport me. + + SHAKSPEARE. + +One Female Figure. + + +This exquisite tableau represents a magnificent garden, filled with +beautiful flowers, trellised vines, vases, statuary, and sparkling +fountains. On a grassy mound, in the centre of this lovely scene, +reclines a beautiful maiden, wrapped in profound sleep. The right hand +supports her head, the elbow resting on the grass; the left is thrown +carelessly over the top of the head; the expression of the face calm +and dreamy. Her costume consists of a long white dress, cut low at +the top, open in front, displaying a pink under-skirt of silk. The +edges of the dress on each side of the under-skirt should be trimmed +with gold paper, covered with white lace. A belt of the same encircles +the waist. The waist must be open in front, exposing a white lace +under-robe, which is crossed with golden cords. Short sleeves, open +below, and closed by little cords of gold, terminated by tassels of +the same material, which fall down upon the arms. The hair arranged in +heavy braids, done up low in the neck, and ornamented with a head +dress, formed of silver gauze, adorned with slight bands of gold +thread falling on the shoulder. Position is, facing the audience, the +body extended on a line with the front and back corners of the stage. +The floor of the stage must be formed to represent a number of +terraced banks. There should be five, each being one foot in height. A +few boxes and stout boards will be needed to form the banks, over +which place green bocking. If a piece of scenery cannot be procured +for the background, it can be covered with light-green cambric, and +festooned with dark evergreens and bright flowers. At each of the +inner corners of the stage place a white pedestal, two feet in height. +A box of the above dimensions, covered with white cloth, will answer. +On these place pieces of large statuary, and between the two place a +large vase of flowers, and intersperse smaller vases, containing +bouquets. Ornament the second terrace with pots of house plants, and +at each end place a showy cage of birds. Decorate the third terrace +with rich vases of artificial flowers, with a statue of the fisher boy +at each end. In the centre of this terrace, the mound on which the +maiden reclines is placed. It should be five feet in diameter, and one +foot high. Cover the surface with light-green cambric, and decorate +the outer edge with large sea shells. On the fourth terrace arrange +small pots of house plants that are in bloom, and at each end place +large vases of fruit. On the fifth and last terrace place a row of +deep glass dishes, filled with flowers, with a plaster figure of Flora +at the ends. Festoon the sides of the scenery and the ceiling with +spruce and flowers. The scenery in the background, if it can be easily +painted, should represent figures similar to those on the stage, +interspersed with fountains. If there is sufficient room for the +accommodation and preservation of large mirrors, they can be used to +advantage by placing them at the background of the stage, which will +give a fine effect to the scene. This tableau must be lighted from the +left side of the stage; the light being very brilliant, both at the +top and bottom. A green fire burned just as the curtain falls, will +add much to the beauty of the picture. Music accompanying the piece, +soft, and of a lively order. + + + + +NIGHT AND DAY. + + Heaven opened wide + Her ever-during gates--harmonious sound-- + On golden hinges morning to let forth, + The king of glory, in his powerful word + And spirit, coming to create new worlds. + + God saw the light was good, + And light from darkness, by the hemisphere, + Divided; light the day, and darkness night + He named. Thus was the first day, even and morn. + + MILTON. + +Two Female Figures. + + +This simple tableau is represented by two females: one personates Day, +and is costumed in a long white robe. The other represents Night, and +is dressed in black. Two arches should be made in the centre of the +stage, one covered with black cloth, the other with white. They must +be five feet in height, three feet in width, and three feet deep; the +back, sides, and top covered with cloth. They are to be placed on a +platform one foot high and six feet square. The lady who personates +Night should be of good figure and features, black hair, and dark +complexion. She kneels under the arch covered with black cloth, and +faces the audience; the right knee touches the platform, hands placed +together and raised front of the breast, head slightly inclined back, +eyes raised upward, the countenance in repose. Her costume consists of +a black silk dress, low neck, and trimmed with wide black lace and +bugles; a scarf of black crape, sprinkled with small silver stars, is +draped across the breast, a black cross suspended from the neck by a +velvet ribbon; black bracelets ornament the arms; and a wreath of +black bugles and beads encircles the head, on the front of which is +placed a small silver moon. The hair is arranged in wide, heavy bands, +at the side and back of the head. The lady who personates Day should +be of good figure and features, clear light complexion, and light +hair. Her position is, kneeling under the white arch, hands crossed on +her breast, eyes slightly cast upward, and a smile on the countenance. +Costume consists of a pure white dress, cut low at the neck, short +sleeves; waist and bottom of sleeves trimmed with wide lace and silver +spangles; a scarf of white tarleton muslin draped across the breast; +the waist encircled with a satin sash, and the head crowned with a +wreath of pearls, in the front of which place a small gold sun. The +hair can be arranged in ringlets, or brushed back from the forehead, +and confined in a silk net. The light for this piece must come from +the front of the stage, and should be of medium brilliancy. Music soft +and plaintive. + + + + +THE FIREMEN IN REPOSE. + +Ten Male Figures. + + +This tableau is a representation of the interior of a firemen's hall. +The walls are hung with engravings in rich frames, most of them +referring to the fireman's life. The name of the company, in large +gilt letters, is placed at the end of the stage. Settees are arranged +around the sides; a mahogany table is in the centre, on which is +placed a large solar lamp. Seated at the table are half a dozen +firemen, dressed in their uniform; these are engaged in reading the +news of the day; others are reclining and sitting on the settees, +engaged in conversation and smoking. The light for the piece should be +of medium brightness, and come from either side of the stage. Music of +a secular character. + + + + +THE ALARM. + + "Prompt when duty calls." + +Twelve Male Figures. + + +This tableau is a representation of an alarm of fire, which has +aroused the firemen from their repose. The scene represents a view of +the front of the engine house. The door is thrown open, and the +enginemen are about to draw out their machine. The piece contains +twelve figures, ten of which have hold of the engine rope. They are in +the position of persons running, and are led on by their captain, who +is giving out an order through his trumpet. His position is, facing +the men at the ropes; one hand is pointed towards the fire, the light +of which is seen in the distance. Near the door of the engine house +stands the lantern bearer with his lantern, which is attached to a +long pole, and is carried on the right shoulder. The front of the +engine house can be formed of wood, covered with cloth, and painted in +showy colors. This frame is to be placed at the right hand corner of +the background; the name and number of the machine painted over the +door. The front wheels and rope will be sufficient to represent the +engine. The remaining part is presumed to be within the house. By +placing the front of the house in the corner, more room will be had +for the line of firemen. All should appear animated, while a few are +pointing to the light in the distance. The alarm bells must be sounded +while the curtain is raised, and a red fire burned at the left side of +the stage, so as to throw a very little light on the extreme edge of +the background, which should extend farther in on the scene while the +tableau is exhibited. + + + + +AT THE FIRE. + + "Fire was raging, above and below." + +One Female and Thirteen Male Figures. + + +This tableau is a representation of a dwelling house on fire, with the +heroic firemen engaged in their various duties in their attempts to +extinguish the flames. A front view of the building is exhibited, from +which smoke and flames are seen issuing. At the window of the second +story, a fireman stands, with an infant in his arms. A ladder is +placed against the outside of the window, and a fireman is ascending +it. The engineer stands on the steps of the mansion, giving his +orders. A fireman is breaking in one of the lower windows with an axe. +At the left of the tableau is seen part of the engine. Space will not +allow the showing of more than one third of the machine; but by +manufacturing a temporary frame, on which the front wheels, brakes, +bell, and buckets can be attached, and placing it at the edge of the +stage, with the firemen at the brakes, the effect will be quite +sufficient. The men on the front brakes should be in a stooping +position, those behind standing erect. Two pipe-men are seen in the +foreground, with pipes, which they point to the burning building; +others are passing out articles of furniture from the windows. The men +must be costumed in showy fire suits. Alarm bells should be sounded +behind the scenes, and a representation of fire made by burning a red +fire at the side of the stage, behind the scenery of the burning +house. This scenery can be formed of light slats of wood, covered with +cloth, and painted in imitation of a brick house, with mouldings, +window frames, and doors. It must extend across the stage, and rise +from the floor to the ceiling. The windows should be filled with +sashes containing genuine glass, while smoke and flames can be painted +on various parts of the building; and, if desirable, a small quantity +of wet gunpowder, touched off at the proper moment, will add to the +effect. + + + + +ETHAN ALLEN AT TICONDEROGA. + + Nor com'st thou but by Heaven, nor com'st alone. + Some god impels with courage not thy own. + No human hand the weighty gates unbarred, + Nor could the boldest of our youth have dared + To pass our outworks, or elude the guard. + + POPE'S HOMER. + +One Female and Eleven Male Figures. + + +This historical tableau represents Ethan Allen at the entrance of Fort +Ticonderoga, ordering De la Place, the commandant of the fort, to +immediately surrender, in the name of the great Jehovah and the +Continental Congress. Around the door are gathered the soldiers of +Allen. De la Place and his wife stand upon the doorstep, partially +dressed, and, with looks of astonishment, inquire by what authority he +demands the surrender of the fort. The number of figures in this +picture is twelve. Ten of them represent American soldiers, and are +dressed in the continental uniform, which consists of a blue coat, +faced with buff, and ornamented with large brass buttons, buff vest +and breeches, white hose, low shoes, knee and shoe buckles, and black +chapeau, and each furnished with military equipments. Allen's costume +should be of finer material, with an addition of sash, epaulets, +plume, and side arms. De la Place has on red breeches, with a gilt +stripe, white silk hose, knee buckles, slippers, and wig, a red coat +upon his arm, and a sword in his right hand, the handle of which is +extended towards Allen. His wife is costumed in a white dress, a white +cap on her head, and hair hanging loosely over her shoulders. The +scenery of the piece consists of a frame covered with cloth, extending +across the stage, and rising from the floor to the ceiling, with a +door in the centre, and windows painted on either side, and placed +across the stage in the background. Mrs. De la Place's position is on +the door sill, her body inclined slightly forward, her left hand +holding a candlestick, in which is a lighted candle, her right hand +raised in front of her breast, eyes fixed on the face of Allen, while +the countenance expresses surprise and fear. The commandant stands on +the doorstep at the left of his wife, his left hand stretched out +before him, the right holding his sword; his eyes are fixed on those +of Allen, while his countenance expresses surprise and indignation. +Allen stands in front of him a little at the left, grasping his sword +in the right hand, which he raises over the head of the commandant, +whilst his left points to his soldiers; his countenance expresses +sternness and authority. The soldiers are standing on each side of the +door leaning carelessly upon their muskets. The accompanying music +should be that of the drum and fife. The light must be of medium +brilliancy, and come from the right of the stage. + + + + +THE GYPSY FORTUNE TELLER. + + Seek not to know the future; be happy while you may, + Nor cloud with dark foreknowledge the sunshine of to-day. + I see that you are hopeful, I read it in your eyes, + And I can learn no more from the stars that gem the skies. + Trust not the outward seeming of all who speak you fair; + What has been, maiden, may be--be watchful and beware. + + I will not cheat you, maiden; my gypsy skill you seek; + This only of the future the gypsy girl can speak: + When flippant worldlings flatter, let then your doubts begin; + Take, maiden, for your counsel the "still small voice within." + If weak the heart of woman, her stronghold too is there; + Guard then the fortress, conscience! be watchful and beware. + + CHARLES JEFFERY. + +Two Female Figures. + + +This tableau is a representation of a gypsy fortune teller, in a rude +tent, in front of which is burning a small fire. She is seated on the +ground, and holds a pack of cards in her right hand; her left is +pointed upward. Her head is turned towards a young and beautiful girl, +who is stooping at her side, gazing with earnestness on the cards. The +tent should be five feet high, four feet wide at the bottom, and +terminating in a point at the top. It can be made of light strips of +wood, covered over with cloth. An open space in front, two feet wide, +will answer for the door. The fire can be placed in an iron furnace, +around which arrange stones or brushwood. Ignite the fire just as the +curtain rises. Fill up the background of the stage with scenery +representing a forest, or place a few spruce trees behind the tent. +The gypsy's costume consists of a bright crimson dress, velvet waist, +laced across with pink ribbon in front, displaying a white robe +beneath; rows of gilt buttons on each side of the opening and around +the bottom of the sleeves. The hair, which should be long and black, +is allowed to hang carelessly over the shoulders; the face and other +exposed parts of the body stained a light brown. The young lady must +be of small figure, good form and features, and attired in a white +dress, cut low at the top, a red sash around the waist, and a small +straw hat placed jantily on the side of the head. The scene should be +illuminated by a red fire, burned in small quantities at the side of +the stage, and made to reflect on the group. Music soft. + + + + +PEACE. + + Beautiful vision, how bright it rose! + Vision of peaceful and calm repose! + Well might it brighten the rapt seer's eye, + And waken his heart to an ecstasy; + 'Twas earth, glad earth, when her strife was o'er, + Her conflict ended, and war no more. + + ANON. + +Eight Male and Twelve Female Figures. + + +This tableau is an allegorical representation of Peace. The number of +figures necessary to form it is twenty. They are formed in six +separate groups. The centre and principal group is a party of young +ladies and gentlemen engaged in the merry dance. They are costumed in +their holiday suits, and are formed in a circle around a May-pole. On +a green bank in the background is seated a young lady playing the +guitar, and a young gentleman playing the violin. This group is at the +right. At the left is a young and beautiful girl, who represents the +Queen of May; by her side stands a second female, about to place a +crown of flowers upon her head. Between these two groups, and elevated +a foot above them, stands the Goddess of Peace. She holds in her right +hand a sheaf of wheat, and in her left an olive branch. At the corners +of the foreground are two groups, the one at the left representing a +mother surrounded by three children; she holds a large Bible, which +the children are reading. The group at the right represents a +blacksmith standing at the side of an anvil,--a large hammer in his +right hand,--engaged in conversation with a farmer, who holds a rake. +The costume of the village girls should be white dresses, decorated +with flowers, and garlands on their heads. The gentlemen should be +dressed in light pants, white vests, and dark coats. The Goddess of +Peace has on a long white dress, bound around the waist with a green +ribbon; a wreath of dried grasses and wheat encircles the head. She +must stand perfectly straight, and look directly forward, with a +pleasant expression of countenance. The gentleman who plays on the +violin is costumed in a dark coat, red breeches, white hose, low +shoes, knee and shoe buckles, buff vest, a plaid scarf, draped across +the shoulders, and tied at the right side, and a small Scotch cap, +with a white plume, placed jantily on the head. The costume of the +lady at his side consists of a red skirt, over which is worn a white +skirt that is looped up at the side, and ornamented with small bunches +of evergreen and spruce; a velvet waist, open in front, and laced +across with pink ribbons; short sleeves; hair hung in ringlets, and +ornamented with ribbons; the countenances of both expressing pleasure. +The May Queen's costume consists of a white robe, trimmed with +garlands of flowers. Her attendant is also dressed in white, with a +scarf of plaid draped across the breast. The queen is kneeling on a +low cushion, holding a small bouquet, the head turned slightly to the +right, eyes raised to the ceiling. The lady in the foreground has on a +blue silk dress, a white apron, trimmed with green ribbon, and hair +arranged to suit the performer's taste. The children's costumes may be +of various styles, bright colors predominating. The lady should sit +quite low, and hold the Bible with her right hand; the left pointed to +the pages. The children and mother sit facing the audience, and all +look pleasant and happy. The blacksmith's costume consists of dark +pants, blue woollen shirt, sleeves rolled up to the elbow, a +low-crowned hat on the head, and leather apron tied around the waist. +He stands facing the audience, and is engaged in conversation with the +farmer, who is dressed in a long blue frock, buff pants, straw hat, +and heavy boots; the right hand holds a rake, the left is placed on +the side of the body. The four groups at the corners should be as +compact as possible, giving the greater portion of the room to the +dancers in the centre. The bank in the background must be three feet +in height, and covered with green bocking, and also the floor of the +stage. Make the May-pole as high as the space will admit, and cover it +with green cambric, decorated with garlands of flowers. The light +should be quite brilliant, and come from the right side of the stage. +Music inspiring. + + + + +WAR. + + 'Twas man himself + Brought Death into the world; and man himself + Gave keenness to his darts, quickened his pace, + And multiplied destruction on mankind. + First Envy, eldest born of Hell, imbrued + Her hands in blood, and taught the sons of men + To make a death which nature never made, + And God abhorred; with violence rude to break + The thread of life, ere half its length was run, + And rob a wretched brother of his being. + + PORTEUS. + +Twenty Male and Six Female Figures. + + +This tableau is a vivid representation of some of the effects of war. +The foreground of the picture represents a battle field after the +combat has ended. + + "'Twas the battle field; and the cold, pale moon + Looked down on the dead and dying; + And the wind passed o'er, with a dirge and a wail, + Where the young and the brave were lying." + +The ground is strewn with the dead and wounded soldiers, broken +cannon, muskets, flags, swords, and portions of torn and tattered +uniforms. In the background, there is a representation of a +breastwork of stone; on the extreme right are two females weeping; at +the extreme left is a mother and two children. The mother lies across +the breastwork, dead. The children stand by her side, looking with +wonder into her face. Standing on the centre of the breastwork is the +Goddess of War. In one hand she holds a torch, which is raised above +her head; the left grasps a standard and sword. The number of figures +in the piece is twenty-six. Twenty young gentlemen must be costumed in +various styles of military suits, while many should have wounds +painted on various parts of the body. The costume of the Goddess of +War consists of a crimson dress, black velvet waist, trimmed with +gold, hair hanging loosely over the shoulders, and a red French +military hat on the head. The two ladies at the right are costumed in +mourning. The mother should be attired in a white dress; the children +in bright-colored costumes, with hair hanging in ringlets. The stage +must be formed like an inclined plane, beginning at the footlights, +and rising towards the background, and covered with green bocking. The +soldiers should be grouped about the ground in various positions, and +the cannon and guns scattered about in a promiscuous manner. The two +ladies in mourning sit on the top of the breastwork, side by side, +their heads bowed down, and hands covering their faces. The mother is +seated at the other end of the breastwork, head thrown back, and eyes +closed. The children are standing by her side, clasping their hands +and gazing into her face. The Goddess of War should stand with her +left side to the audience, body bent forward, the head slightly turned +towards the battle field, the countenance expressing animation and +determination. A small quantity of smoke should be seen rising behind +the breastwork, while the whole scene is illuminated by a red light +burned at the side of the stage. The booming of distant cannon and +martial music may be imitated behind the stage. + + + + +THE RESCUE. + + Presence of mind and courage in distress + Are more than armies to procure success. + +One Female and Eight Male Figures. + + +This tableau is one that can be produced without much trouble or +expense. The scene is taken from a historical incident that occurred +during the revolutionary war. At the close of one of the hard-fought +battles between the Americans and British, an American officer, having +fought long and well, was obliged to seek safety in flight, hotly +pursued by a company of British soldiers, led on by their captain. He +takes refuge in the mansion of a tory in the vicinity of the battle +ground, and prostrates himself at the feet of the lady of the house, +who has risen from her chair on hearing the tumult at the door, and +with her arm extended and eyes flashing, sternly bade the British +officer and his followers to quit the house. The British officer is +standing within a few paces of the American, with sword extended, +ready to pierce his body. In the rear of the British officer stands a +platoon of soldiers, with muskets ready to charge. The furniture of +the room consists of chairs, carpet, tables, small sofa, pictures, &c. +The lady who personates the tory housekeeper should be tall, with good +figure and features; her costume consists of a showy silk dress and +velvet waist. Position is, at the right of the stage, near the front. +A small table is placed at her side, on which are a work box and piece +of embroidery; behind her is a large chair; her right hand is extended +towards the British officer; the left is placed on her waist; her +countenance expressing anger and command. The American officer should +be costumed in Continental uniform, which consists of a blue coat, +decorated with large gilt buttons, and faced with buff, buff breeches, +white hose, low shoes, knee and shoe buckles, red sash, epaulets, +chapeau, and side arms. In his right hand he grasps a broken sword. +The position is, kneeling two paces front of the lady, body bent +forward, and eyes cast down to the floor. The British officer and +soldiers are dressed in similar costumes, with the exception of the +coats, which are scarlet. The British officer's position is, standing +in the centre of the stage, with sword pointed towards the American +officer, and eyes directed to the lady. The lights for the piece +should be of medium brightness, and come from the side of the stage +opposite the lady. The background must be partially shaded, while the +foreground is light. For music, drum and fife are adapted to the +piece. + + + + +SOLOMON'S JUDGMENT. + + "A mother's love." + If there be one thing pure, + Where all beside is sullied, + That can endure + When all else pass away-- + If there be aught + Surpassing human deed, or word, or thought, + "It is a mother's love!" + + ANON. + +Three Male and Two Female Figures. + + +This Scripture tableau is taken from the third chapter of the Book of +Kings. The scene is at the moment when Solomon passes his judgment +between the two women. These two women each had a child of the same +age, and resided together. The children resembled each other so much +that when one of them died, there arose a dispute as to whom the +living child belonged; and one woman said, "The living is my son, and +the dead is thy son." And the other said, "No; the dead is thy son, +and the living is my son." Then said the king, "Bring me a sword." And +they brought a sword before the king, and the king said, "Divide the +living child in two, and give half to one and half to the other." Then +spoke the woman whose the living child was unto the king, "O my lord, +give her the living child, and in no wise slay it." But the other +woman said, "Let it be neither mine nor thine, but divide it." Then +the king answered and said, "Give her the living child, and in no wise +slay it, for she is the mother thereof." The number of figures in this +tableau is five. The scenery consists of a platform four feet square +and two feet high, covered with red cloth, which should be placed in +the background, at equal distances from the sides; on this is placed a +large, showy chair, with a canopy over the top. Seated in the chair is +Solomon. His costume consists of a dark velvet suit, trimmed with gold +and silver fringe; a large cloak, trimmed with ermine, is worn on the +shoulders; black hose, reaching to the knee, crossed with crimson +ribbon; red sandals, ornamented with gold; a showy crown on the head, +and his face covered with a heavy white beard, reaching down on his +breast; his right hand is pointed towards the soldier who holds the +child; the eyes are also directed that way, while the countenance +appears stern and commanding. The soldier's costume consists of a suit +of armor such as can be procured at theatres and costumers; but, if +preferred, a military suit of any kind will answer. His position is, +near the platform, the left hand grasping the child, while the right +holds a sword, which is raised above it; his body faces the audience, +his head turned towards the king, the countenance stern and +forbidding. On the other side of the throne stands the king's guard, a +man dressed in a blue frock, trimmed around the skirts, sleeves, and +front with red; white hose, reaching to the knee; black knee breeches; +low shoes; knee and shoe buckles; lace collar and wristbands; low +black Kossuth hat, with gold band and plume. The right hand grasps a +long spear. Position is, facing the audience, the body erect, and eyes +directed straight forward. At the corner of the platform, near the +soldier, kneels the mother of the child, in position so that a side +view is had of the face; the hands are clasped and raised in front of +her breast, head thrown back, and eyes directed to the king, +countenance expressing hope. She is dressed in deep mourning, her hair +flowing loosely over her shoulders. On the other side of the throne, +opposite the guard, stands the other woman, her arms folded on her +breast, eyes directed to the soldier, countenance calm. Her costume +consists of a white dress, cut low in the neck, and encircled around +the waist with a colored belt; hair arranged in heavy braids, and +ornamented with showy hair pins. The lights should be of medium +brilliancy, and come from either side of the stage. If desirable, a +few paintings and statuary can be arranged in the background. Music +soft and plaintive. + + + + +THE BRIDAL PRAYER. + + Sweet be her dreams, the fair, the young; + Grace, Beauty, breathe upon her; + Music, haunt thou about her tongue; + Life, fill her path with honor. + + All golden thoughts, all wealth of days, + Truth, friendship, love, surround her; + So may she smile, till life be closed, + And angel bands have crowned her. + + BARRY CORNWALL. + +One Female Figure. + + +This simple, yet pretty tableau represents a young maiden dressed in +bridal costume, kneeling in prayer in her chamber, preparatory to her +descent to the room below, where she is to enter into the holy bonds +of matrimony. The stage furniture consists of an ornamental chamber +set, a few richly-bound books, pictures, and other articles pertaining +to a chamber. The young lady should be of good figure and features. +Costume consists of a white dress, low in the neck, and ornamented +with white flowers. The hair can be dressed to suit the performer's +taste, while a wreath of myrtle and flowers encircles the head, at the +back of which trails a long white veil. Position is, kneeling in the +centre of the stage, so that a side view can be had of the form, the +hands raised and placed together in front of the face, the head +slightly thrown back, the eyes closed, and the countenance expressing +devotion. Little light is required, which should come from the side of +the stage. Music soft and plaintive. + + + + +THE GUITAR LESSON. + + O, strike the guitar lightly, lightly; + Its tones I ne'er forget; + O, strike the guitar lightly; + 'Tis sweet as when we met. + +One Female and One Male Figure. + + +This simple, but pretty tableau represents a young lady at the music +room of her teacher, taking a lesson on the guitar. The scene +represented is a room furnished with table, chairs, carpet, vases, +pictures, &c. A small sofa, or a pair of ottomans, are placed in the +centre of the apartment, on which is seated a young and beautiful +lady, and by her side the teacher. The lady holds in her hands a +guitar, on which she is playing. Her teacher holds a sheet of music in +the left hand, while with the right he points towards the guitar. The +maiden's costume consists of a white dress, velvet waist, white +flowing sleeves, waist encircled with a crimson sash; hair done up in +a neat manner, and decorated with large feldspar beads. Her position +is, facing the audience, head slightly turned to her teacher, eyes +directed to the music, face beaming with smiles. The teacher's costume +consists of black pants, white hose, reaching to the knee, with a band +of colored ribbon, and wide lace attached by a large paste pin at the +top, low shoes with buckles, single-breasted vest left unbuttoned, +showing a white shirt underneath. A lady's pink or red sack will on +an emergency answer for a coat. A lady's velvet cape should be thrown +carelessly over the shoulder. The wristbands of the shirt bound with +wide lace, and a wide lace collar worn around the neck. The head +covered with a low-crowned Kossuth hat, ornamented with a gilt band, +and white plume, which is fastened to the hat with a large and +brilliant paste pin. Both of these costumes can be arranged at short +notice, and the tableau would be suitable for home entertainment. A +guitar, played behind the scenes, will answer for the music. The light +must be of medium brightness, and come from either side of the stage. + + + + +ROGER WILLIAMS PREACHING TO THE INDIANS. + + "Gitche Manito the Mighty, + The Great Spirit, the Creator, + Sends them hither on his errand, + Sends them to us with his message. + + Let us welcome, then, the strangers, + Hail them as our friends and brothers, + And the heart's right hand of friendship + Give them when they come to see us." + + LONGFELLOW. + +Two Female and Eight Male Figures. + + +Roger Williams was the first white man that settled in Rhode Island. +He was a clergyman, and lived in Boston; but he did not think exactly +as the other clergymen of Boston, and was therefore banished from +Massachusetts. He emigrated with his family to the woods. After +travelling a considerable time, he selected a beautiful spot, and +built him a house. Other settlers soon came that way, and founded +homes. This was the first settlement of Providence. Williams was +kindly treated by the Indians, who seemed pleased at his arrival among +them. Every Sabbath he would go into the village and preach to them. +The scene in this tableau represents him standing before a wigwam with +his Bible in hand, explaining the Holy Scriptures to a group of +savages who are gathered about him. A few spruce trees should be +placed in the background of the picture, a fire kindled in the centre +of the stage, which can be placed in an iron furnace, and surrounded +with stones. The floor must be covered with white cloth. Logs and +branches of trees should be scattered around the stage. At the left of +the stage is the wigwam, formed with rough poles, covered with +light-brown cloth, and ornamented with red hieroglyphics. In the +background, and at each side of the stage, are seated Indians. The +floor of the stage in the background should be raised one foot, on +which are placed the trees; in front of the wigwam stands Roger +Williams; he partially faces the audience; his left hand holds a +Bible, while his right is raised upward, his eyes directed towards the +Indians--countenance expressing animation. Costume consists of black +coat of ancient style, black breeches, black vest, white hose, ruffled +bosom, and white cravat, knee and shoe buckles, and a long white wig, +ending in a cue, and tied with a black ribbon. Costume of the Indians +is a short frock, made of and trimmed with a bright-colored cambric, +pants of dark buff cloth, fitting tightly so as to develop the form of +the leg, moccasins of red flannel, decorated with beads; a strip of +card-board, covered with red flannel, and ornamented with feathers of +any kind, should be worn around the head. A belt about the waist, +containing tomahawk and knife, both of which can be made of wood, and +painted in bright colors. A few squaws are interspersed in the scene. +Their costumes are similar to those of the men, with the addition of a +bright-colored blanket thrown over the shoulders, and hair loosely +flowing about the neck. The exposed portions of the bodies of the +Indians are stained of the same color as the pants. The position of +the figures must be varied, while all look with attention to Williams. +The scene should be lighted by a red fire, burned at the front side of +the stage. Music soft and of a sacred character. + + + + +CROSSING THE LINE. + + Far, far upon the sea + The good ship speeding free, + Upon the deck we gather, young and old, + And view the flowing sail + Swelling out before the gale, + Full and round, without a wrinkle or a fold. + +Ten Male Figures. + + +This comic tableau is a representation of a scene which often +transpired on board of vessels in passing the line. This time-honored +custom of introducing to old Neptune and his suite the persons who, +for the first time in their lives, cross the equinoctial line, is now +nearly abolished. But until within a quarter of a century, the +occasion of crossing the line was one of no little importance. It was +a jubilee on board ship which was looked forward to with eagerness by +the jolly tars who had already shaken hands with the God of the Ocean, +and with fear and trembling by the youths who were about to enter for +the first time the favorite dominions of the old god. The ceremonies +on these occasions varied according to the character of the crew, of +the commander of the vessel, or of the poor fellows about to undergo +the unpleasant and dreadful process of an introduction. They were +generally of a harmless and amusing character, one of which was to +bring them before old Neptune, and put them through the process of +shaving. The chin, and the greater part of the face, would be +plastered over with a composition made of tar and train oil, laid on +thickly with a large tar brush. The razor was often fabricated from a +worn-out hoop, notched like a handsaw. This was drawn over the face, +not in the most gentle manner. After this operation was completed, a +person approached to untie the handkerchief that bandaged the eyes, +and at the same moment kicked away the plank on which the victim sat, +which precipitated him into the ship's longboat, filled with water for +the occasion.--The number of figures in this tableau is ten. Neptune +is the principal one, and is costumed in a flesh-colored coat, fitting +tightly to the body, and covered with hieroglyphics in bright colors; +the face painted to look hideous, and partially covered with a long, +shaggy beard; a crown on the head, made of card-board, covered with +gilt paper and shells; a spotted fur robe is thrown over the lower +portion of the body; his right hand grasps a three-pronged fork, while +the left is stretched out to one of the sailors. His throne, on which +he is seated, is made of a number of barrels placed in a row at the +back of the stage, on which rests a platform, with an anchor on each +side. The victim, as well as the rest of the performers, should be +costumed in sailors' suits, differing in colors and styles. In the +centre of the stage erect a small platform, one foot high and six feet +long. On this place the person who is to be shaved. At his left stand +two sailors. One holds the speaking trumpet and a ship's bucket; the +other is in the act of pouring a bucket of water on the head of the +victim; a third sailor holds in his left hand a paint brush, and +brandishes the razor in his right; a little sailor boy holds a small +tub, which contains the soap. Fronting the victim, kneels a sailor, +holding a syringe. The remaining figures are looking on to see the +sport. The countenances of all but the victim express mirth. An +imitation mast and sail should be arranged at the background of the +picture, the sides of the stage painted to represent ports of a +vessel, and various articles that are used on board a ship must be +scattered about the deck. Light brilliant, and come from the right +side of the stage. + + + + +THE WEDDING. + + Pass thou on! for the vow is said + That may ne'er be broken; + The trembling hand hath a blessing laid + On snowy forehead and auburn braid, + And the word is spoken + By lips that never their word betray'd. + + Pass thou on! for thy human all + Is richly given, + And the voice that claims its holy thrall + Must be sweeter for life than music's fall, + And, this side heaven, + Thy lip may never that trust recall. + + WILLIS. + +One Female and Two Male Figures. + + +This tableau is a representation of the marriage ceremony, and is +arranged with little trouble or expense. For a home entertainment it +will be quite appropriate. The scene is a young and beautiful maiden +and a fine-looking gentleman kneeling at the foot of an altar, behind +which stands a priest, dressed in appropriate costume. He is +performing the wedding rites. He holds in his right hand a prayer +book; his left is stretched out over the kneeling couple; his eyes are +raised upward, the countenance calm. The lady and gentleman kneel at +the foot of the altar, partially facing each other, so that a side +view is had of the body. The eyes of both are cast down; the lady's +costume consists of a white dress, trimmed to suit the taste of the +performer. A delicate wreath of silver leaves crowns the head, and a +long white veil hangs from the back hair to the floor. The gentleman +should be costumed in a black coat and pants, white vest, cravat, and +gloves. The priest's costume consists of a black surplice and cowl, +white cravat, and a large cross suspended from the neck. For want of a +better article, a lady's black dress will answer for the surplice, and +a black silk scarf, wound around the head, will answer for a cowl. The +altar can be formed out of a small table, with a white cloth thrown +over it, with a large Bible on the top. The light for this piece +should be mellow, and come from the left side of the stage. Music soft +and plaintive. + + + + +HIAWATHA SAILING. + + "And thus sailed my Hiawatha + Down the rushing Taguamenaw-- + Sailed through all its bends and windings, + Sailed through all its deeps and shallows, + While his friend, the strong man Kwasind, + Swam the deeps, the shallows waded. + Up and down the river went they, + In and out among its islands, + Cleared its bed of root and sand-bar, + Dragged the dead trees from its channel, + Made its passage safe and certain, + Made a pathway for the people, + From its springs among the mountains, + To the waters of Pauwating, + To the bay of Taguamenaw." + + LONGFELLOW. + +Two Female and Two Male Figures. + + +This interesting tableau represents Hiawatha and his friends sailing +in his birch canoe. The arrangement of the scenery is quite simple, +and when properly adjusted, makes one of the finest pictures in this +series. The floor of the stage must be arranged to represent water, +which can be done in the following manner: Nail strips or narrow bands +of wood on each side of the stage, the front ends resting on the +floor, the other ends raised to the height of one foot; at intervals +of ten inches on the strips place stout nails, and to these fasten +stout cord from one side of the stage to the other; across the cords +place strips of light-blue cambric, allowing it to festoon from one +cord to the other; fasten the cambric to the cords with pins, and +paint in a careless manner the ridges to represent miniature waves; +then scatter the surface with isinglass in small particles. Fill up +the background with scenery of a similar character, or with small +spruce trees. An imitation birch canoe can be made of strips of wood, +covered with cloth, painted light brown, and ornamented with bands of +crimson, blue, and white paint; this should be placed in the centre of +the stage, on small ways running across from one dressing room to the +other, and painted the same color as the waves. Grooved pieces of wood +must be fastened to each side of the canoe, so that it can be +propelled across the stage on the ways, and appear to be floating on +the top of the water. Ropes attached to each end, at the bottom of the +boat, passed under the waves, and roved through blocks, can be used to +propel it from one side of the stage to the other. The ways should +extend into the ante-rooms, so that the boat can pass entirely from +the stage. Large leaves and long grasses, made of green cambric, may +be placed around the edges of the water. The boat contains two Indian +braves and two Indian maidens. All are dressed in costumes, which have +been described in the tableau of "Hiawatha and his Bride's Return +Home." Hiawatha is seated in the stern of the boat, holding a paddle +in the water. The other Indian is kneeling in the bow with his bow and +arrow, and in position as if firing to the shore. One of the maidens +is looking intently over the side of the canoe, and the other is +looking upward. Both should have long black hair flowing over the +shoulders. The canoe should move very slow, and should be seen in +motion when the curtain rises; and to have it move in a steady manner, +the ropes should be attached to a windlass below the stage. The scene +must be illuminated by a green fire burned at the side of the stage +opposite the entrance of the canoe. Music soft and plaintive. + + + + +THE VILLAGE STILE. + + The village stile--and has it gone? + Supplanted by this niche of stone, + So formal and so new; + And worse, still worse, the elder bush, + Where sang the linnet and the thrush-- + Say, has that vanished too? + + Age sat upon 't when tired of straying; + And children that had been a-maying; + These trimmed their garlands gay; + What tender partings, blissful meetings, + What faint denials, fond entreatings, + It witnessed in its day! + +One Female and One Male Figure. + + +This rustic tableau represents a young shepherd and his betrothed +seated on the village stile, engaged in conversation. In the centre of +the stage, a weather-worn plank should be placed, resting on +artificial banks at each side, which are three feet high and four feet +wide; these can be shaped out of boxes or chairs placed together in a +careless manner, and covered with green bocking; at each side of the +stage, near the banks, place small spruce trees, and beneath the +stile build a step out of old plank, one foot high, and the length of +the space between the two banks. Seated on the inner side of the stile +is the young maiden. She is partially facing the audience, body +slightly bent forward, right hand placed in that of the shepherd, +while the left rests on a basket of flowers placed on her knee. +Costume consists of a showy plaid dress, with a green waist, trimmed +with purple cloth, cut in scallops; a small pink scarf worn over the +shoulders, and tied at the side; a pink apron, trimmed with white; a +small straw hat, bound with green ribbon, and set jantily on the head; +hair done up low in the neck, and ornamented with blue and red +ribbons. The eyes are cast down to the basket, the expression of the +face thoughtful. The young shepherd stands on the outside of the +stile, reclining carelessly against the green bank. He partially faces +the audience; his eyes are directed to the opposite side of the stage, +the expression of the face denoting deep thought. The right hand +clasps that of the maiden, while the left hangs carelessly at the +side, and grasps a shepherd's crook, which is six feet long. Costume +consists of a loose, light-blue coat, bound at the bottom of the skirt +and sleeves with dark blue; a belt of the same encircles the waist; +white hose, low shoes covered with red cloth, knee and shoe buckles, +and low-crowned hat; a straw hat, covered with brown cambric, and +bound with red, will answer. If a large dog can be procured, that +will remain perfectly still, place him at the feet of the shepherd. +The light should be of medium brilliancy, and come from the front of +either side of the stage. Music soft and of a secular order. + + + + +FLORENCE NIGHTINGALE IN THE CRIMEA. + + The tender sigh, the balmy tear, + That meek-eyed pity gave, + My last expiring hour shall cheer, + And bless a soldier's grave. + +One Female and Three Male Figures. + + +This tableau is one that can be easily formed for an evening's +entertainment. It represents Florence Nightingale nursing a young +wounded soldier in his tent at the Crimea. Florence Nightingale was +one of those philanthropic and humane ladies who left their homes and +the comforts of life, and resorted to the Crimea, where, on the field +of battle and in the pestilential hospital, she comforted and nursed +the sick and wounded soldiers. The tent can be made of white cloth, +fastened to a frame of light strips of wood eight feet square, with a +small flag fastened in front. A couch should be formed at one side of +the tent, on which reclines the wounded soldier, with an imitation of +a large wound on the forehead, a large black patch on the side of the +face, and a bandage around the head; his face must be made quite +white, his body supported by pillows; eyes fixed on Florence, +countenance calm and tranquil; his right arm is extended outside of +the coverlet, and is held by a comrade who is at the side of the bed. +Florence's costume consists of a red dress reaching to the knee, a +white collar, loose blue pants with red stripe, buff apron trimmed +with white, a flat blue cap with gold band, a small, square, black +bag, suspended at the side by leather straps passing over the +shoulders, the hair arranged low in the neck; she is standing by the +side of the couch, body bent slightly forward, one hand resting on the +pillow, the other grasps the hand of the sufferer. On the other side +of the bed is a soldier, seated on a camp-stool, engaged in reading a +Bible. He is dressed in a showy uniform, and is facing the audience. +The lights for this piece should be of medium brilliancy, and come +from the front of the stage. Music of a military style. + + + + +THE FIREMAN'S STATUE. + +One Male and Six Female Figures. + + +This tableau is quite a tasty design, and is represented by six +females in a kneeling posture, supporting a circular shield, on the +top of which stands a young and handsome fireman, dressed in his +regalia. In his right hand he grasps a hose pipe, the end of which +rests on the top of an imitation hydrant, which is placed on the top +of the shield at his side. His position is, facing the audience, body +and head erect, the left hand resting on the hip, eyes raised upward, +countenance calm. The ladies' costume consists of a white dress, red +waist, blue sash, hair done up snugly and encircled with a gold band, +on the front of which is a silver star, with a blue border and +spangles in the centre. The shield should be three feet in diameter, +and placed on a pedestal high enough to allow the ladies to kneel +beneath. It should be covered with a white cloth that will trail to +the floor. The ladies kneel in a circle around the shield, the body +facing outward, the head turned slightly to one side, both hands +placed against the bottom of the shield, the eyes cast down. The two +centre ladies should partially face each other. Expression of the +countenance pleasant. Music of an operatic order. + + + + +JOAN OF ARC AT THE SIEGE OF ORLEANS. + + That was a joyous day in Rheims of old, + When peal on peal of mighty music roll'd + Forth from her throng'd cathedral; while around, + A multitude, whose billows made no sound, + Chain'd to a hush of wonder, though elate + With victory, listen'd at their temple's gate. + But who alone + And unapproach'd beside the altar stone, + With the white banner, forth like sunshine streaming, + And the gold helm, through clouds of fragrance gleaming,-- + Silent and radiant stood?--The helm was raised, + And the fair face reveal'd that upward gazed + Intensely worshipping:--a still, clear face, + Youthful, but brightly solemn!--Woman's cheek + And brow were there, in deep devotion meek, + Yet glorified with inspiration's trace + On its pure paleness; while, enthroned above, + The pictured Virgin, with her smile of love, + Seem'd bending o'er her votaress.--That slight form! + Was that the leader through the battle storm? + Had the soft light in that adoring eye + Guided the warrior where the swords flash'd high? + + 'Twas so, even so!--and thou, the shepherd's child + Joanne, the lowly dreamer of the wild! + Never before, and never since that hour, + Hath woman, mantled with victorious power, + Stood forth as thou beside the shrine didst stand, + Holy amidst the knighthood of the land; + And beautiful with joy and with renown + Lift thy white banner o'er the olden crown, + Ransom'd for France by thee! + + MRS. HEMANS. + +One Female and Thirty Male Figures. + + +This historical tableau contains thirty-one figures. A less number +will make a picture; but to give proper effect to the scene, there +should be thirty-one. Joan of Arc, the heroine of this piece, at the +age of nineteen was a simple and uneducated shepherdess, and by her +enthusiastic courage and patriotism was the immediate cause of that +sudden revolution in the affairs of France which terminated in the +establishment of Charles VII. on the throne of his ancestors, and the +final expulsion of the English from that kingdom. The town of Orleans +was the only place in France which remained in the possession of the +dauphin at the time when this heroine made her appearance, and that +was closely besieged by the English, while Charles had not the +smallest hope of being able to procure an army to raise the siege. +Benevolent in her disposition, gentle and inoffensive in her manners, +and above all, dutiful to her parents, Joan had, from her earliest +infancy, been ardently attached to her country. Her piety, her +enthusiasm being thus united in her young and romantic mind with an +all-absorbing feeling of patriotism, she was led to believe herself +the humble instrument, in the hands of Heaven, by whom the interest +and glory of France were to be redeemed. Under this impression, the +maiden left her native village, and appeared before Charles dressed as +a warrior, and informed him that she had two things to accomplish on +the part of the King of heaven; first, to cause the siege of Orleans +to be raised; and secondly, to conduct the King to Rheims, there to be +anointed. The enterprise so courageously proposed was considered, and +her services publicly accepted. On the 29th of April, 1429, Joan of +Arc appeared before Orleans, with twelve thousand men. She made an +attack upon Fort St. Loup, which she carried, sword in hand, as well +as the bulwarks of St. John. She had a banner made after her own +device; her sword was taken from the tomb of a knight, where it had +lain more than a century; her helmet was surmounted with feathers. She +remained at the head of the army until 1430, when she was taken +prisoner by the English, at the siege of Campaigne. From the moment +she was a prisoner, the heroine was forgotten. Joan was condemned at +Rouen, by Cauchon, Bishop of Beauvais, and five other French bishops, +to be burned alive for magic and heresy, and her cruel sentence was +put in execution on the 24th of May, 1431. Thus was the admirable +heroine cruelly delivered over in her youth to the flames, and +expiated by the punishment of the fire the signal services which she +had rendered to her prince and native country. The scene for the +tableau is taken at the moment when Joan of Arc, sword in hand, is +leading on the storming party over the bulwarks of St. John. She is +seen on the top of the ramparts, near one of the cannon which has just +been fired. Her soldiers are charging over the bulwarks around her. In +the background are to be seen the troops of the various armies, +engaged in hostile combat. The battlements should be three or four +feet in height, two feet wide, running across the front of the stage, +with an embrasure in the centre. Boxes covered with imitation-stone +paper are to be used for its formation. If a small cannon cannot be +procured, a mock one may be constructed of wood. Platforms rising +gradually from the ramparts to the back scene must be used for the +figures in the background to stand on. Joan of Arc should be tall in +stature, of good figure, and fine looking, with large black eyes, and +long black hair. Costume consists of a crimson skirt, coat of mail +buttoned up to the throat, helmet with flowing plumes, riding gloves, +crimson sash across the breast, belt and side arms. The banner is made +of white cloth, trimmed with crimson, with a gold cross in the centre, +and a gilt spear, and tassels on the end of the staff. Sword of rich +design, and quite long. Her position is, near the cannon, the right +foot on the top of the ramparts or cannon, the left a few inches +lower, on a box placed behind the ramparts; the body bent forward; +right hand grasping a sword and stretched out at arm's length towards +the ceiling, the left holding the banner, which is held at the side of +the body; the head slightly turned to the troops at the right; eyes +directed partially to them; countenance animated. Three soldiers in +uniform--the prominent colors scarlet--are lying on the ground in +front of the battlements. Wounds should be imitated on the head; one +soldier is lying across the cannon, holding a rammer in his hand; two +others are stretched out on the battlements. The costume of Joan's +soldiers should be blue and buff, and each wearing a large moustache. +Two platoons, each containing five soldiers, are in the act of +charging over the ramparts at each side of Joan; they stand two feet +from the breastwork, and look straight forward. One soldier on each +side is in the act of piercing with his bayonet the soldiers on the +breastwork. The background is filled up with troops of both nations, +who are in the act of fencing and firing their muskets at the enemy in +the distance; a variety of positions should be taken, to make the +scene as attractive and life-like as possible. The booming of cannon +and rattle of musketry may be imitated in the ante-rooms; a slight +quantity of smoke can be made to hover over the combatants by burning +a small quantity of the whitish blue fire on the stage before the +curtain rises. Care must be taken not to burn too much, as a great +quantity of smoke will hide the figures from view. The scene most be +illuminated by a brilliant red fire burned on the side of the stage +that will most reflect on Joan's face. The piece may be exhibited +double the usual length of time of other tableaux, and should be used +as a grand finale. + + + + +THE PARTING. + + Ah! then and there was hurrying to and fro, + And gathering tears, and tremblings of distress, + And cheeks all pale, which but an hour ago + Blush'd at the praise of their own loveliness. + And there were sudden partings, such as press + The life from out young hearts, and choking sighs, + Which ne'er might be repeated--Who could guess + If ever more should meet, those mutual eyes, + Since upon night so sweet, such awful morn could rise? + + BYRON. + +One Male and Two Female Figures. + + +This pretty tableau is one that can be formed without much expense or +trouble. The scene represented is a young knight, about to leave his +home, his wife, and child, to fight the battles of his country. A +large flight of steps fills up one third of the stage at the +background. These can be made by placing strips of boards on boxes, +arranged in the form of steps, and covering them with white marble or +light stone paper; at one side of the stage is a pedestal three feet +high and eighteen inches square, on the top of which is a large vase +of flowers. A box covered with marble paper, and fresco cornice, will +answer for the pedestal, while a large earthen jar, painted white, +will do for the vase. On the other end of the steps, two marble +pillars reach from the upper step to the ceiling, and a couple of +spruce trees placed back of the steps, at each end, will give a good +effect. The knight is costumed in a black frock, trimmed around the +bottom of the skirt and sleeves with purple cambric, a straight +collar of the same material, ornamented with gilt buttons and paper; +belt and side arms, red sash, riding gloves, purple knee breeches, +white hose, low shoes, knee and shoe buckles, a low cap, with a gilt +band, and showy plume fastened to the side with a brilliant paste pin; +a small velvet cape, trimmed around the bottom with gold paper, is +worn carelessly over the left shoulder. Position is, standing on the +bottom step, facing the audience; one foot rests on the floor of the +stage, the other on the step; the right hand points to the back of the +stage, while the left rests on the shoulder of his wife, who stands at +his side; his body is bent slightly forward, eyes directed to those of +his wife; countenance expresses animation. The lady who personates the +wife should have black, curly hair, good figure, medium height, and +regular features. Costume consists of a blue silk dress, velvet waist, +hair arranged in curls, and ornamented with showy hair pins. Position +is, at the side of her husband, two paces in advance, and in such +position that a side view is had of the form; her body bent forward, +so that her hands, which are clasped, will rest on her husband's +shoulder, head thrown back, eyes directed to those of her husband, +face expressing grief. A few paces to the left of the lady, is a +cradle, containing a sleeping child. A large Newfoundland dog lies +quietly watching it. The scene should be illuminated by a purple fire +burned near the front of the stage. Music of a martial style. + + + + +HAGAR AND ISHMAEL IN THE WILDERNESS. + + It was an hour of rest! but Hagar found + No shelter in the wilderness, and on + She kept her weary way, until the boy + Hung down his head, and open'd his parch'd lips + For water; but she could not give it him. + She laid him down beneath the sultry sky,-- + For it was better than the close, hot breath + Of the thick pines,--and tried to comfort him; + But he was sore athirst, and his blue eyes + Were dim and bloodshot, and he could not know + Why God denied him water in the wild. + She sat a little longer, and he grew + Ghastly and faint, as if he would have died. + It was too much for her. She lifted him, + And bore him farther on, and laid his head + Beneath the shadow of a desert shrub; + And, shrouding up her face, she went away + And sat to watch where he could see her not + Till he should die; and, watching him, she mourned:-- + + WILLIS. + +One Female and One Male Figure. + + +This group is a representation of Hagar and Ishmael in the wilderness, +and is designed to imitate sculpture. The circumstances of the scene +are well known in the simple narrative of the Scriptures. The boy, +weary and exhausted by unaccustomed hardships and suffering, has sunk +down in the desert to die; but Hagar, sustained by the measureless +affection of a mother's breast, supports the fainting form of her son, +and has just put aside the cup now drained of its last precious drops +of water. She gazes upon his face, while in her own, hope still +lingers, before yielding to the unutterable anguish of despair. The +lady who personates Hagar should be of good figure and features, tall, +and matronly. Costume consists of a white dress, cut low in the neck, +sleeves five inches long, a white tarleton scarf worn across the +shoulders, and tied at the left side, the hair hanging in curls on the +neck, a white turban on the head, with two white strips attached to +the side and passed under the chin, and white sandals laced across +white hose. The position of Hagar is kneeling, so that a side view is +had of the face. The left hand sustains the head of Ishmael, the right +is extended to the pitcher which stands at the side of the group; the +head is bent forward considerably, eyes fixed on those of the boy, +countenance expressing anxiety and hope. A young lad of six years of +age, of fair complexion and long, light, curly hair, is required to +personate Ishmael. He should be costumed in a loose, white coat or +frock, white hose and sandals, with a white gauze mantle draped about +the breast. Ishmael's position is, reclining on his side, one leg +drawn up and placed across the other, the left arm resting on the +ground, supporting the body, the right lying carelessly at the side; +the shoulders rest on the knee of Hagar, head thrown back, and resting +on the hand of Hagar, eyes closed, mouth partially open. The pitcher +should be of white porcelain, of ancient style. The group is formed on +a square or round pedestal, five feet square or in diameter, and one +foot high, covered with white cloth or marble paper. The exposed +portions of the figures must be made as white as possible with chalk. +Light soft, and come from the side of the stage. Music of a plaintive +and sacred character. + + + + +THE FIGHT FOR THE STANDARD. + + They saw the princely crest, + They saw the knightly spear, + The banner, and the mail-clad breast, + Borne down, and trampled here: + They saw--and glorying there they stand, + Eternal records to the land. + + MRS. HEMANS. + +Twelve Male Figures. + + +This thrilling tableau represents a death struggle between an Arab +standard-bearer and a French soldier. The Arab grasps the standard +with the left hand, while the right holds a short cimeter at arm's +length; his body is bent forward, right arm extended thirty inches +front of the left, and eyes directed to those of the soldier, the +countenance expressing firmness and excitement. Costume consists of a +long white coat without sleeves, trimmed about the bottom with buff, +open at the top, displaying the neck and chest; a heavy red sash wound +around the waist; pants of light-blue, cut quite loose, and gathered +in with a string at the ankle; shoes covered with red cloth; a turban +on the head, the top of which is white, and around the bottom is wound +a band of red and black cloth, with the ends falling over the +shoulders; a belt and scabbard are fastened to the waist. The sword +should be two feet long, four inches wide, and curve from hilt to +point. This can be made of tin or wood, the scabbard of card-board or +leather, and painted red. The French soldier's costume consists of +blue coat, trimmed and faced with buff, gold epaulets, large gilt +buttons, white pants with stripe of red, red belt and long scabbard, +hat with plume and long, straight visor. He holds in his right hand a +long, straight sword, while the left grasps the standard. His body is +bent forward, and faces the audience, the right foot extended front of +the left thirty inches, the eyes fixed on those of the Arab, +countenance expressing determination and rage. The staff on which the +flag is fastened is seven feet long, with a gilt ball, crescent, and +tassels at the top. The flag is made of three stripes, one of light +yellow, and two of light red, with a black oval, with red trimmings, +in the centre. The flag should be unfolded so as to show the design, +but gathered in at the centre by the hand of the soldier. Between +these two figures are a French soldier and an Arab lying dead on the +ground. Five feet behind this group, and at the right of the stage, +are four Arabs, with long spears, charging on the same number of +French soldiers opposite, who are holding their muskets in position, +ready to repel the charge, their countenances expressing sternness, +their eyes fixed on each other. Costumes are similar to those +described. Spears can be made of wood, with gilt spear-heads. The skin +of the Arabs must be stained light brown. The French soldiers should +wear large mustaches. A slight quantity of smoke is seen floating in +the background; the booming of cannon heard in the distance. The scene +is illuminated by a red fire at the side of the stage. Music of a +martial style. + + + + +JONATHAN'S VISIT TO HIS CITY COUSINS. + +One Female and One Male Figure. + + +This comic tableau is one that can be produced at short notice, and +without expense. The scene to be represented is a parlor furnished +with sofa, chairs, carpet, pictures, table, and a melodeon, which is +placed on the side of the stage. A sheet of music is resting on the +rack, and a young lady is seated on the melodeon stool, body facing +the audience, head turned to the back of the room, both hands raised, +and eyes fixed on a young man, who is seated on the sofa in the +background. Her body is slightly inclined from the young man, +countenance expressing affright. She should be costumed in a showy +silk dress. The gentleman's costume consists of striped pants, +reaching within six inches of the foot, red straps, thick boots, +ancient style swallow-skirted coat, short striped vest, ruffle-bosomed +shirt, standing collar reaching to the ears, large brass chain and +watch seals hanging from the vest pocket, large red silk handkerchief +laid across the knee, and a low-crowned white hat in the hand. +Position is, seated on the sofa, one hand placed in the pants pocket, +the other resting on the knee, body bent forward, eyes fixed on the +keys of the melodeon, countenance expressing astonishment. The +gentleman best adapted for this part is one who has a natural talent +for performing in comedy. Light should be thrown on the scene from the +lower end of the side of the stage, and of medium brightness. Music of +a spirited character. + + + + +THE THREE GRACES. + + Faith, Hope, and Love, now dwell on earth, + And earth by them is blest; + But Faith and Hope must yield to Love, + Of all the graces best. + +Three Female Figures. + + +This is a statuary tableau, and is represented by three young and +beautiful ladies of about the same height and figure, with regular +features and long hair. Their costume consists of a long white robe, +worn with few skirts, and cut extremely low at the neck, sleeves five +inches long, a mantle of white tarleton muslin worn across the breast, +tied at the side, and allowed to trail on the floor; the hair arranged +in braids at the sides of the head, ornamented with large beads, +clasped with a silver band behind, and allowed to hang in short curls +in the neck. The ornaments should be entirely white. The three ladies +stand on a pedestal three feet high, and four feet in diameter; this +must be covered with black or green marble paper, and placed in the +centre of the stage. The centre lady stands facing the audience, with +the right hand raised above the head; the left clasps the hand of the +lady at the left side, who is looking into the eyes of the figure at +the right, and rests her right hand on the shoulder of the centre +figure. The figure on the other side stands in a graceful position, +resting her hands on the shoulder of the centre figure, and looking +into her face. The countenances of the three should express pleasure. +The light for the piece must be soft and mellow, and come from the +side of the stage. Music low and plaintive. + + + + +THE GUARDIAN ANGEL. + + Angels, joyful to attend, + Hovering round thy pillow bend, + Wait to catch the signal given, + And convey thee quick to heaven. + +One Female and One Male Figure. + + +This is a most pleasing tableau, and represents the good angel, in +whose existence and controlling power there is scarce any one so rude +as not to believe, attending a young boy, who looks reverently upward, +to heed the admonitions of his celestial companion. The lady who +personates the angel should be of good figure, tall and slim, with +fine features, and light curly hair. Costume consists of a loose white +dress, over which is worn a robe of white tarleton muslin; these +should be cut quite low in the neck, and long at the bottom; sleeves +long, and fitting tight to the arms; a wide mantle of tarleton muslin +worn across the breast, and allowed to trail with the dress at the +side. Large wings, formed of wire, covered with white muslin, and +ornamented with spangles, must be fastened to the back of the waist. +The hair should hang in ringlets, and be encircled with a band of +silver. The boy must be of small stature, good features, and have +long, light, curly hair. Costume consists of a loose short frock, made +of white cloth, trimmed around the collar and ends of sleeves with +white lace; white breeches, white hose, white shoes, and a small satin +sash about the waist. Both of the figures stand on a pedestal two feet +high by three square, which should be covered with black marble paper. +The angel stands in the centre of the pedestal, the left hand resting +on the boy's left shoulder, the right hand on his right shoulder. Her +head is turned away to the left, the eyes fixed on the floor, the +countenance pleasant. The boy stands a little to the right of the +angel, arms crossed on his breast, head turned sideways, and slightly +back, eyes fixed on the face of the angel. The crimson curtains, +without the fairies, that are used in the tableau of the "Dancing Girl +in Repose," may be placed over the group. The side curtains can be +held up at the side by crimson bands. A curtain of white gauze, drawn +across the front of the stage, will give a good effect to the tableau. +The light should be of medium brilliancy, and come from the front side +of the stage. Music soft, and of a sacred character. + + + + +THE PYRAMID OF BEAUTY. + + Beauty is as crystal in the torchlight, sparkling on the poet's page; + Virgin honey of Hymettus, distilled from the lips of the orator; + A savor of sweet spikenard, anointing the hands of liberality; + A feast of angel's-food set upon the tables of religion. + She is seen in the tear of sorrow, and heard in the exuberance of + mirth; + She goeth out early with the huntsman, and watcheth at the pillow + of disease. + + Science, in his secret laws, hath found out latent beauty; + Sphere and square, and cone and curve, are fashioned by her rules: + Mechanism met her in his forces, fancy caught her in its flittings, + Day is lightened by her eyes, and her eyelids close upon the night. + + Beauty is dependence in the babe, a toothless tender nursling; + Beauty is boldness in the boy, a curly rosy truant; + Beauty is modesty and grace in fair retiring girlhood; + Beauty is openness and strength in pure high-minded youth; + Man, the noble and intelligent, gladdeneth earth in beauty, + And woman's beauty sunneth him, as with a smile from heaven. + + TUPPER. + +Fifteen Female Figures. + + +This fine tableau contains fifteen female figures, who are arranged in +the form of a pyramid. They should be quite young, of good figure and +features. Their costume consists of a pure white dress, cut low in the +neck, sleeves five inches long, a white satin sash about the waist, +white shoes and hose, hair done up in a compact and tasty manner, and +encircled with a wreath of myrtle, while a small bouquet of flowers +is placed on the front of the waist. The pyramid must be first formed +of boxes, fastened firmly together, and covered with white cloth; five +ladies of the same height sit on the lower seat, four on the second +seat, three on the third seat, two on the fourth, and one on the fifth +and last. Each should be furnished with a garland of flowers fastened +to ratan three feet long; these must be held in the hands of the +ladies, making a complete network of flowers. The eyes should be +directed straight forward, countenance pleasant. The lights for this +piece are as follows: Just as the curtain begins to rise, a green fire +should be gradually thrown on to the stage, and slowly moved off; at +the moment it is leaving the picture, a red light steals over the +faces of the performers; this shade vanishes in the same manner, and a +purple light appears. This will give a happy effect, and can be +accomplished by burning the fires in large boxes placed on pivots at +the side of the stage, and by turning them at the proper time the +different colors can be thrown on the stage; a few of the side or +footlights may be burned at the same time, so that when the colored +lights are leaving the stage, the figures will still be seen. Music +accompanying the tableau, must be soft and plaintive. + + + + +CORONATION OF QUEEN VICTORIA. + + Within that rich pavilion, + High on a glittering throne, + A woman's form sat silently, + 'Midst the glare of light alone. + Her jewell'd robes fell strangely still-- + The drapery on her breast + Seem'd with no pulse beneath to thrill, + So stone-like was its rest! + + But a peal of lordly music + Shook e'en the dust below, + When the burning gold of the diadem + Was set on her pallid brow! + Then died away that haughty sound, + And from the encircling band + Step Prince and Chief, 'midst the hush profound, + With homage to her hand. + + MRS. HEMANS. + +Twenty Male and Ten Female Figures. + + +This magnificent tableau contains thirty figures, and, when exhibited +with proper scenery and wardrobe, is one of the best of this +collection. It should be used as a grand finale scene, and is arranged +in the following manner: A number of gentlemen's costumes must be +procured at a costumer's or a theatre. Ladies' costumes can be easily +prepared. + +At the back of the stage, at equal distances between the sides, erect +a throne. First build a platform five feet long, three feet wide, and +three feet high, with steps in front, all of which must be covered +with crimson cloth and gold paper. Over the platform place a canopy +made of purple cloth, and decorated with gold paper, cut to represent +fringe. Cover the wall back of the platform with the same material, +and in the centre place a large gold V; a large chair, trimmed with +scarlet and gold, should be placed on the platform, and tiers of seats +arranged on each side of the throne; these must form half circles, +reaching to the centre of the stage at the sides. Seated and standing +on the seats and platforms are the ambassadors, dukes, earls, and +officers, in their full dress. The queen dowager and other royal +female personages are intermingled among them. The lord steward, and +chamberlain stand near the side scenes in the foreground, while the +extreme background is filled up by the queen's guards. Standing on the +step in front of the throne is the archbishop, holding the crown. A +little to the left stands Victoria, her body facing the audience, and +bent forward slightly, head bowed, ready to receive the crown. At the +other side of the throne stands Prince Albert, dressed in rich +uniform. The ladies' costumes consist of rich silks and brocades, +ornamented with gold lace, paste pins, brooches, &c.; the hair +arranged to suit the taste of the performers, and encircled with a +band of gold, to which fasten a colored plume. The attention of all +should be directed to the queen. The archbishop's costume consists of +a black robe, large white sleeves, white handkerchief, with square +ends, hanging on the breast, and white wig. Queen Victoria's costume, +if not procured at a costumer's, consists of a white satin or silk +dress, with a long trail, and four flounces on the skirt, each flounce +ornamented with a band of gold paper three inches wide, covered with +open lace. The top of the waist and bottom of the sleeves decorated in +the same manner. A belt of crimson velvet, covered with spangles and +small paste pins, encircles the waist; the sleeves should be open, and +fastened across with gilt cord, terminating in tassels, which fall on +the arms; white kid gloves, bound around the top with a band of +silver, ornamented with wax beads and spangles; a long ermine scarf +should be thrown gracefully over the shoulders, and trail to the +floor. The ermine can be imitated by inserting small pieces of black +shag in white cotton flannel. The hair may be done up in a neat coil, +and ornamented with wax beads and gilt pins. A long white veil of lace +is fastened to the back of the head, and allowed to trail to the feet. +The crown can be made of card-board, covered with gold paper and +brilliant paste pins. The steward and chamberlain each holds a staff +with a large gilt spear-head and tassels at the top. Costume consists +of showy suits, similar in style, head covered with low-crowned +Kossuth hat, ornamented with a gold band and white lace. The guards +must be placed in the extreme background, on high platforms; they +stand perfectly erect, and face the audience. The scene should be +brilliantly lighted by lamps at the front and left side of the stage. +The booming of cannon is heard in the distance. Music of a majestic +style. + + + + +THE BRIGANDS. + + The gray morn + Dawns on the scene; the sulphurous smoke + Before the wind slow rolls away, + And the bright beams of morning dance + Along the spangled snow. There scattered arms, + And lifeless warriors, whose hard lineaments + Death's self could change not, mark the dreadful path + Of the outsallying victors. + + SHELLEY. + +One Female and Five Male Figures. + + +A scene representing a band of brigands in their mountain fastness, on +the watch for plunder and rapine. The scenery in the background should +resemble ragged rocks, made by fastening brown paper in a rumpled +manner to a frame of wood, and shaded with light and dark-brown +paints. This must extend two thirds across the stage, three feet from +the extreme background. The sides should be covered with similar +scenery. The floor is strown with small boxes, to give it an uneven +appearance, and covered with buffalo robes. Two of the brigands are +seated at one side of the stage, engaged in playing cards; one is +reclining in the foreground asleep; another is leaning against the +rocks, resting his arms and body on his carbine, while the chief is +standing at the end of the ledge in the background, pointing with his +right hand into the open space beyond. Behind him stands his wife, to +whom he is in the act of speaking, and directing her attention to the +road in the distance. She is stooping forward, endeavoring to see the +objects which he points out. The costume of the brigands consists of a +frock coat ornamented with large gilt buttons, and trimmed around the +bottom with colored cloth; bright-colored vest bound around the front +and bottom with fancy ribbon; black handkerchief tied loosely in the +neck; knee breeches and hose, with a band of showy cloth around the +top, fastened with a brilliant paste pin or silver buckle; low shoes; +red or blue sash about the waist; high-crowned black felt hat, +ornamented with red binding, wound in a spiral manner from the rim to +the top of the hat, and a colored feather at the side. The coat can be +decorated in a more profuse manner, if desired; each must be furnished +with musket and pistols. The chief's dress should be of richer +material, and more profusely decorated than the other characters. The +wife's costume consists of a scarlet skirt, black velvet waist open in +front and laced across with pink ribbon, a showy scarf tied about the +head, the ends falling on the shoulders; the neck and arms ornamented +with brilliant jewelry; a morocco belt encircles the waist, to which +is attached a small dirk. The two card-players are looking at their +cards, countenances expressing deep thought. The one who stands facing +the audience looks to the floor. The one that is asleep should lie in +a position so that the countenance can be seen, the head resting on +the hand, eyes closed. The wife's position is, standing so that a side +view of the countenance is had. The chief stands in front of her, and +in the same position, but the head is turned around so as to face the +audience; the countenances of both expressing curiosity and +excitement. The face and other exposed parts of the persons of all the +figures must be colored light-brown, and the men wear heavy beards. +The light for this scene should come from a red fire, burned in small +quantities at the front side of the stage. No music will be required +for the piece. + + + + +DEATH OF SIR JOHN MOORE. + + Not a drum was heard, not a funeral note, + As his corpse to the ramparts we hurried, + Not a soldier discharged his farewell shot + O'er the grave where our hero was buried. + + WOLFE. + +Twenty Male Figures. + + +The battle of Corunna, so disastrous to the British army, was fought +January 16, 1809. Sir John Moore arrived in Spain in November, 1808, +with a British army, and having advanced some distance into the +country, he found himself compelled to make a rapid retreat. He was +closely followed by the French under Marshal Soult, who attacked the +British as they were embarking. Sir John Moore, while earnestly +watching the result of the fight about the village of Elrina, was +struck on the left breast by a cannon shot; the shock threw him from +his horse with violence; he rose again in a sitting position, his +countenance unchanged, and his steadfast eye still fixed upon the +regiments engaged in his front; no sigh betrayed a sensation of pain; +but in a few moments, when he was satisfied that the troops were +gaining ground, his countenance brightened, and he suffered himself to +be taken to the rear. As the soldiers placed him in a blanket, his +sword got entangled, and the hilt entered the wound. A staff officer +attempted to take it off, but the dying man stopped him, saying, "It +is as well as it is. I had rather it should go out of the field with +me." And in this manner, so becoming to a soldier, Moore was borne +from the field. Several times he caused his attendants to stop and +turn him around, that he might behold the field of battle. Night soon +darkened the scene; the rumbling of baggage wagons, and the occasional +booming of the distant cannon, alone disturbed the mournful silence of +the scene; here and there the flames of burning villages shed a +portentous light through the gloom. At length, to break the mournful +silence, and to express the sympathy they might not speak, the band +played a requiem for the dying general. The solemn strains arose and +fell in prolonged echoes over the field, and swept in softened +cadences on the ear of the dying warrior. Moore breathed faintly for a +few hours, and before the morning dawned he had passed away. His +corpse was wrapped in his military cloak, and was interred by the +officers of his staff on the ramparts of Corunna--an event which is +commemorated in the beautiful verses of Wolfe, the guns of the enemy +paying him funeral honors. Soult, with a noble feeling of respect for +his valor, raised a monument to his memory. Thus ended the career of +Sir John Moore, a man whose uncommon capacity was sustained by the +purest virtue. His tall, graceful person, dark, searching eyes, +strongly defined forehead, and singularly expressive mouth, indicated +a noble disposition and a refined understanding. He maintained the +right with a vehemence bordering upon fierceness, and every important +transaction in which he engaged increased his reputation for talent, +and confirmed his character as a stern enemy to vice, a steadfast +friend to merit, a just and faithful servant of his country. + +_Description of Tableau._--This magnificent scene contains twenty +figures. On the centre of the stage, reclining on an English flag, is +Sir John Moore, his countenance pale and deathly. He is dressed in +rich uniform, which is described in the latter part of the tableau. +His position is, lying across the stage, his face turned to the +audience. At his feet stand two Highland soldiers, leaning on their +muskets, and gazing on the dying man. A soldier with a bandage around +his head is kneeling in front of them; one hand grasps the flag, the +other points to the background; countenance expressing terror. At the +head of Moore, partially stooping and holding the end of the flag, are +two officers in full uniform; two other officers are seen back of the +body, who are also grasping the flag and gazing on the face of the +dying hero; three soldiers are kneeling in the foreground, their +attention fixed on Moore; back of this group, on a platform one foot +high, is seen a platoon of soldiers, one of which holds an ensign; +their backs should be towards the audience, muskets to the shoulder, +and position of soldiers marching hastily from the field in retreat; +still further in the background, on a platform four feet high, is +placed a second platoon, who are in the same position; one or two in +each rank are looking back to the group in front; two soldiers +directly back of Moore are levelling their muskets to the enemy in the +distance. Cannon, muskets, drums, and swords should be strown +carelessly on the stage, while a small quantity of smoke must be made +to hover over the scene, and the booming of cannon imitated in the +distance. Moore has one hand pressed to his breast; the other is held +by one of the officers at his side. The costumes of the officers +should be as varied and brilliant as can be procured. Scarlet coats +would be most appropriate. The scene must be illuminated by a red fire +burned at the right side of the stage. Music of a mournful and sacred +order. + + + + +THE FIREMAN'S RESCUE. + + And the flames in thick wreaths mounted higher and higher; + O God! it is fearful to perish by fire. + +Two Female and Eight Male Figures. + + +This tableau represents a dwelling-house, the interior of which is +enveloped in flames. The front door stands open, displaying a flight +of steps, on which is a heroic fireman descending from the burning +chamber, with a beautiful child clasped in his arms, which he has +rescued from the raging element. Kneeling on the step outside of the +door are the parents of the child; their hands are clasped and raised +upward, their eyes fixed on the doorway, countenance expressing +intense excitement. Two firemen in the foreground are seen holding a +hose pipe and hose; two others, at the extreme end of the stage, are +screwing the other end of the hose to a hydrant; another stands ready +with an axe to break in the windows. The captain's position is on the +step of the house; he holds a trumpet in his hand, and is giving +orders to his men. The firemen should be dressed in full uniform, the +mother in white, and hair hanging loose over the shoulders; the +father's costume should be dark, and the child dressed in a long white +robe. The scenery of this piece consists of a frame the width of the +stage, and rising from the floor to the ceiling, painted to represent +brick, with mouldings, frame, cornice, &c. A door may be placed in the +centre, and a window on each side. The stairs should be as wide as the +door, and run up five feet, and covered with carpeting; fire and smoke +must be painted as coming from the windows. A red fire burned behind +the back scene will light it up with fine effect. The light for the +front of the picture should be of medium brightness, and come from the +side of the stage. Fire bells can be imitated in the ante-rooms. + + + + +CATHARINE DOUGLASS BARRING THE DOOR WITH HER ARM. + + Though perils did + Abound, as thick as thought could make 'em, and + Appear in forms more horrid; yet my duty, + As doth a rock against the chiding flood, + Should the approach of this wild river break, + And stand unshaken yours. + + SHAKSPEARE. + +One Female and Six Male Figures. + + +Unattended even by a body guard, and confiding in the love of his +subjects, James I. of Scotland was residing within the walls of the +Carthusian monastery at Scone. Graham of Stratham seized the occasion, +and brought down a party by night to the neighborhood. Seconded by +traitors within, he gained possession of the gates and interior +passages. The king's first intimation was from his cup-bearer, who, on +leaving the king's chamber, found the passage crowded by armed men, +who answered his cry of alarm by striking him dead. The noise reached +the royal chamber; a rush of the assassins followed; and Catharine +Douglass, one of the queen's maids of honor, springing forward to bolt +the door, found the bar had been clandestinely removed. With resolute +self-devotion she supplied the place with her naked arm.--To present a +view of the interior of the room, and the passage outside, it will be +necessary to place a partition from the front of the stage, near the +footlights, to the left hand corner in the background. In the +smallest apartment stands Catharine Douglass. The partition running in +this manner will give to the audience a view of the door and iron +fastenings through which the arm of the heroine passes, and also the +passage where the assassins stand. The partition should be made of +light strips of wood, covered with cheap cloth, and painted to imitate +the interior of a room. The door must be quite near the front, of +Gothic form, studded with large nails; two iron sockets, four inches +square, should be placed on the door and frame; a mahogany table, +globe lamp, chairs, carpets, and engravings may be placed in the inner +room; the outer apartment should be empty. The lady who personates the +heroine must be of good figure, tall and stout, fine features, and +have long black hair. Costume consists of a blue silk dress, pink +waist, sleeves five inches long, bordered on the edge with black +crape, under sleeves of white tarleton muslin reaching to the wrist, a +yellow scarf tied loosely around the waist, hair flowing loosely over +the shoulders, a plaid scarf fringed on the ends with gold, bound +around the head, the ends hanging in the neck. Position, facing the +audience, the right arm bare, and thrust through the first socket, the +hand grasping the second; the left is pressed against the door above +the fastening; the head inclined towards the door, body perfectly +upright, eyes looking straight forward with intensity, countenance +expressing firmness. The assassins, to the number of six, stand around +the outside of the door; each is costumed in a black coat trimmed +around the edge and collar with green, and ornamented with large gilt +buttons; colored vests, cut very long and trimmed with black binding, +knee breeches of light color, black hose, and a band of bright-colored +cloth around the top, low shoes, shoe and knee buckles, black felt hat +turned up at one side and ornamented with a colored plume and gilt +band, belt around the waist, side arms and pistols; the face covered +with a shaggy beard. Each one grasps a sword, and is in the act of +running towards the door, the left hand extended, the right with the +sword raised on high, eyes directed to the door, countenance +expressing excitement. The light should come from both sides of the +stage, the room in which the heroine stands being the lightest. Music +wild and animating. + + + + +THE MASQUERADE BALL. + + 'Tis known--at least it should be--that throughout + All countries of the Catholic persuasion, + Some weeks before Shrove Tuesday comes about, + The people take their fill of recreation, + And by repentance, ere they grow devout, + However high their rank or low their station, + With fiddling, feasting, dancing, drinking, masking, + And other things which may be had for asking. + + BEPPO. + +Ten Female and Twelve Male Figures. + + +The masked balls, which supersede any other feature of the carnival in +attraction, were introduced under the reign of the Duc d'Orleans. A +great inconvenience was experienced in the want of an apartment +sufficiently spacious to receive the hundreds which thronged to them. +At length the Chevalier de Bouillon conceived a plan of converting the +opera house into a ball room, and a friar named Sebastian invented the +means of elevating the floor of the pit to a level with the stage, +lowering it at pleasure. The project succeeded, and the first masked +ball at Paris was held on the 2d of January, 1716. They are now given +both before and during the carnival, at nearly all the theatres in +Paris, as well as at most of the large ball rooms. The leading +masquerade ball of the carnival, which reunites the best society and +the most gorgeous costumes, is decidedly that which takes place at the +Academy of Music or French Opera House. The greater portion of the +company go in character, although gentlemen may appear in plain +clothes, if they choose, and unmasked. Dancing appears to be the whole +and sole motive of the guests, and dance they do, with a vivacity and +untiring spirit that could only be found in a land so especially +devoted to the worship of Terpsichore as France. In all the ball rooms +parties of the Municipal Guard are in attendance to preserve order, +and should any of the guests transgress the ordinary rules of decorum, +they are immediately consigned to the lock-up of the nearest +_corps-du-garde_. The most prevalent dress at the balls is that of the +_Debardeur_. It is a piquant costume, and consists of dark velvet +pantaloons, with satin stripe down the side, ornamented with bright +studs, a pink or white shirt, red sash, and a glazed hat with +tri-colored streamers, or small bonnet and wig, with cue behind. +Considerably more than half of the carnival masques take up this +dress, the remainder attiring themselves as hussars, pierrots, and all +sorts of eccentric and anomalous costumes. The balls are kept up until +six o'clock in the morning. + +This tableau can be represented by ten couples. The ladies and +gentlemen can dress to suit their own taste. The wardrobe of the +company will contain a sufficient number of suits to fit out the +tableau. A few of the comic and grotesque costumes should be +intermingled, and all the figures wear masks of various patterns. The +performers are engaged in dancing the schottische. The ladies and +gentlemen must form in couples around the sides and back of the stage. +A platform at the rear may be occupied by musicians in fanciful +costume. The stage should be illuminated by a purple fire. Music, the +schottische. + + + + +IRISH COURTSHIP. + +One Female and One Male Figure. + + +This comic tableau represents a young Irishman engaged in courting his +true love. The stage should be furnished with kitchen furniture, a +small stove, &c. The back of the stage can be hung with cheap room +paper. Bridget is seated at a table in the centre of the stage, +engaged in sewing. Her costume consists of a white dress and blue +apron. Patrick is seated near her, smoking a short pipe. Costume +consists of velvet coat and breeches, white hose, large shoes, with +hob nails in the soles, buff vest, red wig, face and hands painted tan +color. His left leg is placed across the right knee, hands placed in +his pants pocket, eyes fixed on Bridget, countenance expressing +curiosity. Music, Irish air. + + + + +THE FAIRIES' OFFERING TO THE QUEEN OF MAY. + + Now the bright morning star, day's harbinger, + Comes dancing from the east, and leads with her + The flowery May, who from her green lap throws + The yellow cowslip and the pale primrose. + Hail, bounteous May! that dost inspire + Mirth and youth with warm desire; + Woods and groves are of thy dressing, + Hill and dale doth boast thy blessing. + Thus we salute thee with our early song, + And welcome thee and wish thee long. + +Twenty Female Figures. + + +So sings Milton to the sweet Birdmonth--he whose mighty mind "nigh +sphered in Heaven," hymned the soft beauty of the first day that +dawned upon the infant world, which surely must have been a +May-morning. + + "Sweet day, so calm, so pure, so bright, + The bridal of the earth and skies." + +What must have been a May-morning in Paradise, when even now, in the +homeliest districts, it gladdens the heart of man with its advent of +young flowers and budding leaves and sweetly singing birds! It seems +to be Nature's own birthday, throughout the varied kingdoms of her +living world. All countries have greeted the welcome arrival of this +fair day, but none more so than old Pastoral England, in the time of +her elder poets. Time was, when, from the court to the cottage, all +"rose up early to observe the rite of May;" some went a +"dew-gathering," a sort of rustic love-spell that was sure to enchant +every maiden, gentle or simple; others to "fetch in May"--a rivalry +that "robbed many a hawthorn of its half-blown sweets;" and others set +their wits to work to get up some pretty device, some rural drama, one +of which our tableau represents. + +The Fairies' Offering to the Queen of May is a tableau of great +excellence and artistic beauty. The Queen of May is seated on a floral +throne in the background, which is situated upon a platform about six +feet high, with broad steps extending across the stage and to the +footlights. These should be covered with green bocking, and on them +are grouped the fairies, who are offering to the queen, baskets, +bouquets, and garlands of flowers. On the lower step are other fairies +ascending to the throne, and bearing baskets of fruit and flowers on +their heads. The number of figures in the piece is twenty, nineteen of +which are young misses, quite small and pretty, and one a beautiful +maiden, who takes the part of the May Queen. + + You must wake and call me early, call me early, mother dear; + To-morrow'll be the happiest time of all the glad New-year; + To-morrow'll be of all the year the maddest, merriest day, + For I'm to be Queen o' the May, mother, I'm to be Queen o' the May. + + TENNYSON. + +The stage scenery must be arranged in the following order: A large arm +chair, with a shaft running up from the back, to which is attached a +canopy, will answer for the throne chair; cover it with green cambric, +and decorate with garlands and bouquets. This chair should rest on the +platform, which is six feet long, three feet wide, and covered with +French patch. A large gilt vase, containing a bouquet, must be placed +at each corner. The queen's costume consists of a white robe, +decorated with flowers, a garland about the head, the right hand +grasping a wand trimmed with silver and gold paper, the body inclined +forward slightly, the left hand extended, in the act of taking a +bouquet from one of the fairies, whom she is looking at; her +countenance is lighted up with smiles. Care should be taken that the +fairies who are grouped around the throne do not take the view from +the queen. The fairies' costume consists of a short white dress, +flesh-colored hose, white slippers, and hair done up in ringlets. The +sleeves of the dress made quite short, waist and skirt ornamented with +gold bands and spangles, a wreath of pure white flowers, intermingled +with myrtle, on the head, and a portion of them wearing gauze wings, +studded with spangles. Four of the fairies are to be grouped around +the foot of the throne, on the top step. They stand or kneel, so that +a partial side view is had of the body; hands extended, and holding +bouquets or garlands; eyes fixed on the queen; countenance pleasant. +The rest of the misses must be placed on each side of the steps, +assuming a variety of positions, and each have fruits or flowers. +Those at the lower part of the steps can stand near the sides of the +stage, which will allow those above to be seen. The scene should be +illuminated by a trio of fires, consisting of green, purple, and red, +burned at the side of the stage. For directions, see Pyramid of +Beauty. Music soft and animating. + + + + +BELSHAZZAR'S FEAST. + + Joy holds her courts in great Belshazzar's hall, + Where his proud lords attend their monarch's call; + The rarest dainties of the teeming East + Provoke the revel and adorn the feast. + But why, O king, + Why dost thou start, with livid cheek?--why fling + The untasted goblet from thy trembling hand? + Why shake thy joints? thy feet forget to stand? + Why roams thine eye, which seems in wild amaze + To shun some object, yet returns to gaze, + Then shrinks again, appalled, as if the tomb + Had sent a spirit from its inmost gloom? + + Awful the horror, when Belshazzar raised + His arm, and pointed where the vision blazed; + For see! enrobed in flame, a mystic shade, + As of a hand, a red right hand displayed, + And, slowly moving o'er the wall, appear + Letters of fate and characters of fear. + In death-like silence grouped the revellers all, + Fixed their glazed eyeballs on the illumined wall. + + T.S. HUGHES. + +Seven Female and Eight Male Figures. + + +This sacred tableau is represented as follows: At the left of the +stage, Belshazzar is seated on his throne. At his side stands his +wife. Consternation and affright are depicted on their countenances. +At the opposite side of the stage stand three wise men. In the centre +of the stage is the feast table, covered with silver dishes, +candlesticks, and refreshments. Around it are gathered the guests. In +the background, on a platform, are seen a group of servants. The +handwriting is placed on the back scenery, opposite to the group of +servants. The number of figures in the piece is fifteen--eight +gentlemen and seven ladies. The scenery in the piece consists of a +table six feet long, two and a half feet high, and three feet wide, +covered with a green cloth, fringed with gold paper, on this are +placed a silver tea set, cake baskets, candlesticks, and refreshments. +The throne chairs should be placed on a platform at the left of the +stage, near the front; the platform can be formed of boxes, and must +be four feet square and two feet high, covered with crimson cloth, +trimmed with gold paper; two large chairs, with a canopy over the top, +will answer for the throne; one occupied by Belshazzar, the other by +his wife. Low seats around the table will be needed for the guests; +the seats can be covered with white cloth; showy pictures, in rich +frames, adorn the walls, and pedestals and statuary fill the corners +of the room. The writing on the wall can be produced by means of a +transparency, the words made large, and the letters in German text, +with a halo around the whole sentence. Belshazzar's costume consists +of a purple velvet coat trimmed with gold, a large cloak trimmed with +ermine, velvet breeches, white hose crossed with red tape, sandals on +the feet, and a velvet and gold crown on the head. His wife should be +dressed in a showy brocade, cut low at the top, short sleeves, a band +of black velvet ornamented with gold placed on the head, and a narrow +mantle worn over the shoulder. The dress must be ornamented with rich +jewelry, gold bands, and a wide belt of red velvet, decorated with +paste pins, around the waist. The three wise men's costume consists of +long, loose coats, reaching six inches below the knee, and gathered in +at the waist with a wide belt. Each coat should vary in color from the +others. They can be made of cambric. Colors, red, purple, and blue, +with the edges trimmed with cloth of some other color. Black hose, +crossed with red, reach to the knees, low shoes, covered with red +Turkey cloth, on the feet, and a turban of bright colors on the head, +the face covered with a long white beard--this can be made of flax. +The ladies at the table must be costumed in silk or satin dresses, +ornamented with spangles, and any kind of jewelry that will look +showy; hair decorated with spar beads, hair pins, and plumes. The +gentlemen's costume consists of rich velvet suits; long beards. +Servants in short white coats, with border on the bottom, red +breeches, white hose, and light felt hats with gold bands. +Belshazzar's position is in the chair near the footlights; body +inclined back, arms thrown up, eyes fixed on the writing, countenance +expressing affright. His wife is seated in the second chair, one arm +resting on the shoulder of her husband, the other raised in front of +the face, eyes directed to the writing. The wise men stand opposite to +the throne, at the extreme end of the stage, near the footlights; +their backs are to the audience; the heads of two are turned to the +king, giving a side view of their faces. One of them points to the +writing. The party at the table must assume a variety of natural +positions; a few look with astonishment, and point at the writing; +others are engaged in eating and drinking. The servants stand in the +background, and are all looking at the writing. A few lean forward and +point to the wall; others take position as if about to flee from the +room; the countenances of all express terror. The scene should be +lighted by a brilliant red fire burned at the side of the stage +opposite Belshazzar. Music, operatic style. + + + + +THE VALENTINE. + + "I smile at Love and all his arts," + The charming Cynthia cried; + "Take heed, for Love has piercing darts," + A wounded swain replied. + "Once free and blessed, as you are now, + I trifled with his charms, + I pointed at his little bow, + And sported with his arms; + Till, urged too far, 'Revenge!' he cries; + A fatal shaft he drew; + It took its passage through your eyes, + And to my heart it flew." + + J. VANBURGH. + +Two Female and Two Male Figures. + + +This tableau is represented by four persons--two young ladies, and two +small lads. One of the young ladies is seated on a sofa, which is +placed in the centre of the stage. She holds a valentine in the left +hand, and points at it with her right. Her head is turned around to a +young lady who stands behind the sofa. The countenance expresses +mirth. The lady standing behind the sofa rests her right arm on the +shoulder of her friend, and is looking to the valentine, her body +inclined forward slightly, face beaming with smiles. Costume consists +of a white dress, pink apron trimmed with green, hair done up in wide +braids at the side of the head, and ornamented with a few flowers. The +costume of the lady seated, consists of a white dress, buff apron +trimmed with purple, hair hanging in ringlets, and ornamented with +blue ribbon. On each side of the stage, within one foot of the +curtain, place pedestals; they should be three feet high, two feet +square, with cap and base, and covered with white marble paper or +cloth, and decorated with a wreath of flowers on the front. On those +stand the young lads, dressed to represent Cupids. Position is, facing +the group in the centre of the stage, attitude of one running; one of +them holds on high a large sealed letter. The other holds a small +tablet in one hand, and a quill in the right; these must be extended +towards the centre of the stage. Their costume consists of a short +gauze dress, cut low at the top and decorated with spangles, pants of +flesh-colored cloth, reaching to the ankles and fitting tightly to the +legs, flesh-colored hose, white slippers, gauze wings fastened to the +back of the body, and decorated with spangles and silver stars. A +small quiver, formed of card-board, covered with blue and gold paper, +filled with arrows and bow, suspended from the neck; a low-crowned +hat, with a wide brim, covered with pink cambric, and decorated with a +wreath of flowers, covers the head; the eyes directed to the group on +the sofa, countenance expressing pleasure. The background may be +ornamented with pictures and statuary. The light for this piece must +be of medium brilliancy, and come from the right side of the stage. +Music soft. + + + + +THE FAIRIES' RAINBOW BRIDGE. + + Love and Hope and Youth, together + Travelling once in stormy weather, + Met a deep and gloomy tide, + Flowing swift, and dark, and wide. + 'Twas named the River of Despair,-- + And many a wreck was floating there. + The urchins paused, with faces grave, + Debating how to cross the wave, + When, lo! the curtain of the storm + Was severed, and the rainbow's form + Stood against the parting cloud, + Emblem of peace on trouble's shroud. + Hope pointed to the signal flying, + And the three, their shoulders plying, + O'er the stream the light arch threw-- + A rainbow bridge of loveliest hue! + Now, laughing as they tripped it o'er, + They gayly sought the other shore. + + ANON. + +Three Male Figures. + + +This brilliant tableau represents a rippling stream of water, with +luxuriant banks on either side, spanned by a beautiful rainbow. A +party of fairies, wishing to pass the stream, have made use of the +rainbow as a bridge. One of them is seen in the centre of the bridge, +holding a golden wand, with which he endeavors to balance himself in +his passage over the water. Standing on the right bank, near the end +of the bridge, is a fairy who has safely passed over, and is +encouraging his friend on the opposite side to make the trial, who is +seated on the grass arranging a bunch of flowers. The scenery of the +piece can be adjusted in the following manner: Boxes two feet wide +and three feet high placed on each side of the stage, from the front +to the background, and covered with green bocking, will answer for the +banks of the river. A few branches of spruce, intermingled with +flowers, should be fastened to the side scenes, and a few spruce trees +arranged in the background. At the front end of the banks place showy +vases of flowers; and at the other end, on pedestals two feet high, +place larger vases, containing bouquets. To make the river show to +advantage, it will be necessary to arrange it in the form of an +inclined plane. Strips of wood placed across the stage at a distance +of one foot from each other, on a rise of two inches to a foot, and +covered with blue cambric, will answer for the river. Let the cloth +festoon between the strips, paint the ridges of the miniature waves +with white paint, and sprinkle them with small particles of isinglass. +On the foreground of the scene place two swans, and around the edges +of the banks fasten pieces of spruce and grasses. The bridge should be +made slightly oval, and placed in the centre of the stage. Three +stringers, sawed out of inch board, and covered with lathes two feet +long, will answer for the flooring. This can be entirely hid from view +by a railing on the front side, and is made as follows: Manufacture a +frame to correspond with the curve and length of the flooring, and +twelve inches in width; cover it with white cloth, and paint it to +represent a rainbow; the colors may be purple, crimson, yellow, green, +and white; lights placed behind it, will give a fine effect. The +fairies' costume consists of a short muslin dress, with a border three +inches wide, of pink muslin, decorated with gold stars--the white +muslin ornamented with silver spangles and stars; flesh-colored hose, +white slippers, a band of silver, ornamented with paste pins, about +the head, and small wings attached to the back of the dress,--the +wings formed of wire, covered with gauze, and ornamented with endless +bands of blue tarleton muslin, ornamented with silver spangles. Each +holds a gold wand three feet long. The position of the fairy on the +bridge is such that a side view is had of the form, while the face is +turned towards the front of the stage. The wand is grasped in the +centre, and held across the bosom. The countenance expresses pleasure. +The fairy who has passed over is standing at the end of the bridge, +partly facing the audience, with both hands extended towards his +friend, his countenance expressing mirth. The fairy on the other bank +is seated on the ground arranging flowers. He faces the audience, and +is looking at a large rose which he holds in his right hand. This +scene must be illuminated by green, red, and yellow fire, which is +described in the tableau of the "Pyramid of Beauty." Music, light and +animating. + + + + +LITTLE EVA AND UNCLE TOM. + + Dry thy tears for holy Eva, + With the blessed angels leave her; + Of the form so sweet and fair + Give to earth the tender care. + + For the golden locks of Eva + Let the sunny south land give her + Flowery pillows of repose, + Orange bloom and budding rose. + + J.G. WHITTIER. + +One Female and One Male Figure. + + +This tableau is one that can be easily produced, and will not be +expensive. It represents little Eva seated in an arbor by the side of +Uncle Tom. She has a large Bible before her, which she is reading and +explaining to her friend. A rustic arbor can be made of strips of +wood, covered with white cloth, and painted to resemble slats and +running vines; the dimensions of which are six feet high, four feet +wide, and three feet deep. A rough seat at the back part is occupied +by Eva and Uncle Tom. A festoon of artificial flowers and spruce +should be arranged in front, and a large spruce tree placed on either +side. The person who personates Uncle Tom must be one of large figure +and pleasant countenance. Costume consists of a coat of coarse +material, white pants, light vest, colored handkerchief tied about the +neck, striped hose, low shoes, a wig of black, curly hair, and a +wide-brimmed straw hat, which lies on the ground by his side. The wig +can be formed of curled horse-hair, fastened to a covering made to fit +the crown of the head. Color the exposed parts of the body black, the +lips red. Little Eva should be quite small, pretty, and have long +light curls. Her costume consists of a white dress, trimmed at the top +and around the sleeves with pink ribbon; a straw hat, trimmed with +wild flowers, which hangs by the strings on her arm, and dark shoes. +Uncle Tom is seated on one side of the seat, his legs crossed, body +bent forward slightly, hands placed on his knees, his head turned +towards Eva, and eyes fixed on the Bible with an expression of +pleasure and earnestness. Eva is seated at his side, with her feet +resting on a small stool, one hand placed on Uncle Tom's arm, while +with the other she points to the pages of the Bible. Her face is +turned towards her friend. The countenance expresses sadness. A small +quantity of light is required for the piece, which should come from +the left side. Music, soft and plaintive. + + + + +LOVE TRIUMPHANT. + + In peace, Love tunes the shepherd's reed; + In war, he mounts the warrior's steed; + In halls, in gay attire is seen, + In hamlets, dances on the green. + Love rules the court, the camp, the grove, + And men below, and saints above; + For love is heaven, and heaven is love. + + SIR WALTER SCOTT. + +One Female and Two Male Figures. + + +This beautiful classic tableau represents two figures, a youth and a +maiden, supporting Cupid on their shoulders. The two persons who take +these parts should be of good figure and of equal height. The maiden's +costume consists of a white dress, cut low at the top, sleeves short; +a gauze scarf draped across the breast, tied at the side, and allowed +to trail on the floor; white shoes, hair hanging loosely over the +shoulders, the head encircled with a wreath of spar beads and white +flowers. The right hand grasps a garland of white flowers, while the +left helps to support the boy Cupid. The youth's costume consists of a +white coat, vest, breeches, hose, cravat, and shoes. Across the left +arm hangs a white mantle; the hand grasping a shepherd's crook, which +is four feet long, and painted white. The boy Cupid must be quite +small, and costumed in a short gauze dress, white hose, and shoes; a +white quiver, bow and arrows, must be suspended from the neck by a +satin ribbon, and small gauze wings fastened to the back of the +dress. The right hand grasps a torch, which is held above the head. +This can be made of card board, the flame imitated by gold paper. His +head is turned towards the maiden, into whose eyes he is looking, +countenance expressing mirth. The two figures stand on a pedestal two +feet high and four feet in diameter, covered with black marble paper, +and placed in the centre of the stage, the right arm of the gentleman +and the left arm of the maiden crossed so as to make a seat for the +boy; both assume attitudes of persons in the act of walking, and look +up with delight into the face of the boy. The front of the stage, if +covered with white gauze, will add to the beauty of the scene, which +is intended to represent statuary. Light should come from the side of +the stage, and of medium brilliancy. Music, soft and plaintive. + + + + +THE BANDITTI. + + But wilder sounds were there; th' imploring cry + That woke the forest's echo in reply, + But not the heart's! Unmoved, the wizard train + Stood round their human victim, and in vain + His prayer for mercy rose; in vain his glance + Look'd up, appealing to the blue expanse, + Where, in their calm, immortal beauty, shone + Heaven's cloudless orbs. With faint and fainter moan, + Bound on the shrine of sacrifice he lay, + Till, drop by drop, life's current ebb'd away; + Till rock and turf grew deeply, darkly red, + And the pale moon gleam'd paler on the dead. + +Two Female and Eight Male Figures. + + +This tableau represents a travelling party attacked on the mountains +of Italy by a company of outlaws. It is one which can be easily +formed, and contains ten figures, five of which are men dressed to +represent banditti; the other personations are an old gentleman, his +daughter, a young officer and wife, and coachman. The floor of the +stage should rise gradually from the fore to the background. This can +be accomplished with boxes and boards covered with green bocking. The +bandit's costume consists of a dark coat, open in front, showing a +colored shirt, breeches of bright-colored cloth, white hose, knee and +shoe buckles, low shoes, red scarf about the waist, in which are +pistols and short sword, black felt hat, slouched, with a red band and +colored plume; heavy beard, face and neck slightly stained +light-brown; the coats can be trimmed with gaudy binding, if +desirable. The old gentleman's costume consists of black coat, light +pants and vest, light cravat, white wig, light hat, face painted to +imitate age. The officer's dress can be quite showy or very plain. If +a full military costume cannot be procured, the following will answer: +Dark frock coat, buttoned to the neck, and ornamented with large gilt +buttons and shoulder straps, black pants with buff stripe, flat cap +with gilt band, side arms and sash. The officer's wife is dressed in a +showy silk robe; hair arranged to suit the performer's taste. The old +man's daughter is costumed in a white dress, pink silk apron, small +straw hat trimmed with green ribbon. Coachman's costume is, a long, +dark coat, buttoned to the chin, light pants, long boots, black silk +hat, with a leather strap and a number in gold in front, black belt +around the waist, the right hand grasping a long whip. A +representation of the side of a coach, covered