SB LIBRARY
 
 \.
 
 HOME PASTIMES 
 
 BOSTON: 
 
 J. E. TILT ON AND COMPANY. 
 I860.
 
 Entered, according to Act of Congress, in the year 1860, by 
 
 J. E. TILTON AND COMPANY, 
 I the Clerk's Office of the Djgtrict Court for the District of Massachusetts
 
 TO 
 
 SAMUEL P. LONG, ESQ., 
 
 AS AN HUMBLE TRIBUTE OP ADMIRATION FOR HIS ARTISTIC 
 AND LITERARY USEFULNESS, 
 
 AND TO THOSE FRIENDS WHO HAVE PARTICIPATED 
 WITH ME IN MANY OF THESE SCENES, 
 
 Sins Sll'orJi 
 
 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 pe- 
 culiar 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 realiza- 
 tion upon canvas, or upon paper, or in the living picture, 
 tends to improve the mind, assimilates the real with the 
 
 (7)
 
 8 PREFACE. 
 
 ideal, conforms taste to the noblest standard, overflows the 
 heart with pure and holy thoughts, and adorns the exterior 
 form with graces surpasssing 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 sug- 
 gested 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 
 
 (9)
 
 10 CONTENTS. 
 
 PAGE 
 
 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 Bon Juan in the Cave Ill 
 
 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
 
 CONTENTS. 11 
 
 PAGE 
 
 The Bridal Prayer 162 
 
 The Guitar Lesson, 163 
 
 Roger Williams preaching to the Indians, 164 
 
 Crossing the Line, 167 
 
 The Wedding, 1C9 
 
 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
 
 12 CONTENTS. 
 
 PAGE 
 
 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 Yivants 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 ar- 
 rangements for a series of tableaux is generally called 
 the stage manager. His first work is to select a pro- 
 gramme 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 form- 
 ing 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. 
 
 2 (13)
 
 14 
 
 INTRODUCTION. 
 
 The following diagram will illustrate the manner in 
 which the manuscript should be arranged : 
 
 NAME OF TABLEAU. 
 
 NO 
 
 
 Directions for forming cos- 
 tumes, &c. 
 
 Ladies. 
 
 Personation. 
 
 Gentlemen. 
 
 Personation. 
 
 Scenery, furniture, &c. 
 
 After the manuscript is completed, it will be neces- 
 sary 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 represen- 
 tations. 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 gentle- 
 man'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 neces- 
 sary to have fifteen or twenty young gentlemen, vary-
 
 INTRODUCTION. 15 
 
 ing from four to five feet in height, to personate 
 military and other figures. Each person should 
 have written instructions in regard to the scenes in 
 which they take a part, giving full descriptions of the 
 costumes, position, expression, and character which they 
 are to personate ; after which they should meet in a 
 large room, and go through a private rehearsal. It will 
 be necessary, previously to appearing before the public, 
 to have three rehearsals two private ones, and one 
 dress rehearsal on the stage. It will be well to have 
 a few friends witness the dress rehearsal, which will 
 give confidence to the performers, previous to their 
 debut before a large audience. As soon as the com- 
 pany has been organized, and each performer has re- 
 ceived 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 rehear- 
 sals. Each tableau should be carefully examined, and 
 a list of the machinery, scenery, wardrobe, and furni- 
 ture of each piece noted down, and competent persons 
 immediately set to work on their completion. The 
 selection of appropriate music, the drafting and erect- 
 ing 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 direc- 
 tions 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.
 
 16 INTRODUCTION. 
 
 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 man- 
 ner, 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 ar- 
 ranged in the same style as the side scenes of a theat- 
 rical stage. Stout frames of wood, two feet wide, reach- 
 ing 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 cam- 
 bric ; 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,
 
 INTRODUCTION. 17 
 
 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 Tip 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 reflect- 
 ors 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, <fcc. 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 dress- 
 ing-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 dec- 
 orated with flags. 
 
 A stage for tableaux in a private dwelling-house 
 should be formed similarly to a hall stage, but so con- 
 structed 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 
 2*
 
 18 INTRODUCTION. 
 
 should rest on a frame of small joist, which can be mor- 
 tised 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 fur- 
 nished 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 mo- 
 mentary, 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 en- 
 try 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 produ- 
 cing effects, and by managing the lights about the stage
 
 INTRODUCTION. 19 
 
 correctly, you can throw parts of your picture in shad- 
 ow, 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 char- 
 acters, as a general rule, should be placed in the back- 
 ground to relieve the dark ones ; those in the back- 
 ground 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 per- 
 formers 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 con- 
 fusion. 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 expla- 
 nations 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, <fec., are ready. He should 
 then ring a small bell, and the announcer in the hall 
 will havo a programme of the tableaux, and will an-
 
 20 INTRODUCTION. 
 
 nounce the piece ; and if there is any accompanying 
 poem to be read, it will be his duty to read it. The 
 manager will then ring the second bell ; this will be a 
 signal for the performers on the stage to take their 
 positions, and for the lights to be turned down in the 
 hall. In thirty seconds after the second bell, the man- 
 ager 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 ex- 
 hibited 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 neces- 
 sary 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
 
 INTRODUCTION. 21 
 
 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 fasten- 
 ing a lighted fuse to a long rod. Large tableaux re- 
 quire 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 pro- 
 duced 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 
 
 x 
 
 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, buck- 
 ets, 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 eigh- 
 teen 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
 
 22 INTRODUCTION. 
 
 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.
 
 t 
 
 (23)
 
 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. 
 
 BCBEINOTON. 
 
 (24)
 
 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. 
 
 LAIOHTON. 
 
 Ten Female Figures. 
 
 THIS elegant design is one of the finest of this series 
 of tableaux, and is composed of ten young and beau- 
 tiful 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. 
 
 3 (25)
 
 26 THE TABLEAU. 
 
 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 ar- 
 ranged 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 booking, 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
 
 THE MARBLE MAIDEN. 27 
 
 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 Pau- 
 lina 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 ex- 
 hibited. 
 
 The scenery of this piece consists of a curtain pass- 
 ing 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
 
 28 THE TABLEAU. 
 
 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 plat- 
 form 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 mar- 
 ble 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. Cos- 
 tume 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
 
 THE MARBLE MAIDEN. 29 
 
 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 grasp- 
 ing 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. Posi- 
 tion 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 
 3*
 
 30 THE TABLEAU. 
 
 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 ^tage, 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 shoul- 
 ders, 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, cov- 
 ered 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
 
 VENUS RISING FROM THE SEA. 31 
 
 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." 
 
 BULWEB. 
 
 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 per- 
 son. 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
 
 32 THE TABLEAU. 
 
 of the miniature waves should be painted white, to imi- 
 tate 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. 
 
 EECEPTION 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 ! 
 
 AJfON. 
 
 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,
 
 QUEEN VICTOKIA AT CHEKBOURG. 38 
 
 were to be inaugurated ; and notwithstanding the ad- 
 monition of the English press, which represented the 
 establishment of these works as a direct menace against 
 Great Britain, and, taken in connection with the con- 
 stant increase of the French navy, a proof of ultimate 
 hostile designs on the part of the emperor, Queen Vic- 
 toria 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, in- 
 fantry, 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 in- 
 cessant 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 ban- 
 quet 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 Eng- 
 land, Prince Aloert, and suite. They were received on
 
 34 THE TABLEAU. 
 
 board the frigate by Napoleon, amid the salvos of artil- 
 lery 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 pres- 
 ence 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
 
 QUEEN VICTORIA AT CHERBOURG. 35 
 
 easy manners. The sailors and military should be com- 
 posed of young lads ; the rest of the performers consist 
 of } r ouug 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 back- 
 ground. 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 tur- 
 key 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
 
 36 THE TABLEAU. 
 
 seats should be filled with dignitaries, officers, and 
 ladies. The empress's costume consists of a rich bro- 
 cade, 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
 
 QUEEN VICTORIA AT CHERBOURG. 37 
 
 with a large moustache, and should look directly for- 
 ward. 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 tab- 
 leau ; after exhibiting this part twice, a piece of can- 
 vas, 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 por- 
 tion 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 gun- 
 wale ; cloth, painted to represent water, should be fas- 
 tened about the boat near the water line. The barge 
 contains four sailors, Prince Albert, and Queen Vic- 
 toria. 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 
 4
 
 38 THE TABLEAU. 
 
 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. Sail- 
 ors' 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,
 
 SCENE FROM THE OPERA OF SAPPHO. 39 
 
 " 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 plat- 
 form 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 tab- 
 leau, 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 up- 
 ward. The right foot is placed twenty inches in ad- 
 vance 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
 
 40 THE TABLEAU. 
 
 portion of both of the skirts trimmed with hlack vel- 
 vet 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-iiecked ; sleeves five inches long, trimmed with 
 narrow pink ribbon, a bow of the same at the top of 
 the sleeves, fastened to the dress by a brilliant glass 
 pin ; over the skirt of the dress should be worn a half 
 skirt of white tarleton muslin, which should be two feet 
 long in front, and three behind ; this is belted about 
 the waist with a pink ribbon, and trimmed around the 
 bottom with oak leaves. The hair of most of the ladies 
 should be arranged in curls, which should be confined, 
 together with a band of silver, while three of the ladies 
 must allow their hair to fall loosely over the shoulders ; 
 wreaths of artificial flowers should adorn the heads of 
 all. The lady who stands near the corner of the stage 
 at the front should have in her left hand a torch, from 
 which issues colored flame, while the right hand is 
 raised above the head, the right foot placed twenty 
 inches before the left, the body and head thrown back, 
 the eyes cast upward, and excitement should be ex-
 
 SCENE FEOM THE OPERA OF SAPPHO. 41 
 
 pressed in the countenance. (The torch can be made 
 of wood, and covered with silver paper.) Every other 
 lady in the row of seven should hold a torch, and take 
 similar positions. Those standing near the torch-bear- 
 ers 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 plat- 
 forms 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 simi- 
 lar 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 orna- 
 mented 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 fas- 
 tened 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, 
 4*
 
 42 THE TABLEAU. 
 
 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 pedes- 
 tal to the corner of the stage, and three on the plat- 
 form 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 bS 
 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. 
 
 LAIOHTOJT. 
 
 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 deco-
 
 FLORA AND THE FAIRIES. 43 
 
 rated with flowers. It should be five feet long, and 
 made in the form of a scroll, the largest part of which 
 should be at the back of the car. Cover the centre of 
 the scroll which forms the sides with crimson paper or 
 cloth, ornamented with a border of gold paper three 
 inches wide, and a second border of artificial flowers. 
 Make the wheels of solid pieces of wood ; the front 
 ones, one foot in diameter ; the back ones, double the 
 size ; cover them with crimson cloth, and ornament 
 them with large gold stars ; build a small seat at the 
 back end, and extend the floor of the car one foot out 
 from the back part, for the footman to stand on. The 
 front of the car should be built in the form of a scroll, 
 and should sustain a small vase of flowers on the top. 
 Yases 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 booking, 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 fas- 
 tened to the waist of the fairies, and held by Flora, who. 
 is seated in the car. 
 
 The young lady who personates Flora should be
 
 44 THE TABLEAU. 
 
 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 fas- 
 tened 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, slen- 
 der 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 span- 
 gles, 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.
 
 THE SPECTRE BRIDE. 45 
 
 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 hold- 
 ing 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 ! 
 
 SlIAKSPEARE. 
 
 Twelve Female and Twelve Male Figures. 
 
 THIS interesting and imposing tableau is taken from 
 a legend, which has been handed down from genera- 
 tion to generation among the villagers living in the 
 neighborhood of Glenburne Castle, England. The
 
 46 THE TABLEAU. 
 
 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 beau- 
 tiful 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 prepara- 
 tions were being made in the old castle for a magnifi- 
 cent 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 beau- 
 tiful 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 glis- 
 tened 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 plat- 
 form 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
 
 THE SPECTEE BRIDE. 47 
 
 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 blu- 
 ish 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 in- 
 tended bride remained insensible for many hours, and 
 when she revived she was no more herself. The fear- 
 ful 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 back- 
 ground erect a platform two feet high by four feet
 
 48 THE TABLEAU. 
 
 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 spec- 
 tre 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 cor- 
 ners of the square ; ropes, three quarters of an inch in 
 diameter, should be passed through them, and one end 
 of each fastened to fifty-six pound weights ; the other 
 ends of the ropes are to be fastened to rings attached 
 to a platform, two and a half feet square. A piece of 
 four inch joist should be fastened near the centre of 
 the platform, which should be three and a half feet 
 high ; small handles, two feet long, should also be fas-
 
 THE SPECTRE BRIDE. 49 
 
 tened securely at the sides of the platform, on which 
 the person who personates the spectre will stand. 
 When the time has arrived for the spectre to appear 
 in the tableau, two persons can easily guide the plat- 
 form from the floor to the stage above. All the gentle- 
 men 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 cov- 
 ered with white cloth, and hid from view by the 
 drapery of the costume of the spectre. The lady per- 
 sonating 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 shoul- 
 ders ; the hair arranged to suit the taste of the per- 
 5
 
 50 THE TABLEAU. 
 
 former, and encircled with a wreath of silver leaves, 
 while a heavy white veil is fastened to the back of 
 the head. The cardinal should have on a long 
 black silk surplice, white cravat, and a mitre hat on 
 the head. The couple face the audience, the cardinal 
 standing directly behind them in the same position, 
 with his hands raised over their heads. The ladies, 
 who occupy seats at each side of the platform, should 
 be costumed in as great a variety and as richly appear- 
 ing dresses as can be procured ; bands of gold, orna- 
 mented 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 fore- 
 ground 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 coun- 
 tenances denoting pleasure and interest. This consti- 
 tutes the first scene, and ought to be exhibited three 
 times ; after which, the performers will take positions 
 for the second scene.
 
 THE SPECTRE BRIDE. 51 
 
 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 ; con- 
 sternation 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 per- 
 formers. 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 plat- 
 form, 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.
 
 52 THE TABLEAU. 
 
 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. 
 
 FESTCS. 
 
 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 ! 
 
 TCPPEB. 
 
 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 cos- 
 tumes 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
 
 BUST OP PROSERPINE. 53 
 
 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. 
 
 5*
 
 54 THE TABLEAU. 
 
 The learned Germans, who regard the whole Grecian 
 mythology as personifying natural phenomena, inter- 
 pret the legend as follows : Proserpine who is car- 
 ried 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 mor- 
 tise 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
 
 BUST OF PROSEBPINE. 55 
 
 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 ex- 
 pression 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
 
 56 THE TABLEAU. 
 
 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. 
 
 BYBON. 
 
 Forty Male Figures. 
 
