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Home Pastimes; or Tableaux Vivants
by James H. Head
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HOME PASTIMES; OR TABLEAUX VIVANTS.

by

J. H. HEAD.



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.

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