with cloth painted in +proper style, and placed in the background, will add much to the +effect. In the centre of the stage place a large trunk filled with +clothing, the cover thrown back so as to display the contents. +Watches, jewelry, and other articles of value should be strown +promiscuously about, while one of the bandits is seen kneeling over it +with a heavy watch and chain in his hand. Back of the trunk stand the +officer and a brigand. The officer has a large wound across the +temple, and attempts to rescue his wife, who is being dragged away by +one of the brigands in the background; he stretches out his arms +towards, and looks upon her, but is kept from her by the strong arm +of the ruffian at his side, who grasps him by the collar, and holds a +bloody sword above his head; the brigand partially faces the audience; +the officer stands in a side position; the wife is seen kneeling in +the background, with hands clasped and eyes raised to a brigand, who +grasps her by the hair of the head with the left hand, and presents a +pistol at her with the right. At the left of the trunk is seen the old +gentleman. One of the ruffians grasps him by the throat, as if in the +act of strangling him. The old man holds a watch in the left hand; the +right is thrown upward. His position is, facing the audience; +countenance expressing terror and excitement. At the right of the +trunk kneels the coachman, with hands tied behind his back, which is +turned to the audience, head thrown backward so that a partial side +view is had of the features. A few paces in front of him, and facing +the audience, is seated a brigand, on the top of a portmanteau; he is +smoking a short pipe, and with the right hand points a pistol to the +face of the figure kneeling in front of him. Between him and the wife +lies the young girl, who has fainted from affright. She lies with her +head to the back of the stage, arms stretched out on the grass, and +eyes closed. The stage should be illuminated by brilliant lights +placed at the left side of the stage. The sound of rain and thunder +may be produced in the ante-rooms with good effect. + + + + +PORTRAIT OF LOUIS NAPOLEON. + +One Male Figure. + + +This portrait-tableau is produced in the same manner as that of +"Gabrielle." The gentleman who personates Louis Napoleon should in +form and features resemble him. The costume consists of a blue velvet +coat, decorated with silver and gold lace, vest of the same material, +buff breeches, white hose, low shoes, knee and shoe buckles, gold +epaulets and side arms, a decoration on the left breast composed of +brilliant stones and spangles, a red and blue silk sash across the +breast. Louis Napoleon wears a long beard and heavy mustache. Position +is such as to display a partial front view of the body, right hand +placed on the hilt of his sword, eyes directed forward, countenance +calm. Light should come from the front of the stage, and be of medium +brilliancy. Music, Marseillaise Hymn. + + + + +THE RETURN FROM THE VINTAGE. + + It is the Rhine! our mountain vineyards laving; + I see the bright flood shine; + Sing on the march, with every banner waving, + Sing, brothers; 'tis the Rhine! + + Home, home! thy glad wave hath a tone of greeting, + Thy path is by my home; + Even now my children count the hours, till meeting; + O, ransomed ones, I come. + + MRS. HEMANS. + +One Female and Four Male Figures. + + +This picture represents four laborers returning from the vintage, +bearing on their shoulders a large tub of grapes, seated on the top of +which is a young girl, and by her side a small child. As they near the +shores of the imperial river, they sing one of their national songs, +the girl accompanying with a tambourine, and the child with a flute. +The costume of the four vintagers consists of colored or check shirts, +breeches, long hose, low shoes, knee and shoe buckles, single-breasted +vest of bright colors, left open, handkerchief tied carelessly about +the neck, and low felt hat with a sprig of grape leaves in front, the +face colored slightly with red. The lady's costume consists of a red +dress, blue waist, open in front, and laced across with pink ribbon, +and a small straw hat trimmed with green ribbon on the head. The boy's +costume consists of a velvet jacket, white pants, and small fancy cap. +The four vintagers stand in a circle, on a round or square pedestal +four feet in diameter, covered with green bocking; they face outward, +and support the tub on their shoulders; one hand is raised, and grasps +the top of the tub, while the other hangs carelessly at the side. A +tall box should be placed under the tub, which will relieve the +laborers from the weight. The vintagers look up to the lady, the +countenance expressing pleasure. The young lady who is seated on the +tub holds the tambourine in her left hand, which is raised above her +head; the right hand is raised as high as the face, the head thrown +back slightly, eyes lifted, body facing the audience. The boy has the +end of the flute or trumpet placed in his mouth; both hands grasp the +flute; eyes directed forward. The tub should be three feet wide, and +the outside and rim painted in imitation of grapes and leaves. Light +will be needed in front and at the left side. Music of an inspiring +order. + + + + +LOVERS GOING TO THE WELL. + + How dear to my heart are the scenes of my childhood, + When fond recollection presents them to view; + The orchard, the meadow, the deep-tangled wildwood, + And every loved spot which my infancy knew; + The wide-spreading pond, and the mill that stood by it, + The bridge, and the rock where the cataract fell, + The cot of my fathers, the dairy house nigh it, + And e'en the rude bucket which hung in the well; + The old oaken bucket, the iron-bound bucket, + The moss-covered bucket, which hung in the well. + +One Male and One Female Figure. + + +This tableau represents a young peasant girl and her lover going to +the well. It is a statuary design, and, when well executed, makes a +tableau of great beauty. The lady and gentleman who take part in this +group must be of the same height, of slim figure, and good features; +the gentleman should be without a beard. In the centre of the stage +place a round pedestal one foot high, three feet in diameter, and +covered with black marble paper. The gentleman's costume consists of a +white coat, breeches, hose, shoes, cravat, vest, gloves, hat and +collar, and a long gauze scarf, worn over the shoulder, tied at the +side, the ends hanging down to the knee, the hat placed jantily on the +side of the head. The lady's costume consists of a white dress, worn +with but few skirts, and cut low at the top, sleeves long and flowing; +a long gauze scarf worn over the shoulders, tied at the side, the ends +allowed to trail on the floor; white hose, shoes, gloves, and white +felt hat worn carelessly on the head; the exposed parts of both +figures made as white as possible. Both stand near the centre of the +pedestal, the gentleman's right hand placed across the lady's +shoulder; his left hangs carelessly at the side, and grasps a white +water pitcher, his right foot placed twenty inches in advance of the +left, the toe of the left just touching the pedestal, and the body +inclined forward slightly; his head is turned towards the lady, into +whose eyes he is looking, while the countenance expresses pleasure. +The lady's right hand holds a pitcher similar in shape to the one held +by the gentleman. Her left is raised near her bosom, the forefinger +pointed to some object in the distance. Her head is turned towards the +gentleman, eyes looking into his, and countenance expressing +earnestness, her feet and body in the same position as the +gentleman's. The front of the stage, if covered with thin white gauze, +will add to the beauty of the piece. The light should come from the +left side of the stage, and be of a medium brightness. Music soft and +plaintive. + + + + +THE ITALIAN FLOWER VASE. + + O Attic shape! Fair attitude! With brede + Of marble men and maidens overwrought + With forest branches and the trodden weed; + Thou, silent form, dost tease us out of thought, + As doth eternity. Cold Pastoral! + When old age shall this generation waste, + Thou shalt remain, in midst of other woe + Than ours; a friend to man, to whom thou say'st, + "Beauty is truth, truth beauty"--that is all + Ye know on earth, and all ye need to know. + + KEATS'S "ODE ON A GRECIAN URN." + +Three Female Figures. + + +This exquisite statue tableau represents a beautiful vase, the sides +of which are ornamented with statues, personifying Spring, Summer, and +Autumn. The vase is made to revolve by machinery. Three ladies of good +figure and features, and of equal height, are required, to fill out +the design. Their costumes consist of long white muslin robes, worn +with few under skirts, cut low at the neck, sleeves reaching to the +elbow, and flowing, white hose and slippers; hair combed up from the +forehead, clasped with a band of silver behind, and allowed to hang in +heavy curls in the neck; a string of small wax or spar beads entwined +about the top of the head, the ends trailing among the curls; a +bouquet of white flowers placed on the front of the waist, and a white +rose fastened to the front of the spar wreath which adorns the head; +the exposed portions of the body made as white as possible. + +The stage machinery is constructed in the following manner: After +arranging the revolving beam beneath the stage, (described in the +"Bust of Proserpine,") the base of the vase should be fastened to the +top of the shaft which protrudes through the floor, and fastened so +firmly that the weight of the three females will not impede the +revolutions. It must also be constructed so that it can be easily +shipped and unshipped. The base is of octagon form, two feet in +diameter, one foot thick, and ornamented with small scrolls around the +sides, the whole to be covered with white cloth, and decorated with +artificial or painted wreaths and festoons of flowers. On the top of +the base there must be a box one foot high, and five inches square, +fastened firmly to the main body with iron braces; this is for the +insertion of the shaft of the vase, which is made of joist, four +inches square, six feet in length, and painted white. The top or bowl +of the vase should be made in the form of a saucer; the material used +in its composition must be light; its dimensions, four feet in +diameter, with a square cavity in the centre, in which to place the +shaft; cover the exterior with white cloth; around the top paint a +wreath of large flowers, and from the centre to the rim paint other +festoons of smaller flowers four inches apart; around the cavity where +the shaft enters, place three pieces of wood, made and painted to +resemble large leaves, the size of which should be seven inches in +length by five in width. The vase can be made in one piece, if there +is sufficient room for the accommodation of so large a piece of +furniture. But for a small stage it will be better to have it in +three parts. The ladies stand on the base of the vase, with their +backs against the shaft, the top of the head just touching the bottom +of the large leaves, the head and body perfectly erect, the hands of +the three clasped at the side, and holding the ends of festoons of +colored flowers, eyes slightly raised, countenance calm and pleasant. +The festoons must run from the hands of the statues to the shaft, +fastened there, and pass down to the other hand, and so on around the +three figures. The vase should revolve quite slowly, and be put in +motion while the curtain is rising. Gauze before this piece will add +to the effect. The light must come from the left side of the stage, +and be of medium brilliancy. Music soft and plaintive. + + + + +PORTRAIT OF THE MADONNA. + + They haunt me still--those calm, pure, holy eyes; + Their piercing sweetness wanders through my dreams: + The soul of music that within them lies, + Comes o'er my soul in soft and sudden gleams. + + Are there not deep, sad oracles to read + In the calm stillness of that radiant face? + Yes, even like thee must gifted spirits bleed, + Thrown on a world, for heavenly things no place. + +One Female Figure. + + +This portrait tableau is produced in the same manner as that of +"Gabrielle." The lady who personates the Madonna should be of good +figure, fine, regular features, eyes large and expressive, a full face +and dark hair. Costume consists of white dress open slightly in front, +sleeves long and flowing, a velvet cape thrown negligently over the +shoulders, a large cross suspended from the neck by a necklace of wax +beads, the hair puffed slightly at the side, and arranged in a neat +coil at the back, and a large braid passed across the top of the head. +She should partially face the audience, the head slightly inclined +forward, eyes cast upward, hands clasped in front of the breast, and +lips partly open, the countenance expressing earnestness and meekness. +Light will be required at the front of the stage, and must be of +medium brilliancy. Music of a sacred and plaintive style. + + + + +THE SHOEMAKER IN LOVE. + + Love's feeling is more soft and sensible + Than are the tender horns of cockled snails. + + SHAKSPEARE. + +One Male and Two Female Figures. + + +This is a comic tableau, and represents a pretty young lady at a +country shoemaker's shop, in the act of having her foot measured for a +pair of shoes. The lady stands in the centre of the stage, and rests +her unslippered foot on a small box, while the knight of the lapstone +and hammer is engaged in taking the measure of her foot. While +occupied in this duty, he is suddenly smitten, either with her pretty +face or small foot, and instead of proceeding with his task, he stops +and looks up with a pleasant smile into the face of his fair customer. +In the background, peeping out from behind a screen, is the +shoemaker's wife, with a broomstick in her hand. The scenery consists +of a wooden screen, covered with cloth, extending half way across the +centre of the stage, on which is painted, in large letters, the name +"Ebenezer Heeltap." Shelves of boots, shoes, shoemaker's tools, and +other articles, should also be painted on the screen. In the +foreground place a shoemaker's bench, and a few shoes, partly worn +out, scattered on the floor. The young lady's costume consists of a +blue silk dress, crimson shawl, white bonnet, and sunshade. Position +is, standing at the side of the stage, showing a side view of the +body, one foot resting on a box, both hands grasping her dress, which +she draws up sufficiently high to display her foot and ankle, body +bent forward, and eyes fixed on her foot. The shoemaker kneels on the +floor opposite to her, holding a strap in one hand, the other resting +on the box, the head thrown back, and eyes cast upward to the face of +the lady. Costume consists of a suit of coarse material, sleeves +rolled up to the elbow, leather apron tied about the waist, paper cap +on the head, red or gray wig, and shaggy beard. The old lady's costume +consists of a cheap calico dress, white ruffled cap, white +handkerchief tied about the neck, and spectacles on the nose. The +light must come from the right side of the stage, and be of medium +brilliancy. Music of a secular order. + + + + +PRINCE CHARLES EDWARD AFTER THE BATTLE OF CULLODEN. + + Our bugles sung truce, for the night cloud had lower'd, + And the sentinel stars set their watch in the sky, + And thousands had sunk on the ground overpower'd, + The weary to sleep, and the wounded to die. + + THOMAS CAMPBELL. + +One Female and Six Male Figures. + + +This tableau contains seven figures, and represents Prince Charles +Edward asleep in one of his hiding-places after the battle of +Culloden, protected by Flora Macdonald and Highland outlaws, who are +alarmed on their watch. Here rests, in fitful and affrighted slumbers, +the recent victor, Prince Charles Edward, a broken and despairing +fugitive, his gallant spirit dissipated, and his well-knit limbs +stained, and bruised, and soiled by urgent journeys and perilous +encounters. Beside him sits a sleepless guardian, the brave, the +beautiful, the heroic Flora Macdonald. A deer-hound, who had crouched +at her feet, has given an alarm of coming danger. The peril is +imminent, but the foe is invisible. What shall be done? Shall the +sleeper be awakened? His devoted protector, prompt as the occasion, +and wise beyond the emergency, counsels on the instant, silence, +caution, self-possession. Thereupon the Highlanders draw together, +and, restraining the frenzy of their first emotions, wait, with +desperate resolution, the first manifestation of coming danger. + +The scenery accompanying this piece represents a cave in the rocks; in +the centre of the back wall is an opening, through which the Highland +outlaws are looking. The rocks can be imitated by covering wooden +frames with coarse brown paper, fastened on in a rumpled manner, and +shaded with light and dark brown paint, sprinkled over with small +particles of isinglass. These frames should reach to the ceiling of +the stage, and be constructed in sections four feet wide; they must be +arranged in the background in the form of a half circle, the floor and +sides of the stage covered with the same kind of scenery; a box six +feet long and two feet wide, covered with a robe, should be placed in +the centre of the cave, for the prince to recline upon. Spears, +shields and battle axes may be strewn about, and a small fire made to +smoulder in the foreground. This can be built in an iron furnace, +surrounded by rocks. The prince is costumed in a rich Highland suit. +The coat, which reaches to the knee, is made of Scotch plaid, trimmed +at the bottom of the skirt, sleeves, and on the front with black +velvet ornamented with gold; plaid breeches and hose, worn so as to +leave a naked space of five inches between the top of the hose and +bottom of the breeches; short-legged boots, with red tops, spurs; a +heavy plaid scarf, decorated with gold, worn across the shoulders; and +a flat Highland cap, with plume in front, which lies on the couch at +his side. The prince is lying on his side, lengthwise of the cave, in +position so that his face can be seen, his head resting on his left +arm, while his right hangs down to the floor of the cave, touching +his sword and pistols. Flora Macdonald is seated near the head of +Prince Charles. Her costume consists of a Highland frock reaching +below the knees, hose of scarlet plaid, a scarf about the breast made +of black cloth, and fringed on the side with buff, and across the +shoulders is worn a blue cape trimmed with velvet and gold; her hair +hangs loosely on the shoulders; the left hand gathers the cloak about +the breast, while the right is raised in front of the face, the +fingers extended, the head turned around to the group of Highlanders +at the back of the cave, to whom she is in the act of speaking. Fear +and caution are expressed on her countenance. The group of Highlanders +are at the right of the cave, in the extreme background, near the +opening. Their costume is similar to that of the prince, but of +cheaper material, and without decorations. Each has a sword and +musket. The first outlaw is looking out of the opening; he holds his +musket in front of him; at his side stoops another, with musket +trailing. Behind these two stands a third, with a long spear. Back of +him is one with a sword in his hand. He is in the act of speaking to +Flora Macdonald; his countenance denotes affright; his left hand +points to the opening in the cave; his body inclined backward +slightly. The fifth figure is kneeling in the foreground, holding a +hound by the collar. The countenances of the first three outlaws +should express caution. The faces of the gentlemen can be disguised by +false beards. The scene must be illuminated by a small quantity of +red fire burned at the front part of the ante-room, opposite the +group of outlaws. Thunder and the falling of rain imitated in the +ante-rooms will add to the effect. No music will be required. + + + + +THE FLOWER GIRL. + +FLOWERS. + + They are the autographs of angels, penn'd + In Nature's green-leav'd book, in blended tints, + Borrowed from rainbows and the sunset skies, + And written every where--on plain and hill, + In lonely dells, 'mid crowded haunts of men; + On the broad prairies, where no eye save God's + May read their silent, sacred mysteries. + + Thank God for flowers! they gladden human hearts; + Seraphic breathings part their fragrant lips + With whisperings of Heaven. + + ALBERT LAIGHTON. + +One Female Figure. + + +The statue tableau of the Flower Girl is quite a pretty design, and is +produced in the following manner: A pedestal two feet in height, with +a circular shield at the top three feet in diameter, is placed in the +centre of the stage, around the sides and on the top of which are +arranged folds of white cloth. The young lady who personates the +flower girl is to stand in the centre of the shield, holding in front +of her a basket of flowers. She should be of good form and features. +Her costume consists of a pure white robe cut low at the top and long +at the bottom, sleeves short, the front of the waist ornamented with a +small bouquet, and a wreath of flowers or silver leaves around the +head, the hair puffed slightly at the side, and confined at the back +of the head with a band of silver, and allowed to hang in curls in the +neck; the basket filled to the top with flowers, held at arm's length, +and resting against the right side of the front of the body. The lady +faces the audience, inclines her body forward a very little, the hands +grasping the basket at each side, right foot placed twelve inches in +advance of the left, head inclined back and to the left, the eyes +directed forward, countenance pleasant. The crimson curtain, and the +two fairies used in the "Bust of Proserpine," can be used in this +piece, the curtain placed above the statue, the fairies taking the +same position as in Proserpine. Illuminate the stage with the +footlights. Music soft and plaintive. + + + + +PRESENTATION OF FIREMAN'S TRUMPET. + + "Honor to whom honor is due." + +Eleven Male and Eleven Female Figures. + + +This interesting tableau contains twenty-two figures. The scene +represents a young and beautiful female presenting a silver trumpet to +a fireman. In the background of the stage there should be erected a +platform, from which a flight of steps extends down to the +foreground. On the right side of the steps are young ladies in +appropriate costumes, and at the left of the steps are the comrades of +the receiver of the trumpet. Standing in the centre of the platform is +a young lady, about to present the trumpet to the fireman, who is +kneeling at her feet. The platform must be four feet high and two feet +wide, the steps running nearly across the stage, and within three feet +of the footlights. At each side of the platform place a large vase of +flowers, and cover the steps with green bocking. The ladies' costume +consists of a white dress, with red sash around the waist, a wreath of +myrtle on the head, and a wreath of flowers held in the right hand. +The gentlemen's costume consists of a showy fireman's suit. The lady +who presents the trumpet should be costumed in a white dress decorated +with artificial flowers, a crown of the same on the head, and a belt +about the waist. The ladies and gentlemen at the sides of the stage +are all kneeling, and in such a position that a profile view is had of +the body. The ladies rest the left hand on the waist, and extend +towards the top of the platform the right hand, which holds the wreath +of flowers. Their attention is directed to the lady above, the +countenance expressing pleasure. The gentlemen form in a like manner, +and raise the right hand to the side of the face. The gentleman who +receives the trumpet kneels on the upper step, and in such a position +that a profile view will be had of the face; the left hand rests on +the waist, while the right is extended to take the trumpet; the head +is thrown back slightly, the eyes fixed on those of the lady, who +stands in the centre of the platform. Her body is inclined forward, +eyes fixed on the face of the fireman, right hand extended and holding +the trumpet, her countenance beaming with smiles. Light from the foot +and left side of the stage will be required, which should be very +brilliant. Music of an operatic character. + + + + +THE PAINTER'S STUDIO. + + The golden light into the painter's room + Stream'd richly, and the hidden colors stole + From the dark pictures radiantly forth, + And in the soft and dewy atmosphere + Like forms and landscapes magical they lay. + The walls were hung with armor, and about + In the dim corners stood the sculptured forms + Of Cytheris, and Dian, and stern Jove; + And from the casement soberly away, + Fell the grotesque long shadows, full and true, + And, like a veil of filmy mellowness, + The lint-specks floated in the twilight air. + + WILLIS. + +One Female and One Male Figure. + + +A representation of a painter's studio. Scattered about the room are +works of art, fine paintings, portraits, statuary, vases of ancient +form, and flowers. A guitar and flute hang from the wall, and at the +left of the stage is a large picture, with a crimson curtain partially +drawn across it. The painter's easel stands at the right of the stage; +on it is an unfinished portrait of a lady. A small table, sofa, and +three ancient chairs complete the furniture of the room. The artist is +seated in one of the chairs, engaged in painting the lady's portrait. +The lady is seated in a chair in the centre of the stage, her feet +resting on a small cushion, right elbow placed on the table which is +by her side, and eyes fixed on a book which she holds in her left +hand. A few showy bound books and a small bust may be placed on the +table. The lady's costume consists of a pink or blue silk dress, cut +low at the neck, sleeves of usual length, hair done up to suit the +performer's taste. Her position is, facing the audience. The artist's +costume consists of a rich dressing gown, a red velvet cap with a gold +tassel, light pants and vest. His position is such that a side view is +had of the features, the left hand holding a pallet and brushes, the +right grasping a small brush, which he is in the act of using. His +eyes are fixed on the picture, countenance expressing earnestness. +Illuminate the background of the scene with a small quantity of red +fire, the foreground with light of medium brilliancy, both of which +should come from the right side of the stage. Music soft and +plaintive. + + + + +PORTRAIT OF GABRIELLE. + + There's nothing ill can dwell in such a temple: + If the ill spirit have so fair a house, + Good things will strive to dwell with 't. + + TEMPEST. + +One Female Figure. + + +This tableau is suggested by the beautiful picture by De la Roche, one +of the most eminent of French painters. The best portrait of Napoleon +I. was painted by this artist. The subject of the painter is +Gabrielle. The person who represents this portrait should have fine +Grecian features, small figure, and hair that will curl profusely. The +costume consists of a pink brocade cut low at the top, open in the +form of a square in front, and trimmed with white lace and black +velvet. The hair must be parted in the centre of the forehead, puffed +out at the side, and arranged in short curls in the neck. A band of +velvet one inch wide in the middle, and tapered to a point at each +end, with a silver star studded with spangles on the widest part, +should be placed around the head. The frame, behind which the lady +takes her seat, is constructed as follows: Out of boards make a solid +frame, four feet long and three feet wide, with a cornice on the +outside. From the centre, cut out an oval three feet long and two feet +wide; cover the frame with black cambric or velvet, and ornament the +cornice and edge of the oval with gold paper; place the frame at the +back of the stage on a platform or box three feet high, three feet +wide, and two feet deep; fasten the frame by means of hooks or screws +to the top of the box, flush with the front; attach a heavy crimson +cord and tassel to the top, and pass it over a brass hook screwed to +the ceiling. The lady takes her seat behind the frame, in such a +position as will display a partial side view of the head and chest in +the centre of the oval, the eyes cast down, the countenance expressing +sorrow. After the lady has taken her position, the box must be +entirely covered with black cambric, and a curtain of the same +material should be fastened to the top of the frame, and allowed to +trail back of the lady to the floor. With a medium quantity of light +from the front of the stage, the tableau at a distance will resemble a +painted portrait. A large variety of pictures can be produced in this +manner, and at little expense. Music for this scene should be of a +sacred character, and quite soft. + + + + +THE ELOPEMENT. + + Dear art thou to the lover, thou sweet light, + Fair, fleeting sister of the mournful night! + As in impatient hope he stands apart, + Companioned only by his beating heart, + And with an eager fancy oft beholds + The vision of a white robe's fluttering folds + Flit through the grove, and gain the open mead, + True to the hour by loving hearts agreed! + At length she comes. The evening's holy grace + Mellows the glory of her radiant face; + The curtain of that daylight, faint and pale, + Hangs round her like the shading of a veil; + As turning with a bashful timid thought, + From the dear welcome she herself hath sought, + Her shadowy profile drawn against the sky, + Cheats while it charms his fond adoring eye. + + MRS. NORTON. + +One Male and Two Female Figures. + + +This is a very pretty tableau, in two parts. The first, represents a +young gentleman, standing at the foot of a rope ladder which reaches +to the railing of a balcony on the front of a dwelling house; leaning +over the railing is a young and lovely maiden, who is about to make +her descent on the ladder to her lover below. The gentleman grasps the +rope with the left hand, and holds the right upward in the act of +beckoning to the lady. His position is such that a side view is had of +the body; his head thrown back, eyes directed to the balcony, +countenance expressing pleasure and entreaty. His costume consists of +a dark coat, trimmed around the edge with purple lace or gimp, light +breeches, black hose, colored vest, low shoes, knee and shoe buckles, +red sash about the waist, black felt hat with plume, velvet cape on +the left shoulder, lace collar and wristbands, ruffled bosom, and +mustache. The lady is attired in a bright-colored silk robe, riding +hat, and red scarf. The balcony can be made of boards, and covered +with fresco paper, representing two pillars, a cornice, and a railing +above. The second scene, which follows immediately, represents the +lady and her lover just about to step into the ante-room, opposite the +balcony. The gentleman has his right arm around the waist of the lady, +the left extended towards the balcony, face turned in that direction, +his back to the audience, the countenance expressing caution. The lady +places her left hand on the gentleman's shoulder, and the right on her +breast; her eyes are directed to the ante-room. A front view is had of +her form. The head of the gentleman turned to the balcony will give a +partial side view of the face. The young lady's mother is seen on the +balcony, looking out into the darkness, and holding a crutch before +her, as if in the act of striking. Her costume consists of a white +robe and nightcap. The light for the first scene should be of medium +brightness, and come from the ante-room opposite the balcony. In the +second scene, it will be necessary to produce the light on the other +side of the stage, which will throw the balcony in the shade. The low +rumbling of thunder, and the noise of falling rain, produced in the +ante-room, will add to the effect of the scene. + + + + +FIREMAN'S COAT OF ARMS. + + By Jove! I'll have a fine establishment, + And keep a coat-of-arms! + + MUGGINS. + +Two Female Figures. + + +This tableau represents an oval shield richly ornamented with gold, on +which are fastened engine pipes, colored lanterns, trumpets, axes, +fire hooks, buckets, hats, &c. These radiate from the centre, and are +surrounded by a wreath of gold stars, five inches in diameter. It +rests on a pedestal, and is supported on each side by female figures. +The shield is seven feet high and four feet wide, the surface covered +with blue cambric, with a border of crimson five inches wide, shaded +with a band of gold one inch in width. The pedestal is six feet long, +one foot high, and three feet wide, the surface covered with crimson +cloth, with a black and gold border six inches wide, and an +appropriate motto on the front in letters of gold. The young ladies +who support the shield must be of equal height, good figure and +features. Their costume consists of a white robe cut low in the neck, +skirt made to trail on the pedestal, red or black velvet waist, +ornamented with gilt buttons and lace, and fireman's hat on the head. +Their position is at the sides of the shield, facing the audience; one +arm is laid at full length on the top of the oval, the other hangs at +the side, the hand grasping a small wreath of myrtle. The head should +be slightly turned towards the shield, eyes looking forward, +countenance calm. The light for the tableau must be of medium +brilliancy, and come from the front of the stage. Music soft. + + + + +THE SOLDIER'S FAREWELL. + + I could not love thee, dear, so much, + Loved I not honor more. + + SIR RICHARD LOVELACE. + +Three Female and Three Male Figures. + + +A representation of a young recruit, about to leave his country home +for the first time to join the army. In the background is to be seen a +cottage, with trellised vines running over the door. The young soldier +is standing in front of the cottage, bidding farewell to his young +bride, who stands at his side. They both face the audience. She has +her right arm around his neck, and is looking into his face. The +soldier rests his left arm on her shoulder, and points to the side of +the stage with the right hand. His eyes are fixed on the face of his +bride. Near the doorstep stands a gray-haired old man, the father of +the soldier; he faces the audience, and is holding a musket, the lock +of which he is examining. At the left of the soldier stands a young +maiden, in a position that exhibits a side view of the body. She is +looking to the two figures in front of her, and holds a sword and +belt. In the doorway is seen the mother of the soldier, holding a +handkerchief to her eyes. A little boy stands at the right of the +door, with a tin sword fastened about his waist, a paper cap on his +head, and is engaged in blowing on a tin trumpet. The cottage can be +framed of wood, covered with cloth, and painted in showy colors; body +of the house light brown, frames, cornice, and door green, roof red, +and window panes black. The cottage stands in the centre of the stage, +with the space on the sides filled up with a small white fence and two +spruce trees. The vines over the door can be painted on the house, or +made of evergreens and flowers, and tacked to the frame. The soldier's +costume consists of a continental uniform--blue coat, faced with buff, +buff vest and breeches, white hose, knee and shoe buckles, low shoes, +white breast belts, and chapeau. The wife is costumed in a blue dress, +cut very short, and high at the top, white apron, white hose, small +handkerchief tied about the neck, hair arranged to suit the taste of +the performer. The young lady should be costumed in a white dress, +green apron, and straw hat, hair hanging in curls, and ornamented with +red ribbons. The old gentleman's costume consists of a long gray or +drab coat, light vest and breeches, black hose, knee and shoe buckles, +low shoes, ruffled bosom, and chapeau. The aged matron is costumed in +a light brown dress, calico apron, white cap, black collar. The boy +can be attired in any costume that has a variety of colors. Cover the +floor of the stage with green bocking, and light the tableau from the +left side. A tenor drum should be beaten in the ante-room while the +curtain is raised. + + + + +IKE PARTINGTON'S GHOST. + + Be thou a spirit of health or goblin damned, + Bringing with thee airs from heaven or blasts from hell, + Be thy intents wicked or charitable? + Thou com'st in such a questionable shape + That I will speak to thee. + + SHAKSPEARE. + +One Female and One Male Figure. + + +This tableau represents Ike seated on the top of a pump in the front +yard of his mother's cottage, while the old lady is seen in the +background, peeping over the fence with looks of horror and +astonishment. The person who represents Ike should be of medium height +and youthful looking. Costume consists of an old military coat and +hat, large sword attached to a belt about the waist, light pants with +red stripe, and large boots. The old lady is dressed in a cheap calico +dress and white cap. The pump can be made of wood, covered with light +brown cambric, the handle painted black. A rough representation of a +house should be painted on cloth, and placed at the rear of the stage. +A few feet from the house, erect a low white slat fence, with a gate +in the centre; a wheelbarrow, shovel, hoe, broom, and water bucket are +scattered about the stage. Ike sits on the pump, and faces the +audience. His head is drawn down within the coat collar, hands placed +on his knees, and eyes rolled up into his head. Light the stage very +little, and produce discordant sounds on a melodeon in the ante-room. + + + + +THE PEASANT FAMILY IN REPOSE. + + Let not Ambition mock their useful toil, + Their homely joys, and destiny obscure, + Nor Grandeur hear, with a disdainful smile, + The short and simple annals of the poor. + + GRAY. + +Two Female and Three Male Figures. + + +This scene represents a group of peasants resting on their journey. +The party comprises an aged couple and three children. They are seated +on a grassy mound at the side of the road. The children lie in the +foreground of the mound in various positions, and are asleep. The old +gentleman is seated on the back side of the mound, which is higher +than the front, and in such a position that a side view is had of the +body. His head rests on his left hand, the elbow resting on the knee; +the right hand holds a cane; countenance calm. Costume consists of a +long, loose blue frock, brown pants, black beaver hat, considerably +worn and out of shape, white hair and beard. At the side of the old +man, on the lower part of the mound, is seated the old lady. She faces +the audience, and leans her head on her right hand, the elbow placed +on the knee, eyes directed to the children, countenance expressing +deep thought. Costume consists of a brown dress, white handkerchief +tied about the neck, and a hood on the head. In front of these figures +is a young girl, her back resting against the highest part of the +mound, the head inclined to one side, one arm placed across the form +of a boy at her side, her eyes closed. She is dressed in a white robe, +blue apron, and stout shoes, head uncovered. A small boy reclines at +her side, and rests his head on her lap. Costume consists of a red +frock, trimmed with white. In front of these two figures is a large +boy. He lies on the grass, and rests his head on his arm; his eyes are +closed, countenance calm. He is costumed in a dark coat, light pants, +white collar, thick boots, and felt hat. The mound on which the +tableau is formed can be constructed of boxes, and covered with green +bocking. It should be six feet in diameter, varying from one to two +feet in height, and placed in the centre of the stage. The scene will +require but a small quantity of light, which must come from the right +side of the stage. Music soft and of a plaintive character. + + + + +THE SOLDIER'S RETURN. + + O that 'twere possible, + After long grief and pain, + To find the arms of my true love + Round me once again. + + * * * * * + + We stood tranced in long embraces + Mixed with kisses sweeter, sweeter + Than any thing on earth. + + MAUD. + +Three Female and Four Male Figures. + + +This interesting tableau is designed to appear in connection with the +soldier's farewell, and is represented by seven persons. The cottage +and other scenery described in the "Soldier's Farewell" is used in +this piece, and is to be placed in the same position. At the left of +the stage, near the front, stands a young gentleman dressed as a +hackman. He carries a trunk on his shoulder, and a valise in his left +hand; his position is such that a side view is had of the features; +his eyes cast down to the floor, body slightly bent forward; a few +paces in front of him stands the young soldier, with arms outstretched +to receive his wife, who is standing in front of the doorstep, in the +act of running towards him. The soldier shows a side view of his form, +his feet extended apart, body bent forward, eyes fixed on his wife, +countenance smiling. The wife faces the audience; her arms are raised, +eyes directed to those of her husband, countenance pleasant. The +father and mother of the soldier are seated in large chairs at the +sides of the door. A young man is seen climbing over the fence. He +holds a rake in his hand, and is looking at the soldier. A young lady +is on the doorstep in the position of one running, her eyes fixed on +the group at the front of the stage, countenance expressing surprise. +Costume similar to the one described in the Farewell. The boy's +costume consists of blue overalls, white shirt, and straw hat. The old +lady and gentleman wear the suits described in the first scene. The +old gentleman has a pair of crutches by his side, and is smoking a +pipe. The old lady wears spectacles, and holds a newspaper in the left +hand, and points to the soldier with the right; her eyes are turned to +her husband, countenance expressing surprise. The soldier's wife has +on a white dress with a velvet waist. The soldier is costumed in the +suit that we described in the Farewell, with the addition of a red +sash about the waist, gold epaulets on the shoulders, and a showy +plume in his hat. The hackman's costume consists of a rubber coat and +cap, long boots, and light pants. The scene requires a medium light, +which should come from the side opposite the soldier. Music of a +cheerful and lively style. + + + + +NOTES AND EXPLANATIONS. + + +FOR PREPARING A BRILLIANT RED FIRE. + +Weigh five ounces of dry nitrate of strontia, one ounce and a half of +finely-powdered sulphur, five drams of chlorate of potash, and four +drams of sulphuret of antimony. Powder the sulphuret of antimony and +chlorate of potash separately in a mortar, and mix them on paper; +after which add them to the other ingredients, previously powdered and +mixed. For use, mix with a portion of the powder a small quantity of +spirits of wine, in a tin pan resembling a cheese-toaster; light the +mixture, and it will shed a rich crimson hue. When the fire burns dim +and badly, a very small quantity of finely-powdered charcoal or +lamp-black will revive it. This light is used in finale scenes, where +the subject is heroic, national, or martial. + + +GREEN FIRE. + +A beautiful green fire may be thus made: Take of flour of sulphur, +thirteen parts; nitrate of baryta, seventy-seven; oxy-muriate of +potassa, five; metallic arsenic, two; and charcoal, three. Let the +nitrate of baryta be well dried and powdered; then add to it the other +ingredients, all finely pulverized, and exceedingly well mixed and +rubbed together. Place a portion of the composition on a small tin pan +having a polished reflector fitted to one side, and set fire to it, +when a splendid green illumination will be the result. By adding a +little calamine, it will burn more slowly. + + +PURPLE FIRE. + +A purple fire is produced by dissolving chloride of lithium in spirits +of wine, and when lighted it will burn with a purple flame. + + +WHITISH-BLUE FIRE. + +Take of nitrate of baryta, twenty-seven parts, by weight; of sulphur, +thirteen; of chloride of potassa, five; of realgar, two; and of +charcoal three parts. Incorporate them completely, and when inflamed +they will emit a whitish-blue light, accompanied by much smoke. This +light is much used in fairy scenes. + + +YELLOW FIRE. + +Mix some common salt with spirits of wine, in a metal cup, and set it +upon a wire frame, over a spirit lamp. When the cup becomes heated, +and the spirits of wine ignited, the other lights on the stage should +be extinguished, and that of the spirit lamp shaded in some way. The +result will be, that the whole group, faces, dresses, will be of a +strong yellow tint. + + +COLORED LIGHTS. + +Colored lights can be produced by filling globes with colored liquid, +and placing them in front of the lamps, like those we see in the +windows of the chemists' shops. + + +TO PRODUCE A MISTY OR VANISHING APPEARANCE TO A TABLEAU. + +Several curtains of thin gauze, or common mosquito netting, made to +let down from rollers, one after another, between the audience and the +scene, will give a beautiful, misty appearance; and if a sufficient +number of curtains be unrolled, the tableau appears to vanish +entirely, allowing room for a change of scenery. Many scenes should +have one thickness of muslin before them, which serves to blend the +colors, and gives a finish to the picture. The gauze must be carefully +managed, as the disclosure of a ragged edge will dispel all the +illusion. + + +TO PRODUCE SOUNDS LIKE FALLING RAIN. + +Procure a box six feet long, one foot wide, and one deep. Cover the +bottom with small pegs of wood one inch high, and inserted two inches +apart. Place a quart of dried peas at one end of the box; then raise +that end quite slowly, allowing the peas to roll gradually down to the +lower part of the box. The sound they produce in striking against the +pegs imitates to perfection the falling of rain. The sound can be +continued for any length of time by raising alternately each end of +the box. + + +TO PRODUCE SOUNDS LIKE DISTANT FIRING OF ARTILLERY. + +Suspend a large sheet of Russia iron by means of a rope, and strike it +in the centre with a heavy drumstick. At a short distance, the sound +resembles the booming of heavy artillery. + + +TO PRODUCE SOUND TO RESEMBLE THUNDER. + +Hold a large sheet of Russia iron at one end and commence shaking it +very slowly. It will give out a low, rumbling sound, which can be +gradually increased in power. Graduate the sounds from heavy peals to +the first starting point, then discontinue the shaking for a few +seconds, and repeat the variety of changes as long as is necessary. + + +TO IMITATE THE FIRE ALARM BELL. + +Suspend to a wooden frame two pieces of steel two inches square and +three feet long. Select pieces that will give out different tones, and +strike them alternately with an iron hammer. They will sound much +clearer and louder than any small bells. + + +DISTANT FIRING OF MUSKETRY. + +Sounds similar to a distant discharge of musketry can be produced in a +number of ways. The tenor drum can be made to give out sounds to +resemble volleys of musketry. Leaden shot dropped into a large tin pan +will produce a good imitation. A fireman's rattle can be also used for +the same purpose. + + +MAGIC LIGHTNING. + +Mix gunpowder with a small quantity of water and gum arabic, and with +a brush place it on a screen in the background in an irregular manner, +resembling flashes of lightning. The screen being previously painted +to resemble thunder clouds, let there be a number of distinct flashes +painted, the ends of which should be near the ante-room. At intervals +of thirty seconds, touch a lighted fusee to one of these paintings, +which will burn quickly, illuminate the clouds, and resemble lightning +flashes. + + +TO STAIN THE FLESH A COPPER COLOR. + +To stain the flesh a copper color, as is necessary in representing +Indian characters, use Spanish brown, mixed with oil, and rub in +thoroughly. + + +TO MAKE WRINKLES. + +Use India ink, moistened with water, softening the lines with chalk, +if necessary. Moustaches and whiskers may also be made with the same +material. + + +FLESH WOUNDS, &c. + +Flesh wounds and blood may be represented by the use of rose pink +mixed with water. + + +THEATRICAL INCANTATIONS. + +Dissolve crystals of nitrate of copper in spirits of wine. Light the +solution, and it will burn with a beautiful emerald green flame. +Pieces of sponge soaked in this spirit, lighted and suspended by fine +wires over the stage, produces the lambent green flames now so common +in incantation scenes; strips of flannel saturated with it, and +applied round copper swords, tridents, &c., produce, when lighted, the +flaming swords and fire forks brandished by the demons in such scenes; +indeed, the chief consumption of nitrate of copper is for these +purposes. + + +LIGHTS AND SHADES. + +If you wish to throw the background of a tableau in shade, intervene +screens between the lights at the sides of the stage and that part of +the picture you desire to have dark; _vice versa_ with the foreground. +Particular points or characters can be more brilliantly lighted than +others by placing at the side of the stage a strong light within a +large box, open at one side, and lined with bright reflectors. Light +of different colors can be thrown successively on a picture, and made +to blend one with another, by placing the various colored fires in +boxes three feet square, open at one side, and lined with bright +reflectors; these, arranged at the side of the stage on pivots, can be +turned on, one after another, so as to throw their light on the stage. +Before one light has entirely vanished from the scene, a different +color should gradually take its place. + + + + +ART RECREATIONS: + +BEING + +A COMPLETE GUIDE TO + +PENCIL DRAWING, +OIL PAINTING, +WATER-COLOR PAINTING, +CRAYON DRAWING AND PAINTING, +PAINTING ON GROUND GLASS, +GRECIAN PAINTING, +ANTIQUE PAINTING, +ORIENTAL PAINTING, +SIGN PAINTING, +THEOREM PAINTING, +MOSS WORK, +PAPIER MACHE, +CONE WORK, +FEATHER FLOWERS, +POTICHOMANIE, +LEATHER WORK, +HAIR WORK, +TAXIDERMY, +GILDING AND BRONZING, +PLASTER WORK, +WAX WORK, +SHELL WORK, +MAGIC LANTERN, +PAPER FLOWERS, +IMITATION OF PEARL, +THE AQUARIUM, +SEALING-WAX PAINTING, +PANORAMA PAINTING, +COLORING PHOTOGRAPHS, +ENAMEL PAINTING, ETC. + +BY + +MADAME L.B. URBINO, PROF. HENRY DAY, AND OTHERS. + +WITH VALUABLE RECEIPTS FOR PREPARING MATERIALS. + +Splendidly Illustrated. + +BOSTON: + +J. E. TILTON AND COMPANY. + +1860. + + * * * * * + +Price of this valuable work is but $1.50. + +Sold by all booksellers, and sent by mail postpaid. + + + +***END OF THE PROJECT GUTENBERG EBOOK HOME PASTIMES; OR TABLEAUX VIVANTS*** + + +******* This file should be named 19724-8.txt or 19724-8.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/9/7/2/19724 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Head</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1, h2, h3, h4, h5, h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .blockquot{margin-left: 10%; margin-right: 10%;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + hr.full { width: 100%; } + pre {font-size: 75%;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, Home Pastimes; or Tableaux Vivants, by James +H. Head</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Home Pastimes; or Tableaux Vivants</p> +<p>Author: James H. Head</p> +<p>Release Date: November 6, 2006 [eBook #19724]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK HOME PASTIMES; OR TABLEAUX VIVANTS***</p> +<p> </p> +<h3>E-text prepared by Barbara Tozier, Bill Tozier, Linda Cantoni,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net/)</h3> +<p> </p> +<hr class="full" /> +<p> </p> +<p> </p> + +<h1>HOME PASTIMES;</h1> + +<h3>OR</h3> + +<h1>TABLEAUX VIVANTS.</h1> + + +<p style="text-align: center"> +<img src="images/image02.jpg" width="500" height="426" alt="Tableaux Vivants." title="Tableaux Vivants." /></p> + + +<h3>BY</h3> + +<h2>J. H. HEAD.</h2> + + +<h3><a href="#CONTENTS">Contents</a></h3> + +<hr style="width: 35%;" /> + +<p style="text-align: center"> +BOSTON:<br /> +J. E. TILTON AND COMPANY.<br /> +1860.<br /> +</p> + +<p style="text-align: center">Entered, according to Act of Congress, in the year 1859, by</p> + +<p style="text-align: center">JAMES H. HEAD,</p> + +<p style="text-align: center">In the Clerk's Office of the District Court of the District of +Massachusetts.</p> + +<p style="text-align: center"> +ELECTROTYPED AT THE<br /> +BOSTON STEREOTYPE FOUNDRY.<br /> +</p> + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> + +<h3>TO</h3> + +<h2>SAMUEL P. LONG, <span class="smcap">Esq</span>.,</h2> + +<h3>AS AN HUMBLE TRIBUTE OF ADMIRATION FOR HIS ARTISTIC AND LITERARY +USEFULNESS,</h3> + +<h3>AND TO THOSE FRIENDS WHO HAVE PARTICIPATED WITH ME IN MANY OF THESE +SCENES,</h3> + +<h2>This Work</h2> + +<h3>IS RESPECTFULLY INSCRIBED,</h3> + +<h3>BY THE AUTHOR.</h3> + +<p> </p> +<p style="text-align: center"> +<img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<h1>PREFACE.</h1> + + +<p><span class="smcap">A sincere</span> desire to extend the influence of a pure and ornamental art, +to promote and extend a perfect system of what is really beautiful in +the forming of the Tableau, to awaken in the minds of many a quicker +sense of the grace and elegance which familiar objects are capable of +affording, and to encourage all to cherish a taste for the beautiful, +have influenced the author to issue this volume.</p> + +<p>Art should not be confined entirely to the studio of the artist. Her +presence should embellish every home; her spirit should animate every +mind. She is unwearied in her best and brightest attributes, +restricting her influence to no peculiar spot of earth, nor conforming +her claims to any one sphere. Beauty of form is still beautiful, be it +found in the humble cottage or in the magnificent palace.</p> + +<p>A perfect picture will be recognized and appreciated whenever +displayed, or by whomsoever produced. In fine, nature is still nature, +and the germ of poetical feeling is similar in its manifestation +wherever it may chance to be shown.</p> + +<p>The delineation of the natural and poetical, its realization upon +canvas, or upon paper, or in the living picture, tends to improve the +mind, assimilates the real with the<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> ideal, conforms taste to the +noblest standard, overflows the heart with pure and holy thoughts, and +adorns the exterior form with graces surpassing those of the Muses. +The producing and forming of <i>tableaux vivants</i> have been the author's +study for the past ten years. The choicest gems which adorn this +volume are mostly imaginary scenes; others are selected from the +poets; and a few are suggested by rare engravings.</p> + +<p>The author, in his endeavors to impart and explain many things, has +been obliged to sacrifice show and style upon the altar of simplicity; +at least, such has been his constant aim. For all imperfections and +defects he invokes the charity of a candid public. If this volume +should in any degree satisfy a want that has been long felt, or add +one devotee to the shrine of beauty, the author will consider his +endeavors amply repaid.</p> + +<p style="text-align: right">JAMES H. HEAD.</p> + +<p><span class="smcap">Portsmouth</span>, September 2, 1859.</p> + + +<p> </p> +<p style="text-align: center"> +<img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> +<h1><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h1> + + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr><td style="text-align: left"> </td><td style="text-align: right">PAGE</td></tr> +<tr><td style="text-align: left"><span class="smcap"><a href="#INTRODUCTION">Introduction</a></span>,</td><td style="text-align: right"><a href="#Page_13">13</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_WREATH_OF_BEAUTY">The Wreath of Beauty</a>,</td><td style="text-align: right"><a href="#Page_25">25</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_MARBLE_MAIDEN">The Marble Maiden</a>,</td><td style="text-align: right"><a href="#Page_27">27</a></td></tr> +<tr><td style="text-align: left"><a href="#VENUS_RISING_FROM_THE_SEA">Venus rising from the Sea</a>,</td><td style="text-align: right"><a href="#Page_31">31</a></td></tr> +<tr><td style="text-align: left"><a href="#RECEPTION_OF_QUEEN_VICTORIA_AT_CHERBOURG">Reception of Queen Victoria at Cherbourg</a>,</td><td style="text-align: right"><a href="#Page_32">32</a></td></tr> +<tr><td style="text-align: left"><a href="#SCENE_FROM_THE_OPERA_OF_SAPPHO">Scene from the Opera of "Sappho,"</a></td><td style="text-align: right"><a href="#Page_38">38</a></td></tr> +<tr><td style="text-align: left"><a href="#FLORA_AND_THE_FAIRIES">Flora and the Fairies</a>,</td><td style="text-align: right"><a href="#Page_42">42</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_SPECTRE_BRIDE">The Spectre Bride</a>,</td><td style="text-align: right"><a href="#Page_45">45</a></td></tr> +<tr><td style="text-align: left"><a href="#MUSIC_PAINTING_AND_SCULPTURE">Music, Painting, and Sculpture</a>,</td><td style="text-align: right"><a href="#Page_52">52</a></td></tr> +<tr><td style="text-align: left"><a href="#BUST_OF_PROSERPINE">Bust of Proserpine</a>,</td><td style="text-align: right"><a href="#Page_53">53</a></td></tr> +<tr><td style="text-align: left"><a href="#NAPOLEON_AND_HIS_OLD_GUARD_AT_WATERLOO">Napoleon and his Old Guard at Waterloo</a>,</td><td style="text-align: right"><a href="#Page_56">56</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_DANCING_GIRL_IN_REPOSE">The Dancing Girl in Repose</a>,</td><td style="text-align: right"><a href="#Page_60">60</a></td></tr> +<tr><td style="text-align: left"><a href="#WASHINGTONS_ENTRANCE_INTO_PORTSMOUTH">Washington's Entrance into Portsmouth</a>,</td><td style="text-align: right"><a href="#Page_62">62</a></td></tr> +<tr><td style="text-align: left"><a href="#FAME">Fame</a>,</td><td style="text-align: right"><a href="#Page_67">67</a></td></tr> +<tr><td style="text-align: left"><a href="#FAITH">Faith</a>,</td><td style="text-align: right"><a href="#Page_70">70</a></td></tr> +<tr><td style="text-align: left"><a href="#SPIRIT_OF_RELIGION">Spirit of Religion</a>,</td><td style="text-align: right"><a href="#Page_72">72</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_POET_AND_THE_GODDESS_OF_POETRY">The Poet and the Goddess of Poetry</a>,</td><td style="text-align: right"><a href="#Page_74">74</a></td></tr> +<tr><td style="text-align: left"><a href="#DEATH_OF_EDITH">Death of Edith</a>,</td><td style="text-align: right"><a href="#Page_77">77</a></td></tr> +<tr><td style="text-align: left"><a href="#ABOU_BEN_ADHEM_AND_THE_ANGEL">Abou Ben Adhem and the Angel</a>,</td><td style="text-align: right"><a href="#Page_80">80</a></td></tr> +<tr><td style="text-align: left"><a href="#HIAWATHA_AND_HIS_BRIDES_ARRIVAL_HOME">Hiawatha and his Bride's Arrival Home</a>,</td><td style="text-align: right"><a href="#Page_83">83</a></td></tr> +<tr><td style="text-align: left"><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span><a href="#DAVID_PLAYING_BEFORE_SAUL">David playing before Saul</a>,</td><td style="text-align: right"><a href="#Page_87">87</a></td></tr> +<tr><td style="text-align: left"><a href="#LIBERTY">Liberty</a>,</td><td style="text-align: right"><a href="#Page_89">89</a></td></tr> +<tr><td style="text-align: left"><a href="#PAGANISM_AND_CHRISTIANITY">Paganism and Christianity</a>,</td><td style="text-align: right"><a href="#Page_91">91</a></td></tr> +<tr><td style="text-align: left"><a href="#SECOND_SCENE_OF_PAGANISM_AND_CHRISTIANITY">Second Scene of Paganism and Christianity</a>,</td><td style="text-align: right"><a href="#Page_94">94</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FAIRIES_DANCE">The Fairies' Dance</a>,</td><td style="text-align: right"><a href="#Page_96">96</a></td></tr> +<tr><td style="text-align: left"><a href="#BUST_OF_PRAYER">Bust of Prayer</a>,</td><td style="text-align: right"><a href="#Page_99">99</a></td></tr> +<tr><td style="text-align: left"><a href="#MORNING_WELCOMED_BY_THE_STARS">Morning welcomed by the Stars</a>,</td><td style="text-align: right"><a href="#Page_100">100</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_STATUE_VASE">The Statue Vase</a>,</td><td style="text-align: right"><a href="#Page_104">104</a></td></tr> +<tr><td style="text-align: left"><a href="#SPIRIT_OF_CHIVALRY">Spirit of Chivalry</a>,</td><td style="text-align: right"><a href="#Page_106">106</a></td></tr> +<tr><td style="text-align: left"><a href="#HAIDEE_AND_DON_JUAN_IN_THE_CAVE">Haidee and Don Juan in the Cave</a>,</td><td style="text-align: right"><a href="#Page_111">111</a></td></tr> +<tr><td style="text-align: left"><a href="#POVERTY">Poverty</a>,</td><td style="text-align: right"><a href="#Page_114">114</a></td></tr> +<tr><td style="text-align: left"><a href="#DEATH_OF_MINNEHAHA">Death of Minnehaha</a>,</td><td style="text-align: right"><a href="#Page_116">116</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_MOTHERS_LAST_PRAYER">The Mother's Last Prayer</a>,</td><td style="text-align: right"><a href="#Page_120">120</a></td></tr> +<tr><td style="text-align: left"><a href="#LOUIS_XVI_AND_HIS_FAMILY">Louis XVI. and his Family</a>,</td><td style="text-align: right"><a href="#Page_122">122</a></td></tr> +<tr><td style="text-align: left"><a href="#DRESSING_THE_BRIDE">Dressing the Bride</a>,</td><td style="text-align: right"><a href="#Page_127">127</a></td></tr> +<tr><td style="text-align: left"><a href="#HOPE_FAITH_CHARITY_AND_LOVE">Hope, Faith, Charity, and Love</a>,</td><td style="text-align: right"><a href="#Page_130">130</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_DEATH_OF_GENERAL_WARREN">The Death of General Warren</a>,</td><td style="text-align: right"><a href="#Page_132">132</a></td></tr> +<tr><td style="text-align: left"><a href="#PORTRAIT_OF_PRINCE_ALBERT">Portrait of Prince Albert</a>,</td><td style="text-align: right"><a href="#Page_135">135</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_RETURN_OF_THE_PRODIGAL_SON">The Return of the Prodigal Son</a>,</td><td style="text-align: right"><a href="#Page_136">136</a></td></tr> +<tr><td style="text-align: left"><a href="#SINGLE_BLESSEDNESS">Single Blessedness</a>,</td><td style="text-align: right"><a href="#Page_138">138</a></td></tr> +<tr><td style="text-align: left"><a href="#MARRIAGE_BLISS">Marriage Bliss</a>,</td><td style="text-align: right"><a href="#Page_140">140</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_SLEEPING_MAIDEN">The Sleeping Maiden</a>,</td><td style="text-align: right"><a href="#Page_141">141</a></td></tr> +<tr><td style="text-align: left"><a href="#NIGHT_AND_DAY">Night and Day</a>,</td><td style="text-align: right"><a href="#Page_144">144</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FIREMEN_IN_REPOSE">The Firemen in Repose</a>,</td><td style="text-align: right"><a href="#Page_145">145</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_ALARM">The Alarm</a>,</td><td style="text-align: right"><a href="#Page_146">146</a></td></tr> +<tr><td style="text-align: left"><a href="#AT_THE_FIRE">At the Fire</a>,</td><td style="text-align: right"><a href="#Page_147">147</a></td></tr> +<tr><td style="text-align: left"><a href="#ETHAN_ALLEN_AT_TICONDEROGA">Ethan Allen at Ticonderoga</a>,</td><td style="text-align: right"><a href="#Page_149">149</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_GYPSY_FORTUNE_TELLER">The Gypsy Fortune Teller</a>,</td><td style="text-align: right"><a href="#Page_151">151</a></td></tr> +<tr><td style="text-align: left"><a href="#PEACE">Peace</a>,</td><td style="text-align: right"><a href="#Page_152">152</a></td></tr> +<tr><td style="text-align: left"><a href="#WAR">War</a>,</td><td style="text-align: right"><a href="#Page_155">155</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_RESCUE">The Rescue</a>,</td><td style="text-align: right"><a href="#Page_157">157</a></td></tr> +<tr><td style="text-align: left"><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span><a href="#SOLOMONS_JUDGMENT">Solomon's Judgment</a>,</td><td style="text-align: right"><a href="#Page_159">159</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_BRIDAL_PRAYER">The Bridal Prayer</a>,</td><td style="text-align: right"><a href="#Page_162">162</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_GUITAR_LESSON">The Guitar Lesson</a>,</td><td style="text-align: right"><a href="#Page_163">163</a></td></tr> +<tr><td style="text-align: left"><a href="#ROGER_WILLIAMS_PREACHING_TO_THE_INDIANS">Roger Williams preaching to the Indians</a>,</td><td style="text-align: right"><a href="#Page_164">164</a></td></tr> +<tr><td style="text-align: left"><a href="#CROSSING_THE_LINE">Crossing the Line</a>,</td><td style="text-align: right"><a href="#Page_167">167</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_WEDDING">The Wedding</a>,</td><td style="text-align: right"><a href="#Page_169">169</a></td></tr> +<tr><td style="text-align: left"><a href="#HIAWATHA_SAILING">Hiawatha sailing</a>,</td><td style="text-align: right"><a href="#Page_171">171</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_VILLAGE_STILE">The Village Stile</a>,</td><td style="text-align: right"><a href="#Page_173">173</a></td></tr> +<tr><td style="text-align: left"><a href="#FLORENCE_NIGHTINGALE_IN_THE_CRIMEA">Florence Nightingale in the Crimea</a>,</td><td style="text-align: right"><a href="#Page_175">175</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FIREMANS_STATUE">The Fireman's Statue</a>,</td><td style="text-align: right"><a href="#Page_177">177</a></td></tr> +<tr><td style="text-align: left"><a href="#JOAN_OF_ARC_AT_THE_SIEGE_OF_ORLEANS">Joan of Arc at the Siege of Orleans</a>,</td><td style="text-align: right"><a href="#Page_178">178</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_PARTING">The Parting</a>,</td><td style="text-align: right"><a href="#Page_183">183</a></td></tr> +<tr><td style="text-align: left"><a href="#HAGAR_AND_ISHMAEL_IN_THE_WILDERNESS">Hagar and Ishmael in the Wilderness</a>,</td><td style="text-align: right"><a href="#Page_185">185</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FIGHT_FOR_THE_STANDARD">The Fight for the Standard</a>,</td><td style="text-align: right"><a href="#Page_187">187</a></td></tr> +<tr><td style="text-align: left"><a href="#JONATHANS_VISIT_TO_HIS_CITY_COUSINS">Jonathan's Visit to his City Cousins</a>,</td><td style="text-align: right"><a href="#Page_189">189</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_THREE_GRACES">The Three Graces</a>,</td><td style="text-align: right"><a href="#Page_190">190</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_GUARDIAN_ANGEL">The Guardian Angel</a>,</td><td style="text-align: right"><a href="#Page_191">191</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_PYRAMID_OF_BEAUTY">The Pyramid of Beauty</a>,</td><td style="text-align: right"><a href="#Page_193">193</a></td></tr> +<tr><td style="text-align: left"><a href="#CORONATION_OF_QUEEN_VICTORIA">Coronation of Queen Victoria</a>,</td><td style="text-align: right"><a href="#Page_195">195</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_BRIGANDS">The Brigands</a>,</td><td style="text-align: right"><a href="#Page_198">198</a></td></tr> +<tr><td style="text-align: left"><a href="#DEATH_OF_SIR_JOHN_MOORE">Death of Sir John Moore</a>,</td><td style="text-align: right"><a href="#Page_200">200</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FIREMANS_RESCUE">The Fireman's Rescue</a>,</td><td style="text-align: right"><a href="#Page_203">203</a></td></tr> +<tr><td style="text-align: left"><a href="#CATHARINE_DOUGLASS_BARRING_THE_DOOR_WITH_HER_ARM">Catharine Douglass barring the Door with her Arm</a>,</td><td style="text-align: right"><a href="#Page_205">205</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_MASQUERADE_BALL">The Masquerade Ball</a>,</td><td style="text-align: right"><a href="#Page_207">207</a></td></tr> +<tr><td style="text-align: left"><a href="#IRISH_COURTSHIP">Irish Courtship</a>,</td><td style="text-align: right"><a href="#Page_209">209</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FAIRIES_OFFERING_TO_THE_QUEEN_OF_MAY">The Fairies' Offering to the Queen of May</a>,</td><td style="text-align: right"><a href="#Page_210">210</a></td></tr> +<tr><td style="text-align: left"><a href="#BELSHAZZARS_FEAST">Belshazzar's Feast</a>,</td><td style="text-align: right"><a href="#Page_213">213</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_VALENTINE">The Valentine</a>,</td><td style="text-align: right"><a href="#Page_217">217</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FAIRIES_RAINBOW_BRIDGE">The Fairies' Rainbow Bridge</a>,</td><td style="text-align: right"><a href="#Page_219">219</a></td></tr> +<tr><td style="text-align: left"><a href="#LITTLE_EVA_AND_UNCLE_TOM">Little Eva and Uncle Tom</a>,</td><td style="text-align: right"><a href="#Page_222">222</a></td></tr> +<tr><td style="text-align: left"><a href="#LOVE_TRIUMPHANT">Love triumphant</a>,</td><td style="text-align: right"><a href="#Page_224">224</a></td></tr> +<tr><td style="text-align: left"><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span><a href="#THE_BANDITTI">The Banditti</a>,</td><td style="text-align: right"><a href="#Page_226">226</a></td></tr> +<tr><td style="text-align: left"><a href="#PORTRAIT_OF_LOUIS_NAPOLEON">Portrait of Louis Napoleon</a>,</td><td style="text-align: right"><a href="#Page_229">229</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_RETURN_FROM_THE_VINTAGE">The Return from the Vintage</a>,</td><td style="text-align: right"><a href="#Page_230">230</a></td></tr> +<tr><td style="text-align: left"><a href="#LOVERS_GOING_TO_THE_WELL">Lovers Going to the Well</a>,</td><td style="text-align: right"><a href="#Page_232">232</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_ITALIAN_FLOWER_VASE">The Italian Flower Vase</a>,</td><td style="text-align: right"><a href="#Page_234">234</a></td></tr> +<tr><td style="text-align: left"><a href="#PORTRAIT_OF_THE_MADONNA">Portrait of the Madonna</a>,</td><td style="text-align: right"><a href="#Page_236">236</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_SHOEMAKER_IN_LOVE">The Shoemaker in Love</a>,</td><td style="text-align: right"><a href="#Page_237">237</a></td></tr> +<tr><td style="text-align: left"><a href="#PRINCE_CHARLES_EDWARD_AFTER_THE_BATTLE_OF_CULLODEN">Prince Charles Edward after the Battle of Culloden</a>,</td><td style="text-align: right"><a href="#Page_239">239</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_FLOWER_GIRL">The Flower Girl</a>,</td><td style="text-align: right"><a href="#Page_242">242</a></td></tr> +<tr><td style="text-align: left"><a href="#PRESENTATION_OF_FIREMANS_TRUMPET">Presentation of Fireman's Trumpet</a>,</td><td style="text-align: right"><a href="#Page_243">243</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_PAINTERS_STUDIO">The Painter's Studio</a>,</td><td style="text-align: right"><a href="#Page_245">245</a></td></tr> +<tr><td style="text-align: left"><a href="#PORTRAIT_OF_GABRIELLE">Portrait of Gabrielle</a>,</td><td style="text-align: right"><a href="#Page_247">247</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_ELOPEMENT">The Elopement</a>,</td><td style="text-align: right"><a href="#Page_249">249</a></td></tr> +<tr><td style="text-align: left"><a href="#FIREMANS_COAT_OF_ARMS">Fireman's Coat of Arms</a>,</td><td style="text-align: right"><a href="#Page_251">251</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_SOLDIERS_FAREWELL">The Soldier's Farewell</a>,</td><td style="text-align: right"><a href="#Page_252">252</a></td></tr> +<tr><td style="text-align: left"><a href="#IKE_PARTINGTONS_GHOST">Ike Partington's Ghost</a>,</td><td style="text-align: right"><a href="#Page_254">254</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_PEASANT_FAMILY_IN_REPOSE">The Peasant Family in Repose</a>,</td><td style="text-align: right"><a href="#Page_255">255</a></td></tr> +<tr><td style="text-align: left"><a href="#THE_SOLDIERS_RETURN">The Soldier's Return</a>,</td><td style="text-align: right"><a href="#Page_257">257</a></td></tr> +<tr><td style="text-align: left"><span class="smcap"><a href="#NOTES_AND_EXPLANATIONS">Notes and Explanations</a></span>,</td><td style="text-align: right"><a href="#Page_259">259</a>-264</td></tr> +</tbody> +</table> + + + + +<p> </p><p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p><p> </p> +<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<h1><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h1> + + +<p><span class="smcap">The</span> Tableaux Vivants may be new to many of our readers, although they +have been produced and have been quite popular in Europe, and to some +extent in this country. For public or private entertainment, there is +nothing which is so interesting and instructive as the tableau. The +person most fitted to take charge of a tableau-company is one who is +expert at drawing and painting: any one who can paint a fine picture +can produce a good tableau.</p> + +<p>The individual who makes all of the necessary arrangements for a +series of tableaux is generally called the <i>stage manager</i>. His first +work is to select a programme of tableaux; and in this list there +should be a variety of designs, comprising the grave, the comic, and +the beautiful. A manuscript should be used in which to write the names +of the tableaux, directions for forming each, the names of the +performers, the parts which they personate, the styles of the +costumes, and the quantity and kind of scenery and furniture used in +each design.<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> + +<p>The following diagram will illustrate the manner in which the +manuscript should be arranged:—</p> + +<p> </p> + +<p style="text-align: center"> +<img src="images/image03.png" width="500" height="261" alt="diagram" title="diagram" /></p> + +<p> </p> + +<p>After the manuscript is completed, it will be necessary to select the +company and assign the parts. The number of persons required in a +first-class tableau-company is forty. It will be necessary to have +that number to produce large pictures; fifteen or twenty-five persons +will be sufficient for smaller representations. In forming the +company, the following persons should be selected: six young ladies, +of good form and features, varying in styles and sizes; six young +gentlemen, of good figure, and of various heights; two small misses; +two small lads; two gentlemen for stage assistants; one painter, one +joiner, one lady's wardrobe attendant, one gentleman's wardrobe +attendant, one curtain attendant, one announcer. If a large piece is +to be performed, such as the Reception of Queen Victoria, it will be +necessary to have fifteen or twenty young gentlemen, vary<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>ing from +four to five feet in height, to personate military and other figures. +Each person should have written instructions in regard to the scenes +in which they take a part, giving full descriptions of the costumes, +position, expression, and character which they are to personate; after +which they should meet in a large room, and go through a private +rehearsal. It will be necessary, previously to appearing before the +public, to have three rehearsals—two private ones, and one dress +rehearsal on the stage. It will be well to have a few friends witness +the dress rehearsal, which will give confidence to the performers, +previous to their <i>dêbut</i> before a large audience. As soon as the +company has been organized, and each performer has received his +several programmes, it will be the duty of the stage manager to see +that the various branches of the profession are progressing in unison +with the rehearsals. Each tableau should be carefully examined, and a +list of the machinery, scenery, wardrobe, and furniture of each piece +noted down, and competent persons immediately set to work on their +completion. The selection of appropriate music, the drafting and +erecting of the stage, and many other minor matters, should all be +completed, before the tableaux can be produced.</p> + +<p>But before proceeding farther, we will give directions in reference to +the size and formation of <i>the stage</i>. It should be strongly framed of +joist, and covered with smooth boards, and placed at the end of the +hall, at equal distances between the side walls.<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> It should be twelve +feet square, and six feet in height. The front of the stage should be +made to represent a large picture frame; it can be easily made of +boards ten inches wide, fastened together in a bevelled manner, and +covered with buff cambric, ornamented with gold paper. Oval frames are +frequently used, but they are not so easy to arrange and manage as a +square frame. Cover the floor of the stage with a dark woollen carpet, +drape the ceiling with light blue cambric, the background with black +cambric; the sides should be arranged in the same style as the side +scenes of a theatrical stage. Stout frames of wood, two feet wide, +reaching to the ceiling, and covered with black cambric, should be +placed on the extreme edge of the stage, in such a manner that lamps +from the ante-rooms will throw a light upon the stage and not be seen +by the audience. Make the drop-curtain of stout blue cambric; fasten a +slim piece of wood at the top and the bottom; and, at intervals of one +foot on both of the poles, fasten loops of thick leather, containing +iron rings one inch in diameter, and between the bottom and top rings, +at intervals of one foot, fasten small brass rings; these should be +attached to the cambric on the inside of the curtain; then fasten the +top pole to the inside of the top of the frame, and attach strong +lines to the bottom rings; pass the cords through the brass rings and +the iron rings at the top; then gather them together, and pass them +through a ship's block fastened in the ante-room. As the lines will be +quite likely to run off of the wheel, a piece of hard wood,<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> with a +circle at one end, fastened on the inside of the frame, will answer a +better purpose for the cords to pass through. After passing them over +the block, tie them together, and the curtain will be ready for use. +When the ropes are drawn, the curtain will rise up in folds to the top +of the frame. The floor of the stage should be built out on the front +twelve inches, for the placing of a row of gas-burners with tin +reflectors, painted black on the outside; this row of lights should be +furnished with a stopcock, which can be placed in the gentleman's +dressing-room. A row of strong lights should also be placed on each +side of the stage, within three feet of the ceiling; these also should +have reflectors and separate stopcocks, for the purpose of casting the +proper lights and shades on the stage.</p> + +<p><i>The Dressing-rooms</i> are on each side, and beneath the stage. The +floor of the stage should extend out on each side, making small rooms +for the placing of the scenery, furniture, &c. A trap-door should be +cut in the floor of each room, and flights of steps reaching down into +the rooms below, which are used for dressing-rooms. A partition placed +under the stage divides the ladies' from the gentlemen's room; these +rooms are covered on the front with strong cloth, and decorated with +flags.</p> + +<p><i>A stage for tableaux in a private dwelling-house</i> should be formed +similarly to a hall stage, but so constructed that it can be put +together in a few minutes. The platform should be fourteen feet +square, made in three sections, so that it can be handled easily, and<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> +should rest on a frame of small joist, which can be mortised together +at the corners; place the frame on four boxes, two feet square; at the +corners of the platform mortise four square holes, in which insert +pieces of joist which will reach to the ceiling; around the top fasten +strips of board, by means of screws. Make the frame in three pieces, +cover them with cambric, and fasten them to the front joist, and on +the top board with long screws; arrange the curtain and scenery +similar to the hall stage. The wardrobes and furniture can be +furnished by the members of the company, and with a little ingenuity +and taste, many suits can be gotten up with little expense. As the +view of the tableaux is but momentary, the quality of the costumes +will not be noticed.</p> + +<p><i>For a single evening's entertainment</i>, the following arrangement will +suffice, providing there be a long entry or a large parlor, separated +by folding doors. If the entry is used, let the performers form their +tableaux at the lower end; and when all is ready, the audience can be +called from the parlors to witness the scene. A parlor with folding +doors is undoubtedly the best place, as the doors can be slowly +opened, which will give a better effect to the scene. Cover the wall +back of the tableaux with black shawls, place the lights on a table at +one side of the picture, and hide them from the view of the audience +by placing a screen of thick cloth in front of them.</p> + +<p>In forming up a tableau, lights and shades should be studied; in fact, +this is the main secret of producing effects, and by managing the +lights about the stage<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> correctly, you can throw parts of your picture +in shadow, while other portions are light. Care should also be taken +not to have too great a variety of colors in a picture. The showy +costumes should be intermingled with those of modest appearance, and +the lightest characters, as a general rule, should be placed in the +background to relieve the dark ones; those in the background should be +placed on platforms. If there are many figures in the piece, it will +be necessary to have a number of forms, of various heights, placed in +the background—in this manner all of the figures will be seen.</p> + +<p>The scenery, furniture, and machinery of each piece should be arranged +previous to the entrance of the performers on the stage. Each +performer should be called on separately, and placed in position. By +adopting this plan, every tableau can be formed without noise or +confusion. When the position is once taken, it should be kept, unless +it is a very difficult one.</p> + +<p>The stage manager should take his position at the front of the stage, +and see that each one is in his proper place. He should prohibit +laughter or conversation among the performers, unless any one wishes +explanations in regard to the piece. He should be strictly obeyed in +all matters referring to the tableaux; and when he has properly +adjusted every thing on the stage, he should remove to the ante-rooms, +and see that the lights, music, &c., are ready. He should then ring a +small bell, and the announcer in the hall will have a programme of the +tableaux, and will an<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>nounce the piece; and if there is any +accompanying poem to be read, it will be his duty to read it. The +manager will then ring the second bell; this will be a signal for the +performers on the stage to take their positions, and for the lights to +be turned down in the hall. In thirty seconds after the second bell, +the manager will ring a third time, which will be a signal for the +curtain attendant to draw up the curtain, which should rise slowly to +the top of the frame, and be kept up about thirty seconds. Each +tableau should be exhibited twice, and in some cases three times. +After the last exhibition, the performers should quietly proceed to +the ante-rooms, and immediately dress for the next tableau. The +manager and assistants will see that the stage is cleared of the +scenery, and new scenery adjusted for the next piece. It will be +necessary to work with rapidity, as there are many things to perform +which in the aggregate will take much time. Large programmes should be +placed in each dressing-room, so that the performers will be able to +tell in which tableau they are to perform, without inquiring of the +manager. Each performer should be furnished with a large trunk to keep +his wardrobe in; and when a change of costume is made, care should be +taken that each one places his costumes in his own trunk. If this plan +is not followed, before the exhibition is through, many articles will +be missing, which will retard the performance.</p> + +<p>Each piece of machinery, furniture, scenery, &c., should have a proper +place where it should be left<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> when not in use. Nails, pins, hammers, +and other articles which come in constant use, should be kept in a +large box near the stage. By working systematically, every thing will +move on with clockwork nicety, and all confusion be avoided. Colored +fires should be burnt in the ante-rooms at the sides of the stage; +smoke and clouds should be produced at the back, or in the centre of +the stage. The preparation can be ignited by fastening a lighted fuse +to a long rod. Large tableaux require all the light than can be +produced. Medium pictures should be shaded in different parts. +Statuary tableaux require a soft and mellow light. Night scenes +require but little light, which should be partially produced by the +burning of green fire. The following articles are indispensable to a +well-arranged tableaux stage:—</p> + +<p>One melodeon, six common chairs, four ditto of better quality, two +small tables, two sinks, two sets of pitchers and ewers; two mirrors, +combs, hair brushes, pins, tumblers, twine and rope; napkins, nails, +tacks, buckets, hammers, brooms, cloth brushes, small bell, large +bell, scissors; one large table, one large chair, one set damask +curtains, four boxes, four feet long and eighteen inches wide, six +ditto eighteen inches square; two pieces black cambric, six feet +square; four pieces white cotton cloth, six feet square; (these boxes +and cloths are to be used in forming up the groundwork of almost every +tableau;) two red damask table covers, (very handy things to use in +decorating showy pictures;) one circular platform, four feet in +diameter, (much<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> used to form the top of pedestals to group statuary +tableaux on;) two steel bars, for producing sounds to represent alarm +bells; one bass drum, one tenor drum, one flask of powder, one box of +material for colored fires, one set of water-colors, one case +containing pink saucer, chalk balls, pencil-brushes, and burnt cork.</p> + +<p>It would be almost impossible to furnish a complete list of the +articles necessary. Those we have omitted will suggest themselves, or +the occasion will suggest them. By closely studying the plans we have +outlined, we are certain that no person with tact and taste could +assume the directorship of a tableau-company without success.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> +<h1>The Tableau Vivant.</h1> + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> + + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span class="smcap">Walk</span> with the Beautiful and with the Grand;<br /> +Let nothing on the earth thy feet deter;<br /> +Sorrow may lead thee weeping by the hand,<br /> +But give not all thy bosom-thoughts to her;<br /> +<span style="margin-left: 8em;">Walk with the Beautiful.</span><br /> +<br /> +I hear thee say, "The Beautiful! what is it?"<br /> +O, thou art darkly ignorant! Be sure<br /> +'Tis no long, weary road its form to visit,<br /> +For thou canst make it smile beside thy door;<br /> +<span style="margin-left: 8em;">Then love the Beautiful.</span><br /> +<br /> +Ay, love it; 'tis a sister that will bless,<br /> +And teach thee patience when the heart is lonely;<br /> +The angels love it, for they wear its dress,<br /> +And thou art made a little lower—only;<br /> +<span style="margin-left: 8em;">Then love the Beautiful.</span><br /> +<span style="margin-left: 14em;"><span class="smcap">Burrington</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> +<h2><a name="THE_WREATH_OF_BEAUTY" id="THE_WREATH_OF_BEAUTY"></a>THE WREATH OF BEAUTY.</h2> + + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +While Beauty comes to every human heart,<br /> +And lingers there, unwilling to depart,<br /> +Too many own her not, nor heed her claim,<br /> +But blindly follow some ignoble aim.<br /> +<span style="margin-left: 12em"><span class="smcap">Laighton</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Ten Female Figures.</h3> + + +<p><span class="smcap">This</span> elegant design is one of the finest of this series of tableaux, +and is composed of ten young and beautiful ladies, grouped so as to +represent a magnificent wreath. The bottom of the wreath rests on the +front of the stage; the top reaches up to the ceiling, forming a +complete circle of beautiful forms and fair faces, among which are +entwined festoons of flowers. Inside of this circle is a large wreath +six feet in diameter, and five inches in thickness; this rests on a +pink ground, and is composed of spruce, ornamented with artificial +flowers.</p> + +<p>The first work in the construction of this tableau is to erect a +circle of seats reaching from the front of the stage to the ceiling, +in the background. This can be easily accomplished by using boxes of +various sizes. The wreath should be ten feet in diameter; the boxes +should be entirely covered with white cloth, the space in the centre +with pink cambric.<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> + +<p>The costume of the ladies consists of a white dress, cut very low in +the neck; skirt quite long, and worn with few under skirts; sleeves +four inches long, trimmed with white satin ribbon; waist encircled +with a white satin sash; feet encased in white slippers; hair arranged +to suit the performer's taste, and encircled with a wreath of white +artificial flowers. The lady at the top of the wreath should first +take her position. She should be the lightest in weight of the group, +and should recline in an easy position, resting her head upon her +hand, the elbow touching the box, and the body slightly inclined to +the right. The second lady will then take her position at the right of +the first, on the seat below, her arm resting on the form of the lady +above, the right hand supporting her head, the face turned in to the +centre of the circle, the eyes raised to those of the figure above. +The remaining figures should take similar positions, until one half of +the circle is complete. The other side of the circle is arranged in a +similar manner,—the figures facing inward.</p> + +<p>The wreath of spruce and flowers is to be placed within the circle of +ladies. The stage and the back scene should be hung with green +bocking, and care must be exercised in the forming of the circle, so +that it shall appear perfectly round. The small festoons of flowers +should be entwined among the figures, after they have taken their +position. The expression of the countenances should be pleasant and +animated. The light for this piece should come from the foot of the<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> +stage, and should be quite brilliant. Music soft, and of a secular +character. The tableau, when finished, at a distance appears like an +immense wreath resting against a grassy bank.</p> + + + +<p> </p><p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p><p> </p> +<h2><a name="THE_MARBLE_MAIDEN" id="THE_MARBLE_MAIDEN"></a>THE MARBLE MAIDEN.</h2> + + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<i>Paulina.</i><span style="margin-left: 5em">As she lived peerless,</span><br /> +So her dead likeness, I do well believe,<br /> +Excels whatever yet you looked upon<br /> +Or hand of man done; therefore I kept it<br /> +Lonely apart; but here it is: prepare<br /> +To see the life as likely mocked as ever.<br /> +Still sleep mocked death; behold, and say 'tis well.<br /> +<span style="margin-left: 15em"><span class="smcap">Winter's Tale</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female and Eleven Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is taken from Shakspeare's drama, "The Winter's Tale." +The scene is that wherein Paulina draws away the curtain and discloses +the marble statue. She is addressing Leontes, who is seen in the +foreground. At the left of the stage, a group of five gentlemen and +one lady is seen; on the opposite side of the stage is another group +of five gentlemen; all of which are in position, so that a profile +view is exhibited.</p> + +<p>The scenery of this piece consists of a curtain passing across the +stage, three feet from the back end. The curtain described in the +tableau of the "<a href="#THE_DANCING_GIRL_IN_REPOSE">Dancing Girl in Repose</a>" will answer for this scene, +but should<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> be allowed to hang straight from the top, in place of +being looped up at the sides. Arranged in this way, it will leave an +open space of five or six feet in the centre. The background is seen +through this opening, and is to be festooned with wreaths of +evergreens and flowers. Close up to the back wall is placed a +platform, made in two pieces, the first being four feet square and one +foot high. On this rests a second platform, three feet square and one +foot high. At the right side of the upper platform is placed a round +pedestal, three feet high and one foot in diameter; this has a cap and +base, and can be made of card-board, and covered with white marble +paper. The platform is to be covered with black marble paper.</p> + +<p>By the side of the pedestal stands the statue. The lady who personates +this figure should be rather slim, of medium height, good features, +and dark hair. Costume consists of a loose, white robe, worn with but +few skirts, the sleeves very short, the waist cut low at the neck, the +skirt long enough to trail on the platform; the whole covered with +white tarleton muslin. Across the shoulders, and tied at the right +side, is worn a heavy muslin mantle, trimmed on each edge with white +satin ribbon. The hair is arranged in a neat coil, and a small wreath +of white leaves encircles the head. These are made of white paper, and +fastened to a wire frame. The statue stands perfectly straight at the +side of the pedestal, one arm resting on the top, the hand hanging +down over the front, while the left arm hangs gracefully at the side. +The eyes are directed to the<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> figure of Leontes in the foreground. +Pauline, who draws the curtain aside, is costumed in a black silk +dress, with a velvet waist, trimmed with bugles, and interspersed with +silver spangles. The hair, arranged in a single coil, is decorated +with a velvet band, with white paste pin in the centre, from the back +of which is fastened a long black lace veil, falling gracefully over +the shoulders, and reaching nearly to the floor. She is standing at +the right of the curtain, one hand grasping its folds, while the other +is extended, and points to the statue. A profile view is had of the +figure: the head is slightly turned, the eyes directed to Leontes in +the foreground. Leontes' costume consists of a black coat, belted +around the waist, black knee breeches and hose, confined with a gold +band and showy paste pin. The collar and cuffs of the coat are +decorated with deep white lace. A short sword is suspended from the +belt; the feet are covered with low shoes, with showy buckles; the +head is encircled with a silver band, one inch wide, with a brilliant +pin in the centre. Fastened around the neck, and hanging over the +shoulders, is a black velvet cape—a small, lady's cape will answer. +Position is standing on the extreme front of the stage, with both +hands extended above the head, the body thrown back, the feet extended +from each other, the back turned to the audience, the head inclined to +one side, so that a side view is had of the face, while the eyes are +directed to the statue. Behind Leontes stands a tall figure, costumed +in a black coat and knee breeches, white hose, knee and shoe buckles, +low shoes, waist<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> encircled with a belt, a short cloak thrown over the +right shoulder. The other figures are costumed in a similar manner, +and stand between Leontes and the side of the stage, and are looking +intently at the statue.</p> + +<p>Three more gentlemen, costumed in a similar style, occupy positions on +the opposite side of the stage, close to the wings. A profile view is +had of their figures, while their faces are turned towards the statue. +In front of this group stands a young man, with his arm placed around +the waist of a young lady who stands at his side, and in such a +position that we have almost a back view of them. The lady is costumed +in a white dress, cut low at the top, sleeves very short, skirt long, +so as to trail ten inches, ornamented with buff ribbon, which should +be placed on the bottom of the skirt, around the waist, on the top of +the waist, and on the sleeves. Her hair should hang loosely over the +shoulders, the head encircled with a string of feldspar or pearl +beads. The hands are clasped in front of her bosom, the body inclined +forward slightly, the eyes directed towards the statue. The gentleman +at her side stands erect. His costume consists of a dark coat, +ornamented around the bottom with silver paper, covered with black +lace, the sleeves and collar trimmed in the same mode, with an +addition of wide white lace cuffs and collar; the breeches are of +black cloth, with a band of silver, and buckle at the knee; white +hose, low shoes, with buckles, a wide belt around the waist, from +which is suspended a long, slim sword. The lights on each side of the +background, where the statue<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> is placed, should be quite brilliant. +The foreground should receive the rays of light, which should be of +medium quantity, from the side of the stage where Leontes stands. +Music soft and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="VENUS_RISING_FROM_THE_SEA" id="VENUS_RISING_FROM_THE_SEA"></a>VENUS RISING FROM THE SEA.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Then spoke the sovereign lady of the deep—<br /> +<span style="margin-left: 1em;">Spoke, and the waves and whispering leaves were still:</span><br /> +"Ever I rise before the eyes that weep,<br /> +<span style="margin-left: 1em;">When, born from sorrow, wisdom makes the will;</span><br /> +But few behold the shadow through the dark,<br /> +And few will dare the venture of the bark."<br /> +<span style="margin-left: 15em;"><span class="smcap">Bulwer</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> tableau is represented by one beautiful lady, whose costume +consists of a flesh-colored dress, fitting tightly to the body, so as +to show the form of the person. The hair hangs loosely on the +shoulders and breast, and is ornamented with coral necklaces, while +the neck is adorned with pearls. To represent the sea, it will be +necessary to place, at intervals of two feet, (from wing to wing,) +strips of wood, beginning at the floor of the stage, near the front, +and rising gradually as they recede in the background, the last strip +being two feet from the floor of the stage. After these have been +arranged, lay strips of blue cambric across them; cover them entirely, +and between the bars of wood let the cambric festoon so as to +represent the appearance of waves. It will be necessary to fasten the +cambric with small tacks, to keep it in position, while the ridges<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> of +the miniature waves should be painted white, to imitate foam. A trap +door should be cut in the centre of the stage, and a circle cut in the +centre of the cambric, to admit the body of Venus. The waves should +come up three inches above the hips, fitting closely around the body. +The water about the centre should be made white with foam. A platform +can be arranged below the stage for the performer to stand on, and +this can be made high or low, according to the height of the lady, by +the use of blocks of wood. The right hand of the figure is held above +the head. The left hand rests on the water. The countenance is lighted +up with smiles. Small particles of isinglass scattered on the waves +will make them glisten and sparkle, which will add to the effect, +while a green fire, burned for twenty seconds, and then changed to red +or bluish white, will give a fine shade to the scene. If the colored +fires are not used, the light should come from the front. Music, soft +and brilliant.</p> + + + +<p> </p><p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p><p> </p> +<h2><a name="RECEPTION_OF_QUEEN_VICTORIA_AT_CHERBOURG" id="RECEPTION_OF_QUEEN_VICTORIA_AT_CHERBOURG"></a>RECEPTION OF QUEEN VICTORIA AT CHERBOURG.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 1em;">Sing, gladly sing!</span><br /> +<span style="margin-left: 1em;">Let voice and string</span><br /> +Our nation's guest proclaim.<br /> +<span style="margin-left: 1em;">She comes in peace,</span><br /> +<span style="margin-left: 1em;">Let discord cease,</span><br /> +And blow the trump of Fame!<br /> +<span style="margin-left: 11em"><span class="smcap">Anon.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Ten Female and Twenty Male Figures.</h3> + + +<p><span class="smcap">It</span> was in the fall of the year 1858, when the great naval arsenals, +magazines, and docks, at Cherbourg,<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> were to be inaugurated; and +notwithstanding the admonition of the English press, which represented +the establishment of these works as a direct menace against Great +Britain, and, taken in connection with the constant increase of the +French navy, a proof of ultimate hostile designs on the part of the +emperor, Queen Victoria had accepted an invitation to be present on +this occasion. The day appropriated for the reception of the queen had +arrived. The weather was superb; the skies were blue, and the waters +of the channel were calm and placid. The shores and buildings, as far +as the eye could reach, were covered with cavalry, infantry, +artillery, and citizens. Every bosom in this mighty throng was glowing +with enthusiasm. The glittering eagles, the waving banners, the gleam +of polished helmets and cuirasses, the clash of arms, the +soul-stirring music from the martial bands, and the incessant bustle +and activity, presented a spectacle of military splendor which has +seldom been equalled. It was war's most brilliant pageant, without any +aspect of horror. The frigate La Bretagne, on which the banquet was to +take place, was decorated with signals and flags, and most prominent +were the national ensigns of France and England. A triumphal throne +was erected on the deck of the vessel, on which sat Louis Napoleon, +the empress, the officers and great dignitaries of the country, +interspersed with the ladies of honor. Salutes from the surrounding +forts and ships of war announced the arrival of the barge containing +the Queen of England, Prince Albert, and suite. They were received on<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +board the frigate by Napoleon, amid the salvos of artillery and +strains of martial music. "God save the Queen," and French national +airs, were played by the bands, and the nation's guest was addressed +by Napoleon, who, in proposing Victoria's health, said,—</p> + +<p>"Facts prove that hostile passions, aided by a few unfortunate +incidents, did not succeed in altering either the friendship existing +between the two crowns, or the desire of the two nations to remain at +peace. He entertained the sincere hope that if attempts were made to +stir up the resentments and passions of another epoch, they would +break to pieces on common sense. Prince Albert responded, and +expressed the most friendly sentiments on behalf of the queen. He said +she was happy at having an opportunity, by her presence at Cherbourg, +of joining and endeavoring to strengthen as much as possible the bonds +of friendship between the nations—a friendship based on mutual +prosperity; and the blessing of Heaven would not be denied. He +concluded by proposing a toast—The emperor and empress."</p> + +<p>The above scene is the one we propose to represent in tableau; and to +give a good effect to the piece, it will be necessary to have thirty +persons. The number can be increased if there is sufficient room. The +four principal characters are Queen Victoria, Prince Albert, Louis +Napoleon, and the Empress. In selecting the persons for these parts, +it will be well to choose those who are as near like the original as +possible. They should be persons of good figure, and of graceful and<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> +easy manners. The sailors and military should be composed of young +lads; the rest of the performers consist of young ladies and +gentlemen. The stage should be arranged in the following manner: Two +tiers of seats should be arranged in a curved line from the right of +the stage, at the front, to the left of the stage, in the background. +The front seat is two feet, the second and back tier should be three +feet, in height, with a wide platform behind, of the same height, +capable of holding twenty persons. These seats should be covered with +a crimson cloth, and are intended to be occupied by Napoleon's suite. +In the centre of these seats should be placed a platform four feet +square and two feet high; on this place the throne chairs, and build a +flight of broad steps in front, covered with crimson, and decorated +with gold. The throne chairs should be made as showy as possible. +Common office chairs can be easily made to answer the purpose by +fastening to the backs pieces of boards one foot wide and four feet +high, and covering the fronts and top of the arms with pieces of board +four inches wide, decorating them with red turkey cloth, and bands of +gold paper. Place them close together, and insert a board decorated in +the same manner between the two, and ornament the top with a canopy of +Turkey cloth, trimmed with gold; on the top place a pointed gilt +crown. This kind of throne can be easily put together, and will be +easier to handle than one made in a more workmanlike manner. The +emperor and empress should be seated in the chairs. The platform is +intended for the military, while the<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> seats should be filled with +dignitaries, officers, and ladies. The empress's costume consists of a +rich brocade, heavily ornamented with jewelry, gold or silver lace, +and any other decoration that will be appropriate, and will add to the +richness of the costume. A small crown should adorn the head, which +can be made showy by using paste pins of various sizes. The emperor's +costume consists of a blue velvet coat, ornamented with gold epaulets, +and trimmed with gold fringe, while the right breast is adorned with +the cross of the legion of honor. The breeches are of blue velvet, +trimmed with silver lace and knee buckles; the remainder of the +costume consists of military top boots, silk scarf of blue and red, +side arms and crown. At each side of the throne there should be one +body guard, fine-looking gentlemen, dressed in court costume, each +holding a long halberd. The rest of the gentlemen are costumed in +court dress and military suits; the ladies in as showy and rich +appearing costume as can be procured. The hair should be arranged to +suit the taste of the performers; the head should be adorned with a +band of gold, with a colored plume in front. The seats are to be +filled entirely with the ladies and gentlemen, and a few should stand +at the side and on the platform; careless and graceful attitudes +should be taken, and all eyes should be directed to the left of the +stage, where the barge is expected to arrive. The soldiers in the +background should be formed in platoon, and in such a manner that all +will be visible. The muskets should be held at the shoulder. Each +should be furnished<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> with a large moustache, and should look directly +forward. The performers having all taken their positions, the cannon +will commence firing behind the scenes, and the curtain will rise on +the first part of the tableau; after exhibiting this part twice, a +piece of canvas, painted to represent water, should be spread in front +of the throne, while the rest of the scenery and performers should be +all ready, so that in five minutes after the first scene, the second +should appear. The barge should be made five feet in length, or, +rather, five feet of the barge should be seen; the remaining portion +of it is presumed to extend behind the scenes. It should be built in +the form of the Venetian boats, with the prow running up a foot above +the gunwale, and turning over in the form of a scroll. The barge can +be framed out of light strips of wood, and covered with canvas; the +exterior should be painted in showy colors; the scroll can be covered +with gold paper; a wreath of flowers should be painted around the edge +of the gunwale; cloth, painted to represent water, should be fastened +about the boat near the water line. The barge contains four sailors, +Prince Albert, and Queen Victoria. The remainder of the company is +imagined to be in the stern of the boat, which is invisible. The boat +should be placed sideways to the audience, very near to the side wing, +with the bow inclined slightly towards the throne. When the curtain +rises on the scene, the emperor should be standing at the foot of the +throne, about to assist the queen from the bows of the barge. The +queen is standing with hands extended<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> to receive the proffered +assistance of Napoleon. Prince Albert is seated directly behind the +queen, holding his chapeau in his hand. The sailors hold their oars up +in the air, and look towards the audience. The queen's costume +consists of a showy brocade dress, ornamented with a mantle in +imitation of ermine, and showy jewelry; a crown, of English design, +adorns the head. Prince Albert is costumed in a scarlet military coat, +with heavy and rich decorations, gold epaulets, crimson sash, buff +vest and breeches, side arms and chapeau. Sailors' costume consists of +a white shirt, with blue collar and cuffs, black handkerchief about +the neck, and black tarpaulin. While the curtain is up, the band +should play "God save the Queen." This piece requires great quantity +of light, which should come from the side where the barge is placed, +and from the front.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="SCENE_FROM_THE_OPERA_OF_SAPPHO" id="SCENE_FROM_THE_OPERA_OF_SAPPHO"></a>SCENE FROM THE OPERA OF "SAPPHO."</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The very spot where Sappho sung<br /> +Her swan-like music, ere she sprung<br /> +(Still holding, in that fearful leap,<br /> +By her loved lyre) into the deep,<br /> +And dying, quenched the fatal fire,<br /> +At once, of both her heart and lyre.<br /> +<span style="margin-left: 10em"><span class="smcap">Opera of Sappho.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Eleven Female and Ten Male Figures.</h3> + + +<p><span class="smcap">This</span> thrilling tableau is a representation of a scene from the popular +opera of Sappho. The design is taken at the moment when Sappho has +finished her first song,<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> "Morning has never dawned," and the +attendants join in the chorus. The number of figures in the piece is +twenty-one, eleven ladies and ten gentlemen. The scenery in the +background and at the sides represent pillars of marble; these can be +cheaply made of strips of marble paper, with a cornice running around +the top; in the centre of the background is placed a platform two feet +high by four feet square; on each side of this are pedestals three +feet high by one and a half feet square, the fronts panelled with red +Turkey cloth, and bordered with gold paper; on the top of these should +be placed large earthen vases, painted to represent bronze, from the +mouth of which there should issue colored flames. From the right and +left sides of the platform to the front corners of the stage place the +chorus singers. The ladies stand on the left side; three are placed on +a platform one foot high, and standing in front of them, at equal +distances, are seven more. The gentlemen on the other side are +arranged in the same manner. Sappho, the heroine of the tableau, +stands on the platform between the two pedestals; the left hand rests +on the top of one of the pedestals, and the other is raised up at +arm's length. The head is thrown back slightly, and the eyes are +raised upward. The right foot is placed twenty inches in advance of +the left, the body facing the audience.</p> + +<p>Sappho's costume is a long, white robe, cut low at the top, over which +is worn a short half skirt of white tarleton muslin, reaching to the +knee; sleeves five inches long, trimmed with Grecian border; the +lower<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> portion of both of the skirts trimmed with black velvet two +inches wide, ornamented with gold paper and spangles; a wide band of +gold is placed around the top of the dress, and covered with wide +white lace. A band of wide black velvet ribbon, ornamented with showy +paste pins, encircles the waist, and a wreath of silver leaves adorns +the head. These can be cut from silver paper, lined with cloth, and +fastened to a small wire. The hair is arranged in wide braids at the +side of the head, clasped by a silver band at the back, and allowed to +hang in short curls in the neck.</p> + +<p>The chorus ladies are costumed in white dresses, low-necked; sleeves +five inches long, trimmed with narrow pink ribbon, a bow of the same +at the top of the sleeves, fastened to the dress by a brilliant glass +pin; over the skirt of the dress should be worn a half skirt of white +tarleton muslin, which should be two feet long in front, and three +behind; this is belted about the waist with a pink ribbon, and trimmed +around the bottom with oak leaves. The hair of most of the ladies +should be arranged in curls, which should be confined together with a +band of silver, while three of the ladies must allow their hair to +fall loosely over the shoulders; wreaths of artificial flowers should +adorn the heads of all. The lady who stands near the corner of the +stage at the front should have in her left hand a torch, from which +issues colored flame, while the right hand is raised above the head, +the right foot placed twenty inches before the left, the body and head +thrown back, the eyes cast upward, and excitement should be ex<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>pressed +in the countenance. (The torch can be made of wood, and covered with +silver paper.) Every other lady in the row of seven should hold a +torch, and take similar positions. Those standing near the +torch-bearers are costumed in the same manner, and hold small harps in +the left hand, while the right touches the strings. The body and head +are thrown back slightly, and the eyes cast upward. Those performers +standing near the platform should be elevated on small platforms of +various heights, so as to be distinctly seen. On the platform behind +the seven stand three other ladies, at equal distances from the front +corner of the stage to the pedestals. Their costume should be similar +to the others; position the same, while the hands are clasped in front +of the bosom, and the eyes are directed to the form of Sappho.</p> + +<p>The ten gentlemen are costumed in white coats trimmed around the +bottom, the sleeves and collar with black cambric two inches in width, +and ornamented with gold; a black belt of the same material encircles +the waist; black pants or breeches; white hose reaching to the knee, +and fastened with a silver band and buckle; low shoes, with a blue +rosette on the front. A wide white mantle trimmed with oak leaves +should be worn across the breast, the ends ornamented with wide yellow +cambric fringe, which should be fastened at the side with a blue +rosette, and trail made nearly long enough to reach the floor. The +head is adorned with a wide band of velvet, ornamented with gold. The +performers should be furnished with long,<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> full beards, which can be +made of hemp or horse-hair. The arrangement of the gentlemen is the +same as that of the ladies—seven placed on a line from the pedestal +to the corner of the stage, and three on the platform behind. The +front rank have the golden harps and the torches. The gentlemen on the +platform clasp their hands in the same manner as the ladies opposite. +The position of all the chorus singers is such that a profile view is +had of their features.</p> + +<p>The front lights should be turned down quite low; the lights at the +side where the gentlemen stand should be very brilliant. A red fire +should be thrown on the platform and the figure of Sappho. Music +should be quite brilliant.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="FLORA_AND_THE_FAIRIES" id="FLORA_AND_THE_FAIRIES"></a>FLORA AND THE FAIRIES.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +She haunts the spring beneath a fairy's guise,<br /> +With unbound golden hair and azure eyes;<br /> +A wreath of violets in each dainty hand,<br /> +And round her sunny brow an emerald band;<br /> +While all day long she strays o'er hill and glen,<br /> +Through leafy bowers, amid the homes of men;<br /> +And when night falls, from out the echoing dells,<br /> +The lilies ring for her their crystal bells,<br /> +And in the forest's depths she dreams till morn,<br /> +Waked by the music of the wild bee's horn.<br /> +<span style="margin-left: 15em"><span class="smcap">Laighton</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Eight Female Figures.</h3> + + +<p><span class="smcap">This</span> elegant tableau represents Flora seated in a beautiful car drawn +by six fairies. The car is easily made of wood covered with paper or +cloth, and deco<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>rated with flowers. It should be five feet long, and +made in the form of a scroll, the largest part of which should be at +the back of the car. Cover the centre of the scroll which forms the +sides with crimson paper or cloth, ornamented with a border of gold +paper three inches wide, and a second border of artificial flowers. +Make the wheels of solid pieces of wood; the front ones, one foot in +diameter; the back ones, double the size; cover them with crimson +cloth, and ornament them with large gold stars; build a small seat at +the back end, and extend the floor of the car one foot out from the +back part, for the footman to stand on. The front of the car should be +built in the form of a scroll, and should sustain a small vase of +flowers on the top. Vases of similar shape, containing flowers, should +be placed on each side of the seat; a long rope, covered with crimson +cloth, should be attached to the front axletree. As only one side of +the car is visible, it will be necessary to decorate only one side. A +platform one foot high should be built on the front of the stage; a +second one, three feet from the first, which should be two feet high; +a third, in the rear of the second, should be three feet in height. +These must be covered with green bocking, to represent turf. Place the +car near the front of the stage, at the right corner; attach six +pieces of green ribbon to the crimson rope, for the fairies to take +hold of; six pink ribbons must be fastened to the waist of the +fairies, and held by Flora, who is seated in the car.</p> + +<p>The young lady who personates Flora should be<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> of good figure and +features, and rather small form. Her costume consists of a white robe, +cut low at the neck; sleeves five inches long, trimmed with flowers; a +belt of green cloth, adorned with artificial flowers, around the +waist; a crown, made in like manner, encircling the head; a small +bouquet of flowers fastened to the front of the waist. The hair is +arranged in short curls about the head; a side view is had of the +body, while the head is turned around to face the audience. The hands +are employed in holding the pink ribbons and whip, which is made of a +long, slender branch of the willow, with a few leaves on the extreme +end. The countenance expresses pleasure and animation.