 THE battle of Waterloo was fought on the 18th of 
 June, 1815. It was on the Sabbath day. The Em- 
 peror'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 de- 
 voted and invincible band, and advanced in front of 
 the British lines. Silently, sternly, unflinchingly they 
 pressed on, till they arrived within a few yards of the 
 batteries of the enemy. A peal, as of crushing thun-
 
 NAPOLEON AND HIS OLD GUARD AT WATERLOO. 57 
 
 der, burst upon the plain ; a tempest of bullets, shot, 
 shells, and all the horrible missiles of war, fell like 
 hailstones upon the living mass. A gust of wind 
 swept away the smoke, and, as the anxious eye of 
 Napoleon pierced the tumult of the battle to find 
 his Guard, it had disappeared. Napoleon threw him- 
 self 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 be- 
 seeching 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 VEm- 
 pereur ! " 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 artil- 
 lery was brought up, and pitilessly pierced this heroic 
 band with a storm of cannon ball. The invincible 
 square, the last fragment of the Old Guard, revered 
 by that soul which its imperial creator breathed into 
 it, calmly closed up as death thinned its ranks. The 
 English and Prussians sent a flag of truce, demand-
 
 58 THE TABLEAU. 
 
 ing a capitulation. General Cambronne returned the 
 immortal reply, " The Guard dies, but never sur- 
 renders ! " A few more discharges of grape shot 
 from the artillery mowed them all down. Thus per- 
 ished, on the field of Waterloo, the Old Guard of 
 Napoleon. 
 
 Directions for forming the Tableau. This splen- 
 did 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 for- 
 ward 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 Napo- 
 leon, 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 ; mus- 
 kets 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
 
 NAPOLEON AND HIS OLD GUARD AT WATERLOO. 59 
 
 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 fen- 
 cing. They should be placed on raised platforms, 
 varying from two to eight feet in height. The cos- 
 tume 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 Na- 
 poleon rides can be made of wood, at a trifling ex- 
 pense. Minute explanation in regard to its con- 
 struction will be found in the tableau of " Washing- 
 ton'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 fur- 
 nished 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 mus- 
 ketry, 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 foot-lights fronting Napoleon can be 
 lighted. The person who takes the part of Napoleon 
 must resemble, in features and form, the original 
 character.
 
 60 THE TABLEAU. 
 
 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. 
 
 SHAKSPKARB. 
 
 Three Female Figures. 
 
 THIS pleasing tableau represents a young and beau- 
 tiful dancing girl reposing after one of her successful 
 and fascinating dances. The scenery should be ar- 
 ranged in the following manner : A curtain of red Tur- 
 key 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 cur- 
 tain 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 flow- 
 ers. 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 diam- 
 eter; this must be covered with light green cam-
 
 THE DANCING GIRL IN REPOSE. 61 
 
 brie, 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 in- 
 tended 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 slip- 
 pers ; a pink gauze sash, decorated with gold spangles, 
 worn across the shoulders ; the hair arranged in ring- 
 lets ; 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 
 6
 
 62 THE TABLEAU. 
 
 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 audi- 
 ence ; 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
 
 WASHINGTON'S ENTRANCE INTO PORTSMOUTH. 63 
 
 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 pri- 
 vate 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 uni- 
 forms 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 ap- 
 pearance 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." Wash- 
 ing-ton'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 pres- 
 ident, 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
 
 64 THE TABLEAU. 
 
 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 superin- 
 tend 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 sid"es 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 com- 
 panies 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 metrop- 
 olis of New Hampshire." Brewster's Rambles. 
 
 This national tableau contains forty-two figures: 
 Washington, sixteen soldiers, ten young ladies, six cit- 
 izens, 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
 
 WASHINGTON'S ENTRANCE INTO PORTSMOUTH. 65 
 
 dimensions, of wood, as strong and light as pos- 
 sible ; 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 con- 
 tinental coat, buff vest, white hose, shoes, knee and 
 shoe buckles, white cravat, ruffled bosom, black cha- 
 peau, 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 pro- 
 cured. The ladies should be of various sizes, and cos- 
 tumed 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 
 6*
 
 66 THE TABLEAU. 
 
 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 look- 
 ing 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 fore- 
 ground, 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 ex- 
 tending 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 cit- 
 izens, 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
 
 FAME. 67 
 
 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 appropri- 
 ate 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. 
 
 TCFPER. 
 
 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
 
 68 THE TABLEAU. 
 
 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 plat- 
 form, 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 au- 
 dience, 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 his- 
 torian, with a volume of history and a pen. Behind 
 these, and fronting the goddess, stands a figure who 
 represents the orator. His costume consists of a suit 
 of black. He holds a scroll in his left hand ; his 
 right raised in front ; countenance expressing stern-
 
 FAME. 69 
 
 ness ; eyes slightly raised upwards. The soldier kneels 
 between the poet and the historian ; costume consists 
 of a rich military dress ; arms are folded across the 
 breast, head turned slightly to the right, eyes cast 
 upward, the face expressing firmness. The poet is 
 costumed in a dark coat, light vest, knee breeches, 
 white hose, low shoes, knee and shoe buckles, lace 
 collar and wristbands. Position is facing the front 
 corner of the stage. Eyes are fixed on the paper 
 before him; face expresses pleasure. On the other 
 side of the soldier kneels the historian. His cos- 
 tume, 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 mu- 
 sician 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
 
 70 THE TABLEAU. 
 
 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] 
 
 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. FlBIEZE. 
 
 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
 
 FAITH. 71 
 
 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 en- 
 circled 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 ex- 
 pression 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.
 
 72 THE TABLEAU. 
 
 SPIRIT OF RELIGION. 
 
 Religion should our thoughts engage 
 
 Amidst our youthful bloom ; 
 'Twill fit us for declining years, 
 
 And for the approaching tomb. 
 
 AKOX. 
 
 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 man- 
 kind. 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 rep- 
 resents 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 fore- 
 ground, 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
 
 SPIRIT OP RELIGION. 73 
 
 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 mar- 
 tyrdom. 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 shoul- 
 ders, 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 rep- 
 resent 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 
 7
 
 74 THE TABLEAU. 
 
 female, dressed in deep mourning ; the other, an aged 
 man, who is supported by the lady. His costume con- 
 sists of a loose robe of white cloth, trimmed with pur- 
 ple ; 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
 
 THE POET AND THE GODDESS OF POETRY. 75 
 
 middle of the room ; on it are a few books and man- 
 uscripts, 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 consola- 
 tion, 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 con- 
 sists of a loose black coat, dark breeches, light vest, 
 white hose, low shoes, knee and shoe buckles. Posi- 
 tion 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 posi- 
 tion is behind the table, in the background of the pic-
 
 76 THE TABLEAU. 
 
 ture, and facing the audience. Her head is slightly 
 bent forward, and eyes directed to the face of the 
 youth ; her countenance expresses pleasure. The fol- 
 lowing 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 God- 
 dess 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 neces- 
 sary 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 ap- 
 pears. The light should be very dim, and come from 
 the side of the stage opposite the Poet. Music soft 
 and plaintive.
 
 DEATH OP EDITH. 77 
 
 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, 
 
 Aoid 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. 
 
 MBS. HEMANS. 
 
 Three Female and Two Male Figures. 
 
 THIS tableau is suggested by the beautiful poem of 
 Mrs. H'emans, 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.
 
 78 THE TABLEAU. 
 
 " 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 journey ing 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 mat- 
 ron, watching the sleeping one. Standing near the 
 couch is an old Indian warrior leaning on his bow, gaz- 
 ing 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 wig- 
 wam 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 pro- 
 cured. 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
 
 DEATH OF EDITH. 79 
 
 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 in- 
 clined 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 de- 
 scribed in Hiawatha ; the aged matron's costume sim- 
 ilar to that worn by Nokomis, in the death of Minne- 
 haha ; the young Indian children in appropriate cos- 
 tumes. 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 wig- 
 wam. 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.
 
 80 THE TABLEAU. 
 
 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. v 
 " 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 repre- 
 sented 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
 
 ABOU BEN ADEEM AND THE ANGEL. 81 
 
 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 tarle- 
 ton 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 orna- 
 mented 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 tran- 
 quil. Ben Adhem's position in the first scene is, re- 
 clining on the couch, with the quilt thrown over the 
 lower portion of his body ; his left hand resting on the
 
 82 THE TABLEAU. 
 
 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 wrist- 
 bands, 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 coun- 
 tenance 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 BBIDE'S ABEIVAL HOME. 83 
 
 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. 
 
 LONG FELLOW. 
 
 One Male and Two Female Figures. 
 
 THIS interesting tableau is a representation of Hia- 
 watha 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 for- 
 est. 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 coun- 
 tenance is lighted up with pleasure. Hiawatha is lead- 
 ing her by the hand, and is a little in advance of her. 
 His face is turned towards her as he gracefully assists
 
 84 THE TABLEAU. 
 
 her over the fallen tree. His left hand clasps hers, 
 while the right holds carefully his trusty bow. 
 
 Hand in hand they went together, 
 Through the woodland and the meadow. 
 
 Hiawatha's face is lighted up with pleasant smiles 
 as he looks upon the face of his bride, and tells her 
 that yonder lodge is to be her new home. The lodge 
 of old Nokomis is in the foreground of the picture, 
 at the right of the stage. Minnehaha and Hiawatha 
 are in the background at the left. The door of the 
 wigwam is open, and seated in the doorway on a log 
 is old Nokomis smoking her pipe. In front of the 
 tent are the half burned embers of the camp fire ; a 
 light smoke is curling up to the sky, and all is quiet 
 and still. Nokomis is gazing vacantly into the embers 
 of the fire : perhaps she is thinking of the days when she 
 
 Nursed the little Hiawatha, 
 Rocked him in his linden cradle, 
 Bedded soft in moss and rushes, 
 Softly bound with reindeer's sinews. 
 
 Hiawatha, Minnehaha, arid Nokomis should be dressed 
 in Indian costume, which can be cheaply made with 
 a little ingenuity. Hiawatha's coat may be made of 
 light brown cambric, cut frock style, and belted around 
 the waist. The skirt should reach to the knee, and be 
 ornamented with two rows of fringe three inches wide ; 
 one should be red, the other yellow. These fringes are 
 also to be placed on the seams and bottom of the 
 sleeves and around the collar ; round pieces of brass 
 should be fastened on various parts of the coat and
 
 HIAWATHA AND HIS BRIDE'S ARRIVAL HOME. 85 
 
 around the belt. The leggings are made of buff cam- 
 bric, fitting tightly to the legs, and ornamented at the 
 side with red fringe. Black cloth shoes trimmed with 
 beads are worn on the feet ; the head is adorned with a 
 gold band, in which are inserted bright-colored feathers. 
 The belt around the waist should be made three inches 
 wide, of red morocco, and contain a small knife and 
 tomahawk ; a quiver of arrows is fastened to the back, 
 which can be fashioned of card-board, and covered with 
 bright-colored paper or cloth. The exposed parts of 
 the body should be stained a light brown, the hair 
 brushed up to the top of the head, and confined 
 with a band. Minnehaha's dress is of red cloth, 
 trimmed with yellow fringe intermingled with colored 
 beads. The waist of the dress should be of flesh-col- 
 ored cloth made to fit the body very snugly. A scarf 
 of ermine is worn over the shoulders, and tied at the 
 left side. On the right side of the skirt is an over- 
 skirt or side-apron, made of a darker colored crimson, 
 and trimmed with ermine ; it commences at the front 
 of the body, and extends half way around the skirt ; it 
 is scalloped at the bottom, and ornamented with yellow 
 fringe and beads outside of the ermine. The neck is 
 adorned with a large necklace of white beads, while 
 the head is encircled with a band of gold, ornamented 
 with beads and showy plumes. The hair should be 
 left flowing over the shoulders. The wrists are to be 
 decorated with large gold bracelets. The leggings are 
 to be of crimson cloth ornamented with yellow fringe, 
 and small bands of yellow running around them at
 
 86 THE TABLEAU. 
 
 intervals of four inches. The feet are encased in shoes 
 of black velvet studded with beads. A quiver of arrows 
 is fastened to the back of the dress, and the exposed 
 parts of the body stained light brown. 
 
 Nokomis has on a loose coat of brown cambric 
 fringed with yellow, leggings of buff cambric fringed 
 with light blue, dark shoes ornamented with beads 
 and red binding. The hair should be black, and left 
 to hang loose on the shoulders ; a blue blanket 
 trimmed with crimson fringe is gathered about the 
 shoulders, and a black belt encircles the waist. The 
 person who represents Nokomis should be of large 
 figure and face. The features must be painted to rep- 
 resent old age. The scenery consists of the following 
 articles, which should be arranged in perfect order to 
 give the proper effect to the picture. The stage 
 must be covered with green cloth, and should grad- 
 ually rise from the fore to the background ; small 
 spruce trees can be arranged at the back and sides 
 of the stage, with vines of flowers hanging from 
 them. Two or three stuffed birds should be fastened 
 to the top branches of the trees. The fire can be 
 placed in a furnace near the wigwam, and surrounded 
 with dried branches. The fallen tree and Nokomis' seat 
 may be represented by artificial or natural logs. The 
 tableau should receive the light from the right hand 
 side, the greater portion of which should be thrown 
 into the background. The accompanying music should 
 be of secular and inspiring order.
 
 DAVID PLAYING BEFORE SAUL. 87 
 
 DAVID PLAYING BEFORE SAUL. 
 
 Sing aloud unto God our strength, and make a joyful noise unto the God of 
 Jacob. 
 
 Take a psalm, and bring hither the timbrel, the pleasant harp with the 
 psaltery. 
 
 Blow upon the trumpet in the new moon, in the time appointed, on our sol- 
 emn feast day. 
 
 For this was a statute for Israel and a law of the God of Jacob. 
 
 PSALM LXXXI. 
 
 And Saul's servants said unto him, Behold now, an evil spirit from God 
 troubleth thee. Let our Lord now command thy servants, which are before 
 thee, to seek out a man who is a cunning player on a harp ; and it shall 
 come to pass, when the evil spirit from God is upon thee, that he shall play 
 with his hand, and thou shalt be well. And Saul said unto his servants, 
 Provide me now a man that can play well, and bring him to me. Then an- 
 swered one of his servants, and said, Behold, I have seen a son of Jesse the 
 Bethlehemite, that is cunning in playing, and a comely person. Wherefore 
 Saul sent messengers unto Jesse, and said, Send me David thy son. And 
 David came to Saul, and stood before him ; and it came to pass, when the evil 
 spirit from God was upon Saul, that David took a harp, and played with his 
 hand. So Saul was refreshed, and was well, and the evil spirit departed from 
 him. 1 SAMUEL xvi. 
 
 Six Female and Eight Male Figures. 
 
