|
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 |