</p> + +<p>Seven small misses personate the fairies, and their costume consists +of a short white dress, decorated with silver spangles. Strips of blue +ribbon, one inch wide, should be placed around the skirt, running from +the waist to the bottom of the skirt; these must be three inches +apart. The waist is made of blue silk, and trimmed with silver paper +and spangles. The hose are flesh color; shoes, white satin; the head +is encircled with a wreath of flowers; the hair should be arranged in +short curls, and small wings formed out of wire, covered with gauze, +and ornamented with silver spangles, are fastened to the back of the +waist. The fairies should stand in double files, one couple standing +on the first platform, one on the second, and one on the third; they +should be three feet apart, standing in the form of a half circle, so +that each will be seen.<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> One hand should grasp the pink ribbon, while +the other is raised, holding a small bunch of flowers. The fairy +footman's costume is like the others, and the position is on the back +of the car, both hands upon the back of the seat, and at the same time +holding the ends of a long wreath, which arches over the head of +Flora.</p> + +<p>The light should come from the side of the stage where the fairies +stand, where should be burned a small quantity of the whitish-blue +fire. Music lively.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_SPECTRE_BRIDE" id="THE_SPECTRE_BRIDE"></a>THE SPECTRE BRIDE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +But, soft; behold! lo, where it comes again!<br /> +I'll cross it, though it blast me.—Stay, illusion!<br /> +If thou hast any sound, or use of voice,<br /> +Speak to me:<br /> +If there be any good thing to be done,<br /> +That may to thee do ease, and grace to me,<br /> +Speak to me;<br /> +If thou art privy to thy country's fate,<br /> +Which, happily foreknowing, may avoid,<br /> +O, speak!<br /> +Or, if thou hast uphoarded in thy life<br /> +Extorted treasures in the womb of earth,<br /> +For which, they say, you spirits oft walk in death,<br /> +Speak of it. Stay and speak!<br /> +<span style="margin-left: 12em"><span class="smcap">Shakspeare.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twelve Female and Twelve Male Figures.</h3> + + +<p><span class="smcap">This</span> interesting and imposing tableau is taken from a legend, which +has been handed down from generation to generation among the villagers +living in the neighborhood of Glenburne Castle, England. The<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> story, +probably as authentic as many which are often heard of in those +districts, is as follows:—</p> + +<p>Many years ago, that portion of the country where Glenburne Castle now +stands was owned and governed by an intriguing and overbearing lord. +He had a beautiful companion for a wife, who loved him too well; but +his affections wandered from her. He looked into a brighter eye, and +on a fairer brow. His wife pined away, lived miserably for years, and +died at last broken-hearted. Six months had passed, and great +preparations were being made in the old castle for a magnificent +wedding. The lords and nobles, within a circuit of five hundred miles, +were invited to participate in the festivities of the day. The halls +were hung with beautiful tapestry and garlands of flowers, and the +castle resounded with strains of sweet music, "and all went merry as a +marriage bell." But this finely-arranged entertainment did not end in +so pleasant a manner as was intended. The hour had arrived when the +lord of the castle was about to lead to the hymeneal altar the +bright-eyed lady he so long loved. The spacious and magnificent +drawing rooms were thronged with the wealthy and the beautiful; all +were attired in robes of silk and satin, and costumes of velvet, which +glistened with pearls and precious stones. A temporary platform was +placed at one end of the hall, on which was raised a crimson and gold +canopy. On the platform were to be seated the bride and bridegroom, +and the grand cardinal who was to perform the service. It was seven +o'clock in the evening; the guests had<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> all arrived, and were seated +around the room awaiting the entrance of the lord and his intended +bride. Soon the castle resounded with the sound of trumpets. The +massive doors opened wide, and the grand cardinal, followed by the +bride and bridegroom, entered the apartment, and took their position +beneath the canopy. The marriage ceremony had been partly completed, +when all were suddenly petrified with horror. A bluish flame is seen +rising from the centre of the floor, and within this cloud of flame +the spirit form of the bridegroom's first wife slowly rises up through +the floor, and points her bony fingers to the horror-stricken husband. +The guests and attendants rush from the castle, and hasten to their +homes. The intended bride remained insensible for many hours, and when +she revived she was no more herself. The fearful scene had crushed out +forever the last spark of reason. She was a maniac. The lord of the +castle was left alone with his spectre bride, but not long. Forsaken +by every one, he cared not for life, and when death came, which was +not long after this occurrence, he welcomed him as his best friend. +Years have passed, but the mysterious story still hangs over the spot; +and at certain times of the year, it is said the apparition, +surrounded by a cloud of fire, keeps its midnight vigils among the +time-worn ruins.</p> + +<p>The number of figures required to represent this tableau is +twenty-four. The stage scenery is arranged in the following manner: In +one corner of the background erect a platform two feet high by four +feet<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> square; over this place a canopy of crimson cloth, ornamented +with gold paper. The platform should be decorated in the same manner. +Red shawls or table covers will answer all purposes. Extending from +each side of the stage to the platform, there should be two rows of +seats and a platform behind; the first row of seats is to be eighteen +inches high; the second three feet high, with a platform behind two +feet wide; the platform can be left out at the sides, which will give +more space in the centre of the stage. The seats and platforms can be +formed of boxes and boards and covered with white cloth. Ten ladies, +and the same number of gentlemen are to occupy the seats, while the +platform is reserved for the bridal party. A trap door, two and a half +feet square, should be cut out of the floor four feet from the front, +and at equal distances from each side of the stage. This must be made +secure, when not in use, by the means of bolts. The machinery for +raising the spectre is arranged in the following manner: Strong +blocks, such as are used on board of ships, should be securely +fastened beneath the stage, at the four corners of the square; ropes, +three quarters of an inch in diameter, should be passed through them, +and one end of each fastened to fifty-six pound weights; the other +ends of the ropes are to be fastened to rings attached to a platform +two and a half feet square. A piece of four inch joist should be +fastened near the centre of the platform, which should be three and a +half feet high; small handles, two feet long, should also be fas<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>tened +securely at the sides of the platform, on which the person who +personates the spectre will stand. When the time has arrived for the +spectre to appear in the tableau, two persons can easily guide the +platform from the floor to the stage above. All the gentlemen are +required to do, is to guide the platform; the heavy weights attached +to the ropes will draw it up. The post fastened in the centre is +intended for the lady to take hold of to keep her position; it should +be covered with white cloth, and hid from view by the drapery of the +costume of the spectre. The lady personating the spectre should take +her position on the platform in the same manner that she will appear +on the stage, which is such that a side view can be had of the figure, +the right hand pointing to the platform where the bridal party are +standing. The costume consists of a long white dress, worn without +many skirts, over which is draped a robe of white muslin; a long, +white gauze veil should be loosely tied around the head; the hair is +allowed to hang loosely over the shoulders. The face, and arms, and +neck must be made as white as possible by the use of pearl-powder. The +features should express sternness.</p> + +<p>The bridegroom should be dressed in a velvet coat trimmed with gold +lace, velvet breeches, white vest, white hose, low shoes, knee and +shoe buckles, ruffled bosom, white lace collar. The bride should be +adorned in a showy dress of rich brocade or satin, decorated with +jewels; mantle of ermine worn over the shoulders; the hair arranged to +suit the taste of the per<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>former, and encircled with a wreath of +silver leaves, while a heavy white veil is fastened to the back of the +head. The cardinal should have on a long black silk surplice, white +cravat, and a mitre hat on the head. The couple face the audience, the +cardinal standing directly behind them in the same position, with his +hands raised over their heads. The ladies, who occupy seats at each +side of the platform, should be costumed in as great a variety and as +richly appearing dresses as can be procured; bands of gold, ornamented +with colored plumes, are worn on the head.</p> + +<p>Jewelry of all kinds should be worn in profusion. The gentlemen may be +costumed in embroidered and military suits of various colors; white +hose, knee and shoe buckles, breeches and side arms; each being +disguised with wigs and false beards. The ladies and gentlemen should +be intermingled, those in the foreground seated, while a portion of +the others are in a standing position. At each side of the platform +there should be a page, holding the chapeau and side arms of the +bridegroom. Their costume consists of short velvet coat trimmed with +gold, pink breeches, white hose, white shoes, silver shoe and knee +buckles, white silk scarf, lace collar and cuffs. The attention of the +guests and attendants should be directed to the group on the platform, +the expression of their countenances denoting pleasure and interest. +This constitutes the first scene, and ought to be exhibited three +times; after which, the performers will take positions for the second +scene.<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> + +<p>The bride should be reclining insensible on the arm of the bridegroom; +the cardinal is about seeking safety in flight; the lord looks with +horror on the spectre, and throws out his arm as if he thought the +spectre was about to grasp him; portions of the guests have risen, and +are about to take flight; others are stupefied with affright; hands +and arms are thrown up in fear; consternation is depicted on every +face. When all is ready for representation, the stage manager must +give the signal to those in charge of the curtain, machinery below the +stage, and colored fires at the same moment, so that all will work in +unison. The whitish-blue fire should be burned in small quantities +near the trap door and larger quantities of the same in the +ante-rooms, which will reflect on the forms of the performers. The +curtain should be drawn up quite fast, while the spectre, starting at +the same time, should rise very slowly.</p> + +<p>The lights for this piece should be opposite the platform, where the +bridal party stand; they must be very brilliant, and as many as can be +procured. The music in the first scene should be of a lively nature; +in the second scene, of a mournful style.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p> +<h2><a name="MUSIC_PAINTING_AND_SCULPTURE" id="MUSIC_PAINTING_AND_SCULPTURE"></a>MUSIC, PAINTING, AND SCULPTURE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 11em;">O, there is nought so sweet</span><br /> +As lying and listening music from the hands,<br /> +And singing from the lips, of one we love—<br /> +Lips that all others should be turned to. Then<br /> +The world would all be love and song; heaven's harps<br /> +And orbs join in; the whole be harmony—<br /> +Distinct, yet blended—blending all in one<br /> +Long, delicious tremble, like a chord.<br /> +<span style="margin-left: 15em;"><span class="smcap">Festus</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<p> </p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The finger of God is the stamp upon them all, but each has its separate variety.<br /> +Beauty, theme of innocence, how may guilt discourse thee?<br /> +Let holy angels sing thy praise, for man hath marred thy visage;<br /> +Still, the maimed torso of a Theseus can gladden taste with its proportions.<br /> +Though sin hath shattered every limb, how comely are the fragments!<br /> +<span style="margin-left: 25em;"><span class="smcap">Tupper</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female Figures.</h3> + +<p><span class="smcap">This</span> artistic group is represented by three beautiful females, seated +on a mossy bank, each one holding the emblems of her profession. The +goddess of music holds a harp, on which she is playing; the goddess of +painting has a partially painted picture in the left hand, and a brush +and pallet in the right; the goddess of sculpture has a small bust in +her right hand—in her left she holds a small mallet and chisel. Their +costumes consist of a loose white robe, cut quite low at the top, and +without sleeves; a heavy mantle of white muslin is draped across the +breast; the hair should hang in ringlets, or be left to flow +negligently on the shoulders. The Goddess of Music should sit on the +right side of the mound, the hand resting on the knee, her eyes cast +upward. The Goddess of Painting<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> sits on the left of the mound, her +picture resting on the left knee, the right hand holding the pallet +and brush, the body slightly bent forward, the eyes fixed on the +Goddess of Music. The Goddess of Sculpture should sit between the +Goddesses of Music and Painting, the bust which she holds resting on +the right knee, the left hand grasping the mallet and chisel. Her +attention is fixed on the Goddess of Music. The mound should be placed +in the centre of the stage; it can be made of boxes, and covered with +green baize; it should be two feet high, and four or five feet in +diameter. The light comes from the right side of the stage, and should +not be very strong. The accompanying music should be soft and +plaintive.</p> + + + +<p> </p><p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p><p> </p> +<h2><a name="BUST_OF_PROSERPINE" id="BUST_OF_PROSERPINE"></a>BUST OF PROSERPINE.</h2> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> artistic tableau is a living representation of the bust of +Proserpine by Powers. The head is ideal, and we may conceive it as +embodying our great sculptor's conception of female beauty in repose. +The wreath of leaves and flowers which encircles it, alludes, perhaps +remotely, to the legend, familiar in the poets, of the field</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Of Enna, where Proserpine, gathering flowers,<br /> +Herself a fairer flower, by gloomy Dis<br /> +Was gathered.<br /> +</td> +</tr> +</tbody> +</table> + +<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p> + +<p>The learned Germans, who regard the whole Grecian mythology as +personifying natural phenomena, interpret the legend as follows: +Proserpine who is carried off to the lower world is the seed corn, +that, for a time, is buried in the ground. Proserpine who returns to +her mother is the corn which rises again to support mankind. The lady +who takes the part of Proserpine should be quite handsome, with fine, +regular features, a high forehead, and a good form. Her dress should +be pure white, and cut extremely low at the neck; the hair should be +brushed back from the forehead, done up neatly behind, allowing five +or six curls to hang loosely in the neck, and a braid of hair should +be worn across the front of the head. No ornaments of any kind should +be worn.</p> + +<p>The machinery of this tableau is arranged as follows: The revolving +beam that is described in the tableau of the <a href="#THE_ITALIAN_FLOWER_VASE">Flower Vase</a> is to be used +in this piece. The beam is placed in the centre of the stage, on the +top of which is a wooden pedestal, three and a half feet high by +seventeen inches in diameter on the inside. This pedestal should be +made in two parts, having hinges, and a hook, to fasten them together. +It must have a cap and base, and be covered with white cloth, over +which fasten white tarleton muslin. The bottom of it should be six +inches in thickness, with a square mortise in the centre, to allow the +top of the beam to enter. The lady who personates Proserpine is to +stand inside of this pedestal, and, as the space is quite small, it +will be necessary to wear few under skirts. A<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> frame should be +manufactured of wire, and covered with white cloth and white muslin, +and should be made to fit the back and breast of the figure, allowing +room for the arms to be folded inside of it. This is to be made at the +top in the same shape as the dress worn by the lady, and should reach +to the waist of the person, fitting tightly, and from the waist be +made to flare off in scroll form so as to rest on the top of the +pedestal. By looking at a bust, one will easily understand the shape +of the frame. It must be made in two pieces, and fastened at the sides +with tape strings; around the top of the frame put a small wreath of +white leaves and flowers. The lady must take her position inside of +the pedestal which has been placed on the top of the shaft; hook it +firmly together, and pack cloth between the lady and the inside of the +pedestal, for the purpose of keeping the body from moving from one +side to the other. Then place the front and back wire frames in their +position, and fasten them firmly. See that the arms are folded out of +sight, and the hair arranged properly. The eyes should be cast upward +slightly, and when once fixed in position, they should not be moved. +The face and neck should be made as white as possible; the expression +of the countenance calm and serene. The fairies and the crimson +curtain used in the tableau of the <a href="#THE_DANCING_GIRL_IN_REPOSE">Dancing Girl</a> can be used in this +piece. A side view should be given of the statue before it revolves. +In the second view, the pedestal must slowly revolve, while a +plaintive air is played on the melodeon. This<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> tableau has been +admired by many, and will repay any one for the trouble of producing +it.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="NAPOLEON_AND_HIS_OLD_GUARD_AT_WATERLOO" id="NAPOLEON_AND_HIS_OLD_GUARD_AT_WATERLOO"></a>NAPOLEON AND HIS OLD GUARD AT WATERLOO.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 1em;">Last noon beheld them full of lusty life;</span><br /> +<span style="margin-left: 2em;">Last eve in beauty's circle proudly gay;</span><br /> +The midnight brought the signal sound of strife;<br /> +<span style="margin-left: 2em;">The morn, the marshalling in arms; the day,</span><br /> +<span style="margin-left: 1em;">Battle's magnificently stern array!</span><br /> +<span style="margin-left: 2em;">The thunder clouds closed o'er it, which, when, rent,</span><br /> +<span style="margin-left: 1em;">The earth is covered thick with other clay,</span><br /> +<span style="margin-left: 2em;">Which her own clay shall cover, heaped and pent,</span><br /> +<span style="margin-left: 1em;">Rider and horse—friend, foe—in one red burial blent.</span><br /> +<span style="margin-left: 20em;"><span class="smcap">Byron.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Forty Male Figures.</h3> + + +<p><span class="smcap">The</span> battle of Waterloo was fought on the 18th of June, 1815. It was on +the Sabbath day. The Emperor's wasted bands were now in the extreme of +exhaustion. For eight hours, every physical energy had been tasked to +its utmost endurance, by such a conflict as the world had seldom seen +before. Twenty thousand of his soldiers were either bleeding upon the +ground or motionless in death. Every thing depended now upon one +desperate charge by the Old Guard. The Emperor placed himself at the +head of this devoted and invincible band, and advanced in front of the +British lines. Silently, sternly, unflinchingly they pressed on, till +they arrived within a few yards of the batteries of the enemy. A peal, +as of crushing thun<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>der, burst upon the plain; a tempest of bullets, +shot, shells, and all the horrible missiles of war, fell like +hailstones upon the living mass. A gust of wind swept away the smoke, +and, as the anxious eye of Napoleon pierced the tumult of the battle +to find his Guard, it had disappeared. Napoleon threw himself into a +small square which he had kept as a reserve, and urged it forward into +the densest throngs of the enemy. He was resolved to perish with his +Guard. Cambronne, its brave commander, seized the reins of the +Emperor's horse, and said to him, in beseeching tones, "Sire, death +shuns you; you will but be made a prisoner." Napoleon shook his head, +and for a moment resisted; but his better judgment told him that thus +to throw away his life would be but an act of suicide. With tearful +eyes, he bowed to those heroes who proved faithful even to death; with +a melancholy cry, they shouted, "<i>Vive l'Empereur!</i>" These were their +last words—their dying farewell. Silent and sorrowful, Napoleon put +spurs to his horse, and disappeared from the field. This one square, +of two battalions, alone covered the flight of the army. Squadrons of +cavalry plunged upon them, and still they remained unbroken. The +flying artillery was brought up, and pitilessly pierced this heroic +band with a storm of cannon ball. The invincible square, the last +fragment of the Old Guard, revered by that soul which its imperial +creator breathed into it, calmly closed up as death thinned its ranks. +The English and Prussians sent a flag of truce, demand<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>ing a +capitulation. General Cambronne returned the immortal reply, "The +Guard dies, but never surrenders!" A few more discharges of grape shot +from the artillery mowed them all down. Thus perished, on the field of +Waterloo, the Old Guard of Napoleon.</p> + +<p><i>Directions for forming the Tableau.</i>—This splendid battle-scene +contains forty figures. It can be produced with a less number, but to +give a good effect, it should contain forty persons. The scene occurs +at the time when Napoleon has thrown himself in the square of the +Guard, and is about to press forward to the enemy. Napoleon is seated +on his white horse, in the centre of the stage; we have a side view of +the horse, and almost a front view of Napoleon, who grasps the reins +with his left hand, and his sword with the right; his eyes are fixed +on the advancing troops in the distance; his countenance expresses +firmness and anxiety. Cambronne is on the point of advancing, with +hands stretched out, about to grasp the reins of Napoleon's horse; his +position is sideways to the audience. Marshal Ney is seen running +towards Napoleon, on the other side of the picture, his right hand +extended, his chapeau grasped with the left. In the foreground are +four wounded soldiers, lying in various positions; muskets and other +implements of war are scattered over the ground. Directly behind +Napoleon is seen an officer holding the French standard, with a gilt +eagle at the top. The Old Guard are formed in<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> platoons, one at the +right, one at the left, and one in the background; they should form +with the face outward, and hold their muskets as if about to repel a +charge of cavalry. The rear platoon should stand on a platform two +feet in height, while the space behind is to be filled with soldiers +engaged in fencing. They should be placed on raised platforms, varying +from two to eight feet in height. The costume of Napoleon consists of +a blue dress coat with a buff breast, eagle buttons, buff vest and +knee breeches, top boots, spurs, sash, side arms, black chapeau, and +gray overcoat. The horse which Napoleon rides can be made of wood, at +a trifling expense. Minute explanation in regard to its construction +will be found in the tableau of "<a href="#WASHINGTONS_ENTRANCE_INTO_PORTSMOUTH">Washington's entrance into +Portsmouth</a>." The costume of the officers consists of as rich military +suits as can be procured. The soldiers should wear a showy military +suit and bearskin hats. The muskets must be furnished with bayonets, +and a thin smoke should be made to float over the scene. The roll of +the tenor drum, the shrill music of the fife, the rattle of musketry, +and the booming of cannon, should be heard in the distance. A red +light must be thrown upon all the figures; if this is not sufficient +to light up the piece, the footlights fronting Napoleon can be +lighted. The person who takes the part of Napoleon must resemble, in +features and form, the original character.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p> +<h2><a name="THE_DANCING_GIRL_IN_REPOSE" id="THE_DANCING_GIRL_IN_REPOSE"></a>THE DANCING GIRL IN REPOSE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Bid me discourse; I will enchant thine ear,<br /> +<span style="margin-left: 1em;">Or, like a fairy, trip upon the green,</span><br /> +Or, like a nymph, with long dishevelled hair,<br /> +<span style="margin-left: 1em;">Dance on the sands, and yet no footing seen.</span><br /> +<span style="margin-left: 16em;"><span class="smcap">Shakspeare</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female Figures.</h3> + +<p><span class="smcap">This</span> pleasing tableau represents a young and beautiful dancing girl +reposing after one of her successful and fascinating dances. The +scenery should be arranged in the following manner: A curtain of red +Turkey cloth or cambric, fringed with gold, which can be made by +cutting strips of buff cloth to imitate fringe, and decorating it with +gold paper; this, in the evening, will make quite a rich appearance. +The curtain should be but two feet long in the centre, cut in three +festoons, each three feet wide. At the ends of the festoons, the +curtains must be wide enough to fill out the space at the side of the +stage, and so long that they will trail on the floor. This curtain +should be attached to a strip of wood, which can be fastened in +position on the ceiling. On each side of the stage, near the centre, +place small pedestals, one and a half feet square, covered with green +cambric, and decorated with bouquets of artificial or painted flowers. +In the centre of the stage, directly under the curtain, place a +pedestal two feet square, with a shaft at the side three feet high by +six inches in diameter; this must be covered with light green +cam<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>bric, and festooned with wreaths of flowers. The number of figures +in this piece are three: one alone takes a prominent part; the +remaining two are intended as an addition to the scenery. The two +small pedestals are to be occupied by pretty little misses, of about +six years of age, dressed to represent fairies. Their costume consists +of short white dresses covered with bands of gold and spangles; white +hose and slippers; a pink gauze sash, decorated with gold spangles, +worn across the shoulders; the hair arranged in ringlets; wings formed +of wire, covered with white muslin, and decorated with spangles, and +fastened to the shoulders. The costume of the dancing girl consists of +a white dress reaching to the knees, covered with white tarleton +muslin, and ornamented on the front with a small bouquet, and bands of +crimson ribbon running around the skirt. The waist should be low on +the bosom, the sleeves quite short, and trimmed with flowers; the hair +can be dressed to suit the taste of the performer. Flesh-colored hose +and white slippers should be worn. The position of the dancing girl is +on the centre of the pedestal, in a careless attitude. One arm hangs +negligently at her side, the hand grasping a tambourine; the other +rests on the top of the shaft. The weight of the body rests on the +right foot; the left foot crosses the right. The eyes should be cast +down to the floor, and the expression of the face sad and thoughtful. +The fairies stand on the small pedestals at the sides of the stage. We +have a side view of them as they stoop forward and clasp the<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> folds of +the curtain. The right hand is extended, the forefinger pointing at +the dancing girl. The weight of the body should mostly rest on the +right foot; the left is extended behind, the toe touching the top of +the pedestal. The head slightly turned towards the audience; the +expression of the countenance quite brilliant. The lights should be at +the left side of the stage, and of medium quantity. A waltz or polka +can be played while the tableau is exhibited.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="WASHINGTONS_ENTRANCE_INTO_PORTSMOUTH" id="WASHINGTONS_ENTRANCE_INTO_PORTSMOUTH"></a>WASHINGTON'S ENTRANCE INTO PORTSMOUTH.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Behold, he comes! Columbia's pride,<br /> +<span style="margin-left: 1em;">And nature's boast—her favorite son;</span><br /> +Of valor, wisdom, truth, well tried—<br /> +<span style="margin-left: 1em;">Hail, matchless <i>Washington</i>.</span><br /> +<br /> +Let old and young, let rich and poor,<br /> +<span style="margin-left: 1em;">Their voices raise, to sing his praise,</span><br /> +And bid him welcome, o'er and o'er.<br /> +<br /> +This, this is he, by Heaven designed,<br /> +The pride and wonder of mankind.<br /> +United then your voices raise,<br /> +And all united sing his praise.<br /> +<br /> +Let strains harmonious rend the air;<br /> +For see, the godlike hero's here!<br /> +Thrice hail, Columbia's favorite son;<br /> +Thrice welcome, matchless <i>Washington</i>.<br /> +<span style="margin-left: 14em"><span class="smcap">J.M. Sewall</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Ten Female and Thirty-two Male Figures.</h3> + + +<p style="text-align: right">"Saturday, 31st Oct.</p> + +<p>"<span class="smcap">Left</span> Newburyport a little after eight o'clock, (first breakfasting +with Mr. Dalton,) and to avoid a wider ferry, more inconvenient boats, +and a piece of heavy<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> sand, we crossed the river at Salisbury, two +miles above, and in three miles came to the line which divides the +State of Massachusetts from that of New Hampshire. Here I took leave +of Mr. Dalton and many other private gentlemen, also of General +Titcomb, who had met me on the line between Middlesex and Essex +counties, corps of light horse, and many officers of militia, and was +received by the president of the State of New Hampshire, the vice +president, some of the council, Messrs. Langdon and Wingate of the +Senate, Colonel Parker, marshal of the state, and many other +respectable characters, besides several troops of well-clothed horse, +in handsome uniforms, and many officers of the militia, also in +handsome white and red uniforms of the manufacture of the state. With +this cavalcade we proceeded, and arrived before three o'clock at +Portsmouth, New Hampshire, where we were received with every token of +respect and appearance of cordiality, under a discharge of artillery. +The streets, doors, and windows were thronged with the populace. +Alighting at the town house, odes were sung and played in honor of the +president."—<i>Washington's Private Diary.</i></p> + +<p>"A visit from a person so distinguished and beloved, had he come +without the insignia of office, would have created no little +enthusiasm; but a visit from its president, when the young republic +had been organized scarcely half a year, occasioned to the community a +thrill of ecstasy which vibrated through every heart—an outburst of +joy due from a grateful populace to one<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> to whose skill and superior +virtues they owed their happiness. There was a mixture of novelty, of +joy, of patriotic enthusiasm, felt by every heart. A committee of +twelve was appointed in town-meeting to superintend the reception. The +president left his carriage at Greenland, at the residence of Colonel +Tobias Lear, and mounted his favorite white horse; he was there met by +Colonel Wentworth's troop, and on Portsmouth plains the president was +saluted by Major General Cilly, and other officers in attendance. From +the west end of the State House, on both sides of Congress Street, and +into Middle Street, the citizens and military were arranged in lines, +and on the east side of the parade ground were the children of the +schools, dressed appropriately for the occasion. The president at the +entrance received a federal salute from the three companies of +artillery under Colonel Hackett. The streets through which he passed +were lined with citizens; the bells rang a joyful peal, and repeated +shouts from grateful thousands hailed him welcome to the metropolis of +New Hampshire."—<i>Brewster's Rambles.</i></p> + +<p>This national tableau contains forty-two figures: Washington, sixteen +soldiers, ten young ladies, six citizens, and nine school children. +The number can be made less if there is not sufficient room on the +stage. The stage scenery consists of the following articles: A +fac-simile of the white horse, which is to be made in the following +manner: With a tape measure and rule take the dimensions of a +small-sized horse; let your carpenter make a skeleton horse according +to your<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> dimensions, of wood, as strong and light as possible; then +take curled hair or hay and fill out the frame so that it will look +symmetrical, using twine to bind on the material used. It will be a +good plan to have an engraving of a horse to look at, so that you will +more easily arrive at the proportions of the body. The right foot of +the horse must be raised. After you have satisfied yourself in regard +to the form of the animal, take cheap cotton cloth and sew over all +parts of his body. Cover this with three coats of white paint, and +sprinkle slightly with black. The eyes can be imitated by using the +bottom of a small black glass bottle; the ears should be made of +leather; the mouth and nostrils can be painted; make the mane and tail +of flax or hemp. Insert the feet into a heavy plank, and decorate him +with a showy military saddle and bridle. A triumphal arch, made in +three parts, of wood, covered with green cambric, and decorated with +flowers, will also be wanted.</p> + +<p>Washington's costume consists of a black velvet continental coat, buff +vest, white hose, shoes, knee and shoe buckles, white cravat, ruffled +bosom, black chapeau, sash, epaulets, side arms, and white wig. The +military are dressed in blue coats trimmed with buff, white pants, +chapeau, cross and waist belts, swords and muskets; officers in as +showy uniforms as can be procured. The ladies should be of various +sizes, and costumed in white dress, red sash, and wreaths of myrtle on +the head; each should hold a garland, bouquet, or small basket of +flowers. Citizens' costume consists of<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> black coat and breeches, light +vest, chapeau, white hose, shoe and knee buckles; children in dark +jackets, white pants, dark caps, with a wreath of evergreen worn over +the shoulders. Washington is seated on his horse, the left hand +grasping the reins and whip, while the right holds his chapeau. He +leans forward slightly, and is looking to the ladies, who are strewing +his path with flowers. His face is lighted with smiles of pleasure as +he beholds the crowds of delighted people who are seen on every side. +On each side of the horse, and in the foreground, the young ladies are +placed. They are in kneeling positions, and extend their flowers +towards Washington; their faces are turned upward, and are suffused +with smiles. The military are placed on the extreme right and left of +the stage, the head of each platoon commencing at the front of the +stage, and extending into the background. As they recede in the +distance they must have a higher position, so that every one will be +seen. They should turn the head a trifle towards the audience, and +present arms. The citizens, placed on raised platforms, take positions +behind the horse. They hold their hats in the left hand, and look at +Washington. The children stand in a line in the background of the +picture. They must be placed on high platforms, so that they may be +seen distinctly. They look straight forward, with the right hand +placed at the side of the cap. The triumphal arch is to be erected +directly over the head of Washington; it should not be very heavy, as +it is necessary to have as much of the space occupied by the +characters as is<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> possible. The horse and arch must be first brought +on the stage, then the military, next Washington, and the ladies, then +the children and citizens will take their positions. All the light +that can be produced in front, and facing Washington, must be used. +The booming of cannon, ringing of bells, and the loud hurrah of the +populace should be heard in the distance. "Hail Columbia" would be the +appropriate music for the piano-forte or melodeon.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="FAME" id="FAME"></a>FAME.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Blow the trumpet, spread the wing, fling thy scroll upon the sky;<br /> +Rouse the slumbering world, O Fame, and fill the sphere with echo.—<br /> +Beneath thy blast they wake, and murmurs come hoarsely on the wind,<br /> +And flashing eyes and bristling hands proclaim they hear thy message:<br /> +Rolling and surging as a sea, that upturned flood of faces<br /> +Hasteneth with its million tongues to spread the wondrous tale.<br /> +<span style="margin-left: 22em"><span class="smcap">Tupper.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female and Nine Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is represented by twelve persons, three ladies and nine +gentlemen. They are arranged and costumed in the following manner: +Standing on a pedestal six feet high, in the centre of the stage, is a +female who personates the Goddess of Fame. Her costume consists of a +loose white dress, cut low at the top, hair done up neatly and +encircled with a wreath of white flowers; at her side, on a small +pedestal, is a plaster bust of Shakspeare, which the goddess is about +crowning with a wreath of myrtle. At each side of<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> the large pedestal +are two others, which are two feet square and three feet high; on each +of these stands a female figure, dressed in a loose white robe, cut +low at the top, the hair flowing loosely over the shoulder, the head +encircled with a wreath of white flowers. Each holds in the right hand +a long, slender trumpet, which she is in the act of blowing; the +trumpets are pointed horizontally to the right and left; they are +three feet long, with a bell, five inches in diameter, at the end. +These can be made of card-board, and covered with silver paper. In +front of the highest pedestal there should be placed a platform six +feet long, four feet wide, and one foot high. On this, a second +platform, five feet long, two feet wide, and one foot high. Cover them +with white cloth. Kneeling on the front of the large platform are four +young men. The first one represents a sculptor. He kneels, facing the +audience, and holds a mallet and chisel in his left hand. The second +figure represents the mechanic, with his square and level. The third +represents the musician, with his harp. The fourth personates the +painter, with his pallet and brushes. Kneeling behind them, on the +small platform, are three other figures. The first is the poet, with +his roll of songs and pen; the second is the soldier, with his sword; +and the third is the historian, with a volume of history and a pen. +Behind these, and fronting the goddess, stands a figure who represents +the orator. His costume consists of a suit of black. He holds a scroll +in his left hand; his right raised in front; countenance expressing +stern<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>ness; eyes slightly raised upwards. The soldier kneels between +the poet and the historian; costume consists of a rich military dress; +arms are folded across the breast, head turned slightly to the right, +eyes cast upward, the face expressing firmness. The poet is costumed +in a dark coat, light vest, knee breeches, white hose, low shoes, knee +and shoe buckles, lace collar and wristbands. Position is facing the +front corner of the stage. Eyes are fixed on the paper before him; +face expresses pleasure. On the other side of the soldier kneels the +historian. His costume, position, and expression of countenance, the +same as the poet. The sculptor kneels on the low platform. He faces +the corner of the stage, and casts his eyes upward. Costume consists +of a dark coat, white vest, dark breeches, white hose, shoe and knee +buckles, a low, flat cap set jantily on one side of the head, and a +velvet cape thrown over the left shoulder. The painter kneels on the +other end of the platform, and faces the right front corner of the +stage. Costume, position, and expression, the same as the sculptor. +Between these two, kneel the mechanic and musician. The former looks +straight forward. Costume consists of dark coat, light vest, dark +breeches and hose, low shoes, knee and shoe buckles. The musician +takes a similar position, and holds a harp, on which he is about to +play. His head is thrown back, and his eyes are raised upward. Costume +consists of a dark coat and breeches, bright-colored vest, black hose, +low shoes, knee and shoe buckles. Expression<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> of the face, pleasant. +The light must be of medium quantity, and come from the right hand +side. Those lights near the front should be stronger than the others. +Music soft and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="FAITH" id="FAITH"></a>FAITH.</h2> + +<p style="text-align: center">[<span class="smcap">See Plate</span>.]</p> + +<p style="text-align: center"> +<img src="images/image01.jpg" width="318" height="500" alt="Faith." title="Faith." /></p> + +<p> </p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +High on the mountain's towering head,<br /> +<span style="margin-left: 1em;">While darkness rules the sky,</span><br /> +Faith stands, and through the stormy cloud<br /> +<span style="margin-left: 1em;">Directs her anxious eye.</span><br /> +Amidst the gloom, the welcome rays<br /> +<span style="margin-left: 1em;">With cheering lustre shine,</span><br /> +And open to her ardent gaze<br /> +<span style="margin-left: 1em;">A world of bliss divine.</span><br /> +<span style="margin-left: 10em"><span class="smcap">J. Firieze</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Seven Female Figures.</h3> + + +<p><span class="smcap">This</span> beautiful statuary tableau is represented in the following +manner: Six females kneel in a circle, and support a circular shield +three feet in diameter, on which stands a young lady who represents +Faith. Her right hand grasps a cross; the left is raised, the +forefinger pointing upward. The six ladies should be dressed in pure +white robes, cut low at the top. The hair is encircled with a wreath +of white flowers. No ornaments of any kind are to be worn. The hair +can be arranged to suit the taste of the performers. Their positions +are as follows: The two figures supporting the front of the shield +will partially face each other, resting the right knee on the floor, +and<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> facing outward from the circle, both hands touching the shield +above. Two other ladies form behind the right hand figures, in the +same position, and two more form behind the left hand figures. They +will all face outward, and support the shield with both hands. The +eyes should be cast down, the expression of the face serene. It will +be necessary, before the ladies take their position, to place the +shield on a pedestal one foot square, and high enough to allow the +figures to kneel beneath. Cover the pedestal and shield with white +cloth. After the six figures have taken their positions, the figure of +Faith should be assisted to her position on the top of the shield. She +must be of good figure, small, regular features, and dark hair, which +should be quite long. Her dress consists of a long, white robe, made +to trail on the top of the shield, the waist encircled with a large +white cord, with two white tassels attached; the hair brushed back +from the head, clasped with a silver band, and allowed to flow loosely +over the shoulders; the head is adorned with a small band of silver, +one fourth of an inch wide, with a small silver cross, in the centre. +She is to stand perfectly erect in the centre of the shield, the cross +resting on the right shoulder; the eyes lifted, as in devotion; the +expression of the face calm, and yet denoting firmness and energy; the +light should be soft, and come from the front right hand corner of the +stage; the figures who support the shield must be partially thrown in +the shade, while Faith receives the most of the light. Music +accompanying this piece should be of a sacred character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> +<h2><a name="SPIRIT_OF_RELIGION" id="SPIRIT_OF_RELIGION"></a>SPIRIT OF RELIGION.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Religion should our thoughts engage<br /> +<span style="margin-left: 1em;">Amidst our youthful bloom;</span><br /> +'Twill fit us for declining years,<br /> +<span style="margin-left: 1em;">And for the approaching tomb.</span><br /> +<span style="margin-left: 12em"><span class="smcap">Anon.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Six Female and Three Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau contains nine figures. The lady who represents Religion +stands in the background of the picture, on a pedestal three feet +high. She holds a cross on her left shoulder; the right hand grasps +her mantle, which she unfolds, revealing herself to mankind. The lady +should be of medium height, with light hair, which hangs loosely over +the shoulders. The costume consists of a loose white dress, cut high +at the top, sleeves fitting tightly to the arms, while over this dress +is worn a second, which is open in front, and is made of white +tarleton muslin. Position is facing the audience, eyes directed +straight forward, expression calm and thoughtful. The second figure is +a beautiful young lady, who kneels at the foot of the pedestal, on a +small platform one foot high, and represents Hope. One hand rests on a +large Bible; the other points up to the cross, and bids the captive, +the dying, and broken-hearted, who kneel in the foreground, to look up +to Religion. Costume consists of a white dress, cut high at the +throat, short sleeves; hair arranged in curls, and wings of gauze +fastened to<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> the back of the dress. Position, kneeling at the foot of +the pedestal, facing the audience, head turned slightly on one side, +one knee resting on the floor, the body erect, the eyes directed to +the figure of the captive in the foreground. The third figure is at +the right of the pedestal—a young and handsome lady, who represents +Faith. She holds a palm branch—the emblem of martyrdom. Her costume +consists of a long white dress, over which is thrown a white mantle, +which she gathers about her breast. Her hair hangs loosely over her +shoulders, and a black band encircles the head. Her position is, +standing on a small pedestal two feet high, so that we have a profile +view of her form. Her head is raised to the cross, countenance +expressing calmness and repose. Charity is represented, on the left of +the pedestal, by a young lady who extends her protection to two +helpless children. Her costume is a white dress, opening at the bosom; +hair done up neatly, over which hangs a white veil. Her position is, +seated at the right of the pedestal, on a small platform two feet +high, body facing the audience, head bent forward, and turned towards +Religion; eyes cast down; each arm embraces a small child, who is +dressed in simple costume. The captive is represented by a gentleman +wearing a suit made of coarse cloth, long beard and hair, face painted +to represent age, arms and waist bound with chains. He kneels at the +foot of Charity, on the floor of the stage; his face is turned towards +Hope. Both hands are clasped and raised in front of the breast. +Kneeling at the foot of Hope are two other figures. One is a<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> female, +dressed in deep mourning; the other, an aged man, who is supported by +the lady. His costume consists of a loose robe of white cloth, trimmed +with purple; his head is covered with white hair, and from his face +hangs a long white beard. The hair and beard can be made of flax. The +lady is kneeling next to Faith; the right arm is placed around the +aged man, and the left points to Religion; the head is turned upward, +and the expression of the face denotes grief. The aged man kneels +beside the figure in mourning, his head resting on her shoulder, with +his clasped hands stretched out in front; the eyes are closed, and the +face downcast. The tableau must be formed in the centre of the stage. +The light should be quite strong, and come from the right of the +stage. Music of a sacred character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_POET_AND_THE_GODDESS_OF_POETRY" id="THE_POET_AND_THE_GODDESS_OF_POETRY"></a>THE POET AND THE GODDESS OF POETRY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The poet's pen is the true divining rod<br /> +Which trembles towards the inner fount of feeling,<br /> +Bringing to light and use, else hid from all,<br /> +The many sweet, clear sources which we have<br /> +Of good and beauty in our own deep bosoms;<br /> +And marks the variations of all mind,<br /> +As does the needle an air-investing storm.<br /> +<span style="margin-left: 15em"><span class="smcap">Festus.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> beautiful tableau is personated by two figures, a young man and a +maiden. The scene represented is a dark and gloomy attic. An old table +stands in the<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> middle of the room; on it are a few books and +manuscripts, an inkstand, a candlestick, with a partly-burned candle +inserted in it, a mug of water, and a roll of bread. Near the table is +an old-fashioned arm chair, in which is seated a young man dressed in +cheap clothing. He has leaned his head upon the table, and is +lamenting over his poverty and misfortune. As he sits weeping, a mist +gathers in the chamber; it slowly grows denser, till at last it +becomes a cloud of light; and lo! in the midst of the cloud stands a +divine shape—the Goddess of Poetry—supremely beautiful. She +addresses the Poet, gives him advice and consolation, and encourages +him to renewed efforts in the path of fame; then vanishes from his +sight. Besides the furniture already described, there should be a few +chairs, pictures, and a piece of statuary, placed in various parts of +the stage. The Poet's costume consists of a loose black coat, dark +breeches, light vest, white hose, low shoes, knee and shoe buckles. +Position is near the table, his arms laid across it, his head resting +on his arms, and in a position that displays a profile view of the +body. The Goddess of Poetry should be a young lady of good height, +figure, and features, and costumed in a flowing white dress, cut low +at the neck, with short sleeves trimmed with white satin ribbon; a +wide muslin mantle should be worn across the shoulders; a wreath of +myrtle adorns the head. In her right hand she holds a golden harp; the +left is placed on the shoulder of the Poet. Her position is behind the +table, in the background of the pic<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span>ture, and facing the audience. Her +head is slightly bent forward, and eyes directed to the face of the +youth; her countenance expresses pleasure. The following machinery can +be used, if desired, which will add very much to the beauty of the +piece. In place of the Goddess being at the side of the Poet when the +curtain rises, a sliding platform can be made to move on to the stage +from the ante-room, on which the Goddess should stand. A stout post +firmly fixed in one side will enable the lady to stand perfectly still +while the platform moves to its position. All that is necessary in the +construction of this part of the work is to make a set of ways, and a +sliding platform that will run with ease from one side of the stage to +the other. A rope attached to the platform, and fastened to a crank +below the stage, will propel the Goddess to her position. The ways and +platform can be hidden from view by a strip of board, painted to +imitate the floor of the room. A small quantity of the whitish-blue +fire may be burned near the spot where the Goddess appears. The light +should be very dim, and come from the side of the stage opposite the +Poet. Music soft and plaintive.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> +<h2><a name="DEATH_OF_EDITH" id="DEATH_OF_EDITH"></a>DEATH OF EDITH.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O'er her low couch an Indian matron hung,<br /> +While in grave silence, yet with earnest eye,<br /> +The ancient warrior of the waste stood by,<br /> +Bending in watchfulness his proud gray head,<br /> +And leaning on his bow.<br /> +<br /> +Solemnly beautiful, a stillness deep,<br /> +Fell on her settled face. Then, sad and slow,<br /> +And mantling up his stately head in awe,<br /> +"Thou'rt passing hence," he sang, that warrior old,<br /> +In sounds like those by plaintive waters rolled.<br /> +<br /> +"Thou'rt passing from the lake's green side,<br /> +<span style="margin-left: 1em;">And the hunter's heath away;</span><br /> +For the time of flowers, for the summer's pride,<br /> +<span style="margin-left: 1em;">Daughter, thou canst not stay.</span><br /> +<br /> +"Thou'rt journeying to thy spirit's home,<br /> +<span style="margin-left: 1em;">Where the skies are ever clear;</span><br /> +The corn-month's golden hours shall come,<br /> +<span style="margin-left: 1em;">But they shall not find thee here."</span><br /> +<br /> +The song ceased, the listeners caught no breath;<br /> +That lovely sleep had melted into death.<br /> +<span style="margin-left: 15em"><span class="smcap">Mrs. Hemans.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female and Two Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is suggested by the beautiful poem of Mrs. Hemans, called +Edith, a Tale of the Woods. The circumstances of the poem refer to the +western world in its first settlement, when fierce strife and combat +raged between the wild Indian and the settlers from the mother +country. In one of these fearful scenes a young and beautiful maiden +was taken captive, and conveyed to the village of the red man. But the +broken flower of England wasted and pined for the fine old home of +other days.<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 8em;">"The parting sigh</span><br /> +Of autumn through the forests had gone by,<br /> +And the rich maple, o'er her wanderings lone,<br /> +Its crimson leaves in many a shower had strown,<br /> +Flushing the air; and winter's blast had been<br /> +Amidst the pines; and now a softer green<br /> +Fringed their dark boughs; for spring again had come,<br /> +The sunny spring! but Edith to her home<br /> +Was journeying fast."<br /> +</td> +</tr> +</tbody> +</table> + +<p>The scene represented in this tableau is at the time when Edith is +quietly sleeping in the wigwam of the Indian warrior. By her side sits +an aged Indian matron, watching the sleeping one. Standing near the +couch is an old Indian warrior leaning on his bow, gazing in grave +silence on the dying girl. Kneeling at the foot of the couch are an +Indian girl and lad, who are looking with wonder on the form of the +pale-face. The wigwam should be six feet high, and five feet wide at +the bottom. It should be made of light framework, and covered with +brown cambric, on which are painted Indian hieroglyphics. This must be +placed in the centre of the stage. The opening in front of the wigwam +should be four feet wide at the bottom, so as to admit of the +occupants being visible to the audience. The couch in the interior is +composed of buffalo robes. The scenery in the background should +represent woods and rocks. A few fir trees placed at the back part of +the stage will answer, if nothing better can be procured. The lady who +personates Edith should be one of good features and rather a small +form. Her costume consists of a loose white dress, sleeves five inches +long, hair done up loosely in the neck, and face<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> and neck made as +white as possible. Position, reclining on the couch, facing the +audience, the lower part of the body covered with a leopard skin. The +head and chest should be in an upright position, the head inclined +back slightly, and supported by the right hand. The left hand laid +carelessly over the bosom; the eyes are closed, the countenance calm. +The aged Indian warrior should be dressed in a costume like that +described in Hiawatha; the aged matron's costume similar to that worn +by Nokomis, in the death of Minnehaha; the young Indian children in +appropriate costumes. The position of the Indian matron is, sitting at +the head of the sleeping girl, one hand resting on the pillow, and the +other raised to the side of the head; the eyes cast upon the ground. +The warrior's position is at the opposite side of the wigwam. He is +leaning carelessly upon his bow; his body inclined forward slightly; +his eyes fixed upon the sleeping maiden. The children kneel at the +foot of the couch; the boy rests his head upon his hand, and gazes +upon the face of the dying one; the Indian girl kneels by his side, +and points with her right hand to the couch, while her eyes are +directed to the face of the boy. The face and other exposed parts of +the bodies of the Indian family must be stained light brown. A red +fire should be burned in the ante-room, so as to fall upon the +performance. Music soft and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p> +<h2><a name="ABOU_BEN_ADHEM_AND_THE_ANGEL" id="ABOU_BEN_ADHEM_AND_THE_ANGEL"></a>ABOU BEN ADHEM AND THE ANGEL.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Abou Ben Adhem (may his tribe increase)<br /> +Awoke one night from a deep dream of peace,<br /> +And saw, within the moonlight in his room,<br /> +Making it rich and like a lily in bloom,<br /> +An angel writing in a book of gold.<br /> +Exceeding peace had made Ben Adhem bold,<br /> +And to the presence in the room he said,<br /> +"What writest thou?" The vision raised its head,<br /> +And with a look made all of sweet accord,<br /> +Answered, "The names of those who love the Lord."<br /> +"And is mine one?" said Abou. "Nay, not so,"<br /> +Replied the angel. Abou spoke more low,<br /> +But clearly still, and said, "I pray thee, then,<br /> +Write me as one that loves his fellow-men."<br /> +<br /> +The angel wrote and vanished. The next night<br /> +It came again with a great wakening light,<br /> +And showed the names whom love of God had blessed,<br /> +And lo! Ben Adhem's name led all the rest.<br /> +<span style="margin-left: 16em"><span class="smcap">Leigh Hunt.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> very fine tableau is taken from the beautiful lines written by +Leigh Hunt. The tableau is represented in two scenes. In the first +scene, Ben Adhem is seen reclining on his couch, gazing with wonder +and surprise on the angel, who is standing in the centre of the room, +engaged in writing in the book of gold. In the second scene, the angel +stands at the foot of the couch, and holds the book towards Ben Adhem +for him to read the names written therein. The couch can be formed by +placing a small mattress on a few low boxes, and covering the whole +with bed clothes, on the outside of which should be a white quilt. It +must be placed<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> in the foreground, at the right of the stage. Place a +plaster pedestal near the side of the couch, on the top of which stand +a lighted lamp. At the background of the picture fasten a set of +crimson damask curtains; drape them at each side of the stage, and +beneath them place a plaster pedestal, with a piece of statuary on the +top.</p> + +<p>The lady who personates the angel should be of good form and features, +of medium height, and costumed in a white dress, over which is worn a +loose white tarleton muslin robe, with large flowing sleeves; this +must be cut quite low at the top, and made to trail on the floor; hair +done up snugly, and encircled with a band of silver, one fourth of an +inch wide; large wings, formed of wire, and covered with gauze, and +ornamented with silver spangles, should be fastened to the back of the +waist. The face and other exposed parts of the body should be whitened +with flesh powder. Position in the first scene is, standing in the +centre of the room, facing the audience. The book of gold can be +imitated by placing sheets of gold paper on the cover and in the +inside of a large book. Let it rest on the left arm, and be held at +the top by the left hand. The right hand holds a long quill pen, the +point of which rests on the pages of the book. Let the body and head +incline forward slightly; the eyes directed to the book; the +expression of the face tranquil. Ben Adhem's position in the first +scene is, reclining on the couch, with the quilt thrown over the lower +portion of his body; his left hand resting on the<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> bed, from which he +has partially risen; the right raised in front of the chest, the +fingers spread out; the face turned towards the angel, the expression +of the face denoting surprise and wonder. Costume consists of white +pants and shirt, white lace collar and wristbands, and a velvet cloak +thrown carelessly over the right shoulder. In the second scene, the +angel stands at the foot of the couch, holding the book in the left +hand, and pointing to its pages with the right. Her eyes are fixed on +Ben Adhem's face, while the countenance is lighted up with smiles. Ben +Adhem leans forward, slightly resting his arm on a cushion at his +side, and looks with pleasure on the pages of the book. A number of +names should be written in the book, and at the top, in large letters, +place the name of Abou Ben Adhem. While the tableau is performed, the +poem may be read by the announcer. The light for the first scene +should be quite dim, and come from the side of the stage opposite +Abou. In the second scene, a colored fire must be burned, so as to +throw a strong light on the form of the angel. Music in the first +scene very soft, and increasing in power in the second.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> +<h2><a name="HIAWATHA_AND_HIS_BRIDES_ARRIVAL_HOME" id="HIAWATHA_AND_HIS_BRIDES_ARRIVAL_HOME"></a>HIAWATHA AND HIS BRIDE'S ARRIVAL HOME.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 1em;">Pleasant was their journey homeward!</span><br /> +All the birds sang loud and sweetly<br /> +Songs of happiness and heart's ease;<br /> +Sang the blue bird, the Owaissa,<br /> +"Happy are you, Hiawatha,<br /> +Having such a wife to love you!"<br /> +Sang the robin, the Opechee,<br /> +"Happy are you, Laughing Water,<br /> +Having such a noble husband!"<br /> +<br /> +<span style="margin-left: 1em;">Thus it was they journeyed homeward;</span><br /> +Thus it was that Hiawatha<br /> +To the lodge of old Nokomis<br /> +Brought the moonlight, starlight, firelight,<br /> +Brought the sunshine of his people,<br /> +Minnehaha, Laughing Water,<br /> +Handsomest of all the women<br /> +In the land of the Dacotahs,<br /> +In the land of handsome women.<br /> +<span style="margin-left: 13em"><span class="smcap">Longfellow</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> interesting tableau is a representation of Hiawatha on the return +to his home accompanied by his beautiful bride, Minnehaha. They have +just arrived in sight of the lodge of old Nokomis, and are seen in the +background of the picture emerging from the forest. A large tree lies +in the pathway, and Minnehaha is in the act of stepping over it. She +grasps Hiawatha's hand with her right, while the left is pointed +towards the wigwam in the foreground. She has just asked Hiawatha if +the lodge she sees is his home. Her countenance is lighted up with +pleasure. Hiawatha is leading her by the hand, and is a little in +advance of her. His face is turned towards her as he gracefully +assists<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> her over the fallen tree. His left hand clasps hers, while +the right holds carefully his trusty bow.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<i>Hand in hand they went together,<br /> +Through the woodland and the meadow.</i><br /> +</td> +</tr> +</tbody> +</table> + +<p>Hiawatha's face is lighted up with pleasant smiles as he looks upon +the face of his bride, and tells her that yonder lodge is to be her +new home. The lodge of old Nokomis is in the foreground of the +picture, at the right of the stage. Minnehaha and Hiawatha are in the +background at the left. The door of the wigwam is open, and seated in +the doorway on a log is old Nokomis smoking her pipe. In front of the +tent are the half burned embers of the camp fire; a light smoke is +curling up to the sky, and all is quiet and still. Nokomis is gazing +vacantly into the embers of the fire: perhaps she is thinking of the +days when she</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Nursed the little Hiawatha,<br /> +Rocked him in his linden cradle,<br /> +Bedded soft in moss and rushes,<br /> +Softly bound with reindeer's sinews.<br /> +</td> +</tr> +</tbody> +</table> + +<p>Hiawatha, Minnehaha, and Nokomis should be dressed in Indian costume, +which can be cheaply made with a little ingenuity. Hiawatha's coat may +be made of light brown cambric, cut frock style, and belted around the +waist. The skirt should reach to the knee, and be ornamented with two +rows of fringe three inches wide; one should be red, the other yellow. +These fringes are also to be placed on the seams and bottom of the +sleeves and around the collar; round pieces of brass should be +fastened on various parts of the coat and<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> around the belt. The +leggings are made of buff cambric, fitting tightly to the legs, and +ornamented at the side with red fringe. Black cloth shoes trimmed with +beads are worn on the feet; the head is adorned with a gold band, in +which are inserted bright-colored feathers. The belt around the waist +should be made three inches wide, of red morocco, and contain a small +knife and tomahawk; a quiver of arrows is fastened to the back, which +can be fashioned of card-board, and covered with bright-colored paper +or cloth. The exposed parts of the body should be stained a light +brown, the hair brushed up to the top of the head, and confined with a +band. Minnehaha's dress is of red cloth, trimmed with yellow fringe +intermingled with colored beads. The waist of the dress should be of +flesh-colored cloth made to fit the body very snugly. A scarf of +ermine is worn over the shoulders, and tied at the left side. On the +right side of the skirt is an over-skirt or side-apron, made of a +darker colored crimson, and trimmed with ermine; it commences at the +front of the body, and extends half way around the skirt; it is +scalloped at the bottom, and ornamented with yellow fringe and beads +outside of the ermine. The neck is adorned with a large necklace of +white beads, while the head is encircled with a band of gold, +ornamented with beads and showy plumes. The hair should be left +flowing over the shoulders. The wrists are to be decorated with large +gold bracelets. The leggings are to be of crimson cloth ornamented +with yellow fringe, and small bands of yellow running around them at<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> +intervals of four inches. The feet are encased in shoes of black +velvet studded with beads. A quiver of arrows is fastened to the back +of the dress, and the exposed parts of the body stained light brown.</p> + +<p>Nokomis has on a loose coat of brown cambric fringed with yellow, +leggings of buff cambric fringed with light blue, dark shoes +ornamented with beads and red binding. The hair should be black, and +left to hang loose on the shoulders; a blue blanket trimmed with +crimson fringe is gathered about the shoulders, and a black belt +encircles the waist. The person who represents Nokomis should be of +large figure and face. The features must be painted to represent old +age. The scenery consists of the following articles, which should be +arranged in perfect order to give the proper effect to the picture. +The stage must be covered with green cloth, and should gradually rise +from the fore to the background; small spruce trees can be arranged at +the back and sides of the stage, with vines of flowers hanging from +them. Two or three stuffed birds should be fastened to the top +branches of the trees. The fire can be placed in a furnace near the +wigwam, and surrounded with dried branches. The fallen tree and +Nokomis' seat may be represented by artificial or natural logs. The +tableau should receive the light from the right hand side, the greater +portion of which should be thrown into the background. The +accompanying music should be of secular and inspiring order.<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="DAVID_PLAYING_BEFORE_SAUL" id="DAVID_PLAYING_BEFORE_SAUL"></a>DAVID PLAYING BEFORE SAUL.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Sing aloud unto God our strength, and make a joyful noise unto the God of Jacob.<br /> +Take a psalm, and bring hither the timbrel, the pleasant harp with the psaltery.<br /> +Blow upon the trumpet in the new moon, in the time appointed, on our solemn feast day.<br /> +For this was a statute for Israel and a law of the God of Jacob.<br /> +<span style="margin-left: 23em"><span class="smcap">Psalm lxxxi</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<div class="blockquot"><p>And Saul's servants said unto him, Behold now, an evil +spirit from God troubleth thee. Let our Lord now command thy +servants, which are before thee, to seek out a man who is a +cunning player on a harp; and it shall come to pass, when +the evil spirit from God is upon thee, that he shall play +with his hand, and thou shalt be well. And Saul said unto +his servants, Provide me now a man that can play well, and +bring him to me. Then answered one of his servants, and +said, Behold, I have seen a son of Jesse the Bethlehemite, +that is cunning in playing, and a comely person. Wherefore +Saul sent messengers unto Jesse, and said, Send me David thy +son. And David came to Saul, and stood before him; and it +came to pass, when the evil spirit from God was upon Saul, +that David took a harp, and played with his hand. So Saul +was refreshed, and was well, and the evil spirit departed +from him.</p> + +<p style="text-align: right">1 <span class="smcap">Samuel xvi</span>.</p></div> + +<h3>Six Female and Eight Male Figures.</h3> + + +<p><span class="smcap">This</span> sacred tableau contains fourteen figures, and is arranged in the +following manner. Saul is seen seated on the throne at the background +of the picture. On each side of the throne are seated Saul's friends +and servants. David is sitting in the foreground, playing on the harp. +Saul's costume consists of a scarlet or purple velvet coat and +breeches, white hose crossed with red bands, low shoes, a crown of +velvet and gold, ornamented with precious stones, on the head, and a +large cloak of velvet and ermine thrown over the shoulders. A long +white beard should be fastened<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> to the face, and a wig worn on the +head. The gentlemen should be attired in long, loose coats, made of +bright-colored cambric, trimmed with the same material, of other +colors. The head should be covered with a red and black turban. White +hose, crossed with black and red bands, breeches of showy-colored +cloth, shoes covered with red flannel, and crossed with black binding, +the face disguised with a long white beard, which can be made of flax. +The ladies can be costumed in satin or silk dresses, the hair hanging +in curls, and the person decorated with a profusion of jewelry. The +person who takes the part of David should be of fair complexion, +without a beard, should have long hair, and be costumed in a light, +loose blue coat, reaching five inches below the knee, and gathered +around the waist with a crimson belt. He should also wear blue +breeches, blue hose crossed with red bands, and sandals on the feet; a +turban, made of velvet, and decorated with gold, should adorn the +head. The throne platform is to be two feet high and four feet square; +on this is placed a large chair, with a canopy over the top, all of +which must be trimmed with crimson cloth, and decorated with gold +paper. On each side of the throne, place seats to accommodate twelve +persons; those in front can be seated, while others, in the +background, should be standing; they must assume various positions; a +few may be engaged in conversation, while others are looking at David. +Saul is seated on the throne, with the right hand resting on the arm +of the chair, his body<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> slightly bent forward, and eyes fixed on +David. His countenance expresses pleasure. David is seated on a low +ottoman in the foreground of the picture. The harp rests on the floor. +Position so that a side view is had of the body. His head is thrown +back; eyes cast upward; face expresses pleasure. The light for this +picture should come from the front and the left side of the stage, and +must be quite brilliant. The harp can be made of wood, covered with +gold paper, and strung with yellow cord. The music should be of a +sacred and inspiring style.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="LIBERTY" id="LIBERTY"></a>LIBERTY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +"O Liberty, can man resign thee<br /> +<span style="margin-left: 1em;">Once having felt thy generous flame?</span><br /> +Can dungeons, bolts, or bars confine thee,<br /> +<span style="margin-left: 1em;">Or whips thy noble spirit tame?</span><br /> +Too long the world has wept, bewailing<br /> +<span style="margin-left: 1em;">That falsehood's dagger tyrants wield;</span><br /> +<span style="margin-left: 1em;">But freedom is our sword and shield,</span><br /> +And all their arts are unavailing.<br /> +<span style="margin-left: 1em;">To arms, to arms, ye brave!</span><br /> +<span style="margin-left: 1em;">The avenging sword unsheathe!</span><br /> +March on, march on, all hearts resolved<br /> +On victory or death."<br /> +</td> +</tr> +</tbody> +</table> + +<h3>Seven Female and Six Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is an ideal representation of Liberty, and is represented +by thirteen persons—seven young ladies and six young gentlemen. In +the background of the picture a platform is raised, on which stands +the Goddess of Liberty. This platform is three feet high<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> and four +feet square. The front is covered with blue cambric, with a border of +red, decorated with gilt stars. In the centre is placed a gilt eagle; +on each end of the platform is a small American shield. The background +is draped with American flags. On each side of the platforms are +placed inclined planes, extending from the corners of the platform to +the front corners of the stage; the height of these at the front +should be six inches, and three feet high at the background. They are +to be covered with white cloth, and ornamented with a border of red +and blue cambric. The lady who personates the Goddess of Liberty +should be of good height, fine figure and features. Costume consists +of a white satin or silk dress, made long enough to trail on the +platform, a waist of crimson velvet, covered with small gilt stars, +sleeves five inches long, hair done up snugly, and covered with a +spiral liberty cap, of blue velvet, decorated with gold bands. +Position is, standing in the centre of the platform, grasping with the +right hand a slender spear seven feet in length. Entwined around this +should be a small American ensign. The left hand hangs carelessly at +the side; the head thrown back slightly, the eyes cast upward. The six +ladies kneel at equal distances on the inclined plane. Their costume +consists of a white dress, blue waist, and red sash; a garland of +flowers should adorn the head, and each holds extended in the right +hand a wreath of myrtle. Their attention should be directed to the +Goddess of Liberty. The six gentlemen take position on the opposite +inclined plane. They kneel at equal distances from the platform to +the<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> corner of the stage, and are costumed in blue or black coats, +white pants, with buff stripe on the side, gold epaulets, side arms, +red sash, flat caps, with gilt bands. The cap should be slightly +raised with the right hand, while the left is placed on the hip. The +eyes are to be directed to the Goddess. The piece should be lighted up +by a red fire burned at the opposite side from the gentlemen, and the +light must be quite brilliant. Music, Star-spangled Banner.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="PAGANISM_AND_CHRISTIANITY" id="PAGANISM_AND_CHRISTIANITY"></a>PAGANISM AND CHRISTIANITY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O'er the realms of pagan darkness,<br /> +<span style="margin-left: 1em;">Let the eye of pity gaze;</span><br /> +See the kindred of the people<br /> +<span style="margin-left: 1em;">Lost in sin's bewildering maze;</span><br /> +May the heathen, now adoring<br /> +<span style="margin-left: 1em;">Idol gods of wood and stone,</span><br /> +Come, and, worshipping before him,<br /> +<span style="margin-left: 1em;">Serve the living God alone.</span><br /> +<span style="margin-left: 12em"><span class="smcap">Cotterill</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female and Two Male Figures.</h3> + + +<p><span class="smcap">This</span> double tableau represents the idolatrous system of faith and +worship of the pagans, and by simple machinery the scene is made to +pass from the view of the audience, and we have represented the faith +and glorious emblems of Christianity. The machinery and scenery which +are used in the piece are made in the following manner: A revolving +beam should be set up under the stage, the upper end protruding +through the floor. Washers will be needed for the bottom and<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> top, and +wooden pins, passing through the beam, will be necessary, to take hold +of to move it around. Build a circular platform ten feet in diameter; +make it strong with braces, and, if necessary, it can be made in two +parts, and fastened together with iron hooks and clamps. Cut a square +hole in the centre of the platform, corresponding with the thickness +of the beam. Then place it on the top of the beam, six inches from the +floor, secure it firmly, and make it perfectly level. Across the +centre of the platform cut small holes for the purpose of inserting +the ends of a partition which will divide the circle into two +apartments; make the partition of wood; cover one side with white +cloth, and also the floor with the same; the other side and floor with +black cloth. It should be five feet high, ten feet wide, and oval at +the top. After the tableaux are arranged on each side of the platform, +persons under the stage can revolve the whole with very little +exertion. The tableau of Christianity should be formed on the light +side, and Paganism on the dark side. By placing numbers on the +revolving beam, and corresponding numbers on the washers, the +assistant below will be able to tell when the tableau is in the right +position above. To represent Paganism, a large idol should be +constructed, and seated in the centre, and close to the black +partition. The form of the human body can be imitated by taking a suit +of old garments, stuffing them with straw, and covering them with buff +cambric, on which hieroglyphics can be painted. A large mask, with +artificial<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> hair, and crown made of gaudy-colored cloth, will answer +for the head; a short frock of red Turkey cloth, trimmed with gold +paper, should be fastened about the lower portion of the body. The +idol should be seated on a pedestal sixteen inches high, which is +placed on a platform three feet square and eight inches high. These +are to be decorated with showy cloth or paper. Kneeling at the foot of +the pedestal are two figures, one a female, the other a male. Their +hands are clasped in front of the face, the eyes raised to the idol, +head turned, so that a side view is had of the features. The costume +of the youth consists of a loose coat, made of brown cambric, trimmed +with crimson cloth and beads; flesh-colored pants, fitting tightly to +the legs; shoes covered with showy cloth; a turban on the head, made +of strips of red and buff cloth; the face and other exposed parts of +the body stained a light brown. The young lady's costume consists of a +loose dressing gown, trimmed around the top and on the ends of the +sleeves with bands of red cloth, and gold paper cut in the form of +diamonds. The hair should hang loosely over the shoulders, and about +the head entwine a string of beads; the head is slightly turned to the +young man; the eyes directed to the idol; the face and arms stained +like the young man's. The extreme ends of the platform are occupied by +two figures costumed similar to those already described. They are +kneeling at the feet of small pedestals in such a position that a +profile view is had of the form. The pedestals should be two feet<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> +high, and covered with bright-colored cloth. On one is a +representation of the sun, made by pasting a sheet of gold paper on +card-board, and cutting out rays around the edge. On the other +pedestal is placed a figure of the moon, with the stars radiating +around it. The moon can be made of card-board and silver paper, and +the stars of gold paper; these must be fastened to wires, and placed +ten inches from the top of the pedestals. Indian war clubs, spears, +shields, and other heathen curiosities, should be placed about the +figures. The light for this scene must be quite mild, and come from +the right hand side of the stage. Music low and of a mournful +character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="SECOND_SCENE_OF_PAGANISM_AND_CHRISTIANITY" id="SECOND_SCENE_OF_PAGANISM_AND_CHRISTIANITY"></a>SECOND SCENE OF PAGANISM AND CHRISTIANITY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Upon the gospel's sacred page<br /> +<span style="margin-left: 1em;">The gathered beams of ages shine;</span><br /> +And as it hastens, every age<br /> +<span style="margin-left: 1em;">But makes its brightness more divine.</span><br /> +<br /> +On mightier wing, in loftier flight,<br /> +<span style="margin-left: 1em;">From year to year does knowledge soar,</span><br /> +And as it soars, the gospel light<br /> +<span style="margin-left: 1em;">Adds to its influence more and more.</span><br /> +<span style="margin-left: 15em"><span class="smcap">Bowring.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><i>The Tableau of Christianity.</i>—On the side of the platform which is +covered with white cloth there should be erected a small pulpit. Make +it of boards, cover it with cloth, and paint it in imitation of +mahogany. A small red cushion should be placed on the top, supporting +a large Bible, and on each side place<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> lamps, with glass shades. In +the pulpit stands a young man dressed to represent a minister of the +gospel; one hand resting on the Bible, the other raised upward. In +front of the pulpit place a small table, covered with a white cloth, +on which set four silver goblets. By the side of the table place a +plaster pedestal, with a white urn on the top, to represent a font; on +each side of the pulpit, and at the extreme ends of the platform, are +two female figures; both are kneeling by the side of small pedestals; +these can be made of small boxes, covered with white cloth, and +ornamented with myrtle. The female figures should face the audience. +One holds a large Bible with the right hand, and points to the pages +with the left. The eyes are cast upward; the face expresses meekness +and serenity. The second figure, at the other end of the platform, +holds a cross in the left hand, and points to it with the right; the +eyes are raised upward, the face expressing pleasure. Their costume +consists of white dresses, cut low at the top, sleeves quite long and +flowing, and ornamented with white muslin; the waist is encircled with +a band of satin ribbon; a wreath of white flowers adorns the head, and +gauze wings are fastened to the back of the waist. The hair should be +dressed closely to the head, and a few curls allowed to hang on the +shoulders. The length of the cross is three feet; color, light blue. +On small pedestals, between the pulpit and the female figures, place +models of the steam engine, steamboat, printing press, and telegraph. +The tableau of Paganism must be first pro<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>duced, after which the +machinery should slowly revolve, bringing into the view the tableau of +Christianity. The curtain must be kept up until both are exhibited. +The light for these tableaux should be quite brilliant, and issue from +the left side of the stage. Music of a sacred character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_FAIRIES_DANCE" id="THE_FAIRIES_DANCE"></a>THE FAIRIES' DANCE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The moon is full, the stars are bright,<br /> +<span style="margin-left: 1em;">The monks are all asleep;</span><br /> +Now gayly come the Fays to-night,<br /> +<span style="margin-left: 1em;">Their revelry to keep.</span><br /> +They love the abbeys old and gray,<br /> +<span style="margin-left: 1em;">Whence the vesper song is heard,</span><br /> +And the matin hymn at break of day<br /> +<span style="margin-left: 1em;">Awakes the singing bird.</span><br /> +<br /> +With waving torch and tiny shout,<br /> +<span style="margin-left: 1em;">The nimble foot they ply,</span><br /> +And Fairy laughs are ringing out<br /> +<span style="margin-left: 1em;">Beneath the midnight sky;—</span><br /> +Then mortals hear the merry peals,<br /> +<span style="margin-left: 1em;">And wonder at the sound,</span><br /> +So like the chiming of harebells,<br /> +<span style="margin-left: 1em;">When light winds steal around.</span><br /> +<span style="margin-left: 12em"><span class="smcap">Anon</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Ten Female and Eight Male Figures.</h3> + + +<p><span class="smcap">This</span> beautiful tableau is represented by eight small misses, eight +small lads, and two young and pretty ladies. The stage should be +formed so as to rise gradually from the footlights to the background, +which can be done by using boxes of various sizes, and covering them +with green bocking. Twelve of the<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> children should form a circle, the +front of which must be two feet from the footlights, the back +extending to the other end of the stage. They should clasp each other +by the hand, and take the position of the Highland fling; the right +hand raised above the head, the left placed on the hip; the attitudes +should be as graceful as possible. The expression of the faces +denoting pleasure and mirth. Near the footlights, two of the children +should be seated, looking at the others; and standing on pedestals at +each side of the stage, near the front, are the young ladies. The +pedestals are two feet high, covered with pink cambric, and bordered +with green leaves and flowers. The position of the female figures must +be graceful and easy. They stand so as to show a profile view of the +body; each holds a golden wand, which she extends out over the heads +of the dancers. Their eyes are fixed on the movements of the children, +the left hand clasps a stout cord, to which is fastened a large +crimson tassel, that will help sustain the body in position. The +costume of the misses consists of a short white dress, with short +sleeves, the waist studded with small stars and spangles; the bottom +of the skirt bound with light green ribbon, three inches wide, with +gold paper fastened to each edge, and small pink roses placed between. +The sleeves are bound with gold and pink ribbon in alternate bands, +three inches wide; a small scarf of white gauze, covered with spangles +and fringed at the ends with gold, encircles the waist. Flesh-colored +hose, white slippers, a wreath of silver<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> leaves about the head. The +hair arranged in short curls, and small gauze wings, ornamented with +spangles, fastened to the back of the waist.</p> + +<p>The young lads' costume consists of a short coat, buttoned snugly over +the breast, made of light pink cambric. The bottom, the ends of the +sleeves, and the collar trimmed with purple cambric, three inches in +width, with narrow strips of gold paper on each side; between the +bands of gold, insert small diamond-shaped pieces of gold paper, +bordered with spangles. A belt made of the same material encircles the +waist; hose of flesh-colored cloth; white slippers, with pink rosette +on the front; a small cap, made of purple cambric, in the form of a +tulip, is worn on the head; it should be rather low, with a stem of +green protruding from the top, the edges scalloped, and bound with +gold paper. Small gauze wings are fastened to the shoulders, which are +ornamented with spangles and silver stars. The young ladies' costume +consists of a long white dress, with a robe worn on the outside of +tarleton muslin; the outer dress should have three wide flounces, the +edges of which are to be trimmed with large silver leaves, +interspersed with gilt roses; these can be made from gold and silver +paper. The waist must be cut quite low, and decorated in the same +manner; the sleeves flowing, and trimmed with spangles and pink +ribbons; large gauze wings, decorated with spangles and silver tinsel, +should be fastened to the back of the waist. The hair must be done up +in a neat coil, and<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> encircled with a band of white flowers. Make the +wands four feet in length, and one half an inch in diameter; cover +them with silver paper, attach a gilt heart on the end. The light for +this tableau can be produced by a whitish-blue fire, burned at either +side of the stage; it should be quite brilliant, and must be lighted +before the curtain rises. Music of a lively order.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="BUST_OF_PRAYER" id="BUST_OF_PRAYER"></a>BUST OF PRAYER.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Prayer is the soul's sincere desire,<br /> +<span style="margin-left: 1em;">Utter'd or unexpress'd;</span><br /> +The motion of a hidden fire<br /> +<span style="margin-left: 1em;">That trembles in the breast.</span><br /> +<br /> +Prayer is the burden of a sigh,—<br /> +<span style="margin-left: 1em;">The falling of a tear,—</span><br /> +The upward glancing of an eye,<br /> +<span style="margin-left: 1em;">When none but God is near.</span><br /> +<br /> +Prayer is the simplest form of speech<br /> +<span style="margin-left: 1em;">That infant lips can try;</span><br /> +Prayer, the sublimest strains that reach<br /> +<span style="margin-left: 1em;">The Majesty on high.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> beautiful production should be represented by one who has an +amiable and modest appearing countenance, good figure and features. +The hair must be brushed up from the forehead, and fastened behind in +a black crochet net. The dress should be pure white, open very low at +the front and back. A cross is suspended from the neck by a band of +white ribbon. A<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> heavy white veil should pass over the top and back of +the head, and be tied loosely four inches below the chin; the head +inclined forward slightly, the eyes closed, while the countenance +should appear serene, pure, and full of hope; the arms are to be +folded out of sight upon the breast. The same machinery, pedestal, +wire basque, crimson curtain, and fairies that are used in the +<a href="#BUST_OF_PROSERPINE">Bust of +Proserpine</a>, may be used in this piece. The light should be mild, and +come from the left side of the stage. Music plaintive, and of a sacred +order.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="MORNING_WELCOMED_BY_THE_STARS" id="MORNING_WELCOMED_BY_THE_STARS"></a>MORNING WELCOMED BY THE STARS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +A glorious vision: as I walked in gloom,<br /> +<span style="margin-left: 1em;">The children of the sun came thronging round me,</span><br /> +In shining robes and diamond-studded shoon;<br /> +And they did wing me with them, and soon<br /> +<span style="margin-left: 1em;">In a bright dome of wondrous width I found me,</span><br /> +Set all with beautiful eyes, whose wizard rays,——<br /> +<span style="margin-left: 1em;">Shed on my soul, in strong enchantment bound me;</span><br /> +And so I looked and looked with dazzled gaze,<br /> +<span style="margin-left: 1em;">Until my spirit drank in so much light</span><br /> +That I grew, like the sons of that glad place,<br /> +<span style="margin-left: 1em;">Transparent, lovely, pure, serene, and bright;</span><br /> +Then they did call me brother; and there grew<br /> +<span style="margin-left: 1em;">Swift from my sides broad pinions gold and white,</span><br /> +And with that happy flock a brilliant thing I flew!<br /> +<span style="margin-left: 18em"><span class="smcap">Tupper.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twenty-one Female Figures.</h3> + + +<p><span class="smcap">This</span> beautiful spectacle is represented by twenty-one persons. Twenty +of the number should be young misses, of about six or eight years of +age, who will personate the stars, and one, a young and handsome +lady,<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> who is to represent morning. The sides of the stage must be +arranged in the form of terraced banks, two feet wide at the bottom, +and four feet wide at the top; they should be built from the +footlights to within three feet of the ceiling, covered with cloth, +and painted to represent clouds. Blue cambric, with white clouds and +gold stars, will answer the purpose. In the centre of the stage, two +pieces of joist must be placed in an inclined position, running from +the footlights to the background. On these build a sliding platform, +four feet square, with a small seat, one foot high. This should be +made to run with ease from the top to the bottom of the joist; cloth, +painted in imitation of clouds and stars, can be extended across the +space between the two terraces and the joist, so that it will show a +smooth surface. Cover the moving platform with cloth, arranged in +drapery style, and paint in the same manner as the rest of the +scenery. A back scene should be placed at the top of the terraces, +leaving a space of three feet between it and the back wall; this must +be painted like the rest of the scenery, and made to open in the +centre, near the top of the joist.</p> + +<p>The young misses' costume consists of a short white dress, decorated +with gold stars, and silver paper interspersed with spangles, white +hose and shoes, hair hanging in curls, and encircled with a band of +silver leaves, with a silver star on the forehead; a light blue sash, +covered with spangles, tied about the waist; and small gauze wings +fastened to the back of the dress. Each one should hold a small torch +ten inches in length,<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> from which rises a blue flame; these can be +made of card-board, and covered with light blue paper, with the ends +tipped with gold. At the end from which the flame is produced, insert +a strip of tin, to protect the torch from the flames. The torches +should not be lighted until all the figures are in position. The young +misses take their position at each side of the stage, on the outer +edge of the terrace. They must lean forward slightly, and hold the +torch out from them. Their attitudes should be varied; those near the +top should be gazing upward, others looking down, and a few engaged in +conversation. The young lady who represents Morning must be costumed +in a loose white robe of tarleton muslin, cut low at the top, flowing +sleeves, skirt covered with three wide flounces, trimmed in front with +silver rays five inches long. The waist and sleeves decorated with +silver and gold spangles, and a satin belt, ornamented in like manner, +worn about the waist. The hair should be brushed back from the +forehead, and clasped with a band of silver, and allowed to hang over +the shoulders in long curls; the head is adorned with a band of gold, +with rays of silver radiating from the centre. The position is, seated +on the platform, head slightly inclined to the left, the right hand +raised over the head, the left rests on the waist; eyes directed to +the children in the foreground, countenance expressing pleasure. The +goddess Morning will be seated on the platform, behind the scenery.</p> + +<p>A yellow fire must be burned in the ante-room,<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> and so shaded that, +just as the curtain rises, a small portion of the light will shine on +the centre of it; this light should increase in brightness for a few +seconds, when the sky in the background must open, and the goddess +glide slowly down to the centre of the stage. As the platform moves, +the fire should increase in brightness; when she has arrived at the +centre of the stage, the yellow light should be thrown into the +foreground, and a red light thrown into the background. This can be +accomplished by placing the colored fires in large boxes furnished +with sliding covers and reflectors; and by drawing out the covers +gradually, the light will be thrown on to the picture in the proper +manner. The curtain in the background can be opened by attaching at +each corner, near the centre, a small cord, which can be passed +through pulleys, and attended to in the ante-rooms. The curtain or +scenery should be drawn up on the back side, and let down in its place +as soon as the platform has passed through. A small rope, painted +blue, must be attached to the platform, and pass through a block +fastened to the wall of the stage; this can be tended by a person +under the stage, who will allow the platform to move with exactness to +its stopping place. If the light from the colored fire is not +brilliant enough, a few of the lights at the same side from whence the +fire is produced can be lighted. Music soft and plaintive at first, +and increasing in power at the finale.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p> +<h2><a name="THE_STATUE_VASE" id="THE_STATUE_VASE"></a>THE STATUE VASE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +She spoke to vanish, but the single ray<br /> +<span style="margin-left: 1em;">Shot from the unseen moon, still palely breaketh</span><br /> +The awe that rests with midnight on the way;<br /> +<span style="margin-left: 1em;">Faithful as Hope when Wisdom's self forsaketh—</span><br /> +The buoyant beam the lonely man pursued—<br /> +<span style="margin-left: 1em;">And, feeling God, he felt not Solitude.</span><br /> +<br /> +And now, he enters, with that lurid tide,<br /> +<span style="margin-left: 1em;">Where time-long corals shape a mighty hall;</span><br /> +Three curtain'd arches on the dexter side,<br /> +<span style="margin-left: 1em;">And on the floors a ruby pedestal,</span><br /> +On which with marble lips, that life-like smiled,<br /> +Stood the fair Statue of a crownéd Child.<br /> +<span style="margin-left: 15em"><span class="smcap">Bulwer's King Arthur.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> design is a beautiful female, supporting a horn of plenty, from +which rises a basket of intermingling vines and flowers. The lady is +standing on a pedestal, which is described in the tableau of the +<a href="#THE_ITALIAN_FLOWER_VASE">Italian Flower Vase</a>, as is also the basket which the lady supports. +This basket or bowl of the vase can be suspended from the centre of +the ceiling by the means of wire hooks. The pedestal must be placed +directly under it. The space between the top of the pedestal and the +bottom of the basket should be just the height of the lady who takes +the part of the statue in the piece; so that when she is in position +on the pedestal, the bottom of the basket will touch the top of her +head. The horn of plenty can be made of cloth; it should be five +inches in diameter at the top, three foot long, and end in a point at +the bottom; it can be stuffed with<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> wool, covered with green cambric, +and decorated with artificial flowers. It is to be attached to the +bottom of the basket, pass down over the lady's shoulder, and held in +its position by the left arm and hand. The lady who takes this part +should be of large and good figure, regular features, and quite +pretty. The costume consists of a white dress, with sleeves five +inches long, cut low at the neck, skirt made rather long, and worn +without many underskirts; a scarf of gauze worn over the shoulders, +and tied at the right side, allowing the ends to trail on the +pedestal. The hair should be arranged in wide braids at the side of +the face, confined at the back with a band of silver, and allowed to +fall in short curls over the neck. The position of the lady is, +standing in the centre of the pedestal, her body facing the audience, +and head turned partially to the right. The eyes should be raised a +trifle, while the expression of the face denotes tranquillity and +repose. The left hand must gracefully press the horn of plenty against +the side of the breast, while the right is raised above the head, and +touches the basket as if to steady it. The light for this piece should +be of medium brilliancy, and placed at the side opposite to the face +of the statue. Music soft and of a secular order.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span></p> +<h2><a name="SPIRIT_OF_CHIVALRY" id="SPIRIT_OF_CHIVALRY"></a>SPIRIT OF CHIVALRY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Strike the loud harp, ye minstrel train!<br /> +<span style="margin-left: 1em;">Pour forth your loftiest lays;</span><br /> +Each heart shall echo to the strain<br /> +<span style="margin-left: 1em;">Breathed in the warrior's praise.</span><br /> +<br /> +Bid every string triumphant swell<br /> +Th' inspiring sounds that heroes love so well.<br /> +Chieftains, lead on! our hearts beat high—<br /> +<span style="margin-left: 1em;">For combat's glorious hour;</span><br /> +Soon shall the red cross banners fly<br /> +<span style="margin-left: 1em;">On Salem's loftiest tower!</span><br /> +We burn to mingle with the strife,<br /> +Where but to die insures eternal life.<br /> +<span style="margin-left: 12em"><span class="smcap">Mrs. Hemans.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Nine Male and Five Female Figures.</h3> + + +<p><span class="smcap">This</span> fine tableau represents the Spirit or personification of +Chivalry, surrounded by men of various pursuits, religious, military, +and civil, who represent, as by an upper court or house, the final +acquisition of her honors and rewards. Beneath, as not having +obtained, though within reach of, the crown, is a young knight who +vows chivalric services, and is attended by his page and his young +bride. Around him, in various attitudes, other figures are introduced, +to connect the abstract representation of Chivalry with its general +recognition of intellectual influences; among them, the Painter, the +Sculptor, and Man of Science; the Palmer from the Holy Land, and the +Poet-Historian, from whom future ages must derive their knowledge of +the spirit and deeds of chivalry. The lady who personates the Spirit +of Chivalry should be of good figure and<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> features. Her costume +consists of a loose white robe, cut high in the neck; a mantle of +white tarleton muslin is draped about the shoulders, and fastened in +front with a gilt cross; the hair is arranged in bands, falling low in +the neck, and encircled with a small wreath of silver leaves or white +flowers. In her left hand she holds a small wreath of evergreen, which +she extends towards the young knight, who kneels at the foot of the +pedestal on which she stands. Her position is, on a pedestal, three +feet high by two feet square, which should be placed in the centre of +the stage. Her body should be inclined slightly forward, and attention +directed to the knight in the foreground; her countenance should +express dignity and pleasure. At the back of the pedestal there should +be a representation of an altar, consisting of a shaft two and one +half feet wide by three feet in height, with a capital on the top one +foot wide by three and one half feet long. This can be made of boards, +showing a smooth surface, and nailed to the top of the pedestal. It +can be papered or painted to represent panels and scrolls. Fourteen +other figures are grouped around the pedestal, and as the arrangement +of the piece is a trifle complicated, we will designate them in +rotation, beginning at the foot of the pedestal. The figures, as they +recede in the background, should be placed on small platforms, rising +from one to three feet in height. By arranging the figures in this +manner, a perfect view of each will be had by the audience. Figure one +is a young lady; she kneels at the foot of the pedestal on which the +Spirit<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> stands. Costume is, a white dress, cut low at the waist, +encircled with a satin sash; hair arranged in curls. Position is, +sitting, the body facing the audience, head resting on the hand, and +thrown back so as to touch the pedestal, and eyes directed to the face +of a harper, who kneels in front of her; the countenance expresses +surprise and admiration. Kneeling on the floor, nearly in front of +figure one, is a young knight—we have almost a back view of him, the +head turned just enough to get a partial profile view of the face; one +hand clasps a sword, which he raises in front of the body; the other +is lifted above the head, which is thrown back, with the eyes fixed on +the Spirit. The armor can be conveniently composed by fastening strips +and plates of bright tin to a suit of clothes made of black cambric. +The belt, gloves, and boots can be gotten up in the same manner. This +suit will cost but a trifle, and in the glare of the footlights will +look finely. Figure three is the palmer. He kneels behind figure one. +Costume consists of a dark robe, cowl made of black cloth, and face +covered with a heavy beard. In his hands he holds a shepherd's crook. +His eyes are directed to the harper. Figure four is a small girl, who +stands behind figure three, and holds in both hands the helmet of the +knight. Her costume consists of a white dress, with a pink sash; hair +done up to suit the taste of the performer. Her position is, facing +the audience, eyes fixed on the knight, expression of the face +denoting pleasure. Two other ladies stand on a small platform, outside +of the lady holding the helmet.<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> Their costume consists of a white +dress, black velvet waist, hair arranged in wide braids at the side of +the face; one clasps her hands in front of her breast, and looks with +earnestness at the knight; the other places an arm on the shoulder of +her friend, and looks up into her face, her countenance beaming with +smiles. Behind these three females, and standing on a platform two +feet high, are two peasants. They are dressed in blue frocks, fastened +around the waist with black belts, knee breeches of colored cloth, +white hose, low shoes, knee and shoe buckles, white Kossuth hats, +encircled with a gilt band; the face covered with long, light beards. +Each holds a long staff, with a gilt crook at the top. Their position +should be behind the altar, arms folded on the breast, head inclined +forward, eyes cast down, and the expression of the face melancholy and +sober. Opposite to the two figures last described, and standing on a +platform at the other side of the altar, is a knight in full armor. He +holds a large sword in front of his body, and is looking straight +forward. His costume can be made in the same manner as that of the one +described at the beginning of the tableau. On a low platform, at the +side of the Spirit, stand a Sculptor and a Painter. Their position is, +facing the knight, who is kneeling in the foreground. Their costume +consists of white jackets, dark pants, and flat, white caps, worn +jantily on the side of the head. The Painter holds his pallet and +brushes, the Sculptor his mallet and chisel; their attention is +directed to the figure of the kneeling knight. Standing<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> on the floor, +below the two figures just described, is the Poet-Historian. He faces +the audience, and looks at the Harper in the foreground. He is dressed +in dark clothes; a heavy white mantle is thrown over his shoulders, +the ends trailing to the floor; on his head is placed a garland of +green leaves. He holds in both hands a large book, which should be +bound richly and opened in the centre. Kneeling on the floor at his +feet, and facing the young knight, is the Harper. He holds in his left +hand a harp, and touches the strings with his right. His costume +consists of a coat made of Turkey cloth, trimmed with black binding +four inches wide; black knee breeches, white hose, knee and shoe +buckles, and red shoes. Over the left shoulder is carelessly thrown a +short velvet cloak, and on the head is a black velvet cap, with a gold +band and plume. His head is thrown back, eyes directed to the Spirit, +while the countenance should appear to be inspired. Kneeling at the +foot of the pedestal, between the first figure and the Harper, is the +Troubadour, playing on a guitar; he faces the audience; his head is +thrown back, and his eyes cast upward. Costume consists of a purple +coat, trimmed with black binding, blue breeches, white hose, low +shoes, knee and shoe buckles, belt containing a small dagger, about +the waist. The harp can be made of wood, covered with gold paper, and +strung with buff cord. The light for this piece should be produced at +either side of the stage, and a small quantity at the front. The side +light must be very powerful. The accompanying music should be of a +brilliant order.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span></p> +<h2><a name="HAIDEE_AND_DON_JUAN_IN_THE_CAVE" id="HAIDEE_AND_DON_JUAN_IN_THE_CAVE"></a>HAIDEE AND DON JUAN IN THE CAVE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +His eyes he opened, shut, again unclosed,<br /> +<span style="margin-left: 1em;">For all was doubt and dizziness; he thought</span><br /> +He still was in the boat, and had but dozed,<br /> +<span style="margin-left: 1em;">And felt again with his despair o'erwrought,</span><br /> +And wished it death in which he had reposed;<br /> +<span style="margin-left: 1em;">And then once more his feelings back were brought,</span><br /> +And slowly by his swimming eyes was seen<br /> +A lovely female face of seventeen.<br /> +<br /> +'Twas bending close o'er his, and the small mouth<br /> +<span style="margin-left: 1em;">Seemed almost prying into his for breath;</span><br /> +And, chafing him, the soft, warm hand of youth<br /> +<span style="margin-left: 1em;">Recalled his answering spirits back from death;</span><br /> +And, bathing his chill temples, tried to soothe<br /> +<span style="margin-left: 1em;">Each pulse to animation, till beneath</span><br /> +Its gentle touch and trembling care, a sigh<br /> +To these kind efforts made a low reply.<br /> +<span style="margin-left: 15em"><span class="smcap">Byron.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> pleasing tableau is taken from the poem of Don Juan, by Byron. +The scene is that where Haidee discovers the insensible form of Juan +lying at the mouth of the cave, near to the sea shore. Don Juan has +been shipwrecked; his almost lifeless body has washed ashore, and +found a resting place in a rocky cave, to be discovered by the +beautiful Haidee and her attendant. The principal work in this piece +is the forming of the cave, which can be made in the following manner: +The floor of the cave should rise gradually from the front to the +background; this can be accomplished by using boxes of various sizes, +over which place brown cambric, with brown paper attached to it<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> in a +crumpled manner, so as to imitate ragged rocks, and when painted with +light and brown colors, and ornamented with isinglass, will make a +very good appearance. The floor of the cave should extend to within +three feet of the front of the stage, and run back to the extreme +background. The space between the footlights and the floor of the cave +should be covered with blue cambric, painted to represent waves and +surf. Directly behind the drop curtain there should be a +representation of the roof and sides of the cave. Light frames, +covered with brown paper, similar to the floor, and made very +irregular at the edges, must be placed at each side of the stage, and +at the top; these should be two feet wide, and of the height and width +of the stage. Two other sets of frames should be made similar to the +first, and placed at equal distances from the fore to the background. +The first set must be three feet wide; the second set four feet wide. +The background of the cave may also be covered with similar scenery. +The idea of arranging the scenery in this manner is to give a deep +appearance to the cave. Isinglass should be profusely sprinkled over +the surface of the rocks, and a few sprigs of grass fastened to them +will add to the effect. The fastening of the brown paper to the frames +can be dispensed with if there is any person who can paint out the +rocks on plain canvas. The one who personates Juan should be of slight +figure, fine, regular features, hair black and curly, and small +moustache. Costume consists of black pants, with buff or gold stripe +at the side, white<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> shirt, with blue collar, and gold star at the +corners, black belt around the waist, white hose, low shoes, with +buckles of silver. The shirt should be left open in the neck, so as to +expose the bosom. A small wound can be imitated on the side of the +head, made with red paint. Position is, reclining on the rocks in the +foreground of the cave; the left side touches the rocks, the head +thrown back, and face exposed to the view of the audience. The right +hand grasps a small oar, while the left is stretched out at his side. +The eyes are closed, the feet crossed, and resting in the water. +Haidee and her friend are seen in the background. Both should be of +small figure and good features. Haidee should be quite pretty, and +costumed in a blue dress, black velvet waist, open in front, and laced +across with blue ribbons; sleeves long and flowing; a small crimson +apron, with bands of gold at the bottom; a black velvet belt around +the waist, with a showy pin in the centre; bows of pink ribbon +fastened with a small, showy pin at each shoulder; hair hanging in +curls; hat made of velvet, trimmed with gold bands and white feathers, +which should be placed jantily on the side of the head. Her position +is, standing on the rocks in the back of the cave, one hand raised so +as to shade her eyes, the other pointing to the body of Juan; the eyes +are fixed on the body, while the countenance expresses surprise; the +right foot must be placed twenty inches in front of the left, while +the body is inclined forward. The figure back of Haidee has on a +costume similar to that already described, but of less<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> showy and +expensive material. She is standing five or six feet from Haidee, and +has her hands filled with shells, which she has gathered from the +shore. She is intently engaged in looking at her shells, and has not +yet seen Juan; her body is bent forward slightly, the expression of +the face denoting curiosity and thought. The light for this piece +should come from the front of the stage, and must be quite brilliant. +If a melodeon is used as an accompaniment to the piece, it should be +played to imitate the roaring of the ocean.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="POVERTY" id="POVERTY"></a>POVERTY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The sun is bright and glad, but not for me;<br /> +<span style="margin-left: 1em;">My heart is dead to all but pain and sorrow;</span><br /> +No care nor hope have I in all I see,<br /> +<span style="margin-left: 1em;">Save from the fear that I may starve to-morrow.</span><br /> +Alas, for you, poor famishing, patient wife,<br /> +<span style="margin-left: 1em;">And pale-faced little ones! Your feeble cries</span><br /> +Torture my soul; worse than a blank is life<br /> +<span style="margin-left: 1em;">Beggared of all that makes that life a prize:</span><br /> +Yet one thing cheers me,—is not life the door<br /> +To that rich world where no one can be poor?<br /> +<span style="margin-left: 17em"><span class="smcap">Tupper</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female and Two Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau represents the interior of one of the homes of the +starving poor, such as are found in all large towns, where vice and +intemperance go hand in hand. To make the scene look as natural as +possible, a partition should be made to fill up the back of the stage, +covered with cheap room paper. Two old win<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span>dow sashes should be +inserted in it, with the glass partially broken out, and filled up +with old hats and articles of clothing. The furniture of the room +consists of an old and broken table, a large chest, three or four old +and broken chairs, a few pieces of broken crockery on the table, a +black bottle, a candlestick, a bundle of straw, with a few ragged bed +clothes, and a few cheap prints hanging from the wall. The table is +placed at the back part of the room, and supports the crockery, +bottle, and candlestick. The bed is at the left side of the room, and +on it reclines a female dressed in dirty and ragged clothing; her hair +hangs loosely over her shoulders; right hand supporting her head, and +eyes directed to a group of children in the foreground of the picture; +the face should be made as white as possible; a small quantity of dark +paint about the eyes will give a haggard and sickly look to the +features. On the opposite side of the room, seated on the old chest, +is the woman's husband. He is dozing in a drunken slumber; his clothes +hang about him in tatters; his hat is partially drawn down over his +forehead, his matted hair protruding through a hole in the crown; face +bloated, from the effects of liquor. By the use of water colors, the +face can be made to assume the above description. His position is such +that a partial front view is had of the body, the arms hanging +carelessly at his side, feet crossed and stretched out on the floor. +Seated at the table, and sewing by the light of the candle, is a young +girl. She is dressed in dirty and ragged clothes; her<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> hair is tied up +in a rough manner; the body bent forward, and eyes cast down upon her +work; her face should be made white; the eyes slightly shaded with +dark paint, to give a haggard look to the features. In the centre of +the room are grouped three small children; they are engaged in eating +crusts of bread from a broken plate. Their costume may be varied, and +of cheap material. The light for this piece should come from the side +on which the man is sitting. The front of the scene must be quite +light, while the background is thrown in shadow. Music of a mournful +order.