 THIS sacred tableau contains fourteen figures, and is 
 arranged in the following manner. Saul is seen seated 
 on the throne at the background of the picture. On 
 each side of the throne are seated Saul's friends and 
 servants. David is sitting in the foreground, playing 
 on the harp. Saul's costume consists of a scarlet or 
 purple velvet coat and breeches, white hose crossed 
 with red bands, low shoes, a crown of velvet and 
 gold, ornamented with precious stones, on the head, 
 and a large cloak of velvet and ermine thrown over 
 the shoulders. A long white beard should be fastened
 
 88 THE TABLEAU. 
 
 to the face, and a wig worn on the head. The gentle- 
 men should be attired in long, loose coats, made of 
 bright-colored cambric, trimmed with the same ma- 
 terial, of other colors. The head should be covered 
 with a red and black turban. White hose, crossed 
 with black and red bands, breeches of showy-colored 
 cloth, shoes covered with red flannel, and crossed with 
 black binding, the face disguised with a long white 
 beard, which can be made of flax. The ladies can 
 be costumed in satin or silk dresses, the hair hanging 
 in curls, and the person decorated with a profusion of 
 jewelry. The person who takes the part of David 
 should be of fair complexion, without a beard, 
 should have long hair, and be costumed in a light, 
 loose blue coat, reaching five inches below the knee, 
 and gathered around the waist with a crimson belt. He 
 should also wear blue breeches, blue hose crossed with 
 red bands, and sandals on the feet ; a turban, made 
 of velvet, and decorated with gold, should adorn the 
 head. The throne platform is to be two feet high 
 and four feet square ; on this is placed a large chair, 
 with a canopy over the top, all of which must be 
 trimmed with crimson cloth, and decorated with gold 
 paper. On each side of the throne, place seats to 
 accommodate twelve persons ; those in front can be 
 seated, while others, in the background, should be 
 standing ; they must assume various positions ; a few 
 may be engaged in conversation, while others are look- 
 ing at David. Saul is seated on the throne, with the 
 right hand resting on the arm of the chair, his body
 
 LIBERTY. 89 
 
 slightly bent forward, and eyes fixed on David. His 
 countenance expresses pleasure. David is seated on a 
 low ottoman in the foreground of the picture. The 
 harp rests on the floor. Position so that a side view is 
 had of the body. His head is thrown back ; eyes cast 
 upward; face expresses pleasure. The light for this 
 picture should come from the front and the left side 
 of the stage, and must be quite brilliant. The harp can 
 be made of wood, covered with gold paper, and strung 
 with yellow cord. The music should be of a sacred and 
 inspiring style. 
 
 LIBERTY. 
 
 " Liberty, can man resign thee 
 
 Once having felt thy generous flame ? 
 Can dungeons, bolts, or bars confine thee, 
 
 Or whips thy noble spirit tame ? 
 Too long the world has wept, bewailing 
 
 That falsehood's dagger tyrants wield ; 
 
 But freedom is our sword and shield, 
 And all their arts are unavailing. 
 
 To arms, to arms, ye brave ! 
 
 The avenging sword unsheathe ! 
 March on, march on, all hearts resolved 
 On victory or death." 
 
 Seven Female and Six Male Figures. 
 
 THIS tableau is an ideal representation of Liberty, 
 and is represented by thirteen persons seven young 
 ladies and six young gentlemen. In the background 
 of the picture a platform is raised, on which stands the 
 Goddess of Liberty. This platform is three feet high
 
 90 THE TABLEAU. 
 
 and four feet square. The front is covered with blue 
 cambric, with a border of red, decorated with gilt 
 stars. In the centre is placed a gilt eagle ; on each 
 end of the platform is a small American shield. The 
 background is draped with American flags. On each 
 side of the platforms are placed inclined planes, extend- 
 ing from the corners of the platform to the front corners 
 of the stage ; the height of these at the front should 
 be six inches, and three feet high at the background. 
 They are to be covered with white cloth, and orna- 
 mented with a border of red and blue cambric. The 
 lady who personates the Goddess of Liberty should be 
 of good height, fine figure and features. Costume 
 consists of a white satin or silk dress, made long enough 
 to trail on the platform, a waist of crimson velvet, cov- 
 ered with small gilt stars, sleeves five inches long, hair 
 done up snugly, and covered with a spiral liberty cap, 
 of blue velvet, decorated with gold bands. Position 
 is, standing in the centre of the platform, grasping with 
 the right hand a slender spear seven feet in length. 
 Entwined around this should be a small American en- 
 sign. The left hand hangs carelessly at the side ; the 
 head thrown back slightly, the eyes cast upward. 
 The six ladies kneel at equal distances on the inclined 
 plane. Their costume consists, of a white dress, blue 
 waist, and red sash; a garland of flowers should 
 adorn the head, and each holds extended in the right 
 hand a wreath of myrtle. Their attention should be 
 directed to the Goddess of Liberty. The six gentle- 
 men take position on the opposite inclined plane. 
 They kneel at equal distances from the platform to the
 
 PAGANISM AND CHRISTIANITY. 91 
 
 corner of the stage, and are costumed in blue or black 
 coats, white pants, with buff stripe on the side, gold 
 epaulets, side arms, red sash, flat caps, with gilt bands. 
 The cap should be slightly raised with the right hand, 
 while the left is placed on the hip. The eyes are to be 
 directed to the Goddess. The piece should be lighted 
 up by a red fire burned at the opposite side from the 
 gentlemen, and the light must be quite brilliant. 
 Music, Star-spangled Banner. 
 
 PAGANISM AND CHRISTIANITY. 
 
 O'er the realms of pagan darkness, 
 
 Let the eye of pity gaze ; 
 See the kindred of the people 
 
 Lost in sin's bewildering maze ; 
 May the heathen, now adoring 
 
 Idol gods of wood and stone, 
 Come, and, worshipping before him, 
 
 Serve the living God alone. 
 
 COTTERILL. 
 
 Two Female and Two Male Figures. 
 
 THIS double tableau represents the idolatrous system 
 of faith and worship of the pagans, and by simple 
 machinery the scene is made to pass from the view of 
 the audience, and we have represented the faith and 
 glorious emblems of Christianity. The machinery and 
 scenery which are used in the piece are made in the 
 following manner : A revolving beam should be set 
 up under the stage, the upper end protruding through 
 the floor. Washers will be needed for the bottom and
 
 92 THE TABLEAU. 
 
 top, and wooden pins, passing through the beam, 
 be necessary, to take hold of to move it around. Build 
 a circular platform ten feet in diameter ; make it 
 strong with braces, and, if necessary, it can be made in 
 two parts, and fastened together with iron hooks and 
 clamps. Cut a square hole in the centre of the 
 platform, corresponding with the thickness of the 
 beam. Then place it on the top of the beam, six 
 inches from the floor, secure it firmly, and make it 
 perfectly level. Across the centre of the platform 
 cut small holes for the purpose of inserting the ends of 
 a partition which will divide the circle into two apart- 
 ments ; make the partition of wood ; cover one side 
 with white cloth, and also the floor with the same ; the 
 other side and floor with black cloth. It should be 
 five feet high, ten feet wide, and oval at the top. After 
 the tableaux are arranged on each side of the platform, 
 persons under the stage can revolve the whole with 
 very little exertion. The tableau of Christianity 
 should be formed on the light side, and Paganism 
 on the dark side. By placing numbers on the re- 
 volving beam, and corresponding numbers on the 
 washers, the assistant below will be able to tell when 
 the tableau is in the right position above. To rep- 
 resent Paganism, a large idol should be constructed, 
 and seated in the centre, and close to the black parti- 
 tion. The form of the human body can be imitated by 
 taking a suit of old garments, stuffing them with straw, 
 and covering them with buff cambric, on which hiero- 
 glyphics can be painted. A large mask, with artificial
 
 PAGANISM AND CHRISTIANITY. 93 
 
 hair, and crown made of gaudy-colored cloth, will 
 answer for the head ; a short frock of red Turkey 
 cloth, trimmed with gold paper, should be fastened 
 about the lower portion of the body. The idol should 
 be seated on a pedestal sixteen inches high, which is 
 placed on a platform three feet square and eight inches 
 high. These are to be decorated with showy cloth or 
 paper. Kneeling at the foot of the pedestal are two 
 figures, one a female, the other a male. Their hands 
 are clasped in front of the face, the eyes raised to the 
 idol, head turned, so that a side view is had of the fea- 
 tures. The costume of the youth consists of a loose 
 coat, made of brown cambric, trimmed with crimson 
 cloth and beads ; flesh-colored pants, fitting tightly to 
 the legs ; shoes covered with showy cloth ; a turban on 
 the head, made of strips of red and buff cloth; the 
 face and other exposed parts of the body stained a light 
 brown. The young lady's costume consists of a loose 
 dressing gown, trimmed around the top and on the 
 ends of the sleeves with bands of red cloth, and gold 
 paper cut in the form of diamonds. The hair should 
 hang loosely over the shoulders, and about the head 
 entwine a string of beads ; the head is slightly turned 
 to the young man ; the eyes directed to the idol ; 
 the face and arms stained like the young man's. 
 The extreme ends of the platform are occupied 
 by two figures costumed similar to those already 
 described. They are kneeling at the feet of small 
 pedestals in such a position that a profile view is 
 had of the form. The pedestals should be two feet
 
 94 THE TABLEAU. 
 
 high, and covered with bright-colored cloth. On one is 
 a representation of the sun, made by pasting a sheet of 
 gold paper on card-board, and cutting out rays around 
 the edge. On the other pedestal is placed a figure of 
 the moon, with the stars radiating around it. The 
 moon can be made of card-board and silver paper, and 
 the stars of gold paper ; these must be fastened to 
 wires, and placed ten inches from the top of the ped- 
 estals. Indian war clubs, spears, shields, and other 
 heathen curiosities, should be placed about the figures. 
 The light for this scene must be quite mild, and come 
 from the right hand side of the stage. Music low 
 and of a mournful character. 
 
 SECOND SCENE OF PAGANISM AND CHRISTIANITY. 
 
 Upon the gospel's sacred page 
 
 The gathered beams of ages shine ; 
 
 And as it hastens, every age 
 But makes its brightness more divine. 
 
 On mightier wing, in loftier flight, 
 From year to year does knowledge soar, 
 
 And as it soars, the gospel light 
 Adds to its influence more and more. 
 
 BOWSING. 
 
 One Male and Two Female Figures. 
 
 The Tableau of Christianity. On the side of the 
 platform which is covered with white cloth there should 
 be erected a small pulpit. Make it of boards, cover it 
 with cloth, and paint it in imitation of mahogany. 
 A small red cushion should be placed on the top, 
 supporting a large Bible, and on each side place
 
 PAGANISM AND CHRISTIANITY. 95 
 
 lamps, with glass shades. In the pulpit stands a 
 young man dressed to represent a minister of the gos- 
 pel ; one hand resting on the Bible, the other raised 
 upward. In front of the pulpit place a small table, 
 covered with a white cloth, on which set four silver 
 goblets. By the side of the table place a plaster ped- 
 estal, with a white urn on the top, to represent a font ; 
 on each side of the pulpit, and at the extreme ends of 
 the platform, are two female figures ; both are kneeling 
 by the side of small pedestals ; these can be made of 
 small boxes, covered with white cloth, and ornamented 
 with myrtle. The female figures should face the au- 
 dience. One holds a large Bible with the right hand, 
 and points to the pages with the left. The eyes are 
 cast upward ; the face expresses meekness and serenity. 
 The second figure, at the other end of the platform, 
 holds a cross in the left hand, and points to it with the 
 right ; the eyes are raised upward, the face expressing 
 pleasure. Their costume consists of white dresses, cut 
 low at the top, sleeves quite long and flowing, and 
 ornamented with white muslin ; the waist is encircled 
 with a band of satin ribbon ; a wreath of white flowers 
 adorns the head, and gauze wings are fastened to the 
 back of the waist. The hair should be dressed closely 
 to the head, and a few curls allowed to hang on the 
 shoulders. The length of the cross is three feet; 
 color, light blue. On small pedestals, between the 
 pulpit and the female figures, place models of the 
 steam engine, steamboat, printing press, and .tel- 
 egraph. The tableau of Paganism must be first pro-
 
 96 THE TABLEAU. 
 
 duced, after which the machinery should slowly re- 
 volve, bringing into the view the tableau of Chris- 
 tianity. The curtain must be kept up until both are 
 exhibited. The light for these tableaux should be 
 quite brilliant, and issue from the left side of the stage. 
 Music of a sacred character. 
 
 THE FAIRIES' DANCE. 
 
 The moon is full, the stars are bright, 
 
 The monks are all asleep ; 
 Now gayly come the Fays to-night, 
 
 Their revelry to keep. 
 They love the abbeys old and gray, 
 
 Whence the vesper song is heard, 
 And the matin hymn at break of day 
 
 Awakes the singing bird. 
 
 "With waving torch and tiny shout, 
 
 The nimble foot they ply, 
 And Fairy laughs are ringing out 
 
 Beneath the midnight sky ; 
 Then mortals hear the merry peals, 
 
 And wonder at the sound, 
 So like the chiming of harebells, 
 
 "When light winds steal around. 
 
 Ten Female and Eight Male Figures. 
 
 THIS beautiful tableau is represented by eight small 
 misses, eight small lads, and two young and pretty 
 ladies. The stage should be formed so as to rise 
 gradually from the footlights to the background, 
 which can be done by using boxes of various sizes, and 
 covering them with green booking. Twelve of the
 
 THE FAIRIES' DANCE. 97 
 
 children should form a circle, the front of which must 
 be two feet from the footlights, the back extending to 
 the other end of the stage. They should clasp each 
 other by the hand, and take the position of the Highland 
 fling; the right hand raised above the head, the left 
 placed on the hip ; the attitudes should be as grace- 
 ful as possible. The expression of the faces denot- 
 ing pleasure and mirth. Near the footlights, two 
 of the children should be seated, looking at the oth- 
 ers ; and standing on pedestals at each side of the 
 stage, near the front, are the young ladies. The ped- 
 estals are two feet high, covered with pink cambric, 
 and bordered with green leaves and flowers. The 
 position of the female figures must be graceful and 
 easy. They stand so as to show a profile view of the 
 body ; each holds a golden wand, which she extends 
 out over the heads of the dancers. Their eyes are 
 fixed on the movements of the children, the left hand 
 clasps a stout cord, to which is fastened a large 
 crimson tassel, that will help sustain the body in po- 
 sition. The costume of the misses consists of a short 
 white dress, with short sleeves, the waist studded 
 with small stars and spangles ; the bottom of the skirt 
 bound with light green ribbon, three inches wide, with 
 gold paper fastened to each edge, and small pink roses 
 placed between. The sleeves are bound with gold and 
 pink ribbon in alternate bands, three inches wide ; a 
 small scarf of white gauze, covered with spangles and 
 fringed at the ends with gold, encircles the waist. 
 Flesh-colored hose, white slippers, a wreath of silver 
 9
 
 98 THE TABLEAU. 
 
 leaves about the head. The hair arranged in short 
 curls, and small gauze wings, ornamented with span- 
 gles, fastened to the back of the waist 
 
 The young lads' costume consists of a short coat, 
 buttoned snugly over the breast, made of light pink 
 cambric. The bottom, the ends of the sleeves, and 
 the collar trimmed with purple cambric, three 
 inches in width, with narrow strips of gold paper 
 on each side ; between the bands of gold, insert 
 small diamond-shaped pieces of gold paper, bordered 
 with spangles. A belt made of the same ma- 
 terial encircles the waist ; hose of flesh-colored cloth ; 
 white slippers, with pink rosette on the front ; a small 
 cap, made of purple cambric, in the form of a tulip, is 
 worn on the head; it should be rather low, with a 
 stem of green protruding from the top, the edges scal- 
 loped, and bound with gold paper. Small gauze 
 wings are fastened to the shoulders, which are orna- 
 mented with spangles and silver stars. The young 
 ladies' costume consists of a long white dress, with a 
 robe worn on the outside of tarleton muslin ; the outer 
 dress should have three wide flounces, the edges of 
 which are to be trimmed with large silver leaves, inter- 
 spersed with gilt roses ; these can be made from gold 
 and silver paper. The waist must be cut quite low, 
 and decorated in the same manner ; the sleeves flow- 
 ing, 'and trimmed with spangles and pink ribbons ; 
 large gauze wings, decorated with spangles and 
 silver tinsel, should be fastened to the back of the 
 waist. The hair must be done up in a neat coil, and
 
 BUST OP PRAYER. 99 
 
 encircled with a band of white flowers. Make the 
 wands four feet in length, and one half an inch in 
 diameter ; cover them with silver paper, attach a gilt 
 heart on the end. The light for this tableau can be 
 produced by a whitish-blue fire, burned at either side 
 of the stage ; it should be quite brilliant, and must be 
 lighted before the curtain rises. Music of a lively 
 order. 
 