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="DEATH_OF_MINNEHAHA" id="DEATH_OF_MINNEHAHA"></a>DEATH OF MINNEHAHA.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O the long and dreary Winter!<br /> +O the cold and cruel Winter!<br /> +Ever thicker, thicker, thicker<br /> +Froze the ice on lake and river,<br /> +Ever deeper, deeper, deeper<br /> +Fell the snow o'er all the landscape,<br /> +Fell the covering snow, and drifted<br /> +Through the forest, round the village.<br /> +O the famine and the fever!<br /> +O the wasting of the famine!<br /> +O the blasting of the fever!<br /> +O the wailing of the children!<br /> +O the anguish of the women!<br /> +"Give us food, or we must perish!<br /> +Give me food for Minnehaha,<br /> +For my dying Minnehaha!"<br /> +<br /> +<span style="margin-left: 1em;">Through the far-resounding forest,</span><br /> +Through the forest vast and vacant—<br /> +<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>Rung that cry of desolation;<br /> +But there came no other answer<br /> +Than the echo of his crying,<br /> +Than the echo of the woodlands,<br /> +<span style="margin-left: 2em;">"Minnehaha! Minnehaha!"</span><br /> +All day long roved Hiawatha<br /> +In that melancholy forest,<br /> +Through the shadow of whose thickets,<br /> +In the pleasant days of Summer,<br /> +Of that ne'er forgotten Summer,<br /> +He had brought his young wife homeward<br /> +From the land of the Dacotahs.<br /> +<br /> +<span style="margin-left: 1em;">In the wigwam with Nokomis,</span><br /> +With those gloomy guests, that watched her,<br /> +With the Famine and the Fever,<br /> +She was lying, the Belovéd,<br /> +She the dying Minnehaha.<br /> +"Hark!" she said; "I hear a rushing,<br /> +Hear a roaring and a rushing,<br /> +Hear the Falls of Minnehaha<br /> +Calling to me from a distance!"<br /> +"No, my child!" said old Nokomis,<br /> +"'Tis the night wind in the pine trees!"<br /> +"Look!" she said; "I see my father<br /> +Standing lonely at his doorway,<br /> +Beckoning to me from his wigwam<br /> +In the land of the Dacotahs!"<br /> +"No, my child," said old Nokomis;<br /> +"'Tis the smoke, that waves and beckons!"<br /> +"Ah!" she said, "the eyes of Pauguk<br /> +Glare upon me in the darkness,<br /> +I can feel his icy fingers<br /> +Clasping mine amid the darkness!<br /> +<span style="margin-left: 2em;">Hiawatha! Hiawatha!"</span><br /> +<br /> +<span style="margin-left: 1em;">And the desolate Hiawatha,</span><br /> +Far away amid the forest,<br /> +Miles away among the mountains,<br /> +Heard that sudden cry of anguish,<br /> +Heard the voice of Minnehaha<br /> +Calling to him in the darkness,<br /> +"Hiawatha! Hiawatha!"<br /> +Over snow-fields waste and pathless,<br /> +Under snow-encumbered branches,<br /> +Homeward hurried Hiawatha,<br /> +<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>Empty-handed, heavy-hearted;<br /> +<br /> +<span style="margin-left: 1em;">And he rushed into the wigwam,</span><br /> +Saw the old Nokomis slowly<br /> +Rocking to and fro and moaning,<br /> +Saw his lovely Minnehaha<br /> +Lying dead and cold before him,<br /> +And his bursting heart within him<br /> +Uttered such a cry of anguish,<br /> +That the forest moaned and shuddered,<br /> +That the very stars in heaven<br /> +Shook and trembled with his anguish.<br /> +<span style="margin-left: 12em"><span class="smcap">Longfellow</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> affecting tableau is a representation of the death of the +beautiful Minnehaha. The scene is at the moment when Hiawatha draws +back the door of the wigwam, and there beholds his lovely Minnehaha +lying dead and cold before him. The scenery of this picture is the +same that is used in the tableau of +<a href="#HIAWATHA_AND_HIS_BRIDES_ARRIVAL_HOME">Hiawatha and his Bride's Arrival +Home</a>. It is mid-winter, and the fields and woods are covered with +snow; and to represent this scene it will be necessary to cover the +ground with cotton flannel, instead of the green bocking which we used +in the summer scene. The trees, wigwam, and vines should be covered +with small pieces of cotton wool, to represent snow. Large bags, +filled with straw, may be covered in the same manner, and placed +around the doorway of the wigwam at each side of the stage, to +represent snow banks. Minnehaha has on the same costume we have before +described, and is reclining on a bed of robes near the entrance of the +wigwam. Her body should be propped up so that she can be easily seen. +A dark robe is thrown across the lower portion of her form,<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> a calm, +resigned look is on the countenance. Her hands are folded on her +breast, eyes closed as if in sleep. At her side, sitting on a low +seat, is Nokomis. She wears the same costume which is described in the +return of Hiawatha, with a fur robe gathered about her. She is leaning +forward towards the couch, and presses both hands against her face. +Her eyes are cast down to the ground, while grief and melancholy are +depicted on the countenance. The dying embers of a fire send up a +curling smoke by her side. This should be placed in an iron furnace, +and surrounded by the imitation snow. Hiawatha stands on one side of +the doorway, and is in the position of one running. He clasps the door +with his right hand, and is in the act of stepping into the wigwam. +His eyes are fixed on Minnehaha; the left hand is pressed against his +forehead; grief and amazement are depicted on his countenance. While +the picture is being exhibited, a portion of the accompanying poem may +be read by the announcer. The music should be quite soft, and of a +plaintive character. The lights for this piece must be of medium +brightness, and come from the side opposite the door of the wigwam.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span></p> +<h2><a name="THE_MOTHERS_LAST_PRAYER" id="THE_MOTHERS_LAST_PRAYER"></a>THE MOTHER'S LAST PRAYER.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Her hands were clasped, her dark eyes raised;<br /> +<span style="margin-left: 1em;">The breeze threw back her hair;</span><br /> +Up to the cross she fondly gazed,<br /> +<span style="margin-left: 1em;">And raised her voice in prayer.</span><br /> +<br /> +While there she knelt in deep despair<br /> +<span style="margin-left: 1em;">Beside her own first born,</span><br /> +And bowing her deep soul in prayer<br /> +<span style="margin-left: 1em;">Forth on the rushing storm.</span><br /> +<br /> +She wiped the death damps from his brow<br /> +<span style="margin-left: 1em;">With her pale hands and soft,</span><br /> +Whose touch upon the lute chords low<br /> +<span style="margin-left: 1em;">Had stilled his heart so oft.</span><br /> +<span style="margin-left: 11em"><span class="smcap">Anon</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> tableau represents a mother and child kneeling at the foot of a +cross, amid the drifting snows and icy winds of the Alpine Mountains. +Having lost their way, and being unable to travel any farther, the +mother kneels in prayer at the foot of one of the crosses which are +placed as landmarks along the road, to guide the traveller on his +journey. The floor of the stage should be made uneven by placing boxes +of various sizes at irregular distances, and covering them with white +cotton flannel. A number of spruce trees can be arranged at the sides +and at the background, all of which should be covered with small +particles of cotton wool; small bags, stuffed with hay, and covered in +the same manner, must be placed around the foot of the cross and at +various parts of the stage, to represent snow banks. A few handfuls of +lint thrown into the<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> air just as the curtain rises, will float about +and appear like falling snow. Make the cross of wood, and cover it +with brown paper. It should be five feet long and two feet wide; +thickness of frame, six inches. It must be placed in the centre of the +stage, and sprinkled with the imitation snow. The lady who represents +the mother should be of good figure and features, and costumed in a +dark plaid dress, a white fur cape fastened about the neck, a velvet +cloak worn over the shoulders, and a plaid scarf tied about the head, +the ends hanging down on the shoulders. Position is, at the foot of +the cross, so that a side view is had of the body; the head thrown +back, eyes cast upward, hands clasped and raised in front of the face. +The boy is dressed in a dark suit, and reclines on the snow by the +side of the mother; his head rests on her dress, arms stretched out +towards her waist; his eyes closed in that cold and dreamy sleep which +ends in death. The light for this piece must be quite dim, and come +from the side of the stage that will reflect on the mother's face. +Music, of a low and mournful style, representing the moaning of the +winds.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p> +<h2><a name="LOUIS_XVI_AND_HIS_FAMILY" id="LOUIS_XVI_AND_HIS_FAMILY"></a>LOUIS XVI. AND HIS FAMILY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +I hear thy whisper, and the warm tears gush<br /> +<span style="margin-left: 1em;">Into mine eyes; the quick pulse thrills my heart.</span><br /> +Thou bidd'st the peace, the reverential hush,<br /> +<span style="margin-left: 1em;">The still submission, from my thoughts depart.</span><br /> +<span style="margin-left: 7em;">Dear one, this must not be!</span><br /> +<br /> +The past looks on me from thy mournful eye;<br /> +<span style="margin-left: 1em;">The beauty of our free and vernal days;</span><br /> +Our communings with sea, and hill, and sky—<br /> +<span style="margin-left: 1em;">O, take that bright world from my spirit-gaze.</span><br /> +<span style="margin-left: 7em;">Thou art all earth to me!</span><br /> +<br /> +Shut out the sunshine from my dying room,<br /> +<span style="margin-left: 1em;">The jasmine's breath, the murmur of the bee;</span><br /> +Let not the joy of bird-notes pierce the gloom;<br /> +<span style="margin-left: 1em;">They speak of love, of summer, and of thee</span><br /> +<span style="margin-left: 7em;">Too much, and death is here!</span><br /> +<span style="margin-left: 18em"><span class="smcap">Anon</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female and Four Male Figures.</h3> + + +<p><span class="smcap">On</span> the 20th of January, 1793, at three o'clock in the morning, the +second year of the French republic, the final vote was taken by the +Convention, that Louis XVI. should be executed. All the efforts to +save the king were now exhausted, and his fate sealed. The decree of +the Convention was sent to the king, declaring him to be guilty of +treason; that he was condemned to death; that the appeal to the people +was refused; and that he was to be executed within twenty-four hours. +The king listened to the reading unmoved; he conversed earnestly with +his spiritual adviser respecting his will, which he read, and inquired +earnestly for his friends, whose sufferings moved his heart deeply. +The hour of seven had now arrived,<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> when the king was to hold his last +interview with his family. But even this could not be in private. He +was to be watched by his jailers, who were to hear every word and +witness every gesture. The door opened, and the queen, pallid and +woe-stricken, entered, leading her son by the hand. She threw herself +into the arms of her husband, and silently endeavored to draw him +towards her chamber. "No, no," whispered the king, clasping her to his +heart, "I can see you only here." Madame Elizabeth, with the king's +daughter, followed. A scene of anguish ensued which neither pen nor +pencil can portray. The king sat down, with the queen upon his right +hand, his sister on his left, their arms encircling his neck, and +their heads resting upon his breast. The dauphin sat upon his father's +knee, with his arm around his neck. The beautiful princess, with +dishevelled hair, threw herself between her father's knees. An hour +passed, during which not an articulate word was spoken; but cries, and +groans, and occasional shrieks of anguish, which pierced even the +thick wall of the Temple, and were heard in the street below, rose +from the group. For two hours the agonizing interview was continued. +As they gradually regained some little composure, in low tones they +whispered messages of tenderness and love, interrupted by sobs, and +kisses, and blinding floods of tears. Louis XVI. described his trial, +excusing those who had sentenced him, gave some religious advice to +his children, enjoined them to forgive his enemies and bless them. A +few beams of daylight began to pen<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>etrate the grated windows of the +gloomy prison. The hours passed away, while the king listened to the +gathering of the troops in the court yard and around the Temple. At +nine o'clock a tumultuous noise was heard of men ascending the +staircase. The <i>gens d'armes</i> entered, and conveyed him to the +carriage at the entrance. The morning was damp and chilly, and gloomy +clouds darkened the sky; sixty drums were beating at the heads of the +horses, and an army of troops, with all the most formidable enginery +of war, preceded, surrounded, and followed his carriage. They reached +the <i>Place de la Révolution</i> at twenty minutes past ten o'clock. An +immense crowd filled the place, above which towered the guillotine. +With a firm tread he ascended the steps of the scaffold, looked for a +moment on the keen and polished edge of the axe, and then, turning to +the vast throng, said, in a voice clear and untremulous, "People, I +die innocent of all the crimes imputed to me. I pardon the authors of +my death, and pray to God that the blood you are about to shed may not +fall again on France." The drums were ordered to beat, and Louis XVI. +was no more.</p> + +<p><i>Directions for forming the Tableau.</i>—This interesting picture +contains seven figures: Louis XVI., his wife the queen, Madame +Elizabeth, the king's son and daughter, and two <i>gens d'armes</i>. The +stage scenery must be placed in the following order: The background of +the stage should represent the granite walls of a prison, with grated +windows, massive doors, to which are attached bolts, bars, and heavy +locks.<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> This scenery can be made in sections of about four by eight +feet in size. One section should represent the door of the cell; on it +paint the bolts, bars, and locks. At the right of the stage is placed +a table of ancient style; on which is a crucifix, two feet in height, +a large Bible, and an old-fashioned candlestick, containing a lighted +candle. A chair of ancient manufacture should be placed near the +table. Louis XVI. is seated in it, and is costumed in a velvet coat +and breeches, white silk hose, low shoes, buff vest, white cravat, +ruffled bosom, white wig, knee and shoe buckles. The queen is costumed +in a moire antique dress, of a showy color, hair hanging loosely over +the shoulder. Madame Elizabeth has on a silk robe, differing in color +from the queen's; her hair is loosely fastened behind. The daughter +has on a long white dress, with velvet waist. The dauphin is dressed +in velvet jacket, blue breeches, white hose, knee and shoe buckles, +low slippers, lace collar, ruffled bosom and wristbands, and a pink +scarf is fastened about his waist. The <i>gens d'armes</i> have blue coats +trimmed with buff, buff vest, crimson breeches, white hose, long wigs, +low shoes, knee and shoe buckles, and chapeaux. Each must be furnished +with a musket, sword, and belt, and one should hold a bunch of large +keys. Louis XVI. encircles his daughter's waist with his right hand; +his left is clasped by his son. He sits facing the audience; his head +is partially turned towards the crucifix, the eyes cast down, and a +melancholy look upon the countenance. The queen stands<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> behind the +king, between the chair and table; her left hand is placed upon her +waist, her right raised to her forehead; her head is thrown back, the +eyes partially closed, and cast upwards, while intense anguish is +expressed upon her countenance. Madame Elizabeth is kneeling at the +left of the king, her hands clasped and raised upwards, head thrown +back, and eyes partially closed. The daughter is seated on the right +knee of the king; her right hand is placed across her breast, the left +hangs carelessly at her side; her head reclines on the shoulder of her +father. The dauphin is kneeling between the king and Madame Elizabeth, +and grasping the hand of the king; his eyes are fixed on the face of +his father, while the countenance expresses grief and sadness. The +<i>gens d'armes</i> stand just inside the door, resting on their guns; +their eyes are fixed upon the group in the foreground. The light for +this tableau must come from the side of the stage opposite the group, +and should be of medium brightness; the background may be thrown in +the shade. Music of a mournful character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span></p> +<h2><a name="DRESSING_THE_BRIDE" id="DRESSING_THE_BRIDE"></a>DRESSING THE BRIDE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +So, after bath, the slave girls brought<br /> +<span style="margin-left: 1em;">The precious raiment for her wear,</span><br /> +The misty izar from Mosul,<br /> +<span style="margin-left: 1em;">The pearls and opals for her hair,</span><br /> +The slippers for her little feet,<br /> +<span style="margin-left: 1em;">(Two radiant crescent moons they were,)</span><br /> +And lavender, and spikenard sweet,<br /> +<span style="margin-left: 1em;">And attars, nedd, and heavy musk.</span><br /> +When they had finished dressing her,<br /> +(The Eye of Morn, the Heart's Desire,)<br /> +<span style="margin-left: 1em;">Like one pale star against the dusk,</span><br /> +A single diamond on her brow<br /> +<span style="margin-left: 1em;">Trembled with its imprisoned fire!</span><br /> +<span style="margin-left: 14em"><span class="smcap">T.B. Aldrich</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female Figures.</h3> + + +<p><span class="smcap">This</span> tableau is taken from the beautiful poem, "The Course of True +Love never did run smooth," by Thomas Bailey Aldrich, who describes in +his artistic style the bridal toilet of the princess preparatory to +her being wedded to the Vizier Giaffer. The scene represented is the +princess's chamber in the gorgeous palace of Haroun Al Raschid. The +princess is seated in the centre of the room on a crimson divan; at +her side kneels one of her attendants, who is engaged in arranging a +bracelet on her arm. Standing on the opposite side is another +attendant, who is entwining a string of pearls in the princess's hair. +The costume of the princess consists of a pink satin dress, reaching +within ten inches of the feet, and should be bound around the bottom +with silver paper covered with wide white lace. Over this dress must +be worn a frock of<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> purple velvet extending to the knee, with flowing +sleeves reaching to the elbow; the front of the waist left open, +displaying a lace under robe, crossed with ribbons covered with silver +paper and gold spangles. The frock decorated with small crescents of +gold paper, ornamented with silver spangles. Trim the bottom of the +frock and sleeves with gold paper three inches in width, and cover +with colored lace. The waist should be encircled with a wide, +light-green sash, studded with spangles, fringed at the end with gold +paper, and tied in front, allowing the ends to hang down to the bottom +of the frock. A necklace can be made to look rich and showy by +attaching brilliant paste pins of various sizes to a black velvet +band; the centre pin being quite large, those at the sides decreasing +in size as they recede from the centre; the arms and hands profusely +ornamented with jewelry; the hair arranged in long braids, and allowed +to fall over the shoulders. A large diamond or a brilliant stone +should be attached to a black velvet band, and placed on the brow. +Turkish trousers, made of white and blue stripes, two inches wide, of +flowing shape, fastened around the ankle with a gilt band. The shoes +can be made of card-board or leather; they should turn up at the toe +three inches; cover them with red cloth, and ornament with gold and +silver paper and spangles. The costume of the attendants should be of +a similar style, but differing in colors, and without decorations. The +lady who personates the princess must be small, and of good form, +fine, regular features, and quite pretty. Her position is facing the<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> +audience, head turned slightly to the left, eyes upturned to her +attendant, who is standing at her side, holding in her left hand a +fan; the expression of the face pleasant. The attendant who is +kneeling, shows a side view of the body, while the one standing, faces +the audience, with the body bent slightly forward, her attention +directed to the string of pearls which she is arranging in the hair of +the princess. The floor of the stage should be covered with a rich +Brussels carpet, and the walls draped with showy damask curtains. The +room may be furnished with small ottomans, two small marble top +tables, one of which should be placed near the group of ladies, and +contain stands of cologne, perfumes, mirrors, combs, brushes, +pin-cushions, and cases of jewelry. On the other table, which is to be +placed in the background, is a large, showy lamp, with colored globe, +surrounded by ornamental articles; showy pictures adapted to the +subject, in rich gilt frames, adorn the walls; cages containing +singing birds should be suspended from the ceilings; large globes, +containing gold fish, rest on the carpet, near the foreground; richly +ornamented vases, of various sizes, containing magnificent bouquets, +can be arranged in various parts of the room, while the inner corners +are filled up with marble or plaster pedestals, supporting pieces of +statuary; the divan on which the princess is seated must be double the +size of those scattered about the room, and covered with striped pink +and blue cloth. The scene should be illuminated by a purple fire +burned at the right hand side of the stage. A lively serenade would be +appropriate music.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span></p> +<h2><a name="HOPE_FAITH_CHARITY_AND_LOVE" id="HOPE_FAITH_CHARITY_AND_LOVE"></a>HOPE, FAITH, CHARITY, AND LOVE.</h2> + +<h3><span class="smcap">Hope.</span></h3> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Hope looks beyond the bounds of time,<br /> +<span style="margin-left: 1em;">When what we now deplore</span><br /> +Shall rise in full immortal prime,<br /> +<span style="margin-left: 1em;">And bloom to fade no more.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3><span class="smcap">Faith.</span></h3> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +'Tis faith that purifies the heart,<br /> +<span style="margin-left: 1em;">'Tis faith that works by love,</span><br /> +That bids all sinful joys depart,<br /> +<span style="margin-left: 1em;">And lifts the thoughts above.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3><span class="smcap">Charity.</span></h3> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O charity, thou heavenly grace,<br /> +<span style="margin-left: 1em;">All tender, soft, and kind!</span><br /> +A friend to all the human race,<br /> +<span style="margin-left: 1em;">To all that's good inclined.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3><span class="smcap">Love.</span></h3> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Love suffers long with patient eye,<br /> +<span style="margin-left: 1em;">Nor is provoked in haste;</span><br /> +She lets the present injury die,<br /> +<span style="margin-left: 1em;">And long forgets the past.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Four Female Figures.</h3> + + +<p><span class="smcap">The</span> above characters are represented as statues. Four females of the +same height, of graceful form and fine features, are required to form +the group. They should all be costumed in long white robes, that will +trail eight inches, the waist cut quite low at the top, the sleeves +five inches long; a wide scarf of tarleton muslin draped across the +breast, tied at the side, and allowed to trail with the dress; hair +confined at the<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> back of the head, and left to fall over the +shoulders; the head encircled with a wreath of myrtle and white +flowers. If any ornaments are worn, they should be pure white. Hoop or +any other large skirts must not be worn, as it is necessary to produce +a slender figure for a statue design. The positions of the four ladies +are in the following order: Hope stands at the right hand side of the +stage, one foot from the drop curtain; Love at the left hand side, the +same distance from the curtain; Faith and Charity at equal distances +from Love and Hope, and three feet from the drop curtain. Placed in +this manner, they will form a half oval. The stage furniture consists +of four small pedestals, twenty-four inches square, with a cap and +base extending out two inches, covered with white cloth, and +ornamented in front with a small wreath of myrtle. Faith takes her +position on the top of one of the pedestals. Her emblem is the cross, +which she holds in her right hand; the left is raised and points +upward; the eyes are raised upward, the countenance expresses +meekness. Hope is poised on a pedestal, and holds an anchor, the foot +of which rests on the top of the pedestal; the right hand is placed on +the anchor, the left is on the breast; the eyes are raised slightly, +countenance expressing serenity and hope. Charity comes next. In her +right hand she holds a silver dish, which is filled with crumbs of +white bread. Two robins stand on the side of the dish, eating the +crumbs. The left hand rests on the side of the body; the eyes<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> are +directed to the birds; the face beams with smiles. Love is standing on +one of the pedestals, holding in her right hand a torch, which is +raised above her head, while the left gracefully holds the side of her +dress. The head should be turned slightly aside, the eyes looking +straight forward; countenance diffused with smiles. A gauze curtain +may be suspended before the statues, covering the entire space inside +of the frame. The light for this scene should be of medium brilliancy, +and come from the front of the stage. The cross and anchor may be +painted black, the torch painted blue, and tipped with gold; the flame +carved in wood, and gilded. Stuffed birds can be fastened with wire +springs, and attached to the silver dish. Music soft and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_DEATH_OF_GENERAL_WARREN" id="THE_DEATH_OF_GENERAL_WARREN"></a>THE DEATH OF GENERAL WARREN.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Thou rising sun, thou blue rejoicing sky,<br /> +Yea, every thing that is and will be free,<br /> +Bear witness for me, wheresoe'er ye be,<br /> +With what deep worship I have still adored<br /> +The spirit of divinest Liberty.<br /> +<span style="margin-left: 12em"><span class="smcap">Coleridge.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twenty-five Male Figures.</h3> + + +<p><span class="smcap">This</span> magnificent tableau represents the scene so well known in the +early history of our country, and contains twenty-five figures, +thirteen of which should be dressed in crimson uniform, to personate +the British<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span> soldiers, six in continental costume, three in coarse +homespun suits, three in sailor's costume. The stage must be formed to +represent a hill, which can be done by using boxes and boards, and +covering them with green cloth. The hill should rise from the +footlights to within four feet of the ceiling in the background. The +first and principal figure is General Warren. He is lying on the +ground, a few feet from the foot of the hill, supported by one of his +officers, who holds his head with his right hand, while with the left +he grasps the musket of a British soldier, which is pointed at the +breast of Warren. Warren's position is, facing the audience, eyes +closed, arms hanging carelessly at his side; costume, continental; +side arms, sash, sword, and chapeau lying in front of the body. The +figure who supports Warren is dressed in blue breeches, white hose, +white shirt, and black belt. Position, kneeling back of Warren, his +eyes fixed on the soldier who stands a few paces back of Warren's +feet. This soldier leans forward slightly, and grasps a musket, in +which is a bayonet, which he is about to plunge into Warren's body. +His eyes are fixed on the prostrate form before him, while the +countenance expresses excitement and rage. Costume consists of a red +coat, white breeches and hose, low shoes, knee and shoe buckles, white +breast belts, black waist belt, and black military hat, with plume. By +the side of the soldier, near the front of the stage, stands an +officer, who is leading on the British. He holds a sword on his right +shoulder, while the left grasps the butt of the musket of the soldier<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> +previously described. His body is bent forward, feet separated thirty +inches, eyes fixed on Warren, countenance expressing energy and +decision. Costume consists of a crimson coat, decorated with gold +epaulets and lace, white silk hose, buff breeches, low shoes, knee and +shoe buckles, red sash, side arms, and chapeau. Directly behind the +figure who supports Warren stands an American soldier, with a musket +held in front of his body, which he points towards the British +soldier, who is about to pierce the body of Warren. His body is +slightly bent backward, eyes fixed on the soldier, countenance +expressing fear. The remaining figures should be placed in the space +from the top of the hill down to the group we have described; a few +should be fencing; some using their muskets as clubs; others firing at +the enemy in the distance; while a few are stretched out in death on +the ground. They must be placed in as great a variety of positions as +possible, and in such a manner that one figure will not obscure the +other. The countenances of all should appear excited. The booming of +cannon and roll of the drum can be produced behind the scenes. The +picture should be illuminated by a brilliant red fire burned at the +side of the stage.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> +<h2><a name="PORTRAIT_OF_PRINCE_ALBERT" id="PORTRAIT_OF_PRINCE_ALBERT"></a>PORTRAIT OF PRINCE ALBERT.</h2> + +<h3>One Male Figure.</h3> + + +<p><span class="smcap">This</span> tableau is produced in the same manner as the Madonna. The +gentleman who personates Prince Albert should, in general outline of +features and form, resemble the original as much as possible. The +costume consists of a crimson coat richly trimmed with gold lace, and +heavy decorations in silver on the left breast, gold epaulets, a +richly ornamented sword and belt, buff vest trimmed with gold lace, +buff breeches, top boots trimmed at the top with gold binding, a red +sash, and black chapeau. The position must be so that a partial front +view can be had of the body; eyes directed straight forward. The light +should be of medium quantity, and come from the front of the stage. +Music of a national order.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span></p> +<h2><a name="THE_RETURN_OF_THE_PRODIGAL_SON" id="THE_RETURN_OF_THE_PRODIGAL_SON"></a>THE RETURN OF THE PRODIGAL SON.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O! thou hast wander'd long<br /> +<span style="margin-left: 1em;">From thy home without a guide;</span><br /> +And thy native woodland song,<br /> +<span style="margin-left: 1em;">In thine altered heart hath died.</span><br /> +<br /> +Thou hast flung the wealth away,<br /> +<span style="margin-left: 1em;">And the glory of thy Spring;</span><br /> +And to thee the leaves' light play<br /> +<span style="margin-left: 1em;">Is a long-forgotten thing.</span><br /> +<br /> +Still at thy father's board<br /> +<span style="margin-left: 1em;">There is kept a place for thee;</span><br /> +And, by thy smile restored,<br /> +<span style="margin-left: 1em;">Joy round the hearth shall be.</span><br /> +<span style="margin-left: 11em"><span class="smcap">Mrs. Hemans</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Four Male Figures.</h3> + + +<p><span class="smcap">This</span> scene, so familiar in Scripture history, represents the father +standing on the step of his mansion, about to embrace his son, who +stands near. The background of the picture should represent the +portico of a house, and can be made in the following manner: Procure +at a paper store four fresco pilasters, with caps and bases, and a +wide cornice to match; also a roll of granite paper; paste the cornice +and pilasters on cloth; fasten the cornice across the ceiling of the +stage, five feet from the background, and suspend the pilasters from +the lower edge, placing them at equal distances from each other; form +the steps out of boxes and boards, and cover them with the granite +paper. At each side of the steps place a large vase of flowers. Behind +the pilasters, at the end of the upper step, are seen two servants. +They are stooping down and look<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span>ing at the group in the foreground. +Their costume can be easily made up. Frock coats, trimmed on the +bottom of the skirts, cuffs, and front with colored cloth, five inches +wide; white pants, black hose, crossed with red binding; low shoes; +knee and shoe buckles; low-crowned, black Kossuth hat, encircled with +a band of gold, and ornamented in front with a large paste pin and +showy plume. The gentleman who represents the father must be of good +height and large figure. His costume consists of a purple velvet coat +and breeches, white hose, crossed with black ribbons, low shoes, knee +and shoe buckles; over the shoulders is thrown a long cloak, trimmed +with ermine; hair and beard quite long, which can be imitated with +flax, glued to cloth made to fit the head and face. If dresses cannot +be procured at a costumer's, cheap material can be made up for the +occasion, and will look quite pretty. A blue circular cloak, or a +lady's velvet cape, trimmed with white cotton flannel, two inches +wide, with small pieces of black-shag fastened on at intervals of five +inches, will look well, and will resemble ermine. The breeches can be +made of purple cambric, trimmed with gold paper. A blue dress coat, +trimmed with gold paper, and covered with white lace, will answer for +an under-coat. The father's position is, standing on the second step +of the portico, with both hands extended, body bending forward +slightly, eyes fixed on the son, countenance expressing joy and +happiness. The son stands at the foot of the steps, leaning on a stout +branch of a tree, which<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> he has been using for a cane on his journey. +He displays a side view of the body, and is costumed in a coarse brown +frock, open in the neck, displaying his neck and bosom, and tied +around the waist with a piece of rope; large rents should be made in +the sleeves, showing the flesh within; knee breeches of coarse +material, torn at the side; brown hose; and shoes, which are almost +worn out, and are tied to the foot with strings; hair hanging over the +forehead; skin colored light brown; his eyes cast down to the ground, +and countenance melancholy. The light must be quite brilliant, and +come from the side opposite to the servants. Music animating.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="SINGLE_BLESSEDNESS" id="SINGLE_BLESSEDNESS"></a>SINGLE BLESSEDNESS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Close by his lonely hearth he sate,<br /> +<span style="margin-left: 1em;">While shadows of a welcome dream</span><br /> +Passed o'er his heart; disconsolate<br /> +<span style="margin-left: 8.5em;">His home did seem;</span><br /> +Comfort in vain was spread around,<br /> +For something still was wanting found.<br /> +<span style="margin-left: 14em"><span class="smcap">Anon.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male Figure.</h3> + + +<p><span class="smcap">This</span> tableau is a representation of a young bachelor seated alone in +his chamber. He has around him all the luxuries that wealth will +purchase, and is reclining on a low sofa, quietly smoking his +meerschaum. Rich furniture, soft carpets, fine pictures, and gorgeous +curtains decorate the apartment. Books, statuary, boxing<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> gloves, +fencing swords, fowling pieces, pipes of various patterns, and a +countless multitude of other articles, are scattered about the room. +On the marble table at his side is a bunch of cigars, a paper of Ma'am +Miller's fine-cut tobacco, a decanter of wine, and a pair of goblets, +one of which is partially filled with wine. He holds in his left hand +his meerschaum; his right hangs carelessly at his side, and grasps a +novelette. The gentleman who personates the bachelor must be of good +figure and features, and is costumed in the following manner: A rich +dressing-gown should be worn, which is thrown back from the breast, +showing a vest of bright colors, to which is attached a heavy gold +chain and seals; light fancy pants, embroidered slippers, white hose, +blue cravat, smoking cap, ruffled bosom and wristbands. Countenance +sober, eyes raised to one of the engravings on the wall. Light of +medium brightness, which may come from either side of the stage. Music +of operatic style.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span></p> +<h2><a name="MARRIAGE_BLISS" id="MARRIAGE_BLISS"></a>MARRIAGE BLISS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +It is most genial to a soul refined,<br /> +<span style="margin-left: 1em;">When love can smile unblushing, unconcealed,</span><br /> +When mutual thoughts, and words, and acts are kind,<br /> +<span style="margin-left: 1em;">And inmost hopes and feelings are revealed,</span><br /> +When interest, duty, trust, together bind,<br /> +<span style="margin-left: 1em;">And the heart's deep affections are unsealed,</span><br /> +When for each other live the kindred pair,—<br /> +Here is indeed a picture passing fair!<br /> +<span style="margin-left: 14em"><span class="smcap">Tupper.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> tableau represents a home scene. A wife and husband, and a young +child, are seated at a table in a snug little parlor. A solar lamp is +burning on the table, by the light of which the wife is engaged in +finishing a piece of embroidery. The husband is reclining in a +spacious easy chair, busily occupied in perusing the evening paper. +The little girl is at play with her tea sets and paper dolls. The wife +is costumed in a blue silk dress, cut low at the top, a white apron, +trimmed with pink ribbon, and hair arranged to suit the performer's +taste. She should be quite pretty, and of small figure. She is seated +at the right of the table, facing the audience, body bent forward, and +eyes fixed on her work, the countenance expressing earnestness. The +husband is costumed in light pants and vest, dressing gown and +slippers. He is seated at the left of the table, showing a partial +front view of the body; his feet rest on a small ottoman;<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span> paper held +in such a position that it will not hide his body; eyes fixed on the +paper, countenance placid. The child is costumed in white dress, +trimmed with blue ribbon, and is seated at the back of the table, +holding in her hands a paper doll, which she extends towards her +mother, for her to look at. Her eyes are directed to her mother, her +countenance beaming with smiles. The table should be covered with a +crimson cloth. The furniture of the room of good quality, the floor +carpeted, walls hung with curtains and pictures. Light of medium +quantity, which may come from either side of the stage. Music soft and +plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_SLEEPING_MAIDEN" id="THE_SLEEPING_MAIDEN"></a>THE SLEEPING MAIDEN.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Witness this primrose bank whereon I lie;<br /> +<span style="margin-left: 1em;">These forceless flowers like sturdy trees support me,</span><br /> +Two strengthless doves will draw me through the sky,<br /> +<span style="margin-left: 1em;">From morn to night, even where I list, to sport me.</span><br /> +<span style="margin-left: 18em"><span class="smcap">Shakspeare.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> exquisite tableau represents a magnificent garden, filled with +beautiful flowers, trellised vines, vases, statuary, and sparkling +fountains. On a grassy mound, in the centre of this lovely scene, +reclines a beautiful maiden, wrapped in profound sleep. The right hand +supports her head, the elbow resting on the grass; the left is thrown +carelessly over the top of the head; the expression of the face calm +and dreamy. Her costume<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> consists of a long white dress, cut low at +the top, open in front, displaying a pink under-skirt of silk. The +edges of the dress on each side of the under-skirt should be trimmed +with gold paper, covered with white lace. A belt of the same encircles +the waist. The waist must be open in front, exposing a white lace +under-robe, which is crossed with golden cords. Short sleeves, open +below, and closed by little cords of gold, terminated by tassels of +the same material, which fall down upon the arms. The hair arranged in +heavy braids, done up low in the neck, and ornamented with a head +dress, formed of silver gauze, adorned with slight bands of gold +thread falling on the shoulder. Position is, facing the audience, the +body extended on a line with the front and back corners of the stage. +The floor of the stage must be formed to represent a number of +terraced banks. There should be five, each being one foot in height. A +few boxes and stout boards will be needed to form the banks, over +which place green bocking. If a piece of scenery cannot be procured +for the background, it can be covered with light-green cambric, and +festooned with dark evergreens and bright flowers. At each of the +inner corners of the stage place a white pedestal, two feet in height. +A box of the above dimensions, covered with white cloth, will answer. +On these place pieces of large statuary, and between the two place a +large vase of flowers, and intersperse smaller vases, containing +bouquets. Ornament the second terrace with pots of house plants, and +at each end place a<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> showy cage of birds. Decorate the third terrace +with rich vases of artificial flowers, with a statue of the fisher boy +at each end. In the centre of this terrace, the mound on which the +maiden reclines is placed. It should be five feet in diameter, and one +foot high. Cover the surface with light-green cambric, and decorate +the outer edge with large sea shells. On the fourth terrace arrange +small pots of house plants that are in bloom, and at each end place +large vases of fruit. On the fifth and last terrace place a row of +deep glass dishes, filled with flowers, with a plaster figure of Flora +at the ends. Festoon the sides of the scenery and the ceiling with +spruce and flowers. The scenery in the background, if it can be easily +painted, should represent figures similar to those on the stage, +interspersed with fountains. If there is sufficient room for the +accommodation and preservation of large mirrors, they can be used to +advantage by placing them at the background of the stage, which will +give a fine effect to the scene. This tableau must be lighted from the +left side of the stage; the light being very brilliant, both at the +top and bottom. A green fire burned just as the curtain falls, will +add much to the beauty of the picture. Music accompanying the piece, +soft, and of a lively order.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span></p> +<h2><a name="NIGHT_AND_DAY" id="NIGHT_AND_DAY"></a>NIGHT AND DAY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 9em;">Heaven opened wide</span><br /> +Her ever-during gates—harmonious sound—<br /> +On golden hinges morning to let forth,<br /> +The king of glory, in his powerful word<br /> +And spirit, coming to create new worlds.<br /> +<br /> +<span style="margin-left: 6em;">God saw the light was good,</span><br /> +And light from darkness, by the hemisphere,<br /> +Divided; light the day, and darkness night<br /> +He named. Thus was the first day, even and morn.<br /> +<span style="margin-left: 17em"><span class="smcap">Milton.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female Figures.</h3> + + +<p><span class="smcap">This</span> simple tableau is represented by two females: one personates Day, +and is costumed in a long white robe. The other represents Night, and +is dressed in black. Two arches should be made in the centre of the +stage, one covered with black cloth, the other with white. They must +be five feet in height, three feet in width, and three feet deep; the +back, sides, and top covered with cloth. They are to be placed on a +platform one foot high and six feet square. The lady who personates +Night should be of good figure and features, black hair, and dark +complexion. She kneels under the arch covered with black cloth, and +faces the audience; the right knee touches the platform, hands placed +together and raised front of the breast, head slightly inclined back, +eyes raised upward, the countenance in repose. Her costume consists of +a black silk dress, low neck, and trimmed with wide black lace and +bugles; a scarf of black crape, sprinkled with small silver stars, is +draped across the breast, a black cross suspended from<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> the neck by a +velvet ribbon; black bracelets ornament the arms; and a wreath of +black bugles and beads encircles the head, on the front of which is +placed a small silver moon. The hair is arranged in wide, heavy bands, +at the side and back of the head. The lady who personates Day should +be of good figure and features, clear light complexion, and light +hair. Her position is, kneeling under the white arch, hands crossed on +her breast, eyes slightly cast upward, and a smile on the countenance. +Costume consists of a pure white dress, cut low at the neck, short +sleeves; waist and bottom of sleeves trimmed with wide lace and silver +spangles; a scarf of white tarleton muslin draped across the breast; +the waist encircled with a satin sash, and the head crowned with a +wreath of pearls, in the front of which place a small gold sun. The +hair can be arranged in ringlets, or brushed back from the forehead, +and confined in a silk net. The light for this piece must come from +the front of the stage, and should be of medium brilliancy. Music soft +and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_FIREMEN_IN_REPOSE" id="THE_FIREMEN_IN_REPOSE"></a>THE FIREMEN IN REPOSE.</h2> + +<h3>Ten Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is a representation of the interior of a firemen's hall. +The walls are hung with engravings in rich frames, most of them +referring to the fireman's<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> life. The name of the company, in large +gilt letters, is placed at the end of the stage. Settees are arranged +around the sides; a mahogany table is in the centre, on which is +placed a large solar lamp. Seated at the table are half a dozen +firemen, dressed in their uniform; these are engaged in reading the +news of the day; others are reclining and sitting on the settees, +engaged in conversation and smoking. The light for the piece should be +of medium brightness, and come from either side of the stage. Music of +a secular character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_ALARM" id="THE_ALARM"></a>THE ALARM.</h2> + +<p style="text-align: center">"Prompt when duty calls."</p> + +<h3>Twelve Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is a representation of an alarm of fire, which has +aroused the firemen from their repose. The scene represents a view of +the front of the engine house. The door is thrown open, and the +enginemen are about to draw out their machine. The piece contains +twelve figures, ten of which have hold of the engine rope. They are in +the position of persons running, and are led on by their captain, who +is giving out an order through his trumpet. His position is, facing +the men at the ropes; one hand is pointed towards the fire, the light +of which is seen in the distance. Near the door of the engine house +stands the lantern bearer<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> with his lantern, which is attached to a +long pole, and is carried on the right shoulder. The front of the +engine house can be formed of wood, covered with cloth, and painted in +showy colors. This frame is to be placed at the right hand corner of +the background; the name and number of the machine painted over the +door. The front wheels and rope will be sufficient to represent the +engine. The remaining part is presumed to be within the house. By +placing the front of the house in the corner, more room will be had +for the line of firemen. All should appear animated, while a few are +pointing to the light in the distance. The alarm bells must be sounded +while the curtain is raised, and a red fire burned at the left side of +the stage, so as to throw a very little light on the extreme edge of +the background, which should extend farther in on the scene while the +tableau is exhibited.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="AT_THE_FIRE" id="AT_THE_FIRE"></a>AT THE FIRE.</h2> + +<p style="text-align: center">"Fire was raging, above and below."</p> + +<h3>One Female and Thirteen Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is a representation of a dwelling house on fire, with the +heroic firemen engaged in their various duties in their attempts to +extinguish the flames. A front view of the building is exhibited, from +which smoke and flames are seen issuing. At the window of the second +story, a fireman stands, with an infant in<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> his arms. A ladder is +placed against the outside of the window, and a fireman is ascending +it. The engineer stands on the steps of the mansion, giving his +orders. A fireman is breaking in one of the lower windows with an axe. +At the left of the tableau is seen part of the engine. Space will not +allow the showing of more than one third of the machine; but by +manufacturing a temporary frame, on which the front wheels, brakes, +bell, and buckets can be attached, and placing it at the edge of the +stage, with the firemen at the brakes, the effect will be quite +sufficient. The men on the front brakes should be in a stooping +position, those behind standing erect. Two pipe-men are seen in the +foreground, with pipes, which they point to the burning building; +others are passing out articles of furniture from the windows. The men +must be costumed in showy fire suits. Alarm bells should be sounded +behind the scenes, and a representation of fire made by burning a red +fire at the side of the stage, behind the scenery of the burning +house. This scenery can be formed of light slats of wood, covered with +cloth, and painted in imitation of a brick house, with mouldings, +window frames, and doors. It must extend across the stage, and rise +from the floor to the ceiling. The windows should be filled with +sashes containing genuine glass, while smoke and flames can be painted +on various parts of the building; and, if desirable, a small quantity +of wet gunpowder, touched off at the proper moment, will add to the +effect.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span></p> +<h2><a name="ETHAN_ALLEN_AT_TICONDEROGA" id="ETHAN_ALLEN_AT_TICONDEROGA"></a>ETHAN ALLEN AT TICONDEROGA.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Nor com'st thou but by Heaven, nor com'st alone.<br /> +Some god impels with courage not thy own.<br /> +No human hand the weighty gates unbarred,<br /> +Nor could the boldest of our youth have dared<br /> +To pass our outworks, or elude the guard.<br /> +<span style="margin-left: 15em"><span class="smcap">Pope's Homer.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Eleven Male Figures.</h3> + + +<p><span class="smcap">This</span> historical tableau represents Ethan Allen at the entrance of Fort +Ticonderoga, ordering De la Place, the commandant of the fort, to +immediately surrender, in the name of the great Jehovah and the +Continental Congress. Around the door are gathered the soldiers of +Allen. De la Place and his wife stand upon the doorstep, partially +dressed, and, with looks of astonishment, inquire by what authority he +demands the surrender of the fort. The number of figures in this +picture is twelve. Ten of them represent American soldiers, and are +dressed in the continental uniform, which consists of a blue coat, +faced with buff, and ornamented with large brass buttons, buff vest +and breeches, white hose, low shoes, knee and shoe buckles, and black +chapeau, and each furnished with military equipments. Allen's costume +should be of finer material, with an addition of sash, epaulets, +plume, and side arms. De la Place has on red breeches, with a gilt +stripe, white silk hose, knee buckles, slippers, and wig, a red coat +upon his arm, and a sword in his right hand, the handle of which is<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span> +extended towards Allen. His wife is costumed in a white dress, a white +cap on her head, and hair hanging loosely over her shoulders. The +scenery of the piece consists of a frame covered with cloth, extending +across the stage, and rising from the floor to the ceiling, with a +door in the centre, and windows painted on either side, and placed +across the stage in the background. Mrs. De la Place's position is on +the door sill, her body inclined slightly forward, her left hand +holding a candlestick, in which is a lighted candle, her right hand +raised in front of her breast, eyes fixed on the face of Allen, while +the countenance expresses surprise and fear. The commandant stands on +the doorstep at the left of his wife, his left hand stretched out +before him, the right holding his sword; his eyes are fixed on those +of Allen, while his countenance expresses surprise and indignation. +Allen stands in front of him a little at the left, grasping his sword +in the right hand, which he raises over the head of the commandant, +whilst his left points to his soldiers; his countenance expresses +sternness and authority. The soldiers are standing on each side of the +door leaning carelessly upon their muskets. The accompanying music +should be that of the drum and fife. The light must be of medium +brilliancy, and come from the right of the stage.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span></p> +<h2><a name="THE_GYPSY_FORTUNE_TELLER" id="THE_GYPSY_FORTUNE_TELLER"></a>THE GYPSY FORTUNE TELLER.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Seek not to know the future; be happy while you may,<br /> +Nor cloud with dark foreknowledge the sunshine of to-day.<br /> +I see that you are hopeful, I read it in your eyes,<br /> +And I can learn no more from the stars that gem the skies.<br /> +Trust not the outward seeming of all who speak you fair;<br /> +What has been, maiden, may be—be watchful and beware.<br /> +<br /> +I will not cheat you, maiden; my gypsy skill you seek;<br /> +This only of the future the gypsy girl can speak:<br /> +When flippant worldlings flatter, let then your doubts begin;<br /> +Take, maiden, for your counsel the "still small voice within."<br /> +If weak the heart of woman, her stronghold too is there;<br /> +Guard then the fortress, conscience! be watchful and beware.<br /> +<span style="margin-left: 18em"><span class="smcap">Charles Jeffery</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female Figures.</h3> + + +<p><span class="smcap">This</span> tableau is a representation of a gypsy fortune teller, in a rude +tent, in front of which is burning a small fire. She is seated on the +ground, and holds a pack of cards in her right hand; her left is +pointed upward. Her head is turned towards a young and beautiful girl, +who is stooping at her side, gazing with earnestness on the cards. The +tent should be five feet high, four feet wide at the bottom, and +terminating in a point at the top. It can be made of light strips of +wood, covered over with cloth. An open space in front, two feet wide, +will answer for the door. The fire can be placed in an iron furnace, +around which arrange stones or brushwood. Ignite the fire just as the +curtain rises. Fill up the background of the stage with scenery +representing a forest, or place a few spruce trees behind the tent. +The gypsy's costume consists of a bright crimson dress, velvet<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> waist, +laced across with pink ribbon in front, displaying a white robe +beneath; rows of gilt buttons on each side of the opening and around +the bottom of the sleeves. The hair, which should be long and black, +is allowed to hang carelessly over the shoulders; the face and other +exposed parts of the body stained a light brown. The young lady must +be of small figure, good form and features, and attired in a white +dress, cut low at the top, a red sash around the waist, and a small +straw hat placed jantily on the side of the head. The scene should be +illuminated by a red fire, burned in small quantities at the side of +the stage, and made to reflect on the group. Music soft.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="PEACE" id="PEACE"></a>PEACE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Beautiful vision, how bright it rose!<br /> +Vision of peaceful and calm repose!<br /> +Well might it brighten the rapt seer's eye,<br /> +And waken his heart to an ecstasy;<br /> +'Twas earth, glad earth, when her strife was o'er,<br /> +Her conflict ended, and war no more.<br /> +<span style="margin-left: 14em"><span class="smcap">Anon</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Eight Male and Twelve Female Figures.</h3> + + +<p><span class="smcap">This</span> tableau is an allegorical representation of Peace. The number of +figures necessary to form it is twenty. They are formed in six +separate groups. The centre and principal group is a party of young +ladies and gentlemen engaged in the merry dance. They are costumed in +their holiday suits, and are formed in a<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> circle around a May-pole. On +a green bank in the background is seated a young lady playing the +guitar, and a young gentleman playing the violin. This group is at the +right. At the left is a young and beautiful girl, who represents the +Queen of May; by her side stands a second female, about to place a +crown of flowers upon her head. Between these two groups, and elevated +a foot above them, stands the Goddess of Peace. She holds in her right +hand a sheaf of wheat, and in her left an olive branch. At the corners +of the foreground are two groups, the one at the left representing a +mother surrounded by three children; she holds a large Bible, which +the children are reading. The group at the right represents a +blacksmith standing at the side of an anvil,—a large hammer in his +right hand,—engaged in conversation with a farmer, who holds a rake. +The costume of the village girls should be white dresses, decorated +with flowers, and garlands on their heads. The gentlemen should be +dressed in light pants, white vests, and dark coats. The Goddess of +Peace has on a long white dress, bound around the waist with a green +ribbon; a wreath of dried grasses and wheat encircles the head. She +must stand perfectly straight, and look directly forward, with a +pleasant expression of countenance. The gentleman who plays on the +violin is costumed in a dark coat, red breeches, white hose, low +shoes, knee and shoe buckles, buff vest, a plaid scarf, draped across +the shoulders, and tied at the right side, and a small Scotch cap, +with a white plume, placed jantily on the head. The<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> costume of the +lady at his side consists of a red skirt, over which is worn a white +skirt that is looped up at the side, and ornamented with small bunches +of evergreen and spruce; a velvet waist, open in front, and laced +across with pink ribbons; short sleeves; hair hung in ringlets, and +ornamented with ribbons; the countenances of both expressing pleasure. +The May Queen's costume consists of a white robe, trimmed with +garlands of flowers. Her attendant is also dressed in white, with a +scarf of plaid draped across the breast. The queen is kneeling on a +low cushion, holding a small bouquet, the head turned slightly to the +right, eyes raised to the ceiling. The lady in the foreground has on a +blue silk dress, a white apron, trimmed with green ribbon, and hair +arranged to suit the performer's taste. The children's costumes may be +of various styles, bright colors predominating. The lady should sit +quite low, and hold the Bible with her right hand; the left pointed to +the pages. The children and mother sit facing the audience, and all +look pleasant and happy. The blacksmith's costume consists of dark +pants, blue woollen shirt, sleeves rolled up to the elbow, a +low-crowned hat on the head, and leather apron tied around the waist. +He stands facing the audience, and is engaged in conversation with the +farmer, who is dressed in a long blue frock, buff pants, straw hat, +and heavy boots; the right hand holds a rake, the left is placed on +the side of the body. The four groups at the corners should be as +compact as possible, giving the greater portion of the room to the +dancers in the<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span> centre. The bank in the background must be three feet +in height, and covered with green bocking, and also the floor of the +stage. Make the May-pole as high as the space will admit, and cover it +with green cambric, decorated with garlands of flowers. The light +should be quite brilliant, and come from the right side of the stage. +Music inspiring.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="WAR" id="WAR"></a>WAR.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 9.5em;">'Twas man himself</span><br /> +Brought Death into the world; and man himself<br /> +Gave keenness to his darts, quickened his pace,<br /> +And multiplied destruction on mankind.<br /> +First Envy, eldest born of Hell, imbrued<br /> +Her hands in blood, and taught the sons of men<br /> +To make a death which nature never made,<br /> +And God abhorred; with violence rude to break<br /> +The thread of life, ere half its length was run,<br /> +And rob a wretched brother of his being.<br /> +<span style="margin-left: 15em"><span class="smcap">Porteus.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twenty Male and Six Female Figures.</h3> + + +<p><span class="smcap">This</span> tableau is a vivid representation of some of the effects of war. +The foreground of the picture represents a battle field after the +combat has ended.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +"'Twas the battle field; and the cold, pale moon<br /> +<span style="margin-left: 1em;">Looked down on the dead and dying;</span><br /> +And the wind passed o'er, with a dirge and a wail,<br /> +<span style="margin-left: 1em;">Where the young and the brave were lying."</span><br /> +</td> +</tr> +</tbody> +</table> + +<p>The ground is strewn with the dead and wounded soldiers, broken +cannon, muskets, flags, swords, and portions of torn and tattered +uniforms. In the back<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span>ground, there is a representation of a +breastwork of stone; on the extreme right are two females weeping; at +the extreme left is a mother and two children. The mother lies across +the breastwork, dead. The children stand by her side, looking with +wonder into her face. Standing on the centre of the breastwork is the +Goddess of War. In one hand she holds a torch, which is raised above +her head; the left grasps a standard and sword. The number of figures +in the piece is twenty-six. Twenty young gentlemen must be costumed in +various styles of military suits, while many should have wounds +painted on various parts of the body. The costume of the Goddess of +War consists of a crimson dress, black velvet waist, trimmed with +gold, hair hanging loosely over the shoulders, and a red French +military hat on the head. The two ladies at the right are costumed in +mourning. The mother should be attired in a white dress; the children +in bright-colored costumes, with hair hanging in ringlets. The stage +must be formed like an inclined plane, beginning at the footlights, +and rising towards the background, and covered with green bocking. The +soldiers should be grouped about the ground in various positions, and +the cannon and guns scattered about in a promiscuous manner. The two +ladies in mourning sit on the top of the breastwork, side by side, +their heads bowed down, and hands covering their faces. The mother is +seated at the other end of the breastwork, head thrown back, and eyes +closed. The children are standing by her side, clasping their hands +and<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span> gazing into her face. The Goddess of War should stand with her +left side to the audience, body bent forward, the head slightly turned +towards the battle field, the countenance expressing animation and +determination. A small quantity of smoke should be seen rising behind +the breastwork, while the whole scene is illuminated by a red light +burned at the side of the stage. The booming of distant cannon and +martial music may be imitated behind the stage.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_RESCUE" id="THE_RESCUE"></a>THE RESCUE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Presence of mind and courage in distress<br /> +Are more than armies to procure success.<br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Eight Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is one that can be produced without much trouble or +expense. The scene is taken from a historical incident that occurred +during the revolutionary war. At the close of one of the hard-fought +battles between the Americans and British, an American officer, having +fought long and well, was obliged to seek safety in flight, hotly +pursued by a company of British soldiers, led on by their captain. He +takes refuge in the mansion of a tory in the vicinity of the battle +ground, and prostrates himself at the feet of the lady of the house, +who has risen from her chair on hearing the tumult at the door, and +with her arm<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span> extended and eyes flashing, sternly bade the British +officer and his followers to quit the house. The British officer is +standing within a few paces of the American, with sword extended, +ready to pierce his body. In the rear of the British officer stands a +platoon of soldiers, with muskets ready to charge. The furniture of +the room consists of chairs, carpet, tables, small sofa, pictures, &c. +The lady who personates the tory housekeeper should be tall, with good +figure and features; her costume consists of a showy silk dress and +velvet waist. Position is, at the right of the stage, near the front. +A small table is placed at her side, on which are a work box and piece +of embroidery; behind her is a large chair; her right hand is extended +towards the British officer; the left is placed on her waist; her +countenance expressing anger and command. The American officer should +be costumed in Continental uniform, which consists of a blue coat, +decorated with large gilt buttons, and faced with buff, buff breeches, +white hose, low shoes, knee and shoe buckles, red sash, epaulets, +chapeau, and side arms. In his right hand he grasps a broken sword. +The position is, kneeling two paces front of the lady, body bent +forward, and eyes cast down to the floor. The British officer and +soldiers are dressed in similar costumes, with the exception of the +coats, which are scarlet. The British officer's position is, standing +in the centre of the stage, with sword pointed towards the American +officer, and eyes directed to the lady. The lights for the piece +should be of<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> medium brightness, and come from the side of the stage +opposite the lady. The background must be partially shaded, while the +foreground is light. For music, drum and fife are adapted to the +piece.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="SOLOMONS_JUDGMENT" id="SOLOMONS_JUDGMENT"></a>SOLOMON'S JUDGMENT.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 4em;">"A mother's love."</span><br /> +If there be one thing pure,<br /> +Where all beside is sullied,<br /> +That can endure<br /> +When all else pass away—<br /> +If there be aught<br /> +Surpassing human deed, or word, or thought,<br /> +"It is a mother's love!"<br /> +<span style="margin-left: 14em"><span class="smcap">Anon</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> Scripture tableau is taken from the third chapter of the Book of +Kings. The scene is at the moment when Solomon passes his judgment +between the two women. These two women each had a child of the same +age, and resided together. The children resembled each other so much +that when one of them died, there arose a dispute as to whom the +living child belonged; and one woman said, "The living is my son, and +the dead is thy son." And the other said, "No; the dead is thy son, +and the living is my son." Then said the king, "Bring me a sword." And +they brought a sword before the king, and the king said, "Divide the +living child in two, and give half to one and half to the other." Then +spoke the woman whose the living<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span> child was unto the king, "O my lord, +give her the living child, and in no wise slay it." But the other +woman said, "Let it be neither mine nor thine, but divide it." Then +the king answered and said, "Give her the living child, and in no wise +slay it, for she is the mother thereof." The number of figures in this +tableau is five. The scenery consists of a platform four feet square +and two feet high, covered with red cloth, which should be placed in +the background, at equal distances from the sides; on this is placed a +large, showy chair, with a canopy over the top. Seated in the chair is +Solomon. His costume consists of a dark velvet suit, trimmed with gold +and silver fringe; a large cloak, trimmed with ermine, is worn on the +shoulders; black hose, reaching to the knee, crossed with crimson +ribbon; red sandals, ornamented with gold; a showy crown on the head, +and his face covered with a heavy white beard, reaching down on his +breast; his right hand is pointed towards the soldier who holds the +child; the eyes are also directed that way, while the countenance +appears stern and commanding. The soldier's costume consists of a suit +of armor such as can be procured at theatres and costumers; but, if +preferred, a military suit of any kind will answer. His position is, +near the platform, the left hand grasping the child, while the right +holds a sword, which is raised above it; his body faces the audience, +his head turned towards the king, the countenance stern and +forbidding. On the other side of the throne stands the king's guard, a +man dressed in a blue frock, trimmed<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> around the skirts, sleeves, and +front with red; white hose, reaching to the knee; black knee breeches; +low shoes; knee and shoe buckles; lace collar and wristbands; low +black Kossuth hat, with gold band and plume. The right hand grasps a +long spear. Position is, facing the audience, the body erect, and eyes +directed straight forward. At the corner of the platform, near the +soldier, kneels the mother of the child, in position so that a side +view is had of the face; the hands are clasped and raised in front of +her breast, head thrown back, and eyes directed to the king, +countenance expressing hope. She is dressed in deep mourning, her hair +flowing loosely over her shoulders. On the other side of the throne, +opposite the guard, stands the other woman, her arms folded on her +breast, eyes directed to the soldier, countenance calm. Her costume +consists of a white dress, cut low in the neck, and encircled around +the waist with a colored belt; hair arranged in heavy braids, and +ornamented with showy hair pins. The lights should be of medium +brilliancy, and come from either side of the stage. If desirable, a +few paintings and statuary can be arranged in the background. Music +soft and plaintive.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span></p> +<h2><a name="THE_BRIDAL_PRAYER" id="THE_BRIDAL_PRAYER"></a>THE BRIDAL PRAYER.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Sweet be her dreams, the fair, the young;<br /> +<span style="margin-left: 1em;">Grace, Beauty, breathe upon her;</span><br /> +Music, haunt thou about her tongue;<br /> +<span style="margin-left: 1em;">Life, fill her path with honor.</span><br /> +<br /> +All golden thoughts, all wealth of days,<br /> +<span style="margin-left: 1em;">Truth, friendship, love, surround her;</span><br /> +So may she smile, till life be closed,<br /> +<span style="margin-left: 1em;">And angel bands have crowned her.</span><br /> +<span style="margin-left: 13em"><span class="smcap">Barry Cornwall</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> simple, yet pretty tableau represents a young maiden dressed in +bridal costume, kneeling in prayer in her chamber, preparatory to her +descent to the room below, where she is to enter into the holy bonds +of matrimony. The stage furniture consists of an ornamental chamber +set, a few richly-bound books, pictures, and other articles pertaining +to a chamber. The young lady should be of good figure and features. +Costume consists of a white dress, low in the neck, and ornamented +with white flowers. The hair can be dressed to suit the performer's +taste, while a wreath of myrtle and flowers encircles the head, at the +back of which trails a long white veil. Position is, kneeling in the +centre of the stage, so that a side view can be had of the form, the +hands raised and placed together in front of the face, the head +slightly thrown back, the eyes closed, and the countenance expressing +devotion. Little light is required, which should come from the side of +the stage. Music soft and plaintive.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span></p> +<h2><a name="THE_GUITAR_LESSON" id="THE_GUITAR_LESSON"></a>THE GUITAR LESSON.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O, strike the guitar lightly, lightly;<br /> +<span style="margin-left: 1em;">Its tones I ne'er forget;</span><br /> +O, strike the guitar lightly;<br /> +<span style="margin-left: 1em;">'Tis sweet as when we met.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> simple, but pretty tableau represents a young lady at the music +room of her teacher, taking a lesson on the guitar. The scene +represented is a room furnished with table, chairs, carpet, vases, +pictures, &c. A small sofa, or a pair of ottomans, are placed in the +centre of the apartment, on which is seated a young and beautiful +lady, and by her side the teacher. The lady holds in her hands a +guitar, on which she is playing. Her teacher holds a sheet of music in +the left hand, while with the right he points towards the guitar. The +maiden's costume consists of a white dress, velvet waist, white +flowing sleeves, waist encircled with a crimson sash; hair done up in +a neat manner, and decorated with large feldspar beads. Her position +is, facing the audience, head slightly turned to her teacher, eyes +directed to the music, face beaming with smiles. The teacher's costume +consists of black pants, white hose, reaching to the knee, with a band +of colored ribbon, and wide lace attached by a large paste pin at the +top, low shoes with buckles, single-breasted vest left unbuttoned, +showing a white shirt underneath. A lady's pink or red sack will on +an<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span> emergency answer for a coat. A lady's velvet cape should be thrown +carelessly over the shoulder. The wristbands of the shirt bound with +wide lace, and a wide lace collar worn around the neck. The head +covered with a low-crowned Kossuth hat, ornamented with a gilt band, +and white plume, which is fastened to the hat with a large and +brilliant paste pin. Both of these costumes can be arranged at short +notice, and the tableau would be suitable for home entertainment. A +guitar, played behind the scenes, will answer for the music. The light +must be of medium brightness, and come from either side of the stage.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="ROGER_WILLIAMS_PREACHING_TO_THE_INDIANS" id="ROGER_WILLIAMS_PREACHING_TO_THE_INDIANS"></a>ROGER WILLIAMS PREACHING TO THE INDIANS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +"Gitche Manito the Mighty,<br /> +The Great Spirit, the Creator,<br /> +Sends them hither on his errand,<br /> +Sends them to us with his message.<br /> +<br /> +Let us welcome, then, the strangers,<br /> +Hail them as our friends and brothers,<br /> +And the heart's right hand of friendship<br /> +Give them when they come to see us."<br /> +<span style="margin-left: 12em"><span class="smcap">Longfellow</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female and Eight Male Figures.</h3> + + +<p><span class="smcap">Roger Williams</span> was the first white man that settled in Rhode Island. +He was a clergyman, and lived in Boston; but he did not think exactly +as the other clergymen of Boston, and was therefore banished from +Massachusetts. He emigrated with his family to the<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span> woods. After +travelling a considerable time, he selected a beautiful spot, and +built him a house. Other settlers soon came that way, and founded +homes. This was the first settlement of Providence. Williams was +kindly treated by the Indians, who seemed pleased at his arrival among +them. Every Sabbath he would go into the village and preach to them. +The scene in this tableau represents him standing before a wigwam with +his Bible in hand, explaining the Holy Scriptures to a group of +savages who are gathered about him. A few spruce trees should be +placed in the background of the picture, a fire kindled in the centre +of the stage, which can be placed in an iron furnace, and surrounded +with stones. The floor must be covered with white cloth. Logs and +branches of trees should be scattered around the stage. At the left of +the stage is the wigwam, formed with rough poles, covered with +light-brown cloth, and ornamented with red hieroglyphics. In the +background, and at each side of the stage, are seated Indians. The +floor of the stage in the background should be raised one foot, on +which are placed the trees; in front of the wigwam stands Roger +Williams; he partially faces the audience; his left hand holds a +Bible, while his right is raised upward, his eyes directed towards the +Indians—countenance expressing animation. Costume consists of black +coat of ancient style, black breeches, black vest, white hose, ruffled +bosom, and white cravat, knee and shoe buckles, and a long white wig, +ending in a cue, and tied with a black ribbon. Costume of the<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span> Indians +is a short frock, made of and trimmed with a bright-colored cambric, +pants of dark buff cloth, fitting tightly so as to develop the form of +the leg, moccasins of red flannel, decorated with beads; a strip of +card-board, covered with red flannel, and ornamented with feathers of +any kind, should be worn around the head. A belt about the waist, +containing tomahawk and knife, both of which can be made of wood, and +painted in bright colors. A few squaws are interspersed in the scene. +Their costumes are similar to those of the men, with the addition of a +bright-colored blanket thrown over the shoulders, and hair loosely +flowing about the neck. The exposed portions of the bodies of the +Indians are stained of the same color as the pants. The position of +the figures must be varied, while all look with attention to Williams. +The scene should be lighted by a red fire, burned at the front side of +the stage. Music soft and of a sacred character.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span></p> +<h2><a name="CROSSING_THE_LINE" id="CROSSING_THE_LINE"></a>CROSSING THE LINE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Far, far upon the sea<br /> +The good ship speeding free,<br /> +<span style="margin-left: 1em;">Upon the deck we gather, young and old,</span><br /> +And view the flowing sail<br /> +Swelling out before the gale,<br /> +<span style="margin-left: 1em;">Full and round, without a wrinkle or a fold.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Ten Male Figures.</h3> + + +<p><span class="smcap">This</span> comic tableau is a representation of a scene which often +transpired on board of vessels in passing the line. This time-honored +custom of introducing to old Neptune and his suite the persons who, +for the first time in their lives, cross the equinoctial line, is now +nearly abolished. But until within a quarter of a century, the +occasion of crossing the line was one of no little importance. It was +a jubilee on board ship which was looked forward to with eagerness by +the jolly tars who had already shaken hands with the God of the Ocean, +and with fear and trembling by the youths who were about to enter for +the first time the favorite dominions of the old god. The ceremonies +on these occasions varied according to the character of the crew, of +the commander of the vessel, or of the poor fellows about to undergo +the unpleasant and dreadful process of an introduction. They were +generally of a harmless and amusing character, one of which was to +bring them before old Neptune, and put them through the process of +shaving. The chin, and the greater part of the face, would be +plastered over with a composition made of<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span> tar and train oil, laid on +thickly with a large tar brush. The razor was often fabricated from a +worn-out hoop, notched like a handsaw. This was drawn over the face, +not in the most gentle manner. After this operation was completed, a +person approached to untie the handkerchief that bandaged the eyes, +and at the same moment kicked away the plank on which the victim sat, +which precipitated him into the ship's longboat, filled with water for +the occasion.—The number of figures in this tableau is ten. Neptune +is the principal one, and is costumed in a flesh-colored coat, fitting +tightly to the body, and covered with hieroglyphics in bright colors; +the face painted to look hideous, and partially covered with a long, +shaggy beard; a crown on the head, made of card-board, covered with +gilt paper and shells; a spotted fur robe is thrown over the lower +portion of the body; his right hand grasps a three-pronged fork, while +the left is stretched out to one of the sailors. His throne, on which +he is seated, is made of a number of barrels placed in a row at the +back of the stage, on which rests a platform, with an anchor on each +side. The victim, as well as the rest of the performers, should be +costumed in sailors' suits, differing in colors and styles. In the +centre of the stage erect a small platform, one foot high and six feet +long. On this place the person who is to be shaved. At his left stand +two sailors. One holds the speaking trumpet and a ship's bucket; the +other is in the act of pouring a bucket of water on the head of the +victim; a third sailor holds in his left hand a paint brush, and<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span> +brandishes the razor in his right; a little sailor boy holds a small +tub, which contains the soap. Fronting the victim, kneels a sailor, +holding a syringe. The remaining figures are looking on to see the +sport. The countenances of all but the victim express mirth. An +imitation mast and sail should be arranged at the background of the +picture, the sides of the stage painted to represent ports of a +vessel, and various articles that are used on board a ship must be +scattered about the deck. Light brilliant, and come from the right +side of the stage.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_WEDDING" id="THE_WEDDING"></a>THE WEDDING.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Pass thou on! for the vow is said<br /> +<span style="margin-left: 1em;">That may ne'er be broken;</span><br /> +The trembling hand hath a blessing laid<br /> +On snowy forehead and auburn braid,<br /> +<span style="margin-left: 1em;">And the word is spoken</span><br /> +By lips that never their word betray'd.<br /> +<br /> +Pass thou on! for thy human all<br /> +<span style="margin-left: 1em;">Is richly given,</span><br /> +And the voice that claims its holy thrall<br /> +Must be sweeter for life than music's fall,<br /> +And, this side heaven,<br /> +Thy lip may never that trust recall.<br /> +<span style="margin-left: 12em"><span class="smcap">Willis</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Two Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is a representation of the marriage ceremony, and is +arranged with little trouble or expense. For a home entertainment it +will be quite appropriate. The scene is a young and beautiful<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span> maiden +and a fine-looking gentleman kneeling at the foot of an altar, behind +which stands a priest, dressed in appropriate costume. He is +performing the wedding rites. He holds in his right hand a prayer +book; his left is stretched out over the kneeling couple; his eyes are +raised upward, the countenance calm. The lady and gentleman kneel at +the foot of the altar, partially facing each other, so that a side +view is had of the body. The eyes of both are cast down; the lady's +costume consists of a white dress, trimmed to suit the taste of the +performer. A delicate wreath of silver leaves crowns the head, and a +long white veil hangs from the back hair to the floor. The gentleman +should be costumed in a black coat and pants, white vest, cravat, and +gloves. The priest's costume consists of a black surplice and cowl, +white cravat, and a large cross suspended from the neck. For want of a +better article, a lady's black dress will answer for the surplice, and +a black silk scarf, wound around the head, will answer for a cowl. The +altar can be formed out of a small table, with a white cloth thrown +over it, with a large Bible on the top. The light for this piece +should be mellow, and come from the left side of the stage. Music soft +and plaintive.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span></p> +<h2><a name="HIAWATHA_SAILING" id="HIAWATHA_SAILING"></a>HIAWATHA SAILING.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +"And thus sailed my Hiawatha<br /> +Down the rushing Taguamenaw—<br /> +Sailed through all its bends and windings,<br /> +Sailed through all its deeps and shallows,<br /> +While his friend, the strong man Kwasind,<br /> +Swam the deeps, the shallows waded.<br /> +<span style="margin-left: 1em;">Up and down the river went they,</span><br /> +In and out among its islands,<br /> +Cleared its bed of root and sand-bar,<br /> +Dragged the dead trees from its channel,<br /> +Made its passage safe and certain,<br /> +Made a pathway for the people,<br /> +From its springs among the mountains,<br /> +To the waters of Pauwating,<br /> +To the bay of Taguamenaw."<br /> +<span style="margin-left: 11em"><span class="smcap">Longfellow</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female and Two Male Figures.</h3> + + +<p><span class="smcap">This</span> interesting tableau represents Hiawatha and his friends sailing +in his birch canoe. The arrangement of the scenery is quite simple, +and when properly adjusted, makes one of the finest pictures in this +series. The floor of the stage must be arranged to represent water, +which can be done in the following manner: Nail strips or narrow bands +of wood on each side of the stage, the front ends resting on the +floor, the other ends raised to the height of one foot; at intervals +of ten inches on the strips place stout nails, and to these fasten +stout cord from one side of the stage to the other; across the cords +place strips of light-blue cambric, allowing it to festoon from one +cord to the other; fasten the cambric to the cords with pins, and +paint in<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> a careless manner the ridges to represent miniature waves; +then scatter the surface with isinglass in small particles. Fill up +the background with scenery of a similar character, or with small +spruce trees. An imitation birch canoe can be made of strips of wood, +covered with cloth, painted light brown, and ornamented with bands of +crimson, blue, and white paint; this should be placed in the centre of +the stage, on small ways running across from one dressing room to the +other, and painted the same color as the waves. Grooved pieces of wood +must be fastened to each side of the canoe, so that it can be +propelled across the stage on the ways, and appear to be floating on +the top of the water. Ropes attached to each end, at the bottom of the +boat, passed under the waves, and roved through blocks, can be used to +propel it from one side of the stage to the other. The ways should +extend into the ante-rooms, so that the boat can pass entirely from +the stage. Large leaves and long grasses, made of green cambric, may +be placed around the edges of the water. The boat contains two Indian +braves and two Indian maidens. All are dressed in costumes, which have +been described in the tableau of "<a href="#HIAWATHA_AND_HIS_BRIDES_ARRIVAL_HOME">Hiawatha and his Bride's Return +Home</a>." Hiawatha is seated in the stern of the boat, holding a paddle +in the water. The other Indian is kneeling in the bow with his bow and +arrow, and in position as if firing to the shore. One of the maidens +is looking intently over the side of the canoe, and the other is +looking upward. Both should have long black hair flowing over the +shoulders. The<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span> canoe should move very slow, and should be seen in +motion when the curtain rises; and to have it move in a steady manner, +the ropes should be attached to a windlass below the stage. The scene +must be illuminated by a green fire burned at the side of the stage +opposite the entrance of the canoe. Music soft and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_VILLAGE_STILE" id="THE_VILLAGE_STILE"></a>THE VILLAGE STILE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The village stile—and has it gone?<br /> +Supplanted by this niche of stone,<br /> +<span style="margin-left: 1em;">So formal and so new;</span><br /> +And worse, still worse, the elder bush,<br /> +Where sang the linnet and the thrush—<br /> +<span style="margin-left: 1em;">Say, has that vanished too?</span><br /> +<br /> +Age sat upon 't when tired of straying;<br /> +And children that had been a-maying;<br /> +<span style="margin-left: 1em;">These trimmed their garlands gay;</span><br /> +What tender partings, blissful meetings,<br /> +What faint denials, fond entreatings,<br /> +<span style="margin-left: 1em;">It witnessed in its day!</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> rustic tableau represents a young shepherd and his betrothed +seated on the village stile, engaged in conversation. In the centre of +the stage, a weather-worn plank should be placed, resting on +artificial banks at each side, which are three feet high and four feet +wide; these can be shaped out of boxes or chairs placed together in a +careless manner, and covered with green bocking; at each side of the +stage, near the<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span> banks, place small spruce trees, and beneath the +stile build a step out of old plank, one foot high, and the length of +the space between the two banks. Seated on the inner side of the stile +is the young maiden. She is partially facing the audience, body +slightly bent forward, right hand placed in that of the shepherd, +while the left rests on a basket of flowers placed on her knee. +Costume consists of a showy plaid dress, with a green waist, trimmed +with purple cloth, cut in scallops; a small pink scarf worn over the +shoulders, and tied at the side; a pink apron, trimmed with white; a +small straw hat, bound with green ribbon, and set jantily on the head; +hair done up low in the neck, and ornamented with blue and red +ribbons. The eyes are cast down to the basket, the expression of the +face thoughtful. The young shepherd stands on the outside of the +stile, reclining carelessly against the green bank. He partially faces +the audience; his eyes are directed to the opposite side of the stage, +the expression of the face denoting deep thought. The right hand +clasps that of the maiden, while the left hangs carelessly at the +side, and grasps a shepherd's crook, which is six feet long. Costume +consists of a loose, light-blue coat, bound at the bottom of the skirt +and sleeves with dark blue; a belt of the same encircles the waist; +white hose, low shoes covered with red cloth, knee and shoe buckles, +and low-crowned hat; a straw hat, covered with brown cambric, and +bound with red, will answer. If a large dog can be procured,<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span> that +will remain perfectly still, place him at the feet of the shepherd. +The light should be of medium brilliancy, and come from the front of +either side of the stage. Music soft and of a secular order.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="FLORENCE_NIGHTINGALE_IN_THE_CRIMEA" id="FLORENCE_NIGHTINGALE_IN_THE_CRIMEA"></a>FLORENCE NIGHTINGALE IN THE CRIMEA.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The tender sigh, the balmy tear,<br /> +<span style="margin-left: 1em;">That meek-eyed pity gave,</span><br /> +My last expiring hour shall cheer,<br /> +<span style="margin-left: 1em;">And bless a soldier's grave.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Three Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is one that can be easily formed for an evening's +entertainment. It represents Florence Nightingale nursing a young +wounded soldier in his tent at the Crimea. Florence Nightingale was +one of those philanthropic and humane ladies who left their homes and +the comforts of life, and resorted to the Crimea, where, on the field +of battle and in the pestilential hospital, she comforted and nursed +the sick and wounded soldiers. The tent can be made of white cloth, +fastened to a frame of light strips of wood eight feet square, with a +small flag fastened in front. A couch should be formed at one side of +the tent, on which reclines the wounded soldier, with an imitation of +a large wound on the forehead, a large black patch on the side of the +face, and a bandage around the head; his face must be made quite +white, his body supported by<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span> pillows; eyes fixed on Florence, +countenance calm and tranquil; his right arm is extended outside of +the coverlet, and is held by a comrade who is at the side of the bed. +Florence's costume consists of a red dress reaching to the knee, a +white collar, loose blue pants with red stripe, buff apron trimmed +with white, a flat blue cap with gold band, a small, square, black +bag, suspended at the side by leather straps passing over the +shoulders, the hair arranged low in the neck; she is standing by the +side of the couch, body bent slightly forward, one hand resting on the +pillow, the other grasps the hand of the sufferer. On the other side +of the bed is a soldier, seated on a camp-stool, engaged in reading a +Bible. He is dressed in a showy uniform, and is facing the audience. +The lights for this piece should be of medium brilliancy, and come +from the front of the stage. Music of a military style.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span></p> +<h2><a name="THE_FIREMANS_STATUE" id="THE_FIREMANS_STATUE"></a>THE FIREMAN'S STATUE.</h2> + +<h3>One Male and Six Female Figures.</h3> + + +<p><span class="smcap">This</span> tableau is quite a tasty design, and is represented by six +females in a kneeling posture, supporting a circular shield, on the +top of which stands a young and handsome fireman, dressed in his +regalia. In his right hand he grasps a hose pipe, the end of which +rests on the top of an imitation hydrant, which is placed on the top +of the shield at his side. His position is, facing the audience, body +and head erect, the left hand resting on the hip, eyes raised upward, +countenance calm. The ladies' costume consists of a white dress, red +waist, blue sash, hair done up snugly and encircled with a gold band, +on the front of which is a silver star, with a blue border and +spangles in the centre. The shield should be three feet in diameter, +and placed on a pedestal high enough to allow the ladies to kneel +beneath. It should be covered with a white cloth that will trail to +the floor. The ladies kneel in a circle around the shield, the body +facing outward, the head turned slightly to one side, both hands +placed against the bottom of the shield, the eyes cast down. The two +centre ladies should partially face each other. Expression of the +countenance pleasant. Music of an operatic order.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span></p> +<h2><a name="JOAN_OF_ARC_AT_THE_SIEGE_OF_ORLEANS" id="JOAN_OF_ARC_AT_THE_SIEGE_OF_ORLEANS"></a>JOAN OF ARC AT THE SIEGE OF ORLEANS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +That was a joyous day in Rheims of old,<br /> +When peal on peal of mighty music roll'd<br /> +Forth from her throng'd cathedral; while around,<br /> +A multitude, whose billows made no sound,<br /> +Chain'd to a hush of wonder, though elate<br /> +With victory, listen'd at their temple's gate.<br /> +<span style="margin-left: 9.5em;">But who alone</span><br /> +And unapproach'd beside the altar stone,<br /> +With the white banner, forth like sunshine streaming,<br /> +And the gold helm, through clouds of fragrance gleaming,—<br /> +Silent and radiant stood?—The helm was raised,<br /> +And the fair face reveal'd that upward gazed<br /> +Intensely worshipping:—a still, clear face,<br /> +Youthful, but brightly solemn!—Woman's cheek<br /> +And brow were there, in deep devotion meek,<br /> +<span style="margin-left: 1em;">Yet glorified with inspiration's trace</span><br /> +On its pure paleness; while, enthroned above,<br /> +The pictured Virgin, with her smile of love,<br /> +Seem'd bending o'er her votaress.—That slight form!<br /> +Was that the leader through the battle storm?<br /> +Had the soft light in that adoring eye<br /> +Guided the warrior where the swords flash'd high?<br /> +<br /> +'Twas so, even so!—and thou, the shepherd's child<br /> +Joanne, the lowly dreamer of the wild!<br /> +Never before, and never since that hour,<br /> +Hath woman, mantled with victorious power,<br /> +Stood forth as thou beside the shrine didst stand,<br /> +Holy amidst the knighthood of the land;<br /> +And beautiful with joy and with renown<br /> +Lift thy white banner o'er the olden crown,<br /> +Ransom'd for France by thee!<br /> +<span style="margin-left: 14em"><span class="smcap">Mrs. Hemans.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Thirty Male Figures.</h3> + + +<p><span class="smcap">This</span> historical tableau contains thirty-one figures. A less number +will make a picture; but to give proper effect to the scene, there +should be thirty-one. Joan of<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> Arc, the heroine of this piece, at the +age of nineteen was a simple and uneducated shepherdess, and by her +enthusiastic courage and patriotism was the immediate cause of that +sudden revolution in the affairs of France which terminated in the +establishment of Charles VII. on the throne of his ancestors, and the +final expulsion of the English from that kingdom. The town of Orleans +was the only place in France which remained in the possession of the +dauphin at the time when this heroine made her appearance, and that +was closely besieged by the English, while Charles had not the +smallest hope of being able to procure an army to raise the siege. +Benevolent in her disposition, gentle and inoffensive in her manners, +and above all, dutiful to her parents, Joan had, from her earliest +infancy, been ardently attached to her country. Her piety, her +enthusiasm being thus united in her young and romantic mind with an +all-absorbing feeling of patriotism, she was led to believe herself +the humble instrument, in the hands of Heaven, by whom the interest +and glory of France were to be redeemed. Under this impression, the +maiden left her native village, and appeared before Charles dressed as +a warrior, and informed him that she had two things to accomplish on +the part of the King of heaven; first, to cause the siege of Orleans +to be raised; and secondly, to conduct the King to Rheims, there to be +anointed. The enterprise so courageously proposed was considered, and +her services publicly accepted. On the 29th of April, 1429, Joan of +Arc appeared before<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span> Orleans, with twelve thousand men. She made an +attack upon Fort St. Loup, which she carried, sword in hand, as well +as the bulwarks of St. John. She had a banner made after her own +device; her sword was taken from the tomb of a knight, where it had +lain more than a century; her helmet was surmounted with feathers. She +remained at the head of the army until 1430, when she was taken +prisoner by the English, at the siege of Campaigne. From the moment +she was a prisoner, the heroine was forgotten. Joan was condemned at +Rouen, by Cauchon, Bishop of Beauvais, and five other French bishops, +to be burned alive for magic and heresy, and her cruel sentence was +put in execution on the 24th of May, 1431. Thus was the admirable +heroine cruelly delivered over in her youth to the flames, and +expiated by the punishment of the fire the signal services which she +had rendered to her prince and native country. The scene for the +tableau is taken at the moment when Joan of Arc, sword in hand, is +leading on the storming party over the bulwarks of St. John. She is +seen on the top of the ramparts, near one of the cannon which has just +been fired. Her soldiers are charging over the bulwarks around her. In +the background are to be seen the troops of the various armies, +engaged in hostile combat. The battlements should be three or four +feet in height, two feet wide, running across the front of the stage, +with an embrasure in the centre. Boxes covered with imitation-stone +paper are to be used for its formation. If a small cannon cannot be +procured, a<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span> mock one may be constructed of wood. Platforms rising +gradually from the ramparts to the back scene must be used for the +figures in the background to stand on. Joan of Arc should be tall in +stature, of good figure, and fine looking, with large black eyes, and +long black hair. Costume consists of a crimson skirt, coat of mail +buttoned up to the throat, helmet with flowing plumes, riding gloves, +crimson sash across the breast, belt and side arms. The banner is made +of white cloth, trimmed with crimson, with a gold cross in the centre, +and a gilt spear, and tassels on the end of the staff. Sword of rich +design, and quite long. Her position is, near the cannon, the right +foot on the top of the ramparts or cannon, the left a few inches +lower, on a box placed behind the ramparts; the body bent forward; +right hand grasping a sword and stretched out at arm's length towards +the ceiling, the left holding the banner, which is held at the side of +the body; the head slightly turned to the troops at the right; eyes +directed partially to them; countenance animated. Three soldiers in +uniform—the prominent colors scarlet—are lying on the ground in +front of the battlements. Wounds should be imitated on the head; one +soldier is lying across the cannon, holding a rammer in his hand; two +others are stretched out on the battlements. The costume of Joan's +soldiers should be blue and buff, and each wearing a large moustache. +Two platoons, each containing five soldiers, are in the act of +charging over the ramparts at each side of Joan; they stand two feet +from the breastwork, and look<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span> straight forward. One soldier on each +side is in the act of piercing with his bayonet the soldiers on the +breastwork. The background is filled up with troops of both nations, +who are in the act of fencing and firing their muskets at the enemy in +the distance; a variety of positions should be taken, to make the +scene as attractive and life-like as possible. The booming of cannon +and rattle of musketry may be imitated in the ante-rooms; a slight +quantity of smoke can be made to hover over the combatants by burning +a small quantity of the whitish blue fire on the stage before the +curtain rises. Care must be taken not to burn too much, as a great +quantity of smoke will hide the figures from view. The scene most be +illuminated by a brilliant red fire burned on the side of the stage +that will most reflect on Joan's face. The piece may be exhibited +double the usual length of time of other tableaux, and should be used +as a grand finale.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span></p> +<h2><a name="THE_PARTING" id="THE_PARTING"></a>THE PARTING.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Ah! then and there was hurrying to and fro,<br /> +And gathering tears, and tremblings of distress,<br /> +And cheeks all pale, which but an hour ago<br /> +Blush'd at the praise of their own loveliness.<br /> +And there were sudden partings, such as press<br /> +The life from out young hearts, and choking sighs,<br /> +Which ne'er might be repeated—Who could guess<br /> +<span style="margin-left: 1em;">If ever more should meet, those mutual eyes,</span><br /> +<span style="margin-left: 1em;">Since upon night so sweet, such awful morn could rise?</span><br /> +<span style="margin-left: 20em"><span class="smcap">Byron</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> pretty tableau is one that can be formed without much expense or +trouble. The scene represented is a young knight, about to leave his +home, his wife, and child, to fight the battles of his country. A +large flight of steps fills up one third of the stage at the +background. These can be made by placing strips of boards on boxes, +arranged in the form of steps, and covering them with white marble or +light stone paper; at one side of the stage is a pedestal three feet +high and eighteen inches square, on the top of which is a large vase +of flowers. A box covered with marble paper, and fresco cornice, will +answer for the pedestal, while a large earthen jar, painted white, +will do for the vase. On the other end of the steps, two marble +pillars reach from the upper step to the ceiling, and a couple of +spruce trees placed back of the steps, at each end, will give a good +effect. The knight is costumed in a black frock, trimmed around the +bottom of the skirt and sleeves with purple cambric, a<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span> straight +collar of the same material, ornamented with gilt buttons and paper; +belt and side arms, red sash, riding gloves, purple knee breeches, +white hose, low shoes, knee and shoe buckles, a low cap, with a gilt +band, and showy plume fastened to the side with a brilliant paste pin; +a small velvet cape, trimmed around the bottom with gold paper, is +worn carelessly over the left shoulder. Position is, standing on the +bottom step, facing the audience; one foot rests on the floor of the +stage, the other on the step; the right hand points to the back of the +stage, while the left rests on the shoulder of his wife, who stands at +his side; his body is bent slightly forward, eyes directed to those of +his wife; countenance expresses animation. The lady who personates the +wife should have black, curly hair, good figure, medium height, and +regular features. Costume consists of a blue silk dress, velvet waist, +hair arranged in curls, and ornamented with showy hair pins. Position +is, at the side of her husband, two paces in advance, and in such +position that a side view is had of the form; her body bent forward, +so that her hands, which are clasped, will rest on her husband's +shoulder, head thrown back, eyes directed to those of her husband, +face expressing grief. A few paces to the left of the lady, is a +cradle, containing a sleeping child. A large Newfoundland dog lies +quietly watching it. The scene should be illuminated by a purple fire +burned near the front of the stage. Music of a martial style.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span></p> +<h2><a name="HAGAR_AND_ISHMAEL_IN_THE_WILDERNESS" id="HAGAR_AND_ISHMAEL_IN_THE_WILDERNESS"></a>HAGAR AND ISHMAEL IN THE WILDERNESS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +It was an hour of rest! but Hagar found<br /> +No shelter in the wilderness, and on<br /> +She kept her weary way, until the boy<br /> +Hung down his head, and open'd his parch'd lips<br /> +For water; but she could not give it him.<br /> +She laid him down beneath the sultry sky,—<br /> +For it was better than the close, hot breath<br /> +Of the thick pines,—and tried to comfort him;<br /> +But he was sore athirst, and his blue eyes<br /> +Were dim and bloodshot, and he could not know<br /> +Why God denied him water in the wild.<br /> +She sat a little longer, and he grew<br /> +Ghastly and faint, as if he would have died.<br /> +It was too much for her. She lifted him,<br /> +And bore him farther on, and laid his head<br /> +Beneath the shadow of a desert shrub;<br /> +And, shrouding up her face, she went away<br /> +And sat to watch where he could see her not<br /> +Till he should die; and, watching him, she mourned:—<br /> +<span style="margin-left: 19em"><span class="smcap">Willis</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> group is a representation of Hagar and Ishmael in the wilderness, +and is designed to imitate sculpture. The circumstances of the scene +are well known in the simple narrative of the Scriptures. The boy, +weary and exhausted by unaccustomed hardships and suffering, has sunk +down in the desert to die; but Hagar, sustained by the measureless +affection of a mother's breast, supports the fainting form of her son, +and has just put aside the cup now drained of its last precious drops +of water. She gazes upon his face, while in her own, hope still +lingers, before yielding to<span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span> the unutterable anguish of despair. The +lady who personates Hagar should be of good figure and features, tall, +and matronly. Costume consists of a white dress, cut low in the neck, +sleeves five inches long, a white tarleton scarf worn across the +shoulders, and tied at the left side, the hair hanging in curls on the +neck, a white turban on the head, with two white strips attached to +the side and passed under the chin, and white sandals laced across +white hose. The position of Hagar is kneeling, so that a side view is +had of the face. The left hand sustains the head of Ishmael, the right +is extended to the pitcher which stands at the side of the group; the +head is bent forward considerably, eyes fixed on those of the boy, +countenance expressing anxiety and hope. A young lad of six years of +age, of fair complexion and long, light, curly hair, is required to +personate Ishmael. He should be costumed in a loose, white coat or +frock, white hose and sandals, with a white gauze mantle draped about +the breast. Ishmael's position is, reclining on his side, one leg +drawn up and placed across the other, the left arm resting on the +ground, supporting the body, the right lying carelessly at the side; +the shoulders rest on the knee of Hagar, head thrown back, and resting +on the hand of Hagar, eyes closed, mouth partially open. The pitcher +should be of white porcelain, of ancient style. The group is formed on +a square or round pedestal, five feet square or in diameter, and one +foot high, covered with white cloth<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span> or marble paper. The exposed +portions of the figures must be made as white as possible with chalk. +Light soft, and come from the side of the stage. Music of a plaintive +and sacred character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_FIGHT_FOR_THE_STANDARD" id="THE_FIGHT_FOR_THE_STANDARD"></a>THE FIGHT FOR THE STANDARD.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +They saw the princely crest,<br /> +<span style="margin-left: 1em;">They saw the knightly spear,</span><br /> +The banner, and the mail-clad breast,<br /> +<span style="margin-left: 1.5em;">Borne down, and trampled here:</span><br /> +They saw—and glorying there they stand,<br /> +Eternal records to the land.<br /> +<span style="margin-left: 12em"><span class="smcap">Mrs. Hemans</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twelve Male Figures.</h3> + + +<p><span class="smcap">This</span> thrilling tableau represents a death struggle between an Arab +standard-bearer and a French soldier. The Arab grasps the standard +with the left hand, while the right holds a short cimeter at arm's +length; his body is bent forward, right arm extended thirty inches +front of the left, and eyes directed to those of the soldier, the +countenance expressing firmness and excitement. Costume consists of a +long white coat without sleeves, trimmed about the bottom with buff, +open at the top, displaying the neck and chest; a heavy red sash wound +around the waist; pants of light-blue, cut quite loose, and gathered +in with a string at the ankle; shoes covered with red cloth; a turban +on the head, the top of which is white, and around the bottom is wound +a band of red and black cloth, with the ends falling<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span> over the +shoulders; a belt and scabbard are fastened to the waist. The sword +should be two feet long, four inches wide, and curve from hilt to +point. This can be made of tin or wood, the scabbard of card-board or +leather, and painted red. The French soldier's costume consists of +blue coat, trimmed and faced with buff, gold epaulets, large gilt +buttons, white pants with stripe of red, red belt and long scabbard, +hat with plume and long, straight visor. He holds in his right hand a +long, straight sword, while the left grasps the standard. His body is +bent forward, and faces the audience, the right foot extended front of +the left thirty inches, the eyes fixed on those of the Arab, +countenance expressing determination and rage. The staff on which the +flag is fastened is seven feet long, with a gilt ball, crescent, and +tassels at the top. The flag is made of three stripes, one of light +yellow, and two of light red, with a black oval, with red trimmings, +in the centre. The flag should be unfolded so as to show the design, +but gathered in at the centre by the hand of the soldier. Between +these two figures are a French soldier and an Arab lying dead on the +ground. Five feet behind this group, and at the right of the stage, +are four Arabs, with long spears, charging on the same number of +French soldiers opposite, who are holding their muskets in position, +ready to repel the charge, their countenances expressing sternness, +their eyes fixed on each other. Costumes are similar to those +described. Spears can be made of wood, with gilt spear-heads. The skin +of the Arabs must be<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span> stained light brown. The French soldiers should +wear large mustaches. A slight quantity of smoke is seen floating in +the background; the booming of cannon heard in the distance. The scene +is illuminated by a red fire at the side of the stage. Music of a +martial style.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="JONATHANS_VISIT_TO_HIS_CITY_COUSINS" id="JONATHANS_VISIT_TO_HIS_CITY_COUSINS"></a>JONATHAN'S VISIT TO HIS CITY COUSINS.</h2> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> comic tableau is one that can be produced at short notice, and +without expense. The scene to be represented is a parlor furnished +with sofa, chairs, carpet, pictures, table, and a melodeon, which is +placed on the side of the stage. A sheet of music is resting on the +rack, and a young lady is seated on the melodeon stool, body facing +the audience, head turned to the back of the room, both hands raised, +and eyes fixed on a young man, who is seated on the sofa in the +background. Her body is slightly inclined from the young man, +countenance expressing affright. She should be costumed in a showy +silk dress. The gentleman's costume consists of striped pants, +reaching within six inches of the foot, red straps, thick boots, +ancient style swallow-skirted coat, short striped vest, ruffle-bosomed +shirt, standing collar reaching to the ears, large brass chain and +watch seals hanging from the vest pocket, large red silk handkerchief +laid across the knee, and a<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span> low-crowned white hat in the hand. +Position is, seated on the sofa, one hand placed in the pants pocket, +the other resting on the knee, body bent forward, eyes fixed on the +keys of the melodeon, countenance expressing astonishment. The +gentleman best adapted for this part is one who has a natural talent +for performing in comedy. Light should be thrown on the scene from the +lower end of the side of the stage, and of medium brightness. Music of +a spirited character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_THREE_GRACES" id="THE_THREE_GRACES"></a>THE THREE GRACES.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Faith, Hope, and Love, now dwell on earth,<br /> +<span style="margin-left: 1em;">And earth by them is blest;</span><br /> +But Faith and Hope must yield to Love,<br /> +<span style="margin-left: 1em;">Of all the graces best.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female Figures.</h3> + + +<p><span class="smcap">This</span> is a statuary tableau, and is represented by three young and +beautiful ladies of about the same height and figure, with regular +features and long hair. Their costume consists of a long white robe, +worn with few skirts, and cut extremely low at the neck, sleeves five +inches long, a mantle of white tarleton muslin worn across the breast, +tied at the side, and allowed to trail on the floor; the hair arranged +in braids at the sides of the head, ornamented with large beads, +clasped with a silver band behind, and allowed to hang in short curls +in the neck. The ornaments should be entirely<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span> white. The three ladies +stand on a pedestal three feet high, and four feet in diameter; this +must be covered with black or green marble paper, and placed in the +centre of the stage. The centre lady stands facing the audience, with +the right hand raised above the head; the left clasps the hand of the +lady at the left side, who is looking into the eyes of the figure at +the right, and rests her right hand on the shoulder of the centre +figure. The figure on the other side stands in a graceful position, +resting her hands on the shoulder of the centre figure, and looking +into her face. The countenances of the three should express pleasure. +The light for the piece must be soft and mellow, and come from the +side of the stage. Music low and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_GUARDIAN_ANGEL" id="THE_GUARDIAN_ANGEL"></a>THE GUARDIAN ANGEL.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Angels, joyful to attend,<br /> +Hovering round thy pillow bend,<br /> +Wait to catch the signal given,<br /> +And convey thee quick to heaven.<br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> is a most pleasing tableau, and represents the good angel, in +whose existence and controlling power there is scarce any one so rude +as not to believe, attending a young boy, who looks reverently upward, +to heed the admonitions of his celestial companion. The lady who +personates the angel should be of good<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span> figure, tall and slim, with +fine features, and light curly hair. Costume consists of a loose white +dress, over which is worn a robe of white tarleton muslin; these +should be cut quite low in the neck, and long at the bottom; sleeves +long, and fitting tight to the arms; a wide mantle of tarleton muslin +worn across the breast, and allowed to trail with the dress at the +side. Large wings, formed of wire, covered with white muslin, and +ornamented with spangles, must be fastened to the back of the waist. +The hair should hang in ringlets, and be encircled with a band of +silver. The boy must be of small stature, good features, and have +long, light, curly hair. Costume consists of a loose short frock, made +of white cloth, trimmed around the collar and ends of sleeves with +white lace; white breeches, white hose, white shoes, and a small satin +sash about the waist. Both of the figures stand on a pedestal two feet +high by three square, which should be covered with black marble paper. +The angel stands in the centre of the pedestal, the left hand resting +on the boy's left shoulder, the right hand on his right shoulder. Her +head is turned away to the left, the eyes fixed on the floor, the +countenance pleasant. The boy stands a little to the right of the +angel, arms crossed on his breast, head turned sideways, and slightly +back, eyes fixed on the face of the angel. The crimson curtains, +without the fairies, that are used in the tableau of the "<a href="#THE_DANCING_GIRL_IN_REPOSE">Dancing Girl +in Repose</a>," may be placed over the group. The side curtains can be +held up at the side by crimson bands. A curtain of white gauze,<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span> drawn +across the front of the stage, will give a good effect to the tableau. +The light should be of medium brilliancy, and come from the front side +of the stage. Music soft, and of a sacred character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_PYRAMID_OF_BEAUTY" id="THE_PYRAMID_OF_BEAUTY"></a>THE PYRAMID OF BEAUTY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Beauty is as crystal in the torchlight, sparkling on the poet's page;<br /> +Virgin honey of Hymettus, distilled from the lips of the orator;<br /> +A savor of sweet spikenard, anointing the hands of liberality;<br /> +A feast of angel's-food set upon the tables of religion.<br /> +She is seen in the tear of sorrow, and heard in the exuberance of mirth;<br /> +She goeth out early with the huntsman, and watcheth at the pillow of disease.<br /> +<br /> +Science, in his secret laws, hath found out latent beauty;<br /> +Sphere and square, and cone and curve, are fashioned by her rules:<br /> +Mechanism met her in his forces, fancy caught her in its flittings,<br /> +Day is lightened by her eyes, and her eyelids close upon the night.<br /> +<br /> +Beauty is dependence in the babe, a toothless tender nursling;<br /> +Beauty is boldness in the boy, a curly rosy truant;<br /> +Beauty is modesty and grace in fair retiring girlhood;<br /> +Beauty is openness and strength in pure high-minded youth;<br /> +Man, the noble and intelligent, gladdeneth earth in beauty,<br /> +And woman's beauty sunneth him, as with a smile from heaven.<br /> +<span style="margin-left: 23em"><span class="smcap">Tupper</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Fifteen Female Figures.</h3> + + +<p><span class="smcap">This</span> fine tableau contains fifteen female figures, who are arranged in +the form of a pyramid. They should be quite young, of good figure and +features. Their costume consists of a pure white dress, cut low in the +neck, sleeves five inches long, a white satin sash about the waist, +white shoes and hose, hair done up in a compact and tasty manner, and +encircled with a wreath<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span> of myrtle, while a small bouquet of flowers +is placed on the front of the waist. The pyramid must be first formed +of boxes, fastened firmly together, and covered with white cloth; five +ladies of the same height sit on the lower seat, four on the second +seat, three on the third seat, two on the fourth, and one on the fifth +and last. Each should be furnished with a garland of flowers fastened +to ratan three feet long; these must be held in the hands of the +ladies, making a complete network of flowers. The eyes should be +directed straight forward, countenance pleasant. The lights for this +piece are as follows: Just as the curtain begins to rise, a green fire +should be gradually thrown on to the stage, and slowly moved off; at +the moment it is leaving the picture, a red light steals over the +faces of the performers; this shade vanishes in the same manner, and a +purple light appears. This will give a happy effect, and can be +accomplished by burning the fires in large boxes placed on pivots at +the side of the stage, and by turning them at the proper time the +different colors can be thrown on the stage; a few of the side or +footlights may be burned at the same time, so that when the colored +lights are leaving the stage, the figures will still be seen. Music +accompanying the tableau, must be soft and plaintive.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span></p> +<h2><a name="CORONATION_OF_QUEEN_VICTORIA" id="CORONATION_OF_QUEEN_VICTORIA"></a>CORONATION OF QUEEN VICTORIA.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Within that rich pavilion,<br /> +<span style="margin-left: 1em;">High on a glittering throne,</span><br /> +A woman's form sat silently,<br /> +<span style="margin-left: 1em;">'Midst the glare of light alone.</span><br /> +Her jewell'd robes fell strangely still—<br /> +<span style="margin-left: 1em;">The drapery on her breast</span><br /> +Seem'd with no pulse beneath to thrill,<br /> +<span style="margin-left: 1em;">So stone-like was its rest!</span><br /> +<br /> +But a peal of lordly music<br /> +<span style="margin-left: 1em;">Shook e'en the dust below,</span><br /> +When the burning gold of the diadem<br /> +<span style="margin-left: 1em;">Was set on her pallid brow!</span><br /> +Then died away that haughty sound,<br /> +<span style="margin-left: 1em;">And from the encircling band</span><br /> +Step Prince and Chief, 'midst the hush profound,<br /> +<span style="margin-left: 1em;">With homage to her hand.</span><br /> +<span style="margin-left: 12em"><span class="smcap">Mrs. Hemans</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twenty Male and Ten Female Figures.</h3> + + +<p><span class="smcap">This</span> magnificent tableau contains thirty figures, and, when exhibited +with proper scenery and wardrobe, is one of the best of this +collection. It should be used as a grand finale scene, and is arranged +in the following manner: A number of gentlemen's costumes must be +procured at a costumer's or a theatre. Ladies' costumes can be easily +prepared.</p> + +<p>At the back of the stage, at equal distances between the sides, erect +a throne. First build a platform five feet long, three feet wide, and +three feet high, with steps in front, all of which must be covered +with crimson cloth and gold paper. Over the platform place a canopy +made of purple cloth, and decorated with gold<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span> paper, cut to represent +fringe. Cover the wall back of the platform with the same material, +and in the centre place a large gold V; a large chair, trimmed with +scarlet and gold, should be placed on the platform, and tiers of seats +arranged on each side of the throne; these must form half circles, +reaching to the centre of the stage at the sides. Seated and standing +on the seats and platforms are the ambassadors, dukes, earls, and +officers, in their full dress. The queen dowager and other royal +female personages are intermingled among them. The lord steward, and +chamberlain stand near the side scenes in the foreground, while the +extreme background is filled up by the queen's guards. Standing on the +step in front of the throne is the archbishop, holding the crown. A +little to the left stands Victoria, her body facing the audience, and +bent forward slightly, head bowed, ready to receive the crown. At the +other side of the throne stands Prince Albert, dressed in rich +uniform. The ladies' costumes consist of rich silks and brocades, +ornamented with gold lace, paste pins, brooches, &c.; the hair +arranged to suit the taste of the performers, and encircled with a +band of gold, to which fasten a colored plume. The attention of all +should be directed to the queen. The archbishop's costume consists of +a black robe, large white sleeves, white handkerchief, with square +ends, hanging on the breast, and white wig. Queen Victoria's costume, +if not procured at a costumer's, consists of a white satin or silk +dress, with a long trail, and four flounces on the skirt, each flounce +ornamented with a band of gold<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span> paper three inches wide, covered with +open lace. The top of the waist and bottom of the sleeves decorated in +the same manner. A belt of crimson velvet, covered with spangles and +small paste pins, encircles the waist; the sleeves should be open, and +fastened across with gilt cord, terminating in tassels, which fall on +the arms; white kid gloves, bound around the top with a band of +silver, ornamented with wax beads and spangles; a long ermine scarf +should be thrown gracefully over the shoulders, and trail to the +floor. The ermine can be imitated by inserting small pieces of black +shag in white cotton flannel. The hair may be done up in a neat coil, +and ornamented with wax beads and gilt pins. A long white veil of lace +is fastened to the back of the head, and allowed to trail to the feet. +The crown can be made of card-board, covered with gold paper and +brilliant paste pins. The steward and chamberlain each holds a staff +with a large gilt spear-head and tassels at the top. Costume consists +of showy suits, similar in style, head covered with low-crowned +Kossuth hat, ornamented with a gold band and white lace. The guards +must be placed in the extreme background, on high platforms; they +stand perfectly erect, and face the audience. The scene should be +brilliantly lighted by lamps at the front and left side of the stage. +The booming of cannon is heard in the distance. Music of a majestic +style.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span></p> +<h2><a name="THE_BRIGANDS" id="THE_BRIGANDS"></a>THE BRIGANDS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 9.5em;">The gray morn</span><br /> +Dawns on the scene; the sulphurous smoke<br /> +Before the wind slow rolls away,<br /> +And the bright beams of morning dance<br /> +Along the spangled snow. There scattered arms,<br /> +And lifeless warriors, whose hard lineaments<br /> +Death's self could change not, mark the dreadful path<br /> +Of the outsallying victors.<br /> +<span style="margin-left: 16em"><span class="smcap">Shelley</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Five Male Figures.</h3> + + +<p><span class="smcap">A scene</span> representing a band of brigands in their mountain fastness, on +the watch for plunder and rapine. The scenery in the background should +resemble ragged rocks, made by fastening brown paper in a rumpled +manner to a frame of wood, and shaded with light and dark-brown +paints. This must extend two thirds across the stage, three feet from +the extreme background. The sides should be covered with similar +scenery. The floor is strown with small boxes, to give it an uneven +appearance, and covered with buffalo robes. Two of the brigands are +seated at one side of the stage, engaged in playing cards; one is +reclining in the foreground asleep; another is leaning against the +rocks, resting his arms and body on his carbine, while the chief is +standing at the end of the ledge in the background, pointing with his +right hand into the open space beyond. Behind him stands his wife, to +whom he is in the act of speaking, and directing her attention to the +road in the distance. She is stooping forward,<span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span> endeavoring to see the +objects which he points out. The costume of the brigands consists of a +frock coat ornamented with large gilt buttons, and trimmed around the +bottom with colored cloth; bright-colored vest bound around the front +and bottom with fancy ribbon; black handkerchief tied loosely in the +neck; knee breeches and hose, with a band of showy cloth around the +top, fastened with a brilliant paste pin or silver buckle; low shoes; +red or blue sash about the waist; high-crowned black felt hat, +ornamented with red binding, wound in a spiral manner from the rim to +the top of the hat, and a colored feather at the side. The coat can be +decorated in a more profuse manner, if desired; each must be furnished +with musket and pistols. The chief's dress should be of richer +material, and more profusely decorated than the other characters. The +wife's costume consists of a scarlet skirt, black velvet waist open in +front and laced across with pink ribbon, a showy scarf tied about the +head, the ends falling on the shoulders; the neck and arms ornamented +with brilliant jewelry; a morocco belt encircles the waist, to which +is attached a small dirk. The two card-players are looking at their +cards, countenances expressing deep thought. The one who stands facing +the audience looks to the floor. The one that is asleep should lie in +a position so that the countenance can be seen, the head resting on +the hand, eyes closed. The wife's position is, standing so that a side +view of the countenance is had. The chief stands in front of her, and +in the same position, but the head is turned<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span> around so as to face the +audience; the countenances of both expressing curiosity and +excitement. The face and other exposed parts of the persons of all the +figures must be colored light-brown, and the men wear heavy beards. +The light for this scene should come from a red fire, burned in small +quantities at the front side of the stage. No music will be required +for the piece.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="DEATH_OF_SIR_JOHN_MOORE" id="DEATH_OF_SIR_JOHN_MOORE"></a>DEATH OF SIR JOHN MOORE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Not a drum was heard, not a funeral note,<br /> +<span style="margin-left: 1em;">As his corpse to the ramparts we hurried,</span><br /> +Not a soldier discharged his farewell shot<br /> +<span style="margin-left: 1em;">O'er the grave where our hero was buried.</span><br /> +<span style="margin-left: 15em"><span class="smcap">Wolfe</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twenty Male Figures.</h3> + + +<p><span class="smcap">The</span> battle of Corunna, so disastrous to the British army, was fought +January 16, 1809. Sir John Moore arrived in Spain in November, 1808, +with a British army, and having advanced some distance into the +country, he found himself compelled to make a rapid retreat. He was +closely followed by the French under Marshal Soult, who attacked the +British as they were embarking. Sir John Moore, while earnestly +watching the result of the fight about the village of Elrina, was +struck on the left breast by a cannon shot; the shock threw him from +his horse with violence; he rose again in a sitting position, his +countenance unchanged, and his steadfast eye still fixed upon the +regiments engaged<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span> in his front; no sigh betrayed a sensation of pain; +but in a few moments, when he was satisfied that the troops were +gaining ground, his countenance brightened, and he suffered himself to +be taken to the rear. As the soldiers placed him in a blanket, his +sword got entangled, and the hilt entered the wound. A staff officer +attempted to take it off, but the dying man stopped him, saying, "It +is as well as it is. I had rather it should go out of the field with +me." And in this manner, so becoming to a soldier, Moore was borne +from the field. Several times he caused his attendants to stop and +turn him around, that he might behold the field of battle. Night soon +darkened the scene; the rumbling of baggage wagons, and the occasional +booming of the distant cannon, alone disturbed the mournful silence of +the scene; here and there the flames of burning villages shed a +portentous light through the gloom. At length, to break the mournful +silence, and to express the sympathy they might not speak, the band +played a requiem for the dying general. The solemn strains arose and +fell in prolonged echoes over the field, and swept in softened +cadences on the ear of the dying warrior. Moore breathed faintly for a +few hours, and before the morning dawned he had passed away. His +corpse was wrapped in his military cloak, and was interred by the +officers of his staff on the ramparts of Corunna—an event which is +commemorated in the beautiful verses of Wolfe, the guns of the enemy +paying him funeral honors. Soult, with a noble feeling of respect for +his valor, raised a monument to<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span> his memory. Thus ended the career of +Sir John Moore, a man whose uncommon capacity was sustained by the +purest virtue. His tall, graceful person, dark, searching eyes, +strongly defined forehead, and singularly expressive mouth, indicated +a noble disposition and a refined understanding. He maintained the +right with a vehemence bordering upon fierceness, and every important +transaction in which he engaged increased his reputation for talent, +and confirmed his character as a stern enemy to vice, a steadfast +friend to merit, a just and faithful servant of his country.</p> + +<p><i>Description of Tableau.</i>—This magnificent scene contains twenty +figures. On the centre of the stage, reclining on an English flag, is +Sir John Moore, his countenance pale and deathly. He is dressed in +rich uniform, which is described in the latter part of the tableau. +His position is, lying across the stage, his face turned to the +audience. At his feet stand two Highland soldiers, leaning on their +muskets, and gazing on the dying man. A soldier with a bandage around +his head is kneeling in front of them; one hand grasps the flag, the +other points to the background; countenance expressing terror. At the +head of Moore, partially stooping and holding the end of the flag, are +two officers in full uniform; two other officers are seen back of the +body, who are also grasping the flag and gazing on the face of the +dying hero; three soldiers are kneeling in the foreground, their +attention fixed on Moore; back of this group, on a platform one foot +high, is seen a platoon of soldiers, one of which<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> holds an ensign; +their backs should be towards the audience, muskets to the shoulder, +and position of soldiers marching hastily from the field in retreat; +still further in the background, on a platform four feet high, is +placed a second platoon, who are in the same position; one or two in +each rank are looking back to the group in front; two soldiers +directly back of Moore are levelling their muskets to the enemy in the +distance. Cannon, muskets, drums, and swords should be strown +carelessly on the stage, while a small quantity of smoke must be made +to hover over the scene, and the booming of cannon imitated in the +distance. Moore has one hand pressed to his breast; the other is held +by one of the officers at his side. The costumes of the officers +should be as varied and brilliant as can be procured. Scarlet coats +would be most appropriate. The scene must be illuminated by a red fire +burned at the right side of the stage. Music of a mournful and sacred +order.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_FIREMANS_RESCUE" id="THE_FIREMANS_RESCUE"></a>THE FIREMAN'S RESCUE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +And the flames in thick wreaths mounted higher and higher;<br /> +O God! it is fearful to perish by fire.<br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female and Eight Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau represents a dwelling-house, the interior of which is +enveloped in flames. The front door stands open, displaying a flight +of steps, on which is a<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span> heroic fireman descending from the burning +chamber, with a beautiful child clasped in his arms, which he has +rescued from the raging element. Kneeling on the step outside of the +door are the parents of the child; their hands are clasped and raised +upward, their eyes fixed on the doorway, countenance expressing +intense excitement. Two firemen in the foreground are seen holding a +hose pipe and hose; two others, at the extreme end of the stage, are +screwing the other end of the hose to a hydrant; another stands ready +with an axe to break in the windows. The captain's position is on the +step of the house; he holds a trumpet in his hand, and is giving +orders to his men. The firemen should be dressed in full uniform, the +mother in white, and hair hanging loose over the shoulders; the +father's costume should be dark, and the child dressed in a long white +robe. The scenery of this piece consists of a frame the width of the +stage, and rising from the floor to the ceiling, painted to represent +brick, with mouldings, frame, cornice, &c. A door may be placed in the +centre, and a window on each side. The stairs should be as wide as the +door, and run up five feet, and covered with carpeting; fire and smoke +must be painted as coming from the windows. A red fire burned behind +the back scene will light it up with fine effect. The light for the +front of the picture should be of medium brightness, and come from the +side of the stage. Fire bells can be imitated in the ante-rooms.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span></p> +<h2><a name="CATHARINE_DOUGLASS_BARRING_THE_DOOR_WITH_HER_ARM" id="CATHARINE_DOUGLASS_BARRING_THE_DOOR_WITH_HER_ARM"></a>CATHARINE DOUGLASS BARRING THE DOOR WITH HER ARM.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +<span style="margin-left: 10em;">Though perils did</span><br /> +Abound, as thick as thought could make 'em, and<br /> +Appear in forms more horrid; yet my duty,<br /> +As doth a rock against the chiding flood,<br /> +Should the approach of this wild river break,<br /> +And stand unshaken yours.<br /> +<span style="margin-left: 15em"><span class="smcap">Shakspeare</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Six Male Figures.</h3> + + +<p><span class="smcap">Unattended</span> even by a body guard, and confiding in the love of his +subjects, James I. of Scotland was residing within the walls of the +Carthusian monastery at Scone. Graham of Stratham seized the occasion, +and brought down a party by night to the neighborhood. Seconded by +traitors within, he gained possession of the gates and interior +passages. The king's first intimation was from his cup-bearer, who, on +leaving the king's chamber, found the passage crowded by armed men, +who answered his cry of alarm by striking him dead. The noise reached +the royal chamber; a rush of the assassins followed; and Catharine +Douglass, one of the queen's maids of honor, springing forward to bolt +the door, found the bar had been clandestinely removed. With resolute +self-devotion she supplied the place with her naked arm.—To present a +view of the interior of the room, and the passage outside, it will be +necessary to place a partition from the front of the stage, near the +footlights, to the left hand<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span> corner in the background. In the +smallest apartment stands Catharine Douglass. The partition running in +this manner will give to the audience a view of the door and iron +fastenings through which the arm of the heroine passes, and also the +passage where the assassins stand. The partition should be made of +light strips of wood, covered with cheap cloth, and painted to imitate +the interior of a room. The door must be quite near the front, of +Gothic form, studded with large nails; two iron sockets, four inches +square, should be placed on the door and frame; a mahogany table, +globe lamp, chairs, carpets, and engravings may be placed in the inner +room; the outer apartment should be empty. The lady who personates the +heroine must be of good figure, tall and stout, fine features, and +have long black hair. Costume consists of a blue silk dress, pink +waist, sleeves five inches long, bordered on the edge with black +crape, under sleeves of white tarleton muslin reaching to the wrist, a +yellow scarf tied loosely around the waist, hair flowing loosely over +the shoulders, a plaid scarf fringed on the ends with gold, bound +around the head, the ends hanging in the neck. Position, facing the +audience, the right arm bare, and thrust through the first socket, the +hand grasping the second; the left is pressed against the door above +the fastening; the head inclined towards the door, body perfectly +upright, eyes looking straight forward with intensity, countenance +expressing firmness. The assassins, to the number of six, stand around +the outside of the door; each is costumed in a black coat trimmed +around the edge and collar with green, and<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span> ornamented with large gilt +buttons; colored vests, cut very long and trimmed with black binding, +knee breeches of light color, black hose, and a band of bright-colored +cloth around the top, low shoes, shoe and knee buckles, black felt hat +turned up at one side and ornamented with a colored plume and gilt +band, belt around the waist, side arms and pistols; the face covered +with a shaggy beard. Each one grasps a sword, and is in the act of +running towards the door, the left hand extended, the right with the +sword raised on high, eyes directed to the door, countenance +expressing excitement. The light should come from both sides of the +stage, the room in which the heroine stands being the lightest. Music +wild and animating.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_MASQUERADE_BALL" id="THE_MASQUERADE_BALL"></a>THE MASQUERADE BALL.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +'Tis known—at least it should be—that throughout<br /> +All countries of the Catholic persuasion,<br /> +Some weeks before Shrove Tuesday comes about,<br /> +The people take their fill of recreation,<br /> +And by repentance, ere they grow devout,<br /> +However high their rank or low their station,<br /> +With fiddling, feasting, dancing, drinking, masking,<br /> +And other things which may be had for asking.<br /> +<span style="margin-left: 16em"><span class="smcap">Beppo</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Ten Female and Twelve Male Figures.</h3> + + +<p><span class="smcap">The</span> masked balls, which supersede any other feature of the carnival in +attraction, were introduced under the reign of the Duc d'Orleans. A +great inconvenience was experienced in the want of an apartment<span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span> +sufficiently spacious to receive the hundreds which thronged to them. +At length the Chevalier de Bouillon conceived a plan of converting the +opera house into a ball room, and a friar named Sebastian invented the +means of elevating the floor of the pit to a level with the stage, +lowering it at pleasure. The project succeeded, and the first masked +ball at Paris was held on the 2d of January, 1716. They are now given +both before and during the carnival, at nearly all the theatres in +Paris, as well as at most of the large ball rooms. The leading +masquerade ball of the carnival, which reunites the best society and +the most gorgeous costumes, is decidedly that which takes place at the +Academy of Music or French Opera House. The greater portion of the +company go in character, although gentlemen may appear in plain +clothes, if they choose, and unmasked. Dancing appears to be the whole +and sole motive of the guests, and dance they do, with a vivacity and +untiring spirit that could only be found in a land so especially +devoted to the worship of Terpsichore as France. In all the ball rooms +parties of the Municipal Guard are in attendance to preserve order, +and should any of the guests transgress the ordinary rules of decorum, +they are immediately consigned to the lock-up of the nearest +<i>corps-du-garde</i>. The most prevalent dress at the balls is that of the +<i>Debardeur</i>. It is a piquant costume, and consists of dark velvet +pantaloons, with satin stripe down the side, ornamented with bright +studs, a pink or white shirt, red sash, and a glazed hat with +tri-colored streamers, or small bonnet and wig, with cue behind.<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> +Considerably more than half of the carnival masques take up this +dress, the remainder attiring themselves as hussars, pierrots, and all +sorts of eccentric and anomalous costumes. The balls are kept up until +six o'clock in the morning.</p> + +<p>This tableau can be represented by ten couples. The ladies and +gentlemen can dress to suit their own taste. The wardrobe of the +company will contain a sufficient number of suits to fit out the +tableau. A few of the comic and grotesque costumes should be +intermingled, and all the figures wear masks of various patterns. The +performers are engaged in dancing the schottische. The ladies and +gentlemen must form in couples around the sides and back of the stage. +A platform at the rear may be occupied by musicians in fanciful +costume. The stage should be illuminated by a purple fire. Music, the +schottische.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="IRISH_COURTSHIP" id="IRISH_COURTSHIP"></a>IRISH COURTSHIP.</h2> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> comic tableau represents a young Irishman engaged in courting his +true love. The stage should be furnished with kitchen furniture, a +small stove, &c. The back of the stage can be hung with cheap room +paper. Bridget is seated at a table in the centre of the stage, +engaged in sewing. Her costume consists of a white dress and blue +apron. Patrick is seated near<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> her, smoking a short pipe. Costume +consists of velvet coat and breeches, white hose, large shoes, with +hob nails in the soles, buff vest, red wig, face and hands painted tan +color. His left leg is placed across the right knee, hands placed in +his pants pocket, eyes fixed on Bridget, countenance expressing +curiosity. Music, Irish air.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_FAIRIES_OFFERING_TO_THE_QUEEN_OF_MAY" id="THE_FAIRIES_OFFERING_TO_THE_QUEEN_OF_MAY"></a>THE FAIRIES' OFFERING TO THE QUEEN OF MAY.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Now the bright morning star, day's harbinger,<br /> +Comes dancing from the east, and leads with her<br /> +The flowery May, who from her green lap throws<br /> +The yellow cowslip and the pale primrose.<br /> +Hail, bounteous May! that dost inspire<br /> +Mirth and youth with warm desire;<br /> +Woods and groves are of thy dressing,<br /> +Hill and dale doth boast thy blessing.<br /> +Thus we salute thee with our early song,<br /> +And welcome thee and wish thee long.<br /> +</td> +</tr> +</tbody> +</table> + +<h3>Twenty Female Figures.</h3> + + +<p><span class="smcap">So</span> sings Milton to the sweet Birdmonth—he whose mighty mind "nigh +sphered in Heaven," hymned the soft beauty of the first day that +dawned upon the infant world, which surely must have been a +May-morning.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +"Sweet day, so calm, so pure, so bright,<br /> +The bridal of the earth and skies."<br /> +</td> +</tr> +</tbody> +</table> + +<p>What must have been a May-morning in Paradise, when even now, in the +homeliest districts, it gladdens the heart of man with its advent of +young flowers and budding leaves and sweetly singing birds! It<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span> seems +to be Nature's own birthday, throughout the varied kingdoms of her +living world. All countries have greeted the welcome arrival of this +fair day, but none more so than old Pastoral England, in the time of +her elder poets. Time was, when, from the court to the cottage, all +"rose up early to observe the rite of May;" some went a +"dew-gathering," a sort of rustic love-spell that was sure to enchant +every maiden, gentle or simple; others to "fetch in May"—a rivalry +that "robbed many a hawthorn of its half-blown sweets;" and others set +their wits to work to get up some pretty device, some rural drama, one +of which our tableau represents.</p> + +<p>The Fairies' Offering to the Queen of May is a tableau of great +excellence and artistic beauty. The Queen of May is seated on a floral +throne in the background, which is situated upon a platform about six +feet high, with broad steps extending across the stage and to the +footlights. These should be covered with green bocking, and on them +are grouped the fairies, who are offering to the queen, baskets, +bouquets, and garlands of flowers. On the lower step are other fairies +ascending to the throne, and bearing baskets of fruit and flowers on +their heads. The number of figures in the piece is twenty, nineteen of +which are young misses, quite small and pretty, and one a beautiful +maiden, who takes the part of the May Queen.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +You must wake and call me early, call me early, mother dear;<br /> +To-morrow'll be the happiest time of all the glad New-year;<br /> +To-morrow'll be of all the year the maddest, merriest day,<br /> +For I'm to be Queen o' the May, mother, I'm to be Queen o' the May.<br /> +<span style="margin-left: 23em"><span class="smcap">Tennyson</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<p><span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span></p> + +<p>The stage scenery must be arranged in the following order: A large arm +chair, with a shaft running up from the back, to which is attached a +canopy, will answer for the throne chair; cover it with green cambric, +and decorate with garlands and bouquets. This chair should rest on the +platform, which is six feet long, three feet wide, and covered with +French patch. A large gilt vase, containing a bouquet, must be placed +at each corner. The queen's costume consists of a white robe, +decorated with flowers, a garland about the head, the right hand +grasping a wand trimmed with silver and gold paper, the body inclined +forward slightly, the left hand extended, in the act of taking a +bouquet from one of the fairies, whom she is looking at; her +countenance is lighted up with smiles. Care should be taken that the +fairies who are grouped around the throne do not take the view from +the queen. The fairies' costume consists of a short white dress, +flesh-colored hose, white slippers, and hair done up in ringlets. The +sleeves of the dress made quite short, waist and skirt ornamented with +gold bands and spangles, a wreath of pure white flowers, intermingled +with myrtle, on the head, and a portion of them wearing gauze wings, +studded with spangles. Four of the fairies are to be grouped around +the foot of the throne, on the top step. They stand or kneel, so that +a partial side view is had of the body; hands extended, and holding +bouquets or garlands; eyes fixed on the queen; countenance pleasant. +The rest of the misses must be placed on each side of the steps, +assuming a<span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span> variety of positions, and each have fruits or flowers. +Those at the lower part of the steps can stand near the sides of the +stage, which will allow those above to be seen. The scene should be +illuminated by a trio of fires, consisting of green, purple, and red, +burned at the side of the stage. For directions, see +<a href="#THE_PYRAMID_OF_BEAUTY">Pyramid of +Beauty</a>. Music soft and animating.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="BELSHAZZARS_FEAST" id="BELSHAZZARS_FEAST"></a>BELSHAZZAR'S FEAST.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Joy holds her courts in great Belshazzar's hall,<br /> +Where his proud lords attend their monarch's call;<br /> +The rarest dainties of the teeming East<br /> +Provoke the revel and adorn the feast.<br /> +<span style="margin-left: 10em;">But why, O king,</span><br /> +Why dost thou start, with livid cheek?—why fling<br /> +The untasted goblet from thy trembling hand?<br /> +Why shake thy joints? thy feet forget to stand?<br /> +Why roams thine eye, which seems in wild amaze<br /> +To shun some object, yet returns to gaze,<br /> +Then shrinks again, appalled, as if the tomb<br /> +Had sent a spirit from its inmost gloom?<br /> +<br /> +Awful the horror, when Belshazzar raised<br /> +His arm, and pointed where the vision blazed;<br /> +For see! enrobed in flame, a mystic shade,<br /> +As of a hand, a red right hand displayed,<br /> +And, slowly moving o'er the wall, appear<br /> +Letters of fate and characters of fear.<br /> +In death-like silence grouped the revellers all,<br /> +Fixed their glazed eyeballs on the illumined wall.<br /> +<span style="margin-left: 15em"><span class="smcap">T.S. Hughes</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Seven Female and Eight Male Figures.</h3> + + +<p><span class="smcap">This</span> sacred tableau is represented as follows: At the left of the +stage, Belshazzar is seated on his throne.<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span> At his side stands his +wife. Consternation and affright are depicted on their countenances. +At the opposite side of the stage stand three wise men. In the centre +of the stage is the feast table, covered with silver dishes, +candlesticks, and refreshments. Around it are gathered the guests. In +the background, on a platform, are seen a group of servants. The +handwriting is placed on the back scenery, opposite to the group of +servants. The number of figures in the piece is fifteen—eight +gentlemen and seven ladies. The scenery in the piece consists of a +table six feet long, two and a half feet high, and three feet wide, +covered with a green cloth, fringed with gold paper, on this are +placed a silver tea set, cake baskets, candlesticks, and refreshments. +The throne chairs should be placed on a platform at the left of the +stage, near the front; the platform can be formed of boxes, and must +be four feet square and two feet high, covered with crimson cloth, +trimmed with gold paper; two large chairs, with a canopy over the top, +will answer for the throne; one occupied by Belshazzar, the other by +his wife. Low seats around the table will be needed for the guests; +the seats can be covered with white cloth; showy pictures, in rich +frames, adorn the walls, and pedestals and statuary fill the corners +of the room. The writing on the wall can be produced by means of a +transparency, the words made large, and the letters in German text, +with a halo around the whole sentence. Belshazzar's costume consists +of a purple velvet coat trimmed with gold, a large cloak trimmed with<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span> +ermine, velvet breeches, white hose crossed with red tape, sandals on +the feet, and a velvet and gold crown on the head. His wife should be +dressed in a showy brocade, cut low at the top, short sleeves, a band +of black velvet ornamented with gold placed on the head, and a narrow +mantle worn over the shoulder. The dress must be ornamented with rich +jewelry, gold bands, and a wide belt of red velvet, decorated with +paste pins, around the waist. The three wise men's costume consists of +long, loose coats, reaching six inches below the knee, and gathered in +at the waist with a wide belt. Each coat should vary in color from the +others. They can be made of cambric. Colors, red, purple, and blue, +with the edges trimmed with cloth of some other color. Black hose, +crossed with red, reach to the knees, low shoes, covered with red +Turkey cloth, on the feet, and a turban of bright colors on the head, +the face covered with a long white beard—this can be made of flax. +The ladies at the table must be costumed in silk or satin dresses, +ornamented with spangles, and any kind of jewelry that will look +showy; hair decorated with spar beads, hair pins, and plumes. The +gentlemen's costume consists of rich velvet suits; long beards. +Servants in short white coats, with border on the bottom, red +breeches, white hose, and light felt hats with gold bands. +Belshazzar's position is in the chair near the footlights; body +inclined back, arms thrown up, eyes fixed on the writing, countenance +expressing affright. His wife is seated in the second chair, one arm +resting on the shoulder of her husband,<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span> the other raised in front of +the face, eyes directed to the writing. The wise men stand opposite to +the throne, at the extreme end of the stage, near the footlights; +their backs are to the audience; the heads of two are turned to the +king, giving a side view of their faces. One of them points to the +writing. The party at the table must assume a variety of natural +positions; a few look with astonishment, and point at the writing; +others are engaged in eating and drinking. The servants stand in the +background, and are all looking at the writing. A few lean forward and +point to the wall; others take position as if about to flee from the +room; the countenances of all express terror. The scene should be +lighted by a brilliant red fire burned at the side of the stage +opposite Belshazzar. Music, operatic style.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span></p> +<h2><a name="THE_VALENTINE" id="THE_VALENTINE"></a>THE VALENTINE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +"I smile at Love and all his arts,"<br /> +<span style="margin-left: 1em;">The charming Cynthia cried;</span><br /> +"Take heed, for Love has piercing darts,"<br /> +<span style="margin-left: 1em;">A wounded swain replied.</span><br /> +"Once free and blessed, as you are now,<br /> +<span style="margin-left: 1em;">I trifled with his charms,</span><br /> +I pointed at his little bow,<br /> +<span style="margin-left: 1em;">And sported with his arms;</span><br /> +Till, urged too far, 'Revenge!' he cries;<br /> +<span style="margin-left: 1em;">A fatal shaft he drew;</span><br /> +It took its passage through your eyes,<br /> +<span style="margin-left: 1em;">And to my heart it flew."</span><br /> +<span style="margin-left: 9em"><span class="smcap">J. Vanburgh</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female and Two Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau is represented by four persons—two young ladies, and two +small lads. One of the young ladies is seated on a sofa, which is +placed in the centre of the stage. She holds a valentine in the left +hand, and points at it with her right. Her head is turned around to a +young lady who stands behind the sofa. The countenance expresses +mirth. The lady standing behind the sofa rests her right arm on the +shoulder of her friend, and is looking to the valentine, her body +inclined forward slightly, face beaming with smiles. Costume consists +of a white dress, pink apron trimmed with green, hair done up in wide +braids at the side of the head, and ornamented with a few flowers. The +costume of the lady seated, consists of a white dress, buff apron +trimmed with purple, hair hanging in ringlets, and ornamented with +blue ribbon. On each side<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span> of the stage, within one foot of the +curtain, place pedestals; they should be three feet high, two feet +square, with cap and base, and covered with white marble paper or +cloth, and decorated with a wreath of flowers on the front. On those +stand the young lads, dressed to represent Cupids. Position is, facing +the group in the centre of the stage, attitude of one running; one of +them holds on high a large sealed letter. The other holds a small +tablet in one hand, and a quill in the right; these must be extended +towards the centre of the stage. Their costume consists of a short +gauze dress, cut low at the top and decorated with spangles, pants of +flesh-colored cloth, reaching to the ankles and fitting tightly to the +legs, flesh-colored hose, white slippers, gauze wings fastened to the +back of the body, and decorated with spangles and silver stars. A +small quiver, formed of card-board, covered with blue and gold paper, +filled with arrows and bow, suspended from the neck; a low-crowned +hat, with a wide brim, covered with pink cambric, and decorated with a +wreath of flowers, covers the head; the eyes directed to the group on +the sofa, countenance expressing pleasure. The background may be +ornamented with pictures and statuary. The light for this piece must +be of medium brilliancy, and come from the right side of the stage. +Music soft.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span></p> +<h2><a name="THE_FAIRIES_RAINBOW_BRIDGE" id="THE_FAIRIES_RAINBOW_BRIDGE"></a>THE FAIRIES' RAINBOW BRIDGE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Love and Hope and Youth, together<br /> +Travelling once in stormy weather,<br /> +Met a deep and gloomy tide,<br /> +Flowing swift, and dark, and wide.<br /> +'Twas named the River of Despair,—<br /> +And many a wreck was floating there.<br /> +The urchins paused, with faces grave,<br /> +Debating how to cross the wave,<br /> +When, lo! the curtain of the storm<br /> +Was severed, and the rainbow's form<br /> +Stood against the parting cloud,<br /> +Emblem of peace on trouble's shroud.<br /> +Hope pointed to the signal flying,<br /> +And the three, their shoulders plying,<br /> +O'er the stream the light arch threw—<br /> +A rainbow bridge of loveliest hue!<br /> +Now, laughing as they tripped it o'er,<br /> +They gayly sought the other shore.<br /> +<span style="margin-left: 13em"><span class="smcap">Anon.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Male Figures.</h3> + + +<p><span class="smcap">This</span> brilliant tableau represents a rippling stream of water, with +luxuriant banks on either side, spanned by a beautiful rainbow. A +party of fairies, wishing to pass the stream, have made use of the +rainbow as a bridge. One of them is seen in the centre of the bridge, +holding a golden wand, with which he endeavors to balance himself in +his passage over the water. Standing on the right bank, near the end +of the bridge, is a fairy who has safely passed over, and is +encouraging his friend on the opposite side to make the trial, who is +seated on the grass arranging a bunch of flowers. The scenery of the +piece can be adjusted in<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span> the following manner: Boxes two feet wide +and three feet high placed on each side of the stage, from the front +to the background, and covered with green bocking, will answer for the +banks of the river. A few branches of spruce, intermingled with +flowers, should be fastened to the side scenes, and a few spruce trees +arranged in the background. At the front end of the banks place showy +vases of flowers; and at the other end, on pedestals two feet high, +place larger vases, containing bouquets. To make the river show to +advantage, it will be necessary to arrange it in the form of an +inclined plane. Strips of wood placed across the stage at a distance +of one foot from each other, on a rise of two inches to a foot, and +covered with blue cambric, will answer for the river. Let the cloth +festoon between the strips, paint the ridges of the miniature waves +with white paint, and sprinkle them with small particles of isinglass. +On the foreground of the scene place two swans, and around the edges +of the banks fasten pieces of spruce and grasses. The bridge should be +made slightly oval, and placed in the centre of the stage. Three +stringers, sawed out of inch board, and covered with lathes two feet +long, will answer for the flooring. This can be entirely hid from view +by a railing on the front side, and is made as follows: Manufacture a +frame to correspond with the curve and length of the flooring, and +twelve inches in width; cover it with white cloth, and paint it to +represent a rainbow; the colors may be purple, crimson, yellow, green, +and white; lights placed behind it, will give a<span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span> fine effect. The +fairies' costume consists of a short muslin dress, with a border three +inches wide, of pink muslin, decorated with gold stars—the white +muslin ornamented with silver spangles and stars; flesh-colored hose, +white slippers, a band of silver, ornamented with paste pins, about +the head, and small wings attached to the back of the dress,—the +wings formed of wire, covered with gauze, and ornamented with endless +bands of blue tarleton muslin, ornamented with silver spangles. Each +holds a gold wand three feet long. The position of the fairy on the +bridge is such that a side view is had of the form, while the face is +turned towards the front of the stage. The wand is grasped in the +centre, and held across the bosom. The countenance expresses pleasure. +The fairy who has passed over is standing at the end of the bridge, +partly facing the audience, with both hands extended towards his +friend, his countenance expressing mirth. The fairy on the other bank +is seated on the ground arranging flowers. He faces the audience, and +is looking at a large rose which he holds in his right hand. This +scene must be illuminated by green, red, and yellow fire, which is +described in the tableau of the "<a href="#THE_PYRAMID_OF_BEAUTY">Pyramid of Beauty</a>." Music, light and +animating.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span></p> +<h2><a name="LITTLE_EVA_AND_UNCLE_TOM" id="LITTLE_EVA_AND_UNCLE_TOM"></a>LITTLE EVA AND UNCLE TOM.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Dry thy tears for holy Eva,<br /> +With the blessed angels leave her;<br /> +Of the form so sweet and fair<br /> +Give to earth the tender care.<br /> +<br /> +For the golden locks of Eva<br /> +Let the sunny south land give her<br /> +Flowery pillows of repose,<br /> +Orange bloom and budding rose.<br /> +<span style="margin-left: 9.5em"><span class="smcap">J.G. Whittier</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> tableau is one that can be easily produced, and will not be +expensive. It represents little Eva seated in an arbor by the side of +Uncle Tom. She has a large Bible before her, which she is reading and +explaining to her friend. A rustic arbor can be made of strips of +wood, covered with white cloth, and painted to resemble slats and +running vines; the dimensions of which are six feet high, four feet +wide, and three feet deep. A rough seat at the back part is occupied +by Eva and Uncle Tom. A festoon of artificial flowers and spruce +should be arranged in front, and a large spruce tree placed on either +side. The person who personates Uncle Tom must be one of large figure +and pleasant countenance. Costume consists of a coat of coarse +material, white pants, light vest, colored handkerchief tied about the +neck, striped hose, low shoes, a wig of black, curly hair, and a +wide-brimmed straw hat, which lies on the ground by his side. The<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span> wig +can be formed of curled horse-hair, fastened to a covering made to fit +the crown of the head. Color the exposed parts of the body black, the +lips red. Little Eva should be quite small, pretty, and have long +light curls. Her costume consists of a white dress, trimmed at the top +and around the sleeves with pink ribbon; a straw hat, trimmed with +wild flowers, which hangs by the strings on her arm, and dark shoes. +Uncle Tom is seated on one side of the seat, his legs crossed, body +bent forward slightly, hands placed on his knees, his head turned +towards Eva, and eyes fixed on the Bible with an expression of +pleasure and earnestness. Eva is seated at his side, with her feet +resting on a small stool, one hand placed on Uncle Tom's arm, while +with the other she points to the pages of the Bible. Her face is +turned towards her friend. The countenance expresses sadness. A small +quantity of light is required for the piece, which should come from +the left side. Music, soft and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span></p> +<h2><a name="LOVE_TRIUMPHANT" id="LOVE_TRIUMPHANT"></a>LOVE TRIUMPHANT.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +In peace, Love tunes the shepherd's reed;<br /> +In war, he mounts the warrior's steed;<br /> +In halls, in gay attire is seen,<br /> +In hamlets, dances on the green.<br /> +Love rules the court, the camp, the grove,<br /> +And men below, and saints above;<br /> +For love is heaven, and heaven is love.<br /> +<span style="margin-left: 13em"><span class="smcap">Sir Walter Scott</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Two Male Figures.</h3> + + +<p><span class="smcap">This</span> beautiful classic tableau represents two figures, a youth and a +maiden, supporting Cupid on their shoulders. The two persons who take +these parts should be of good figure and of equal height. The maiden's +costume consists of a white dress, cut low at the top, sleeves short; +a gauze scarf draped across the breast, tied at the side, and allowed +to trail on the floor; white shoes, hair hanging loosely over the +shoulders, the head encircled with a wreath of spar beads and white +flowers. The right hand grasps a garland of white flowers, while the +left helps to support the boy Cupid. The youth's costume consists of a +white coat, vest, breeches, hose, cravat, and shoes. Across the left +arm hangs a white mantle; the hand grasping a shepherd's crook, which +is four feet long, and painted white. The boy Cupid must be quite +small, and costumed in a short gauze dress, white hose, and shoes; a +white quiver, bow and arrows, must be suspended from the neck by a +satin ribbon, and small gauze wings fastened<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span> to the back of the +dress. The right hand grasps a torch, which is held above the head. +This can be made of card board, the flame imitated by gold paper. His +head is turned towards the maiden, into whose eyes he is looking, +countenance expressing mirth. The two figures stand on a pedestal two +feet high and four feet in diameter, covered with black marble paper, +and placed in the centre of the stage, the right arm of the gentleman +and the left arm of the maiden crossed so as to make a seat for the +boy; both assume attitudes of persons in the act of walking, and look +up with delight into the face of the boy. The front of the stage, if +covered with white gauze, will add to the beauty of the scene, which +is intended to represent statuary. Light should come from the side of +the stage, and of medium brilliancy. Music, soft and plaintive.</p> + + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span></p> +<h2><a name="THE_BANDITTI" id="THE_BANDITTI"></a>THE BANDITTI.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +But wilder sounds were there; th' imploring cry<br /> +That woke the forest's echo in reply,<br /> +But not the heart's! Unmoved, the wizard train<br /> +Stood round their human victim, and in vain<br /> +His prayer for mercy rose; in vain his glance<br /> +Look'd up, appealing to the blue expanse,<br /> +Where, in their calm, immortal beauty, shone<br /> +Heaven's cloudless orbs. With faint and fainter moan,<br /> +Bound on the shrine of sacrifice he lay,<br /> +Till, drop by drop, life's current ebb'd away;<br /> +Till rock and turf grew deeply, darkly red,<br /> +And the pale moon gleam'd paler on the dead.<br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female and Eight Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau represents a travelling party attacked on the mountains +of Italy by a company of outlaws. It is one which can be easily +formed, and contains ten figures, five of which are men dressed to +represent banditti; the other personations are an old gentleman, his +daughter, a young officer and wife, and coachman. The floor of the +stage should rise gradually from the fore to the background. This can +be accomplished with boxes and boards covered with green bocking. The +bandit's costume consists of a dark coat, open in front, showing a +colored shirt, breeches of bright-colored cloth, white hose, knee and +shoe buckles, low shoes, red scarf about the waist, in which are +pistols and short sword, black felt hat, slouched, with a red band and +colored plume; heavy beard, face and neck slightly stained +light-brown; the coats can be trimmed<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> with gaudy binding, if +desirable. The old gentleman's costume consists of black coat, light +pants and vest, light cravat, white wig, light hat, face painted to +imitate age. The officer's dress can be quite showy or very plain. If +a full military costume cannot be procured, the following will answer: +Dark frock coat, buttoned to the neck, and ornamented with large gilt +buttons and shoulder straps, black pants with buff stripe, flat cap +with gilt band, side arms and sash. The officer's wife is dressed in a +showy silk robe; hair arranged to suit the performer's taste. The old +man's daughter is costumed in a white dress, pink silk apron, small +straw hat trimmed with green ribbon. Coachman's costume is, a long, +dark coat, buttoned to the chin, light pants, long boots, black silk +hat, with a leather strap and a number in gold in front, black belt +around the waist, the right hand grasping a long whip. A +representation of the side of a coach, covered with cloth painted in +proper style, and placed in the background, will add much to the +effect. In the centre of the stage place a large trunk filled with +clothing, the cover thrown back so as to display the contents. +Watches, jewelry, and other articles of value should be strown +promiscuously about, while one of the bandits is seen kneeling over it +with a heavy watch and chain in his hand. Back of the trunk stand the +officer and a brigand. The officer has a large wound across the +temple, and attempts to rescue his wife, who is being dragged away by +one of the brigands in the background; he stretches out his arms +towards, and looks<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span> upon her, but is kept from her by the strong arm +of the ruffian at his side, who grasps him by the collar, and holds a +bloody sword above his head; the brigand partially faces the audience; +the officer stands in a side position; the wife is seen kneeling in +the background, with hands clasped and eyes raised to a brigand, who +grasps her by the hair of the head with the left hand, and presents a +pistol at her with the right. At the left of the trunk is seen the old +gentleman. One of the ruffians grasps him by the throat, as if in the +act of strangling him. The old man holds a watch in the left hand; the +right is thrown upward. His position is, facing the audience; +countenance expressing terror and excitement. At the right of the +trunk kneels the coachman, with hands tied behind his back, which is +turned to the audience, head thrown backward so that a partial side +view is had of the features. A few paces in front of him, and facing +the audience, is seated a brigand, on the top of a portmanteau; he is +smoking a short pipe, and with the right hand points a pistol to the +face of the figure kneeling in front of him. Between him and the wife +lies the young girl, who has fainted from affright. She lies with her +head to the back of the stage, arms stretched out on the grass, and +eyes closed. The stage should be illuminated by brilliant lights +placed at the left side of the stage. The sound of rain and thunder +may be produced in the ante-rooms with good effect.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span></p> +<h2><a name="PORTRAIT_OF_LOUIS_NAPOLEON" id="PORTRAIT_OF_LOUIS_NAPOLEON"></a>PORTRAIT OF LOUIS NAPOLEON.</h2> + +<h3>One Male Figure.</h3> + + +<p><span class="smcap">This</span> portrait-tableau is produced in the same manner as that of +"<a href="#PORTRAIT_OF_GABRIELLE">Gabrielle</a>." The gentleman who personates Louis Napoleon should in +form and features resemble him. The costume consists of a blue velvet +coat, decorated with silver and gold lace, vest of the same material, +buff breeches, white hose, low shoes, knee and shoe buckles, gold +epaulets and side arms, a decoration on the left breast composed of +brilliant stones and spangles, a red and blue silk sash across the +breast. Louis Napoleon wears a long beard and heavy mustache. Position +is such as to display a partial front view of the body, right hand +placed on the hilt of his sword, eyes directed forward, countenance +calm. Light should come from the front of the stage, and be of medium +brilliancy. Music, Marseillaise Hymn.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span></p> +<h2><a name="THE_RETURN_FROM_THE_VINTAGE" id="THE_RETURN_FROM_THE_VINTAGE"></a>THE RETURN FROM THE VINTAGE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +It is the Rhine! our mountain vineyards laving;<br /> +<span style="margin-left: 1em;">I see the bright flood shine;</span><br /> +Sing on the march, with every banner waving,<br /> +<span style="margin-left: 1em;">Sing, brothers; 'tis the Rhine!</span><br /> +<br /> +Home, home! thy glad wave hath a tone of greeting,<br /> +<span style="margin-left: 1em;">Thy path is by my home;</span><br /> +Even now my children count the hours, till meeting;<br /> +<span style="margin-left: 1em;">O, ransomed ones, I come.</span><br /> +<span style="margin-left: 10em"><span class="smcap">Mrs. Hemans</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Four Male Figures.</h3> + + +<p><span class="smcap">This</span> picture represents four laborers returning from the vintage, +bearing on their shoulders a large tub of grapes, seated on the top of +which is a young girl, and by her side a small child. As they near the +shores of the imperial river, they sing one of their national songs, +the girl accompanying with a tambourine, and the child with a flute. +The costume of the four vintagers consists of colored or check shirts, +breeches, long hose, low shoes, knee and shoe buckles, single-breasted +vest of bright colors, left open, handkerchief tied carelessly about +the neck, and low felt hat with a sprig of grape leaves in front, the +face colored slightly with red. The lady's costume consists of a red +dress, blue waist, open in front, and laced across with pink ribbon, +and a small straw hat trimmed with green ribbon on the head. The boy's +costume consists of a velvet jacket, white pants, and small fancy cap. +The four vintagers stand in a circle, on a round or square pedestal +four feet in<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span> diameter, covered with green bocking; they face outward, +and support the tub on their shoulders; one hand is raised, and grasps +the top of the tub, while the other hangs carelessly at the side. A +tall box should be placed under the tub, which will relieve the +laborers from the weight. The vintagers look up to the lady, the +countenance expressing pleasure. The young lady who is seated on the +tub holds the tambourine in her left hand, which is raised above her +head; the right hand is raised as high as the face, the head thrown +back slightly, eyes lifted, body facing the audience. The boy has the +end of the flute or trumpet placed in his mouth; both hands grasp the +flute; eyes directed forward. The tub should be three feet wide, and +the outside and rim painted in imitation of grapes and leaves. Light +will be needed in front and at the left side. Music of an inspiring +order.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span></p> +<h2><a name="LOVERS_GOING_TO_THE_WELL" id="LOVERS_GOING_TO_THE_WELL"></a>LOVERS GOING TO THE WELL.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +How dear to my heart are the scenes of my childhood,<br /> +<span style="margin-left: 1em;">When fond recollection presents them to view;</span><br /> +The orchard, the meadow, the deep-tangled wildwood,<br /> +<span style="margin-left: 1em;">And every loved spot which my infancy knew;</span><br /> +The wide-spreading pond, and the mill that stood by it,<br /> +<span style="margin-left: 1em;">The bridge, and the rock where the cataract fell,</span><br /> +The cot of my fathers, the dairy house nigh it,<br /> +<span style="margin-left: 1em;">And e'en the rude bucket which hung in the well;</span><br /> +The old oaken bucket, the iron-bound bucket,<br /> +<span style="margin-left: 1em;">The moss-covered bucket, which hung in the well.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and One Female Figure.</h3> + + +<p><span class="smcap">This</span> tableau represents a young peasant girl and her lover going to +the well. It is a statuary design, and, when well executed, makes a +tableau of great beauty. The lady and gentleman who take part in this +group must be of the same height, of slim figure, and good features; +the gentleman should be without a beard. In the centre of the stage +place a round pedestal one foot high, three feet in diameter, and +covered with black marble paper. The gentleman's costume consists of a +white coat, breeches, hose, shoes, cravat, vest, gloves, hat and +collar, and a long gauze scarf, worn over the shoulder, tied at the +side, the ends hanging down to the knee, the hat placed jantily on the +side of the head. The lady's costume consists of a white dress, worn +with but few skirts, and cut low at the top, sleeves long and flowing; +a long gauze scarf worn over the shoulders, tied at the side, the ends +allowed to trail on the floor; white hose, shoes, gloves,<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span> and white +felt hat worn carelessly on the head; the exposed parts of both +figures made as white as possible. Both stand near the centre of the +pedestal, the gentleman's right hand placed across the lady's +shoulder; his left hangs carelessly at the side, and grasps a white +water pitcher, his right foot placed twenty inches in advance of the +left, the toe of the left just touching the pedestal, and the body +inclined forward slightly; his head is turned towards the lady, into +whose eyes he is looking, while the countenance expresses pleasure. +The lady's right hand holds a pitcher similar in shape to the one held +by the gentleman. Her left is raised near her bosom, the forefinger +pointed to some object in the distance. Her head is turned towards the +gentleman, eyes looking into his, and countenance expressing +earnestness, her feet and body in the same position as the +gentleman's. The front of the stage, if covered with thin white gauze, +will add to the beauty of the piece. The light should come from the +left side of the stage, and be of a medium brightness. Music soft and +plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span></p> +<h2><a name="THE_ITALIAN_FLOWER_VASE" id="THE_ITALIAN_FLOWER_VASE"></a>THE ITALIAN FLOWER VASE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O Attic shape! Fair attitude! With brede<br /> +<span style="margin-left: 1em;">Of marble men and maidens overwrought</span><br /> +With forest branches and the trodden weed;<br /> +<span style="margin-left: 1em;">Thou, silent form, dost tease us out of thought,</span><br /> +As doth eternity. Cold Pastoral!<br /> +<span style="margin-left: 1em;">When old age shall this generation waste,</span><br /> +Thou shalt remain, in midst of other woe<br /> +<span style="margin-left: 1em;">Than ours; a friend to man, to whom thou say'st,</span><br /> +"Beauty is truth, truth beauty"—that is all<br /> +<span style="margin-left: 1em;">Ye know on earth, and all ye need to know.</span><br /> +<span style="margin-left: 11em"><span class="smcap">Keats's "Ode on a Grecian Urn</span>."</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female Figures.</h3> + + +<p><span class="smcap">This</span> exquisite statue tableau represents a beautiful vase, the sides +of which are ornamented with statues, personifying Spring, Summer, and +Autumn. The vase is made to revolve by machinery. Three ladies of good +figure and features, and of equal height, are required, to fill out +the design. Their costumes consist of long white muslin robes, worn +with few under skirts, cut low at the neck, sleeves reaching to the +elbow, and flowing, white hose and slippers; hair combed up from the +forehead, clasped with a band of silver behind, and allowed to hang in +heavy curls in the neck; a string of small wax or spar beads entwined +about the top of the head, the ends trailing among the curls; a +bouquet of white flowers placed on the front of the waist, and a white +rose fastened to the front of the spar wreath which adorns the head; +the exposed portions of the body made as white as possible.<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span></p> + +<p>The stage machinery is constructed in the following manner: After +arranging the revolving beam beneath the stage, (described in the +"<a href="#BUST_OF_PROSERPINE">Bust of Proserpine</a>,") the base of the vase should be fastened to the +top of the shaft which protrudes through the floor, and fastened so +firmly that the weight of the three females will not impede the +revolutions. It must also be constructed so that it can be easily +shipped and unshipped. The base is of octagon form, two feet in +diameter, one foot thick, and ornamented with small scrolls around the +sides, the whole to be covered with white cloth, and decorated with +artificial or painted wreaths and festoons of flowers. On the top of +the base there must be a box one foot high, and five inches square, +fastened firmly to the main body with iron braces; this is for the +insertion of the shaft of the vase, which is made of joist, four +inches square, six feet in length, and painted white. The top or bowl +of the vase should be made in the form of a saucer; the material used +in its composition must be light; its dimensions, four feet in +diameter, with a square cavity in the centre, in which to place the +shaft; cover the exterior with white cloth; around the top paint a +wreath of large flowers, and from the centre to the rim paint other +festoons of smaller flowers four inches apart; around the cavity where +the shaft enters, place three pieces of wood, made and painted to +resemble large leaves, the size of which should be seven inches in +length by five in width. The vase can be made in one piece, if there +is sufficient room for the accommodation of so large a piece of +furniture.<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span> But for a small stage it will be better to have it in +three parts. The ladies stand on the base of the vase, with their +backs against the shaft, the top of the head just touching the bottom +of the large leaves, the head and body perfectly erect, the hands of +the three clasped at the side, and holding the ends of festoons of +colored flowers, eyes slightly raised, countenance calm and pleasant. +The festoons must run from the hands of the statues to the shaft, +fastened there, and pass down to the other hand, and so on around the +three figures. The vase should revolve quite slowly, and be put in +motion while the curtain is rising. Gauze before this piece will add +to the effect. The light must come from the left side of the stage, +and be of medium brilliancy. Music soft and plaintive.</p> + + + +<p> </p><p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p><p> </p> +<h2><a name="PORTRAIT_OF_THE_MADONNA" id="PORTRAIT_OF_THE_MADONNA"></a>PORTRAIT OF THE MADONNA.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +They haunt me still—those calm, pure, holy eyes;<br /> +<span style="margin-left: 1em;">Their piercing sweetness wanders through my dreams:</span><br /> +The soul of music that within them lies,<br /> +<span style="margin-left: 1em;">Comes o'er my soul in soft and sudden gleams.</span><br /> +<br /> +Are there not deep, sad oracles to read<br /> +<span style="margin-left: 1em;">In the calm stillness of that radiant face?</span><br /> +Yes, even like thee must gifted spirits bleed,<br /> +<span style="margin-left: 1em;">Thrown on a world, for heavenly things no place.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> portrait tableau is produced in the same manner as that of +"<a href="#PORTRAIT_OF_GABRIELLE">Gabrielle</a>." The lady who personates<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> the Madonna should be of good +figure, fine, regular features, eyes large and expressive, a full face +and dark hair. Costume consists of white dress open slightly in front, +sleeves long and flowing, a velvet cape thrown negligently over the +shoulders, a large cross suspended from the neck by a necklace of wax +beads, the hair puffed slightly at the side, and arranged in a neat +coil at the back, and a large braid passed across the top of the head. +She should partially face the audience, the head slightly inclined +forward, eyes cast upward, hands clasped in front of the breast, and +lips partly open, the countenance expressing earnestness and meekness. +Light will be required at the front of the stage, and must be of +medium brilliancy. Music of a sacred and plaintive style.</p> + + + +<p> </p><p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p><p> </p> +<h2><a name="THE_SHOEMAKER_IN_LOVE" id="THE_SHOEMAKER_IN_LOVE"></a>THE SHOEMAKER IN LOVE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Love's feeling is more soft and sensible<br /> +Than are the tender horns of cockled snails.<br /> +<span style="margin-left: 15em"><span class="smcap">Shakspeare</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> is a comic tableau, and represents a pretty young lady at a +country shoemaker's shop, in the act of having her foot measured for a +pair of shoes. The lady stands in the centre of the stage, and rests +her unslippered foot on a small box, while the knight of the lapstone +and hammer is engaged in taking the measure of her foot. While +occupied in this duty, he<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> is suddenly smitten, either with her pretty +face or small foot, and instead of proceeding with his task, he stops +and looks up with a pleasant smile into the face of his fair customer. +In the background, peeping out from behind a screen, is the +shoemaker's wife, with a broomstick in her hand. The scenery consists +of a wooden screen, covered with cloth, extending half way across the +centre of the stage, on which is painted, in large letters, the name +"Ebenezer Heeltap." Shelves of boots, shoes, shoemaker's tools, and +other articles, should also be painted on the screen. In the +foreground place a shoemaker's bench, and a few shoes, partly worn +out, scattered on the floor. The young lady's costume consists of a +blue silk dress, crimson shawl, white bonnet, and sunshade. Position +is, standing at the side of the stage, showing a side view of the +body, one foot resting on a box, both hands grasping her dress, which +she draws up sufficiently high to display her foot and ankle, body +bent forward, and eyes fixed on her foot. The shoemaker kneels on the +floor opposite to her, holding a strap in one hand, the other resting +on the box, the head thrown back, and eyes cast upward to the face of +the lady. Costume consists of a suit of coarse material, sleeves +rolled up to the elbow, leather apron tied about the waist, paper cap +on the head, red or gray wig, and shaggy beard. The old lady's costume +consists of a cheap calico dress, white ruffled cap, white +handkerchief tied about the neck, and spectacles on the nose. The +light must come from the right side of the stage, and be of medium +brilliancy. Music of a secular order.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span></p> +<h2><a name="PRINCE_CHARLES_EDWARD_AFTER_THE_BATTLE_OF_CULLODEN" id="PRINCE_CHARLES_EDWARD_AFTER_THE_BATTLE_OF_CULLODEN"></a>PRINCE CHARLES EDWARD AFTER THE BATTLE OF CULLODEN.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Our bugles sung truce, for the night cloud had lower'd,<br /> +<span style="margin-left: 1em;">And the sentinel stars set their watch in the sky,</span><br /> +And thousands had sunk on the ground overpower'd,<br /> +<span style="margin-left: 1em;">The weary to sleep, and the wounded to die.</span><br /> +<span style="margin-left: 15em"><span class="smcap">Thomas Campbell</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and Six Male Figures.</h3> + + +<p><span class="smcap">This</span> tableau contains seven figures, and represents Prince Charles +Edward asleep in one of his hiding-places after the battle of +Culloden, protected by Flora Macdonald and Highland outlaws, who are +alarmed on their watch. Here rests, in fitful and affrighted slumbers, +the recent victor, Prince Charles Edward, a broken and despairing +fugitive, his gallant spirit dissipated, and his well-knit limbs +stained, and bruised, and soiled by urgent journeys and perilous +encounters. Beside him sits a sleepless guardian, the brave, the +beautiful, the heroic Flora Macdonald. A deer-hound, who had crouched +at her feet, has given an alarm of coming danger. The peril is +imminent, but the foe is invisible. What shall be done? Shall the +sleeper be awakened? His devoted protector, prompt as the occasion, +and wise beyond the emergency, counsels on the instant, silence, +caution, self-possession. Thereupon the Highlanders draw together, +and, restraining the frenzy of their first emotions, wait, with +desperate resolution, the first manifestation of coming danger.<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span></p> + +<p>The scenery accompanying this piece represents a cave in the rocks; in +the centre of the back wall is an opening, through which the Highland +outlaws are looking. The rocks can be imitated by covering wooden +frames with coarse brown paper, fastened on in a rumpled manner, and +shaded with light and dark brown paint, sprinkled over with small +particles of isinglass. These frames should reach to the ceiling of +the stage, and be constructed in sections four feet wide; they must be +arranged in the background in the form of a half circle, the floor and +sides of the stage covered with the same kind of scenery; a box six +feet long and two feet wide, covered with a robe, should be placed in +the centre of the cave, for the prince to recline upon. Spears, +shields and battle axes may be strewn about, and a small fire made to +smoulder in the foreground. This can be built in an iron furnace, +surrounded by rocks. The prince is costumed in a rich Highland suit. +The coat, which reaches to the knee, is made of Scotch plaid, trimmed +at the bottom of the skirt, sleeves, and on the front with black +velvet ornamented with gold; plaid breeches and hose, worn so as to +leave a naked space of five inches between the top of the hose and +bottom of the breeches; short-legged boots, with red tops, spurs; a +heavy plaid scarf, decorated with gold, worn across the shoulders; and +a flat Highland cap, with plume in front, which lies on the couch at +his side. The prince is lying on his side, lengthwise of the cave, in +position so that his face can be seen, his head resting on his left +arm, while his right<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span> hangs down to the floor of the cave, touching +his sword and pistols. Flora Macdonald is seated near the head of +Prince Charles. Her costume consists of a Highland frock reaching +below the knees, hose of scarlet plaid, a scarf about the breast made +of black cloth, and fringed on the side with buff, and across the +shoulders is worn a blue cape trimmed with velvet and gold; her hair +hangs loosely on the shoulders; the left hand gathers the cloak about +the breast, while the right is raised in front of the face, the +fingers extended, the head turned around to the group of Highlanders +at the back of the cave, to whom she is in the act of speaking. Fear +and caution are expressed on her countenance. The group of Highlanders +are at the right of the cave, in the extreme background, near the +opening. Their costume is similar to that of the prince, but of +cheaper material, and without decorations. Each has a sword and +musket. The first outlaw is looking out of the opening; he holds his +musket in front of him; at his side stoops another, with musket +trailing. Behind these two stands a third, with a long spear. Back of +him is one with a sword in his hand. He is in the act of speaking to +Flora Macdonald; his countenance denotes affright; his left hand +points to the opening in the cave; his body inclined backward +slightly. The fifth figure is kneeling in the foreground, holding a +hound by the collar. The countenances of the first three outlaws +should express caution. The faces of the gentlemen can be disguised by +false beards. The scene must be illuminated by a small quantity of +red<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span> fire burned at the front part of the ante-room, opposite the +group of outlaws. Thunder and the falling of rain imitated in the +ante-rooms will add to the effect. No music will be required.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_FLOWER_GIRL" id="THE_FLOWER_GIRL"></a>THE FLOWER GIRL.</h2> + +<h3><span class="smcap">Flowers</span>.</h3> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +They are the autographs of angels, penn'd<br /> +In Nature's green-leav'd book, in blended tints,<br /> +Borrowed from rainbows and the sunset skies,<br /> +And written every where—on plain and hill,<br /> +In lonely dells, 'mid crowded haunts of men;<br /> +On the broad prairies, where no eye save God's<br /> +May read their silent, sacred mysteries.<br /> +<br /> +Thank God for flowers! they gladden human hearts;<br /> +Seraphic breathings part their fragrant lips<br /> +With whisperings of Heaven.<br /> +<span style="margin-left: 12em"><span class="smcap">Albert Laighton.</span></span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">The</span> statue tableau of the Flower Girl is quite a pretty design, and is +produced in the following manner: A pedestal two feet in height, with +a circular shield at the top three feet in diameter, is placed in the +centre of the stage, around the sides and on the top of which are +arranged folds of white cloth. The young lady who personates the +flower girl is to stand in the centre of the shield, holding in front +of her a basket of flowers. She should be of good form and features. +Her costume consists of a pure white robe cut low<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span> at the top and long +at the bottom, sleeves short, the front of the waist ornamented with a +small bouquet, and a wreath of flowers or silver leaves around the +head, the hair puffed slightly at the side, and confined at the back +of the head with a band of silver, and allowed to hang in curls in the +neck; the basket filled to the top with flowers, held at arm's length, +and resting against the right side of the front of the body. The lady +faces the audience, inclines her body forward a very little, the hands +grasping the basket at each side, right foot placed twelve inches in +advance of the left, head inclined back and to the left, the eyes +directed forward, countenance pleasant. The crimson curtain, and the +two fairies used in the "<a href="#BUST_OF_PROSERPINE">Bust of Proserpine</a>," can be used in this +piece, the curtain placed above the statue, the fairies taking the +same position as in Proserpine. Illuminate the stage with the +footlights. Music soft and plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="PRESENTATION_OF_FIREMANS_TRUMPET" id="PRESENTATION_OF_FIREMANS_TRUMPET"></a>PRESENTATION OF FIREMAN'S TRUMPET.</h2> + +<p style="text-align: center">"Honor to whom honor is due."</p> + +<h3>Eleven Male and Eleven Female Figures.</h3> + + +<p><span class="smcap">This</span> interesting tableau contains twenty-two figures. The scene +represents a young and beautiful female presenting a silver trumpet to +a fireman. In the background of the stage there should be erected a +platform,<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span> from which a flight of steps extends down to the +foreground. On the right side of the steps are young ladies in +appropriate costumes, and at the left of the steps are the comrades of +the receiver of the trumpet. Standing in the centre of the platform is +a young lady, about to present the trumpet to the fireman, who is +kneeling at her feet. The platform must be four feet high and two feet +wide, the steps running nearly across the stage, and within three feet +of the footlights. At each side of the platform place a large vase of +flowers, and cover the steps with green bocking. The ladies' costume +consists of a white dress, with red sash around the waist, a wreath of +myrtle on the head, and a wreath of flowers held in the right hand. +The gentlemen's costume consists of a showy fireman's suit. The lady +who presents the trumpet should be costumed in a white dress decorated +with artificial flowers, a crown of the same on the head, and a belt +about the waist. The ladies and gentlemen at the sides of the stage +are all kneeling, and in such a position that a profile view is had of +the body. The ladies rest the left hand on the waist, and extend +towards the top of the platform the right hand, which holds the wreath +of flowers. Their attention is directed to the lady above, the +countenance expressing pleasure. The gentlemen form in a like manner, +and raise the right hand to the side of the face. The gentleman who +receives the trumpet kneels on the upper step, and in such a position +that a profile view will be had of the face; the left hand rests on +the waist, while the right is extended to take<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span> the trumpet; the head +is thrown back slightly, the eyes fixed on those of the lady, who +stands in the centre of the platform. Her body is inclined forward, +eyes fixed on the face of the fireman, right hand extended and holding +the trumpet, her countenance beaming with smiles. Light from the foot +and left side of the stage will be required, which should be very +brilliant. Music of an operatic character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_PAINTERS_STUDIO" id="THE_PAINTERS_STUDIO"></a>THE PAINTER'S STUDIO.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +The golden light into the painter's room<br /> +Stream'd richly, and the hidden colors stole<br /> +From the dark pictures radiantly forth,<br /> +And in the soft and dewy atmosphere<br /> +Like forms and landscapes magical they lay.<br /> +The walls were hung with armor, and about<br /> +In the dim corners stood the sculptured forms<br /> +Of Cytheris, and Dian, and stern Jove;<br /> +And from the casement soberly away,<br /> +Fell the grotesque long shadows, full and true,<br /> +And, like a veil of filmy mellowness,<br /> +The lint-specks floated in the twilight air.<br /> +<span style="margin-left: 14em"><span class="smcap">Willis</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">A representation</span> of a painter's studio. Scattered about the room are +works of art, fine paintings, portraits, statuary, vases of ancient +form, and flowers. A guitar and flute hang from the wall, and at the +left of the stage is a large picture, with a crimson curtain partially +drawn across it. The painter's easel stands at the right of the stage; +on it is an unfinished por<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span>trait of a lady. A small table, sofa, and +three ancient chairs complete the furniture of the room. The artist is +seated in one of the chairs, engaged in painting the lady's portrait. +The lady is seated in a chair in the centre of the stage, her feet +resting on a small cushion, right elbow placed on the table which is +by her side, and eyes fixed on a book which she holds in her left +hand. A few showy bound books and a small bust may be placed on the +table. The lady's costume consists of a pink or blue silk dress, cut +low at the neck, sleeves of usual length, hair done up to suit the +performer's taste. Her position is, facing the audience. The artist's +costume consists of a rich dressing gown, a red velvet cap with a gold +tassel, light pants and vest. His position is such that a side view is +had of the features, the left hand holding a pallet and brushes, the +right grasping a small brush, which he is in the act of using. His +eyes are fixed on the picture, countenance expressing earnestness. +Illuminate the background of the scene with a small quantity of red +fire, the foreground with light of medium brilliancy, both of which +should come from the right side of the stage. Music soft and +plaintive.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span></p> +<h2><a name="PORTRAIT_OF_GABRIELLE" id="PORTRAIT_OF_GABRIELLE"></a>PORTRAIT OF GABRIELLE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +There's nothing ill can dwell in such a temple:<br /> +If the ill spirit have so fair a house,<br /> +Good things will strive to dwell with 't.<br /> +<span style="margin-left: 14em"><span class="smcap">Tempest</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female Figure.</h3> + + +<p><span class="smcap">This</span> tableau is suggested by the beautiful picture by De la Roche, one +of the most eminent of French painters. The best portrait of Napoleon +I. was painted by this artist. The subject of the painter is +Gabrielle. The person who represents this portrait should have fine +Grecian features, small figure, and hair that will curl profusely. The +costume consists of a pink brocade cut low at the top, open in the +form of a square in front, and trimmed with white lace and black +velvet. The hair must be parted in the centre of the forehead, puffed +out at the side, and arranged in short curls in the neck. A band of +velvet one inch wide in the middle, and tapered to a point at each +end, with a silver star studded with spangles on the widest part, +should be placed around the head. The frame, behind which the lady +takes her seat, is constructed as follows: Out of boards make a solid +frame, four feet long and three feet wide, with a cornice on the +outside. From the centre, cut out an oval three feet long and two feet +wide; cover the frame with black cambric or velvet, and ornament the +cornice and edge of the oval with gold paper; place the frame at the +back of the stage on<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span> a platform or box three feet high, three feet +wide, and two feet deep; fasten the frame by means of hooks or screws +to the top of the box, flush with the front; attach a heavy crimson +cord and tassel to the top, and pass it over a brass hook screwed to +the ceiling. The lady takes her seat behind the frame, in such a +position as will display a partial side view of the head and chest in +the centre of the oval, the eyes cast down, the countenance expressing +sorrow. After the lady has taken her position, the box must be +entirely covered with black cambric, and a curtain of the same +material should be fastened to the top of the frame, and allowed to +trail back of the lady to the floor. With a medium quantity of light +from the front of the stage, the tableau at a distance will resemble a +painted portrait. A large variety of pictures can be produced in this +manner, and at little expense. Music for this scene should be of a +sacred character, and quite soft.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span></p> +<h2><a name="THE_ELOPEMENT" id="THE_ELOPEMENT"></a>THE ELOPEMENT.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Dear art thou to the lover, thou sweet light,<br /> +Fair, fleeting sister of the mournful night!<br /> +As in impatient hope he stands apart,<br /> +Companioned only by his beating heart,<br /> +And with an eager fancy oft beholds<br /> +The vision of a white robe's fluttering folds<br /> +Flit through the grove, and gain the open mead,<br /> +True to the hour by loving hearts agreed!<br /> +At length she comes. The evening's holy grace<br /> +Mellows the glory of her radiant face;<br /> +The curtain of that daylight, faint and pale,<br /> +Hangs round her like the shading of a veil;<br /> +As turning with a bashful timid thought,<br /> +From the dear welcome she herself hath sought,<br /> +Her shadowy profile drawn against the sky,<br /> +Cheats while it charms his fond adoring eye.<br /> +<span style="margin-left: 14em"><span class="smcap">Mrs. Norton</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Male and Two Female Figures.</h3> + + +<p><span class="smcap">This</span> is a very pretty tableau, in two parts. The first, represents a +young gentleman, standing at the foot of a rope ladder which reaches +to the railing of a balcony on the front of a dwelling house; leaning +over the railing is a young and lovely maiden, who is about to make +her descent on the ladder to her lover below. The gentleman grasps the +rope with the left hand, and holds the right upward in the act of +beckoning to the lady. His position is such that a side view is had of +the body; his head thrown back, eyes directed to the balcony, +countenance expressing pleasure and entreaty. His costume consists of +a dark coat, trimmed around the edge with purple lace or gimp, light +breeches, black<span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span> hose, colored vest, low shoes, knee and shoe buckles, +red sash about the waist, black felt hat with plume, velvet cape on +the left shoulder, lace collar and wristbands, ruffled bosom, and +mustache. The lady is attired in a bright-colored silk robe, riding +hat, and red scarf. The balcony can be made of boards, and covered +with fresco paper, representing two pillars, a cornice, and a railing +above. The second scene, which follows immediately, represents the +lady and her lover just about to step into the ante-room, opposite the +balcony. The gentleman has his right arm around the waist of the lady, +the left extended towards the balcony, face turned in that direction, +his back to the audience, the countenance expressing caution. The lady +places her left hand on the gentleman's shoulder, and the right on her +breast; her eyes are directed to the ante-room. A front view is had of +her form. The head of the gentleman turned to the balcony will give a +partial side view of the face. The young lady's mother is seen on the +balcony, looking out into the darkness, and holding a crutch before +her, as if in the act of striking. Her costume consists of a white +robe and nightcap. The light for the first scene should be of medium +brightness, and come from the ante-room opposite the balcony. In the +second scene, it will be necessary to produce the light on the other +side of the stage, which will throw the balcony in the shade. The low +rumbling of thunder, and the noise of falling rain, produced in the +ante-room, will add to the effect of the scene.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span></p> +<h2><a name="FIREMANS_COAT_OF_ARMS" id="FIREMANS_COAT_OF_ARMS"></a>FIREMAN'S COAT OF ARMS.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +By Jove! I'll have a fine establishment,<br /> +And keep a coat-of-arms!<br /> +<span style="margin-left: 10em"><span class="smcap">Muggins</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female Figures.</h3> + + +<p><span class="smcap">This</span> tableau represents an oval shield richly ornamented with gold, on +which are fastened engine pipes, colored lanterns, trumpets, axes, +fire hooks, buckets, hats, &c. These radiate from the centre, and are +surrounded by a wreath of gold stars, five inches in diameter. It +rests on a pedestal, and is supported on each side by female figures. +The shield is seven feet high and four feet wide, the surface covered +with blue cambric, with a border of crimson five inches wide, shaded +with a band of gold one inch in width. The pedestal is six feet long, +one foot high, and three feet wide, the surface covered with crimson +cloth, with a black and gold border six inches wide, and an +appropriate motto on the front in letters of gold. The young ladies +who support the shield must be of equal height, good figure and +features. Their costume consists of a white robe cut low in the neck, +skirt made to trail on the pedestal, red or black velvet waist, +ornamented with gilt buttons and lace, and fireman's hat on the head. +Their position is at the sides of the shield, facing the audience; one +arm is laid at full length on the top of the oval, the other hangs at +the side, the hand grasping a small wreath of myrtle. The head should +be slightly<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span> turned towards the shield, eyes looking forward, +countenance calm. The light for the tableau must be of medium +brilliancy, and come from the front of the stage. Music soft.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<h2><a name="THE_SOLDIERS_FAREWELL" id="THE_SOLDIERS_FAREWELL"></a>THE SOLDIER'S FAREWELL.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +I could not love thee, dear, so much,<br /> +Loved I not honor more.<br /> +<span style="margin-left: 9em"><span class="smcap">Sir Richard Lovelace</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female and Three Male Figures.</h3> + + +<p><span class="smcap">A representation</span> of a young recruit, about to leave his country home +for the first time to join the army. In the background is to be seen a +cottage, with trellised vines running over the door. The young soldier +is standing in front of the cottage, bidding farewell to his young +bride, who stands at his side. They both face the audience. She has +her right arm around his neck, and is looking into his face. The +soldier rests his left arm on her shoulder, and points to the side of +the stage with the right hand. His eyes are fixed on the face of his +bride. Near the doorstep stands a gray-haired old man, the father of +the soldier; he faces the audience, and is holding a musket, the lock +of which he is examining. At the left of the soldier stands a young +maiden, in a position that exhibits a side view of the body. She is +looking to the two figures in front of her, and holds a sword and +belt. In the doorway is seen the mother of the soldier, holding a +handkerchief<span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span> to her eyes. A little boy stands at the right of the +door, with a tin sword fastened about his waist, a paper cap on his +head, and is engaged in blowing on a tin trumpet. The cottage can be +framed of wood, covered with cloth, and painted in showy colors; body +of the house light brown, frames, cornice, and door green, roof red, +and window panes black. The cottage stands in the centre of the stage, +with the space on the sides filled up with a small white fence and two +spruce trees. The vines over the door can be painted on the house, or +made of evergreens and flowers, and tacked to the frame. The soldier's +costume consists of a continental uniform—blue coat, faced with buff, +buff vest and breeches, white hose, knee and shoe buckles, low shoes, +white breast belts, and chapeau. The wife is costumed in a blue dress, +cut very short, and high at the top, white apron, white hose, small +handkerchief tied about the neck, hair arranged to suit the taste of +the performer. The young lady should be costumed in a white dress, +green apron, and straw hat, hair hanging in curls, and ornamented with +red ribbons. The old gentleman's costume consists of a long gray or +drab coat, light vest and breeches, black hose, knee and shoe buckles, +low shoes, ruffled bosom, and chapeau. The aged matron is costumed in +a light brown dress, calico apron, white cap, black collar. The boy +can be attired in any costume that has a variety of colors. Cover the +floor of the stage with green bocking, and light the tableau from the +left side. A tenor drum should be beaten in the ante-room while the +curtain is raised.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span></p> +<h2><a name="IKE_PARTINGTONS_GHOST" id="IKE_PARTINGTONS_GHOST"></a>IKE PARTINGTON'S GHOST.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Be thou a spirit of health or goblin damned,<br /> +Bringing with thee airs from heaven or blasts from hell,<br /> +Be thy intents wicked or charitable?<br /> +Thou com'st in such a questionable shape<br /> +That I will speak to thee.<br /> +<span style="margin-left: 13em"><span class="smcap">Shakspeare</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>One Female and One Male Figure.</h3> + + +<p><span class="smcap">This</span> tableau represents Ike seated on the top of a pump in the front +yard of his mother's cottage, while the old lady is seen in the +background, peeping over the fence with looks of horror and +astonishment. The person who represents Ike should be of medium height +and youthful looking. Costume consists of an old military coat and +hat, large sword attached to a belt about the waist, light pants with +red stripe, and large boots. The old lady is dressed in a cheap calico +dress and white cap. The pump can be made of wood, covered with light +brown cambric, the handle painted black. A rough representation of a +house should be painted on cloth, and placed at the rear of the stage. +A few feet from the house, erect a low white slat fence, with a gate +in the centre; a wheelbarrow, shovel, hoe, broom, and water bucket are +scattered about the stage. Ike sits on the pump, and faces the +audience. His head is drawn down within the coat collar, hands placed +on his knees, and eyes rolled up into his head. Light the stage very +little, and produce discordant sounds on a melodeon in the ante-room.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span></p> +<h2><a name="THE_PEASANT_FAMILY_IN_REPOSE" id="THE_PEASANT_FAMILY_IN_REPOSE"></a>THE PEASANT FAMILY IN REPOSE.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +Let not Ambition mock their useful toil,<br /> +<span style="margin-left: 1em;">Their homely joys, and destiny obscure,</span><br /> +Nor Grandeur hear, with a disdainful smile,<br /> +<span style="margin-left: 1em;">The short and simple annals of the poor.</span><br /> +<span style="margin-left: 15em"><span class="smcap">Gray</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Two Female and Three Male Figures.</h3> + + +<p><span class="smcap">This</span> scene represents a group of peasants resting on their journey. +The party comprises an aged couple and three children. They are seated +on a grassy mound at the side of the road. The children lie in the +foreground of the mound in various positions, and are asleep. The old +gentleman is seated on the back side of the mound, which is higher +than the front, and in such a position that a side view is had of the +body. His head rests on his left hand, the elbow resting on the knee; +the right hand holds a cane; countenance calm. Costume consists of a +long, loose blue frock, brown pants, black beaver hat, considerably +worn and out of shape, white hair and beard. At the side of the old +man, on the lower part of the mound, is seated the old lady. She faces +the audience, and leans her head on her right hand, the elbow placed +on the knee, eyes directed to the children, countenance expressing +deep thought. Costume consists of a brown dress, white handkerchief +tied about the neck, and a hood on the head. In front of these figures +is a young girl, her back resting against the highest part of the +mound,<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span> the head inclined to one side, one arm placed across the form +of a boy at her side, her eyes closed. She is dressed in a white robe, +blue apron, and stout shoes, head uncovered. A small boy reclines at +her side, and rests his head on her lap. Costume consists of a red +frock, trimmed with white. In front of these two figures is a large +boy. He lies on the grass, and rests his head on his arm; his eyes are +closed, countenance calm. He is costumed in a dark coat, light pants, +white collar, thick boots, and felt hat. The mound on which the +tableau is formed can be constructed of boxes, and covered with green +bocking. It should be six feet in diameter, varying from one to two +feet in height, and placed in the centre of the stage. The scene will +require but a small quantity of light, which must come from the right +side of the stage. Music soft and of a plaintive character.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span></p> +<h2><a name="THE_SOLDIERS_RETURN" id="THE_SOLDIERS_RETURN"></a>THE SOLDIER'S RETURN.</h2> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tbody> +<tr> +<td> +O that 'twere possible,<br /> +<span style="margin-left: 1em;">After long grief and pain,</span><br /> +To find the arms of my true love<br /> +<span style="margin-left: 1em;">Round me once again.</span><br /> +<br /> +<span style="margin-left: 4em;">* * * * *</span><br /> +<br /> +We stood tranced in long embraces<br /> +Mixed with kisses sweeter, sweeter<br /> +Than any thing on earth.<br /> +<span style="margin-left: 12em"><span class="smcap">Maud</span>.</span><br /> +</td> +</tr> +</tbody> +</table> + +<h3>Three Female and Four Male Figures.</h3> + + +<p><span class="smcap">This</span> interesting tableau is designed to appear in connection with the +soldier's farewell, and is represented by seven persons. The cottage +and other scenery described in the "<a href="#THE_SOLDIERS_FAREWELL">Soldier's Farewell</a>" is used in +this piece, and is to be placed in the same position. At the left of +the stage, near the front, stands a young gentleman dressed as a +hackman. He carries a trunk on his shoulder, and a valise in his left +hand; his position is such that a side view is had of the features; +his eyes cast down to the floor, body slightly bent forward; a few +paces in front of him stands the young soldier, with arms outstretched +to receive his wife, who is standing in front of the doorstep, in the +act of running towards him. The soldier shows a side view of his form, +his feet extended apart, body bent forward, eyes fixed on his wife, +countenance smiling. The wife faces the audience; her arms are raised, +eyes directed to those of her husband, countenance pleasant. The<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span> +father and mother of the soldier are seated in large chairs at the +sides of the door. A young man is seen climbing over the fence. He +holds a rake in his hand, and is looking at the soldier. A young lady +is on the doorstep in the position of one running, her eyes fixed on +the group at the front of the stage, countenance expressing surprise. +Costume similar to the one described in the Farewell. The boy's +costume consists of blue overalls, white shirt, and straw hat. The old +lady and gentleman wear the suits described in the first scene. The +old gentleman has a pair of crutches by his side, and is smoking a +pipe. The old lady wears spectacles, and holds a newspaper in the left +hand, and points to the soldier with the right; her eyes are turned to +her husband, countenance expressing surprise. The soldier's wife has +on a white dress with a velvet waist. The soldier is costumed in the +suit that we described in the Farewell, with the addition of a red +sash about the waist, gold epaulets on the shoulders, and a showy +plume in his hat. The hackman's costume consists of a rubber coat and +cap, long boots, and light pants. The scene requires a medium light, +which should come from the side opposite the soldier. Music of a +cheerful and lively style.</p> + + + +<p> </p> +<p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p> +<p> </p> +<p><span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span></p> +<h1><a name="NOTES_AND_EXPLANATIONS" id="NOTES_AND_EXPLANATIONS"></a>NOTES AND EXPLANATIONS.</h1> +<p> </p> + +<h3>FOR PREPARING A BRILLIANT RED FIRE.</h3> + +<p>Weigh five ounces of dry nitrate of strontia, one ounce and a half of +finely-powdered sulphur, five drams of chlorate of potash, and four +drams of sulphuret of antimony. Powder the sulphuret of antimony and +chlorate of potash separately in a mortar, and mix them on paper; +after which add them to the other ingredients, previously powdered and +mixed. For use, mix with a portion of the powder a small quantity of +spirits of wine, in a tin pan resembling a cheese-toaster; light the +mixture, and it will shed a rich crimson hue. When the fire burns dim +and badly, a very small quantity of finely-powdered charcoal or +lamp-black will revive it. This light is used in finale scenes, where +the subject is heroic, national, or martial.</p> + + +<h3>GREEN FIRE.</h3> + +<p>A beautiful green fire may be thus made: Take of flour of sulphur, +thirteen parts; nitrate of baryta, seventy-seven; oxy-muriate of +potassa, five; metallic arsenic, two; and charcoal, three. Let the +nitrate of baryta be well dried and powdered; then add to it the other +ingredients, all finely pulverized, and exceedingly well mixed and +rubbed together. Place a portion of the composition on a small tin pan +having a polished reflector fitted to one side, and set fire to it, +when a splendid green illumination will be the result. By adding a +little calamine, it will burn more slowly.<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span></p> + + +<h3>PURPLE FIRE.</h3> + +<p>A purple fire is produced by dissolving chloride of lithium in spirits +of wine, and when lighted it will burn with a purple flame.</p> + + +<h3>WHITISH-BLUE FIRE.</h3> + +<p>Take of nitrate of baryta, twenty-seven parts, by weight; of sulphur, +thirteen; of chloride of potassa, five; of realgar, two; and of +charcoal three parts. Incorporate them completely, and when inflamed +they will emit a whitish-blue light, accompanied by much smoke. This +light is much used in fairy scenes.</p> + + +<h3>YELLOW FIRE.</h3> + +<p>Mix some common salt with spirits of wine, in a metal cup, and set it +upon a wire frame, over a spirit lamp. When the cup becomes heated, +and the spirits of wine ignited, the other lights on the stage should +be extinguished, and that of the spirit lamp shaded in some way. The +result will be, that the whole group, faces, dresses, will be of a +strong yellow tint.</p> + + +<h3>COLORED LIGHTS.</h3> + +<p>Colored lights can be produced by filling globes with colored liquid, +and placing them in front of the lamps, like those we see in the +windows of the chemists' shops.<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span></p> + + +<h3>TO PRODUCE A MISTY OR VANISHING APPEARANCE TO A TABLEAU.</h3> + +<p>Several curtains of thin gauze, or common mosquito netting, made to +let down from rollers, one after another, between the audience and the +scene, will give a beautiful, misty appearance; and if a sufficient +number of curtains be unrolled, the tableau appears to vanish +entirely, allowing room for a change of scenery. Many scenes should +have one thickness of muslin before them, which serves to blend the +colors, and gives a finish to the picture. The gauze must be carefully +managed, as the disclosure of a ragged edge will dispel all the +illusion.</p> + + +<h3>TO PRODUCE SOUNDS LIKE FALLING RAIN.</h3> + +<p>Procure a box six feet long, one foot wide, and one deep. Cover the +bottom with small pegs of wood one inch high, and inserted two inches +apart. Place a quart of dried peas at one end of the box; then raise +that end quite slowly, allowing the peas to roll gradually down to the +lower part of the box. The sound they produce in striking against the +pegs imitates to perfection the falling of rain. The sound can be +continued for any length of time by raising alternately each end of +the box.</p> + + +<h3>TO PRODUCE SOUNDS LIKE DISTANT FIRING OF ARTILLERY.</h3> + +<p>Suspend a large sheet of Russia iron by means of a rope, and strike it +in the centre with a heavy drumstick. At a short distance, the sound +resembles the booming of heavy artillery.<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span></p> + + +<h3>TO PRODUCE SOUND TO RESEMBLE THUNDER.</h3> + +<p>Hold a large sheet of Russia iron at one end and commence shaking it +very slowly. It will give out a low, rumbling sound, which can be +gradually increased in power. Graduate the sounds from heavy peals to +the first starting point, then discontinue the shaking for a few +seconds, and repeat the variety of changes as long as is necessary.</p> + + +<h3>TO IMITATE THE FIRE ALARM BELL.</h3> + +<p>Suspend to a wooden frame two pieces of steel two inches square and +three feet long. Select pieces that will give out different tones, and +strike them alternately with an iron hammer. They will sound much +clearer and louder than any small bells.</p> + + +<h3>DISTANT FIRING OF MUSKETRY.</h3> + +<p>Sounds similar to a distant discharge of musketry can be produced in a +number of ways. The tenor drum can be made to give out sounds to +resemble volleys of musketry. Leaden shot dropped into a large tin pan +will produce a good imitation. A fireman's rattle can be also used for +the same purpose.</p> + + +<h3>MAGIC LIGHTNING.</h3> + +<p>Mix gunpowder with a small quantity of water and gum arabic, and with +a brush place it on a screen in the background in an irregular manner, +resembling flashes of lightning. The screen being previously painted +to resemble thunder clouds, let there be a number of<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span> distinct flashes +painted, the ends of which should be near the ante-room. At intervals +of thirty seconds, touch a lighted fusee to one of these paintings, +which will burn quickly, illuminate the clouds, and resemble lightning +flashes.</p> + + +<h3>TO STAIN THE FLESH A COPPER COLOR.</h3> + +<p>To stain the flesh a copper color, as is necessary in representing +Indian characters, use Spanish brown, mixed with oil, and rub in +thoroughly.</p> + + +<h3>TO MAKE WRINKLES.</h3> + +<p>Use India ink, moistened with water, softening the lines with chalk, +if necessary. Moustaches and whiskers may also be made with the same +material.</p> + + +<h3>FLESH WOUNDS, &c.</h3> + +<p>Flesh wounds and blood may be represented by the use of rose pink +mixed with water.</p> + + +<h3>THEATRICAL INCANTATIONS.</h3> + +<p>Dissolve crystals of nitrate of copper in spirits of wine. Light the +solution, and it will burn with a beautiful emerald green flame. +Pieces of sponge soaked in this spirit, lighted and suspended by fine +wires over the stage, produces the lambent green flames now so common +in incantation scenes; strips of flannel saturated with it, and +applied round copper swords, tridents, &c., produce, when lighted, the +flaming swords and fire forks brandished by the demons in such scenes; +indeed, the chief consumption of nitrate of copper is for these +purposes.<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span></p> + + +<h3>LIGHTS AND SHADES.</h3> + +<p>If you wish to throw the background of a tableau in shade, intervene +screens between the lights at the sides of the stage and that part of +the picture you desire to have dark; <i>vice versa</i> with the foreground. +Particular points or characters can be more brilliantly lighted than +others by placing at the side of the stage a strong light within a +large box, open at one side, and lined with bright reflectors. Light +of different colors can be thrown successively on a picture, and made +to blend one with another, by placing the various colored fires in +boxes three feet square, open at one side, and lined with bright +reflectors; these, arranged at the side of the stage on pivots, can be +turned on, one after another, so as to throw their light on the stage. +Before one light has entirely vanished from the scene, a different +color should gradually take its place.</p> + + + +<p> </p><p style="text-align: center"><img src="images/line.png" width="322" height="30" alt="line" title="line" /></p><p> </p> +<h2>ART RECREATIONS:</h2> + +<h4>BEING</h4> + +<h3>A COMPLETE GUIDE TO</h3> + +<p style="text-align: center"> +PENCIL DRAWING,<br /> +OIL PAINTING,<br /> +WATER-COLOR PAINTING,<br /> +CRAYON DRAWING AND PAINTING,<br /> +PAINTING ON GROUND GLASS,<br /> +GRECIAN PAINTING,<br /> +ANTIQUE PAINTING,<br /> +ORIENTAL PAINTING,<br /> +SIGN PAINTING,<br /> +THEOREM PAINTING,<br /> +MOSS WORK,<br /> +PAPIER MACHE,<br /> +CONE WORK,<br /> +FEATHER FLOWERS,<br /> +POTICHOMANIE,<br /> +LEATHER WORK,<br /> +HAIR WORK,<br /> +TAXIDERMY,<br /> +GILDING AND BRONZING,<br /> +PLASTER WORK,<br /> +WAX WORK,<br /> +SHELL WORK,<br /> +MAGIC LANTERN,<br /> +PAPER FLOWERS,<br /> +IMITATION OF PEARL,<br /> +THE AQUARIUM,<br /> +SEALING-WAX PAINTING,<br /> +PANORAMA PAINTING,<br /> +COLORING PHOTOGRAPHS,<br /> +ENAMEL PAINTING, ETC.<br /> +</p> + +<h4>BY</h4> + +<h3>MADAME L.B. URBINO, PROF. HENRY DAY, AND OTHERS.</h3> + +<h3>WITH VALUABLE RECEIPTS FOR PREPARING MATERIALS.</h3> + +<h2>Splendidly Illustrated.</h2> + +<p style="text-align: center">BOSTON:</p> + +<p style="text-align: center">J. E. TILTON AND COMPANY.</p> + +<p style="text-align: center">1860.</p> + +<hr style="width: 35%;" /> + +<p style="text-align: center">Price of this valuable work is but $1.50.</p> + +<p style="text-align: center">Sold by all booksellers, and sent by mail postpaid.