 BUST OF PRAYER. 
 
 Prayer is the soul's sincere desire, 
 
 Utter'd or unexpress'd ; 
 The motion of a hidden fire 
 
 That trembles in the breast. 
 
 Prayer is the burden of a sigh, 
 
 The falling of a tear, 
 The upward glancing of an eye, 
 
 When none but God is near. 
 
 Prayer is the simplest form of speech 
 
 That infant lips can try ; 
 Prayer, the sublimest strains that reach 
 
 The Majesty on high. 
 
 | 
 
 One Female Figure. 
 
 THIS beautiful production should be represented by 
 one who has an amiable and modest appearing coun- 
 tenance, good figure and features. The hair must be 
 brushed up from the forehead, and fastened behind in 
 a black crochet net. The dress should be pure white, 
 open very low at the front and back. A cross is sus- 
 pended from the neck by a band of white ribbon. A
 
 100 THE TABLEAU. 
 
 heavy white veil should pass over the top and back of 
 the head, aiid be tied loosely four inches below the 
 chin; the head inclined forward slightly, the eyes 
 closed, while the countenance should appear serene, 
 pure, and full of hope; the arms are to be folded 
 out of sight upon the breast. The same machinery, 
 pedestal, wire basque, crimson curtain, and fairies that 
 are used in the Bust of Proserpine, may be used in 
 this piece. The light should be mild, and come from 
 the left side of the stage. Music plaintive, and of a 
 sacred order. 
 
 MORNING WELCOMED BY THE STAES. 
 
 A glorious vision : as I walked in gloom, 
 
 The children of the sun came thronging round me, 
 In shining robes and diamond-studded shoon ; 
 And they did wing me with them, and soon 
 
 In a bright dome of wondrous width I found me, 
 Set all with beautiful eyes, whose wizard rays, 
 
 Shed on my soul, in strong enchantment bound me ; 
 And so I looked and looked with dazzled gaze, 
 
 Until my spirit drank in so much light 
 That I grew, like the sons of that glad place, 
 
 Transparent, lovely, pure, serene, and bright ; 
 Then they did call me brother ; and there grew 
 
 Swift from my sides broad pinions gold and white, 
 And with that happy flock a brilliant thing I flew ! 
 
 TUPPEE. 
 
 Twenty-one Female Figures. 
 
 THIS beautiful spectacle is represented by twenty- 
 one persons. Twenty of the number should be young 
 misses, of about six or eight years of age, who will per- 
 sonate the stars, and one, a young and handsome lady,
 
 MOENING WELCOMED BY THE STAES. 101 
 
 who is to represent morning. The sides of the stage 
 must be arranged in the form of terraced banks, two 
 feet wide at the bottom, and four feet wide at the top ; 
 they should be built from the footlights to within three 
 feet of the ceiling, covered with cloth, and painted to 
 represent clouds. Blue cambric, with white clouds and 
 gold stars, will answer the purpose. In the centre of 
 the stage, two pieces of joist must be placed in an 
 inclined position, running from the footlights to the 
 background. On these build a sliding platform, four 
 feet square, with a small seat, one foot high. This 
 should be made to run with ease from the top to the 
 bottom of the joist ; cloth, painted in imitation of clouds 
 and stars, can be extended across the space between 
 the two terraces and the joist, so that it will show a 
 smooth surface. Cover the moving platform with cloth, 
 arranged in drapery style, and paint in the same manner 
 as the rest of the scenery. A back scene should be 
 placed at the top of the terraces, leaving a space of 
 three feet between it and the back wall ; this must be 
 painted like the rest of the scenery, and made to open 
 in the centre, near the top of the joist. 
 
 The young misses' costume consists of a short white 
 dress, decorated with gold stars, and silver paper inter- 
 spersed with spangles, white hose and shoes, hair hang- 
 ing in curls, and encircled with a band of silver leaves, 
 with a silver star on the forehead ; a light blue sash, 
 covered with spangles, tied about the waist ; and small 
 gauze wings fastened to the back of the dress. Each 
 one should hold a small torch ten inches in length, 
 9*
 
 102 THE TABLEAU. 
 
 from which rises a blue flame ; these can be made of 
 card-board, and covered with light blue paper, with 
 the ends tipped with gold. At the end from which the 
 flame is produced, insert a strip of tin, to protect the 
 torch from the flames. The torches should not be 
 lighted until all the figures are in position. The 
 young misses take their position at each side of the 
 stage, on the outer edge of the terrace. They must 
 lean forward slightly, and hold the torch out from 
 them. Their attitudes should be varied; those near 
 the top should be gazing upward, others looking down, 
 and a few engaged in conversation. The young lady 
 who represents Morning must be costumed in a loose 
 white robe of tarleton muslin, cut low at the top, flow- 
 ing sleeves, skirt covered with three wide flounces, 
 trimmed in front with silver rays five inches long. 
 The waist and sleeves decorated with silver and gold 
 spangles, and a satin belt, ornamented in like man- 
 ner, worn about the waist. The hair should be 
 brushed back from the forehead, and clasped with a 
 band of silver, and allowed to hang over the shoulders 
 in long curls ; the head is adorned with a band 
 of gold, with rays of silver radiating from the cen- 
 tre. The position is, seated on the platform, head 
 slightly inclined to the left, the right hand raised 
 over the head, the left rests on the waist ; eyes directed 
 to the children in the foreground, countenance ex- 
 pressing pleasure. The goddess Morning will be 
 seated on the platform, behind the scenery. 
 
 A yellow fire must be burned in the ante-room,
 
 MORNING WELCOMED BY THE STARS. 103 
 
 and so shaded that, just as the curtain rises, a 
 small portion of the light will shine on the centre 
 of it ; this light should increase in brightness for 
 a few seconds, when the sky in the background 
 must open, and the goddess glide slowly down to the 
 centre of the stage. As the platform moves, the 
 fire should increase in brightness ; when she has 
 arrived at the centre of the stage, the yellow light 
 should be thrown into the foreground, and a red light 
 thrown into the background. This can be accom- 
 plished by placing the colored fires in large boxes fur- 
 nished with sliding covers and reflectors ; and by draw- 
 ing out the covers gradually, the light will be thrown 
 on to the picture in the proper manner. The cur- 
 tain in the background can be opened by attaching 
 at each corner, near the centre, a small cord, which 
 can be passed through pulleys, and attended to in the 
 ante-rooms. The curtain or scenery should be drawn 
 up on the back side, and let down in its place as soon 
 as the platform has passed through. A small rope, 
 painted blue, must be attached to the platform, and 
 pass through a block fastened to the wall of the stage ; 
 this can be tended by a person under the stage, who 
 will allow the platform to move with exactness to its 
 stopping place. If the light from the colored fire is 
 not brilliant enough, a few of the lights at the same 
 side from whence the fire is produced can be lighted. 
 Music soft and plaintive at first, and increasing in 
 power at the finale.
 
 104 THE TABLEAU. 
 
 THE STATUE VASE. 
 
 She spoke to vanish, but the single ray 
 
 Shot from the unseen moon, still palely breaketh 
 
 The awe that rests with midnight on the way ; 
 
 Faithful as Hope when Wisdom's self forsaketh 
 
 The buoyant beam the lonely man pursued 
 And, feeling God, he felt not Solitude. 
 
 And now, he enters, with that lurid tide, 
 
 "Where time-long corals shape a mighty hall ; 
 
 Three curtain'd arches on the dexter side, 
 And on the floors a ruby pedestal, 
 
 On which with marble lips, that life-like smiled, 
 
 Stood the fair Statue of a crowned Child. 
 
 BULWER'S KINO ARTHUR. 
 
 One Female Figure. 
 
 THIS design is a beautiful female, supporting a horn 
 of plenty, from which rises a basket of intermingling 
 vines and flowers. The lady is standing on a pedestal, 
 which is described in the tableau of the Italian Flower 
 Yase, as is also the basket which- the lady supports. 
 This basket or bowl of the vase can be suspended 
 from the centre of the ceiling by the means of wire 
 hooks. The pedestal must be placed directly under 
 it. The space between the top of the pedestal and the 
 bottom of the basket should be just the height of the 
 lady who takes the part of the statue in the piece ; so 
 that when she is in position on the pedestal, the bot- 
 tom of the basket will touch the top of her head. The 
 horn of plenty can be made of cloth ; it should be five 
 inches in diameter at the top, three feet long, and end 
 in a point at the bottom; it can be stuffed with
 
 THE STATUE VASE. 105 
 
 wool, covered with green cambric, and decorated with 
 artificial flowers. It is to be attached to the bottom of 
 the basket, pass down over the lady's shoulder, and 
 held in its position by the left arm and hand. The 
 lady who takes this part should be of large and good 
 figure, regular features, and quite pretty. The cos- 
 tume consists of a white dress, with sleeves five inches 
 long, cut low at the neck, skirt made rather long, 
 and worn without many underskirts; a scarf of 
 gauze worn over the shoulders, and tied at the right 
 side, allowing the ends to trail on the pedestal. The 
 hair should be arranged in wide braids at the side of 
 the face, confined at the back with a band of silver, 
 and allowed to fall in short curls over the neck. The 
 position of the lady is, standing in the centre of the 
 pedestal, her body facing the audience, and head 
 turned partially to the right. The eyes should be 
 raised a trifle, while the expression of the face denotes 
 tranquillity and repose. The left hand must grace- 
 fully press the horn of plenty against the side of the 
 breast, while the right is raised above the head, and 
 touches the basket as if to steady it. The light for 
 this piece should be of medium brilliancy, and placed 
 at the side opposite to the face of the statue. Music 
 soft and of a secular order.
 
 106 THE TABLEAU. 
 
 SPIRIT OF CHIVALRY. 
 
 Strike the loud harp, ye minstrel train ! 
 
 Pour forth your loftiest lays ; 
 Each heart shall echo to the strain 
 
 Breathed in the warrior's praise. 
 
 Bid every string triumphant swell 
 
 Th' inspiring sounds that heroes love so well. 
 
 Chieftains, lead on ! our hearts beat high 
 
 For combat's glorious hour ; 
 Soon shall the red cross banners fly 
 
 On Salem's loftiest tower ! 
 We burn to mingle with the strife, 
 Where but to die insures eternal life. 
 
 MBS. HEM ASS. 
 
 Nine Male and Five Female Figures. 
 
 THIS fine tableau represents the Spirit or personifica- 
 tion of Chivalry, surrounded by men of various pur- 
 suits, religious, military, and civil, who represent, as 
 by an upper court or house, the final acquisition of her 
 honors and rewards. Beneath, as not having obtained, 
 though within reach of, the crown, is a young knight 
 who vows chivalric services, and is attended by his 
 page and his young bride. Around him, in various 
 attitudes, other figures are introduced, to connect the 
 abstract representation of Chivalry with its general re- 
 cognition of intellectual influences ; among them, the 
 Painter, the Sculptor, and Man of Science ; the Palmer 
 from the Holy Land, and the Poet-Historian, from 
 whom future ages must derive their knowledge of the 
 spirit and deeds of chivalry. The lady who personates 
 the Spirit of Chivalry should be of good figure and
 
 SPIRIT OP CHIVALRY. 107 
 
 features. Her costume consists of a loose white robe, 
 cut high in the neck ; a mantle of white tarleton mus- 
 lin is draped about the shoulders, and fastened in front 
 with a gilt cross ; the hair is arranged in bands, falling 
 low in the neck, and encircled with a small wreath of 
 silver leaves or white flowers. In her left hand she 
 holds a small wreath of evergreen, which she extends 
 towards the young knight, who kneels at the foot of 
 the pedestal on which she stands. Her position is, on 
 a pedestal, three feet high by two feet square, which 
 should be placed in the centre of the stage. Her body 
 should be inclined slightly forward, and attention 
 directed to the knight in the foreground ; her coun- 
 tenance should express dignity and pleasure. At the 
 back of the pedestal there should be a representation 
 of an altar, consisting of a shaft two and one half feet 
 wide by three feet in height, with a capital on the top 
 one foot wide by three and one half feet long. This 
 can be made of boards, showing a smooth surface, and 
 nailed to the top of the pedestal. It can be papered 
 or painted to represent panels and scrolls. Fourteen 
 other figures are grouped around the pedestal, and as 
 the arrangement of the piece is a trifle complicated, 
 we will designate them in rotation, beginning at the 
 foot of the pedestal. The figures, as they recede in 
 the background, should be placed on small platforms, 
 rising from one to three feet in height. By arranging 
 the figures in this manner, a perfect view of each will 
 be had by the audience. Figure one is a young lady ; 
 she kneels at the foot of the pedestal on which the Spirit
 
 108 THE TABLEAU. 
 
 stands. Costume is, a white dress, cut low at the 
 waist, encircled with a satin sash ; hair arranged in 
 curls. Position is, sitting, the body facing the au- 
 dience, head resting on the hand, and thrown back so 
 as to touch the pedestal, and eyes directed to the face 
 of a harper, who kneels in front of her ; the coun- 
 tenance expresses surprise and admiration. Kneeling 
 on the floor, nearly in front of figure one, is a young 
 knight we have almost a back view of him, the head 
 turned just enough to get a partial profile view of the 
 face ; one hand clasps a sword, which he raises in front 
 of the body ; the other is lifted above the head, which 
 is thrown back, with the eyes fixed on the Spirit. The 
 armor can be conveniently composed by fastening strips 
 and plates of bright tin to a suit of clothes made of 
 black cambric. The belt, gloves, and boots can be 
 gotten up in the same manner. This suit will cost but 
 a trifle, and in the glare of the footlights will look 
 finely. Figure three is the palmer. He kneels behind 
 figure one. Costume consists of a dark robe, cowl 
 made of black cloth, and face covered with a heavy 
 beard. In his hands he holds a shepherd's crook. His 
 eyes are directed to the harper. Figure four is a small 
 girl, who stands behind figure three, and holds in both 
 hands the helmet of the knight. Her costume consists 
 of a white dress, with a pink sash ; hair done up to 
 suit the taste of the performer. Her position is, facing 
 the audience, eyes fixed on the knight, expression of the 
 face denoting pleasure. Two other ladies stand on a 
 small platform, outside of the lady holding the helmet.
 