</p> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK HOME PASTIMES; OR TABLEAUX VIVANTS***</p> +<p>******* This file should be named 19724-h.txt or 19724-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/1/9/7/2/19724">http://www.gutenberg.org/1/9/7/2/19724</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Head + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: Home Pastimes; or Tableaux Vivants + + +Author: James H. Head + + + +Release Date: November 6, 2006 [eBook #19724] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK HOME PASTIMES; OR TABLEAUX +VIVANTS*** + + +E-text prepared by Barbara Tozier, Bill Tozier, Linda Cantoni, and the +Project Gutenberg Online Distributed Proofreading Team +(https://www.pgdp.net/) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 19724-h.htm or 19724-h.zip: + (https://www.gutenberg.org/dirs/1/9/7/2/19724/19724-h/19724-h.htm) + or + (https://www.gutenberg.org/dirs/1/9/7/2/19724/19724-h.zip) + + + + + +HOME PASTIMES; OR TABLEAUX VIVANTS. + +by + +J. H. HEAD. + + + + + + + +[Illustration: TABLEAUX VIVANTS.] + + + +Boston: +J. E. Tilton And Company. +1860. + +Entered, according to Act of Congress, in the year 1859, by +James H. Head, +In the Clerk's Office of the District Court of the District of +Massachusetts. + +Electrotyped at the +Boston Stereotype Foundry. + + + + +TO + +SAMUEL P. LONG, ESQ., + +AS AN HUMBLE TRIBUTE OF ADMIRATION FOR HIS ARTISTIC AND LITERARY +USEFULNESS, + +AND TO THOSE FRIENDS WHO HAVE PARTICIPATED WITH ME IN MANY OF THESE +SCENES, + +This Work + +IS RESPECTFULLY INSCRIBED, + +BY THE AUTHOR. + + + + +PREFACE. + + +A sincere desire to extend the influence of a pure and ornamental art, +to promote and extend a perfect system of what is really beautiful in +the forming of the Tableau, to awaken in the minds of many a quicker +sense of the grace and elegance which familiar objects are capable of +affording, and to encourage all to cherish a taste for the beautiful, +have influenced the author to issue this volume. + +Art should not be confined entirely to the studio of the artist. Her +presence should embellish every home; her spirit should animate every +mind. She is unwearied in her best and brightest attributes, +restricting her influence to no peculiar spot of earth, nor conforming +her claims to any one sphere. Beauty of form is still beautiful, be it +found in the humble cottage or in the magnificent palace. + +A perfect picture will be recognized and appreciated whenever +displayed, or by whomsoever produced. In fine, nature is still nature, +and the germ of poetical feeling is similar in its manifestation +wherever it may chance to be shown. + +The delineation of the natural and poetical, its realization upon +canvas, or upon paper, or in the living picture, tends to improve the +mind, assimilates the real with the ideal, conforms taste to the +noblest standard, overflows the heart with pure and holy thoughts, and +adorns the exterior form with graces surpassing those of the Muses. +The producing and forming of _tableaux vivants_ have been the author's +study for the past ten years. The choicest gems which adorn this +volume are mostly imaginary scenes; others are selected from the +poets; and a few are suggested by rare engravings. + +The author, in his endeavors to impart and explain many things, has +been obliged to sacrifice show and style upon the altar of simplicity; +at least, such has been his constant aim. For all imperfections and +defects he invokes the charity of a candid public. If this volume +should in any degree satisfy a want that has been long felt, or add +one devotee to the shrine of beauty, the author will consider his +endeavors amply repaid. + +JAMES H. HEAD. + +PORTSMOUTH, September 2, 1859. + + + + +CONTENTS. + + + PAGE + +INTRODUCTION, 13 +The Wreath of Beauty, 25 +The Marble Maiden, 27 +Venus rising from the Sea, 31 +Reception of Queen Victoria at Cherbourg, 32 +Scene from the Opera of "Sappho," 38 +Flora and the Fairies, 42 +The Spectre Bride, 45 +Music, Painting, and Sculpture, 52 +Bust of Proserpine, 53 +Napoleon and his Old Guard at Waterloo, 56 +The Dancing Girl in Repose, 60 +Washington's Entrance into Portsmouth, 62 +Fame, 67 +Faith, 70 +Spirit of Religion, 72 +The Poet and the Goddess of Poetry, 74 +Death of Edith, 77 +Abou Ben Adhem and the Angel, 80 +Hiawatha and his Bride's Arrival Home, 83 +David playing before Saul, 87 +Liberty, 89 +Paganism and Christianity, 91 +Second Scene of Paganism and Christianity, 94 +The Fairies' Dance, 96 +Bust of Prayer, 99 +Morning welcomed by the Stars, 100 +The Statue Vase, 104 +Spirit of Chivalry, 106 +Haidee and Don Juan in the Cave, 111 +Poverty, 114 +Death of Minnehaha, 116 +The Mother's Last Prayer, 120 +Louis XVI. and his Family, 122 +Dressing the Bride, 127 +Hope, Faith, Charity, and Love, 130 +The Death of General Warren, 132 +Portrait of Prince Albert, 135 +The Return of the Prodigal Son, 136 +Single Blessedness, 138 +Marriage Bliss, 140 +The Sleeping Maiden, 141 +Night and Day, 144 +The Firemen in Repose, 145 +The Alarm, 146 +At the Fire, 147 +Ethan Allen at Ticonderoga, 149 +The Gypsy Fortune Teller, 151 +Peace, 152 +War, 155 +The Rescue, 157 +Solomon's Judgment, 159 +The Bridal Prayer, 162 +The Guitar Lesson, 163 +Roger Williams preaching to the Indians, 164 +Crossing the Line, 167 +The Wedding, 169 +Hiawatha sailing, 171 +The Village Stile, 173 +Florence Nightingale in the Crimea, 175 +The Fireman's Statue, 177 +Joan of Arc at the Siege of Orleans, 178 +The Parting, 183 +Hagar and Ishmael in the Wilderness, 185 +The Fight for the Standard, 187 +Jonathan's Visit to his City Cousins, 189 +The Three Graces, 190 +The Guardian Angel, 191 +The Pyramid of Beauty, 193 +Coronation of Queen Victoria, 195 +The Brigands, 198 +Death of Sir John Moore, 200 +The Fireman's Rescue, 203 +Catharine Douglass barring the Door with her Arm, 205 +The Masquerade Ball, 207 +Irish Courtship, 209 +The Fairies' Offering to the Queen of May, 210 +Belshazzar's Feast, 213 +The Valentine, 217 +The Fairies' Rainbow Bridge, 219 +Little Eva and Uncle Tom, 222 +Love triumphant, 224 +The Banditti, 226 +Portrait of Louis Napoleon, 229 +The Return from the Vintage, 230 +Lovers Going to the Well, 232 +The Italian Flower Vase, 234 +Portrait of the Madonna, 236 +The Shoemaker in Love, 237 +Prince Charles Edward after the Battle of Culloden, 239 +The Flower Girl, 242 +Presentation of Fireman's Trumpet, 243 +The Painter's Studio, 245 +Portrait of Gabrielle, 247 +The Elopement, 249 +Fireman's Coat of Arms, 251 +The Soldier's Farewell, 252 +Ike Partington's Ghost, 254 +The Peasant Family in Repose, 255 +The Soldier's Return, 257 + + * * * * * + +NOTES AND EXPLANATIONS, 259-264 + + + + +INTRODUCTION. + + +The Tableaux Vivants may be new to many of our readers, although they +have been produced and have been quite popular in Europe, and to some +extent in this country. For public or private entertainment, there is +nothing which is so interesting and instructive as the tableau. The +person most fitted to take charge of a tableau-company is one who is +expert at drawing and painting: any one who can paint a fine picture +can produce a good tableau. + +The individual who makes all of the necessary arrangements for a +series of tableaux is generally called the _stage manager_. His first +work is to select a programme of tableaux; and in this list there +should be a variety of designs, comprising the grave, the comic, and +the beautiful. A manuscript should be used in which to write the names +of the tableaux, directions for forming each, the names of the +performers, the parts which they personate, the styles of the +costumes, and the quantity and kind of scenery and furniture used in +each design. + +The following diagram will illustrate the manner in which the +manuscript should be arranged:-- + ++-------------------------------------------------------------------+ +| NAME OF TABLEAU. | NO. ____ | +--------------------------------------------------------------------| +|Directions for forming|Ladies.|Personation.|Gentlemen.|Personation.| +| costumes, &c. | | | | | +| | | | | | +| | | | | | +| | | | | | +| |-------|------------|----------|------------| +| |Scenery, furniture, &c. | +| | | +| | | ++-------------------------------------------------------------------+ + +After the manuscript is completed, it will be necessary to select the +company and assign the parts. The number of persons required in a +first-class tableau-company is forty. It will be necessary to have +that number to produce large pictures; fifteen or twenty-five persons +will be sufficient for smaller representations. In forming the +company, the following persons should be selected: six young ladies, +of good form and features, varying in styles and sizes; six young +gentlemen, of good figure, and of various heights; two small misses; +two small lads; two gentlemen for stage assistants; one painter, one +joiner, one lady's wardrobe attendant, one gentleman's wardrobe +attendant, one curtain attendant, one announcer. If a large piece is +to be performed, such as the Reception of Queen Victoria, it will be +necessary to have fifteen or twenty young gentlemen, varying from +four to five feet in height, to personate military and other figures. +Each person should have written instructions in regard to the scenes +in which they take a part, giving full descriptions of the costumes, +position, expression, and character which they are to personate; after +which they should meet in a large room, and go through a private +rehearsal. It will be necessary, previously to appearing before the +public, to have three rehearsals--two private ones, and one dress +rehearsal on the stage. It will be well to have a few friends witness +the dress rehearsal, which will give confidence to the performers, +previous to their _debut_ before a large audience. As soon as the +company has been organized, and each performer has received his +several programmes, it will be the duty of the stage manager to see +that the various branches of the profession are progressing in unison +with the rehearsals. Each tableau should be carefully examined, and a +list of the machinery, scenery, wardrobe, and furniture of each piece +noted down, and competent persons immediately set to work on their +completion. The selection of appropriate music, the drafting and +erecting of the stage, and many other minor matters, should all be +completed, before the tableaux can be produced. + +But before proceeding farther, we will give directions in reference to +the size and formation of _the stage_. It should be strongly framed of +joist, and covered with smooth boards, and placed at the end of the +hall, at equal distances between the side walls. It should be twelve +feet square, and six feet in height. The front of the stage should be +made to represent a large picture frame; it can be easily made of +boards ten inches wide, fastened together in a bevelled manner, and +covered with buff cambric, ornamented with gold paper. Oval frames are +frequently used, but they are not so easy to arrange and manage as a +square frame. Cover the floor of the stage with a dark woollen carpet, +drape the ceiling with light blue cambric, the background with black +cambric; the sides should be arranged in the same style as the side +scenes of a theatrical stage. Stout frames of wood, two feet wide, +reaching to the ceiling, and covered with black cambric, should be +placed on the extreme edge of the stage, in such a manner that lamps +from the ante-rooms will throw a light upon the stage and not be seen +by the audience. Make the drop-curtain of stout blue cambric; fasten a +slim piece of wood at the top and the bottom; and, at intervals of one +foot on both of the poles, fasten loops of thick leather, containing +iron rings one inch in diameter, and between the bottom and top rings, +at intervals of one foot, fasten small brass rings; these should be +attached to the cambric on the inside of the curtain; then fasten the +top pole to the inside of the top of the frame, and attach strong +lines to the bottom rings; pass the cords through the brass rings and +the iron rings at the top; then gather them together, and pass them +through a ship's block fastened in the ante-room. As the lines will be +quite likely to run off of the wheel, a piece of hard wood, with a +circle at one end, fastened on the inside of the frame, will answer a +better purpose for the cords to pass through. After passing them over +the block, tie them together, and the curtain will be ready for use. +When the ropes are drawn, the curtain will rise up in folds to the top +of the frame. The floor of the stage should be built out on the front +twelve inches, for the placing of a row of gas-burners with tin +reflectors, painted black on the outside; this row of lights should be +furnished with a stopcock, which can be placed in the gentleman's +dressing-room. A row of strong lights should also be placed on each +side of the stage, within three feet of the ceiling; these also should +have reflectors and separate stopcocks, for the purpose of casting the +proper lights and shades on the stage. + +_The Dressing-rooms_ are on each side, and beneath the stage. The +floor of the stage should extend out on each side, making small rooms +for the placing of the scenery, furniture, &c. A trap-door should be +cut in the floor of each room, and flights of steps reaching down into +the rooms below, which are used for dressing-rooms. A partition placed +under the stage divides the ladies' from the gentlemen's room; these +rooms are covered on the front with strong cloth, and decorated with +flags. + +_A stage for tableaux in a private dwelling-house_ should be formed +similarly to a hall stage, but so constructed that it can be put +together in a few minutes. The platform should be fourteen feet +square, made in three sections, so that it can be handled easily, and +should rest on a frame of small joist, which can be mortised together +at the corners; place the frame on four boxes, two feet square; at the +corners of the platform mortise four square holes, in which insert +pieces of joist which will reach to the ceiling; around the top fasten +strips of board, by means of screws. Make the frame in three pieces, +cover them with cambric, and fasten them to the front joist, and on +the top board with long screws; arrange the curtain and scenery +similar to the hall stage. The wardrobes and furniture can be +furnished by the members of the company, and with a little ingenuity +and taste, many suits can be gotten up with little expense. As the +view of the tableaux is but momentary, the quality of the costumes +will not be noticed. + +_For a single evening's entertainment_, the following arrangement will +suffice, providing there be a long entry or a large parlor, separated +by folding doors. If the entry is used, let the performers form their +tableaux at the lower end; and when all is ready, the audience can be +called from the parlors to witness the scene. A parlor with folding +doors is undoubtedly the best place, as the doors can be slowly +opened, which will give a better effect to the scene. Cover the wall +back of the tableaux with black shawls, place the lights on a table at +one side of the picture, and hide them from the view of the audience +by placing a screen of thick cloth in front of them. + +In forming up a tableau, lights and shades should be studied; in fact, +this is the main secret of producing effects, and by managing the +lights about the stage correctly, you can throw parts of your picture +in shadow, while other portions are light. Care should also be taken +not to have too great a variety of colors in a picture. The showy +costumes should be intermingled with those of modest appearance, and +the lightest characters, as a general rule, should be placed in the +background to relieve the dark ones; those in the background should be +placed on platforms. If there are many figures in the piece, it will +be necessary to have a number of forms, of various heights, placed in +the background--in this manner all of the figures will be seen. + +The scenery, furniture, and machinery of each piece should be arranged +previous to the entrance of the performers on the stage. Each +performer should be called on separately, and placed in position. By +adopting this plan, every tableau can be formed without noise or +confusion. When the position is once taken, it should be kept, unless +it is a very difficult one. + +The stage manager should take his position at the front of the stage, +and see that each one is in his proper place. He should prohibit +laughter or conversation among the performers, unless any one wishes +explanations in regard to the piece. He should be strictly obeyed in +all matters referring to the tableaux; and when he has properly +adjusted every thing on the stage, he should remove to the ante-rooms, +and see that the lights, music, &c., are ready. He should then ring a +small bell, and the announcer in the hall will have a programme of the +tableaux, and will announce the piece; and if there is any +accompanying poem to be read, it will be his duty to read it. The +manager will then ring the second bell; this will be a signal for the +performers on the stage to take their positions, and for the lights to +be turned down in the hall. In thirty seconds after the second bell, +the manager will ring a third time, which will be a signal for the +curtain attendant to draw up the curtain, which should rise slowly to +the top of the frame, and be kept up about thirty seconds. Each +tableau should be exhibited twice, and in some cases three times. +After the last exhibition, the performers should quietly proceed to +the ante-rooms, and immediately dress for the next tableau. The +manager and assistants will see that the stage is cleared of the +scenery, and new scenery adjusted for the next piece. It will be +necessary to work with rapidity, as there are many things to perform +which in the aggregate will take much time. Large programmes should be +placed in each dressing-room, so that the performers will be able to +tell in which tableau they are to perform, without inquiring of the +manager. Each performer should be furnished with a large trunk to keep +his wardrobe in; and when a change of costume is made, care should be +taken that each one places his costumes in his own trunk. If this plan +is not followed, before the exhibition is through, many articles will +be missing, which will retard the performance. + +Each piece of machinery, furniture, scenery, &c., should have a proper +place where it should be left when not in use. Nails, pins, hammers, +and other articles which come in constant use, should be kept in a +large box near the stage. By working systematically, every thing will +move on with clockwork nicety, and all confusion be avoided. Colored +fires should be burnt in the ante-rooms at the sides of the stage; +smoke and clouds should be produced at the back, or in the centre of +the stage. The preparation can be ignited by fastening a lighted fuse +to a long rod. Large tableaux require all the light than can be +produced. Medium pictures should be shaded in different parts. +Statuary tableaux require a soft and mellow light. Night scenes +require but little light, which should be partially produced by the +burning of green fire. The following articles are indispensable to a +well-arranged tableaux stage:-- + +One melodeon, six common chairs, four ditto of better quality, two +small tables, two sinks, two sets of pitchers and ewers; two mirrors, +combs, hair brushes, pins, tumblers, twine and rope; napkins, nails, +tacks, buckets, hammers, brooms, cloth brushes, small bell, large +bell, scissors; one large table, one large chair, one set damask +curtains, four boxes, four feet long and eighteen inches wide, six +ditto eighteen inches square; two pieces black cambric, six feet +square; four pieces white cotton cloth, six feet square; (these boxes +and cloths are to be used in forming up the groundwork of almost every +tableau;) two red damask table covers, (very handy things to use in +decorating showy pictures;) one circular platform, four feet in +diameter, (much used to form the top of pedestals to group statuary +tableaux on;) two steel bars, for producing sounds to represent alarm +bells; one bass drum, one tenor drum, one flask of powder, one box of +material for colored fires, one set of water-colors, one case +containing pink saucer, chalk balls, pencil-brushes, and burnt cork. + +It would be almost impossible to furnish a complete list of the +articles necessary. Those we have omitted will suggest themselves, or +the occasion will suggest them. By closely studying the plans we have +outlined, we are certain that no person with tact and taste could +assume the directorship of a tableau-company without success. + + + + +The Tableau Vivant. + + + + + Walk with the Beautiful and with the Grand; + Let nothing on the earth thy feet deter; + Sorrow may lead thee weeping by the hand, + But give not all thy bosom-thoughts to her; + Walk with the Beautiful. + + I hear thee say, "The Beautiful! what is it?" + O, thou art darkly ignorant! Be sure + 'Tis no long, weary road its form to visit, + For thou canst make it smile beside thy door; + Then love the Beautiful. + + Ay, love it; 'tis a sister that will bless, + And teach thee patience when the heart is lonely; + The angels love it, for they wear its dress, + And thou art made a little lower--only; + Then love the Beautiful. + + BURRINGTON. + + + + +THE WREATH OF BEAUTY. + + While Beauty comes to every human heart, + And lingers there, unwilling to depart, + Too many own her not, nor heed her claim, + But blindly follow some ignoble aim. + + LAIGHTON. + +Ten Female Figures. + + +This elegant design is one of the finest of this series of tableaux, +and is composed of ten young and beautiful ladies, grouped so as to +represent a magnificent wreath. The bottom of the wreath rests on the +front of the stage; the top reaches up to the ceiling, forming a +complete circle of beautiful forms and fair faces, among which are +entwined festoons of flowers. Inside of this circle is a large wreath +six feet in diameter, and five inches in thickness; this rests on a +pink ground, and is composed of spruce, ornamented with artificial +flowers. + +The first work in the construction of this tableau is to erect a +circle of seats reaching from the front of the stage to the ceiling, +in the background. This can be easily accomplished by using boxes of +various sizes. The wreath should be ten feet in diameter; the boxes +should be entirely covered with white cloth, the space in the centre +with pink cambric. + +The costume of the ladies consists of a white dress, cut very low in +the neck; skirt quite long, and worn with few under skirts; sleeves +four inches long, trimmed with white satin ribbon; waist encircled +with a white satin sash; feet encased in white slippers; hair arranged +to suit the performer's taste, and encircled with a wreath of white +artificial flowers. The lady at the top of the wreath should first +take her position. She should be the lightest in weight of the group, +and should recline in an easy position, resting her head upon her +hand, the elbow touching the box, and the body slightly inclined to +the right. The second lady will then take her position at the right of +the first, on the seat below, her arm resting on the form of the lady +above, the right hand supporting her head, the face turned in to the +centre of the circle, the eyes raised to those of the figure above. +The remaining figures should take similar positions, until one half of +the circle is complete. The other side of the circle is arranged in a +similar manner,--the figures facing inward. + +The wreath of spruce and flowers is to be placed within the circle of +ladies. The stage and the back scene should be hung with green +bocking, and care must be exercised in the forming of the circle, so +that it shall appear perfectly round. The small festoons of flowers +should be entwined among the figures, after they have taken their +position. The expression of the countenances should be pleasant and +animated. The light for this piece should come from the foot of the +stage, and should be quite brilliant. Music soft, and of a secular +character. The tableau, when finished, at a distance appears like an +immense wreath resting against a grassy bank. + + + + +THE MARBLE MAIDEN. + + _Paulina._ As she lived peerless, + So her dead likeness, I do well believe, + Excels whatever yet you looked upon + Or hand of man done; therefore I kept it + Lonely apart; but here it is: prepare + To see the life as likely mocked as ever. + Still sleep mocked death; behold, and say 'tis well. + + WINTER'S TALE. + +Three Female and Eleven Male Figures. + + +This tableau is taken from Shakspeare's drama, "The Winter's Tale." +The scene is that wherein Paulina draws away the curtain and discloses +the marble statue. She is addressing Leontes, who is seen in the +foreground. At the left of the stage, a group of five gentlemen and +one lady is seen; on the opposite side of the stage is another group +of five gentlemen; all of which are in position, so that a profile +view is exhibited. + +The scenery of this piece consists of a curtain passing across the +stage, three feet from the back end. The curtain described in the +tableau of the "Dancing Girl in Repose" will answer for this scene, +but should be allowed to hang straight from the top, in place of +being looped up at the sides. Arranged in this way, it will leave an +open space of five or six feet in the centre. The background is seen +through this opening, and is to be festooned with wreaths of +evergreens and flowers. Close up to the back wall is placed a +platform, made in two pieces, the first being four feet square and one +foot high. On this rests a second platform, three feet square and one +foot high. At the right side of the upper platform is placed a round +pedestal, three feet high and one foot in diameter; this has a cap and +base, and can be made of card-board, and covered with white marble +paper. The platform is to be covered with black marble paper. + +By the side of the pedestal stands the statue. The lady who personates +this figure should be rather slim, of medium height, good features, +and dark hair. Costume consists of a loose, white robe, worn with but +few skirts, the sleeves very short, the waist cut low at the neck, the +skirt long enough to trail on the platform; the whole covered with +white tarleton muslin. Across the shoulders, and tied at the right +side, is worn a heavy muslin mantle, trimmed on each edge with white +satin ribbon. The hair is arranged in a neat coil, and a small wreath +of white leaves encircles the head. These are made of white paper, and +fastened to a wire frame. The statue stands perfectly straight at the +side of the pedestal, one arm resting on the top, the hand hanging +down over the front, while the left arm hangs gracefully at the side. +The eyes are directed to the figure of Leontes in the foreground. +Pauline, who draws the curtain aside, is costumed in a black silk +dress, with a velvet waist, trimmed with bugles, and interspersed with +silver spangles. The hair, arranged in a single coil, is decorated +with a velvet band, with white paste pin in the centre, from the back +of which is fastened a long black lace veil, falling gracefully over +the shoulders, and reaching nearly to the floor. She is standing at +the right of the curtain, one hand grasping its folds, while the other +is extended, and points to the statue. A profile view is had of the +figure: the head is slightly turned, the eyes directed to Leontes in +the foreground. Leontes' costume consists of a black coat, belted +around the waist, black knee breeches and hose, confined with a gold +band and showy paste pin. The collar and cuffs of the coat are +decorated with deep white lace. A short sword is suspended from the +belt; the feet are covered with low shoes, with showy buckles; the +head is encircled with a silver band, one inch wide, with a brilliant +pin in the centre. Fastened around the neck, and hanging over the +shoulders, is a black velvet cape--a small, lady's cape will answer. +Position is standing on the extreme front of the stage, with both +hands extended above the head, the body thrown back, the feet extended +from each other, the back turned to the audience, the head inclined to +one side, so that a side view is had of the face, while the eyes are +directed to the statue. Behind Leontes stands a tall figure, costumed +in a black coat and knee breeches, white hose, knee and shoe buckles, +low shoes, waist encircled with a belt, a short cloak thrown over the +right shoulder. The other figures are costumed in a similar manner, +and stand between Leontes and the side of the stage, and are looking +intently at the statue. + +Three more gentlemen, costumed in a similar style, occupy positions on +the opposite side of the stage, close to the wings. A profile view is +had of their figures, while their faces are turned towards the statue. +In front of this group stands a young man, with his arm placed around +the waist of a young lady who stands at his side, and in such a +position that we have almost a back view of them. The lady is costumed +in a white dress, cut low at the top, sleeves very short, skirt long, +so as to trail ten inches, ornamented with buff ribbon, which should +be placed on the bottom of the skirt, around the waist, on the top of +the waist, and on the sleeves. Her hair should hang loosely over the +shoulders, the head encircled with a string of feldspar or pearl +beads. The hands are clasped in front of her bosom, the body inclined +forward slightly, the eyes directed towards the statue. The gentleman +at her side stands erect. His costume consists of a dark coat, +ornamented around the bottom with silver paper, covered with black +lace, the sleeves and collar trimmed in the same mode, with an +addition of wide white lace cuffs and collar; the breeches are of +black cloth, with a band of silver, and buckle at the knee; white +hose, low shoes, with buckles, a wide belt around the waist, from +which is suspended a long, slim sword. The lights on each side of the +background, where the statue is placed, should be quite brilliant. +The foreground should receive the rays of light, which should be of +medium quantity, from the side of the stage where Leontes stands. +Music soft and plaintive. + + + + +VENUS RISING FROM THE SEA. + + Then spoke the sovereign lady of the deep-- + Spoke, and the waves and whispering leaves were still: + "Ever I rise before the eyes that weep, + When, born from sorrow, wisdom makes the will; + But few behold the shadow through the dark, + And few will dare the venture of the bark." + + BULWER. + +One Female Figure. + + +This tableau is represented by one beautiful lady, whose costume +consists of a flesh-colored dress, fitting tightly to the body, so as +to show the form of the person. The hair hangs loosely on the +shoulders and breast, and is ornamented with coral necklaces, while +the neck is adorned with pearls. To represent the sea, it will be +necessary to place, at intervals of two feet, (from wing to wing,) +strips of wood, beginning at the floor of the stage, near the front, +and rising gradually as they recede in the background, the last strip +being two feet from the floor of the stage. After these have been +arranged, lay strips of blue cambric across them; cover them entirely, +and between the bars of wood let the cambric festoon so as to +represent the appearance of waves. It will be necessary to fasten the +cambric with small tacks, to keep it in position, while the ridges of +the miniature waves should be painted white, to imitate foam. A trap +door should be cut in the centre of the stage, and a circle cut in the +centre of the cambric, to admit the body of Venus. The waves should +come up three inches above the hips, fitting closely around the body. +The water about the centre should be made white with foam. A platform +can be arranged below the stage for the performer to stand on, and +this can be made high or low, according to the height of the lady, by +the use of blocks of wood. The right hand of the figure is held above +the head. The left hand rests on the water. The countenance is lighted +up with smiles. Small particles of isinglass scattered on the waves +will make them glisten and sparkle, which will add to the effect, +while a green fire, burned for twenty seconds, and then changed to red +or bluish white, will give a fine shade to the scene. If the colored +fires are not used, the light should come from the front. Music, soft +and brilliant. + + + + +RECEPTION OF QUEEN VICTORIA AT CHERBOURG. + + Sing, gladly sing! + Let voice and string + Our nation's guest proclaim. + She comes in peace, + Let discord cease, + And blow the trump of Fame! + + ANON. + +Ten Female and Twenty Male Figures. + + +It was in the fall of the year 1858, when the great naval arsenals, +magazines, and docks, at Cherbourg, were to be inaugurated; and +notwithstanding the admonition of the English press, which represented +the establishment of these works as a direct menace against Great +Britain, and, taken in connection with the constant increase of the +French navy, a proof of ultimate hostile designs on the part of the +emperor, Queen Victoria had accepted an invitation to be present on +this occasion. The day appropriated for the reception of the queen had +arrived. The weather was superb; the skies were blue, and the waters +of the channel were calm and placid. The shores and buildings, as far +as the eye could reach, were covered with cavalry, infantry, +artillery, and citizens. Every bosom in this mighty throng was glowing +with enthusiasm. The glittering eagles, the waving banners, the gleam +of polished helmets and cuirasses, the clash of arms, the +soul-stirring music from the martial bands, and the incessant bustle +and activity, presented a spectacle of military splendor which has +seldom been equalled. It was war's most brilliant pageant, without any +aspect of horror. The frigate La Bretagne, on which the banquet was to +take place, was decorated with signals and flags, and most prominent +were the national ensigns of France and England. A triumphal throne +was erected on the deck of the vessel, on which sat Louis Napoleon, +the empress, the officers and great dignitaries of the country, +interspersed with the ladies of honor. Salutes from the surrounding +forts and ships of war announced the arrival of the barge containing +the Queen of England, Prince Albert, and suite. They were received on +board the frigate by Napoleon, amid the salvos of artillery and +strains of martial music. "God save the Queen," and French national +airs, were played by the bands, and the nation's guest was addressed +by Napoleon, who, in proposing Victoria's health, said,-- + +"Facts prove that hostile passions, aided by a few unfortunate +incidents, did not succeed in altering either the friendship existing +between the two crowns, or the desire of the two nations to remain at +peace. He entertained the sincere hope that if attempts were made to +stir up the resentments and passions of another epoch, they would +break to pieces on common sense. Prince Albert responded, and +expressed the most friendly sentiments on behalf of the queen. He said +she was happy at having an opportunity, by her presence at Cherbourg, +of joining and endeavoring to strengthen as much as possible the bonds +of friendship between the nations--a friendship based on mutual +prosperity; and the blessing of Heaven would not be denied. He +concluded by proposing a toast--The emperor and empress." + +The above scene is the one we propose to represent in tableau; and to +give a good effect to the piece, it will be necessary to have thirty +persons. The number can be increased if there is sufficient room. The +four principal characters are Queen Victoria, Prince Albert, Louis +Napoleon, and the Empress. In selecting the persons for these parts, +it will be well to choose those who are as near like the original as +possible. They should be persons of good figure, and of graceful and +easy manners. The sailors and military should be composed of young +lads; the rest of the performers consist of young ladies and +gentlemen. The stage should be arranged in the following manner: Two +tiers of seats should be arranged in a curved line from the right of +the stage, at the front, to the left of the stage, in the background. +The front seat is two feet, the second and back tier should be three +feet, in height, with a wide platform behind, of the same height, +capable of holding twenty persons. These seats should be covered with +a crimson cloth, and are intended to be occupied by Napoleon's suite. +In the centre of these seats should be placed a platform four feet +square and two feet high; on this place the throne chairs, and build a +flight of broad steps in front, covered with crimson, and decorated +with gold. The throne chairs should be made as showy as possible. +Common office chairs can be easily made to answer the purpose by +fastening to the backs pieces of boards one foot wide and four feet +high, and covering the fronts and top of the arms with pieces of board +four inches wide, decorating them with red turkey cloth, and bands of +gold paper. Place them close together, and insert a board decorated in +the same manner between the two, and ornament the top with a canopy of +Turkey cloth, trimmed with gold; on the top place a pointed gilt +crown. This kind of throne can be easily put together, and will be +easier to handle than one made in a more workmanlike manner. The +emperor and empress should be seated in the chairs. The platform is +intended for the military, while the seats should be filled with +dignitaries, officers, and ladies. The empress's costume consists of a +rich brocade, heavily ornamented with jewelry, gold or silver lace, +and any other decoration that will be appropriate, and will add to the +richness of the costume. A small crown should adorn the head, which +can be made showy by using paste pins of various sizes. The emperor's +costume consists of a blue velvet coat, ornamented with gold epaulets, +and trimmed with gold fringe, while the right breast is adorned with +the cross of the legion of honor. The breeches are of blue velvet, +trimmed with silver lace and knee buckles; the remainder of the +costume consists of military top boots, silk scarf of blue and red, +side arms and crown. At each side of the throne there should be one +body guard, fine-looking gentlemen, dressed in court costume, each +holding a long halberd. The rest of the gentlemen are costumed in +court dress and military suits; the ladies in as showy and rich +appearing costume as can be procured. The hair should be arranged to +suit the taste of the performers; the head should be adorned with a +band of gold, with a colored plume in front. The seats are to be +filled entirely with the ladies and gentlemen, and a few should stand +at the side and on the platform; careless and graceful attitudes +should be taken, and all eyes should be directed to the left of the +stage, where the barge is expected to arrive. The soldiers in the +background should be formed in platoon, and in such a manner that all +will be visible. The muskets should be held at the shoulder. Each +should be furnished with a large moustache, and should look directly +forward. The performers having all taken their positions, the cannon +will commence firing behind the scenes, and the curtain will rise on +the first part of the tableau; after exhibiting this part twice, a +piece of canvas, painted to represent water, should be spread in front +of the throne, while the rest of the scenery and performers should be +all ready, so that in five minutes after the first scene, the second +should appear. The barge should be made five feet in length, or, +rather, five feet of the barge should be seen; the remaining portion +of it is presumed to extend behind the scenes. It should be built in +the form of the Venetian boats, with the prow running up a foot above +the gunwale, and turning over in the form of a scroll. The barge can +be framed out of light strips of wood, and covered with canvas; the +exterior should be painted in showy colors; the scroll can be covered +with gold paper; a wreath of flowers should be painted around the edge +of the gunwale; cloth, painted to represent water, should be fastened +about the boat near the water line. The barge contains four sailors, +Prince Albert, and Queen Victoria. The remainder of the company is +imagined to be in the stern of the boat, which is invisible. The boat +should be placed sideways to the audience, very near to the side wing, +with the bow inclined slightly towards the throne. When the curtain +rises on the scene, the emperor should be standing at the foot of the +throne, about to assist the queen from the bows of the barge. The +queen is standing with hands extended to receive the proffered +assistance of Napoleon. Prince Albert is seated directly behind the +queen, holding his chapeau in his hand. The sailors hold their oars up +in the air, and look towards the audience. The queen's costume +consists of a showy brocade dress, ornamented with a mantle in +imitation of ermine, and showy jewelry; a crown, of English design, +adorns the head. Prince Albert is costumed in a scarlet military coat, +with heavy and rich decorations, gold epaulets, crimson sash, buff +vest and breeches, side arms and chapeau. Sailors' costume consists of +a white shirt, with blue collar and cuffs, black handkerchief about +the neck, and black tarpaulin. While the curtain is up, the band +should play "God save the Queen." This piece requires great quantity +of light, which should come from the side where the barge is placed, +and from the front. + + + + +SCENE FROM THE OPERA OF "SAPPHO." + + The very spot where Sappho sung + Her swan-like music, ere she sprung + (Still holding, in that fearful leap, + By her loved lyre) into the deep, + And dying, quenched the fatal fire, + At once, of both her heart and lyre. + + OPERA OF SAPPHO. + +Eleven Female and Ten Male Figures. + + +This thrilling tableau is a representation of a scene from the popular +opera of Sappho. The design is taken at the moment when Sappho has +finished her first song, "Morning has never dawned," and the +attendants join in the chorus. The number of figures in the piece is +twenty-one, eleven ladies and ten gentlemen. The scenery in the +background and at the sides represent pillars of marble; these can be +cheaply made of strips of marble paper, with a cornice running around +the top; in the centre of the background is placed a platform two feet +high by four feet square; on each side of this are pedestals three +feet high by one and a half feet square, the fronts panelled with red +Turkey cloth, and bordered with gold paper; on the top of these should +be placed large earthen vases, painted to represent bronze, from the +mouth of which there should issue colored flames. From the right and +left sides of the platform to the front corners of the stage place the +chorus singers. The ladies stand on the left side; three are placed on +a platform one foot high, and standing in front of them, at equal +distances, are seven more. The gentlemen on the other side are +arranged in the same manner. Sappho, the heroine of the tableau, +stands on the platform between the two pedestals; the left hand rests +on the top of one of the pedestals, and the other is raised up at +arm's length. The head is thrown back slightly, and the eyes are +raised upward. The right foot is placed twenty inches in advance of +the left, the body facing the audience. + +Sappho's costume is a long, white robe, cut low at the top, over which +is worn a short half skirt of white tarleton muslin, reaching to the +knee; sleeves five inches long, trimmed with Grecian border; the +lower portion of both of the skirts trimmed with black velvet two +inches wide, ornamented with gold paper and spangles; a wide band of +gold is placed around the top of the dress, and covered with wide +white lace. A band of wide black velvet ribbon, ornamented with showy +paste pins, encircles the waist, and a wreath of silver leaves adorns +the head. These can be cut from silver paper, lined with cloth, and +fastened to a small wire. The hair is arranged in wide braids at the +side of the head, clasped by a silver band at the back, and allowed to +hang in short curls in the neck. + +The chorus ladies are costumed in white dresses, low-necked; sleeves +five inches long, trimmed with narrow pink ribbon, a bow of the same +at the top of the sleeves, fastened to the dress by a brilliant glass +pin; over the skirt of the dress should be worn a half skirt of white +tarleton muslin, which should be two feet long in front, and three +behind; this is belted about the waist with a pink ribbon, and trimmed +around the bottom with oak leaves. The hair of most of the ladies +should be arranged in curls, which should be confined together with a +band of silver, while three of the ladies must allow their hair to +fall loosely over the shoulders; wreaths of artificial flowers should +adorn the heads of all. The lady who stands near the corner of the +stage at the front should have in her left hand a torch, from which +issues colored flame, while the right hand is raised above the head, +the right foot placed twenty inches before the left, the body and head +thrown back, the eyes cast upward, and excitement should be expressed +in the countenance. (The torch can be made of wood, and covered with +silver paper.) Every other lady in the row of seven should hold a +torch, and take similar positions. Those standing near the +torch-bearers are costumed in the same manner, and hold small harps in +the left hand, while the right touches the strings. The body and head +are thrown back slightly, and the eyes cast upward. Those performers +standing near the platform should be elevated on small platforms of +various heights, so as to be distinctly seen. On the platform behind +the seven stand three other ladies, at equal distances from the front +corner of the stage to the pedestals. Their costume should be similar +to the others; position the same, while the hands are clasped in front +of the bosom, and the eyes are directed to the form of Sappho. + +The ten gentlemen are costumed in white coats trimmed around the +bottom, the sleeves and collar with black cambric two inches in width, +and ornamented with gold; a black belt of the same material encircles +the waist; black pants or breeches; white hose reaching to the knee, +and fastened with a silver band and buckle; low shoes, with a blue +rosette on the front. A wide white mantle trimmed with oak leaves +should be worn across the breast, the ends ornamented with wide yellow +cambric fringe, which should be fastened at the side with a blue +rosette, and trail made nearly long enough to reach the floor. The +head is adorned with a wide band of velvet, ornamented with gold. The +performers should be furnished with long, full beards, which can be +made of hemp or horse-hair. The arrangement of the gentlemen is the +same as that of the ladies--seven placed on a line from the pedestal +to the corner of the stage, and three on the platform behind. The +front rank have the golden harps and the torches. The gentlemen on the +platform clasp their hands in the same manner as the ladies opposite. +The position of all the chorus singers is such that a profile view is +had of their features. + +The front lights should be turned down quite low; the lights at the +side where the gentlemen stand should be very brilliant. A red fire +should be thrown on the platform and the figure of Sappho. Music +should be quite brilliant. + + + + +FLORA AND THE FAIRIES. + + She haunts the spring beneath a fairy's guise, + With unbound golden hair and azure eyes; + A wreath of violets in each dainty hand, + And round her sunny brow an emerald band; + While all day long she strays o'er hill and glen, + Through leafy bowers, amid the homes of men; + And when night falls, from out the echoing dells, + The lilies ring for her their crystal bells, + And in the forest's depths she dreams till morn, + Waked by the music of the wild bee's horn. + + LAIGHTON. + +Eight Female Figures. + + +This elegant tableau represents Flora seated in a beautiful car drawn +by six fairies. The car is easily made of wood covered with paper or +cloth, and decorated with flowers. It should be five feet long, and +made in the form of a scroll, the largest part of which should be at +the back of the car. Cover the centre of the scroll which forms the +sides with crimson paper or cloth, ornamented with a border of gold +paper three inches wide, and a second border of artificial flowers. +Make the wheels of solid pieces of wood; the front ones, one foot in +diameter; the back ones, double the size; cover them with crimson +cloth, and ornament them with large gold stars; build a small seat at +the back end, and extend the floor of the car one foot out from the +back part, for the footman to stand on. The front of the car should be +built in the form of a scroll, and should sustain a small vase of +flowers on the top. Vases of similar shape, containing flowers, should +be placed on each side of the seat; a long rope, covered with crimson +cloth, should be attached to the front axletree. As only one side of +the car is visible, it will be necessary to decorate only one side. A +platform one foot high should be built on the front of the stage; a +second one, three feet from the first, which should be two feet high; +a third, in the rear of the second, should be three feet in height. +These must be covered with green bocking, to represent turf. Place the +car near the front of the stage, at the right corner; attach six +pieces of green ribbon to the crimson rope, for the fairies to take +hold of; six pink ribbons must be fastened to the waist of the +fairies, and held by Flora, who is seated in the car. + +The young lady who personates Flora should be of good figure and +features, and rather small form. Her costume consists of a white robe, +cut low at the neck; sleeves five inches long, trimmed with flowers; a +belt of green cloth, adorned with artificial flowers, around the +waist; a crown, made in like manner, encircling the head; a small +bouquet of flowers fastened to the front of the waist. The hair is +arranged in short curls about the head; a side view is had of the +body, while the head is turned around to face the audience. The hands +are employed in holding the pink ribbons and whip, which is made of a +long, slender branch of the willow, with a few leaves on the extreme +end. The countenance expresses pleasure and animation. + +Seven small misses personate the fairies, and their costume consists +of a short white dress, decorated with silver spangles. Strips of blue +ribbon, one inch wide, should be placed around the skirt, running from +the waist to the bottom of the skirt; these must be three inches +apart. The waist is made of blue silk, and trimmed with silver paper +and spangles. The hose are flesh color; shoes, white satin; the head +is encircled with a wreath of flowers; the hair should be arranged in +short curls, and small wings formed out of wire, covered with gauze, +and ornamented with silver spangles, are fastened to the back of the +waist. The fairies should stand in double files, one couple standing +on the first platform, one on the second, and one on the third; they +should be three feet apart, standing in the form of a half circle, so +that each will be seen. One hand should grasp the pink ribbon, while +the other is raised, holding a small bunch of flowers. The fairy +footman's costume is like the others, and the position is on the back +of the car, both hands upon the back of the seat, and at the same time +holding the ends of a long wreath, which arches over the head of +Flora. + +The light should come from the side of the stage where the fairies +stand, where should be burned a small quantity of the whitish-blue +fire. Music lively. + + + + +THE SPECTRE BRIDE. + + But, soft; behold! lo, where it comes again! + I'll cross it, though it blast me.--Stay, illusion! + If thou hast any sound, or use of voice, + Speak to me: + If there be any good thing to be done, + That may to thee do ease, and grace to me, + Speak to me; + If thou art privy to thy country's fate, + Which, happily foreknowing, may avoid, + O, speak! + Or, if thou hast uphoarded in thy life + Extorted treasures in the womb of earth, + For which, they say, you spirits oft walk in death, + Speak of it. Stay and speak! + + SHAKSPEARE. + +Twelve Female and Twelve Male Figures. + + +This interesting and imposing tableau is taken from a legend, which +has been handed down from generation to generation among the villagers +living in the neighborhood of Glenburne Castle, England. The story, +probably as authentic as many which are often heard of in those +districts, is as follows:-- + +Many years ago, that portion of the country where Glenburne Castle now +stands was owned and governed by an intriguing and overbearing lord. +He had a beautiful companion for a wife, who loved him too well; but +his affections wandered from her. He looked into a brighter eye, and +on a fairer brow. His wife pined away, lived miserably for years, and +died at last broken-hearted. Six months had passed, and great +preparations were being made in the old castle for a magnificent +wedding. The lords and nobles, within a circuit of five hundred miles, +were invited to participate in the festivities of the day. The halls +were hung with beautiful tapestry and garlands of flowers, and the +castle resounded with strains of sweet music, "and all went merry as a +marriage bell." But this finely-arranged entertainment did not end in +so pleasant a manner as was intended. The hour had arrived when the +lord of the castle was about to lead to the hymeneal altar the +bright-eyed lady he so long loved. The spacious and magnificent +drawing rooms were thronged with the wealthy and the beautiful; all +were attired in robes of silk and satin, and costumes of velvet, which +glistened with pearls and precious stones. A temporary platform was +placed at one end of the hall, on which was raised a crimson and gold +canopy. On the platform were to be seated the bride and bridegroom, +and the grand cardinal who was to perform the service. It was seven +o'clock in the evening; the guests had all arrived, and were seated +around the room awaiting the entrance of the lord and his intended +bride. Soon the castle resounded with the sound of trumpets. The +massive doors opened wide, and the grand cardinal, followed by the +bride and bridegroom, entered the apartment, and took their position +beneath the canopy. The marriage ceremony had been partly completed, +when all were suddenly petrified with horror. A bluish flame is seen +rising from the centre of the floor, and within this cloud of flame +the spirit form of the bridegroom's first wife slowly rises up through +the floor, and points her bony fingers to the horror-stricken husband. +The guests and attendants rush from the castle, and hasten to their +homes. The intended bride remained insensible for many hours, and when +she revived she was no more herself. The fearful scene had crushed out +forever the last spark of reason. She was a maniac. The lord of the +castle was left alone with his spectre bride, but not long. Forsaken +by every one, he cared not for life, and when death came, which was +not long after this occurrence, he welcomed him as his best friend. +Years have passed, but the mysterious story still hangs over the spot; +and at certain times of the year, it is said the apparition, +surrounded by a cloud of fire, keeps its midnight vigils among the +time-worn ruins. + +The number of figures required to represent this tableau is +twenty-four. The stage scenery is arranged in the following manner: In +one corner of the background erect a platform two feet high by four +feet square; over this place a canopy of crimson cloth, ornamented +with gold paper. The platform should be decorated in the same manner. +Red shawls or table covers will answer all purposes. Extending from +each side of the stage to the platform, there should be two rows of +seats and a platform behind; the first row of seats is to be eighteen +inches high; the second three feet high, with a platform behind two +feet wide; the platform can be left out at the sides, which will give +more space in the centre of the stage. The seats and platforms can be +formed of boxes and boards and covered with white cloth. Ten ladies, +and the same number of gentlemen are to occupy the seats, while the +platform is reserved for the bridal party. A trap door, two and a half +feet square, should be cut out of the floor four feet from the front, +and at equal distances from each side of the stage. This must be made +secure, when not in use, by the means of bolts. The machinery for +raising the spectre is arranged in the following manner: Strong +blocks, such as are used on board of ships, should be securely +fastened beneath the stage, at the four corners of the square; ropes, +three quarters of an inch in diameter, should be passed through them, +and one end of each fastened to fifty-six pound weights; the other +ends of the ropes are to be fastened to rings attached to a platform +two and a half feet square. A piece of four inch joist should be +fastened near the centre of the platform, which should be three and a +half feet high; small handles, two feet long, should also be fastened +securely at the sides of the platform, on which the person who +personates the spectre will stand. When the time has arrived for the +spectre to appear in the tableau, two persons can easily guide the +platform from the floor to the stage above. All the gentlemen are +required to do, is to guide the platform; the heavy weights attached +to the ropes will draw it up. The post fastened in the centre is +intended for the lady to take hold of to keep her position; it should +be covered with white cloth, and hid from view by the drapery of the +costume of the spectre. The lady personating the spectre should take +her position on the platform in the same manner that she will appear +on the stage, which is such that a side view can be had of the figure, +the right hand pointing to the platform where the bridal party are +standing. The costume consists of a long white dress, worn without +many skirts, over which is draped a robe of white muslin; a long, +white gauze veil should be loosely tied around the head; the hair is +allowed to hang loosely over the shoulders. The face, and arms, and +neck must be made as white as possible by the use of pearl-powder. The +features should express sternness. + +The bridegroom should be dressed in a velvet coat trimmed with gold +lace, velvet breeches, white vest, white hose, low shoes, knee and +shoe buckles, ruffled bosom, white lace collar. The bride should be +adorned in a showy dress of rich brocade or satin, decorated with +jewels; mantle of ermine worn over the shoulders; the hair arranged to +suit the taste of the performer, and encircled with a wreath of +silver leaves, while a heavy white veil is fastened to the back of the +head. The cardinal should have on a long black silk surplice, white +cravat, and a mitre hat on the head. The couple face the audience, the +cardinal standing directly behind them in the same position, with his +hands raised over their heads. The ladies, who occupy seats at each +side of the platform, should be costumed in as great a variety and as +richly appearing dresses as can be procured; bands of gold, ornamented +with colored plumes, are worn on the head. + +Jewelry of all kinds should be worn in profusion. The gentlemen may be +costumed in embroidered and military suits of various colors; white +hose, knee and shoe buckles, breeches and side arms; each being +disguised with wigs and false beards. The ladies and gentlemen should +be intermingled, those in the foreground seated, while a portion of +the others are in a standing position. At each side of the platform +there should be a page, holding the chapeau and side arms of the +bridegroom. Their costume consists of short velvet coat trimmed with +gold, pink breeches, white hose, white shoes, silver shoe and knee +buckles, white silk scarf, lace collar and cuffs. The attention of the +guests and attendants should be directed to the group on the platform, +the expression of their countenances denoting pleasure and interest. +This constitutes the first scene, and ought to be exhibited three +times; after which, the performers will take positions for the second +scene. + +The bride should be reclining insensible on the arm of the bridegroom; +the cardinal is about seeking safety in flight; the lord looks with +horror on the spectre, and throws out his arm as if he thought the +spectre was about to grasp him; portions of the guests have risen, and +are about to take flight; others are stupefied with affright; hands +and arms are thrown up in fear; consternation is depicted on every +face. When all is ready for representation, the stage manager must +give the signal to those in charge of the curtain, machinery below the +stage, and colored fires at the same moment, so that all will work in +unison. The whitish-blue fire should be burned in small quantities +near the trap door and larger quantities of the same in the +ante-rooms, which will reflect on the forms of the performers. The +curtain should be drawn up quite fast, while the spectre, starting at +the same time, should rise very slowly. + +The lights for this piece should be opposite the platform, where the +bridal party stand; they must be very brilliant, and as many as can be +procured. The music in the first scene should be of a lively nature; +in the second scene, of a mournful style. + + + + +MUSIC, PAINTING, AND SCULPTURE. + + O, there is nought so sweet + As lying and listening music from the hands, + And singing from the lips, of one we love-- + Lips that all others should be turned to. Then + The world would all be love and song; heaven's harps + And orbs join in; the whole be harmony-- + Distinct, yet blended--blending all in one + Long, delicious tremble, like a chord. + + FESTUS. + + The finger of God is the stamp upon them all, but each has its + separate variety. + Beauty, theme of innocence, how may guilt discourse thee? + Let holy angels sing thy praise, for man hath marred thy visage; + Still, the maimed torso of a Theseus can gladden taste with its + proportions. + Though sin hath shattered every limb, how comely are the fragments! + + TUPPER. + +Three Female Figures. + + +This artistic group is represented by three beautiful females, seated +on a mossy bank, each one holding the emblems of her profession. The +goddess of music holds a harp, on which she is playing; the goddess of +painting has a partially painted picture in the left hand, and a brush +and pallet in the right; the goddess of sculpture has a small bust in +her right hand--in her left she holds a small mallet and chisel. Their +costumes consist of a loose white robe, cut quite low at the top, and +without sleeves; a heavy mantle of white muslin is draped across the +breast; the hair should hang in ringlets, or be left to flow +negligently on the shoulders. The Goddess of Music should sit on the +right side of the mound, the hand resting on the knee, her eyes cast +upward. The Goddess of Painting sits on the left of the mound, her +picture resting on the left knee, the right hand holding the pallet +and brush, the body slightly bent forward, the eyes fixed on the +Goddess of Music. The Goddess of Sculpture should sit between the +Goddesses of Music and Painting, the bust which she holds resting on +the right knee, the left hand grasping the mallet and chisel. Her +attention is fixed on the Goddess of Music. The mound should be placed +in the centre of the stage; it can be made of boxes, and covered with +green baize; it should be two feet high, and four or five feet in +diameter. The light comes from the right side of the stage, and should +not be very strong. The accompanying music should be soft and +plaintive. + + + + +BUST OF PROSERPINE. + +One Female Figure. + + +This artistic tableau is a living representation of the bust of +Proserpine by Powers. The head is ideal, and we may conceive it as +embodying our great sculptor's conception of female beauty in repose. +The wreath of leaves and flowers which encircles it, alludes, perhaps +remotely, to the legend, familiar in the poets, of the field + + Of Enna, where Proserpine, gathering flowers, + Herself a fairer flower, by gloomy Dis + Was gathered. + +The learned Germans, who regard the whole Grecian mythology as +personifying natural phenomena, interpret the legend as follows: +Proserpine who is carried off to the lower world is the seed corn, +that, for a time, is buried in the ground. Proserpine who returns to +her mother is the corn which rises again to support mankind. The lady +who takes the part of Proserpine should be quite handsome, with fine, +regular features, a high forehead, and a good form. Her dress should +be pure white, and cut extremely low at the neck; the hair should be +brushed back from the forehead, done up neatly behind, allowing five +or six curls to hang loosely in the neck, and a braid of hair should +be worn across the front of the head. No ornaments of any kind should +be worn. + +The machinery of this tableau is arranged as follows: The revolving +beam that is described in the tableau of the Flower Vase is to be used +in this piece. The beam is placed in the centre of the stage, on the +top of which is a wooden pedestal, three and a half feet high by +seventeen inches in diameter on the inside. This pedestal should be +made in two parts, having hinges, and a hook, to fasten them together. +It must have a cap and base, and be covered with white cloth, over +which fasten white tarleton muslin. The bottom of it should be six +inches in thickness, with a square mortise in the centre, to allow the +top of the beam to enter. The lady who personates Proserpine is to +stand inside of this pedestal, and, as the space is quite small, it +will be necessary to wear few under skirts. A frame should be +manufactured of wire, and covered with white cloth and white muslin, +and should be made to fit the back and breast of the figure, allowing +room for the arms to be folded inside of it. This is to be made at the +top in the same shape as the dress worn by the lady, and should reach +to the waist of the person, fitting tightly, and from the waist be +made to flare off in scroll form so as to rest on the top of the +pedestal. By looking at a bust, one will easily understand the shape +of the frame. It must be made in two pieces, and fastened at the sides +with tape strings; around the top of the frame put a small wreath of +white leaves and flowers. The lady must take her position inside of +the pedestal which has been placed on the top of the shaft; hook it +firmly together, and pack cloth between the lady and the inside of the +pedestal, for the purpose of keeping the body from moving from one +side to the other. Then place the front and back wire frames in their +position, and fasten them firmly. See that the arms are folded out of +sight, and the hair arranged properly. The eyes should be cast upward +slightly, and when once fixed in position, they should not be moved. +The face and neck should be made as white as possible; the expression +of the countenance calm and serene. The fairies and the crimson +curtain used in the tableau of the Dancing Girl can be used in this +piece. A side view should be given of the statue before it revolves. +In the second view, the pedestal must slowly revolve, while a +plaintive air is played on the melodeon. This tableau has been +admired by many, and will repay any one for the trouble of producing +it. + + + + +NAPOLEON AND HIS OLD GUARD AT WATERLOO. + + Last noon beheld them full of lusty life; + Last eve in beauty's circle proudly gay; + The midnight brought the signal sound of strife; + The morn, the marshalling in arms; the day, + Battle's magnificently stern array! + The thunder clouds closed o'er it, which, when, rent, + The earth is covered thick with other clay, + Which her own clay shall cover, heaped and pent, + Rider and horse--friend, foe--in one red burial blent. + + BYRON. + +Forty Male Figures. + + +The battle of Waterloo was fought on the 18th of June, 1815. It was on +the Sabbath day. The Emperor's wasted bands were now in the extreme of +exhaustion. For eight hours, every physical energy had been tasked to +its utmost endurance, by such a conflict as the world had seldom seen +before. Twenty thousand of his soldiers were either bleeding upon the +ground or motionless in death. Every thing depended now upon one +desperate charge by the Old Guard. The Emperor placed himself at the +head of this devoted and invincible band, and advanced in front of the +British lines. Silently, sternly, unflinchingly they pressed on, till +they arrived within a few yards of the batteries of the enemy. A peal, +as of crushing thunder, burst upon the plain; a tempest of bullets, +shot, shells, and all the horrible missiles of war, fell like +hailstones upon the living mass. A gust of wind swept away the smoke, +and, as the anxious eye of Napoleon pierced the tumult of the battle +to find his Guard, it had disappeared. Napoleon threw himself into a +small square which he had kept as a reserve, and urged it forward into +the densest throngs of the enemy. He was resolved to perish with his +Guard. Cambronne, its brave commander, seized the reins of the +Emperor's horse, and said to him, in beseeching tones, "Sire, death +shuns you; you will but be made a prisoner." Napoleon shook his head, +and for a moment resisted; but his better judgment told him that thus +to throw away his life would be but an act of suicide. With tearful +eyes, he bowed to those heroes who proved faithful even to death; with +a melancholy cry, they shouted, "_Vive l'Empereur!_" These were their +last words--their dying farewell. Silent and sorrowful, Napoleon put +spurs to his horse, and disappeared from the field. This one square, +of two battalions, alone covered the flight of the army. Squadrons of +cavalry plunged upon them, and still they remained unbroken. The +flying artillery was brought up, and pitilessly pierced this heroic +band with a storm of cannon ball. The invincible square, the last +fragment of the Old Guard, revered by that soul which its imperial +creator breathed into it, calmly closed up as death thinned its ranks. +The English and Prussians sent a flag of truce, demanding a +capitulation. General Cambronne returned the immortal reply, "The +Guard dies, but never surrenders!" A few more discharges of grape shot +from the artillery mowed them all down. Thus perished, on the field of +Waterloo, the Old Guard of Napoleon. + +_Directions for forming the Tableau._--This splendid battle-scene +contains forty figures. It can be produced with a less number, but to +give a good effect, it should contain forty persons. The scene occurs +at the time when Napoleon has thrown himself in the square of the +Guard, and is about to press forward to the enemy. Napoleon is seated +on his white horse, in the centre of the stage; we have a side view of +the horse, and almost a front view of Napoleon, who grasps the reins +with his left hand, and his sword with the right; his eyes are fixed +on the advancing troops in the distance; his countenance expresses +firmness and anxiety. Cambronne is on the point of advancing, with +hands stretched out, about to grasp the reins of Napoleon's horse; his +position is sideways to the audience. Marshal Ney is seen running +towards Napoleon, on the other side of the picture, his right hand +extended, his chapeau grasped with the left. In the foreground are +four wounded soldiers, lying in various positions; muskets and other +implements of war are scattered over the ground. Directly behind +Napoleon is seen an officer holding the French standard, with a gilt +eagle at the top. The Old Guard are formed in platoons, one at the +right, one at the left, and one in the background; they should form +with the face outward, and hold their muskets as if about to repel a +charge of cavalry. The rear platoon should stand on a platform two +feet in height, while the space behind is to be filled with soldiers +engaged in fencing. They should be placed on raised platforms, varying +from two to eight feet in height. The costume of Napoleon consists of +a blue dress coat with a buff breast, eagle buttons, buff vest and +knee breeches, top boots, spurs, sash, side arms, black chapeau, and +gray overcoat. The horse which Napoleon rides can be made of wood, at +a trifling expense. Minute explanation in regard to its construction +will be found in the tableau of "Washington's entrance into +Portsmouth." The costume of the officers consists of as rich military +suits as can be procured. The soldiers should wear a showy military +suit and bearskin hats. The muskets must be furnished with bayonets, +and a thin smoke should be made to float over the scene. The roll of +the tenor drum, the shrill music of the fife, the rattle of musketry, +and the booming of cannon, should be heard in the distance. A red +light must be thrown upon all the figures; if this is not sufficient +to light up the piece, the footlights fronting Napoleon can be +lighted. The person who takes the part of Napoleon must resemble, in +features and form, the original character. + + + + +THE DANCING GIRL IN REPOSE. + + Bid me discourse; I will enchant thine ear, + Or, like a fairy, trip upon the green, + Or, like a nymph, with long dishevelled hair, + Dance on the sands, and yet no footing seen. + + SHAKSPEARE. + +Three Female Figures. + + +This pleasing tableau represents a young and beautiful dancing girl +reposing after one of her successful and fascinating dances. The +scenery should be arranged in the following manner: A curtain of red +Turkey cloth or cambric, fringed with gold, which can be made by +cutting strips of buff cloth to imitate fringe, and decorating it with +gold paper; this, in the evening, will make quite a rich appearance. +The curtain should be but two feet long in the centre, cut in three +festoons, each three feet wide. At the ends of the festoons, the +curtains must be wide enough to fill out the space at the side of the +stage, and so long that they will trail on the floor. This curtain +should be attached to a strip of wood, which can be fastened in +position on the ceiling. On each side of the stage, near the centre, +place small pedestals, one and a half feet square, covered with green +cambric, and decorated with bouquets of artificial or painted flowers. +In the centre of the stage, directly under the curtain, place a +pedestal two feet square, with a shaft at the side three feet high by +six inches in diameter; this must be covered with light green +cambric, and festooned with wreaths of flowers. The number of figures +in this piece are three: one alone takes a prominent part; the +remaining two are intended as an addition to the scenery. The two +small pedestals are to be occupied by pretty little misses, of about +six years of age, dressed to represent fairies. Their costume consists +of short white dresses covered with bands of gold and spangles; white +hose and slippers; a pink gauze sash, decorated with gold spangles, +worn across the shoulders; the hair arranged in ringlets; wings formed +of wire, covered with white muslin, and decorated with spangles, and +fastened to the shoulders. The costume of the dancing girl consists of +a white dress reaching to the knees, covered with white tarleton +muslin, and ornamented on the front with a small bouquet, and bands of +crimson ribbon running around the skirt. The waist should be low on +the bosom, the sleeves quite short, and trimmed with flowers; the hair +can be dressed to suit the taste of the performer. Flesh-colored hose +and white slippers should be worn. The position of the dancing girl is +on the centre of the pedestal, in a careless attitude. One arm hangs +negligently at her side, the hand grasping a tambourine; the other +rests on the top of the shaft. The weight of the body rests on the +right foot; the left foot crosses the right. The eyes should be cast +down to the floor, and the expression of the face sad and thoughtful. +The fairies stand on the small pedestals at the sides of the stage. We +have a side view of them as they stoop forward and clasp the folds of +the curtain. The right hand is extended, the forefinger pointing at +the dancing girl. The weight of the body should mostly rest on the +right foot; the left is extended behind, the toe touching the top of +the pedestal. The head slightly turned towards the audience; the +expression of the countenance quite brilliant. The lights should be at +the left side of the stage, and of medium quantity. A waltz or polka +can be played while the tableau is exhibited. + + + + +WASHINGTON'S ENTRANCE INTO PORTSMOUTH. + + Behold, he comes! Columbia's pride, + And nature's boast--her favorite son; + Of valor, wisdom, truth, well tried-- + Hail, matchless _Washington_. + + Let old and young, let rich and poor, + Their voices raise, to sing his praise, + And bid him welcome, o'er and o'er. + + This, this is he, by Heaven designed, + The pride and wonder of mankind. + United then your voices raise, + And all united sing his praise. + + Let strains harmonious rend the air; + For see, the godlike hero's here! + Thrice hail, Columbia's favorite son; + Thrice welcome, matchless _Washington_. + + J.M. SEWALL. + +Ten Female and Thirty-two Male Figures. + + +"Saturday, 31st Oct. + +"Left Newburyport a little after eight o'clock, (first breakfasting +with Mr. Dalton,) and to avoid a wider ferry, more inconvenient boats, +and a piece of heavy sand, we crossed the river at Salisbury, two +miles above, and in three miles came to the line which divides the +State of Massachusetts from that of New Hampshire. Here I took leave +of Mr. Dalton and many other private gentlemen, also of General +Titcomb, who had met me on the line between Middlesex and Essex +counties, corps of light horse, and many officers of militia, and was +received by the president of the State of New Hampshire, the vice +president, some of the council, Messrs. Langdon and Wingate of the +Senate, Colonel Parker, marshal of the state, and many other +respectable characters, besides several troops of well-clothed horse, +in handsome uniforms, and many officers of the militia, also in +handsome white and red uniforms of the manufacture of the state. With +this cavalcade we proceeded, and arrived before three o'clock at +Portsmouth, New Hampshire, where we were received with every token of +respect and appearance of cordiality, under a discharge of artillery. +The streets, doors, and windows were thronged with the populace. +Alighting at the town house, odes were sung and played in honor of the +president."--_Washington's Private Diary._ + +"A visit from a person so distinguished and beloved, had he come +without the insignia of office, would have created no little +enthusiasm; but a visit from its president, when the young republic +had been organized scarcely half a year, occasioned to the community a +thrill of ecstasy which vibrated through every heart--an outburst of +joy due from a grateful populace to one to whose skill and superior +virtues they owed their happiness. There was a mixture of novelty, of +joy, of patriotic enthusiasm, felt by every heart. A committee of +twelve was appointed in town-meeting to superintend the reception. The +president left his carriage at Greenland, at the residence of Colonel +Tobias Lear, and mounted his favorite white horse; he was there met by +Colonel Wentworth's troop, and on Portsmouth plains the president was +saluted by Major General Cilly, and other officers in attendance. From +the west end of the State House, on both sides of Congress Street, and +into Middle Street, the citizens and military were arranged in lines, +and on the east side of the parade ground were the children of the +schools, dressed appropriately for the occasion. The president at the +entrance received a federal salute from the three companies of +artillery under Colonel Hackett. The streets through which he passed +were lined with citizens; the bells rang a joyful peal, and repeated +shouts from grateful thousands hailed him welcome to the metropolis of +New Hampshire."--_Brewster's Rambles._ + +This national tableau contains forty-two figures: Washington, sixteen +soldiers, ten young ladies, six citizens, and nine school children. +The number can be made less if there is not sufficient room on the +stage. The stage scenery consists of the following articles: A +fac-simile of the white horse, which is to be made in the following +manner: With a tape measure and rule take the dimensions of a +small-sized horse; let your carpenter make a skeleton horse according +to your dimensions, of wood, as strong and light as possible; then +take curled hair or hay and fill out the frame so that it will look +symmetrical, using twine to bind on the material used. It will be a +good plan to have an engraving of a horse to look at, so that you will +more easily arrive at the proportions of the body. The right foot of +the horse must be raised. After you have satisfied yourself in regard +to the form of the animal, take cheap cotton cloth and sew over all +parts of his body. Cover this with three coats of white paint, and +sprinkle slightly with black. The eyes can be imitated by using the +bottom of a small black glass bottle; the ears should be made of +leather; the mouth and nostrils can be painted; make the mane and tail +of flax or hemp. Insert the feet into a heavy plank, and decorate him +with a showy military saddle and bridle. A triumphal arch, made in +three parts, of wood, covered with green cambric, and decorated with +flowers, will also be wanted. + +Washington's costume consists of a black velvet continental coat, buff +vest, white hose, shoes, knee and shoe buckles, white cravat, ruffled +bosom, black chapeau, sash, epaulets, side arms, and white wig. The +military are dressed in blue coats trimmed with buff, white pants, +chapeau, cross and waist belts, swords and muskets; officers in as +showy uniforms as can be procured. The ladies should be of various +sizes, and costumed in white dress, red sash, and wreaths of myrtle on +the head; each should hold a garland, bouquet, or small basket of +flowers. Citizens' costume consists of black coat and breeches, light +vest, chapeau, white hose, shoe and knee buckles; children in dark +jackets, white pants, dark caps, with a wreath of evergreen worn over +the shoulders. Washington is seated on his horse, the left hand +grasping the reins and whip, while the right holds his chapeau. He +leans forward slightly, and is looking to the ladies, who are strewing +his path with flowers. His face is lighted with smiles of pleasure as +he beholds the crowds of delighted people who are seen on every side. +On each side of the horse, and in the foreground, the young ladies are +placed. They are in kneeling positions, and extend their flowers +towards Washington; their faces are turned upward, and are suffused +with smiles. The military are placed on the extreme right and left of +the stage, the head of each platoon commencing at the front of the +stage, and extending into the background. As they recede in the +distance they must have a higher position, so that every one will be +seen. They should turn the head a trifle towards the audience, and +present arms. The citizens, placed on raised platforms, take positions +behind the horse. They hold their hats in the left hand, and look at +Washington. The children stand in a line in the background of the +picture. They must be placed on high platforms, so that they may be +seen distinctly. They look straight forward, with the right hand +placed at the side of the cap. The triumphal arch is to be erected +directly over the head of Washington; it should not be very heavy, as +it is necessary to have as much of the space occupied by the +characters as is possible. The horse and arch must be first brought +on the stage, then the military, next Washington, and the ladies, then +the children and citizens will take their positions. All the light +that can be produced in front, and facing Washington, must be used. +The booming of cannon, ringing of bells, and the loud hurrah of the +populace should be heard in the distance. "Hail Columbia" would be the +appropriate music for the piano-forte or melodeon. + + + + +FAME. + + Blow the trumpet, spread the wing, fling thy scroll upon the sky; + Rouse the slumbering world, O Fame, and fill the sphere with echo.-- + Beneath thy blast they wake, and murmurs come hoarsely on the wind, + And flashing eyes and bristling hands proclaim they hear thy message: + Rolling and surging as a sea, that upturned flood of faces + Hasteneth with its million tongues to spread the wondrous tale. + + TUPPER. + +Three Female and Nine Male Figures. + + +This tableau is represented by twelve persons, three ladies and nine +gentlemen. They are arranged and costumed in the following manner: +Standing on a pedestal six feet high, in the centre of the stage, is a +female who personates the Goddess of Fame. Her costume consists of a +loose white dress, cut low at the top, hair done up neatly and +encircled with a wreath of white flowers; at her side, on a small +pedestal, is a plaster bust of Shakspeare, which the goddess is about +crowning with a wreath of myrtle. At each side of the large pedestal +are two others, which are two feet square and three feet high; on each +of these stands a female figure, dressed in a loose white robe, cut +low at the top, the hair flowing loosely over the shoulder, the head +encircled with a wreath of white flowers. Each holds in the right hand +a long, slender trumpet, which she is in the act of blowing; the +trumpets are pointed horizontally to the right and left; they are +three feet long, with a bell, five inches in diameter, at the end. +These can be made of card-board, and covered with silver paper. In +front of the highest pedestal there should be placed a platform six +feet long, four feet wide, and one foot high. On this, a second +platform, five feet long, two feet wide, and one foot high. Cover them +with white cloth. Kneeling on the front of the large platform are four +young men. The first one represents a sculptor. He kneels, facing the +audience, and holds a mallet and chisel in his left hand. The second +figure represents the mechanic, with his square and level. The third +represents the musician, with his harp. The fourth personates the +painter, with his pallet and brushes. Kneeling behind them, on the +small platform, are three other figures. The first is the poet, with +his roll of songs and pen; the second is the soldier, with his sword; +and the third is the historian, with a volume of history and a pen. +Behind these, and fronting the goddess, stands a figure who represents +the orator. His costume consists of a suit of black. He holds a scroll +in his left hand; his right raised in front; countenance expressing +sternness; eyes slightly raised upwards. The soldier kneels between +the poet and the historian; costume consists of a rich military dress; +arms are folded across the breast, head turned slightly to the right, +eyes cast upward, the face expressing firmness. The poet is costumed +in a dark coat, light vest, knee breeches, white hose, low shoes, knee +and shoe buckles, lace collar and wristbands. Position is facing the +front corner of the stage. Eyes are fixed on the paper before him; +face expresses pleasure. On the other side of the soldier kneels the +historian. His costume, position, and expression of countenance, the +same as the poet. The sculptor kneels on the low platform. He faces +the corner of the stage, and casts his eyes upward. Costume consists +of a dark coat, white vest, dark breeches, white hose, shoe and knee +buckles, a low, flat cap set jantily on one side of the head, and a +velvet cape thrown over the left shoulder. The painter kneels on the +other end of the platform, and faces the right front corner of the +stage. Costume, position, and expression, the same as the sculptor. +Between these two, kneel the mechanic and musician. The former looks +straight forward. Costume consists of dark coat, light vest, dark +breeches and hose, low shoes, knee and shoe buckles. The musician +takes a similar position, and holds a harp, on which he is about to +play. His head is thrown back, and his eyes are raised upward. Costume +consists of a dark coat and breeches, bright-colored vest, black hose, +low shoes, knee and shoe buckles. Expression of the face, pleasant. +The light must be of medium quantity, and come from the right hand +side. Those lights near the front should be stronger than the others. +Music soft and plaintive. + + + + +FAITH. + +[SEE PLATE.] + +[Illustration: FAITH.] + + High on the mountain's towering head, + While darkness rules the sky, + Faith stands, and through the stormy cloud + Directs her anxious eye. + Amidst the gloom, the welcome rays + With cheering lustre shine, + And open to her ardent gaze + A world of bliss divine. + + J. FIRIEZE. + +Seven Female Figures. + + +This beautiful statuary tableau is represented in the following +manner: Six females kneel in a circle, and support a circular shield +three feet in diameter, on which stands a young lady who represents +Faith. Her right hand grasps a cross; the left is raised, the +forefinger pointing upward. The six ladies should be dressed in pure +white robes, cut low at the top. The hair is encircled with a wreath +of white flowers. No ornaments of any kind are to be worn. The hair +can be arranged to suit the taste of the performers. Their positions +are as follows: The two figures supporting the front of the shield +will partially face each other, resting the right knee on the floor, +and facing outward from the circle, both hands touching the shield +above. Two other ladies form behind the right hand figures, in the +same position, and two more form behind the left hand figures. They +will all face outward, and support the shield with both hands. The +eyes should be cast down, the expression of the face serene. It will +be necessary, before the ladies take their position, to place the +shield on a pedestal one foot square, and high enough to allow the +figures to kneel beneath. Cover the pedestal and shield with white +cloth. After the six figures have taken their positions, the figure of +Faith should be assisted to her position on the top of the shield. She +must be of good figure, small, regular features, and dark hair, which +should be quite long. Her dress consists of a long, white robe, made +to trail on the top of the shield, the waist encircled with a large +white cord, with two white tassels attached; the hair brushed back +from the head, clasped with a silver band, and allowed to flow loosely +over the shoulders; the head is adorned with a small band of silver, +one fourth of an inch wide, with a small silver cross, in the centre. +She is to stand perfectly erect in the centre of the shield, the cross +resting on the right shoulder; the eyes lifted, as in devotion; the +expression of the face calm, and yet denoting firmness and energy; the +light should be soft, and come from the front right hand corner of the +stage; the figures who support the shield must be partially thrown in +the shade, while Faith receives the most of the light. Music +accompanying this piece should be of a sacred character. + + + + +SPIRIT OF RELIGION. + + Religion should our thoughts engage + Amidst our youthful bloom; + 'Twill fit us for declining years, + And for the approaching tomb. + + ANON. + +Six Female and Three Male Figures. + + +This tableau contains nine figures. The lady who represents Religion +stands in the background of the picture, on a pedestal three feet +high. She holds a cross on her left shoulder; the right hand grasps +her mantle, which she unfolds, revealing herself to mankind. The lady +should be of medium height, with light hair, which hangs loosely over +the shoulders. The costume consists of a loose white dress, cut high +at the top, sleeves fitting tightly to the arms, while over this dress +is worn a second, which is open in front, and is made of white +tarleton muslin. Position is facing the audience, eyes directed +straight forward, expression calm and thoughtful. The second figure is +a beautiful young lady, who kneels at the foot of the pedestal, on a +small platform one foot high, and represents Hope. One hand rests on a +large Bible; the other points up to the cross, and bids the captive, +the dying, and broken-hearted, who kneel in the foreground, to look up +to Religion. Costume consists of a white dress, cut high at the +throat, short sleeves; hair arranged in curls, and wings of gauze +fastened to the back of the dress. Position, kneeling at the foot of +the pedestal, facing the audience, head turned slightly on one side, +one knee resting on the floor, the body erect, the eyes directed to +the figure of the captive in the foreground. The third figure is at +the right of the pedestal--a young and handsome lady, who represents +Faith. She holds a palm branch--the emblem of martyrdom. Her costume +consists of a long white dress, over which is thrown a white mantle, +which she gathers about her breast. Her hair hangs loosely over her +shoulders, and a black band encircles the head. Her position is, +standing on a small pedestal two feet high, so that we have a profile +view of her form. Her head is raised to the cross, countenance +expressing calmness and repose. Charity is represented, on the left of +the pedestal, by a young lady who extends her protection to two +helpless children. Her costume is a white dress, opening at the bosom; +hair done up neatly, over which hangs a white veil. Her position is, +seated at the right of the pedestal, on a small platform two feet +high, body facing the audience, head bent forward, and turned towards +Religion; eyes cast down; each arm embraces a small child, who is +dressed in simple costume. The captive is represented by a gentleman +wearing a suit made of coarse cloth, long beard and hair, face painted +to represent age, arms and waist bound with chains. He kneels at the +foot of Charity, on the floor of the stage; his face is turned towards +Hope. Both hands are clasped and raised in front of the breast. +Kneeling at the foot of Hope are two other figures. One is a female, +dressed in deep mourning; the other, an aged man, who is supported by +the lady. His costume consists of a loose robe of white cloth, trimmed +with purple; his head is covered with white hair, and from his face +hangs a long white beard. The hair and beard can be made of flax. The +lady is kneeling next to Faith; the right arm is placed around the +aged man, and the left points to Religion; the head is turned upward, +and the expression of the face denotes grief. The aged man kneels +beside the figure in mourning, his head resting on her shoulder, with +his clasped hands stretched out in front; the eyes are closed, and the +face downcast. The tableau must be formed in the centre of the stage. +The light should be quite strong, and come from the right of the +stage. Music of a sacred character. + + + + +THE POET AND THE GODDESS OF POETRY. + + The poet's pen is the true divining rod + Which trembles towards the inner fount of feeling, + Bringing to light and use, else hid from all, + The many sweet, clear sources which we have + Of good and beauty in our own deep bosoms; + And marks the variations of all mind, + As does the needle an air-investing storm. + + FESTUS. + +One Female and One Male Figure. + + +This beautiful tableau is personated by two figures, a young man and a +maiden. The scene represented is a dark and gloomy attic. An old table +stands in the middle of the room; on it are a few books and +manuscripts, an inkstand, a candlestick, with a partly-burned candle +inserted in it, a mug of water, and a roll of bread. Near the table is +an old-fashioned arm chair, in which is seated a young man dressed in +cheap clothing. He has leaned his head upon the table, and is +lamenting over his poverty and misfortune. As he sits weeping, a mist +gathers in the chamber; it slowly grows denser, till at last it +becomes a cloud of light; and lo! in the midst of the cloud stands a +divine shape--the Goddess of Poetry--supremely beautiful. She +addresses the Poet, gives him advice and consolation, and encourages +him to renewed efforts in the path of fame; then vanishes from his +sight. Besides the furniture already described, there should be a few +chairs, pictures, and a piece of statuary, placed in various parts of +the stage. The Poet's costume consists of a loose black coat, dark +breeches, light vest, white hose, low shoes, knee and shoe buckles. +Position is near the table, his arms laid across it, his head resting +on his arms, and in a position that displays a profile view of the +body. The Goddess of Poetry should be a young lady of good height, +figure, and features, and costumed in a flowing white dress, cut low +at the neck, with short sleeves trimmed with white satin ribbon; a +wide muslin mantle should be worn across the shoulders; a wreath of +myrtle adorns the head. In her right hand she holds a golden harp; the +left is placed on the shoulder of the Poet. Her position is behind the +table, in the background of the picture, and facing the audience. Her +head is slightly bent forward, and eyes directed to the face of the +youth; her countenance expresses pleasure. The following machinery can +be used, if desired, which will add very much to the beauty of the +piece. In place of the Goddess being at the side of the Poet when the +curtain rises, a sliding platform can be made to move on to the stage +from the ante-room, on which the Goddess should stand. A stout post +firmly fixed in one side will enable the lady to stand perfectly still +while the platform moves to its position. All that is necessary in the +construction of this part of the work is to make a set of ways, and a +sliding platform that will run with ease from one side of the stage to +the other. A rope attached to the platform, and fastened to a crank +below the stage, will propel the Goddess to her position. The ways and +platform can be hidden from view by a strip of board, painted to +imitate the floor of the room. A small quantity of the whitish-blue +fire may be burned near the spot where the Goddess appears. The light +should be very dim, and come from the side of the stage opposite the +Poet. Music soft and plaintive. + + + + +DEATH OF EDITH. + + O'er her low couch an Indian matron hung, + While in grave silence, yet with earnest eye, + The ancient warrior of the waste stood by, + Bending in watchfulness his proud gray head, + And leaning on his bow. + + Solemnly beautiful, a stillness deep, + Fell on her settled face. Then, sad and slow, + And mantling up his stately head in awe, + "Thou'rt passing hence," he sang, that warrior old, + In sounds like those by plaintive waters rolled. + + "Thou'rt passing from the lake's green side, + And the hunter's heath away; + For the time of flowers, for the summer's pride, + Daughter, thou canst not stay. + + "Thou'rt journeying to thy spirit's home, + Where the skies are ever clear; + The corn-month's golden hours shall come, + But they shall not find thee here." + + The song ceased, the listeners caught no breath; + That lovely sleep had melted into death. + + MRS. HEMANS. + +Three Female and Two Male Figures. + + +This tableau is suggested by the beautiful poem of Mrs. Hemans, called +Edith, a Tale of the Woods. The circumstances of the poem refer to the +western world in its first settlement, when fierce strife and combat +raged between the wild Indian and the settlers from the mother +country. In one of these fearful scenes a young and beautiful maiden +was taken captive, and conveyed to the village of the red man. But the +broken flower of England wasted and pined for the fine old home of +other days. + + "The parting sigh + Of autumn through the forests had gone by, + And the rich maple, o'er her wanderings lone, + Its crimson leaves in many a shower had strown, + Flushing the air; and winter's blast had been + Amidst the pines; and now a softer green + Fringed their dark boughs; for spring again had come, + The sunny spring! but Edith to her home + Was journeying fast." + +The scene represented in this tableau is at the time when Edith is +quietly sleeping in the wigwam of the Indian warrior. By her side sits +an aged Indian matron, watching the sleeping one. Standing near the +couch is an old Indian warrior leaning on his bow, gazing in grave +silence on the dying girl. Kneeling at the foot of the couch are an +Indian girl and lad, who are looking with wonder on the form of the +pale-face. The wigwam should be six feet high, and five feet wide at +the bottom. It should be made of light framework, and covered with +brown cambric, on which are painted Indian hieroglyphics. This must be +placed in the centre of the stage. The opening in front of the wigwam +should be four feet wide at the bottom, so as to admit of the +occupants being visible to the audience. The couch in the interior is +composed of buffalo robes. The scenery in the background should +represent woods and rocks. A few fir trees placed at the back part of +the stage will answer, if nothing better can be procured. The lady who +personates Edith should be one of good features and rather a small +form. Her costume consists of a loose white dress, sleeves five inches +long, hair done up loosely in the neck, and face and neck made as +white as possible. Position, reclining on the couch, facing the +audience, the lower part of the body covered with a leopard skin. The +head and chest should be in an upright position, the head inclined +back slightly, and supported by the right hand. The left hand laid +carelessly over the bosom; the eyes are closed, the countenance calm. +The aged Indian warrior should be dressed in a costume like that +described in Hiawatha; the aged matron's costume similar to that worn +by Nokomis, in the death of Minnehaha; the young Indian children in +appropriate costumes. The position of the Indian matron is, sitting at +the head of the sleeping girl, one hand resting on the pillow, and the +other raised to the side of the head; the eyes cast upon the ground. +The warrior's position is at the opposite side of the wigwam. He is +leaning carelessly upon his bow; his body inclined forward slightly; +his eyes fixed upon the sleeping maiden. The children kneel at the +foot of the couch; the boy rests his head upon his hand, and gazes +upon the face of the dying one; the Indian girl kneels by his side, +and points with her right hand to the couch, while her eyes are +directed to the face of the boy. The face and other exposed parts of +the bodies of the Indian family must be stained light brown. A red +fire should be burned in the ante-room, so as to fall upon the +performance. Music soft and plaintive. + + + + +ABOU BEN ADHEM AND THE ANGEL. + + Abou Ben Adhem (may his tribe increase) + Awoke one night from a deep dream of peace, + And saw, within the moonlight in his room, + Making it rich and like a lily in bloom, + An angel writing in a book of gold. + Exceeding peace had made Ben Adhem bold, + And to the presence in the room he said, + "What writest thou?" The vision raised its head, + And with a look made all of sweet accord, + Answered, "The names of those who love the Lord." + "And is mine one?" said Abou. "Nay, not so," + Replied the angel. Abou spoke more low, + But clearly still, and said, "I pray thee, then, + Write me as one that loves his fellow-men." + + The angel wrote and vanished. The next night + It came again with a great wakening light, + And showed the names whom love of God had blessed, + And lo! Ben Adhem's name led all the rest. + + LEIGH HUNT. + +One Female and One Male Figure. + + +This very fine tableau is taken from the beautiful lines written by +Leigh Hunt. The tableau is represented in two scenes. In the first +scene, Ben Adhem is seen reclining on his couch, gazing with wonder +and surprise on the angel, who is standing in the centre of the room, +engaged in writing in the book of gold. In the second scene, the angel +stands at the foot of the couch, and holds the book towards Ben Adhem +for him to read the names written therein. The couch can be formed by +placing a small mattress on a few low boxes, and covering the whole +with bed clothes, on the outside of which should be a white quilt. It +must be placed in the foreground, at the right of the stage. Place a +plaster pedestal near the side of the couch, on the top of which stand +a lighted lamp. At the background of the picture fasten a set of +crimson damask curtains; drape them at each side of the stage, and +beneath them place a plaster pedestal, with a piece of statuary on the +top. + +The lady who personates the angel should be of good form and features, +of medium height, and costumed in a white dress, over which is worn a +loose white tarleton muslin robe, with large flowing sleeves; this +must be cut quite low at the top, and made to trail on the floor; hair +done up snugly, and encircled with a band of silver, one fourth of an +inch wide; large wings, formed of wire, and covered with gauze, and +ornamented with silver spangles, should be fastened to the back of the +waist. The face and other exposed parts of the body should be whitened +with flesh powder. Position in the first scene is, standing in the +centre of the room, facing the audience. The book of gold can be +imitated by placing sheets of gold paper on the cover and in the +inside of a large book. Let it rest on the left arm, and be held at +the top by the left hand. The right hand holds a long quill pen, the +point of which rests on the pages of the book. Let the body and head +incline forward slightly; the eyes directed to the book; the +expression of the face tranquil. Ben Adhem's position in the first +scene is, reclining on the couch, with the quilt thrown over the lower +portion of his body; his left hand resting on the bed, from which he +has partially risen; the right raised in front of the chest, the +fingers spread out; the face turned towards the angel, the expression +of the face denoting surprise and wonder. Costume consists of white +pants and shirt, white lace collar and wristbands, and a velvet cloak +thrown carelessly over the right shoulder. In the second scene, the +angel stands at the foot of the couch, holding the book in the left +hand, and pointing to its pages with the right. Her eyes are fixed on +Ben Adhem's face, while the countenance is lighted up with smiles. Ben +Adhem leans forward, slightly resting his arm on a cushion at his +side, and looks with pleasure on the pages of the book. A number of +names should be written in the book, and at the top, in large letters, +place the name of Abou Ben Adhem. While the tableau is performed, the +poem may be read by the announcer. The light for the first scene +should be quite dim, and come from the side of the stage opposite +Abou. In the second scene, a colored fire must be burned, so as to +throw a strong light on the form of the angel. Music in the first +scene very soft, and increasing in power in the second. + + + + +HIAWATHA AND HIS BRIDE'S ARRIVAL HOME. + + Pleasant was their journey homeward! + All the birds sang loud and sweetly + Songs of happiness and heart's ease; + Sang the blue bird, the Owaissa, + "Happy are you, Hiawatha, + Having such a wife to love you!" + Sang the robin, the Opechee, + "Happy are you, Laughing Water, + Having such a noble husband!" + + Thus it was they journeyed homeward; + Thus it was that Hiawatha + To the lodge of old Nokomis + Brought the moonlight, starlight, firelight, + Brought the sunshine of his people, + Minnehaha, Laughing Water, + Handsomest of all the women + In the land of the Dacotahs, + In the land of handsome women. + + LONGFELLOW. + +One Male and Two Female Figures. + + +This interesting tableau is a representation of Hiawatha on the return +to his home accompanied by his beautiful bride, Minnehaha. They have +just arrived in sight of the lodge of old Nokomis, and are seen in the +background of the picture emerging from the forest. A large tree lies +in the pathway, and Minnehaha is in the act of stepping over it. She +grasps Hiawatha's hand with her right, while the left is pointed +towards the wigwam in the foreground. She has just asked Hiawatha if +the lodge she sees is his home. Her countenance is lighted up with +pleasure. Hiawatha is leading her by the hand, and is a little in +advance of her. His face is turned towards her as he gracefully +assists her over the fallen tree. His left hand clasps hers, while +the right holds carefully his trusty bow. + + _Hand in hand they went together, + Through the woodland and the meadow._ + +Hiawatha's face is lighted up with pleasant smiles as he looks upon +the face of his bride, and tells her that yonder lodge is to be her +new home. The lodge of old Nokomis is in the foreground of the +picture, at the right of the stage. Minnehaha and Hiawatha are in the +background at the left. The door of the wigwam is open, and seated in +the doorway on a log is old Nokomis smoking her pipe. In front of the +tent are the half burned embers of the camp fire; a light smoke is +curling up to the sky, and all is quiet and still. Nokomis is gazing +vacantly into the embers of the fire: perhaps she is thinking of the +days when she + + Nursed the little Hiawatha, + Rocked him in his linden cradle, + Bedded soft in moss and rushes, + Softly bound with reindeer's sinews. + +Hiawatha, Minnehaha, and Nokomis should be dressed in Indian costume, +which can be cheaply made with a little ingenuity. Hiawatha's coat may +be made of light brown cambric, cut frock style, and belted around the +waist. The skirt should reach to the knee, and be ornamented with two +rows of fringe three inches wide; one should be red, the other yellow. +These fringes are also to be placed on the seams and bottom of the +sleeves and around the collar; round pieces of brass should be +fastened on various parts of the coat and around the belt. The +leggings are made of buff cambric, fitting tightly to the legs, and +ornamented at the side with red fringe. Black cloth shoes trimmed with +beads are worn on the feet; the head is adorned with a gold band, in +which are inserted bright-colored feathers. The belt around the waist +should be made three inches wide, of red morocco, and contain a small +knife and tomahawk; a quiver of arrows is fastened to the back, which +can be fashioned of card-board, and covered with bright-colored paper +or cloth. The exposed parts of the body should be stained a light +brown, the hair brushed up to the top of the head, and confined with a +band. Minnehaha's dress is of red cloth, trimmed with yellow fringe +intermingled with colored beads. The waist of the dress should be of +flesh-colored cloth made to fit the body very snugly. A scarf of +ermine is worn over the shoulders, and tied at the left side. On the +right side of the skirt is an over-skirt or side-apron, made of a +darker colored crimson, and trimmed with ermine; it commences at the +front of the body, and extends half way around the skirt; it is +scalloped at the bottom, and ornamented with yellow fringe and beads +outside of the ermine. The neck is adorned with a large necklace of +white beads, while the head is encircled with a band of gold, +ornamented with beads and showy plumes. The hair should be left +flowing over the shoulders. The wrists are to be decorated with large +gold bracelets. The leggings are to be of crimson cloth ornamented +with yellow fringe, and small bands of yellow running around them at +intervals of four inches. The feet are encased in shoes of black +velvet studded with beads. A quiver of arrows is fastened to the back +of the dress, and the exposed parts of the body stained light brown. + +Nokomis has on a loose coat of brown cambric fringed with yellow, +leggings of buff cambric fringed with light blue, dark shoes +ornamented with beads and red binding. The hair should be black, and +left to hang loose on the shoulders; a blue blanket trimmed with +crimson fringe is gathered about the shoulders, and a black belt +encircles the waist. The person who represents Nokomis should be of +large figure and face. The features must be painted to represent old +age. The scenery consists of the following articles, which should be +arranged in perfect order to give the proper effect to the picture. +The stage must be covered with green cloth, and should gradually rise +from the fore to the background; small spruce trees can be arranged at +the back and sides of the stage, with vines of flowers hanging from +them. Two or three stuffed birds should be fastened to the top +branches of the trees. The fire can be placed in a furnace near the +wigwam, and surrounded with dried branches. The fallen tree and +Nokomis' seat may be represented by artificial or natural logs. The +tableau should receive the light from the right hand side, the greater +portion of which should be thrown into the background. The +accompanying music should be of secular and inspiring order. + + + + +DAVID PLAYING BEFORE SAUL. + + Sing aloud unto God our strength, and make a joyful noise unto the + God of Jacob. + Take a psalm, and bring hither the timbrel, the pleasant harp with + the psaltery. + Blow upon the trumpet in the new moon, in the time appointed, on + our solemn feast day. + For this was a statute for Israel and a law of the God of Jacob. + + PSALM LXXXI. + + And Saul's servants said unto him, Behold now, an evil + spirit from God troubleth thee. Let our Lord now command thy + servants, which are before thee, to seek out a man who is a + cunning player on a harp; and it shall come to pass, when + the evil spirit from God is upon thee, that he shall play + with his hand, and thou shalt be well. And Saul said unto + his servants, Provide me now a man that can play well, and + bring him to me. Then answered one of his servants, and + said, Behold, I have seen a son of Jesse the Bethlehemite, + that is cunning in playing, and a comely person. Wherefore + Saul sent messengers unto Jesse, and said, Send me David thy + son. And David came to Saul, and stood before him; and it + came to pass, when the evil spirit from God was upon Saul, + that David took a harp, and played with his hand. So Saul + was refreshed, and was well, and the evil spirit departed + from him. + + 1 SAMUEL XVI. + +Six Female and Eight Male Figures. + + +This sacred tableau contains fourteen figures, and is arranged in the +following manner. Saul is seen seated on the throne at the background +of the picture. On each side of the throne are seated Saul's friends +and servants. David is sitting in the foreground, playing on the harp. +Saul's costume consists of a scarlet or purple velvet coat and +breeches, white hose crossed with red bands, low shoes, a crown of +velvet and gold, ornamented with precious stones, on the head, and a +large cloak of velvet and ermine thrown over the shoulders. A long +white beard should be fastened to the face, and a wig worn on the +head. The gentlemen should be attired in long, loose coats, made of +bright-colored cambric, trimmed with the same material, of other +colors. The head should be covered with a red and black turban. White +hose, crossed with black and red bands, breeches of showy-colored +cloth, shoes covered with red flannel, and crossed with black binding, +the face disguised with a long white beard, which can be made of flax. +The ladies can be costumed in satin or silk dresses, the hair hanging +in curls, and the person decorated with a profusion of jewelry. The +person who takes the part of David should be of fair complexion, +without a beard, should have long hair, and be costumed in a light, +loose blue coat, reaching five inches below the knee, and gathered +around the waist with a crimson belt. He should also wear blue +breeches, blue hose crossed with red bands, and sandals on the feet; a +turban, made of velvet, and decorated with gold, should adorn the +head. The throne platform is to be two feet high and four feet square; +on this is placed a large chair, with a canopy over the top, all of +which must be trimmed with crimson cloth, and decorated with gold +paper. On each side of the throne, place seats to accommodate twelve +persons; those in front can be seated, while others, in the +background, should be standing; they must assume various positions; a +few may be engaged in conversation, while others are looking at David. +Saul is seated on the throne, with the right hand resting on the arm +of the chair, his body slightly bent forward, and eyes fixed on +David. His countenance expresses pleasure. David is seated on a low +ottoman in the foreground of the picture. The harp rests on the floor. +Position so that a side view is had of the body. His head is thrown +back; eyes cast upward; face expresses pleasure. The light for this +picture should come from the front and the left side of the stage, and +must be quite brilliant. The harp can be made of wood, covered with +gold paper, and strung with yellow cord. The music should be of a +sacred and inspiring style. + + + + +LIBERTY. + + "O Liberty, can man resign thee + Once having felt thy generous flame? + Can dungeons, bolts, or bars confine thee, + Or whips thy noble spirit tame? + Too long the world has wept, bewailing + That falsehood's dagger tyrants wield; + But freedom is our sword and shield, + And all their arts are unavailing. + To arms, to arms, ye brave! + The avenging sword unsheathe! + March on, march on, all hearts resolved + On victory or death." + +Seven Female and Six Male Figures. + + +This tableau is an ideal representation of Liberty, and is represented +by thirteen persons--seven young ladies and six young gentlemen. In +the background of the picture a platform is raised, on which stands +the Goddess of Liberty. This platform is three feet high and four +feet square. The front is covered with blue cambric, with a border of +red, decorated with gilt stars. In the centre is placed a gilt eagle; +on each end of the platform is a small American shield. The background +is draped with American flags. On each side of the platforms are +placed inclined planes, extending from the corners of the platform to +the front corners of the stage; the height of these at the front +should be six inches, and three feet high at the background. They are +to be covered with white cloth, and ornamented with a border of red +and blue cambric. The lady who personates the Goddess of Liberty +should be of good height, fine figure and features. Costume consists +of a white satin or silk dress, made long enough to trail on the +platform, a waist of crimson velvet, covered with small gilt stars, +sleeves five inches long, hair done up snugly, and covered with a +spiral liberty cap, of blue velvet, decorated with gold bands. +Position is, standing in the centre of the platform, grasping with the +right hand a slender spear seven feet in length. Entwined around this +should be a small American ensign. The left hand hangs carelessly at +the side; the head thrown back slightly, the eyes cast upward. The six +ladies kneel at equal distances on the inclined plane. Their costume +consists of a white dress, blue waist, and red sash; a garland of +flowers should adorn the head, and each holds extended in the right +hand a wreath of myrtle. Their attention should be directed to the +Goddess of Liberty. The six gentlemen take position on the opposite +inclined plane. They kneel at equal distances from the platform to +the corner of the stage, and are costumed in blue or black coats, +white pants, with buff stripe on the side, gold epaulets, side arms, +red sash, flat caps, with gilt bands. The cap should be slightly +raised with the right hand, while the left is placed on the hip. The +eyes are to be directed to the Goddess. The piece should be lighted up +by a red fire burned at the opposite side from the gentlemen, and the +light must be quite brilliant. Music, Star-spangled Banner. + + + + +PAGANISM AND CHRISTIANITY. + + O'er the realms of pagan darkness, + Let the eye of pity gaze; + See the kindred of the people + Lost in sin's bewildering maze; + May the heathen, now adoring + Idol gods of wood and stone, + Come, and, worshipping before him, + Serve the living God alone. + + COTTERILL. + +Two Female and Two Male Figures. + + +This double tableau represents the idolatrous system of faith and +worship of the pagans, and by simple machinery the scene is made to +pass from the view of the audience, and we have represented the faith +and glorious emblems of Christianity. The machinery and scenery which +are used in the piece are made in the following manner: A revolving +beam should be set up under the stage, the upper end protruding +through the floor. Washers will be needed for the bottom and top, and +wooden pins, passing through the beam, will be necessary, to take hold +of to move it around. Build a circular platform ten feet in diameter; +make it strong with braces, and, if necessary, it can be made in two +parts, and fastened together with iron hooks and clamps. Cut a square +hole in the centre of the platform, corresponding with the thickness +of the beam. Then place it on the top of the beam, six inches from the +floor, secure it firmly, and make it perfectly level. Across the +centre of the platform cut small holes for the purpose of inserting +the ends of a partition which will divide the circle into two +apartments; make the partition of wood; cover one side with white +cloth, and also the floor with the same; the other side and floor with +black cloth. It should be five feet high, ten feet wide, and oval at +the top. After the tableaux are arranged on each side of the platform, +persons under the stage can revolve the whole with very little +exertion. The tableau of Christianity should be formed