 SPIRIT OF CHIVALRY. 109 
 
 Their costume consists of a white dress, black velvet 
 waist, hair arranged in wide braids at the side of the 
 face ; one clasps her hands in front of her breast, and 
 looks with earnestness at the knight ; the other places 
 an arm on the shoulder of her friend, and looks up 
 into her face, her countenance beaming with smiles. 
 Behind these three females, and standing on a platform 
 two feet high, are two peasants. They are dressed in 
 blue frocks, fastened around the waist with black 
 belts, knee breeches of colored cloth, white hose, low 
 shoes, knee and shoe buckles, white Kossuth hats, en- 
 circled with a gilt band ; the face covered with long, 
 light beards. Each holds a long staff, with a gilt crook 
 at the top. Their position should be behind the altar, 
 arms folded on the breast, head inclined forward, eyes 
 cast down, and the expression of the face melancholy 
 and sober. Opposite to the two figures last described, 
 and standing on a platform at the other side of the 
 altar, is a knight in full armor. He holds a large 
 sword in front of his body, and is looking straight for- 
 ward. His costume can be made in the same man- 
 ner as that of the one described at the beginning of 
 the tableau. On a low platform, at the side of the 
 Spirit, stand a Sculptor and a Painter. Their position 
 is, facing the knight, who is kneeling in the foreground. 
 Their costume consists of white jackets, dark pants, 
 and flat, white caps, worn jantily on the side of the 
 head. The Painter holds his pallet and brushes, the 
 Sculptor his mallet and chisel ; their attention is di- 
 rected to the figure of the kneeling knight. Standing 
 10
 
 110 THE TABLEAU. 
 
 on the floor, below the two figures just described, is 
 the Poet-Historian. He faces the audience, and looks 
 at the Harper in the foreground. He is dressed in 
 dark clothes ; a heavy white mantle is thrown over his 
 shoulders, the ends trailing to the floor ; on his head is 
 placed a garland of green leaves. He holds in both 
 hands a large book, which should be bound richly and 
 opened in the centre. Kneeling on the floor at his 
 feet, and facing the young knight, is the Harper. He 
 holds in his left hand a harp, and touches the strings 
 with his right. His costume consists of a coat made of 
 Turkey cloth, trimmed with black binding four inches 
 wide ; black knee breeches, white hose, knee and shoe 
 buckles, and red shoes. Over the left shoulder is 
 carelessly thrown a short velvet cloak, and on the head 
 is a black velvet cap, with a gold band and plume. 
 His head is thrown back, eyes directed to the Spirit, 
 while the countenance should appear to be inspired. 
 Kneeling at the foot of the* pedestal, between the first 
 figure and the Harper, is the Troubadour, playing on a 
 guitar ; he faces the audience ; his head is thrown 
 back, and his eyes cast upward. Costume consists of a 
 purple coat, trimmed with black binding, blue breeches, 
 white hose, low shoes, knee and shoe buckles, belt con- 
 taining a small dagger, about the waist. The harp can 
 be made of wood, covered with gold paper, and strung 
 with buff cord. The light for this piece should be 
 produced at either side of the stage, and a small quan- 
 tity at the front. The side light must be very powerful. 
 The accompanying music should be of a brilliant order.
 
 HAIDEE AND DON JUAN IN THE CAVE. Ill 
 
 HAIDEE AND DON JUAN IN THE CAVE. 
 
 His eyes he opened, shut, again unclosed, 
 For all was doubt and dizziness; he thought 
 
 He still was in the boat, and had but dozed, 
 And felt again with his despair o'erwrought, 
 
 And wished it death in which he had reposed ; 
 
 And then once more his feelings back were brought, 
 
 And slowly by his swiming eyes was seen 
 
 A lovely female face of seventeen. 
 
 'Twas bending close o'er his, and the small mouth 
 
 Seemed almost prying into his for breath ; 
 And, charing him, the soft, warm hand of youth 
 
 Recalled his answering spirits back from death ; 
 - And, bathing his chill temples, tried to soothe 
 
 Each pulse to animation, till beneath 
 Its gentle touch and trembling care, a sigh 
 
 To these kind efforts made a low reply. 
 
 BTBON. 
 
 One Male and Two Female Figures. 
 
 THIS pleasing tableau is taken from the poem of 
 Don Juan, by Byron. The scene is that where Haidee 
 discovers the insensible form of Juan lying at the 
 mouth of the cave, near to the sea shore. Don Juan 
 has been shipwrecked ; his almost lifeless body has 
 washed ashore, and found a resting place in a rocky 
 cave, to be discovered by the beautiful Haidee and her 
 attendant. The principal work in this piece is the 
 forming of the cave, which can be made in the follow- 
 ing manner : The floor of the cave should rise grad- 
 ually from the front to the background ; this can be ac- 
 complished by using boxes of various sizes, over which 
 place brown cambric, with brown paper attached to it
 
 112 THE TABLEAU. 
 
 in a crumpled manner, so as to imitate ragged rocks, 
 and when painted with light and brown colors, and 
 ornamented with isinglass, will make a very good ap- 
 pearance. The floor of the cave should extend to 
 within "three feet of the front of the stage, and run 
 back to the extreme background. The space between 
 the footlights and the floor of the cave should be cov- 
 ered with blue cambric, painted to represent waves and 
 surf. Directly behind the drop curtain there should 
 be a representation of the roof and sides of the cave. 
 Light frames, covered with brown paper, similar to the 
 floor, and made very irregular at the edges, must be 
 placed at each side of the stage, and at the top ; these 
 should be two feet wide, and of the height and width 
 of the stage. Two other sets of frames should be 
 made similar to the first, and placed at equal distances 
 from the fore to the background. The first set must 
 be three feet wide ; the second set four feet wide. The 
 background of the cave may also be covered with 
 similar scenery. The idea of arranging the scenery in 
 this manner is to give a deep appearance to the cave. 
 Isinglass should be profusely sprinkled over the surface 
 of the rocks, and a few sprigs of grass fastened to 
 them will add to the effect. The fastening of the 
 brown paper to the frames can be dispensed with if 
 there is any person who can paint out the rocks on 
 plain canvas. The one who personates Juan should 
 be of slight figure, fine, regular features, hair black and 
 curly, and small moustache. Costume consists of 
 black pants, with buff or gold stripe at the side, white
 
 HAIDEE AND DON JUAN IN THE CAVE. 113 
 
 shirt, with blue collar, and gold star at the corners, 
 black belt around the waist, white hose, low shoes, with 
 buckles of silver. The shirt should be left open in 
 the neck, so as to expose the bosom. A small wound 
 can be imitated on the side of the head, made with 
 red paint. Position is, reclining on the rocks in the 
 foreground of the cave ; the left side touches the rocks, 
 the head thrown back, and face exposed to the view of 
 the audience. The right hand grasps a small oar, 
 while the left is stretched out at his side. The eyes 
 are closed, the feet crossed, and resting in the water. 
 Haidee and her friend are seen in the background. 
 Both should be of small figure and good features. 
 Haidee should be quite pretty, and costumed in a blue 
 dress, black velvet waist, open in front, and laced 
 across with blue ribbons ; sleeves long and flowing ; a 
 small crimson apron, with bands of gold at the bottom ; 
 a black velvet belt around the waist, with a showy pin 
 in the centre ; bows of pink ribbon fastened with a 
 small, showy pin at each shoulder; hair hanging in 
 curls ; hat made of velvet, trimmed with gold bands 
 and white feathers, which should be placed jantily on 
 the side of the head. Her position is, standing on the 
 rocks in the back of the cave, one hand raised so as to 
 shade her eyes, the other pointing to the body of Juan ; 
 the eyes are fixed on the body, while the countenance 
 expresses surprise ; the right foot must be placed 
 twenty inches in front of the left, while the body is 
 inclined forward. The figure back of Haidee has on a 
 costume similar to that already described, but of less 
 10*
 
 114 THE TABLEAU. 
 
 showy and expensive material. She is standing five or 
 six feet from Haidee, and has her hands filled with 
 shells, which she has gathered from the shore. She 
 is intently engaged in looking at her shells, and has not 
 yet seen Juan ; her body is bent forward slightly, the 
 expression of the face denoting curiosity and thought. 
 The light for this piece should come from the front of 
 the stage, and must be quite brilliant. If a melo- 
 deon is used as an accompaniment to the piece, it 
 should be played to imitate the roaring of the ocean. 
 
 POVERTY. 
 
 The sun is bright and glad, but not for me ; 
 
 My heart is dead to all but pain and sorrow ; 
 No care nor hope have I in all I see, 
 
 Save from the fear that I may starve to-morrow. 
 * Alas, for you, poor famishing, patient wife, 
 
 And pale-faced little ones ! Your feeble cries 
 Torture my soul ; worse than a blank is life 
 
 Beggared of all that makes that life a prize : 
 Yet one thing cheers me, is not life the door 
 To that rich world where no one can be poor ? 
 
 TUPPEB. 
 
 Three Female and Two Male Figures. 
 
 THIS tableau represents the interior of one of the 
 homes of the starving poor, such as are found in all 
 large towns, where vice and intemperance go hand in 
 hand. To make the scene look as natural as possible,, 
 a partition should be made to fill up the back of the 
 stage, covered with cheap room paper. Two old win-
 
 POVERTY. 115 
 
 dow sashes should be inserted in it, with the glass 
 partially broken out, and filled up with old hats and 
 articles of clothing. The furniture of the room 
 consists of an old and broken table, a large chest, 
 three or four old and broken chairs, a few pieces of 
 broken crockery on the table, a black bottle, a can- 
 dlestick, a bundle of straw, with a few ragged bed 
 clothes, and a few cheap prints hanging from the wall. 
 The table is placed at the back part of the room, and 
 supports the crockery, bottle, and candlestick. The 
 bed is at the left side of the room, and on it reclines a 
 female dressed in dirty and ragged clothing ; her hair 
 hangs loosely over her shoulders ; right hand sup- 
 porting her head, and eyes directed to a group of 
 children in the foreground of the picture ; the face 
 should be made as white as possible ; a small quantity 
 of dark paint about the eyes will give a haggard and 
 sickly look to the features. On the opposite side of 
 the room, seated on the old chest, is the woman's hus- 
 band. He is dozing in a drunken slumber ; his clothes 
 hang about him in tatters ; his hat is partially drawn 
 down over his forehead, his matted hair protruding 
 through a hole in the crown ; face bloated, from the 
 effects of liquor. By the use of water colors, the face 
 can be made to assume the above description. His 
 position is such that a partial front view is had of the 
 body, the arms hanging carelessly at his side, feet 
 crossed and stretched out on the floor. Seated at the 
 table, and sewing by the light of the candle, is a young 
 girl. She is dressed in dirty and ragged clothes ; her
 
 116 THE TABLEAU. 
 
 hair is tied up in a rough manner; the body bent 
 forward, and eyes cast down upon her work ; her face 
 should be made white ; the eyes slightly shaded with 
 dark paint, to give a haggard look to the features. In 
 the centre of the room are grouped three small chil- 
 dren ; they are engaged in eating crusts of bread from 
 a broken plate. Their costume may be varied, and 
 of cheap material. The light for this piece should 
 come from the side on which the man is sitting. The 
 front of the scene must be quite light, while the 
 background is thrown in shadow. Music of a mourn- 
 ful order. 
 
 DEATH OF MINNEHAHA. 
 
 O the long and dreary "Winter ! 
 
 O the cold and cruel Winter ! 
 
 Ever thicker, thicker, thicker 
 
 Froze the ice on lake and river, 
 
 Ever deeper, deeper, deeper 
 
 Fell the snow o'er all the landscape, 
 
 Fell the covering snow, and drifted 
 
 Through the forest, round the village. 
 
 O the famine and the fever ! 
 
 O the wasting of the famine ! 
 
 O the blasting of the fever ! 
 
 O the wailing of the children ! 
 
 O the anguish of the women ! 
 
 " Give us food, or we must perish ! 
 
 Give me food for Minnehaha, 
 
 For my dying Minnehaha ! " 
 
 Through the far-resounding forest, 
 Through the forest vast and vacant 
 Rung that cry of desolation ;
 
 DEATH OP MINNEHAHA. 117 
 
 But there came no other answer 
 Than the echo of his crying, 
 Than the echo of the woodlands, 
 
 " Minnehaha ! Minnehaha ! " 
 All day long roved Hiawatha 
 In that melancholy forest, 
 Through the shadow of whose thickets, 
 In the pleasant days of Summer, 
 Of that ne'er forgotten Summer, 
 He had brought his young wife homeward 
 From the land of the Dacotahs. 
 
 In the wigwam with Nokomis, 
 With those gloomy guests, that watched her, 
 "With the Famine and the Fever, 
 She was lying, the Beloved, 
 She the dying Minnehaha. 
 " Hark ! " she said ; " I hear a rushing, 
 Hear a roaring and a rushing, 
 Hear the Falls of Minnehaha 
 Calling to me from a distance ! " 
 " No, my child ! " said old Nokomis, 
 " 'T is the night wind in the pine trees ! " 
 " Look ! " she said ; " I see my father 
 Standing lonely at his doorway, 
 Beckoning to me from his wigwam 
 In the land of the Dacotahs ! " 
 " No, my child," said old Nokomis ; 
 " 'T is the smoke, that waves and beckons ! " 
 "Ah ! " she said, " the eyes of Pauguk 
 Glare upon me in the darkness, 
 I can feel his icy fingers 
 Clasping mine amid the darkness ! 
 Hiawatha ! Hiawatha ! " 
 
 And the desolate Hiawatha, 
 Far away amid the forest, 
 Miles away among the mountains, 
 Heard that sudden cry of anguish, 
 Heard the voice of Minnehaha 
 Calling to him in the darkness, 
 " Hiawatha ! Hiawatha ! " 
 Over snow-fields waste and pathless, 
 Under snow-encumbered branches, 
 Homeward hurried Hiawatha, 
 Empty-handed, heavy-hearted ;
 
 118 THE TABLEAU. 
 
 And he rushed into the wigwam, 
 Saw the old Nokomis slowly 
 Rocking to and fro and moaning, 
 Saw his lovely Minnehaha 
 Lying dead and cold before him, 
 And his bursting heart within him 
 Uttered such a cry of anguish, 
 That the forest moaned and shuddered, 
 That the very stars in heaven 
 Shook and trembled with his anguish. 
 
 LOXGFELLOW. 
 
 One Male and Two Female Figures. 
 
 THIS affecting tableau is a representation of the 
 death of the beautiful Minnehaha. The scene is at 
 the moment when Hiawatha draws back the door of 
 the wigwam, and there beholds his lovely Minnehaha 
 lying dead and cold before him. The scenery of this 
 picture is the same that is used in the tableau of Hia- 
 watha and his Bride's Arrival Home. It is mid- 
 winter, and the fields and woods are covered with 
 snow ; and to represent this scene it will be necessary 
 to cover the ground with cotton flannel, instead of the 
 green booking which we used in the summer scene. 
 The trees, wigwam, and vines should be covered with 
 small pieces of cotton wool, to represent snow. Large 
 bags, filled with straw, may be covered in the same 
 manner, and placed around the doorway of the wig- 
 wam at each side of the stage, to represent snow 
 banks. Minnehaha has on the same costume we have 
 before described, and is reclining on a bed of robes 
 near the entrance of the wigwam. Her body shoiild 
 be propped up so that she can be easily seen. A dark 
 robe is thrown across the lower portion of her form,
 
 DEATH OP MINNEHAHA. 119 
 
 a calm, resigned look is on the countenance. Her 
 hands afe folded on her breast, eyes closed as if in 
 sleep. At her side, sitting on a low seat, is Nokomis. 
 She wears the same costume which is described in the 
 return of Hiawatha, with a fur robe gathered about 
 her. She is leaning forward towards the couch, and 
 presses both hands against her face. Her eyes are cast 
 down to the ground, while grief and melancholy are 
 depicted on the countenance. The dying embers of a 
 fire send up a curling smoke by her side. This 
 should be placed in an iron furnace, and surrounded 
 by the imitation snow. Hiawatha stands on one side 
 of the doorway, and is in the position of one running. 
 He clasps the door with his right hand, and is in the 
 act of stepping into the wigwam. His eyes are fixed 
 on Minnehaha; the left hand is pressed against his 
 forehead; grief and amazement are depicted on his 
 countenance. While the picture is being exhibited, a 
 portion of the accompanying poem may be read by 
 the announcer. The music should be quite soft, and, 
 of a plaintive character. The lights for this piece 
 must be of medium brightness, and come from the 
 side opposite the door of the wigwam.
 
 120 THE TABLEAU. 
 
 THE MOTHER'S LAST PRAYER. 
 
 Her hands were clasped, her dark eyes raised ; 
 
 The breeze threw back her hair ; 
 Up to the cross she fondly gazed, 
 
 And raised her voice in prayer. 
 
 "While there she knelt in deep despair 
 
 Beside her own first born, 
 And bowing her deep soul in prayer 
 
 Forth on the rushing storm. 
 
 She wiped the death damps from his brow 
 
 With her pale hands and soft, 
 Whose touch upon the lute chords low 
 
 Had stilled his heart so oft. 
 
 ANON. 
 
 One Female and One Male Figure. 
 
 THIS tableau represents a mother and child kneeling 
 at the foot of a cross, amid the drifting snows and icy 
 winds of the Alpine Mountains. Having lost their 
 way, and being unable to travel any farther, the mother 
 kneels in prayer at the foot of one of the crosses which 
 are placed as landmarks along the road, to guide the 
 traveller on his journey. The floor of the stage should 
 be made uneven by placing boxes of various sizes at 
 irregular distances, and covering them with white 
 cotton flannel. A number of spruce trees can be 
 arranged at the sides and at the background, all of 
 which should be covered with small particles of cotton 
 wool ; small bags, stuffed with hay, and covered in the 
 same manner, must be placed around the foot of the 
 cross and at various parts of the stage, to represent 
 snow banks. A few handfuls of lint thrown into the
 
 THE MOTHER'S LAST PRAYER. 121 
 
 air just as the curtain rises, will float about and appear 
 like falling snow. Make the cross of wood, and cover 
 it with brown paper. It should be five feet long and 
 two feet wide ; thickness of frame, six inches. It 
 must be placed in the centre of the stage, and 
 sprinkled with the imitation snow- The lady who 
 represents the mother should be of good figure and 
 features, and costumed in a dark plaid dress, a white 
 fur cape fastened about the neck, a velvet cloak worn 
 over the shoulders, and a plaid scarf tied about the 
 head, the ends hanging down on the shoulders. Posi- 
 tion is, at the foot of the cross, so that a side view is 
 had of the body ; the head thrown back, eyes cast 
 upward, hands clasped and raised in front of the face. 
 The boy is dressed in a dark suit, and reclines on 
 the snow by the side of the mother ; his head rests 
 on her dress, arms stretched out towards her waist ; 
 his eyes closed in that cold and dreamy sleep which 
 ends in death. The light for this piece must be 
 quite dim, and come from the side of the stage that 
 will reflect on the mother's face. Music, of a low and 
 mournful style, representing the moaning of the winds. 
 11
 
 122 THE TABLEAU. 
 
 LOUIS XVI. AND HIS FAMILY. 
 
 I hear thy whisper, and the warm tears gush 
 
 Into mine eyes ; the quick pulse thrills my heart. 
 
 Thou bidd'st the peace, the reverential hush, 
 The still submission, from my thoughts depart. 
 Dear one, this must not be ! 
 
 The past looks on me from thy mournful eye ; 
 
 The beauty of our free and vernal days ; 
 Our communings with sea, and hill, and sky 
 
 O, take that bright world from my spirit-gaze. 
 Thou art all earth to me ! 
 
 Shut out the sunshine from my dying room, 
 The jasmine's breath, the murmur of the bee ; 
 
 Let not the joy of bird-notes pierce the gloom ; 
 They speak of love, of summer, and of thee 
 
 Too much, and death is here ! 
 
 AJTOK. 
 
 Three Female and Four Male Figures. 
 
 ON the 20th of January, 1793, at three o'clock in 
 the morning, the second year of the French republic, 
 the final vote was taken by the Convention, that Louis 
 XVI. should be executed. All the efforts to save the 
 king were now exhausted, and his fate sealed. The 
 decree of the Convention was sent to the king, declar- 
 ing him to be guilty of treason ; that he was con- 
 demned to death ; that the appeal to the people was 
 refused ; and that he was to be executed within twenty- 
 four hours. The king listened to the reading un- 
 moved ; he conversed earnestly with his spiritual 
 adviser respecting his will, which he read, and inquired 
 earnestly for his friends, whose sufferings moved his 
 heart deeply. The hour of seven had now arrived,
 
 LOUIS XVI. AND HIS FAMILY. 123 
 
 when the king was to hold his last interview with his 
 family. But even this could not be in private. He 
 was to be watched by his jailers, who were to hear 
 every word and witness every gesture. The door 
 opened, and the queen, pallid and woe-stricken, en- 
 tered, leading her son by the hand. She threw herself 
 into the arms of her husband, and silently endeavored 
 to draw him towards her chamber. " No, no," whis- 
 pered the king, clasping her to his heart, " I can see 
 you only here." Madame Elizabeth, with the king's 
 daughter, followed. A scene of anguish ensued which 
 neither pen nor pencil can portray. The king sat 
 down, with the queen upon his right hand, his sister 
 on his left, their arms encirling his neck, and their 
 heads resting upon his breast. The dauphin sat upon 
 his father's knee, with his arm around his neck. The 
 beautiful princess, with dishevelled hair, threw herself 
 between her father's knees. An hour passed, during 
 which not an articulate word was spoken ; but cries, 
 and groans, and occasional shrieks of anguish, which 
 pierced even the thick wall of the Temple, and were 
 heard in the street below, rose from the group. For 
 two hours the agonizing interview was continued. As 
 they gradually regained some little composure, in low 
 tones they whispered messages of tenderness and love, 
 interrupted by sobs, and kisses, and blinding floods of 
 tears. Louis XVI. described his trial, excusing those 
 who had sentenced him, gave some religious advice to 
 his children, enjoined them to forgive his enemies and 
 bless them. A few beams of daylight began to pen-
 
 124 THE TABLEAU. 
 
 etrate the grated windows of the gloomy prison. The 
 hours passed away, while the king listened to the gath- 
 ering of the troops in the court yard and around the 
 Temple. At nine o'clock a tumultuous noise was 
 heard of men ascending the staircase. The gens 
 cTarmes entered, and conveyed him to the carriage at 
 the entrance. The morning was damp and chilly, and 
 gloomy clouds darkened the sky ; sixty drums were 
 beating at the heads of the horses, and an army of 
 troops, with all the most formidable enginery of war, 
 preceded, surrounded, and followed his carriage. They 
 reached the Place de la Revolution at twenty minutes 
 past ten o'clock. An immense crowd filled the place, 
 above which towered the guillotine. With a firm tread 
 he ascended the steps of the scaffold, looked for a mo- 
 ment on the keen and polished edge of the axe, and 
 then, turning to the vast throng, said, in a voice clear 
 and untremulous, " People, I die innocent of all the 
 crimes imputed to me. I pardon the authors of my 
 death, and pray to God that the blood you are about 
 to shed may not fall again on France." The drums 
 were ordered to beat, and Louis XVI. was no more. 
 
 Directions for forming the Tableau. This inter- 
 esting picture contains seven figures: Louis XVI., 
 his wife the queen, Madame Elizabeth, the king's son 
 and daughter, and two gens d'armes. The stage 
 scenery must be placed in the following order : The 
 background of the stage should represent the granite 
 walls of a prison, with grated windows, massive doors, 
 to which are attached bolts, bars, and heavy locks.
 
 LOUIS XVI. AND HIS FAMILY. 125 
 
 This scenery can be made in sections of about four 
 by eight feet in size. One section should represent 
 the door of the cell ; on it paint the bolts, bars, and 
 locks. At the right of the stage is placed a table of 
 ancient style ; on which is a crucifix, two feet in 
 height, a large Bible, and an old-fashioned candlestick, 
 containing a lighted candle. A chair of ancient man- 
 ufacture should be placed near the table. Louis XVI. 
 is seated in it, and is costumed in a velvet coat 
 and breeches, white silk hose, low shoes, buff vest, 
 white cravat, ruffled bosom, white wig, knee and shoe 
 buckles. The queen is costumed in a moire antique 
 dress, of a showy color, hair hanging loosely over the 
 shoulder. Madame Elizabeth has on a silk robe, dif- 
 fering in color from the queen's ; her hair is loosely 
 fastened behind. The daughter has on a long white 
 dress, with velvet waist. The dauphin is dressed in 
 velvet jacket, blue breeches, white hose, knee and shoe 
 buckles, low slippers, lace collar, ruffled bosom and 
 wristbands, and a pink scarf is fastened about his 
 waist. The gens d'armes have blue coats trimmed 
 with buff, buff vest, crimson breeches, white hose, long 
 wigs, low shoes, knee and shoe buckles, and chapeaux. 
 Each must be furnished with a musket, sword, and 
 belt, and one should hold a bunch of large keys. 
 Louis XVI. encircles his daughter's waist with his 
 right hand ; his left is clasped by his son. He sits 
 facing the audience ; his head is partially turned 
 towards the crucifix, the eyes cast down, and a melan- 
 choly look upon the countenance. The queen stands 
 11*
 
 126 THE TABLEAU. 
 
 behind the king, between the chair and table ; her left 
 hand is placed upon her waist, her right raised to her 
 forehead ; her head is thrown back, the eyes partially 
 closed, and cast upwards, while intense anguish is ex- 
 pressed upon her countenance. Madame Elizabeth is 
 kneeling at the left of the king, her hands clasped and 
 raised upwards, head thrown back, and eyes partially 
 closed. The daughter is seated on the right knee of 
 the king ; her right hand is placed across her breast, 
 the left hangs carelessly at her side ; her head reclines 
 on the shoulder of her father. The dauphin is kneel- 
 ing between the king and Madame Elizabeth, and 
 grasping the hand of the king ; his eyes are fixed on 
 the face of his father, while the countenance expresses 
 grief and sadness. The gens cFarmes stand just in- 
 side the door, resting on their guns ; their eyes are 
 fixed upon the group in the foreground. The light 
 for this tableau must come from the side of the stage 
 opposite the group, and should be of medium bright- 
 ness; the background may be thrown in the shade. 
 Music of a mournful character.
 
 DRESSING THE BRIDE. 127 
 
 DRESSING THE BRIDE. 
 
 So, after bath, the slave girls brought 
 
 The precious raiment for her wear, 
 The misty izar from Mosul, 
 
 The pearls and opals for her hair, 
 The slippers for her little feet, 
 
 (Two radiant crescent moons they were,) 
 And lavender, and spikenard sweet, 
 
 And attars, nedd, and heavy musk. 
 When they had finished dressing her, 
 (The Eye of Morn, the Heart's Desire,) 
 
 Like one pale star against the dusk, 
 A single diamond on her brow 
 
 Trembled with its imprisoned fire ! 
 
 T. B. ALDBICH. 
 
 Three Female Figures. 
 
 THIS tableau is taken from the beautiful poem, " The 
 Course of True Love never did run smooth," by 
 Thomas Bailey Aldrich, who describes in his artistic 
 style the bridal toilet of the princess preparatory to her 
 being wedded to the Vizier Giaffer. The scene repre- 
 sented is the princess's chamber in the gorgeous palace 
 of Haroun Al Raschid. The princess is seated in the 
 centre of the room on a crimson divan ; at her side 
 kneels one of her attendants, who is engaged in 
 arranging a bracelet on her arm. Standing on the 
 opposite side is another attendant, who is entwining a 
 string of pearls in the princess's hair. The costume of 
 the princess consists of a pink satin dress, reaching 
 within ten inches of the feet, and should be bound 
 around the bottom with silver paper covered with wide 
 white lace. Over this dress must be worn a frock of
 
 128 THE TABLEAU. 
 
 purple velvet extending to the knee, with flowing 
 sleeves reaching to the elbow ; the front of the waist 
 left open, displaying a lace under robe, crossed with 
 ribbons covered with silver paper and gold spangles. 
 The frock decorated with small crescents of gold 
 paper, ornamented with silver spangles. Trim the 
 bottom of the frock and sleeves with gold paper three 
 inches in width, and cover with colored lace. The 
 waist should be encircled with a wide, light-green 
 sash, studded with spangles, fringed at the end with 
 gold paper, and tied in front, allowing the ends to 
 hang down to the bottom of the frock. A necklace 
 can be made to look rich and showy by attaching bril- 
 liant paste pins of various sizes to a black velvet 
 band ; the centre pin being quite large, those at the 
 sides decreasing in size as they recede from the centre ; 
 the arms and hands profusely ornamented with jew- 
 elry ; the hair arranged in long braids, and allowed to 
 fall over the shoulders. A large diamond or a brilliant 
 stone should be attached to a black velvet band, and 
 placed on the brow. Turkish trousers, made of white 
 and blue stripes, two inches wide, of flowing shape, 
 fastened around the ankle with a gilt band. The shoes 
 can be made of card-board or leather ; they should 
 turn up at the toe three inches ; cover them with red 
 cloth, and ornament with gold and silver paper and 
 spangles. The costume of the attendants should be 
 of a similar style, but differing in colors, and with- 
 out decorations. The lady who personates the prin- 
 cess must be small, and of good form, fine, regular 
 features, and quite pretty. Her position is facing the
 
 DEESSING THE BRIDE. 129 
 
 audience, head turned slightly to the left, eyes up- 
 turned to her attendant, who is standing at her side, 
 holding in her left hand a fan ; the expression of the 
 face pleasant. The attendant who is kneeling, shows 
 a side view of the body, while the one standing, faces 
 the audience, with the body bent slightly forward, her 
 attention directed to the string of pearls which she is 
 arranging in the hair of the princess. The floor of 
 the stage should be covered with a rich Brussels car- 
 pet, and the walls draped with showy damask curtains. 
 The room may be furnished with small ottomans, two 
 small marble top tables, one of which should be 
 placed near the group of ladies, and contain stands of 
 cologne, perfumes, mirrors, combs, brushes, pin-cush- 
 ions, and cases of jewelry. On the other table, which 
 is to be placed in the background, is a large, showy 
 lamp, with colored globe, surrounded by ornamental 
 articles ; showy pictures adapted to the subject, in rich 
 gilt frames, adorn the walls ; cages containing singing 
 birds should be suspended from the ceilings; large 
 globes, containing gold fish, rest on the carpet, near 
 the foreground ; richly ornamented vases, of various 
 sizes, containing magnificent bouquets, can be arranged 
 in various parts of the room, while the inner corners 
 are filled up with marble or plaster pedestals, sup- 
 porting pieces of statuary ; the divan on which the 
 princess is seated must be double the size of those 
 scattered about the room, and covered with striped pink 
 and blue cloth. The scene should be illuminated by a 
 purple fire burned at the right hand side of the stage. 
 A lively serenade would be appropriate music.
 