on the light +side, and Paganism on the dark side. By placing numbers on the +revolving beam, and corresponding numbers on the washers, the +assistant below will be able to tell when the tableau is in the right +position above. To represent Paganism, a large idol should be +constructed, and seated in the centre, and close to the black +partition. The form of the human body can be imitated by taking a suit +of old garments, stuffing them with straw, and covering them with buff +cambric, on which hieroglyphics can be painted. A large mask, with +artificial hair, and crown made of gaudy-colored cloth, will answer +for the head; a short frock of red Turkey cloth, trimmed with gold +paper, should be fastened about the lower portion of the body. The +idol should be seated on a pedestal sixteen inches high, which is +placed on a platform three feet square and eight inches high. These +are to be decorated with showy cloth or paper. Kneeling at the foot of +the pedestal are two figures, one a female, the other a male. Their +hands are clasped in front of the face, the eyes raised to the idol, +head turned, so that a side view is had of the features. The costume +of the youth consists of a loose coat, made of brown cambric, trimmed +with crimson cloth and beads; flesh-colored pants, fitting tightly to +the legs; shoes covered with showy cloth; a turban on the head, made +of strips of red and buff cloth; the face and other exposed parts of +the body stained a light brown. The young lady's costume consists of a +loose dressing gown, trimmed around the top and on the ends of the +sleeves with bands of red cloth, and gold paper cut in the form of +diamonds. The hair should hang loosely over the shoulders, and about +the head entwine a string of beads; the head is slightly turned to the +young man; the eyes directed to the idol; the face and arms stained +like the young man's. The extreme ends of the platform are occupied by +two figures costumed similar to those already described. They are +kneeling at the feet of small pedestals in such a position that a +profile view is had of the form. The pedestals should be two feet +high, and covered with bright-colored cloth. On one is a +representation of the sun, made by pasting a sheet of gold paper on +card-board, and cutting out rays around the edge. On the other +pedestal is placed a figure of the moon, with the stars radiating +around it. The moon can be made of card-board and silver paper, and +the stars of gold paper; these must be fastened to wires, and placed +ten inches from the top of the pedestals. Indian war clubs, spears, +shields, and other heathen curiosities, should be placed about the +figures. The light for this scene must be quite mild, and come from +the right hand side of the stage. Music low and of a mournful +character. + + + + +SECOND SCENE OF PAGANISM AND CHRISTIANITY. + + Upon the gospel's sacred page + The gathered beams of ages shine; + And as it hastens, every age + But makes its brightness more divine. + + On mightier wing, in loftier flight, + From year to year does knowledge soar, + And as it soars, the gospel light + Adds to its influence more and more. + + BOWRING. + +One Male and Two Female Figures. + + +_The Tableau of Christianity._--On the side of the platform which is +covered with white cloth there should be erected a small pulpit. Make +it of boards, cover it with cloth, and paint it in imitation of +mahogany. A small red cushion should be placed on the top, supporting +a large Bible, and on each side place lamps, with glass shades. In +the pulpit stands a young man dressed to represent a minister of the +gospel; one hand resting on the Bible, the other raised upward. In +front of the pulpit place a small table, covered with a white cloth, +on which set four silver goblets. By the side of the table place a +plaster pedestal, with a white urn on the top, to represent a font; on +each side of the pulpit, and at the extreme ends of the platform, are +two female figures; both are kneeling by the side of small pedestals; +these can be made of small boxes, covered with white cloth, and +ornamented with myrtle. The female figures should face the audience. +One holds a large Bible with the right hand, and points to the pages +with the left. The eyes are cast upward; the face expresses meekness +and serenity. The second figure, at the other end of the platform, +holds a cross in the left hand, and points to it with the right; the +eyes are raised upward, the face expressing pleasure. Their costume +consists of white dresses, cut low at the top, sleeves quite long and +flowing, and ornamented with white muslin; the waist is encircled with +a band of satin ribbon; a wreath of white flowers adorns the head, and +gauze wings are fastened to the back of the waist. The hair should be +dressed closely to the head, and a few curls allowed to hang on the +shoulders. The length of the cross is three feet; color, light blue. +On small pedestals, between the pulpit and the female figures, place +models of the steam engine, steamboat, printing press, and telegraph. +The tableau of Paganism must be first produced, after which the +machinery should slowly revolve, bringing into the view the tableau of +Christianity. The curtain must be kept up until both are exhibited. +The light for these tableaux should be quite brilliant, and issue from +the left side of the stage. Music of a sacred character. + + + + +THE FAIRIES' DANCE. + + The moon is full, the stars are bright, + The monks are all asleep; + Now gayly come the Fays to-night, + Their revelry to keep. + They love the abbeys old and gray, + Whence the vesper song is heard, + And the matin hymn at break of day + Awakes the singing bird. + + With waving torch and tiny shout, + The nimble foot they ply, + And Fairy laughs are ringing out + Beneath the midnight sky;-- + Then mortals hear the merry peals, + And wonder at the sound, + So like the chiming of harebells, + When light winds steal around. + + ANON. + +Ten Female and Eight Male Figures. + + +This beautiful tableau is represented by eight small misses, eight +small lads, and two young and pretty ladies. The stage should be +formed so as to rise gradually from the footlights to the background, +which can be done by using boxes of various sizes, and covering them +with green bocking. Twelve of the children should form a circle, the +front of which must be two feet from the footlights, the back +extending to the other end of the stage. They should clasp each other +by the hand, and take the position of the Highland fling; the right +hand raised above the head, the left placed on the hip; the attitudes +should be as graceful as possible. The expression of the faces +denoting pleasure and mirth. Near the footlights, two of the children +should be seated, looking at the others; and standing on pedestals at +each side of the stage, near the front, are the young ladies. The +pedestals are two feet high, covered with pink cambric, and bordered +with green leaves and flowers. The position of the female figures must +be graceful and easy. They stand so as to show a profile view of the +body; each holds a golden wand, which she extends out over the heads +of the dancers. Their eyes are fixed on the movements of the children, +the left hand clasps a stout cord, to which is fastened a large +crimson tassel, that will help sustain the body in position. The +costume of the misses consists of a short white dress, with short +sleeves, the waist studded with small stars and spangles; the bottom +of the skirt bound with light green ribbon, three inches wide, with +gold paper fastened to each edge, and small pink roses placed between. +The sleeves are bound with gold and pink ribbon in alternate bands, +three inches wide; a small scarf of white gauze, covered with spangles +and fringed at the ends with gold, encircles the waist. Flesh-colored +hose, white slippers, a wreath of silver leaves about the head. The +hair arranged in short curls, and small gauze wings, ornamented with +spangles, fastened to the back of the waist. + +The young lads' costume consists of a short coat, buttoned snugly over +the breast, made of light pink cambric. The bottom, the ends of the +sleeves, and the collar trimmed with purple cambric, three inches in +width, with narrow strips of gold paper on each side; between the +bands of gold, insert small diamond-shaped pieces of gold paper, +bordered with spangles. A belt made of the same material encircles the +waist; hose of flesh-colored cloth; white slippers, with pink rosette +on the front; a small cap, made of purple cambric, in the form of a +tulip, is worn on the head; it should be rather low, with a stem of +green protruding from the top, the edges scalloped, and bound with +gold paper. Small gauze wings are fastened to the shoulders, which are +ornamented with spangles and silver stars. The young ladies' costume +consists of a long white dress, with a robe worn on the outside of +tarleton muslin; the outer dress should have three wide flounces, the +edges of which are to be trimmed with large silver leaves, +interspersed with gilt roses; these can be made from gold and silver +paper. The waist must be cut quite low, and decorated in the same +manner; the sleeves flowing, and trimmed with spangles and pink +ribbons; large gauze wings, decorated with spangles and silver tinsel, +should be fastened to the back of the waist. The hair must be done up +in a neat coil, and encircled with a band of white flowers. Make the +wands four feet in length, and one half an inch in diameter; cover +them with silver paper, attach a gilt heart on the end. The light for +this tableau can be produced by a whitish-blue fire, burned at either +side of the stage; it should be quite brilliant, and must be lighted +before the curtain rises. Music of a lively order. + + + + +BUST OF PRAYER. + + Prayer is the soul's sincere desire, + Utter'd or unexpress'd; + The motion of a hidden fire + That trembles in the breast. + + Prayer is the burden of a sigh,-- + The falling of a tear,-- + The upward glancing of an eye, + When none but God is near. + + Prayer is the simplest form of speech + That infant lips can try; + Prayer, the sublimest strains that reach + The Majesty on high. + +One Female Figure. + + +This beautiful production should be represented by one who has an +amiable and modest appearing countenance, good figure and features. +The hair must be brushed up from the forehead, and fastened behind in +a black crochet net. The dress should be pure white, open very low at +the front and back. A cross is suspended from the neck by a band of +white ribbon. A heavy white veil should pass over the top and back of +the head, and be tied loosely four inches below the chin; the head +inclined forward slightly, the eyes closed, while the countenance +should appear serene, pure, and full of hope; the arms are to be +folded out of sight upon the breast. The same machinery, pedestal, +wire basque, crimson curtain, and fairies that are used in the Bust of +Proserpine, may be used in this piece. The light should be mild, and +come from the left side of the stage. Music plaintive, and of a sacred +order. + + + + +MORNING WELCOMED BY THE STARS. + + A glorious vision: as I walked in gloom, + The children of the sun came thronging round me, + In shining robes and diamond-studded shoon; + And they did wing me with them, and soon + In a bright dome of wondrous width I found me, + Set all with beautiful eyes, whose wizard rays,---- + Shed on my soul, in strong enchantment bound me; + And so I looked and looked with dazzled gaze, + Until my spirit drank in so much light + That I grew, like the sons of that glad place, + Transparent, lovely, pure, serene, and bright; + Then they did call me brother; and there grew + Swift from my sides broad pinions gold and white, + And with that happy flock a brilliant thing I flew! + + TUPPER. + +Twenty-one Female Figures. + + +This beautiful spectacle is represented by twenty-one persons. Twenty +of the number should be young misses, of about six or eight years of +age, who will personate the stars, and one, a young and handsome +lady, who is to represent morning. The sides of the stage must be +arranged in the form of terraced banks, two feet wide at the bottom, +and four feet wide at the top; they should be built from the +footlights to within three feet of the ceiling, covered with cloth, +and painted to represent clouds. Blue cambric, with white clouds and +gold stars, will answer the purpose. In the centre of the stage, two +pieces of joist must be placed in an inclined position, running from +the footlights to the background. On these build a sliding platform, +four feet square, with a small seat, one foot high. This should be +made to run with ease from the top to the bottom of the joist; cloth, +painted in imitation of clouds and stars, can be extended across the +space between the two terraces and the joist, so that it will show a +smooth surface. Cover the moving platform with cloth, arranged in +drapery style, and paint in the same manner as the rest of the +scenery. A back scene should be placed at the top of the terraces, +leaving a space of three feet between it and the back wall; this must +be painted like the rest of the scenery, and made to open in the +centre, near the top of the joist. + +The young misses' costume consists of a short white dress, decorated +with gold stars, and silver paper interspersed with spangles, white +hose and shoes, hair hanging in curls, and encircled with a band of +silver leaves, with a silver star on the forehead; a light blue sash, +covered with spangles, tied about the waist; and small gauze wings +fastened to the back of the dress. Each one should hold a small torch +ten inches in length, from which rises a blue flame; these can be +made of card-board, and covered with light blue paper, with the ends +tipped with gold. At the end from which the flame is produced, insert +a strip of tin, to protect the torch from the flames. The torches +should not be lighted until all the figures are in position. The young +misses take their position at each side of the stage, on the outer +edge of the terrace. They must lean forward slightly, and hold the +torch out from them. Their attitudes should be varied; those near the +top should be gazing upward, others looking down, and a few engaged in +conversation. The young lady who represents Morning must be costumed +in a loose white robe of tarleton muslin, cut low at the top, flowing +sleeves, skirt covered with three wide flounces, trimmed in front with +silver rays five inches long. The waist and sleeves decorated with +silver and gold spangles, and a satin belt, ornamented in like manner, +worn about the waist. The hair should be brushed back from the +forehead, and clasped with a band of silver, and allowed to hang over +the shoulders in long curls; the head is adorned with a band of gold, +with rays of silver radiating from the centre. The position is, seated +on the platform, head slightly inclined to the left, the right hand +raised over the head, the left rests on the waist; eyes directed to +the children in the foreground, countenance expressing pleasure. The +goddess Morning will be seated on the platform, behind the scenery. + +A yellow fire must be burned in the ante-room, and so shaded that, +just as the curtain rises, a small portion of the light will shine on +the centre of it; this light should increase in brightness for a few +seconds, when the sky in the background must open, and the goddess +glide slowly down to the centre of the stage. As the platform moves, +the fire should increase in brightness; when she has arrived at the +centre of the stage, the yellow light should be thrown into the +foreground, and a red light thrown into the background. This can be +accomplished by placing the colored fires in large boxes furnished +with sliding covers and reflectors; and by drawing out the covers +gradually, the light will be thrown on to the picture in the proper +manner. The curtain in the background can be opened by attaching at +each corner, near the centre, a small cord, which can be passed +through pulleys, and attended to in the ante-rooms. The curtain or +scenery should be drawn up on the back side, and let down in its place +as soon as the platform has passed through. A small rope, painted +blue, must be attached to the platform, and pass through a block +fastened to the wall of the stage; this can be tended by a person +under the stage, who will allow the platform to move with exactness to +its stopping place. If the light from the colored fire is not +brilliant enough, a few of the lights at the same side from whence the +fire is produced can be lighted. Music soft and plaintive at first, +and increasing in power at the finale. + + + + +THE STATUE VASE. + + She spoke to vanish, but the single ray + Shot from the unseen moon, still palely breaketh + The awe that rests with midnight on the way; + Faithful as Hope when Wisdom's self forsaketh-- + The buoyant beam the lonely man pursued-- + And, feeling God, he felt not Solitude. + + And now, he enters, with that lurid tide, + Where time-long corals shape a mighty hall; + Three curtain'd arches on the dexter side, + And on the floors a ruby pedestal, + On which with marble lips, that life-like smiled, + Stood the fair Statue of a crowned Child. + + BULWER'S KING ARTHUR. + +One Female Figure. + + +This design is a beautiful female, supporting a horn of plenty, from +which rises a basket of intermingling vines and flowers. The lady is +standing on a pedestal, which is described in the tableau of the +Italian Flower Vase, as is also the basket which the lady supports. +This basket or bowl of the vase can be suspended from the centre of +the ceiling by the means of wire hooks. The pedestal must be placed +directly under it. The space between the top of the pedestal and the +bottom of the basket should be just the height of the lady who takes +the part of the statue in the piece; so that when she is in position +on the pedestal, the bottom of the basket will touch the top of her +head. The horn of plenty can be made of cloth; it should be five +inches in diameter at the top, three foot long, and end in a point at +the bottom; it can be stuffed with wool, covered with green cambric, +and decorated with artificial flowers. It is to be attached to the +bottom of the basket, pass down over the lady's shoulder, and held in +its position by the left arm and hand. The lady who takes this part +should be of large and good figure, regular features, and quite +pretty. The costume consists of a white dress, with sleeves five +inches long, cut low at the neck, skirt made rather long, and worn +without many underskirts; a scarf of gauze worn over the shoulders, +and tied at the right side, allowing the ends to trail on the +pedestal. The hair should be arranged in wide braids at the side of +the face, confined at the back with a band of silver, and allowed to +fall in short curls over the neck. The position of the lady is, +standing in the centre of the pedestal, her body facing the audience, +and head turned partially to the right. The eyes should be raised a +trifle, while the expression of the face denotes tranquillity and +repose. The left hand must gracefully press the horn of plenty against +the side of the breast, while the right is raised above the head, and +touches the basket as if to steady it. The light for this piece should +be of medium brilliancy, and placed at the side opposite to the face +of the statue. Music soft and of a secular order. + + + + +SPIRIT OF CHIVALRY. + + Strike the loud harp, ye minstrel train! + Pour forth your loftiest lays; + Each heart shall echo to the strain + Breathed in the warrior's praise. + + Bid every string triumphant swell + Th' inspiring sounds that heroes love so well. + Chieftains, lead on! our hearts beat high-- + For combat's glorious hour; + Soon shall the red cross banners fly + On Salem's loftiest tower! + We burn to mingle with the strife, + Where but to die insures eternal life. + + MRS. HEMANS. + +Nine Male and Five Female Figures. + + +This fine tableau represents the Spirit or personification of +Chivalry, surrounded by men of various pursuits, religious, military, +and civil, who represent, as by an upper court or house, the final +acquisition of her honors and rewards. Beneath, as not having +obtained, though within reach of, the crown, is a young knight who +vows chivalric services, and is attended by his page and his young +bride. Around him, in various attitudes, other figures are introduced, +to connect the abstract representation of Chivalry with its general +recognition of intellectual influences; among them, the Painter, the +Sculptor, and Man of Science; the Palmer from the Holy Land, and the +Poet-Historian, from whom future ages must derive their knowledge of +the spirit and deeds of chivalry. The lady who personates the Spirit +of Chivalry should be of good figure and features. Her costume +consists of a loose white robe, cut high in the neck; a mantle of +white tarleton muslin is draped about the shoulders, and fastened in +front with a gilt cross; the hair is arranged in bands, falling low in +the neck, and encircled with a small wreath of silver leaves or white +flowers. In her left hand she holds a small wreath of evergreen, which +she extends towards the young knight, who kneels at the foot of the +pedestal on which she stands. Her position is, on a pedestal, three +feet high by two feet square, which should be placed in the centre of +the stage. Her body should be inclined slightly forward, and attention +directed to the knight in the foreground; her countenance should +express dignity and pleasure. At the back of the pedestal there should +be a representation of an altar, consisting of a shaft two and one +half feet wide by three feet in height, with a capital on the top one +foot wide by three and one half feet long. This can be made of boards, +showing a smooth surface, and nailed to the top of the pedestal. It +can be papered or painted to represent panels and scrolls. Fourteen +other figures are grouped around the pedestal, and as the arrangement +of the piece is a trifle complicated, we will designate them in +rotation, beginning at the foot of the pedestal. The figures, as they +recede in the background, should be placed on small platforms, rising +from one to three feet in height. By arranging the figures in this +manner, a perfect view of each will be had by the audience. Figure one +is a young lady; she kneels at the foot of the pedestal on which the +Spirit stands. Costume is, a white dress, cut low at the waist, +encircled with a satin sash; hair arranged in curls. Position is, +sitting, the body facing the audience, head resting on the hand, and +thrown back so as to touch the pedestal, and eyes directed to the face +of a harper, who kneels in front of her; the countenance expresses +surprise and admiration. Kneeling on the floor, nearly in front of +figure one, is a young knight--we have almost a back view of him, the +head turned just enough to get a partial profile view of the face; one +hand clasps a sword, which he raises in front of the body; the other +is lifted above the head, which is thrown back, with the eyes fixed on +the Spirit. The armor can be conveniently composed by fastening strips +and plates of bright tin to a suit of clothes made of black cambric. +The belt, gloves, and boots can be gotten up in the same manner. This +suit will cost but a trifle, and in the glare of the footlights will +look finely. Figure three is the palmer. He kneels behind figure one. +Costume consists of a dark robe, cowl made of black cloth, and face +covered with a heavy beard. In his hands he holds a shepherd's crook. +His eyes are directed to the harper. Figure four is a small girl, who +stands behind figure three, and holds in both hands the helmet of the +knight. Her costume consists of a white dress, with a pink sash; hair +done up to suit the taste of the performer. Her position is, facing +the audience, eyes fixed on the knight, expression of the face +denoting pleasure. Two other ladies stand on a small platform, outside +of the lady holding the helmet. Their costume consists of a white +dress, black velvet waist, hair arranged in wide braids at the side of +the face; one clasps her hands in front of her breast, and looks with +earnestness at the knight; the other places an arm on the shoulder of +her friend, and looks up into her face, her countenance beaming with +smiles. Behind these three females, and standing on a platform two +feet high, are two peasants. They are dressed in blue frocks, fastened +around the waist with black belts, knee breeches of colored cloth, +white hose, low shoes, knee and shoe buckles, white Kossuth hats, +encircled with a gilt band; the face covered with long, light beards. +Each holds a long staff, with a gilt crook at the top. Their position +should be behind the altar, arms folded on the breast, head inclined +forward, eyes cast down, and the expression of the face melancholy and +sober. Opposite to the two figures last described, and standing on a +platform at the other side of the altar, is a knight in full armor. He +holds a large sword in front of his body, and is looking straight +forward. His costume can be made in the same manner as that of the one +described at the beginning of the tableau. On a low platform, at the +side of the Spirit, stand a Sculptor and a Painter. Their position is, +facing the knight, who is kneeling in the foreground. Their costume +consists of white jackets, dark pants, and flat, white caps, worn +jantily on the side of the head. The Painter holds his pallet and +brushes, the Sculptor his mallet and chisel; their attention is +directed to the figure of the kneeling knight. Standing on the floor, +below the two figures just described, is the Poet-Historian. He faces +the audience, and looks at the Harper in the foreground. He is dressed +in dark clothes; a heavy white mantle is thrown over his shoulders, +the ends trailing to the floor; on his head is placed a garland of +green leaves. He holds in both hands a large book, which should be +bound richly and opened in the centre. Kneeling on the floor at his +feet, and facing the young knight, is the Harper. He holds in his left +hand a harp, and touches the strings with his right. His costume +consists of a coat made of Turkey cloth, trimmed with black binding +four inches wide; black knee breeches, white hose, knee and shoe +buckles, and red shoes. Over the left shoulder is carelessly thrown a +short velvet cloak, and on the head is a black velvet cap, with a gold +band and plume. His head is thrown back, eyes directed to the Spirit, +while the countenance should appear to be inspired. Kneeling at the +foot of the pedestal, between the first figure and the Harper, is the +Troubadour, playing on a guitar; he faces the audience; his head is +thrown back, and his eyes cast upward. Costume consists of a purple +coat, trimmed with black binding, blue breeches, white hose, low +shoes, knee and shoe buckles, belt containing a small dagger, about +the waist. The harp can be made of wood, covered with gold paper, and +strung with buff cord. The light for this piece should be produced at +either side of the stage, and a small quantity at the front. The side +light must be very powerful. The accompanying music should be of a +brilliant order. + + + + +HAIDEE AND DON JUAN IN THE CAVE. + + His eyes he opened, shut, again unclosed, + For all was doubt and dizziness; he thought + He still was in the boat, and had but dozed, + And felt again with his despair o'erwrought, + And wished it death in which he had reposed; + And then once more his feelings back were brought, + And slowly by his swimming eyes was seen + A lovely female face of seventeen. + + 'Twas bending close o'er his, and the small mouth + Seemed almost prying into his for breath; + And, chafing him, the soft, warm hand of youth + Recalled his answering spirits back from death; + And, bathing his chill temples, tried to soothe + Each pulse to animation, till beneath + Its gentle touch and trembling care, a sigh + To these kind efforts made a low reply. + + BYRON. + +One Male and Two Female Figures. + + +This pleasing tableau is taken from the poem of Don Juan, by Byron. +The scene is that where Haidee discovers the insensible form of Juan +lying at the mouth of the cave, near to the sea shore. Don Juan has +been shipwrecked; his almost lifeless body has washed ashore, and +found a resting place in a rocky cave, to be discovered by the +beautiful Haidee and her attendant. The principal work in this piece +is the forming of the cave, which can be made in the following manner: +The floor of the cave should rise gradually from the front to the +background; this can be accomplished by using boxes of various sizes, +over which place brown cambric, with brown paper attached to it in a +crumpled manner, so as to imitate ragged rocks, and when painted with +light and brown colors, and ornamented with isinglass, will make a +very good appearance. The floor of the cave should extend to within +three feet of the front of the stage, and run back to the extreme +background. The space between the footlights and the floor of the cave +should be covered with blue cambric, painted to represent waves and +surf. Directly behind the drop curtain there should be a +representation of the roof and sides of the cave. Light frames, +covered with brown paper, similar to the floor, and made very +irregular at the edges, must be placed at each side of the stage, and +at the top; these should be two feet wide, and of the height and width +of the stage. Two other sets of frames should be made similar to the +first, and placed at equal distances from the fore to the background. +The first set must be three feet wide; the second set four feet wide. +The background of the cave may also be covered with similar scenery. +The idea of arranging the scenery in this manner is to give a deep +appearance to the cave. Isinglass should be profusely sprinkled over +the surface of the rocks, and a few sprigs of grass fastened to them +will add to the effect. The fastening of the brown paper to the frames +can be dispensed with if there is any person who can paint out the +rocks on plain canvas. The one who personates Juan should be of slight +figure, fine, regular features, hair black and curly, and small +moustache. Costume consists of black pants, with buff or gold stripe +at the side, white shirt, with blue collar, and gold star at the +corners, black belt around the waist, white hose, low shoes, with +buckles of silver. The shirt should be left open in the neck, so as to +expose the bosom. A small wound can be imitated on the side of the +head, made with red paint. Position is, reclining on the rocks in the +foreground of the cave; the left side touches the rocks, the head +thrown back, and face exposed to the view of the audience. The right +hand grasps a small oar, while the left is stretched out at his side. +The eyes are closed, the feet crossed, and resting in the water. +Haidee and her friend are seen in the background. Both should be of +small figure and good features. Haidee should be quite pretty, and +costumed in a blue dress, black velvet waist, open in front, and laced +across with blue ribbons; sleeves long and flowing; a small crimson +apron, with bands of gold at the bottom; a black velvet belt around +the waist, with a showy pin in the centre; bows of pink ribbon +fastened with a small, showy pin at each shoulder; hair hanging in +curls; hat made of velvet, trimmed with gold bands and white feathers, +which should be placed jantily on the side of the head. Her position +is, standing on the rocks in the back of the cave, one hand raised so +as to shade her eyes, the other pointing to the body of Juan; the eyes +are fixed on the body, while the countenance expresses surprise; the +right foot must be placed twenty inches in front of the left, while +the body is inclined forward. The figure back of Haidee has on a +costume similar to that already described, but of less showy and +expensive material. She is standing five or six feet from Haidee, and +has her hands filled with shells, which she has gathered from the +shore. She is intently engaged in looking at her shells, and has not +yet seen Juan; her body is bent forward slightly, the expression of +the face denoting curiosity and thought. The light for this piece +should come from the front of the stage, and must be quite brilliant. +If a melodeon is used as an accompaniment to the piece, it should be +played to imitate the roaring of the ocean. + + + + +POVERTY. + + The sun is bright and glad, but not for me; + My heart is dead to all but pain and sorrow; + No care nor hope have I in all I see, + Save from the fear that I may starve to-morrow. + Alas, for you, poor famishing, patient wife, + And pale-faced little ones! Your feeble cries + Torture my soul; worse than a blank is life + Beggared of all that makes that life a prize: + Yet one thing cheers me,--is not life the door + To that rich world where no one can be poor? + + TUPPER. + +Three Female and Two Male Figures. + + +This tableau represents the interior of one of the homes of the +starving poor, such as are found in all large towns, where vice and +intemperance go hand in hand. To make the scene look as natural as +possible, a partition should be made to fill up the back of the stage, +covered with cheap room paper. Two old window sashes should be +inserted in it, with the glass partially broken out, and filled up +with old hats and articles of clothing. The furniture of the room +consists of an old and broken table, a large chest, three or four old +and broken chairs, a few pieces of broken crockery on the table, a +black bottle, a candlestick, a bundle of straw, with a few ragged bed +clothes, and a few cheap prints hanging from the wall. The table is +placed at the back part of the room, and supports the crockery, +bottle, and candlestick. The bed is at the left side of the room, and +on it reclines a female dressed in dirty and ragged clothing; her hair +hangs loosely over her shoulders; right hand supporting her head, and +eyes directed to a group of children in the foreground of the picture; +the face should be made as white as possible; a small quantity of dark +paint about the eyes will give a haggard and sickly look to the +features. On the opposite side of the room, seated on the old chest, +is the woman's husband. He is dozing in a drunken slumber; his clothes +hang about him in tatters; his hat is partially drawn down over his +forehead, his matted hair protruding through a hole in the crown; face +bloated, from the effects of liquor. By the use of water colors, the +face can be made to assume the above description. His position is such +that a partial front view is had of the body, the arms hanging +carelessly at his side, feet crossed and stretched out on the floor. +Seated at the table, and sewing by the light of the candle, is a young +girl. She is dressed in dirty and ragged clothes; her hair is tied up +in a rough manner; the body bent forward, and eyes cast down upon her +work; her face should be made white; the eyes slightly shaded with +dark paint, to give a haggard look to the features. In the centre of +the room are grouped three small children; they are engaged in eating +crusts of bread from a broken plate. Their costume may be varied, and +of cheap material. The light for this piece should come from the side +on which the man is sitting. The front of the scene must be quite +light, while the background is thrown in shadow. Music of a mournful +order. + + + + +DEATH OF MINNEHAHA. + + O the long and dreary Winter! + O the cold and cruel Winter! + Ever thicker, thicker, thicker + Froze the ice on lake and river, + Ever deeper, deeper, deeper + Fell the snow o'er all the landscape, + Fell the covering snow, and drifted + Through the forest, round the village. + O the famine and the fever! + O the wasting of the famine! + O the blasting of the fever! + O the wailing of the children! + O the anguish of the women! + "Give us food, or we must perish! + Give me food for Minnehaha, + For my dying Minnehaha!" + + Through the far-resounding forest, + Through the forest vast and vacant-- + Rung that cry of desolation; + But there came no other answer + Than the echo of his crying, + Than the echo of the woodlands, + "Minnehaha! Minnehaha!" + All day long roved Hiawatha + In that melancholy forest, + Through the shadow of whose thickets, + In the pleasant days of Summer, + Of that ne'er forgotten Summer, + He had brought his young wife homeward + From the land of the Dacotahs. + + In the wigwam with Nokomis, + With those gloomy guests, that watched her, + With the Famine and the Fever, + She was lying, the Beloved, + She the dying Minnehaha. + "Hark!" she said; "I hear a rushing, + Hear a roaring and a rushing, + Hear the Falls of Minnehaha + Calling to me from a distance!" + "No, my child!" said old Nokomis, + "'Tis the night wind in the pine trees!" + "Look!" she said; "I see my father + Standing lonely at his doorway, + Beckoning to me from his wigwam + In the land of the Dacotahs!" + "No, my child," said old Nokomis; + "'Tis the smoke, that waves and beckons!" + "Ah!" she said, "the eyes of Pauguk + Glare upon me in the darkness, + I can feel his icy fingers + Clasping mine amid the darkness! + Hiawatha! Hiawatha!" + + And the desolate Hiawatha, + Far away amid the forest, + Miles away among the mountains, + Heard that sudden cry of anguish, + Heard the voice of Minnehaha + Calling to him in the darkness, + "Hiawatha! Hiawatha!" + Over snow-fields waste and pathless, + Under snow-encumbered branches, + Homeward hurried Hiawatha, + Empty-handed, heavy-hearted; + + And he rushed into the wigwam, + Saw the old Nokomis slowly + Rocking to and fro and moaning, + Saw his lovely Minnehaha + Lying dead and cold before him, + And his bursting heart within him + Uttered such a cry of anguish, + That the forest moaned and shuddered, + That the very stars in heaven + Shook and trembled with his anguish. + + LONGFELLOW. + +One Male and Two Female Figures. + + +This affecting tableau is a representation of the death of the +beautiful Minnehaha. The scene is at the moment when Hiawatha draws +back the door of the wigwam, and there beholds his lovely Minnehaha +lying dead and cold before him. The scenery of this picture is the +same that is used in the tableau of Hiawatha and his Bride's Arrival +Home. It is mid-winter, and the fields and woods are covered with +snow; and to represent this scene it will be necessary to cover the +ground with cotton flannel, instead of the green bocking which we used +in the summer scene. The trees, wigwam, and vines should be covered +with small pieces of cotton wool, to represent snow. Large bags, +filled with straw, may be covered in the same manner, and placed +around the doorway of the wigwam at each side of the stage, to +represent snow banks. Minnehaha has on the same costume we have before +described, and is reclining on a bed of robes near the entrance of the +wigwam. Her body should be propped up so that she can be easily seen. +A dark robe is thrown across the lower portion of her form, a calm, +resigned look is on the countenance. Her hands are folded on her +breast, eyes closed as if in sleep. At her side, sitting on a low +seat, is Nokomis. She wears the same costume which is described in the +return of Hiawatha, with a fur robe gathered about her. She is leaning +forward towards the couch, and presses both hands against her face. +Her eyes are cast down to the ground, while grief and melancholy are +depicted on the countenance. The dying embers of a fire send up a +curling smoke by her side. This should be placed in an iron furnace, +and surrounded by the imitation snow. Hiawatha stands on one side of +the doorway, and is in the position of one running. He clasps the door +with his right hand, and is in the act of stepping into the wigwam. +His eyes are fixed on Minnehaha; the left hand is pressed against his +forehead; grief and amazement are depicted on his countenance. While +the picture is being exhibited, a portion of the accompanying poem may +be read by the announcer. The music should be quite soft, and of a +plaintive character. The lights for this piece must be of medium +brightness, and come from the side opposite the door of the wigwam. + + + + +THE MOTHER'S LAST PRAYER. + + Her hands were clasped, her dark eyes raised; + The breeze threw back her hair; + Up to the cross she fondly gazed, + And raised her voice in prayer. + + While there she knelt in deep despair + Beside her own first born, + And bowing her deep soul in prayer + Forth on the rushing storm. + + She wiped the death damps from his brow + With her pale hands and soft, + Whose touch upon the lute chords low + Had stilled his heart so oft. + + ANON. + +One Female and One Male Figure. + + +This tableau represents a mother and child kneeling at the foot of a +cross, amid the drifting snows and icy winds of the Alpine Mountains. +Having lost their way, and being unable to travel any farther, the +mother kneels in prayer at the foot of one of the crosses which are +placed as landmarks along the road, to guide the traveller on his +journey. The floor of the stage should be made uneven by placing boxes +of various sizes at irregular distances, and covering them with white +cotton flannel. A number of spruce trees can be arranged at the sides +and at the background, all of which should be covered with small +particles of cotton wool; small bags, stuffed with hay, and covered in +the same manner, must be placed around the foot of the cross and at +various parts of the stage, to represent snow banks. A few handfuls of +lint thrown into the air just as the curtain rises, will float about +and appear like falling snow. Make the cross of wood, and cover it +with brown paper. It should be five feet long and two feet wide; +thickness of frame, six inches. It must be placed in the centre of the +stage, and sprinkled with the imitation snow. The lady who represents +the mother should be of good figure and features, and costumed in a +dark plaid dress, a white fur cape fastened about the neck, a velvet +cloak worn over the shoulders, and a plaid scarf tied about the head, +the ends hanging down on the shoulders. Position is, at the foot of +the cross, so that a side view is had of the body; the head thrown +back, eyes cast upward, hands clasped and raised in front of the face. +The boy is dressed in a dark suit, and reclines on the snow by the +side of the mother; his head rests on her dress, arms stretched out +towards her waist; his eyes closed in that cold and dreamy sleep which +ends in death. The light for this piece must be quite dim, and come +from the side of the stage that will reflect on the mother's face. +Music, of a low and mournful style, representing the moaning of the +winds. + + + + +LOUIS XVI. AND HIS FAMILY. + + I hear thy whisper, and the warm tears gush + Into mine eyes; the quick pulse thrills my heart. + Thou bidd'st the peace, the reverential hush, + The still submission, from my thoughts depart. + Dear one, this must not be! + + The past looks on me from thy mournful eye; + The beauty of our free and vernal days; + Our communings with sea, and hill, and sky-- + O, take that bright world from my spirit-gaze. + Thou art all earth to me! + + Shut out the sunshine from my dying room, + The jasmine's breath, the murmur of the bee; + Let not the joy of bird-notes pierce the gloom; + They speak of love, of summer, and of thee + Too much, and death is here! + + ANON. + +Three Female and Four Male Figures. + + +On the 20th of January, 1793, at three o'clock in the morning, the +second year of the French republic, the final vote was taken by the +Convention, that Louis XVI. should be executed. All the efforts to +save the king were now exhausted, and his fate sealed. The decree of +the Convention was sent to the king, declaring him to be guilty of +treason; that he was condemned to death; that the appeal to the people +was refused; and that he was to be executed within twenty-four hours. +The king listened to the reading unmoved; he conversed earnestly with +his spiritual adviser respecting his will, which he read, and inquired +earnestly for his friends, whose sufferings moved his heart deeply. +The hour of seven had now arrived, when the king was to hold his last +interview with his family. But even this could not be in private. He +was to be watched by his jailers, who were to hear every word and +witness every gesture. The door opened, and the queen, pallid and +woe-stricken, entered, leading her son by the hand. She threw herself +into the arms of her husband, and silently endeavored to draw him +towards her chamber. "No, no," whispered the king, clasping her to his +heart, "I can see you only here." Madame Elizabeth, with the king's +daughter, followed. A scene of anguish ensued which neither pen nor +pencil can portray. The king sat down, with the queen upon his right +hand, his sister on his left, their arms encircling his neck, and +their heads resting upon his breast. The dauphin sat upon his father's +knee, with his arm around his neck. The beautiful princess, with +dishevelled hair, threw herself between her father's knees. An hour +passed, during which not an articulate word was spoken; but cries, and +groans, and occasional shrieks of anguish, which pierced even the +thick wall of the Temple, and were heard in the street below, rose +from the group. For two hours the agonizing interview was continued. +As they gradually regained some little composure, in low tones they +whispered messages of tenderness and love, interrupted by sobs, and +kisses, and blinding floods of tears. Louis XVI. described his trial, +excusing those who had sentenced him, gave some religious advice to +his children, enjoined them to forgive his enemies and bless them. A +few beams of daylight began to penetrate the grated windows of the +gloomy prison. The hours passed away, while the king listened to the +gathering of the troops in the court yard and around the Temple. At +nine o'clock a tumultuous noise was heard of men ascending the +staircase. The _gens d'armes_ entered, and conveyed him to the +carriage at the entrance. The morning was damp and chilly, and gloomy +clouds darkened the sky; sixty drums were beating at the heads of the +horses, and an army of troops, with all the most formidable enginery +of war, preceded, surrounded, and followed his carriage. They reached +the _Place de la Revolution_ at twenty minutes past ten o'clock. An +immense crowd filled the place, above which towered the guillotine. +With a firm tread he ascended the steps of the scaffold, looked for a +moment on the keen and polished edge of the axe, and then, turning to +the vast throng, said, in a voice clear and untremulous, "People, I +die innocent of all the crimes imputed to me. I pardon the authors of +my death, and pray to God that the blood you are about to shed may not +fall again on France." The drums were ordered to beat, and Louis XVI. +was no more. + +_Directions for forming the Tableau._--This interesting picture +contains seven figures: Louis XVI., his wife the queen, Madame +Elizabeth, the king's son and daughter, and two _gens d'armes_. The +stage scenery must be placed in the following order: The background of +the stage should represent the granite walls of a prison, with grated +windows, massive doors, to which are attached bolts, bars, and heavy +locks. This scenery can be made in sections of about four by eight +feet in size. One section should represent the door of the cell; on it +paint the bolts, bars, and locks. At the right of the stage is placed +a table of ancient style; on which is a crucifix, two feet in height, +a large Bible, and an old-fashioned candlestick, containing a lighted +candle. A chair of ancient manufacture should be placed near the +table. Louis XVI. is seated in it, and is costumed in a velvet coat +and breeches, white silk hose, low shoes, buff vest, white cravat, +ruffled bosom, white wig, knee and shoe buckles. The queen is costumed +in a moire antique dress, of a showy color, hair hanging loosely over +the shoulder. Madame Elizabeth has on a silk robe, differing in color +from the queen's; her hair is loosely fastened behind. The daughter +has on a long white dress, with velvet waist. The dauphin is dressed +in velvet jacket, blue breeches, white hose, knee and shoe buckles, +low slippers, lace collar, ruffled bosom and wristbands, and a pink +scarf is fastened about his waist. The _gens d'armes_ have blue coats +trimmed with buff, buff vest, crimson breeches, white hose, long wigs, +low shoes, knee and shoe buckles, and chapeaux. Each must be furnished +with a musket, sword, and belt, and one should hold a bunch of large +keys. Louis XVI. encircles his daughter's waist with his right hand; +his left is clasped by his son. He sits facing the audience; his head +is partially turned towards the crucifix, the eyes cast down, and a +melancholy look upon the countenance. The queen stands behind the +king, between the chair and table; her left hand is placed upon her +waist, her right raised to her forehead; her head is thrown back, the +eyes partially closed, and cast upwards, while intense anguish is +expressed upon her countenance. Madame Elizabeth is kneeling at the +left of the king, her hands clasped and raised upwards, head thrown +back, and eyes partially closed. The daughter is seated on the right +knee of the king; her right hand is placed across her breast, the left +hangs carelessly at her side; her head reclines on the shoulder of her +father. The dauphin is kneeling between the king and Madame Elizabeth, +and grasping the hand of the king; his eyes are fixed on the face of +his father, while the countenance expresses grief and sadness. The +_gens d'armes_ stand just inside the door, resting on their guns; +their eyes are fixed upon the group in the foreground. The light for +this tableau must come from the side of the stage opposite the group, +and should be of medium brightness; the background may be thrown in +the shade. Music of a mournful character. + + + + +DRESSING THE BRIDE. + + So, after bath, the slave girls brought + The precious raiment for her wear, + The misty izar from Mosul, + The pearls and opals for her hair, + The slippers for her little feet, + (Two radiant crescent moons they were,) + And lavender, and spikenard sweet, + And attars, nedd, and heavy musk. + When they had finished dressing her, + (The Eye of Morn, the Heart's Desire,) + Like one pale star against the dusk, + A single diamond on her brow + Trembled with its imprisoned fire! + + T.B. ALDRICH. + +Three Female Figures. + + +This tableau is taken from the beautiful poem, "The Course of True +Love never did run smooth," by Thomas Bailey Aldrich, who describes in +his artistic style the bridal toilet of the princess preparatory to +her being wedded to the Vizier Giaffer. The scene represented is the +princess's chamber in the gorgeous palace of Haroun Al Raschid. The +princess is seated in the centre of the room on a crimson divan; at +her side kneels one of her attendants, who is engaged in arranging a +bracelet on her arm. Standing on the opposite side is another +attendant, who is entwining a string of pearls in the princess's hair. +The costume of the princess consists of a pink satin dress, reaching +within ten inches of the feet, and should be bound around the bottom +with silver paper covered with wide white lace. Over this dress must +be worn a frock of purple velvet extending to the knee, with flowing +sleeves reaching to the elbow; the front of the waist left open, +displaying a lace under robe, crossed with ribbons covered with silver +paper and gold spangles. The frock decorated with small crescents of +gold paper, ornamented with silver spangles. Trim the bottom of the +frock and sleeves with gold paper three inches in width, and cover +with colored lace. The waist should be encircled with a wide, +light-green sash, studded with spangles, fringed at the end with gold +paper, and tied in front, allowing the ends to hang down to the bottom +of the frock. A necklace can be made to look rich and showy by +attaching brilliant paste pins of various sizes to a black velvet +band; the centre pin being quite large, those at the sides decreasing +in size as they recede from the centre; the arms and hands profusely +ornamented with jewelry; the hair arranged in long braids, and allowed +to fall over the shoulders. A large diamond or a brilliant stone +should be attached to a black velvet band, and placed on the brow. +Turkish trousers, made of white and blue stripes, two inches wide, of +flowing shape, fastened around the ankle with a gilt band. The shoes +can be made of card-board or leather; they should turn up at the toe +three inches; cover them with red cloth, and ornament with gold and +silver paper and spangles. The costume of the attendants should be of +a similar style, but differing in colors, and without decorations. The +lady who personates the princess must be small, and of good form, +fine, regular features, and quite pretty. Her position is facing the +audience, head turned slightly to the left, eyes upturned to her +attendant, who is standing at her side, holding in her left hand a +fan; the expression of the face pleasant. The attendant who is +kneeling, shows a side view of the body, while the one standing, faces +the audience, with the body bent slightly forward, her attention +directed to the string of pearls which she is arranging in the hair of +the princess. The floor of the stage should be covered with a rich +Brussels carpet, and the walls draped with showy damask curtains. The +room may be furnished with small ottomans, two small marble top +tables, one of which should be placed near the group of ladies, and +contain stands of cologne, perfumes, mirrors, combs, brushes, +pin-cushions, and cases of jewelry. On the other table, which is to be +placed in the background, is a large, showy lamp, with colored globe, +surrounded by ornamental articles; showy pictures adapted to the +subject, in rich gilt frames, adorn the walls; cages containing +singing birds should be suspended from the ceilings; large globes, +containing gold fish, rest on the carpet, near the foreground; richly +ornamented vases, of various sizes, containing magnificent bouquets, +can be arranged in various parts of the room, while the inner corners +are filled up with marble or plaster pedestals, supporting pieces of +statuary; the divan on which the princess is seated must be double the +size of those scattered about the room, and covered with striped pink +and blue cloth. The scene should be illuminated by a purple fire +burned at the right hand side of the stage. A lively serenade would be +appropriate music. + + + + +HOPE, FAITH, CHARITY, AND LOVE. + + HOPE. + + Hope looks beyond the bounds of time, + When what we now deplore + Shall rise in full immortal prime, + And bloom to fade no more. + + FAITH. + + 'Tis faith that purifies the heart, + 'Tis faith that works by love, + That bids all sinful joys depart, + And lifts the thoughts above. + + CHARITY. + + O charity, thou heavenly grace, + All tender, soft, and kind! + A friend to all the human race, + To all that's good inclined. + + LOVE. + + Love suffers long with patient eye, + Nor is provoked in haste; + She lets the present injury die, + And long forgets the past. + +Four Female Figures. + + +The above characters are represented as statues. Four females of the +same height, of graceful form and fine features, are required to form +the group. They should all be costumed in long white robes, that will +trail eight inches, the waist cut quite low at the top, the sleeves +five inches long; a wide scarf of tarleton muslin draped across the +breast, tied at the side, and allowed to trail with the dress; hair +confined at the back of the head, and left to fall over the +shoulders; the head encircled with a wreath of myrtle and white +flowers. If any ornaments are worn, they should be pure white. Hoop or +any other large skirts must not be worn, as it is necessary to produce +a slender figure for a statue design. The positions of the four ladies +are in the following order: Hope stands at the right hand side of the +stage, one foot from the drop curtain; Love at the left hand side, the +same distance from the curtain; Faith and Charity at equal distances +from Love and Hope, and three feet from the drop curtain. Placed in +this manner, they will form a half oval. The stage furniture consists +of four small pedestals, twenty-four inches square, with a cap and +base extending out two inches, covered with white cloth, and +ornamented in front with a small wreath of myrtle. Faith takes her +position on the top of one of the pedestals. Her emblem is the cross, +which she holds in her right hand; the left is raised and points +upward; the eyes are raised upward, the countenance expresses +meekness. Hope is poised on a pedestal, and holds an anchor, the foot +of which rests on the top of the pedestal; the right hand is placed on +the anchor, the left is on the breast; the eyes are raised slightly, +countenance expressing serenity and hope. Charity comes next. In her +right hand she holds a silver dish, which is filled with crumbs of +white bread. Two robins stand on the side of the dish, eating the +crumbs. The left hand rests on the side of the body; the eyes are +directed to the birds; the face beams with smiles. Love is standing on +one of the pedestals, holding in her right hand a torch, which is +raised above her head, while the left gracefully holds the side of her +dress. The head should be turned slightly aside, the eyes looking +straight forward; countenance diffused with smiles. A gauze curtain +may be suspended before the statues, covering the entire space inside +of the frame. The light for this scene should be of medium brilliancy, +and come from the front of the stage. The cross and anchor may be +painted black, the torch painted blue, and tipped with gold; the flame +carved in wood, and gilded. Stuffed birds can be fastened with wire +springs, and attached to the silver dish. Music soft and plaintive. + + + + +THE DEATH OF GENERAL WARREN. + + Thou rising sun, thou blue rejoicing sky, + Yea, every thing that is and will be free, + Bear witness for me, wheresoe'er ye be, + With what deep worship I have still adored + The spirit of divinest Liberty. + + COLERIDGE. + +Twenty-five Male Figures. + + +This magnificent tableau represents the scene so well known in the +early history of our country, and contains twenty-five figures, +thirteen of which should be dressed in crimson uniform, to personate +the British soldiers, six in continental costume, three in coarse +homespun suits, three in sailor's costume. The stage must be formed to +represent a hill, which can be done by using boxes and boards, and +covering them with green cloth. The hill should rise from the +footlights to within four feet of the ceiling in the background. The +first and principal figure is General Warren. He is lying on the +ground, a few feet from the foot of the hill, supported by one of his +officers, who holds his head with his right hand, while with the left +he grasps the musket of a British soldier, which is pointed at the +breast of Warren. Warren's position is, facing the audience, eyes +closed, arms hanging carelessly at his side; costume, continental; +side arms, sash, sword, and chapeau lying in front of the body. The +figure who supports Warren is dressed in blue breeches, white hose, +white shirt, and black belt. Position, kneeling back of Warren, his +eyes fixed on the soldier who stands a few paces back of Warren's +feet. This soldier leans forward slightly, and grasps a musket, in +which is a bayonet, which he is about to plunge into Warren's body. +His eyes are fixed on the prostrate form before him, while the +countenance expresses excitement and rage. Costume consists of a red +coat, white breeches and hose, low shoes, knee and shoe buckles, white +breast belts, black waist belt, and black military hat, with plume. By +the side of the soldier, near the front of the stage, stands an +officer, who is leading on the British. He holds a sword on his right +shoulder, while the left grasps the butt of the musket of the soldier +previously described. His body is bent forward, feet separated thirty +inches, eyes fixed on Warren, countenance expressing energy and +decision. Costume consists of a crimson coat, decorated with gold +epaulets and lace, white silk hose, buff breeches, low shoes, knee and +shoe buckles, red sash, side arms, and chapeau. Directly behind the +figure who supports Warren stands an American soldier, with a musket +held in front of his body, which he points towards the British +soldier, who is about to pierce the body of Warren. His body is +slightly bent backward, eyes fixed on the soldier, countenance +expressing fear. The remaining figures should be placed in the space +from the top of the hill down to the group we have described; a few +should be fencing; some using their muskets as clubs; others firing at +the enemy in the distance; while a few are stretched out in death on +the ground. They must be placed in as great a variety of positions as +possible, and in such a manner that one figure will not obscure the +other. The countenances of all should appear excited. The booming of +cannon and roll of the drum can be produced behind the scenes. The +picture should be illuminated by a brilliant red fire burned at the +side of the stage. + + + + +PORTRAIT OF PRINCE ALBERT. + +One Male Figure. + + +This tableau is produced in the same manner as the Madonna. The +gentleman who personates Prince Albert should, in general outline of +features and form, resemble the original as much as possible. The +costume consists of a crimson coat richly trimmed with gold lace, and +heavy decorations in silver on the left breast, gold epaulets, a +richly ornamented sword and belt, buff vest trimmed with gold lace, +buff breeches, top boots trimmed at the top with gold binding, a red +sash, and black chapeau. The position must be so that a partial front +view can be had of the body; eyes directed straight forward. The light +should be of medium quantity, and come from the front of the stage. +Music of a national order. + + + + +THE RETURN OF THE PRODIGAL SON. + + O! thou hast wander'd long + From thy home without a guide; + And thy native woodland song, + In thine altered heart hath died. + + Thou hast flung the wealth away, + And the glory of thy Spring; + And to thee the leaves' light play + Is a long-forgotten thing. + + Still at thy father's board + There is kept a place for thee; + And, by thy smile restored, + Joy round the hearth shall be. + + MRS. HEMANS. + +Four Male Figures. + + +This scene, so familiar in Scripture history, represents the father +standing on the step of his mansion, about to embrace his son, who +stands near. The background of the picture should represent the +portico of a house, and can be made in the following manner: Procure +at a paper store four fresco pilasters, with caps and bases, and a +wide cornice to match; also a roll of granite paper; paste the cornice +and pilasters on cloth; fasten the cornice across the ceiling of the +stage, five feet from the background, and suspend the pilasters from +the lower edge, placing them at equal distances from each other; form +the steps out of boxes and boards, and cover them with the granite +paper. At each side of the steps place a large vase of flowers. Behind +the pilasters, at the end of the upper step, are seen two servants. +They are stooping down and looking at the group in the foreground. +Their costume can be easily made up. Frock coats, trimmed on the +bottom of the skirts, cuffs, and front with colored cloth, five inches +wide; white pants, black hose, crossed with red binding; low shoes; +knee and shoe buckles; low-crowned, black Kossuth hat, encircled with +a band of gold, and ornamented in front with a large paste pin and +showy plume. The gentleman who represents the father must be of good +height and large figure. His costume consists of a purple velvet coat +and breeches, white hose, crossed with black ribbons, low shoes, knee +and shoe buckles; over the shoulders is thrown a long cloak, trimmed +with ermine; hair and beard quite long, which can be imitated with +flax, glued to cloth made to fit the head and face. If dresses cannot +be procured at a costumer's, cheap material can be made up for the +occasion, and will look quite pretty. A blue circular cloak, or a +lady's velvet cape, trimmed with white cotton flannel, two inches +wide, with small pieces of black-shag fastened on at intervals of five +inches, will look well, and will resemble ermine. The breeches can be +made of purple cambric, trimmed with gold paper. A blue dress coat, +trimmed with gold paper, and covered with white lace, will answer for +an under-coat. The father's position is, standing on the second step +of the portico, with both hands extended, body bending forward +slightly, eyes fixed on the son, countenance expressing joy and +happiness. The son stands at the foot of the steps, leaning on a stout +branch of a tree, which he has been using for a cane on his journey. +He displays a side view of the body, and is costumed in a coarse brown +frock, open in the neck, displaying his neck and bosom, and tied +around the waist with a piece of rope; large rents should be made in +the sleeves, showing the flesh within; knee breeches of coarse +material, torn at the side; brown hose; and shoes, which are almost +worn out, and are tied to the foot with strings; hair hanging over the +forehead; skin colored light brown; his eyes cast down to the ground, +and countenance melancholy. The light must be quite brilliant, and +come from the side opposite to the servants. Music animating. + + + + +SINGLE BLESSEDNESS. + + Close by his lonely hearth he sate, + While shadows of a welcome dream + Passed o'er his heart; disconsolate + His home did seem; + Comfort in vain was spread around, + For something still was wanting found. + + ANON. + +One Male Figure. + + +This tableau is a representation of a young bachelor seated alone in +his chamber. He has around him all the luxuries that wealth will +purchase, and is reclining on a low sofa, quietly smoking his +meerschaum. Rich furniture, soft carpets, fine pictures, and gorgeous +curtains decorate the apartment. Books, statuary, boxing gloves, +fencing swords, fowling pieces, pipes of various patterns, and a +countless multitude of other articles, are scattered about the room. +On the marble table at his side is a bunch of cigars, a paper of Ma'am +Miller's fine-cut tobacco, a decanter of wine, and a pair of goblets, +one of which is partially filled with wine. He holds in his left hand +his meerschaum; his right hangs carelessly at his side, and grasps a +novelette. The gentleman who personates the bachelor must be of good +figure and features, and is costumed in the following manner: A rich +dressing-gown should be worn, which is thrown back from the breast, +showing a vest of bright colors, to which is attached a heavy gold +chain and seals; light fancy pants, embroidered slippers, white hose, +blue cravat, smoking cap, ruffled bosom and wristbands. Countenance +sober, eyes raised to one of the engravings on the wall. Light of +medium brightness, which may come from either side of the stage. Music +of operatic style. + + + + +MARRIAGE BLISS. + + It is most genial to a soul refined, + When love can smile unblushing, unconcealed, + When mutual thoughts, and words, and acts are kind, + And inmost hopes and feelings are revealed, + When interest, duty, trust, together bind, + And the heart's deep affections are unsealed, + When for each other live the kindred pair,-- + Here is indeed a picture passing fair! + + TUPPER. + +One Male and Two Female Figures. + + +This tableau represents a home scene. A wife and husband, and a young +child, are seated at a table in a snug little parlor. A solar lamp is +burning on the table, by the light of which the wife is engaged in +finishing a piece of embroidery. The husband is reclining in a +spacious easy chair, busily occupied in perusing the evening paper. +The little girl is at play with her tea sets and paper dolls. The wife +is costumed in a blue silk dress, cut low at the top, a white apron, +trimmed with pink ribbon, and hair arranged to suit the performer's +taste. She should be quite pretty, and of small figure. She is seated +at the right of the table, facing the audience, body bent forward, and +eyes fixed on her work, the countenance expressing earnestness. The +husband is costumed in light pants and vest, dressing gown and +slippers. He is seated at the left of the table, showing a partial +front view of the body; his feet rest on a small ottoman; paper held +in such a position that it will not hide his body; eyes fixed on the +paper, countenance placid. The child is costumed in white dress, +trimmed with blue ribbon, and is seated at the back of the table, +holding in her hands a paper doll, which she extends towards her +mother, for her to look at. Her eyes are directed to her mother, her +countenance beaming with smiles. The table should be covered with a +crimson cloth. The furniture of the room of good quality, the floor +carpeted, walls hung with curtains and pictures. Light of medium +quantity, which may come from either side of the stage. Music soft and +plaintive. + + + + +THE SLEEPING MAIDEN. + + Witness this primrose bank whereon I lie; + These forceless flowers like sturdy trees support me, + Two strengthless doves will draw me through the sky, + From morn to night, even where I list, to sport me. + + SHAKSPEARE. + +One Female Figure. + + +This exquisite tableau represents a magnificent garden, filled with +beautiful flowers, trellised vines, vases, statuary, and sparkling +fountains. On a grassy mound, in the centre of this lovely scene, +reclines a beautiful maiden, wrapped in profound sleep. The right hand +supports her head, the elbow resting on the grass; the left is thrown +carelessly over the top of the head; the expression of the face calm +and dreamy. Her costume consists of a long white dress, cut low at +the top, open in front, displaying a pink under-skirt of silk. The +edges of the dress on each side of the under-skirt should be trimmed +with gold paper, covered with white lace. A belt of the same encircles +the waist. The waist must be open in front, exposing a white lace +under-robe, which is crossed with golden cords. Short sleeves, open +below, and closed by little cords of gold, terminated by tassels of +the same material, which fall down upon the arms. The hair arranged in +heavy braids, done up low in the neck, and ornamented with a head +dress, formed of silver gauze, adorned with slight bands of gold +thread falling on the shoulder. Position is, facing the audience, the +body extended on a line with the front and back corners of the stage. +The floor of the stage must be formed to represent a number of +terraced banks. There should be five, each being one foot in height. A +few boxes and stout boards will be needed to form the banks, over +which place green bocking. If a piece of scenery cannot be procured +for the background, it can be covered with light-green cambric, and +festooned with dark evergreens and bright flowers. At each of the +inner corners of the stage place a white pedestal, two feet in height. +A box of the above dimensions, covered with white cloth, will answer. +On these place pieces of large statuary, and between the two place a +large vase of flowers, and intersperse smaller vases, containing +bouquets. Ornament the second terrace with pots of house plants, and +at each end place a showy cage of birds. Decorate the third terrace +with rich vases of artificial flowers, with a statue of the fisher boy +at each end. In the centre of this terrace, the mound on which the +maiden reclines is placed. It should be five feet in diameter, and one +foot high. Cover the surface with light-green cambric, and decorate +the outer edge with large sea shells. On the fourth terrace arrange +small pots of house plants that are in bloom, and at each end place +large vases of fruit. On the fifth and last terrace place a row of +deep glass dishes, filled with flowers, with a plaster figure of Flora +at the ends. Festoon the sides of the scenery and the ceiling with +spruce and flowers. The scenery in the background, if it can be easily +painted, should represent figures similar to those on the stage, +interspersed with fountains. If there is sufficient room for the +accommodation and preservation of large mirrors, they can be used to +advantage by placing them at the background of the stage, which will +give a fine effect to the scene. This tableau must be lighted from the +left side of the stage; the light being very brilliant, both at the +top and bottom. A green fire burned just as the curtain falls, will +add much to the beauty of the picture. Music accompanying the piece, +soft, and of a lively order. + + + + +NIGHT AND DAY. + + Heaven opened wide + Her ever-during gates--harmonious sound-- + On golden hinges morning to let forth, + The king of glory, in his powerful word + And spirit, coming to create new worlds. + + God saw the light was good, + And light from darkness, by the hemisphere, + Divided; light the day, and darkness night + He named. Thus was the first day, even and morn. + + MILTON. + +Two Female Figures. + + +This simple tableau is represented by two females: one personates Day, +and is costumed in a long white robe. The other represents Night, and +is dressed in black. Two arches should be made in the centre of the +stage, one covered with black cloth, the other with white. They must +be five feet in height, three feet in width, and three feet deep; the +back, sides, and top covered with cloth. They are to be placed on a +platform one foot high and six feet square. The lady who personates +Night should be of good figure and features, black hair, and dark +complexion. She kneels under the arch covered with black cloth, and +faces the audience; the right knee touches the platform, hands placed +together and raised front of the breast, head slightly inclined back, +eyes raised upward, the countenance in repose. Her costume consists of +a black silk dress, low neck, and trimmed with wide black lace and +bugles; a scarf of black crape, sprinkled with small silver stars, is +draped across the breast, a black cross suspended from the neck by a +velvet ribbon; black bracelets ornament the arms; and a wreath of +black bugles and beads encircles the head, on the front of which is +placed a small silver moon. The hair is arranged in wide, heavy bands, +at the side and back of the head. The lady who personates Day should +be of good figure and features, clear light complexion, and light +hair. Her position is, kneeling under the white arch, hands crossed on +her breast, eyes slightly cast upward, and a smile on the countenance. +Costume consists of a pure white dress, cut low at the neck, short +sleeves; waist and bottom of sleeves trimmed with wide lace and silver +spangles; a scarf of white tarleton muslin draped across the breast; +the waist encircled with a satin sash, and the head crowned with a +wreath of pearls, in the front of which place a small gold sun. The +hair can be arranged in ringlets, or brushed back from the forehead, +and confined in a silk net. The light for this piece must come from +the front of the stage, and should be of medium brilliancy. Music soft +and plaintive. + + + + +THE FIREMEN IN REPOSE. + +Ten Male Figures. + + +This tableau is a representation of the interior of a firemen's hall. +The walls are hung with engravings in rich frames, most of them +referring to the fireman's life. The name of the company, in large +gilt letters, is placed at the end of the stage. Settees are arranged +around the sides; a mahogany table is in the centre, on which is +placed a large solar lamp. Seated at the table are half a dozen +firemen, dressed in their uniform; these are engaged in reading the +news of the day; others are reclining and sitting on the settees, +engaged in conversation and smoking. The light for the piece should be +of medium brightness, and come from either side of the stage. Music of +a secular character. + + + + +THE ALARM. + + "Prompt when duty calls." + +Twelve Male Figures. + + +This tableau is a representation of an alarm of fire, which has +aroused the firemen from their repose. The scene represents a view of +the front of the engine house. The door is thrown open, and the +enginemen are about to draw out their machine. The piece contains +twelve figures, ten of which have hold of the engine rope. They are in +the position of persons running, and are led on by their captain, who +is giving out an order through his trumpet. His position is, facing +the men at the ropes; one hand is pointed towards the fire, the light +of which is seen in the distance. Near the door of the engine house +stands the lantern bearer with his lantern, which is attached to a +long pole, and is carried on the right shoulder. The front of the +engine house can be formed of wood, covered with cloth, and painted in +showy colors. This frame is to be placed at the right hand corner of +the background; the name and number of the machine painted over the +door. The front wheels and rope will be sufficient to represent the +engine. The remaining part is presumed to be within the house. By +placing the front of the house in the corner, more room will be had +for the line of firemen. All should appear animated, while a few are +pointing to the light in the distance. The alarm bells must be sounded +while the curtain is raised, and a red fire burned at the left side of +the stage, so as to throw a very little light on the extreme edge of +the background, which should extend farther in on the scene while the +tableau is exhibited. + + + + +AT THE FIRE. + + "Fire was raging, above and below." + +One Female and Thirteen Male Figures. + + +This tableau is a representation of a dwelling house on fire, with the +heroic firemen engaged in their various duties in their attempts to +extinguish the flames. A front view of the building is exhibited, from +which smoke and flames are seen issuing. At the window of the second +story, a fireman stands, with an infant in his arms. A ladder is +placed against the outside of the window, and a fireman is ascending +it. The engineer stands on the steps of the mansion, giving his +orders. A fireman is breaking in one of the lower windows with an axe. +At the left of the tableau is seen part of the engine. Space will not +allow the showing of more than one third of the machine; but by +manufacturing a temporary frame, on which the front wheels, brakes, +bell, and buckets can be attached, and placing it at the edge of the +stage, with the firemen at the brakes, the effect will be quite +sufficient. The men on the front brakes should be in a stooping +position, those behind standing erect. Two pipe-men are seen in the +foreground, with pipes, which they point to the burning building; +others are passing out articles of furniture from the windows. The men +must be costumed in showy fire suits. Alarm bells should be sounded +behind the scenes, and a representation of fire made by burning a red +fire at the side of the stage, behind the scenery of the burning +house. This scenery can be formed of light slats of wood, covered with +cloth, and painted in imitation of a brick house, with mouldings, +window frames, and doors. It must extend across the stage, and rise +from the floor to the ceiling. The windows should be filled with +sashes containing genuine glass, while smoke and flames can be painted +on various parts of the building; and, if desirable, a small quantity +of wet gunpowder, touched off at the proper moment, will add to the +effect. + + + + +ETHAN ALLEN AT TICONDEROGA. + + Nor com'st thou but by Heaven, nor com'st alone. + Some god impels with courage not thy own. + No human hand the weighty gates unbarred, + Nor could the boldest of our youth have dared + To pass our outworks, or elude the guard. + + POPE'S HOMER. + +One Female and Eleven Male Figures. + + +This historical tableau represents Ethan Allen at the entrance of Fort +Ticonderoga, ordering De la Place, the commandant of the fort, to +immediately surrender, in the name of the great Jehovah and the +Continental Congress. Around the door are gathered the soldiers of +Allen. De la Place and his wife stand upon the doorstep, partially +dressed, and, with looks of astonishment, inquire by what authority he +demands the surrender of the fort. The number of figures in this +picture is twelve. Ten of them represent American soldiers, and are +dressed in the continental uniform, which consists of a blue coat, +faced with buff, and ornamented with large brass buttons, buff vest +and breeches, white hose, low shoes, knee and shoe buckles, and black +chapeau, and each furnished with military equipments. Allen's costume +should be of finer material, with an addition of sash, epaulets, +plume, and side arms. De la Place has on red breeches, with a gilt +stripe, white silk hose, knee buckles, slippers, and wig, a red coat +upon his arm, and a sword in his right hand, the handle of which is +extended towards Allen. His wife is costumed in a white dress, a white +cap on her head, and hair hanging loosely over her shoulders. The +scenery of the piece consists of a frame covered with cloth, extending +across the stage, and rising from the floor to the ceiling, with a +door in the centre, and windows painted on either side, and placed +across the stage in the background. Mrs. De la Place's position is on +the door sill, her body inclined slightly forward, her left hand +holding a candlestick, in which is a lighted candle, her right hand +raised in front of her breast, eyes fixed on the face of Allen, while +the countenance expresses surprise and fear. The commandant stands on +the doorstep at the left of his wife, his left hand stretched out +before him, the right holding his sword; his eyes are fixed on those +of Allen, while his countenance expresses surprise and indignation. +Allen stands in front of him a little at the left, grasping his sword +in the right hand, which he raises over the head of the commandant, +whilst his left points to his soldiers; his countenance expresses +sternness and authority. The soldiers are standing on each side of the +door leaning carelessly upon their muskets. The accompanying music +should be that of the drum and fife. The light must be of medium +brilliancy, and come from the right of the stage. + + + + +THE GYPSY FORTUNE TELLER. + + Seek not to know the future; be happy while you may, + Nor cloud with dark foreknowledge the sunshine of to-day. + I see that you are hopeful, I read it in your eyes, + And I can learn no more from the stars that gem the skies. + Trust not the outward seeming of all who speak you fair; + What has been, maiden, may be--be watchful and beware. + + I will not cheat you, maiden; my gypsy skill you seek; + This only of the future the gypsy girl can speak: + When flippant worldlings flatter, let then your doubts begin; + Take, maiden, for your counsel the "still small voice within." + If weak the heart of woman, her stronghold too is there; + Guard then the fortress, conscience! be watchful and beware. + + CHARLES JEFFERY. + +Two Female Figures. + + +This tableau is a representation of a gypsy fortune teller, in a rude +tent, in front of which is burning a small fire. She is seated on the +ground, and holds a pack of cards in her right hand; her left is +pointed upward. Her head is turned towards a young and beautiful girl, +who is stooping at her side, gazing with earnestness on the cards. The +tent should be five feet high, four feet wide at the bottom, and +terminating in a point at the top. It can be made of light strips of +wood, covered over with cloth. An open space in front, two feet wide, +will answer for the door. The fire can be placed in an iron furnace, +around which arrange stones or brushwood. Ignite the fire just as the +curtain rises. Fill up the background of the stage with scenery +representing a forest, or place a few spruce trees behind the tent. +The gypsy's costume consists of a bright crimson dress, velvet waist, +laced across with pink ribbon in front, displaying a white robe +beneath; rows of gilt buttons on each side of the opening and around +the bottom of the sleeves. The hair, which should be long and black, +is allowed to hang carelessly over the shoulders; the face and other +exposed parts of the body stained a light brown. The young lady must +be of small figure, good form and features, and attired in a white +dress, cut low at the top, a red sash around the waist, and a small +straw hat placed jantily on the side of the head. The scene should be +illuminated by a red fire, burned in small quantities at the side of +the stage, and made to reflect on the group. Music soft. + + + + +PEACE. + + Beautiful vision, how bright it rose! + Vision of peaceful and calm repose! + Well might it brighten the rapt seer's eye, + And waken his heart to an ecstasy; + 'Twas earth, glad earth, when her strife was o'er, + Her conflict ended, and war no more. + + ANON. + +Eight Male and Twelve Female Figures. + + +This tableau is an allegorical representation of Peace. The number of +figures necessary to form it is twenty. They are formed in six +separate groups. The centre and principal group is a party of young +ladies and gentlemen engaged in the merry dance. They are costumed in +their holiday suits, and are formed in a circle around a May-pole. On +a green bank in the background is seated a young lady playing the +guitar, and a young gentleman playing the violin. This group is at the +right. At the left is a young and beautiful girl, who represents the +Queen of May; by her side stands a second female, about to place a +crown of flowers upon her head. Between these two groups, and elevated +a foot above them, stands the Goddess of Peace. She holds in her right +hand a sheaf of wheat, and in her left an olive branch. At the corners +of the foreground are two groups, the one at the left representing a +mother surrounded by three children; she holds a large Bible, which +the children are reading. The group at the right represents a +blacksmith standing at the side of an anvil,--a large hammer in his +right hand,--engaged in conversation with a farmer, who holds a rake. +The costume of the village girls should be white dresses, decorated +with flowers, and garlands on their heads. The gentlemen should be +dressed in light pants, white vests, and dark coats. The Goddess of +Peace has on a long white dress, bound around the waist with a green +ribbon; a wreath of dried grasses and wheat encircles the head. She +must stand perfectly straight, and look directly forward, with a +pleasant expression of countenance. The gentleman who plays on the +violin is costumed in a dark coat, red breeches, white hose, low +shoes, knee and shoe buckles, buff vest, a plaid scarf, draped across +the shoulders, and tied at the right side, and a small Scotch cap, +with a white plume, placed jantily on the head. The costume of the +lady at his side consists of a red skirt, over which is worn a white +skirt that is looped up at the side, and ornamented with small bunches +of evergreen and spruce; a velvet waist, open in front, and laced +across with pink ribbons; short sleeves; hair hung in ringlets, and +ornamented with ribbons; the countenances of both expressing pleasure. +The May Queen's costume consists of a white robe, trimmed with +garlands of flowers. Her attendant is also dressed in white, with a +scarf of plaid draped across the breast. The queen is kneeling on a +low cushion, holding a small bouquet, the head turned slightly to the +right, eyes raised to the ceiling. The lady in the foreground has on a +blue silk dress, a white apron, trimmed with green ribbon, and hair +arranged to suit the performer's taste. The children's costumes may be +of various styles, bright colors predominating. The lady should sit +quite low, and hold the Bible with her right hand; the left pointed to +the pages. The children and mother sit facing the audience, and all +look pleasant and happy. The blacksmith's costume consists of dark +pants, blue woollen shirt, sleeves rolled up to the elbow, a +low-crowned hat on the head, and leather apron tied around the waist. +He stands facing the audience, and is engaged in conversation with the +farmer, who is dressed in a long blue frock, buff pants, straw hat, +and heavy boots; the right hand holds a rake, the left is placed on +the side of the body. The four groups at the corners should be as +compact as possible, giving the greater portion of the room to the +dancers in the centre. The bank in the background must be three feet +in height, and covered with green bocking, and also the floor of the +stage. Make the May-pole as high as the space will admit, and cover it +with green cambric, decorated with garlands of flowers. The light +should be quite brilliant, and come from the right side of the stage. +Music inspiring. + + + + +WAR. + + 'Twas man himself + Brought Death into the world; and man himself + Gave keenness to his darts, quickened his pace, + And multiplied destruction on mankind. + First Envy, eldest born of Hell, imbrued + Her hands in blood, and taught the sons of men + To make a death which nature never made, + And God abhorred; with violence rude to break + The thread of life, ere half its length was run, + And rob a wretched brother of his being. + + PORTEUS. + +Twenty Male and Six Female Figures. + + +This tableau is a vivid representation of some of the effects of war. +The foreground of the picture represents a battle field after the +combat has ended. + + "'Twas the battle field; and the cold, pale moon + Looked down on the dead and dying; + And the wind passed o'er, with a dirge and a wail, + Where the young and the brave were lying." + +The ground is strewn with the dead and wounded soldiers, broken +cannon, muskets, flags, swords, and portions of torn and tattered +uniforms. In the background, there is a representation of a +breastwork of stone; on the extreme right are two females weeping; at +the extreme left is a mother and two children. The mother lies across +the breastwork, dead. The children stand by her side, looking with +wonder into her face. Standing on the centre of the breastwork is the +Goddess of War. In one hand she holds a torch, which is raised above +her head; the left grasps a standard and sword. The number of figures +in the piece is twenty-six. Twenty young gentlemen must be costumed in +various styles of military suits, while many should have wounds +painted on various parts of the body. The costume of the Goddess of +War consists of a crimson dress, black velvet waist, trimmed with +gold, hair hanging loosely over the shoulders, and a red French +military hat on the head. The two ladies at the right are costumed in +mourning. The mother should be attired in a white dress; the children +in bright-colored costumes, with hair hanging in ringlets. The stage +must be formed like an inclined plane, beginning at the footlights, +and rising towards the background, and covered with green bocking. The +soldiers should be grouped about the ground in various positions, and +the cannon and guns scattered about in a promiscuous manner. The two +ladies in mourning sit on the top of the breastwork, side by side, +their heads bowed down, and hands covering their faces. The mother is +seated at the other end of the breastwork, head thrown back, and eyes +closed. The children are standing by her side, clasping their hands +and gazing into her face. The Goddess of War should stand with her +left side to the audience, body bent forward, the head slightly turned +towards the battle field, the countenance expressing animation and +determination. A small quantity of smoke should be seen rising behind +the breastwork, while the whole scene is illuminated by a red light +burned at the side of the stage. The booming of distant cannon and +martial music may be imitated behind the stage. + + + + +THE RESCUE. + + Presence of mind and courage in distress + Are more than armies to procure success. + +One Female and Eight Male Figures. + + +This tableau is one that can be produced without much trouble or +expense. The scene is taken from a historical incident that occurred +during the revolutionary war. At the close of one of the hard-fought +battles between the Americans and British, an American officer, having +fought long and well, was obliged to seek safety in flight, hotly +pursued by a company of British soldiers, led on by their captain. He +takes refuge in the mansion of a tory in the vicinity of the battle +ground, and prostrates himself at the feet of the lady of the house, +who has risen from her chair on hearing the tumult at the door, and +with her arm extended and eyes flashing, sternly bade the British +officer and his followers to quit the house. The British officer is +standing within a few paces of the American, with sword extended, +ready to pierce his body. In the rear of the British officer stands a +platoon of soldiers, with muskets ready to charge. The furniture of +the room consists of chairs, carpet, tables, small sofa, pictures, &c. +The lady who personates the tory housekeeper should be tall, with good +figure and features; her costume consists of a showy silk dress and +velvet waist. Position is, at the right of the stage, near the front. +A small table is placed at her side, on which are a work box and piece +of embroidery; behind her is a large chair; her right hand is extended +towards the British officer; the left is placed on her waist; her +countenance expressing anger and command. The American officer should +be costumed in Continental uniform, which consists of a blue coat, +decorated with large gilt buttons, and faced with buff, buff breeches, +white hose, low shoes, knee and shoe buckles, red sash, epaulets, +chapeau, and side arms. In his right hand he grasps a broken sword. +The position is, kneeling two paces front of the lady, body bent +forward, and eyes cast down to the floor. The British officer and +soldiers are dressed in similar costumes, with the exception of the +coats, which are scarlet. The British officer's position is, standing +in the centre of the stage, with sword pointed towards the American +officer, and eyes directed to the lady. The lights for the piece +should be of medium brightness, and come from the side of the stage +opposite the lady. The background must be partially shaded, while the +foreground is light. For music, drum and fife are adapted to the +piece. + + + + +SOLOMON'S JUDGMENT. + + "A mother's love." + If there be one thing pure, + Where all beside is sullied, + That can endure + When all else pass away-- + If there be aught + Surpassing human deed, or word, or thought, + "It is a mother's love!" + + ANON. + +Three Male and Two Female Figures. + + +This Scripture tableau is taken from the third chapter of the Book of +Kings. The scene is at the moment when Solomon passes his judgment +between the two women. These two women each had a child of the same +age, and resided together. The children resembled each other so much +that when one of them died, there arose a dispute as to whom the +living child belonged; and one woman said, "The living is my son, and +the dead is thy son." And the other said, "No; the dead is thy son, +and the living is my son." Then said the king, "Bring me a sword." And +they brought a sword before the king, and the king said, "Divide the +living child in two, and give half to one and half to the other." Then +spoke the woman whose the living child was unto the king, "O my lord, +give her the living child, and in no wise slay it." But the other +woman said, "Let it be neither mine nor thine, but divide it." Then +the king answered and said, "Give her the living child, and in no wise +slay it, for she is the mother thereof." The number of figures in this +tableau is five. The scenery consists of a platform four feet square +and two feet high, covered with red cloth, which should be placed in +the background, at equal distances from the sides; on this is placed a +large, showy chair, with a canopy over the top. Seated in the chair is +Solomon. His costume consists of a dark velvet suit, trimmed with gold +and silver fringe; a large cloak, trimmed with ermine, is worn on the +shoulders; black hose, reaching to the knee, crossed with crimson +ribbon; red sandals, ornamented with gold; a showy crown on the head, +and his face covered with a heavy white beard, reaching down on his +breast; his right hand is pointed towards the soldier who holds the +child; the eyes are also directed that way, while the countenance +appears stern and commanding. The soldier's costume consists of a suit +of armor such as can be procured at theatres and costumers; but, if +preferred, a military suit of any kind will answer. His position is, +near the platform, the left hand grasping the child, while the right +holds a sword, which is raised above it; his body faces the audience, +his head turned towards the king, the countenance stern and +forbidding. On the other side of the throne stands the king's guard, a +man dressed in a blue frock, trimmed around the skirts, sleeves, and +front with red; white hose, reaching to the knee; black knee breeches; +low shoes; knee and shoe buckles; lace collar and wristbands; low +black Kossuth hat, with gold band and plume. The right hand grasps a +long spear. Position is, facing the audience, the body erect, and eyes +directed straight forward. At the corner of the platform, near the +soldier, kneels the mother of the child, in position so that a side +view is had of the face; the hands are clasped and raised in front of +her breast, head thrown back, and eyes directed to the king, +countenance expressing hope. She is dressed in deep mourning, her hair +flowing loosely over her shoulders. On the other side of the throne, +opposite the guard, stands the other woman, her arms folded on her +breast, eyes directed to the soldier, countenance calm. Her costume +consists of a white dress, cut low in the neck, and encircled around +the waist with a colored belt; hair arranged in heavy braids, and +ornamented with showy hair pins. The lights should be of medium +brilliancy, and come from either side of the stage. If desirable, a +few paintings and statuary can be arranged in the background. Music +soft and plaintive. + + + + +THE BRIDAL PRAYER. + + Sweet be her dreams, the fair, the young; + Grace, Beauty, breathe upon her; + Music, haunt thou about her tongue; + Life, fill her path with honor. + + All golden thoughts, all wealth of days, + Truth, friendship, love, surround her; + So may she smile, till life be closed, + And angel bands have crowned her. + + BARRY CORNWALL. + +One Female Figure. + + +This simple, yet pretty tableau represents a young maiden dressed in +bridal costume, kneeling in prayer in her chamber, preparatory to her +descent to the room below, where she is to enter into the holy bonds +of matrimony. The stage furniture consists of an ornamental chamber +set, a few richly-bound books, pictures, and other articles pertaining +to a chamber. The young lady should be of good figure and features. +Costume consists of a white dress, low in the neck, and ornamented +with white flowers. The hair can be dressed to suit the performer's +taste, while a wreath of myrtle and flowers encircles the head, at the +back of which trails a long white veil. Position is, kneeling in the +centre of the stage, so that a side view can be had of the form, the +hands raised and placed together in front of the face, the head +slightly thrown back, the eyes closed, and the countenance expressing +devotion. Little light is required, which should come from the side of +the stage. Music soft and plaintive. + + + + +THE GUITAR LESSON. + + O, strike the guitar lightly, lightly; + Its tones I ne'er forget; + O, strike the guitar lightly; + 'Tis sweet as when we met. + +One Female and One Male Figure. + + +This simple, but pretty tableau represents a young lady at the music +room of her teacher, taking a lesson on the guitar. The scene +represented is a room furnished with table, chairs, carpet, vases, +pictures, &c. A small sofa, or a pair of ottomans, are placed in the +centre of the apartment, on which is seated a young and beautiful +lady, and by her side the teacher. The lady holds in her hands a +guitar, on which she is playing. Her teacher holds a sheet of music in +the left hand, while with the right he points towards the guitar. The +maiden's costume consists of a white dress, velvet waist, white +flowing sleeves, waist encircled with a crimson sash; hair done up in +a neat manner, and decorated with large feldspar beads. Her position +is, facing the audience, head slightly turned to her teacher, eyes +directed to the music, face beaming with smiles. The teacher's costume +consists of black pants, white hose, reaching to the knee, with a band +of colored ribbon, and wide lace attached by a large paste pin at the +top, low shoes with buckles, single-breasted vest left unbuttoned, +showing a white shirt underneath. A lady's pink or red sack will on +an emergency answer for a coat. A lady's velvet cape should be thrown +carelessly over the shoulder. The wristbands of the shirt bound with +wide lace, and a wide lace collar worn around the neck. The head +covered with a low-crowned Kossuth hat, ornamented with a gilt band, +and white plume, which is fastened to the hat with a large and +brilliant paste pin. Both of these costumes can be arranged at short +notice, and the tableau would be suitable for home entertainment. A +guitar, played behind the scenes, will answer for the music. The light +must be of medium brightness, and come from either side of the stage. + + + + +ROGER WILLIAMS PREACHING TO THE INDIANS. + + "Gitche Manito the Mighty, + The Great Spirit, the Creator, + Sends them hither on his errand, + Sends them to us with his message. + + Let us welcome, then, the strangers, + Hail them as our friends and brothers, + And the heart's right hand of friendship + Give them when they come to see us." + + LONGFELLOW. + +Two Female and Eight Male Figures. + + +Roger Williams was the first white man that settled in Rhode Island. +He was a clergyman, and lived in Boston; but he did not think exactly +as the other clergymen of Boston, and was therefore banished from +Massachusetts. He emigrated with his family to the woods. After +travelling a considerable time, he selected a beautiful spot, and +built him a house. Other settlers soon came that way, and founded +homes. This was the first settlement of Providence. Williams was +kindly treated by the Indians, who seemed pleased at his arrival among +them. Every Sabbath he would go into the village and preach to them. +The scene in this tableau represents him standing before a wigwam with +his Bible in hand, explaining the Holy Scriptures to a group of +savages who are gathered about him. A few spruce trees should be +placed in the background of the picture, a fire kindled in the centre +of the stage, which can be placed in an iron furnace, and surrounded +with stones. The floor must be covered with white cloth. Logs and +branches of trees should be scattered around the stage. At the left of +the stage is the wigwam, formed with rough poles, covered with +light-brown cloth, and ornamented with red hieroglyphics. In the +background, and at each side of the stage, are seated Indians. The +floor of the stage in the background should be raised one foot, on +which are placed the trees; in front of the wigwam stands Roger +Williams; he partially faces the audience; his left hand holds a +Bible, while his right is raised upward, his eyes directed towards the +Indians--countenance expressing animation. Costume consists of black +coat of ancient style, black breeches, black vest, white hose, ruffled +bosom, and white cravat, knee and shoe buckles, and a long white wig, +ending in a cue, and tied with a black ribbon. Costume of the Indians +is a short frock, made of and trimmed with a bright-colored cambric, +pants of dark buff cloth, fitting tightly so as to develop the form of +the leg, moccasins of red flannel, decorated with beads; a strip of +card-board, covered with red flannel, and ornamented with feathers of +any kind, should be worn around the head. A belt about the waist, +containing tomahawk and knife, both of which can be made of wood, and +painted in bright colors. A few squaws are interspersed in the scene. +Their costumes are similar to those of the men, with the addition of a +bright-colored blanket thrown over the shoulders, and hair loosely +flowing about the neck. The exposed portions of the bodies of the +Indians are stained of the same color as the pants. The position of +the figures must be varied, while all look with attention to Williams. +The scene should be lighted by a red fire, burned at the front side of +the stage. Music soft and of a sacred character. + + + + +CROSSING THE LINE. + + Far, far upon the sea + The good ship speeding free, + Upon the deck we gather, young and old, + And view the flowing sail + Swelling out before the gale, + Full and round, without a wrinkle or a fold. + +Ten Male Figures. + + +This comic tableau is a representation of a scene which often +transpired on board of vessels in passing the line. This time-honored +custom of introducing to old Neptune and his suite the persons who, +for the first time in their lives, cross the equinoctial line, is now +nearly abolished. But until within a quarter of a century, the +occasion of crossing the line was one of no little importance. It was +a jubilee on board ship which was looked forward to with eagerness by +the jolly tars who had already shaken hands with the God of the Ocean, +and with fear and trembling by the youths who were about to enter for +the first time the favorite dominions of the old god. The ceremonies +on these occasions varied according to the character of the crew, of +the commander of the vessel, or of the poor fellows about to undergo +the unpleasant and dreadful process of an introduction. They were +generally of a harmless and amusing character, one of which was to +bring them before old Neptune, and put them through the process of +shaving. The chin, and the greater part of the face, would be +plastered over with a composition made of tar and train oil, laid on +thickly with a large tar brush. The razor was often fabricated from a +worn-out hoop, notched like a handsaw. This was drawn over the face, +not in the most gentle manner. After this operation was completed, a +person approached to untie the handkerchief that bandaged the eyes, +and at the same moment kicked away the plank on which the victim sat, +which precipitated him into the ship's longboat, filled with water for +the occasion.--The number of figures in this tableau is ten. Neptune +is the principal one, and is costumed in a flesh-colored coat, fitting +tightly to the body, and covered with hieroglyphics in bright colors; +the face painted to look hideous, and partially covered with a long, +shaggy beard; a crown on the head, made of card-board, covered with +gilt paper and shells; a spotted fur robe is thrown over the lower +portion of the body; his right hand grasps a three-pronged fork, while +the left is stretched out to one of the sailors. His throne, on which +he is seated, is made of a number of barrels placed in a row at the +back of the stage, on which rests a platform, with an anchor on each +side. The victim, as well as the rest of the performers, should be +costumed in sailors' suits, differing in colors and styles. In the +centre of the stage erect a small platform, one foot high and six feet +long. On this place the person who is to be shaved. At his left stand +two sailors. One holds the speaking trumpet and a ship's bucket; the +other is in the act of pouring a bucket of water on the head of the +victim; a third sailor holds in his left hand a paint brush, and +brandishes the razor in his right; a little sailor boy holds a small +tub, which contains the soap. Fronting the victim, kneels a sailor, +holding a syringe. The remaining figures are looking on to see the +sport. The countenances of all but the victim express mirth. An +imitation mast and sail should be arranged at the background of the +picture, the sides of the stage painted to represent ports of a +vessel, and various articles that are used on board a ship must be +scattered about the deck. Light brilliant, and come from the right +side of the stage. + + + + +THE WEDDING. + + Pass thou on! for the vow is said + That may ne'er be broken; + The trembling hand hath a blessing laid + On snowy forehead and auburn braid, + And the word is spoken + By lips that never their word betray'd. + + Pass thou on! for thy human all + Is richly given, + And the voice that claims its holy thrall + Must be sweeter for life than music's fall, + And, this side heaven, + Thy lip may never that trust recall. + + WILLIS. + +One Female and Two Male Figures. + + +This tableau is a representation of the marriage ceremony, and is +arranged with little trouble or expense. For a home entertainment it +will be quite appropriate. The scene is a young and beautiful maiden +and a fine-looking gentleman kneeling at the foot of an altar, behind +which stands a priest, dressed in appropriate costume. He is +performing the wedding rites. He holds in his right hand a prayer +book; his left is stretched out over the kneeling couple; his eyes are +raised upward, the countenance calm. The lady and gentleman kneel at +the foot of the altar, partially facing each other, so that a side +view is had of the body. The eyes of both are cast down; the lady's +costume consists of a white dress, trimmed to suit the taste of the +performer. A delicate wreath of silver leaves crowns the head, and a +long white veil hangs from the back hair to the floor. The gentleman +should be costumed in a black coat and pants, white vest, cravat, and +gloves. The priest's costume consists of a black surplice and cowl, +white cravat, and a large cross suspended from the neck. For want of a +better article, a lady's black dress will answer for the surplice, and +a black silk scarf, wound around the head, will answer for a cowl. The +altar can be formed out of a small table, with a white cloth thrown +over it, with a large Bible on the top. The light for this piece +should be mellow, and come from the left side of the stage. Music soft +and plaintive. + + + + +HIAWATHA SAILING. + + "And thus sailed my Hiawatha + Down the rushing Taguamenaw-- + Sailed through all its bends and windings, + Sailed through all its deeps and shallows, + While his friend, the strong man Kwasind, + Swam the deeps, the shallows waded. + Up and down the river went they, + In and out among its islands, + Cleared its bed of root and sand-bar, + Dragged the dead trees from its channel, + Made its passage safe and certain, + Made a pathway for the people, + From its springs among the mountains, + To the waters of Pauwating, + To the bay of Taguamenaw." + + LONGFELLOW. + +Two Female and Two Male Figures. + + +This interesting tableau represents Hiawatha and his friends sailing +in his birch canoe. The arrangement of the scenery is quite simple, +and when properly adjusted, makes one of the finest pictures in this +series. The floor of the stage must be arranged to represent water, +which can be done in the following manner: Nail strips or narrow bands +of wood on each side of the stage, the front ends resting on the +floor, the other ends raised to the height of one foot; at intervals +of ten inches on the strips place stout nails, and to these fasten +stout cord from one side of the stage to the other; across the cords +place strips of light-blue cambric, allowing it to festoon from one +cord to the other; fasten the cambric to the cords with pins, and +paint in a careless manner the ridges to represent miniature waves; +then scatter the surface with isinglass in small particles. Fill up +the background with scenery of a similar character, or with small +spruce trees. An imitation birch canoe can be made of strips of wood, +covered with cloth, painted light brown, and ornamented with bands of +crimson, blue, and white paint; this should be placed in the centre of +the stage, on small ways running across from one dressing room to the +other, and painted the same color as the waves. Grooved pieces of wood +must be fastened to each side of the canoe, so that it can be +propelled across the stage on the ways, and appear to be floating on +the top of the water. Ropes attached to each end, at the bottom of the +boat, passed under the waves, and roved through blocks, can be used to +propel it from one side of the stage to the other. The ways should +extend into the ante-rooms, so that the boat can pass entirely from +the stage. Large leaves and long grasses, made of green cambric, may +be placed around the edges of the water. The boat contains two Indian +braves and two Indian maidens. All are dressed in costumes, which have +been described in the tableau of "Hiawatha and his Bride's Return +Home." Hiawatha is seated in the stern of the boat, holding a paddle +in the water. The other Indian is kneeling in the bow with his bow and +arrow, and in position as if firing to the shore. One of the maidens +is looking intently over the side of the canoe, and the other is +looking upward. Both should have long black hair flowing over the +shoulders. The canoe should move very slow, and should be seen in +motion when the curtain rises; and to have it move in a steady manner, +the ropes should be attached to a windlass below the stage. The scene +must be illuminated by a green fire burned at the side of the stage +opposite the entrance of the canoe. Music soft and plaintive. + + + + +THE VILLAGE STILE. + + The village stile--and has it gone? + Supplanted by this niche of stone, + So formal and so new; + And worse, still worse, the elder bush, + Where sang the linnet and the thrush-- + Say, has that vanished too? + + Age sat upon 't when tired of straying; + And children that had been a-maying; + These trimmed their garlands gay; + What tender partings, blissful meetings, + What faint denials, fond entreatings, + It witnessed in its day! + +One Female and One Male Figure. + + +This rustic tableau represents a young shepherd and his betrothed +seated on the village stile, engaged in conversation. In the centre of +the stage, a weather-worn plank should be placed, resting on +artificial banks at each side, which are three feet high and four feet +wide; these can be shaped out of boxes or chairs placed together in a +careless manner, and covered with green bocking; at each side of the +stage, near the banks, place small spruce trees, and beneath the +stile build a step out of old plank, one foot high, and the length of +the space between the two banks. Seated on the inner side of the stile +is the young maiden. She is partially facing the audience, body +slightly bent forward, right hand placed in that of the shepherd, +while the left rests on a basket of flowers placed on her knee. +Costume consists of a showy plaid dress, with a green waist, trimmed +with purple cloth, cut in scallops; a small pink scarf worn over the +shoulders, and tied at the side; a pink apron, trimmed with white; a +small straw hat, bound with green ribbon, and set jantily on the head; +hair done up low in the neck, and ornamented with blue and red +ribbons. The eyes are cast down to the basket, the expression of the +face thoughtful. The young shepherd stands on the outside of the +stile, reclining carelessly against the green bank. He partially faces +the audience; his eyes are directed to the opposite side of the stage, +the expression of the face denoting deep thought. The right hand +clasps that of the maiden, while the left hangs carelessly at the +side, and grasps a shepherd's crook, which is six feet long. Costume +consists of a loose, light-blue coat, bound at the bottom of the skirt +and sleeves with dark blue; a belt of the same encircles the waist; +white hose, low shoes covered with red cloth, knee and shoe buckles, +and low-crowned hat; a straw hat, covered with brown cambric, and +bound with red, will answer. If a large dog can be procured, that +will remain perfectly still, place him at the feet of the shepherd. +The light should be of medium brilliancy, and come from the front of +either side of the stage. Music soft and of a secular order. + + + + +FLORENCE NIGHTINGALE IN THE CRIMEA. + + The tender sigh, the balmy tear, + That meek-eyed pity gave, + My last expiring hour shall cheer, + And bless a soldier's grave. + +One Female and Three Male Figures. + + +This tableau is one that can be easily formed for an evening's +entertainment. It represents Florence Nightingale nursing a young +wounded soldier in his tent at the Crimea. Florence Nightingale was +one of those philanthropic and humane ladies who left their homes and +the comforts of life, and resorted to the Crimea, where, on the field +of battle and in the pestilential hospital, she comforted and nursed +the sick and wounded soldiers. The tent can be made of white cloth, +fastened to a frame of light strips of wood eight feet square, with a +small flag fastened in front. A couch should be formed at one side of +the tent, on which reclines the wounded soldier, with an imitation of +a large wound on the forehead, a large black patch on the side of the +face, and a bandage around the head; his face must be made quite +white, his body supported by pillows; eyes fixed on Florence, +countenance calm and tranquil; his right arm is extended outside of +the coverlet, and is held by a comrade who is at the side of the bed. +Florence's costume consists of a red dress reaching to the knee, a +white collar, loose blue pants with red stripe, buff apron trimmed +with white, a flat blue cap with gold band, a small, square, black +bag, suspended at the side by leather straps passing over the +shoulders, the hair arranged low in the neck; she is standing by the +side of the couch, body bent slightly forward, one hand resting on the +pillow, the other grasps the hand of the sufferer. On the other side +of the bed is a soldier, seated on a camp-stool, engaged in reading a +Bible. He is dressed in a showy uniform, and is facing the audience. +The lights for this piece should be of medium brilliancy, and come +from the front of the stage. Music of a military style. + + + + +THE FIREMAN'S STATUE. + +One Male and Six Female Figures. + + +This tableau is quite a tasty design, and is represented by six +females in a kneeling posture, supporting a circular shield, on the +top of which stands a young and handsome fireman, dressed in his +regalia. In his right hand he grasps a hose pipe, the end of which +rests on the top of an imitation hydrant, which is placed on the top +of the shield at his side. His position is, facing the audience, body +and head erect, the left hand resting on the hip, eyes raised upward, +countenance calm. The ladies' costume consists of a white dress, red +waist, blue sash, hair done up snugly and encircled with a gold band, +on the front of which is a silver star, with a blue border and +spangles in the centre. The shield should be three feet in diameter, +and placed on a pedestal high enough to allow the ladies to kneel +beneath. It should be covered with a white cloth that will trail to +the floor. The ladies kneel in a circle around the shield, the body +facing outward, the head turned slightly to one side, both hands +placed against the bottom of the shield, the eyes cast down. The two +centre ladies should partially face each other. Expression of the +countenance pleasant. Music of an operatic order. + + + + +JOAN OF ARC AT THE SIEGE OF ORLEANS. + + That was a joyous day in Rheims of old, + When peal on peal of mighty music roll'd + Forth from her throng'd cathedral; while around, + A multitude, whose billows made no sound, + Chain'd to a hush of wonder, though elate + With victory, listen'd at their temple's gate. + But who alone + And unapproach'd beside the altar stone, + With the white banner, forth like sunshine streaming, + And the gold helm, through clouds of fragrance gleaming,-- + Silent and radiant stood?--The helm was raised, + And the fair face reveal'd that upward gazed + Intensely worshipping:--a still, clear face, + Youthful, but brightly solemn!--Woman's cheek + And brow were there, in deep devotion meek, + Yet glorified with inspiration's trace + On its pure paleness; while, enthroned above, + The pictured Virgin, with her smile of love, + Seem'd bending o'er her votaress.