 130 THE TABLEAU. 
 
 HOPE, FAITH, CHARITY, AND LOVE. 
 
 HOPE. 
 
 Hope looks beyond the bounds of time, 
 
 When what we now deplore 
 Shall rise in full immortal prime, 
 
 And bloom to fade no more. 
 
 FAITH. 
 
 'Tis faith that purifies the heart, 
 
 'Tis faith that works by love, 
 That bids all sinful joys depart, 
 
 And lifts the thoughts above. 
 
 CHARITY. 
 
 O charity, thou heavenly grace, 
 
 All tender, soft, and kind ! 
 A friend to all the human race, 
 
 To all that's good inclined. 
 
 LOVE. 
 
 Love suffers long with patient eye, 
 
 Nor is provoked in haste ; 
 She lets the present injury die, 
 
 And long forgets the past. 
 
 Four Female Figures. 
 
 THE above characters are represented as statues. 
 Four females of the same height, of graceful form and 
 fine features, are required to form the group. They 
 should all be costumed in long white robes, that will 
 trail eight inches, the waist cut quite low at the top, 
 the sleeves five inches long ; a wide scarf of tarleton 
 muslin draped across the breast, tied at the side, and 
 allowed to trail with the dress ; hair confined at the
 
 HOPE, FAITH, CHARITY, AND LOVE. 131 
 
 back of the head, and left to fall over the shoulders ; 
 the head encircled with a wreath of myrtle and 
 white flowers. If any ornaments are worn, they 
 should be pure white. Hoop or any other large skirts 
 must not be worn, as it is necessary to produce a 
 slender figure for a statue design. The positions of 
 .the four ladies are in the following order: Hope 
 stands at the right hand side of the stage, one 
 foot from the drop curtain ; Love at the left hand 
 side, the same distance from the curtain ; Faith and 
 Charity at equal distances from Love and Hope, and 
 three feet from the drop curtain. Placed in this man- 
 ner, they will form a half oval. The stage furniture 
 consists of four small pedestals, twenty-four inches 
 square, with a cap and base extending out two 
 inches, covered with white cloth, and ornamented 
 in front with a small wreath of myrtle. Faith takes 
 her position on the top of one of the pedestals. 
 Her emblem is the cross, which she holds in her right 
 hand ; the left is raised and points upward ; the eyes 
 are raised upward, the countenance expresses meek- 
 ness. Hope is poised on a pedestal, and holds an 
 anchor, the foot of which rests on the top of the 
 pedestal ; the right hand is placed on the anchor, 
 the left is on the breast ; the eyes are raised slightly, 
 countenance expressing serenity and hope. Charity 
 comes next. In her right hand she holds a silver 
 dish, which is filled with crumbs of white bread. Two 
 robins stand on the side of the dish, eating the crumbs. 
 The left hand rests on the side of the body ; the eyes
 
 132 THE TABLEAU. 
 
 are directed to the birds ; the face beams with smiles. 
 Love is standing on one of the pedestals, holding in her 
 right hand a torch, which is raised above her head, 
 while the left gracefully holds the side of her dress. 
 The head should be turned slightly aside, the eyes 
 looking straight forward ; countenance diffused with 
 smiles. A gauze curtain may be suspended before 
 the statues, covering the entire space inside of the 
 frame. The light for this scene should be of medium 
 brilliancy, and come from the front of the stage. The 
 cross and anchor may be painted black, the torch 
 painted blue, and tipped with gold ; the flame carved 
 in wood, and gilded. Stuffed birds can be fastened 
 with wire springs, and attached to the silver dish. 
 Music soft and plaintive. 
 
 THE DEATH OF GENERAL WAEEEN. 
 
 Thou rising sun, thou blue rejoicing sky, 
 Yea, every thing that is and will be free, 
 Bear witness for me, wheresoe'er ye be, 
 With what deep worship I have still adored 
 The spirit of divinest Liberty. 
 
 COLEBIDQE. 
 
 Twenty-five Male Figures. 
 
 THIS magnificent tableau represents the scene so 
 well known in the early history of our country, and 
 contains twenty-five figures, thirteen of which should 
 be dressed in crimson uniform, to personate the British
 
 THE DEATH OP GENERAL WARREN. 133 
 
 soldiers, six in continental costume, three in coarse 
 homespun suits, three in sailor's costume. The stage 
 must be formed to represent a hill, which can be done 
 by using boxes and boards, and covering them with 
 green cloth. The hill should rise from the footlights 
 to within four feet of the ceiling in the background. 
 The first and principal figure is General Warren. He 
 is lying on the ground, a few feet from the foot of the 
 hill, supported by one of his officers, who holds his head 
 with his right hand, while with the left he grasps the 
 musket of a British soldier, which is pointed at the 
 breast of Warren. Warren's position is, facing the 
 audience, eyes closed, arms hanging carelessly at his 
 side ; costume, continental ; side arms, sash, sword, 
 and chapeau lying in front of the body. The figure 
 who supports Warren is dressed in blue breeches, white 
 hose, white shirt, and black belt. Position, kneeling 
 back of Warren, his eyes fixed on the soldier who 
 stands a few paces back of Warren's feet. This soldier 
 leans forward slightly, and grasps a musket, in which 
 is a bayonet, which he is about to plunge into Warren's 
 body. His eyes are fixed on the prostrate form before 
 him, while the countenance expresses excitement and 
 rage. Costume consists of a red coat, white breeches 
 and hose, low shoes, knee and shoe buckles, white 
 breast belts, black waist belt, and black military hat, 
 with plume. By the side of the soldier, near the front 
 of the stage, stands an officer, who is leading on the 
 British. He holds a sword on his right shoulder, while 
 the left grasps the butt of the musket of the soldier 
 12
 
 134 THE TABLEAU. 
 
 previously described. His body is bent forward, feet 
 separated thirty inches, eyes fixed on Warren, coun- 
 tenance expressing energy and decision. Costume 
 consists of a crimson coat, decorated with gold ep- 
 aulets and lace, white silk hose, buff breeches, low 
 shoes, knee and shoe buckles, red sash, side arms, and 
 chapeau. Directly behind the figure who supports 
 Warren stands an American soldier, with a musket 
 held in front of his body, which he points towards the 
 British soldier, who is about to pierce the body of 
 Warren. His body is slightly bent backward, eyes 
 fixed on the soldier, countenance expressing fear. 
 The remaining figures should be placed in the space 
 from the top of the hill down to the group we have 
 described ; a few should be fencing ; some using their 
 muskets as clubs ; others firing at the enemy in the 
 distance ; while a few are stretched out in death on the 
 ground. They must be placed in as great a variety 
 of positions as possible, and in such a manner that one 
 figure will not obscure the other. The countenances 
 of all should appear excited. The booming of cannon 
 and roll of the drum can be produced behind the 
 scenes. The picture should be illuminated by a bril- 
 liant red fire burned at the side of the stage.
 
 PORTRAIT OP PRINCE ALBERT. 135 
 
 PORTRAIT OF PRINCE ALBERT. 
 
 One Male Figure. 
 
 THIS tableau is produced in the same manner as the 
 Madonna. The gentleman who personates Prince Al- 
 bert should, in general outline of features and form, 
 resemble the original as much as possible. The cos- 
 tume consists of a crimson coat richly trimmed with 
 gold lace, and heavy decorations in silver on the left 
 breast, gold epaulets, a richly ornamented sword and 
 belt, buff vest trimmed with gold lace, buff breeches, 
 top boots trimmed at the top with gold binding, a red 
 sash, and black chapeau. The position must be so 
 that a partial front view can be had of the body ; eyes 
 directed straight forward. The light should be of me- 
 dium quantity, and come from the front of the stage. 
 Music of a national order.
 
 136 THE TABLEAU. 
 
 THE RETURN OF THE PRODIGAL SON. 
 
 O ! thou hast wander'd long 
 
 From thy home without a guide ; 
 And thy native woodland song, 
 
 In thine altered heart hath died. 
 
 Thou hast flung the wealth away, 
 
 And the glory of thy Spring ; 
 And to thee the leaves' light play 
 
 Is a long-forgotten thing. 
 
 Still at thy father's board 
 
 There is kept a place for thee; 
 And, by thy smile restored, 
 
 Joy round the hearth shall be. 
 
 MBS. IIEMAKS. 
 
 Four Male Figures. 
 
 THIS scene, so familiar in Scripture history, rep- 
 resents the father standing on the step of his mansion, 
 about to embrace his son, who stands near. The back- 
 ground of the picture should represent the portico of a 
 house, and can be made in the following manner : 
 Procure at a paper store four fresco pilasters, with caps 
 and bases, and a wide cornice to match ; also a roll of 
 granite paper ; paste the cornice and pilasters on cloth ; 
 fasten the cornice across the ceiling of the stage, five 
 feet from the background, and suspend the pilasters 
 from the lower edge, placing them at equal distances 
 from each other ; form the steps out of boxes and 
 boards, and cover them with the granite paper. At 
 each side of the steps place a large vase of flowers. 
 Behind the pilasters, at the end of the upper step, are 
 seen two servants. They are stooping down and look.
 
 THE RETURN OP THE PRODIGAL SON. 137 
 
 ing at the group in the foreground. Their costume can 
 be easily made up. Frock coats, trimmed on the bot- 
 tom of the skirts, cuffs, and front with colored cloth, 
 five inches wide ; white pants, black hose, crossed with 
 red binding ; low shoes ; knee and shoe buckles ; 
 low-crowned, black Kossuth hat, encircled with a 
 band of gold, and ornamented in front with a large 
 paste pin and showy plume. The gentleman who 
 represents the father must be of good height and 
 large figure. His costume consists of a purple velvet 
 coat and breeches, white hose, crossed with black rib- 
 bons, low shoes, knee and shoe buckles ; over the shoul- 
 ders is thrown a long cloak, trimmed with ermine ; 
 hair and beard quite long, which can be imitated 
 with flax, glued to cloth made to fit the head and 
 face. If dresses cannot be procured at a costumer's, 
 cheap material can be made up for the occasion, 
 and will look quite pretty. A blue circular cloak, 
 or a lady's velvet cape, trimmed with white cotton 
 flannel, two inches wide, with small pieces of black 
 shag fastened on at intervals of five inches, will look 
 well, and will resemble ermine. The breeches can be 
 made of purple cambric, trimmed with gold paper. A 
 blue dress coat, trimmed with gold paper, and covered 
 with white lace, will answer for an under-coat. The 
 father's position is, standing on the second step of the 
 portico, with both hands extended, body bending for- 
 ward slightly, eyes fixed on the son, "countenance ex- 
 pressing joy and happiness. The son stands at the foot 
 of the steps, leaning on a stout branch of a tree, which 
 12*
 
 138 THE TABLEAU. 
 
 he has been using for a cane on his journey. He dis- 
 plays a side view of the body, and is costumed in a 
 coarse brown frock, open in the neck, displaying his 
 neck and bosoni, and tied around the waist with a piece 
 of rope ; large rents should be made in the sleeves, 
 showing the flesh within ; knee breeches of coarse ma- 
 terial, torn at the side ; brown hose ; and shoes, which 
 are almost worn out, and are tied to the foot with 
 strings ; hair hanging over the forehead ; skin colored 
 light brown ; his eyes cast down to the ground, and 
 countenance melancholy. The light must be quite 
 brilliant, and come from the side opposite to the 
 servants. Music animating. 
 
 SINGLE BLESSEDNESS. 
 
 Close by his lonely hearth he sate, 
 
 While shadows of a welcome dream 
 Passed o'er his heart ; disconsolate 
 
 His home did seem ; 
 Comfort in vain was spread around, 
 For something still was wanting found. 
 
 One Male Figure. 
 
 THIS tableau is a representation of a young bachelor 
 seated alone in his chamber. He has around him all 
 the luxuries that wealth will purchase, and is reclining 
 on a low sofa, quietly smoking his meerschaum. Kich 
 furniture, soft carpets, fine pictures, and gorgeous cur- 
 tains decorate the apartment. Books, statuary, boxing
 
 SINGLE BLESSEDNESS. 139 
 
 gloves, fencing swords, fowling pieces, pipes of various 
 patterns, and a countless multitude of other articles, are 
 scattered about the room. On the marble table at his 
 side is a bunch of cigars, a paper of Ma'am Miller's 
 fine-cut tobacco, a decanter of wine, and a pair of gob- 
 lets, one of which is partially filled with wine. He 
 holds in his left hand his meerschaum ; his right hangs 
 carelessly at his side, and grasps a novelette. The 
 gentleman who personates the bachelor must be of 
 good figure and features, and is costumed in the fol- 
 lowing manner : A rich dressing-gown should be worn, 
 which is thrown back from the breast, showing a vest 
 of bright colors, to which is attached a heavy gold 
 chain and seals ; light fancy pants, embroidered slip- 
 pers, white hose, blue cravat, smoking cap, ruffled 
 bosom and wristbands. Countenance sober, eyes 
 raised to one of the engravings on the wall. Light of 
 medium brightness, which may come from either side 
 of the stage. Music of operatic style.
 
 140 THE TABLEAU. 
 
 MARRIAGE BLISS. 
 
 It is most genial to a soul refined, 
 When love can smile unblushing, unconcealed, 
 
 "When mutual thoughts, and words, and acts are kind, 
 And inmost hopes and feelings are revealed, 
 
 When interest, duty, trust, together bind, 
 And the heart's deep affections are unsealed, 
 
 When for each other live the kindred pair, 
 
 Here is indeed a picture passing fair ! 
 
 TCPPIiR. 
 
 One Male and Two Female Figures. 
 