--That slight form! + Was that the leader through the battle storm? + Had the soft light in that adoring eye + Guided the warrior where the swords flash'd high? + + 'Twas so, even so!--and thou, the shepherd's child + Joanne, the lowly dreamer of the wild! + Never before, and never since that hour, + Hath woman, mantled with victorious power, + Stood forth as thou beside the shrine didst stand, + Holy amidst the knighthood of the land; + And beautiful with joy and with renown + Lift thy white banner o'er the olden crown, + Ransom'd for France by thee! + + MRS. HEMANS. + +One Female and Thirty Male Figures. + + +This historical tableau contains thirty-one figures. A less number +will make a picture; but to give proper effect to the scene, there +should be thirty-one. Joan of Arc, the heroine of this piece, at the +age of nineteen was a simple and uneducated shepherdess, and by her +enthusiastic courage and patriotism was the immediate cause of that +sudden revolution in the affairs of France which terminated in the +establishment of Charles VII. on the throne of his ancestors, and the +final expulsion of the English from that kingdom. The town of Orleans +was the only place in France which remained in the possession of the +dauphin at the time when this heroine made her appearance, and that +was closely besieged by the English, while Charles had not the +smallest hope of being able to procure an army to raise the siege. +Benevolent in her disposition, gentle and inoffensive in her manners, +and above all, dutiful to her parents, Joan had, from her earliest +infancy, been ardently attached to her country. Her piety, her +enthusiasm being thus united in her young and romantic mind with an +all-absorbing feeling of patriotism, she was led to believe herself +the humble instrument, in the hands of Heaven, by whom the interest +and glory of France were to be redeemed. Under this impression, the +maiden left her native village, and appeared before Charles dressed as +a warrior, and informed him that she had two things to accomplish on +the part of the King of heaven; first, to cause the siege of Orleans +to be raised; and secondly, to conduct the King to Rheims, there to be +anointed. The enterprise so courageously proposed was considered, and +her services publicly accepted. On the 29th of April, 1429, Joan of +Arc appeared before Orleans, with twelve thousand men. She made an +attack upon Fort St. Loup, which she carried, sword in hand, as well +as the bulwarks of St. John. She had a banner made after her own +device; her sword was taken from the tomb of a knight, where it had +lain more than a century; her helmet was surmounted with feathers. She +remained at the head of the army until 1430, when she was taken +prisoner by the English, at the siege of Campaigne. From the moment +she was a prisoner, the heroine was forgotten. Joan was condemned at +Rouen, by Cauchon, Bishop of Beauvais, and five other French bishops, +to be burned alive for magic and heresy, and her cruel sentence was +put in execution on the 24th of May, 1431. Thus was the admirable +heroine cruelly delivered over in her youth to the flames, and +expiated by the punishment of the fire the signal services which she +had rendered to her prince and native country. The scene for the +tableau is taken at the moment when Joan of Arc, sword in hand, is +leading on the storming party over the bulwarks of St. John. She is +seen on the top of the ramparts, near one of the cannon which has just +been fired. Her soldiers are charging over the bulwarks around her. In +the background are to be seen the troops of the various armies, +engaged in hostile combat. The battlements should be three or four +feet in height, two feet wide, running across the front of the stage, +with an embrasure in the centre. Boxes covered with imitation-stone +paper are to be used for its formation. If a small cannon cannot be +procured, a mock one may be constructed of wood. Platforms rising +gradually from the ramparts to the back scene must be used for the +figures in the background to stand on. Joan of Arc should be tall in +stature, of good figure, and fine looking, with large black eyes, and +long black hair. Costume consists of a crimson skirt, coat of mail +buttoned up to the throat, helmet with flowing plumes, riding gloves, +crimson sash across the breast, belt and side arms. The banner is made +of white cloth, trimmed with crimson, with a gold cross in the centre, +and a gilt spear, and tassels on the end of the staff. Sword of rich +design, and quite long. Her position is, near the cannon, the right +foot on the top of the ramparts or cannon, the left a few inches +lower, on a box placed behind the ramparts; the body bent forward; +right hand grasping a sword and stretched out at arm's length towards +the ceiling, the left holding the banner, which is held at the side of +the body; the head slightly turned to the troops at the right; eyes +directed partially to them; countenance animated. Three soldiers in +uniform--the prominent colors scarlet--are lying on the ground in +front of the battlements. Wounds should be imitated on the head; one +soldier is lying across the cannon, holding a rammer in his hand; two +others are stretched out on the battlements. The costume of Joan's +soldiers should be blue and buff, and each wearing a large moustache. +Two platoons, each containing five soldiers, are in the act of +charging over the ramparts at each side of Joan; they stand two feet +from the breastwork, and look straight forward. One soldier on each +side is in the act of piercing with his bayonet the soldiers on the +breastwork. The background is filled up with troops of both nations, +who are in the act of fencing and firing their muskets at the enemy in +the distance; a variety of positions should be taken, to make the +scene as attractive and life-like as possible. The booming of cannon +and rattle of musketry may be imitated in the ante-rooms; a slight +quantity of smoke can be made to hover over the combatants by burning +a small quantity of the whitish blue fire on the stage before the +curtain rises. Care must be taken not to burn too much, as a great +quantity of smoke will hide the figures from view. The scene most be +illuminated by a brilliant red fire burned on the side of the stage +that will most reflect on Joan's face. The piece may be exhibited +double the usual length of time of other tableaux, and should be used +as a grand finale. + + + + +THE PARTING. + + Ah! then and there was hurrying to and fro, + And gathering tears, and tremblings of distress, + And cheeks all pale, which but an hour ago + Blush'd at the praise of their own loveliness. + And there were sudden partings, such as press + The life from out young hearts, and choking sighs, + Which ne'er might be repeated--Who could guess + If ever more should meet, those mutual eyes, + Since upon night so sweet, such awful morn could rise? + + BYRON. + +One Male and Two Female Figures. + + +This pretty tableau is one that can be formed without much expense or +trouble. The scene represented is a young knight, about to leave his +home, his wife, and child, to fight the battles of his country. A +large flight of steps fills up one third of the stage at the +background. These can be made by placing strips of boards on boxes, +arranged in the form of steps, and covering them with white marble or +light stone paper; at one side of the stage is a pedestal three feet +high and eighteen inches square, on the top of which is a large vase +of flowers. A box covered with marble paper, and fresco cornice, will +answer for the pedestal, while a large earthen jar, painted white, +will do for the vase. On the other end of the steps, two marble +pillars reach from the upper step to the ceiling, and a couple of +spruce trees placed back of the steps, at each end, will give a good +effect. The knight is costumed in a black frock, trimmed around the +bottom of the skirt and sleeves with purple cambric, a straight +collar of the same material, ornamented with gilt buttons and paper; +belt and side arms, red sash, riding gloves, purple knee breeches, +white hose, low shoes, knee and shoe buckles, a low cap, with a gilt +band, and showy plume fastened to the side with a brilliant paste pin; +a small velvet cape, trimmed around the bottom with gold paper, is +worn carelessly over the left shoulder. Position is, standing on the +bottom step, facing the audience; one foot rests on the floor of the +stage, the other on the step; the right hand points to the back of the +stage, while the left rests on the shoulder of his wife, who stands at +his side; his body is bent slightly forward, eyes directed to those of +his wife; countenance expresses animation. The lady who personates the +wife should have black, curly hair, good figure, medium height, and +regular features. Costume consists of a blue silk dress, velvet waist, +hair arranged in curls, and ornamented with showy hair pins. Position +is, at the side of her husband, two paces in advance, and in such +position that a side view is had of the form; her body bent forward, +so that her hands, which are clasped, will rest on her husband's +shoulder, head thrown back, eyes directed to those of her husband, +face expressing grief. A few paces to the left of the lady, is a +cradle, containing a sleeping child. A large Newfoundland dog lies +quietly watching it. The scene should be illuminated by a purple fire +burned near the front of the stage. Music of a martial style. + + + + +HAGAR AND ISHMAEL IN THE WILDERNESS. + + It was an hour of rest! but Hagar found + No shelter in the wilderness, and on + She kept her weary way, until the boy + Hung down his head, and open'd his parch'd lips + For water; but she could not give it him. + She laid him down beneath the sultry sky,-- + For it was better than the close, hot breath + Of the thick pines,--and tried to comfort him; + But he was sore athirst, and his blue eyes + Were dim and bloodshot, and he could not know + Why God denied him water in the wild. + She sat a little longer, and he grew + Ghastly and faint, as if he would have died. + It was too much for her. She lifted him, + And bore him farther on, and laid his head + Beneath the shadow of a desert shrub; + And, shrouding up her face, she went away + And sat to watch where he could see her not + Till he should die; and, watching him, she mourned:-- + + WILLIS. + +One Female and One Male Figure. + + +This group is a representation of Hagar and Ishmael in the wilderness, +and is designed to imitate sculpture. The circumstances of the scene +are well known in the simple narrative of the Scriptures. The boy, +weary and exhausted by unaccustomed hardships and suffering, has sunk +down in the desert to die; but Hagar, sustained by the measureless +affection of a mother's breast, supports the fainting form of her son, +and has just put aside the cup now drained of its last precious drops +of water. She gazes upon his face, while in her own, hope still +lingers, before yielding to the unutterable anguish of despair. The +lady who personates Hagar should be of good figure and features, tall, +and matronly. Costume consists of a white dress, cut low in the neck, +sleeves five inches long, a white tarleton scarf worn across the +shoulders, and tied at the left side, the hair hanging in curls on the +neck, a white turban on the head, with two white strips attached to +the side and passed under the chin, and white sandals laced across +white hose. The position of Hagar is kneeling, so that a side view is +had of the face. The left hand sustains the head of Ishmael, the right +is extended to the pitcher which stands at the side of the group; the +head is bent forward considerably, eyes fixed on those of the boy, +countenance expressing anxiety and hope. A young lad of six years of +age, of fair complexion and long, light, curly hair, is required to +personate Ishmael. He should be costumed in a loose, white coat or +frock, white hose and sandals, with a white gauze mantle draped about +the breast. Ishmael's position is, reclining on his side, one leg +drawn up and placed across the other, the left arm resting on the +ground, supporting the body, the right lying carelessly at the side; +the shoulders rest on the knee of Hagar, head thrown back, and resting +on the hand of Hagar, eyes closed, mouth partially open. The pitcher +should be of white porcelain, of ancient style. The group is formed on +a square or round pedestal, five feet square or in diameter, and one +foot high, covered with white cloth or marble paper. The exposed +portions of the figures must be made as white as possible with chalk. +Light soft, and come from the side of the stage. Music of a plaintive +and sacred character. + + + + +THE FIGHT FOR THE STANDARD. + + They saw the princely crest, + They saw the knightly spear, + The banner, and the mail-clad breast, + Borne down, and trampled here: + They saw--and glorying there they stand, + Eternal records to the land. + + MRS. HEMANS. + +Twelve Male Figures. + + +This thrilling tableau represents a death struggle between an Arab +standard-bearer and a French soldier. The Arab grasps the standard +with the left hand, while the right holds a short cimeter at arm's +length; his body is bent forward, right arm extended thirty inches +front of the left, and eyes directed to those of the soldier, the +countenance expressing firmness and excitement. Costume consists of a +long white coat without sleeves, trimmed about the bottom with buff, +open at the top, displaying the neck and chest; a heavy red sash wound +around the waist; pants of light-blue, cut quite loose, and gathered +in with a string at the ankle; shoes covered with red cloth; a turban +on the head, the top of which is white, and around the bottom is wound +a band of red and black cloth, with the ends falling over the +shoulders; a belt and scabbard are fastened to the waist. The sword +should be two feet long, four inches wide, and curve from hilt to +point. This can be made of tin or wood, the scabbard of card-board or +leather, and painted red. The French soldier's costume consists of +blue coat, trimmed and faced with buff, gold epaulets, large gilt +buttons, white pants with stripe of red, red belt and long scabbard, +hat with plume and long, straight visor. He holds in his right hand a +long, straight sword, while the left grasps the standard. His body is +bent forward, and faces the audience, the right foot extended front of +the left thirty inches, the eyes fixed on those of the Arab, +countenance expressing determination and rage. The staff on which the +flag is fastened is seven feet long, with a gilt ball, crescent, and +tassels at the top. The flag is made of three stripes, one of light +yellow, and two of light red, with a black oval, with red trimmings, +in the centre. The flag should be unfolded so as to show the design, +but gathered in at the centre by the hand of the soldier. Between +these two figures are a French soldier and an Arab lying dead on the +ground. Five feet behind this group, and at the right of the stage, +are four Arabs, with long spears, charging on the same number of +French soldiers opposite, who are holding their muskets in position, +ready to repel the charge, their countenances expressing sternness, +their eyes fixed on each other. Costumes are similar to those +described. Spears can be made of wood, with gilt spear-heads. The skin +of the Arabs must be stained light brown. The French soldiers should +wear large mustaches. A slight quantity of smoke is seen floating in +the background; the booming of cannon heard in the distance. The scene +is illuminated by a red fire at the side of the stage. Music of a +martial style. + + + + +JONATHAN'S VISIT TO HIS CITY COUSINS. + +One Female and One Male Figure. + + +This comic tableau is one that can be produced at short notice, and +without expense. The scene to be represented is a parlor furnished +with sofa, chairs, carpet, pictures, table, and a melodeon, which is +placed on the side of the stage. A sheet of music is resting on the +rack, and a young lady is seated on the melodeon stool, body facing +the audience, head turned to the back of the room, both hands raised, +and eyes fixed on a young man, who is seated on the sofa in the +background. Her body is slightly inclined from the young man, +countenance expressing affright. She should be costumed in a showy +silk dress. The gentleman's costume consists of striped pants, +reaching within six inches of the foot, red straps, thick boots, +ancient style swallow-skirted coat, short striped vest, ruffle-bosomed +shirt, standing collar reaching to the ears, large brass chain and +watch seals hanging from the vest pocket, large red silk handkerchief +laid across the knee, and a low-crowned white hat in the hand. +Position is, seated on the sofa, one hand placed in the pants pocket, +the other resting on the knee, body bent forward, eyes fixed on the +keys of the melodeon, countenance expressing astonishment. The +gentleman best adapted for this part is one who has a natural talent +for performing in comedy. Light should be thrown on the scene from the +lower end of the side of the stage, and of medium brightness. Music of +a spirited character. + + + + +THE THREE GRACES. + + Faith, Hope, and Love, now dwell on earth, + And earth by them is blest; + But Faith and Hope must yield to Love, + Of all the graces best. + +Three Female Figures. + + +This is a statuary tableau, and is represented by three young and +beautiful ladies of about the same height and figure, with regular +features and long hair. Their costume consists of a long white robe, +worn with few skirts, and cut extremely low at the neck, sleeves five +inches long, a mantle of white tarleton muslin worn across the breast, +tied at the side, and allowed to trail on the floor; the hair arranged +in braids at the sides of the head, ornamented with large beads, +clasped with a silver band behind, and allowed to hang in short curls +in the neck. The ornaments should be entirely white. The three ladies +stand on a pedestal three feet high, and four feet in diameter; this +must be covered with black or green marble paper, and placed in the +centre of the stage. The centre lady stands facing the audience, with +the right hand raised above the head; the left clasps the hand of the +lady at the left side, who is looking into the eyes of the figure at +the right, and rests her right hand on the shoulder of the centre +figure. The figure on the other side stands in a graceful position, +resting her hands on the shoulder of the centre figure, and looking +into her face. The countenances of the three should express pleasure. +The light for the piece must be soft and mellow, and come from the +side of the stage. Music low and plaintive. + + + + +THE GUARDIAN ANGEL. + + Angels, joyful to attend, + Hovering round thy pillow bend, + Wait to catch the signal given, + And convey thee quick to heaven. + +One Female and One Male Figure. + + +This is a most pleasing tableau, and represents the good angel, in +whose existence and controlling power there is scarce any one so rude +as not to believe, attending a young boy, who looks reverently upward, +to heed the admonitions of his celestial companion. The lady who +personates the angel should be of good figure, tall and slim, with +fine features, and light curly hair. Costume consists of a loose white +dress, over which is worn a robe of white tarleton muslin; these +should be cut quite low in the neck, and long at the bottom; sleeves +long, and fitting tight to the arms; a wide mantle of tarleton muslin +worn across the breast, and allowed to trail with the dress at the +side. Large wings, formed of wire, covered with white muslin, and +ornamented with spangles, must be fastened to the back of the waist. +The hair should hang in ringlets, and be encircled with a band of +silver. The boy must be of small stature, good features, and have +long, light, curly hair. Costume consists of a loose short frock, made +of white cloth, trimmed around the collar and ends of sleeves with +white lace; white breeches, white hose, white shoes, and a small satin +sash about the waist. Both of the figures stand on a pedestal two feet +high by three square, which should be covered with black marble paper. +The angel stands in the centre of the pedestal, the left hand resting +on the boy's left shoulder, the right hand on his right shoulder. Her +head is turned away to the left, the eyes fixed on the floor, the +countenance pleasant. The boy stands a little to the right of the +angel, arms crossed on his breast, head turned sideways, and slightly +back, eyes fixed on the face of the angel. The crimson curtains, +without the fairies, that are used in the tableau of the "Dancing Girl +in Repose," may be placed over the group. The side curtains can be +held up at the side by crimson bands. A curtain of white gauze, drawn +across the front of the stage, will give a good effect to the tableau. +The light should be of medium brilliancy, and come from the front side +of the stage. Music soft, and of a sacred character. + + + + +THE PYRAMID OF BEAUTY. + + Beauty is as crystal in the torchlight, sparkling on the poet's page; + Virgin honey of Hymettus, distilled from the lips of the orator; + A savor of sweet spikenard, anointing the hands of liberality; + A feast of angel's-food set upon the tables of religion. + She is seen in the tear of sorrow, and heard in the exuberance of + mirth; + She goeth out early with the huntsman, and watcheth at the pillow + of disease. + + Science, in his secret laws, hath found out latent beauty; + Sphere and square, and cone and curve, are fashioned by her rules: + Mechanism met her in his forces, fancy caught her in its flittings, + Day is lightened by her eyes, and her eyelids close upon the night. + + Beauty is dependence in the babe, a toothless tender nursling; + Beauty is boldness in the boy, a curly rosy truant; + Beauty is modesty and grace in fair retiring girlhood; + Beauty is openness and strength in pure high-minded youth; + Man, the noble and intelligent, gladdeneth earth in beauty, + And woman's beauty sunneth him, as with a smile from heaven. + + TUPPER. + +Fifteen Female Figures. + + +This fine tableau contains fifteen female figures, who are arranged in +the form of a pyramid. They should be quite young, of good figure and +features. Their costume consists of a pure white dress, cut low in the +neck, sleeves five inches long, a white satin sash about the waist, +white shoes and hose, hair done up in a compact and tasty manner, and +encircled with a wreath of myrtle, while a small bouquet of flowers +is placed on the front of the waist. The pyramid must be first formed +of boxes, fastened firmly together, and covered with white cloth; five +ladies of the same height sit on the lower seat, four on the second +seat, three on the third seat, two on the fourth, and one on the fifth +and last. Each should be furnished with a garland of flowers fastened +to ratan three feet long; these must be held in the hands of the +ladies, making a complete network of flowers. The eyes should be +directed straight forward, countenance pleasant. The lights for this +piece are as follows: Just as the curtain begins to rise, a green fire +should be gradually thrown on to the stage, and slowly moved off; at +the moment it is leaving the picture, a red light steals over the +faces of the performers; this shade vanishes in the same manner, and a +purple light appears. This will give a happy effect, and can be +accomplished by burning the fires in large boxes placed on pivots at +the side of the stage, and by turning them at the proper time the +different colors can be thrown on the stage; a few of the side or +footlights may be burned at the same time, so that when the colored +lights are leaving the stage, the figures will still be seen. Music +accompanying the tableau, must be soft and plaintive. + + + + +CORONATION OF QUEEN VICTORIA. + + Within that rich pavilion, + High on a glittering throne, + A woman's form sat silently, + 'Midst the glare of light alone. + Her jewell'd robes fell strangely still-- + The drapery on her breast + Seem'd with no pulse beneath to thrill, + So stone-like was its rest! + + But a peal of lordly music + Shook e'en the dust below, + When the burning gold of the diadem + Was set on her pallid brow! + Then died away that haughty sound, + And from the encircling band + Step Prince and Chief, 'midst the hush profound, + With homage to her hand. + + MRS. HEMANS. + +Twenty Male and Ten Female Figures. + + +This magnificent tableau contains thirty figures, and, when exhibited +with proper scenery and wardrobe, is one of the best of this +collection. It should be used as a grand finale scene, and is arranged +in the following manner: A number of gentlemen's costumes must be +procured at a costumer's or a theatre. Ladies' costumes can be easily +prepared. + +At the back of the stage, at equal distances between the sides, erect +a throne. First build a platform five feet long, three feet wide, and +three feet high, with steps in front, all of which must be covered +with crimson cloth and gold paper. Over the platform place a canopy +made of purple cloth, and decorated with gold paper, cut to represent +fringe. Cover the wall back of the platform with the same material, +and in the centre place a large gold V; a large chair, trimmed with +scarlet and gold, should be placed on the platform, and tiers of seats +arranged on each side of the throne; these must form half circles, +reaching to the centre of the stage at the sides. Seated and standing +on the seats and platforms are the ambassadors, dukes, earls, and +officers, in their full dress. The queen dowager and other royal +female personages are intermingled among them. The lord steward, and +chamberlain stand near the side scenes in the foreground, while the +extreme background is filled up by the queen's guards. Standing on the +step in front of the throne is the archbishop, holding the crown. A +little to the left stands Victoria, her body facing the audience, and +bent forward slightly, head bowed, ready to receive the crown. At the +other side of the throne stands Prince Albert, dressed in rich +uniform. The ladies' costumes consist of rich silks and brocades, +ornamented with gold lace, paste pins, brooches, &c.; the hair +arranged to suit the taste of the performers, and encircled with a +band of gold, to which fasten a colored plume. The attention of all +should be directed to the queen. The archbishop's costume consists of +a black robe, large white sleeves, white handkerchief, with square +ends, hanging on the breast, and white wig. Queen Victoria's costume, +if not procured at a costumer's, consists of a white satin or silk +dress, with a long trail, and four flounces on the skirt, each flounce +ornamented with a band of gold paper three inches wide, covered with +open lace. The top of the waist and bottom of the sleeves decorated in +the same manner. A belt of crimson velvet, covered with spangles and +small paste pins, encircles the waist; the sleeves should be open, and +fastened across with gilt cord, terminating in tassels, which fall on +the arms; white kid gloves, bound around the top with a band of +silver, ornamented with wax beads and spangles; a long ermine scarf +should be thrown gracefully over the shoulders, and trail to the +floor. The ermine can be imitated by inserting small pieces of black +shag in white cotton flannel. The hair may be done up in a neat coil, +and ornamented with wax beads and gilt pins. A long white veil of lace +is fastened to the back of the head, and allowed to trail to the feet. +The crown can be made of card-board, covered with gold paper and +brilliant paste pins. The steward and chamberlain each holds a staff +with a large gilt spear-head and tassels at the top. Costume consists +of showy suits, similar in style, head covered with low-crowned +Kossuth hat, ornamented with a gold band and white lace. The guards +must be placed in the extreme background, on high platforms; they +stand perfectly erect, and face the audience. The scene should be +brilliantly lighted by lamps at the front and left side of the stage. +The booming of cannon is heard in the distance. Music of a majestic +style. + + + + +THE BRIGANDS. + + The gray morn + Dawns on the scene; the sulphurous smoke + Before the wind slow rolls away, + And the bright beams of morning dance + Along the spangled snow. There scattered arms, + And lifeless warriors, whose hard lineaments + Death's self could change not, mark the dreadful path + Of the outsallying victors. + + SHELLEY. + +One Female and Five Male Figures. + + +A scene representing a band of brigands in their mountain fastness, on +the watch for plunder and rapine. The scenery in the background should +resemble ragged rocks, made by fastening brown paper in a rumpled +manner to a frame of wood, and shaded with light and dark-brown +paints. This must extend two thirds across the stage, three feet from +the extreme background. The sides should be covered with similar +scenery. The floor is strown with small boxes, to give it an uneven +appearance, and covered with buffalo robes. Two of the brigands are +seated at one side of the stage, engaged in playing cards; one is +reclining in the foreground asleep; another is leaning against the +rocks, resting his arms and body on his carbine, while the chief is +standing at the end of the ledge in the background, pointing with his +right hand into the open space beyond. Behind him stands his wife, to +whom he is in the act of speaking, and directing her attention to the +road in the distance. She is stooping forward, endeavoring to see the +objects which he points out. The costume of the brigands consists of a +frock coat ornamented with large gilt buttons, and trimmed around the +bottom with colored cloth; bright-colored vest bound around the front +and bottom with fancy ribbon; black handkerchief tied loosely in the +neck; knee breeches and hose, with a band of showy cloth around the +top, fastened with a brilliant paste pin or silver buckle; low shoes; +red or blue sash about the waist; high-crowned black felt hat, +ornamented with red binding, wound in a spiral manner from the rim to +the top of the hat, and a colored feather at the side. The coat can be +decorated in a more profuse manner, if desired; each must be furnished +with musket and pistols. The chief's dress should be of richer +material, and more profusely decorated than the other characters. The +wife's costume consists of a scarlet skirt, black velvet waist open in +front and laced across with pink ribbon, a showy scarf tied about the +head, the ends falling on the shoulders; the neck and arms ornamented +with brilliant jewelry; a morocco belt encircles the waist, to which +is attached a small dirk. The two card-players are looking at their +cards, countenances expressing deep thought. The one who stands facing +the audience looks to the floor. The one that is asleep should lie in +a position so that the countenance can be seen, the head resting on +the hand, eyes closed. The wife's position is, standing so that a side +view of the countenance is had. The chief stands in front of her, and +in the same position, but the head is turned around so as to face the +audience; the countenances of both expressing curiosity and +excitement. The face and other exposed parts of the persons of all the +figures must be colored light-brown, and the men wear heavy beards. +The light for this scene should come from a red fire, burned in small +quantities at the front side of the stage. No music will be required +for the piece. + + + + +DEATH OF SIR JOHN MOORE. + + Not a drum was heard, not a funeral note, + As his corpse to the ramparts we hurried, + Not a soldier discharged his farewell shot + O'er the grave where our hero was buried. + + WOLFE. + +Twenty Male Figures. + + +The battle of Corunna, so disastrous to the British army, was fought +January 16, 1809. Sir John Moore arrived in Spain in November, 1808, +with a British army, and having advanced some distance into the +country, he found himself compelled to make a rapid retreat. He was +closely followed by the French under Marshal Soult, who attacked the +British as they were embarking. Sir John Moore, while earnestly +watching the result of the fight about the village of Elrina, was +struck on the left breast by a cannon shot; the shock threw him from +his horse with violence; he rose again in a sitting position, his +countenance unchanged, and his steadfast eye still fixed upon the +regiments engaged in his front; no sigh betrayed a sensation of pain; +but in a few moments, when he was satisfied that the troops were +gaining ground, his countenance brightened, and he suffered himself to +be taken to the rear. As the soldiers placed him in a blanket, his +sword got entangled, and the hilt entered the wound. A staff officer +attempted to take it off, but the dying man stopped him, saying, "It +is as well as it is. I had rather it should go out of the field with +me." And in this manner, so becoming to a soldier, Moore was borne +from the field. Several times he caused his attendants to stop and +turn him around, that he might behold the field of battle. Night soon +darkened the scene; the rumbling of baggage wagons, and the occasional +booming of the distant cannon, alone disturbed the mournful silence of +the scene; here and there the flames of burning villages shed a +portentous light through the gloom. At length, to break the mournful +silence, and to express the sympathy they might not speak, the band +played a requiem for the dying general. The solemn strains arose and +fell in prolonged echoes over the field, and swept in softened +cadences on the ear of the dying warrior. Moore breathed faintly for a +few hours, and before the morning dawned he had passed away. His +corpse was wrapped in his military cloak, and was interred by the +officers of his staff on the ramparts of Corunna--an event which is +commemorated in the beautiful verses of Wolfe, the guns of the enemy +paying him funeral honors. Soult, with a noble feeling of respect for +his valor, raised a monument to his memory. Thus ended the career of +Sir John Moore, a man whose uncommon capacity was sustained by the +purest virtue. His tall, graceful person, dark, searching eyes, +strongly defined forehead, and singularly expressive mouth, indicated +a noble disposition and a refined understanding. He maintained the +right with a vehemence bordering upon fierceness, and every important +transaction in which he engaged increased his reputation for talent, +and confirmed his character as a stern enemy to vice, a steadfast +friend to merit, a just and faithful servant of his country. + +_Description of Tableau._--This magnificent scene contains twenty +figures. On the centre of the stage, reclining on an English flag, is +Sir John Moore, his countenance pale and deathly. He is dressed in +rich uniform, which is described in the latter part of the tableau. +His position is, lying across the stage, his face turned to the +audience. At his feet stand two Highland soldiers, leaning on their +muskets, and gazing on the dying man. A soldier with a bandage around +his head is kneeling in front of them; one hand grasps the flag, the +other points to the background; countenance expressing terror. At the +head of Moore, partially stooping and holding the end of the flag, are +two officers in full uniform; two other officers are seen back of the +body, who are also grasping the flag and gazing on the face of the +dying hero; three soldiers are kneeling in the foreground, their +attention fixed on Moore; back of this group, on a platform one foot +high, is seen a platoon of soldiers, one of which holds an ensign; +their backs should be towards the audience, muskets to the shoulder, +and position of soldiers marching hastily from the field in retreat; +still further in the background, on a platform four feet high, is +placed a second platoon, who are in the same position; one or two in +each rank are looking back to the group in front; two soldiers +directly back of Moore are levelling their muskets to the enemy in the +distance. Cannon, muskets, drums, and swords should be strown +carelessly on the stage, while a small quantity of smoke must be made +to hover over the scene, and the booming of cannon imitated in the +distance. Moore has one hand pressed to his breast; the other is held +by one of the officers at his side. The costumes of the officers +should be as varied and brilliant as can be procured. Scarlet coats +would be most appropriate. The scene must be illuminated by a red fire +burned at the right side of the stage. Music of a mournful and sacred +order. + + + + +THE FIREMAN'S RESCUE. + + And the flames in thick wreaths mounted higher and higher; + O God! it is fearful to perish by fire. + +Two Female and Eight Male Figures. + + +This tableau represents a dwelling-house, the interior of which is +enveloped in flames. The front door stands open, displaying a flight +of steps, on which is a heroic fireman descending from the burning +chamber, with a beautiful child clasped in his arms, which he has +rescued from the raging element. Kneeling on the step outside of the +door are the parents of the child; their hands are clasped and raised +upward, their eyes fixed on the doorway, countenance expressing +intense excitement. Two firemen in the foreground are seen holding a +hose pipe and hose; two others, at the extreme end of the stage, are +screwing the other end of the hose to a hydrant; another stands ready +with an axe to break in the windows. The captain's position is on the +step of the house; he holds a trumpet in his hand, and is giving +orders to his men. The firemen should be dressed in full uniform, the +mother in white, and hair hanging loose over the shoulders; the +father's costume should be dark, and the child dressed in a long white +robe. The scenery of this piece consists of a frame the width of the +stage, and rising from the floor to the ceiling, painted to represent +brick, with mouldings, frame, cornice, &c. A door may be placed in the +centre, and a window on each side. The stairs should be as wide as the +door, and run up five feet, and covered with carpeting; fire and smoke +must be painted as coming from the windows. A red fire burned behind +the back scene will light it up with fine effect. The light for the +front of the picture should be of medium brightness, and come from the +side of the stage. Fire bells can be imitated in the ante-rooms. + + + + +CATHARINE DOUGLASS BARRING THE DOOR WITH HER ARM. + + Though perils did + Abound, as thick as thought could make 'em, and + Appear in forms more horrid; yet my duty, + As doth a rock against the chiding flood, + Should the approach of this wild river break, + And stand unshaken yours. + + SHAKSPEARE. + +One Female and Six Male Figures. + + +Unattended even by a body guard, and confiding in the love of his +subjects, James I. of Scotland was residing within the walls of the +Carthusian monastery at Scone. Graham of Stratham seized the occasion, +and brought down a party by night to the neighborhood. Seconded by +traitors within, he gained possession of the gates and interior +passages. The king's first intimation was from his cup-bearer, who, on +leaving the king's chamber, found the passage crowded by armed men, +who answered his cry of alarm by striking him dead. The noise reached +the royal chamber; a rush of the assassins followed; and Catharine +Douglass, one of the queen's maids of honor, springing forward to bolt +the door, found the bar had been clandestinely removed. With resolute +self-devotion she supplied the place with her naked arm.--To present a +view of the interior of the room, and the passage outside, it will be +necessary to place a partition from the front of the stage, near the +footlights, to the left hand corner in the background. In the +smallest apartment stands Catharine Douglass. The partition running in +this manner will give to the audience a view of the door and iron +fastenings through which the arm of the heroine passes, and also the +passage where the assassins stand. The partition should be made of +light strips of wood, covered with cheap cloth, and painted to imitate +the interior of a room. The door must be quite near the front, of +Gothic form, studded with large nails; two iron sockets, four inches +square, should be placed on the door and frame; a mahogany table, +globe lamp, chairs, carpets, and engravings may be placed in the inner +room; the outer apartment should be empty. The lady who personates the +heroine must be of good figure, tall and stout, fine features, and +have long black hair. Costume consists of a blue silk dress, pink +waist, sleeves five inches long, bordered on the edge with black +crape, under sleeves of white tarleton muslin reaching to the wrist, a +yellow scarf tied loosely around the waist, hair flowing loosely over +the shoulders, a plaid scarf fringed on the ends with gold, bound +around the head, the ends hanging in the neck. Position, facing the +audience, the right arm bare, and thrust through the first socket, the +hand grasping the second; the left is pressed against the door above +the fastening; the head inclined towards the door, body perfectly +upright, eyes looking straight forward with intensity, countenance +expressing firmness. The assassins, to the number of six, stand around +the outside of the door; each is costumed in a black coat trimmed +around the edge and collar with green, and ornamented with large gilt +buttons; colored vests, cut very long and trimmed with black binding, +knee breeches of light color, black hose, and a band of bright-colored +cloth around the top, low shoes, shoe and knee buckles, black felt hat +turned up at one side and ornamented with a colored plume and gilt +band, belt around the waist, side arms and pistols; the face covered +with a shaggy beard. Each one grasps a sword, and is in the act of +running towards the door, the left hand extended, the right with the +sword raised on high, eyes directed to the door, countenance +expressing excitement. The light should come from both sides of the +stage, the room in which the heroine stands being the lightest. Music +wild and animating. + + + + +THE MASQUERADE BALL. + + 'Tis known--at least it should be--that throughout + All countries of the Catholic persuasion, + Some weeks before Shrove Tuesday comes about, + The people take their fill of recreation, + And by repentance, ere they grow devout, + However high their rank or low their station, + With fiddling, feasting, dancing, drinking, masking, + And other things which may be had for asking. + + BEPPO. + +Ten Female and Twelve Male Figures. + + +The masked balls, which supersede any other feature of the carnival in +attraction, were introduced under the reign of the Duc d'Orleans. A +great inconvenience was experienced in the want of an apartment +sufficiently spacious to receive the hundreds which thronged to them. +At length the Chevalier de Bouillon conceived a plan of converting the +opera house into a ball room, and a friar named Sebastian invented the +means of elevating the floor of the pit to a level with the stage, +lowering it at pleasure. The project succeeded, and the first masked +ball at Paris was held on the 2d of January, 1716. They are now given +both before and during the carnival, at nearly all the theatres in +Paris, as well as at most of the large ball rooms. The leading +masquerade ball of the carnival, which reunites the best society and +the most gorgeous costumes, is decidedly that which takes place at the +Academy of Music or French Opera House. The greater portion of the +company go in character, although gentlemen may appear in plain +clothes, if they choose, and unmasked. Dancing appears to be the whole +and sole motive of the guests, and dance they do, with a vivacity and +untiring spirit that could only be found in a land so especially +devoted to the worship of Terpsichore as France. In all the ball rooms +parties of the Municipal Guard are in attendance to preserve order, +and should any of the guests transgress the ordinary rules of decorum, +they are immediately consigned to the lock-up of the nearest +_corps-du-garde_. The most prevalent dress at the balls is that of the +_Debardeur_. It is a piquant costume, and consists of dark velvet +pantaloons, with satin stripe down the side, ornamented with bright +studs, a pink or white shirt, red sash, and a glazed hat with +tri-colored streamers, or small bonnet and wig, with cue behind. +Considerably more than half of the carnival masques take up this +dress, the remainder attiring themselves as hussars, pierrots, and all +sorts of eccentric and anomalous costumes. The balls are kept up until +six o'clock in the morning. + +This tableau can be represented by ten couples. The ladies and +gentlemen can dress to suit their own taste. The wardrobe of the +company will contain a sufficient number of suits to fit out the +tableau. A few of the comic and grotesque costumes should be +intermingled, and all the figures wear masks of various patterns. The +performers are engaged in dancing the schottische. The ladies and +gentlemen must form in couples around the sides and back of the stage. +A platform at the rear may be occupied by musicians in fanciful +costume. The stage should be illuminated by a purple fire. Music, the +schottische. + + + + +IRISH COURTSHIP. + +One Female and One Male Figure. + + +This comic tableau represents a young Irishman engaged in courting his +true love. The stage should be furnished with kitchen furniture, a +small stove, &c. The back of the stage can be hung with cheap room +paper. Bridget is seated at a table in the centre of the stage, +engaged in sewing. Her costume consists of a white dress and blue +apron. Patrick is seated near her, smoking a short pipe. Costume +consists of velvet coat and breeches, white hose, large shoes, with +hob nails in the soles, buff vest, red wig, face and hands painted tan +color. His left leg is placed across the right knee, hands placed in +his pants pocket, eyes fixed on Bridget, countenance expressing +curiosity. Music, Irish air. + + + + +THE FAIRIES' OFFERING TO THE QUEEN OF MAY. + + Now the bright morning star, day's harbinger, + Comes dancing from the east, and leads with her + The flowery May, who from her green lap throws + The yellow cowslip and the pale primrose. + Hail, bounteous May! that dost inspire + Mirth and youth with warm desire; + Woods and groves are of thy dressing, + Hill and dale doth boast thy blessing. + Thus we salute thee with our early song, + And welcome thee and wish thee long. + +Twenty Female Figures. + + +So sings Milton to the sweet Birdmonth--he whose mighty mind "nigh +sphered in Heaven," hymned the soft beauty of the first day that +dawned upon the infant world, which surely must have been a +May-morning. + + "Sweet day, so calm, so pure, so bright, + The bridal of the earth and skies." + +What must have been a May-morning in Paradise, when even now, in the +homeliest districts, it gladdens the heart of man with its advent of +young flowers and budding leaves and sweetly singing birds! It seems +to be Nature's own birthday, throughout the varied kingdoms of her +living world. All countries have greeted the welcome arrival of this +fair day, but none more so than old Pastoral England, in the time of +her elder poets. Time was, when, from the court to the cottage, all +"rose up early to observe the rite of May;" some went a +"dew-gathering," a sort of rustic love-spell that was sure to enchant +every maiden, gentle or simple; others to "fetch in May"--a rivalry +that "robbed many a hawthorn of its half-blown sweets;" and others set +their wits to work to get up some pretty device, some rural drama, one +of which our tableau represents. + +The Fairies' Offering to the Queen of May is a tableau of great +excellence and artistic beauty. The Queen of May is seated on a floral +throne in the background, which is situated upon a platform about six +feet high, with broad steps extending across the stage and to the +footlights. These should be covered with green bocking, and on them +are grouped the fairies, who are offering to the queen, baskets, +bouquets, and garlands of flowers. On the lower step are other fairies +ascending to the throne, and bearing baskets of fruit and flowers on +their heads. The number of figures in the piece is twenty, nineteen of +which are young misses, quite small and pretty, and one a beautiful +maiden, who takes the part of the May Queen. + + You must wake and call me early, call me early, mother dear; + To-morrow'll be the happiest time of all the glad New-year; + To-morrow'll be of all the year the maddest, merriest day, + For I'm to be Queen o' the May, mother, I'm to be Queen o' the May. + + TENNYSON. + +The stage scenery must be arranged in the following order: A large arm +chair, with a shaft running up from the back, to which is attached a +canopy, will answer for the throne chair; cover it with green cambric, +and decorate with garlands and bouquets. This chair should rest on the +platform, which is six feet long, three feet wide, and covered with +French patch. A large gilt vase, containing a bouquet, must be placed +at each corner. The queen's costume consists of a white robe, +decorated with flowers, a garland about the head, the right hand +grasping a wand trimmed with silver and gold paper, the body inclined +forward slightly, the left hand extended, in the act of taking a +bouquet from one of the fairies, whom she is looking at; her +countenance is lighted up with smiles. Care should be taken that the +fairies who are grouped around the throne do not take the view from +the queen. The fairies' costume consists of a short white dress, +flesh-colored hose, white slippers, and hair done up in ringlets. The +sleeves of the dress made quite short, waist and skirt ornamented with +gold bands and spangles, a wreath of pure white flowers, intermingled +with myrtle, on the head, and a portion of them wearing gauze wings, +studded with spangles. Four of the fairies are to be grouped around +the foot of the throne, on the top step. They stand or kneel, so that +a partial side view is had of the body; hands extended, and holding +bouquets or garlands; eyes fixed on the queen; countenance pleasant. +The rest of the misses must be placed on each side of the steps, +assuming a variety of positions, and each have fruits or flowers. +Those at the lower part of the steps can stand near the sides of the +stage, which will allow those above to be seen. The scene should be +illuminated by a trio of fires, consisting of green, purple, and red, +burned at the side of the stage. For directions, see Pyramid of +Beauty. Music soft and animating. + + + + +BELSHAZZAR'S FEAST. + + Joy holds her courts in great Belshazzar's hall, + Where his proud lords attend their monarch's call; + The rarest dainties of the teeming East + Provoke the revel and adorn the feast. + But why, O king, + Why dost thou start, with livid cheek?--why fling + The untasted goblet from thy trembling hand? + Why shake thy joints? thy feet forget to stand? + Why roams thine eye, which seems in wild amaze + To shun some object, yet returns to gaze, + Then shrinks again, appalled, as if the tomb + Had sent a spirit from its inmost gloom? + + Awful the horror, when Belshazzar raised + His arm, and pointed where the vision blazed; + For see! enrobed in flame, a mystic shade, + As of a hand, a red right hand displayed, + And, slowly moving o'er the wall, appear + Letters of fate and characters of fear. + In death-like silence grouped the revellers all, + Fixed their glazed eyeballs on the illumined wall. + + T.S. HUGHES. + +Seven Female and Eight Male Figures. + + +This sacred tableau is represented as follows: At the left of the +stage, Belshazzar is seated on his throne. At his side stands his +wife. Consternation and affright are depicted on their countenances. +At the opposite side of the stage stand three wise men. In the centre +of the stage is the feast table, covered with silver dishes, +candlesticks, and refreshments. Around it are gathered the guests. In +the background, on a platform, are seen a group of servants. The +handwriting is placed on the back scenery, opposite to the group of +servants. The number of figures in the piece is fifteen--eight +gentlemen and seven ladies. The scenery in the piece consists of a +table six feet long, two and a half feet high, and three feet wide, +covered with a green cloth, fringed with gold paper, on this are +placed a silver tea set, cake baskets, candlesticks, and refreshments. +The throne chairs should be placed on a platform at the left of the +stage, near the front; the platform can be formed of boxes, and must +be four feet square and two feet high, covered with crimson cloth, +trimmed with gold paper; two large chairs, with a canopy over the top, +will answer for the throne; one occupied by Belshazzar, the other by +his wife. Low seats around the table will be needed for the guests; +the seats can be covered with white cloth; showy pictures, in rich +frames, adorn the walls, and pedestals and statuary fill the corners +of the room. The writing on the wall can be produced by means of a +transparency, the words made large, and the letters in German text, +with a halo around the whole sentence. Belshazzar's costume consists +of a purple velvet coat trimmed with gold, a large cloak trimmed with +ermine, velvet breeches, white hose crossed with red tape, sandals on +the feet, and a velvet and gold crown on the head. His wife should be +dressed in a showy brocade, cut low at the top, short sleeves, a band +of black velvet ornamented with gold placed on the head, and a narrow +mantle worn over the shoulder. The dress must be ornamented with rich +jewelry, gold bands, and a wide belt of red velvet, decorated with +paste pins, around the waist. The three wise men's costume consists of +long, loose coats, reaching six inches below the knee, and gathered in +at the waist with a wide belt. Each coat should vary in color from the +others. They can be made of cambric. Colors, red, purple, and blue, +with the edges trimmed with cloth of some other color. Black hose, +crossed with red, reach to the knees, low shoes, covered with red +Turkey cloth, on the feet, and a turban of bright colors on the head, +the face covered with a long white beard--this can be made of flax. +The ladies at the table must be costumed in silk or satin dresses, +ornamented with spangles, and any kind of jewelry that will look +showy; hair decorated with spar beads, hair pins, and plumes. The +gentlemen's costume consists of rich velvet suits; long beards. +Servants in short white coats, with border on the bottom, red +breeches, white hose, and light felt hats with gold bands. +Belshazzar's position is in the chair near the footlights; body +inclined back, arms thrown up, eyes fixed on the writing, countenance +expressing affright. His wife is seated in the second chair, one arm +resting on the shoulder of her husband, the other raised in front of +the face, eyes directed to the writing. The wise men stand opposite to +the throne, at the extreme end of the stage, near the footlights; +their backs are to the audience; the heads of two are turned to the +king, giving a side view of their faces. One of them points to the +writing. The party at the table must assume a variety of natural +positions; a few look with astonishment, and point at the writing; +others are engaged in eating and drinking. The servants stand in the +background, and are all looking at the writing. A few lean forward and +point to the wall; others take position as if about to flee from the +room; the countenances of all express terror. The scene should be +lighted by a brilliant red fire burned at the side of the stage +opposite Belshazzar. Music, operatic style. + + + + +THE VALENTINE. + + "I smile at Love and all his arts," + The charming Cynthia cried; + "Take heed, for Love has piercing darts," + A wounded swain replied. + "Once free and blessed, as you are now, + I trifled with his charms, + I pointed at his little bow, + And sported with his arms; + Till, urged too far, 'Revenge!' he cries; + A fatal shaft he drew; + It took its passage through your eyes, + And to my heart it flew." + + J. VANBURGH. + +Two Female and Two Male Figures. + + +This tableau is represented by four persons--two young ladies, and two +small lads. One of the young ladies is seated on a sofa, which is +placed in the centre of the stage. She holds a valentine in the left +hand, and points at it with her right. Her head is turned around to a +young lady who stands behind the sofa. The countenance expresses +mirth. The lady standing behind the sofa rests her right arm on the +shoulder of her friend, and is looking to the valentine, her body +inclined forward slightly, face beaming with smiles. Costume consists +of a white dress, pink apron trimmed with green, hair done up in wide +braids at the side of the head, and ornamented with a few flowers. The +costume of the lady seated, consists of a white dress, buff apron +trimmed with purple, hair hanging in ringlets, and ornamented with +blue ribbon. On each side of the stage, within one foot of the +curtain, place pedestals; they should be three feet high, two feet +square, with cap and base, and covered with white marble paper or +cloth, and decorated with a wreath of flowers on the front. On those +stand the young lads, dressed to represent Cupids. Position is, facing +the group in the centre of the stage, attitude of one running; one of +them holds on high a large sealed letter. The other holds a small +tablet in one hand, and a quill in the right; these must be extended +towards the centre of the stage. Their costume consists of a short +gauze dress, cut low at the top and decorated with spangles, pants of +flesh-colored cloth, reaching to the ankles and fitting tightly to the +legs, flesh-colored hose, white slippers, gauze wings fastened to the +back of the body, and decorated with spangles and silver stars. A +small quiver, formed of card-board, covered with blue and gold paper, +filled with arrows and bow, suspended from the neck; a low-crowned +hat, with a wide brim, covered with pink cambric, and decorated with a +wreath of flowers, covers the head; the eyes directed to the group on +the sofa, countenance expressing pleasure. The background may be +ornamented with pictures and statuary. The light for this piece must +be of medium brilliancy, and come from the right side of the stage. +Music soft. + + + + +THE FAIRIES' RAINBOW BRIDGE. + + Love and Hope and Youth, together + Travelling once in stormy weather, + Met a deep and gloomy tide, + Flowing swift, and dark, and wide. + 'Twas named the River of Despair,-- + And many a wreck was floating there. + The urchins paused, with faces grave, + Debating how to cross the wave, + When, lo! the curtain of the storm + Was severed, and the rainbow's form + Stood against the parting cloud, + Emblem of peace on trouble's shroud. + Hope pointed to the signal flying, + And the three, their shoulders plying, + O'er the stream the light arch threw-- + A rainbow bridge of loveliest hue! + Now, laughing as they tripped it o'er, + They gayly sought the other shore. + + ANON. + +Three Male Figures. + + +This brilliant tableau represents a rippling stream of water, with +luxuriant banks on either side, spanned by a beautiful rainbow. A +party of fairies, wishing to pass the stream, have made use of the +rainbow as a bridge. One of them is seen in the centre of the bridge, +holding a golden wand, with which he endeavors to balance himself in +his passage over the water. Standing on the right bank, near the end +of the bridge, is a fairy who has safely passed over, and is +encouraging his friend on the opposite side to make the trial, who is +seated on the grass arranging a bunch of flowers. The scenery of the +piece can be adjusted in the following manner: Boxes two feet wide +and three feet high placed on each side of the stage, from the front +to the background, and covered with green bocking, will answer for the +banks of the river. A few branches of spruce, intermingled with +flowers, should be fastened to the side scenes, and a few spruce trees +arranged in the background. At the front end of the banks place showy +vases of flowers; and at the other end, on pedestals two feet high, +place larger vases, containing bouquets. To make the river show to +advantage, it will be necessary to arrange it in the form of an +inclined plane. Strips of wood placed across the stage at a distance +of one foot from each other, on a rise of two inches to a foot, and +covered with blue cambric, will answer for the river. Let the cloth +festoon between the strips, paint the ridges of the miniature waves +with white paint, and sprinkle them with small particles of isinglass. +On the foreground of the scene place two swans, and around the edges +of the banks fasten pieces of spruce and grasses. The bridge should be +made slightly oval, and placed in the centre of the stage. Three +stringers, sawed out of inch board, and covered with lathes two feet +long, will answer for the flooring. This can be entirely hid from view +by a railing on the front side, and is made as follows: Manufacture a +frame to correspond with the curve and length of the flooring, and +twelve inches in width; cover it with white cloth, and paint it to +represent a rainbow; the colors may be purple, crimson, yellow, green, +and white; lights placed behind it, will give a fine effect. The +fairies' costume consists of a short muslin dress, with a border three +inches wide, of pink muslin, decorated with gold stars--the white +muslin ornamented with silver spangles and stars; flesh-colored hose, +white slippers, a band of silver, ornamented with paste pins, about +the head, and small wings attached to the back of the dress,--the +wings formed of wire, covered with gauze, and ornamented with endless +bands of blue tarleton muslin, ornamented with silver spangles. Each +holds a gold wand three feet long. The position of the fairy on the +bridge is such that a side view is had of the form, while the face is +turned towards the front of the stage. The wand is grasped in the +centre, and held across the bosom. The countenance expresses pleasure. +The fairy who has passed over is standing at the end of the bridge, +partly facing the audience, with both hands extended towards his +friend, his countenance expressing mirth. The fairy on the other bank +is seated on the ground arranging flowers. He faces the audience, and +is looking at a large rose which he holds in his right hand. This +scene must be illuminated by green, red, and yellow fire, which is +described in the tableau of the "Pyramid of Beauty." Music, light and +animating. + + + + +LITTLE EVA AND UNCLE TOM. + + Dry thy tears for holy Eva, + With the blessed angels leave her; + Of the form so sweet and fair + Give to earth the tender care. + + For the golden locks of Eva + Let the sunny south land give her + Flowery pillows of repose, + Orange bloom and budding rose. + + J.G. WHITTIER. + +One Female and One Male Figure. + + +This tableau is one that can be easily produced, and will not be +expensive. It represents little Eva seated in an arbor by the side of +Uncle Tom. She has a large Bible before her, which she is reading and +explaining to her friend. A rustic arbor can be made of strips of +wood, covered with white cloth, and painted to resemble slats and +running vines; the dimensions of which are six feet high, four feet +wide, and three feet deep. A rough seat at the back part is occupied +by Eva and Uncle Tom. A festoon of artificial flowers and spruce +should be arranged in front, and a large spruce tree placed on either +side. The person who personates Uncle Tom must be one of large figure +and pleasant countenance. Costume consists of a coat of coarse +material, white pants, light vest, colored handkerchief tied about the +neck, striped hose, low shoes, a wig of black, curly hair, and a +wide-brimmed straw hat, which lies on the ground by his side. The wig +can be formed of curled horse-hair, fastened to a covering made to fit +the crown of the head. Color the exposed parts of the body black, the +lips red. Little Eva should be quite small, pretty, and have long +light curls. Her costume consists of a white dress, trimmed at the top +and around the sleeves with pink ribbon; a straw hat, trimmed with +wild flowers, which hangs by the strings on her arm, and dark shoes. +Uncle Tom is seated on one side of the seat, his legs crossed, body +bent forward slightly, hands placed on his knees, his head turned +towards Eva, and eyes fixed on the Bible with an expression of +pleasure and earnestness. Eva is seated at his side, with her feet +resting on a small stool, one hand placed on Uncle Tom's arm, while +with the other she points to the pages of the Bible. Her face is +turned towards her friend. The countenance expresses sadness. A small +quantity of light is required for the piece, which should come from +the left side. Music, soft and plaintive. + + + + +LOVE TRIUMPHANT. + + In peace, Love tunes the shepherd's reed; + In war, he mounts the warrior's steed; + In halls, in gay attire is seen, + In hamlets, dances on the green. + Love rules the court, the camp, the grove, + And men below, and saints above; + For love is heaven, and heaven is love. + + SIR WALTER SCOTT. + +One Female and Two Male Figures. + + +This beautiful classic tableau represents two figures, a youth and a +maiden, supporting Cupid on their shoulders. The two persons who take +these parts should be of good figure and of equal height. The maiden's +costume consists of a white dress, cut low at the top, sleeves short; +a gauze scarf draped across the breast, tied at the side, and allowed +to trail on the floor; white shoes, hair hanging loosely over the +shoulders, the head encircled with a wreath of spar beads and white +flowers. The right hand grasps a garland of white flowers, while the +left helps to support the boy Cupid. The youth's costume consists of a +white coat, vest, breeches, hose, cravat, and shoes. Across the left +arm hangs a white mantle; the hand grasping a shepherd's crook, which +is four feet long, and painted white. The boy Cupid must be quite +small, and costumed in a short gauze dress, white hose, and shoes; a +white quiver, bow and arrows, must be suspended from the neck by a +satin ribbon, and small gauze wings fastened to the back of the +dress. The right hand grasps a torch, which is held above the head. +This can be made of card board, the flame imitated by gold paper. His +head is turned towards the maiden, into whose eyes he is looking, +countenance expressing mirth. The two figures stand on a pedestal two +feet high and four feet in diameter, covered with black marble paper, +and placed in the centre of the stage, the right arm of the gentleman +and the left arm of the maiden crossed so as to make a seat for the +boy; both assume attitudes of persons in the act of walking, and look +up with delight into the face of the boy. The front of the stage, if +covered with white gauze, will add to the beauty of the scene, which +is intended to represent statuary. Light should come from the side of +the stage, and of medium brilliancy. Music, soft and plaintive. + + + + +THE BANDITTI. + + But wilder sounds were there; th' imploring cry + That woke the forest's echo in reply, + But not the heart's! Unmoved, the wizard train + Stood round their human victim, and in vain + His prayer for mercy rose; in vain his glance + Look'd up, appealing to the blue expanse, + Where, in their calm, immortal beauty, shone + Heaven's cloudless orbs. With faint and fainter moan, + Bound on the shrine of sacrifice he lay, + Till, drop by drop, life's current ebb'd away; + Till rock and turf grew deeply, darkly red, + And the pale moon gleam'd paler on the dead. + +Two Female and Eight Male Figures. + + +This tableau represents a travelling party attacked on the mountains +of Italy by a company of outlaws. It is one which can be easily +formed, and contains ten figures, five of which are men dressed to +represent banditti; the other personations are an old gentleman, his +daughter, a young officer and wife, and coachman. The floor of the +stage should rise gradually from the fore to the background. This can +be accomplished with boxes and boards covered with green bocking. The +bandit's costume consists of a dark coat, open in front, showing a +colored shirt, breeches of bright-colored cloth, white hose, knee and +shoe buckles, low shoes, red scarf about the waist, in which are +pistols and short sword, black felt hat, slouched, with a red band and +colored plume; heavy beard, face and neck slightly stained +light-brown; the coats can be trimmed with gaudy binding, if +desirable. The old gentleman's costume consists of black coat, light +pants and vest, light cravat, white wig, light hat, face painted to +imitate age. The officer's dress can be quite showy or very plain. If +a full military costume cannot be procured, the following will answer: +Dark frock coat, buttoned to the neck, and ornamented with large gilt +buttons and shoulder straps, black pants with buff stripe, flat cap +with gilt band, side arms and sash. The officer's wife is dressed in a +showy silk robe; hair arranged to suit the performer's taste. The old +man's daughter is costumed in a white dress, pink silk apron, small +straw hat trimmed with green ribbon. Coachman's costume is, a long, +dark coat, buttoned to the chin, light pants, long boots, black silk +hat, with a leather strap and a number in gold in front, black belt +around the waist, the right hand grasping a long whip. A +representation of the side of a coach, covered with cloth painted in +proper style, and placed in the background, will add much to the +effect. In the centre of the stage place a large trunk filled with +clothing, the cover thrown back so as to display the contents. +Watches, jewelry, and other articles of value should be strown +promiscuously about, while one of the bandits is seen kneeling over it +with a heavy watch and chain in his hand. Back of the trunk stand the +officer and a brigand. The officer has a large wound across the +temple, and attempts to rescue his wife, who is being dragged away by +one of the brigands in the background; he stretches out his arms +towards, and looks upon her, but is kept from her by the strong arm +of the ruffian at his side, who grasps him by the collar, and holds a +bloody sword above his head; the brigand partially faces the audience; +the officer stands in a side position; the wife is seen kneeling in +the background, with hands clasped and eyes raised to a brigand, who +grasps her by the hair of the head with the left hand, and presents a +pistol at her with the right. At the left of the trunk is seen the old +gentleman. One of the ruffians grasps him by the throat, as if in the +act of strangling him. The old man holds a watch in the left hand; the +right is thrown upward. His position is, facing the audience; +countenance expressing terror and excitement. At the right of the +trunk kneels the coachman, with hands tied behind his back, which is +turned to the audience, head thrown backward so that a partial side +view is had of the features. A few paces in front of him, and facing +the audience, is seated a brigand, on the top of a portmanteau; he is +smoking a short pipe, and with the right hand points a pistol to the +face of the figure kneeling in front of him. Between him and the wife +lies the young girl, who has fainted from affright. She lies with her +head to the back of the stage, arms stretched out on the grass, and +eyes closed. The stage should be illuminated by brilliant lights +placed at the left side of the stage. The sound of rain and thunder +may be produced in the ante-rooms with good effect. + + + + +PORTRAIT OF LOUIS NAPOLEON. + +One Male Figure. + + +This portrait-tableau is produced in the same manner as that of +"Gabrielle." The gentleman who personates Louis Napoleon should in +form and features resemble him. The costume consists of a blue velvet +coat, decorated with silver and gold lace, vest of the same material, +buff breeches, white hose, low shoes, knee and shoe buckles, gold +epaulets and side arms, a decoration on the left breast composed of +brilliant stones and spangles, a red and blue silk sash across the +breast. Louis Napoleon wears a long beard and heavy mustache. Position +is such as to display a partial front view of the body, right hand +placed on the hilt of his sword, eyes directed forward, countenance +calm. Light should come from the front of the stage, and be of medium +brilliancy. Music, Marseillaise Hymn. + + + + +THE RETURN FROM THE VINTAGE. + + It is the Rhine! our mountain vineyards laving; + I see the bright flood shine; + Sing on the march, with every banner waving, + Sing, brothers; 'tis the Rhine! + + Home, home! thy glad wave hath a tone of greeting, + Thy path is by my home; + Even now my children count the hours, till meeting; + O, ransomed ones, I come. + + MRS. HEMANS. + +One Female and Four Male Figures. + + +This picture represents four laborers returning from the vintage, +bearing on their shoulders a large tub of grapes, seated on the top of +which is a young girl, and by her side a small child. As they near the +shores of the imperial river, they sing one of their national songs, +the girl accompanying with a tambourine, and the child with a flute. +The costume of the four vintagers consists of colored or check shirts, +breeches, long hose, low shoes, knee and shoe buckles, single-breasted +vest of bright colors, left open, handkerchief tied carelessly about +the neck, and low felt hat with a sprig of grape leaves in front, the +face colored slightly with red. The lady's costume consists of a red +dress, blue waist, open in front, and laced across with pink ribbon, +and a small straw hat trimmed with green ribbon on the head. The boy's +costume consists of a velvet jacket, white pants, and small fancy cap. +The four vintagers stand in a circle, on a round or square pedestal +four feet in diameter, covered with green bocking; they face outward, +and support the tub on their shoulders; one hand is raised, and grasps +the top of the tub, while the other hangs carelessly at the side. A +tall box should be placed under the tub, which will relieve the +laborers from the weight. The vintagers look up to the lady, the +countenance expressing pleasure. The young lady who is seated on the +tub holds the tambourine in her left hand, which is raised above her +head; the right hand is raised as high as the face, the head thrown +back slightly, eyes lifted, body facing the audience. The boy has the +end of the flute or trumpet placed in his mouth; both hands grasp the +flute; eyes directed forward. The tub should be three feet wide, and +the outside and rim painted in imitation of grapes and leaves. Light +will be needed in front and at the left side. Music of an inspiring +order. + + + + +LOVERS GOING TO THE WELL. + + How dear to my heart are the scenes of my childhood, + When fond recollection presents them to view; + The orchard, the meadow, the deep-tangled wildwood, + And every loved spot which my infancy knew; + The wide-spreading pond, and the mill that stood by it, + The bridge, and the rock where the cataract fell, + The cot of my fathers, the dairy house nigh it, + And e'en the rude bucket which hung in the well; + The old oaken bucket, the iron-bound bucket, + The moss-covered bucket, which hung in the well. + +One Male and One Female Figure. + + +This tableau represents a young peasant girl and her lover going to +the well. It is a statuary design, and, when well executed, makes a +tableau of great beauty. The lady and gentleman who take part in this +group must be of the same height, of slim figure, and good features; +the gentleman should be without a beard. In the centre of the stage +place a round pedestal one foot high, three feet in diameter, and +covered with black marble paper. The gentleman's costume consists of a +white coat, breeches, hose, shoes, cravat, vest, gloves, hat and +collar, and a long gauze scarf, worn over the shoulder, tied at the +side, the ends hanging down to the knee, the hat placed jantily on the +side of the head. The lady's costume consists of a white dress, worn +with but few skirts, and cut low at the top, sleeves long and flowing; +a long gauze scarf worn over the shoulders, tied at the side, the ends +allowed to trail on the floor; white hose, shoes, gloves, and white +felt hat worn carelessly on the head; the exposed parts of both +figures made as white as possible. Both stand near the centre of the +pedestal, the gentleman's right hand placed across the lady's +shoulder; his left hangs carelessly at the side, and grasps a white +water pitcher, his right foot placed twenty inches in advance of the +left, the toe of the left just touching the pedestal, and the body +inclined forward slightly; his head is turned towards the lady, into +whose eyes he is looking, while the countenance expresses pleasure. +The lady's right hand holds a pitcher similar in shape to the one held +by the gentleman. Her left is raised near her bosom, the forefinger +pointed to some object in the distance. Her head is turned towards the +gentleman, eyes looking into his, and countenance expressing +earnestness, her feet and body in the same position as the +gentleman's. The front of the stage, if covered with thin white gauze, +will add to the beauty of the piece. The light should come from the +left side of the stage, and be of a medium brightness. Music soft and +plaintive. + + + + +THE ITALIAN FLOWER VASE. + + O Attic shape! Fair attitude! With brede + Of marble men and maidens overwrought + With forest branches and the trodden weed; + Thou, silent form, dost tease us out of thought, + As doth eternity. Cold Pastoral! + When old age shall this generation waste, + Thou shalt remain, in midst of other woe + Than ours; a friend to man, to whom thou say'st, + "Beauty is truth, truth beauty"--that is all + Ye know on earth, and all ye need to know. + + KEATS'S "ODE ON A GRECIAN URN." + +Three Female Figures. + + +This exquisite statue tableau represents a beautiful vase, the sides +of which are ornamented with statues, personifying Spring, Summer, and +Autumn. The vase is made to revolve by machinery. Three ladies of good +figure and features, and of equal height, are required, to fill out +the design. Their costumes consist of long white muslin robes, worn +with few under skirts, cut low at the neck, sleeves reaching to the +elbow, and flowing, white hose and slippers; hair combed up from the +forehead, clasped with a band of silver behind, and allowed to hang in +heavy curls in the neck; a string of small wax or spar beads entwined +about the top of the head, the ends trailing among the curls; a +bouquet of white flowers placed on the front of the waist, and a white +rose fastened to the front of the spar wreath which adorns the head; +the exposed portions of the body made as white as possible. + +The stage machinery is constructed in the following manner: After +arranging the revolving beam beneath the stage, (described in the +"Bust of Proserpine,") the base of the vase should be fastened to the +top of the shaft which protrudes through the floor, and fastened so +firmly that the weight of the three females will not impede the +revolutions. It must also be constructed so that it can be easily +shipped and unshipped. The base is of octagon form, two feet in +diameter, one foot thick, and ornamented with small scrolls around the +sides, the whole to be covered with white cloth, and decorated with +artificial or painted wreaths and festoons of flowers. On the top of +the base there must be a box one foot high, and five inches square, +fastened firmly to the main body with iron braces; this is for the +insertion of the shaft of the vase, which is made of joist, four +inches square, six feet in length, and painted white. The top or bowl +of the vase should be made in the form of a saucer; the material used +in its composition must be light; its dimensions, four feet in +diameter, with a square cavity in the centre, in which to place the +shaft; cover the exterior with white cloth; around the top paint a +wreath of large flowers, and from the centre to the rim paint other +festoons of smaller flowers four inches apart; around the cavity where +the shaft enters, place three pieces of wood, made and painted to +resemble large leaves, the size of which should be seven inches in +length by five in width. The vase can be made in one piece, if there +is sufficient room for the accommodation of so large a piece of +furniture. But for a small stage it will be better to have it in +three parts. The ladies stand on the base of the vase, with their +backs against the shaft, the top of the head just touching the bottom +of the large leaves, the head and body perfectly erect, the hands of +the three clasped at the side, and holding the ends of festoons of +colored flowers, eyes slightly raised, countenance calm and pleasant. +The festoons must run from the hands of the statues to the shaft, +fastened there, and pass down to the other hand, and so on around the +three figures. The vase should revolve quite slowly, and be put in +motion while the curtain is rising. Gauze before this piece will add +to the effect. The light must come from the left side of the stage, +and be of medium brilliancy. Music soft and plaintive. + + + + +PORTRAIT OF THE MADONNA. + + They haunt me still--those calm, pure, holy eyes; + Their piercing sweetness wanders through my dreams: + The soul of music that within them lies, + Comes o'er my soul in soft and sudden gleams. + + Are there not deep, sad oracles to read + In the calm stillness of that radiant face? + Yes, even like thee must gifted spirits bleed, + Thrown on a world, for heavenly things no place. + +One Female Figure. + + +This portrait tableau is produced in the same manner as that of +"Gabrielle." The lady who personates the Madonna should be of good +figure, fine, regular features, eyes large and expressive, a full face +and dark hair. Costume consists of white dress open slightly in front, +sleeves long and flowing, a velvet cape thrown negligently over the +shoulders, a large cross suspended from the neck by a necklace of wax +beads, the hair puffed slightly at the side, and arranged in a neat +coil at the back, and a large braid passed across the top of the head. +She should partially face the audience, the head slightly inclined +forward, eyes cast upward, hands clasped in front of the breast, and +lips partly open, the countenance expressing earnestness and meekness. +Light will be required at the front of the stage, and must be of +medium brilliancy. Music of a sacred and plaintive style. + + + + +THE SHOEMAKER IN LOVE. + + Love's feeling is more soft and sensible + Than are the tender horns of cockled snails. + + SHAKSPEARE. + +One Male and Two Female Figures. + + +This is a comic tableau, and represents a pretty young lady at a +country shoemaker's shop, in the act of having her foot measured for a +pair of shoes. The lady stands in the centre of the stage, and rests +her unslippered foot on a small box, while the knight of the lapstone +and hammer is engaged in taking the measure of her foot. While +occupied in this duty, he is suddenly smitten, either with her pretty +face or small foot, and instead of proceeding with his task, he stops +and looks up with a pleasant smile into the face of his fair customer. +In the background, peeping out from behind a screen, is the +shoemaker's wife, with a broomstick in her hand. The scenery consists +of a wooden screen, covered with cloth, extending half way across the +centre of the stage, on which is painted, in large letters, the name +"Ebenezer Heeltap." Shelves of boots, shoes, shoemaker's tools, and +other articles, should also be painted on the screen. In the +foreground place a shoemaker's bench, and a few shoes, partly worn +out, scattered on the floor. The young lady's costume consists of a +blue silk dress, crimson shawl, white bonnet, and sunshade. Position +is, standing at the side of the stage, showing a side view of the +body, one foot resting on a box, both hands grasping her dress, which +she draws up sufficiently high to display her foot and ankle, body +bent forward, and eyes fixed on her foot. The shoemaker kneels on the +floor opposite to her, holding a strap in one hand, the other resting +on the box, the head thrown back, and eyes cast upward to the face of +the lady. Costume consists of a suit of coarse material, sleeves +rolled up to the elbow, leather apron tied about the waist, paper cap +on the head, red or gray wig, and shaggy beard. The old lady's costume +consists of a cheap calico dress, white ruffled cap, white +handkerchief tied about the neck, and spectacles on the nose. The +light must come from the right side of the stage, and be of medium +brilliancy. Music of a secular order. + + + + +PRINCE CHARLES EDWARD AFTER THE BATTLE OF CULLODEN. + + Our bugles sung truce, for the night cloud had lower'd, + And the sentinel stars set their watch in the sky, + And thousands had sunk on the ground overpower'd, + The weary to sleep, and the wounded to die. + + THOMAS CAMPBELL. + +One Female and Six Male Figures. + + +This tableau contains seven figures, and represents Prince Charles +Edward asleep in one of his hiding-places after the battle of +Culloden, protected by Flora Macdonald and Highland outlaws, who are +alarmed on their watch. Here rests, in fitful and affrighted slumbers, +the recent victor, Prince Charles Edward, a broken and despairing +fugitive, his gallant spirit dissipated, and his well-knit limbs +stained, and bruised, and soiled by urgent journeys and perilous +encounters. Beside him sits a sleepless guardian, the brave, the +beautiful, the heroic Flora Macdonald. A deer-hound, who had crouched +at her feet, has given an alarm of coming danger. The peril is +imminent, but the foe is invisible. What shall be done? Shall the +sleeper be awakened? His devoted protector, prompt as the occasion, +and wise beyond the emergency, counsels on the instant, silence, +caution, self-possession. Thereupon the Highlanders draw together, +and, restraining the frenzy of their first emotions, wait, with +desperate resolution, the first manifestation of coming danger. + +The scenery accompanying this piece represents a cave in the rocks; in +the centre of the back wall is an opening, through which the Highland +outlaws are looking. The rocks can be imitated by covering wooden +frames with coarse brown paper, fastened on in a rumpled manner, and +shaded with light and dark brown paint, sprinkled over with small +particles of isinglass. These frames should reach to the ceiling of +the stage, and be constructed in sections four feet wide; they must be +arranged in the background in the form of a half circle, the floor and +sides of the stage covered with the same kind of scenery; a box six +feet long and two feet wide, covered with a robe, should be placed in +the centre of the cave, for the prince to recline upon. Spears, +shields and battle axes may be strewn about, and a small fire made to +smoulder in the foreground. This can be built in an iron furnace, +surrounded by rocks. The prince is costumed in a rich Highland suit. +The coat, which reaches to the knee, is made of Scotch plaid, trimmed +at the bottom of the skirt, sleeves, and on the front with black +velvet ornamented with gold; plaid breeches and hose, worn so as to +leave a naked space of five inches between the top of the hose and +bottom of the breeches; short-legged boots, with red tops, spurs; a +heavy plaid scarf, decorated with gold, worn across the shoulders; and +a flat Highland cap, with plume in front, which lies on the couch at +his side. The prince is lying on his side, lengthwise of the cave, in +position so that his face can be seen, his head resting on his left +arm, while his right hangs down to the floor of the cave, touching +his sword and pistols. Flora Macdonald is seated near the head of +Prince Charles. Her costume consists of a Highland frock reaching +below the knees, hose of scarlet plaid, a scarf about the breast made +of black cloth, and fringed on the side with buff, and across the +shoulders is worn a blue cape trimmed with velvet and gold; her hair +hangs loosely on the shoulders; the left hand gathers the cloak about +the breast, while the right is raised in front of the face, the +fingers extended, the head turned around to the group of Highlanders +at the back of the cave, to whom she is in the act of speaking. Fear +and caution are expressed on her countenance. The group of Highlanders +are at the right of the cave, in the extreme background, near the +opening. Their costume is similar to that of the prince, but of +cheaper material, and without decorations. Each has a sword and +musket. The first outlaw is looking out of the opening; he holds his +musket in front of him; at his side stoops another, with musket +trailing. Behind these two stands a third, with a long spear. Back of +him is one with a sword in his hand. He is in the act of speaking to +Flora Macdonald; his countenance denotes affright; his left hand +points to the opening in the cave; his body inclined backward +slightly. The fifth figure is kneeling in the foreground, holding a +hound by the collar. The countenances of the first three outlaws +should express caution. The faces of the gentlemen can be disguised by +false beards. The scene must be illuminated by a small quantity of +red fire burned at the front part of the ante-room, opposite the +group of outlaws. Thunder and the falling of rain imitated in the +ante-rooms will add to the effect. No music will be required. + + + + +THE FLOWER GIRL. + +FLOWERS. + + They are the autographs of angels, penn'd + In Nature's green-leav'd book, in blended tints, + Borrowed from rainbows and the sunset skies, + And written every where--on plain and hill, + In lonely dells, 'mid crowded haunts of men; + On the broad prairies, where no eye save God's + May read their silent, sacred mysteries. + + Thank God for flowers! they gladden human hearts; + Seraphic breathings part their fragrant lips + With whisperings of Heaven. + + ALBERT LAIGHTON. + +One Female Figure. + + +The statue tableau of the Flower Girl is quite a pretty design, and is +produced in the following manner: A pedestal two feet in height, with +a circular shield at the top three feet in diameter, is placed in the +centre of the stage, around the sides and on the top of which are +arranged folds of white cloth. The young lady who personates the +flower girl is to stand in the centre of the shield, holding in front +of her a basket of flowers. She should be of good form and features. +Her costume consists of a pure white robe cut low at the top and long +at the bottom, sleeves short, the front of the waist ornamented with a +small bouquet, and a wreath of flowers or silver leaves around the +head, the hair puffed slightly at the side, and confined at the back +of the head with a band of silver, and allowed to hang in curls in the +neck; the basket filled to the top with flowers, held at arm's length, +and resting against the right side of the front of the body. The lady +faces the audience, inclines her body forward a very little, the hands +grasping the basket at each side, right foot placed twelve inches in +advance of the left, head inclined back and to the left, the eyes +directed forward, countenance pleasant. The crimson curtain, and the +two fairies used in the "Bust of Proserpine," can be used in this +piece, the curtain placed above the statue, the fairies taking the +same position as in Proserpine. Illuminate the stage with the +footlights. Music soft and plaintive. + + + + +PRESENTATION OF FIREMAN'S TRUMPET. + + "Honor to whom honor is due." + +Eleven Male and Eleven Female Figures. + + +This interesting tableau contains twenty-two figures. The scene +represents a young and beautiful female presenting a silver trumpet to +a fireman. In the background of the stage there should be erected a +platform, from which a flight of steps extends down to the +foreground. On the right side of the steps are young ladies in +appropriate costumes, and at the left of the steps are the comrades of +the receiver of the trumpet. Standing in the centre of the platform is +a young lady, about to present the trumpet to the fireman, who is +kneeling at her feet. The platform must be four feet high and two feet +wide, the steps running nearly across the stage, and within three feet +of the footlights. At each side of the platform place a large vase of +flowers, and cover the steps with green bocking. The ladies' costume +consists of a white dress, with red sash around the waist, a wreath of +myrtle on the head, and a wreath of flowers held in the right hand. +The gentlemen's costume consists of a showy fireman's suit. The lady +who presents the trumpet should be costumed in a white dress decorated +with artificial flowers, a crown of the same on the head, and a belt +about the waist. The ladies and gentlemen at the sides of the stage +are all kneeling, and in such a position that a profile view is had of +the body. The ladies rest the left hand on the waist, and extend +towards the top of the platform the right hand, which holds the wreath +of flowers. Their attention is directed to the lady above, the +countenance expressing pleasure. The gentlemen form in a like manner, +and raise the right hand to the side of the face. The gentleman who +receives the trumpet kneels on the upper step, and in such a position +that a profile view will be had of the face; the left hand rests on +the waist, while the right is extended to take the trumpet; the head +is thrown back slightly, the eyes fixed on those of the lady, who +stands in the centre of the platform. Her body is inclined forward, +eyes fixed on the face of the fireman, right hand extended and holding +the trumpet, her countenance beaming with smiles. Light from the foot +and left side of the stage will be required, which should be very +brilliant. Music of an operatic character. + + + + +THE PAINTER'S STUDIO. + + The golden light into the painter's room + Stream'd richly, and the hidden colors stole + From the dark pictures radiantly forth, + And in the soft and dewy atmosphere + Like forms and landscapes magical they lay. + The walls were hung with armor, and about + In the dim corners stood the sculptured forms + Of Cytheris, and Dian, and stern Jove; + And from the casement soberly away, + Fell the grotesque long shadows, full and true, + And, like a veil of filmy mellowness, + The lint-specks floated in the twilight air. + + WILLIS. + +One Female and One Male Figure. + + +A representation of a painter's studio. Scattered about the room are +works of art, fine paintings, portraits, statuary, vases of ancient +form, and flowers. A guitar and flute hang from the wall, and at the +left of the stage is a large picture, with a crimson curtain partially +drawn across it. The painter's easel stands at the right of the stage; +on it is an unfinished portrait of a lady. A small table, sofa, and +three ancient chairs complete the furniture of the room. The artist is +seated in one of the chairs, engaged in painting the lady's portrait. +The lady is seated in a chair in the centre of the stage, her feet +resting on a small cushion, right elbow placed on the table which is +by her side, and eyes fixed on a book which she holds in her left +hand. A few showy bound books and a small bust may be placed on the +table. The lady's costume consists of a pink or blue silk dress, cut +low at the neck, sleeves of usual length, hair done up to suit the +performer's taste. Her position is, facing the audience. The artist's +costume consists of a rich dressing gown, a red velvet cap with a gold +tassel, light pants and vest. His position is such that a side view is +had of the features, the left hand holding a pallet and brushes, the +right grasping a small brush, which he is in the act of using. His +eyes are fixed on the picture, countenance expressing earnestness. +Illuminate the background of the scene with a small quantity of red +fire, the foreground with light of medium brilliancy, both of which +should come from the right side of the stage. Music soft and +plaintive. + + + + +PORTRAIT OF GABRIELLE. + + There's nothing ill can dwell in such a temple: + If the ill spirit have so fair a house, + Good things will strive to dwell with 't. + + TEMPEST. + +One Female Figure. + + +This tableau is suggested by the beautiful picture by De la Roche, one +of the most eminent of French painters. The best portrait of Napoleon +I. was painted by this artist. The subject of the painter is +Gabrielle. The person who represents this portrait should have fine +Grecian features, small figure, and hair that will curl profusely. The +costume consists of a pink brocade cut low at the top, open in the +form of a square in front, and trimmed with white lace and black +velvet. The hair must be parted in the centre of the forehead, puffed +out at the side, and arranged in short curls in the neck. A band of +velvet one inch wide in the middle, and tapered to a point at each +end, with a silver star studded with spangles on the widest part, +should be placed around the head. The frame, behind which the lady +takes her seat, is constructed as follows: Out of boards make a solid +frame, four feet long and three feet wide, with a cornice on the +outside. From the centre, cut out an oval three feet long and two feet +wide; cover the frame with black cambric or velvet, and ornament the +cornice and edge of the oval with gold paper; place the frame at the +back of the stage on a platform or box three feet high, three feet +wide, and two feet deep; fasten the frame by means of hooks or screws +to the top of the box, flush with the front; attach a heavy crimson +cord and tassel to the top, and pass it over a brass hook screwed to +the ceiling. The lady takes her seat behind the frame, in such a +position as will display a partial side view of the head and chest in +the centre of the oval, the eyes cast down, the countenance expressing +sorrow. After the lady has taken her position, the box must be +entirely covered with black cambric, and a curtain of the same +material should be fastened to the top of the frame, and allowed to +trail back of the lady to the floor. With a medium quantity of light +from the front of the stage, the tableau at a distance will resemble a +painted portrait. A large variety of pictures can be produced in this +manner, and at little expense. Music for this scene should be of a +sacred character, and quite soft. + + + + +THE ELOPEMENT. + + Dear art thou to the lover, thou sweet light, + Fair, fleeting sister of the mournful night! + As in impatient hope he stands apart, + Companioned only by his beating heart, + And with an eager fancy oft beholds + The vision of a white robe's fluttering folds + Flit through the grove, and gain the open mead, + True to the hour by loving hearts agreed! + At length she comes. The evening's holy grace + Mellows the glory of her radiant face; + The curtain of that daylight, faint and pale, + Hangs round her like the shading of a veil; + As turning with a bashful timid thought, + From the dear welcome she herself hath sought, + Her shadowy profile drawn against the sky, + Cheats while it charms his fond adoring eye. + + MRS. NORTON. + +One Male and Two Female Figures. + + +This is a very pretty tableau, in two parts. The first, represents a +young gentleman, standing at the foot of a rope ladder which reaches +to the railing of a balcony on the front of a dwelling house; leaning +over the railing is a young and lovely maiden, who is about to make +her descent on the ladder to her lover below. The gentleman grasps the +rope with the left hand, and holds the right upward in the act of +beckoning to the lady. His position is such that a side view is had of +the body; his head thrown back, eyes directed to the balcony, +countenance expressing pleasure and entreaty. His costume consists of +a dark coat, trimmed around the edge with purple lace or gimp, light +breeches, black hose, colored vest, low shoes, knee and shoe buckles, +red sash about the waist, black felt hat with plume, velvet cape on +the left shoulder, lace collar and wristbands, ruffled bosom, and +mustache. The lady is attired in a bright-colored silk robe, riding +hat, and red scarf. The balcony can be made of boards, and covered +with fresco paper, representing two pillars, a cornice, and a railing +above. The second scene, which follows immediately, represents the +lady and her lover just about to step into the ante-room, opposite the +balcony. The gentleman has his right arm around the waist of the lady, +the left extended towards the balcony, face turned in that direction, +his back to the audience, the countenance expressing caution. The lady +places her left hand on the gentleman's shoulder, and the right on her +breast; her eyes are directed to the ante-room. A front view is had of +her form. The head of the gentleman turned to the balcony will give a +partial side view of the face. The young lady's mother is seen on the +balcony, looking out into the darkness, and holding a crutch before +her, as if in the act of striking. Her costume consists of a white +robe and nightcap. The light for the first scene should be of medium +brightness, and come from the ante-room opposite the balcony. In the +second scene, it will be necessary to produce the light on the other +side of the stage, which will throw the balcony in the shade. The low +rumbling of thunder, and the noise of falling rain, produced in the +ante-room, will add to the effect of the scene. + + + + +FIREMAN'S COAT OF ARMS. + + By Jove! I'll have a fine establishment, + And keep a coat-of-arms! + + MUGGINS. + +Two Female Figures. + + +This tableau represents an oval shield richly ornamented with gold, on +which are fastened engine pipes, colored lanterns, trumpets, axes, +fire hooks, buckets, hats, &c. These radiate from the centre, and are +surrounded by a wreath of gold stars, five inches in diameter. It +rests on a pedestal, and is supported on each side by female figures. +The shield is seven feet high and four feet wide, the surface covered +with blue cambric, with a border of crimson five inches wide, shaded +with a band of gold one inch in width. The pedestal is six feet long, +one foot high, and three feet wide, the surface covered with crimson +cloth, with a black and gold border six inches wide, and an +appropriate motto on the front in letters of gold. The young ladies +who support the shield must be of equal height, good figure and +features. Their costume consists of a white robe cut low in the neck, +skirt made to trail on the pedestal, red or black velvet waist, +ornamented with gilt buttons and lace, and fireman's hat on the head. +Their position is at the sides of the shield, facing the audience; one +arm is laid at full length on the top of the oval, the other hangs at +the side, the hand grasping a small wreath of myrtle. The head should +be slightly turned towards the shield, eyes looking forward, +countenance calm. The light for the tableau must be of medium +brilliancy, and come from the front of the stage. Music soft. + + + + +THE SOLDIER'S FAREWELL. + + I could not love thee, dear, so much, + Loved I not honor more. + + SIR RICHARD LOVELACE. + +Three Female and Three Male Figures. + + +A representation of a young recruit, about to leave his country home +for the first time to join the army. In the background is to be seen a +cottage, with trellised vines running over the door. The young soldier +is standing in front of the cottage, bidding farewell to his young +bride, who stands at his side. They both face the audience. She has +her right arm around his neck, and is looking into his face. The +soldier rests his left arm on her shoulder, and points to the side of +the stage with the right hand. His eyes are fixed on the face of his +bride. Near the doorstep stands a gray-haired old man, the father of +the soldier; he faces the audience, and is holding a musket, the lock +of which he is examining. At the left of the soldier stands a young +maiden, in a position that exhibits a side view of the body. She is +looking to the two figures in front of her, and holds a sword and +belt. In the doorway is seen the mother of the soldier, holding a +handkerchief to her eyes. A little boy stands at the right of the +door, with a tin sword fastened about his waist, a paper cap on his +head, and is engaged in blowing on a tin trumpet. The cottage can be +framed of wood, covered with cloth, and painted in showy colors; body +of the house light brown, frames, cornice, and door green, roof red, +and window panes black. The cottage stands in the centre of the stage, +with the space on the sides filled up with a small white fence and two +spruce trees. The vines over the door can be painted on the house, or +made of evergreens and flowers, and tacked to the frame. The soldier's +costume consists of a continental uniform--blue coat, faced with buff, +buff vest and breeches, white hose, knee and shoe buckles, low shoes, +white breast belts, and chapeau. The wife is costumed in a blue dress, +cut very short, and high at the top, white apron, white hose, small +handkerchief tied about the neck, hair arranged to suit the taste of +the performer. The young lady should be costumed in a white dress, +green apron, and straw hat, hair hanging in curls, and ornamented with +red ribbons. The old gentleman's costume consists of a long gray or +drab coat, light vest and breeches, black hose, knee and shoe buckles, +low shoes, ruffled bosom, and chapeau. The aged matron is costumed in +a light brown dress, calico apron, white cap, black collar. The boy +can be attired in any costume that has a variety of colors. Cover the +floor of the stage with green bocking, and light the tableau from the +left side. A tenor drum should be beaten in the ante-room while the +curtain is raised. + + + + +IKE PARTINGTON'S GHOST. + + Be thou a spirit of health or goblin damned, + Bringing with thee airs from heaven or blasts from hell, + Be thy intents wicked or charitable? + Thou com'st in such a questionable shape + That I will speak to thee. + + SHAKSPEARE. + +One Female and One Male Figure. + + +This tableau represents Ike seated on the top of a pump in the front +yard of his mother's cottage, while the old lady is seen in the +background, peeping over the fence with looks of horror and +astonishment. The person who represents Ike should be of medium height +and youthful looking. Costume consists of an old military coat and +hat, large sword attached to a belt about the waist, light pants with +red stripe, and large boots. The old lady is dressed in a cheap calico +dress and white cap. The pump can be made of wood, covered with light +brown cambric, the handle painted black. A rough representation of a +house should be painted on cloth, and placed at the rear of the stage. +A few feet from the house, erect a low white slat fence, with a gate +in the centre; a wheelbarrow, shovel, hoe, broom, and water bucket are +scattered about the stage. Ike sits on the pump, and faces the +audience. His head is drawn down within the coat collar, hands placed +on his knees, and eyes rolled up into his head. Light the stage very +little, and produce discordant sounds on a melodeon in the ante-room. + + + + +THE PEASANT FAMILY IN REPOSE. + + Let not Ambition mock their useful toil, + Their homely joys, and destiny obscure, + Nor Grandeur hear, with a disdainful smile, + The short and simple annals of the poor. + + GRAY. + +Two Female and Three Male Figures. + + +This scene represents a group of peasants resting on their journey. +The party comprises an aged couple and three children. They are seated +on a grassy mound at the side of the road. The children lie in the +foreground of the mound in various positions, and are asleep. The old +gentleman is seated on the back side of the mound, which is higher +than the front, and in such a position that a side view is had of the +body. His head rests on his left hand, the elbow resting on the knee; +the right hand holds a cane; countenance calm. Costume consists of a +long, loose blue frock, brown pants, black beaver hat, considerably +worn and out of shape, white hair and beard. At the side of the old +man, on the lower part of the mound, is seated the old lady. She faces +the audience, and leans her head on her right hand, the elbow placed +on the knee, eyes directed to the children, countenance expressing +deep thought. Costume consists of a brown dress, white handkerchief +tied about the neck, and a hood on the head. In front of these figures +is a young girl, her back resting against the highest part of the +mound, the head inclined to one side, one arm placed across the form +of a boy at her side, her eyes closed. She is dressed in a white robe, +blue apron, and stout shoes, head uncovered. A small boy reclines at +her side, and rests his head on her lap. Costume consists of a red +frock, trimmed with white. In front of these two figures is a large +boy. He lies on the grass, and rests his head on his arm; his eyes are +closed, countenance calm. He is costumed in a dark coat, light pants, +white collar, thick boots, and felt hat. The mound on which the +tableau is formed can be constructed of boxes, and covered with green +bocking. It should be six feet in diameter, varying from one to two +feet in height, and placed in the centre of the stage. The scene will +require but a small quantity of light, which must come from the right +side of the stage. Music soft and of a plaintive character. + + + + +THE SOLDIER'S RETURN. + + O that 'twere possible, + After long grief and pain, + To find the arms of my true love + Round me once again. + + * * * * * + + We stood tranced in long embraces + Mixed with kisses sweeter, sweeter + Than any thing on earth. + + MAUD. + +Three Female and Four Male Figures. + + +This interesting tableau is designed to appear in connection with the +soldier's farewell, and is represented by seven persons. The cottage +and other scenery described in the "Soldier's Farewell" is used in +this piece, and is to be placed in the same position. At the left of +the stage, near the front, stands a young gentleman dressed as a +hackman. He carries a trunk on his shoulder, and a valise in his left +hand; his position is such that a side view is had of the features; +his eyes cast down to the floor, body slightly bent forward; a few +paces in front of him stands the young soldier, with arms outstretched +to receive his wife, who is standing in front of the doorstep, in the +act of running towards him. The soldier shows a side view of his form, +his feet extended apart, body bent forward, eyes fixed on his wife, +countenance smiling. The wife faces the audience; her arms are raised, +eyes directed to those of her husband, countenance pleasant. The +father and mother of the soldier are seated in large chairs at the +sides of the door. A young man is seen climbing over the fence. He +holds a rake in his hand, and is looking at the soldier. A young lady +is on the doorstep in the position of one running, her eyes fixed on +the group at the front of the stage, countenance expressing surprise. +Costume similar to the one described in the Farewell. The boy's +costume consists of blue overalls, white shirt, and straw hat. The old +lady and gentleman wear the suits described in the first scene. The +old gentleman has a pair of crutches by his side, and is smoking a +pipe. The old lady wears spectacles, and holds a newspaper in the left +hand, and points to the soldier with the right; her eyes are turned to +her husband, countenance expressing surprise. The soldier's wife has +on a white dress with a velvet waist. The soldier is costumed in the +suit that we described in the Farewell, with the addition of a red +sash about the waist, gold epaulets on the shoulders, and a showy +plume in his hat. The hackman's costume consists of a rubber coat and +cap, long boots, and light pants. The scene requires a medium light, +which should come from the side opposite the soldier. Music of a +cheerful and lively style. + + + + +NOTES AND EXPLANATIONS. + + +FOR PREPARING A BRILLIANT RED FIRE. + +Weigh five ounces of dry nitrate of strontia, one ounce and a half of +finely-powdered sulphur, five drams of chlorate of potash, and four +drams of sulphuret of antimony. Powder the sulphuret of antimony and +chlorate of potash separately in a mortar, and mix them on paper; +after which add them to the other ingredients, previously powdered and +mixed. For use, mix with a portion of the powder a small quantity of +spirits of wine, in a tin pan resembling a cheese-toaster; light the +mixture, and it will shed a rich crimson hue. When the fire burns dim +and badly, a very small quantity of finely-powdered charcoal or +lamp-black will revive it. This light is used in finale scenes, where +the subject is heroic, national, or martial. + + +GREEN FIRE. + +A beautiful green fire may be thus made: Take of flour of sulphur, +thirteen parts; nitrate of baryta, seventy-seven; oxy-muriate of +potassa, five; metallic arsenic, two; and charcoal, three. Let the +nitrate of baryta be well dried and powdered; then add to it the other +ingredients, all finely pulverized, and exceedingly well mixed and +rubbed together. Place a portion of the composition on a small tin pan +having a polished reflector fitted to one side, and set fire to it, +when a splendid green illumination will be the result. By adding a +little calamine, it will burn more slowly. + + +PURPLE FIRE. + +A purple fire is produced by dissolving chloride of lithium in spirits +of wine, and when lighted it will burn with a purple flame. + + +WHITISH-BLUE FIRE. + +Take of nitrate of baryta, twenty-seven parts, by weight; of sulphur, +thirteen; of chloride of potassa, five; of realgar, two; and of +charcoal three parts. Incorporate them completely, and when inflamed +they will emit a whitish-blue light, accompanied by much smoke. This +light is much used in fairy scenes. + + +YELLOW FIRE. + +Mix some common salt with spirits of wine, in a metal cup, and set it +upon a wire frame, over a spirit lamp. When the cup becomes heated, +and the spirits of wine ignited, the other lights on the stage should +be extinguished, and that of the spirit lamp shaded in some way. The +result will be, that the whole group, faces, dresses, will be of a +strong yellow tint. + + +COLORED LIGHTS. + +Colored lights can be produced by filling globes with colored liquid, +and placing them in front of the lamps, like those we see in the +windows of the chemists' shops. + + +TO PRODUCE A MISTY OR VANISHING APPEARANCE TO A TABLEAU. + +Several curtains of thin gauze, or common mosquito netting, made to +let down from rollers, one after another, between the audience and the +scene, will give a beautiful, misty appearance; and if a sufficient +number of curtains be unrolled, the tableau appears to vanish +entirely, allowing room for a change of scenery. Many scenes should +have one thickness of muslin before them, which serves to blend the +colors, and gives a finish to the picture. The gauze must be carefully +managed, as the disclosure of a ragged edge will dispel all the +illusion. + + +TO PRODUCE SOUNDS LIKE FALLING RAIN. + +Procure a box six feet long, one foot wide, and one deep. Cover the +bottom with small pegs of wood one inch high, and inserted two inches +apart. Place a quart of dried peas at one end of the box; then raise +that end quite slowly, allowing the peas to roll gradually down to the +lower part of the box. The sound they produce in striking against the +pegs imitates to perfection the falling of rain. The sound can be +continued for any length of time by raising alternately each end of +the box. + + +TO PRODUCE SOUNDS LIKE DISTANT FIRING OF ARTILLERY. + +Suspend a large sheet of Russia iron by means of a rope, and strike it +in the centre with a heavy drumstick. At a short distance, the sound +resembles the booming of heavy artillery. + + +TO PRODUCE SOUND TO RESEMBLE THUNDER. + +Hold a large sheet of Russia iron at one end and commence shaking it +very slowly. It will give out a low, rumbling sound, which can be +gradually increased in power. Graduate the sounds from heavy peals to +the first starting point, then discontinue the shaking for a few +seconds, and repeat the variety of changes as long as is necessary. + + +TO IMITATE THE FIRE ALARM BELL. + +Suspend to a wooden frame two pieces of steel two inches square and +three feet long. Select pieces that will give out different tones, and +strike them alternately with an iron hammer. They will sound much +clearer and louder than any small bells. + + +DISTANT FIRING OF MUSKETRY. + +Sounds similar to a distant discharge of musketry can be produced in a +number of ways. The tenor drum can be made to give out sounds to +resemble volleys of musketry. Leaden shot dropped into a large tin pan +will produce a good imitation. A fireman's rattle can be also used for +the same purpose. + + +MAGIC LIGHTNING. + +Mix gunpowder with a small quantity of water and gum arabic, and with +a brush place it on a screen in the background in an irregular manner, +resembling flashes of lightning. The screen being previously painted +to resemble thunder clouds, let there be a number of distinct flashes +painted, the ends of which should be near the ante-room. At intervals +of thirty seconds, touch a lighted fusee to one of these paintings, +which will burn quickly, illuminate the clouds, and resemble lightning +flashes. + + +TO STAIN THE FLESH A COPPER COLOR. + +To stain the flesh a copper color, as is necessary in representing +Indian characters, use Spanish brown, mixed with oil, and rub in +thoroughly. + + +TO MAKE WRINKLES. + +Use India ink, moistened with water, softening the lines with chalk, +if necessary. Moustaches and whiskers may also be made with the same +material. + + +FLESH WOUNDS, &c. + +Flesh wounds and blood may be represented by the use of rose pink +mixed with water. + + +THEATRICAL INCANTATIONS. + +Dissolve crystals of nitrate of copper in spirits of wine. Light the +solution, and it will burn with a beautiful emerald green flame. +Pieces of sponge soaked in this spirit, lighted and suspended by fine +wires over the stage, produces the lambent green flames now so common +in incantation scenes; strips of flannel saturated with it, and +applied round copper swords, tridents, &c., produce, when lighted, the +flaming swords and fire forks brandished by the demons in such scenes; +indeed, the chief consumption of nitrate of copper is for these +purposes. + + +LIGHTS AND SHADES. + +If you wish to throw the background of a tableau in shade, intervene +screens between the lights at the sides of the stage and that part of +the picture you desire to have dark; _vice versa_ with the foreground. +Particular points or characters can be more brilliantly lighted than +others by placing at the side of the stage a strong light within a +large box, open at one side, and lined with bright reflectors. Light +of different colors can be thrown successively on a picture, and made +to blend one with another, by placing the various colored fires in +boxes three feet square, open at one side, and lined with bright +reflectors; these, arranged at the side of the stage on pivots, can be +turned on, one after another, so as to throw their light on the stage. +Before one light has entirely vanished from the scene, a different +color should gradually take its place. + + + + +ART RECREATIONS: + +BEING + +A COMPLETE GUIDE TO + +PENCIL DRAWING, +OIL PAINTING, +WATER-COLOR PAINTING, +CRAYON DRAWING AND PAINTING, +PAINTING ON GROUND GLASS, +GRECIAN PAINTING, +ANTIQUE PAINTING, +ORIENTAL PAINTING, +SIGN PAINTING, +THEOREM PAINTING, +MOSS WORK, +PAPIER MACHE, +CONE WORK, +FEATHER FLOWERS, +POTICHOMANIE, +LEATHER WORK, +HAIR WORK, +TAXIDERMY, +GILDING AND BRONZING, +PLASTER WORK, +WAX WORK, +SHELL WORK, +MAGIC LANTERN, +PAPER FLOWERS, +IMITATION OF PEARL, +THE AQUARIUM, +SEALING-WAX PAINTING, +PANORAMA PAINTING, +COLORING PHOTOGRAPHS, +ENAMEL PAINTING, ETC. + +BY + +MADAME L.B. URBINO, PROF. HENRY DAY, AND OTHERS. + +WITH VALUABLE RECEIPTS FOR PREPARING MATERIALS. + +Splendidly Illustrated. + +BOSTON: + +J. E. TILTON AND COMPANY. + +1860. + + * * * * * + +Price of this valuable work is but $1.50. + +Sold by all booksellers, and sent by mail postpaid. + + + +***END OF THE PROJECT GUTENBERG EBOOK HOME PASTIMES; OR TABLEAUX VIVANTS*** + + +******* This file should be named 19724.txt or 19724.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/9/7/2/19724 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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