 THIS tableau represents a home scene. A wife and 
 husband, and a young child, are seated at a table in a 
 snug little parlor. A solar lamp is burning on the 
 table, by the light of which the wife is engaged in fin- 
 ishing a piece of embroidery. The husband is reclin- 
 ing in a spacious easy chair, busily occupied in perus- 
 ing the evening paper. The little girl is at play with 
 her tea sets and paper dolls. The wife is costumed in 
 a blue silk dress, cut low at the top, a white apron, 
 trimmed with pink ribbon, and hair arranged to suit 
 the performer's taste. She should be quite pretty, and 
 of small figure. She is seated at the right of the 
 table, facing the audience, body bent forward, and 
 eyes fixed on her work, the countenance expressing 
 earnestness. The husband is costumed in light pants 
 and vest, dressing gown and slippers. He is seated 
 at the left of the table, showing a partial front 
 view of the body ; his feet rest on a small ottoman ;
 
 THE SLEEPING MAIDEN. 141 
 
 paper held in such a position that it will not hide his 
 body ; eyes fixed on the paper, countenance placid. 
 The child is costumed in white dress, trimmed with 
 blue ribbon, and is seated at the back of the table, 
 holding in her hands a paper doll, which she extends 
 towards her mother, for her to look at. Her eyes are 
 directed to her mother, her countenance beaming with 
 smiles. The table should be covered with a crimson 
 cloth. The furniture of the room of good quality, 
 the floor carpeted, walls hung with curtains and pic- 
 tures. Light of medium quantity, which may come 
 from either side of the stage. Music soft and plaintive. 
 
 THE SLEEPING MAIDEN. 
 
 Witness this primrose bank whereon I lie ; 
 
 These forceless flowers like sturdy trees support me, 
 Two strengthless doves will draw me through the sky, 
 
 From morn to night, even where I list, to sport me. 
 
 SHAKSPEARE. 
 
 One Female Figure. 
 
 THIS exquisite tableau represents a magnificent gar- 
 den, filled with beautiful flowers, trellised vines, vases, 
 statuary, and sparkling fountains. On a grassy mound, 
 in the centre of this lovely scene, reclines a beautiful 
 maiden, wrapped in profound sleep. The right hand 
 supports her head, the elbow resting on the grass ; the 
 left is thrown carelessly over the top of the head ; the 
 expression of the face calm and dreamy. Her costume
 
 142 THE TABLEAU. 
 
 consists of a long white dress, cut low at the top, 
 open in front, displaying a pink under-skirt of silk. 
 The edges of the dress on each side of the under-skirt 
 should be trimmed with gold paper, covered with white 
 lace. A belt of the same encircles the waist. The 
 waist must be open in front, exposing a white lace 
 under-robe, which is crossed with golden cords. Short 
 sleeves, open below, and closed by little cords of gold, 
 terminated by tassels of the same material, which fall 
 down upon the arms. The hair arranged in heavy 
 braids, done up low in the neck, and ornamented 
 with a head dress, formed of silver gauze, adorned with 
 slight bands of gold thread falling on the shoulder. 
 Position is, facing the audience, the body extended on 
 a line with the front and back corners of the stage. 
 The floor of the stage must be formed to represent 
 a number of terraced banks. There should be five, 
 each being one foot in height. A few boxes and 
 stout boards will be needed to form the banks, over 
 which place green booking. If a piece of scenery 
 cannot be procured for the background, it can be 
 covered with light-green cambric, and festooned with 
 dark evergreens and bright flowers. At each of the 
 inner corners of the stage place a white pedestal, 
 two feet in height. A box of the above dimensions, 
 covered with white cloth, will answer. On these place 
 pieces of large statuary, and between the two place a 
 large vase of flowers, and intersperse smaller vases, 
 containing bouquets. Ornament the second terrace 
 with pots of house plants, and at each end place a
 
 THE SLEEPING MAIDEN. 143 
 
 showy cage of birds. Decorate the third terrace with 
 rich vases of artificial flowers, with a statue of the 
 fisher boy at each end. In the centre of this terrace, 
 the mound on which the maiden reclines is placed. It 
 should be five feet in diameter, and one foot high. 
 Cover the surface with light-green cambric, and dec- 
 orate the outer edge with large sea shells. On the 
 fourth terrace arrange small pots of house plants that 
 are in bloom, and at each end place large vases of 
 fruit. On the fifth and last terrace place a row of 
 deep glass dishes, filled with flowers, with a. plaster 
 figure of Flora at the ends. Festoon the sides of the 
 scenery and the ceiling with spruce and flowers. The 
 scenery in the background, if it can be easily painted, 
 should represent figures similar to those on the stage, 
 interspersed with fountains. If there is sufficient 
 room for the accommodation and preservation of large 
 mirrors, they can be used to advantage by placing 
 them at the background of the stage, which will give a 
 fine effect to the scene. This tableau must be lighted 
 from the left side of the stage ; the light being very 
 brilliant, both at the top and bottom. A green fire 
 burned just as the curtain falls, will add much to the 
 beauty of the picture. Music accompanying the piece, 
 soft, and of a lively order.
 
 144 THE TABLEAU. 
 
 NIGHT AND DAY. 
 
 Heaven opened wide 
 
 Her ever-during gates harmonious sound 
 On golden hinges morning to let forth, 
 The king of glory, in his powerful word 
 And spirit, coming to create new worlds. 
 
 God saw the light was good, 
 Ajid light from darkness, by the hemisphere, 
 Divided ; light the day, and darkness night 
 He named. Thus was the first day, even and morn. 
 
 MlLTOJT. 
 
 Two Female Figures. 
 
 THIS simple tableau is represented by two females : 
 one personates Day, and is costumed in a long white 
 robe. The other represents Night, and is dressed in 
 black. Two arches should be made in the centre of 
 the stage, one covered with black cloth, the other with 
 white. They must be five feet in height, three feet 
 in width, and three feet deep ; the back, sides, and top 
 covered with cloth. They are to be placed on a plat- 
 form one foot high and six feet square. The lady who 
 personates Night should be of good figure and features, 
 black hair, and dark complexion. She kneels under 
 the arch covered with black cloth, and faces the audi- 
 ence ; the right knee touches the platform, hands placed 
 together and raised front of the breast, head slightly 
 inclined back, eyes raised upward, the countenance in 
 repose. Her costume consists of a black silk dress, low 
 neck, and trimmed with wide black lace and bugles ; a 
 scarf of black crape, sprinkled with small silver stars, is 
 draped across the breast, a black cross suspended from
 
 THE FIEEMEN IN REPOSE. 145 
 
 the neck by a velvet ribbon ; black bracelets ornament 
 the arms ; and a wreath of black bugles and beads 
 encircles the head, on the front of which is placed a 
 small silver moon. The hair is arranged in wide, heavy 
 bands, at the side and back of the head. The lady who 
 personates Day should be of good figure and features, 
 clear light complexion, and light hair. Her position 
 is, kneeling under the white arch, hands crossed on 
 her breast, eyes slightly cast upward, and a smile 
 on the countenance. Costume consists of a pure 
 white dress, cut low at the neck, short sleeves ; waist 
 and bottom of sleeves trimmed with wide lace and sil- 
 ver spangles ; a scarf of white tarleton muslin draped 
 across the breast ; the waist encircled with a satin sash, 
 and the head crowned with a wreath of pearls, in the 
 front of which place a small gold sun. The hair 
 can be arranged in ringlets, or brushed back from 
 the forehead, and confined in a silk net. The light for 
 this piece must come from the front of the stage, and 
 should be of medium brilliancy. Music soft and 
 plaintive. 
 
 THE FIREMEN IN REPOSE. 
 
 Ten Male Figures. 
 
 THIS tableau is a representation of the interior of a 
 firemen's hall. The walls are hung with engravings in 
 rich frames, most of them referring to the fireman's 
 13
 
 146 THE TABLEAU. 
 
 life. The name of the company, in large gilt letters, 
 is placed at the end of the stage. Settees arc arranged 
 around the sides ; a mahogany table is in. the centre, 
 on which is placed a large solar lamp. Seated at the 
 table are half a dozen firemen, dressed in their uni- 
 form ; these are engaged in reading the news of the 
 day ; others are reclining and sitting on the settees, 
 engaged in conversation and smoking. The light for 
 the piece should be of medium brightness, and come 
 from either side of the stage. Music of a secular 
 character. 
 
 THE ALARM. 
 
 "Prompt when duty calls." 
 Twelve Male Figures. 
 
 THIS tableau is a representation of an alarm of fire, 
 which has aroused the firemen from their repose. The 
 scene represents a view of the front of the engine 
 house. The door is thrown open, and the enginemen 
 are about to draw out their machine. The piece con- 
 tains twelve figures, ten of which have hold of the 
 engine rope. They are in the position of persons run- 
 ning, and are led on by their captain, who is giving out 
 an order through his trumpet. His position is. facing 
 the men at the ropes ; one hand is pointed towards the 
 fire, the light of which is seen in the distance. Near 
 the door of the engine house stands the lantern bearer
 
 AT THE FIRE. 147 
 
 with his lantern, which is attached to a long pole, and 
 is carried on the right shoulder. The front of the 
 engine house can be formed of wood, covered with 
 cloth, and painted in showy colors. This frame is to 
 be placed at the right hand corner of the background ; 
 the name and number of the machine painted over the 
 door. The front wheels and rope will be sufficient to 
 represent the engine. The remaining part is presumed 
 to be within the house. By placing the front of the 
 house in the corner, more room will be had for the 
 line of firemen. All should appear animated, while a 
 few are pointing to the light in the distance. The 
 alarm bells must be sounded while the curtain is 
 raised, and a red fire burned at the left side of the 
 stage, so as to throw a very little light on the extreme 
 edge of the background, which should extend farther 
 in on the scene while the tableau is exhibited. 
 
 AT THE FIRE. 
 
 " Fire was raging, above and below." 
 One Female and Thirteen Male Figures. 
 
 THIS tableau is a representation of a dwelling house 
 on fire, with the heroic firemen engaged in their va- 
 rious duties in their attempts to extinguish the flames. 
 A front view of the building is exhibited, from which 
 smoke and flames are seen issuing. At the window of 
 the second story, a fireman stands, with an infant in
 
 148 THE TABLEAU. 
 
 his arms. A ladder is placed against the outside of 
 the window, and a fireman is ascending it. The 
 engineer stands on the steps of the mansion, giving his 
 orders. A fireman is breaking in one of the lower 
 windows with an axe. At the left of the tableau is 
 seen part of the engine. Space will not allow the 
 showing of more than one third of the machine ; but 
 by manufacturing a temporary frame, on which the 
 front wheels, brakes, bell, and buckets can be attached, 
 and placing it at the edge of the stage, with the 
 firemen at the brakes, the effect will be quite suffi- 
 cient. The men on the front brakes should be in a 
 stooping position, those behind standing erect. Two 
 pipe-men are seen in the foreground, with pipes, which 
 they point to the burning building ; others are passing 
 out articles of furniture from the windows. The men 
 must be costumed in showy fire suits. Alarm bells 
 should be sounded behind the scenes, and a repre- 
 sentation of fire made by burning a red fire at the 
 side of the stage, behind the scenery of the burning 
 house. This scenery can be formed of light slats of 
 wood, covered with cloth, and painted in imitation of 
 a brick house, with mouldings, window frames, and 
 doors. It must extend across the stage, and rise from 
 the floor to the ceiling. The windows should be 
 filled with sashes containing genuine glass, while smoke 
 and flames can be painted on various parts of the 
 building ; and, if desirable, a small quantity of wet 
 gunpowder, touched off at the proper moment, will 
 add to the effect.
 
 ETHAN ALLEN AT TICONDEROGA. 149 
 
 ETHAN ALLEN AT TICONDEROGA. 
 
 Nor com'st thou but by Heaven, nor com'st alone. 
 Some god impels with courage not thy own. 
 No human hand the weighty gates unbarred, 
 Nor could the boldest of our youth have dared 
 To pass our outworks, or elude the guard. 
 
 TOPE'S HOMEK. 
 
 One Female and Eleven Male Figures. 
 
 THIS historical tableau represents Ethan Allen at 
 the entrance of Fort Ticonderoga, ordering De la 
 Place, the commandant of the fort, to immediately 
 surrender, in the name of the great Jehovah and the 
 Continental Congress. Around the door are gathered 
 the soldiers of Allen. De la Place and his wife stand 
 upon the door-step, partially dressed, and, with looks 
 of astonishment, inquire by what authority he demands 
 the surrender of the fort. The number of figures in 
 this picture is twelve. Ten of them represent Amer- 
 ican soldiers, and are dressed in the continental uni- 
 form, which consists of a blue coat, faced with buff, 
 and ornamented with large brass buttons, buif vest 
 and breeches, white hose, low shoes, knee and shoe 
 buckles, and black chapeau, and each furnished with 
 military equipments. Allen's costume should be of 
 finer material, with an addition of sash, epaulets, 
 plume, and side arms. De la Place has on red 
 breeches, with a gilt stripe, white silk hose, knee 
 buckles, slippers, and wig, a red coat upon his arm, 
 and a sword in his right hand, the handle of which is 
 13*
 
 150 THE TABLEAU. 
 
 extended towards Allen. His wife is costumed in a 
 white dress, a white cap on her head, and hair hanging 
 loosely over her shoulders. The scenery of the piece 
 consists of a frame covered with cloth, extending 
 across the stage, and rising from the floor to the ceil- 
 ing, with a door in the centre, and windows painted on 
 either side, and placed across the stage in the back- 
 ground. Mrs. De la Place's position is on the door 
 sill, her body inclined slightly forward, her left hand 
 holding a candlestick, in which is a lighted candle, her 
 right hand raised in front of her breast, eyes fixed 
 on the face of Allen, while the countenance expresses 
 surprise and fear. The commandant stands on the 
 door-step at the left of his wife, his left hand stretched 
 out before him, the right holding his sword ; his eyes 
 are fixed on those of Allen, while his countenance 
 expresses surprise and indignation. Allen stands in 
 front of him a little at the left, grasping his sword in 
 the right hand, which he raises over the head of the 
 commandant, whilst his left points to his soldiers ; his 
 countenance expresses sternness and authority. The 
 soldiers are standing on each side of the door leaning 
 carelessly upon their muskets. The accompanying 
 music should be that of the drum and fife. The light 
 must be of medium brilliancy, and come from the right 
 of the stage.
 
 THE GYPSY FORTUNE TELLER. 151 
 
 THE GYPSY FORTUNE TELLER. 
 
 Seek not to know the future ; be happy while you may, 
 Nor cloud with dark foreknowledge the sunshine of to-day. 
 I see that you are hopeful, I read it in your eyes, 
 And I can learn no more from the stars that gem the skies. 
 Trust not the outward seeming of all who speak you fair; 
 What has been, maiden, may be be watchful and beware. 
 
 I will not cheat you, maiden ; my gypsy skill you seek ; 
 This only of the future the gypsy girl can speak ; 
 "When flippant worldlings flatter, let then your doubts begin ; 
 Take, maiden, for your counsel the " still small voice within." 
 If weak the heart of woman, her stronghold too is there ; 
 Guard then the fortress, conscience ! be watchful and beware. 
 
 CHABLES JEFFERY. 
 Two Female Figures. 
 
 THIS tableau is a representation of a gypsy fortune 
 teller, in a rude tent, in front of which is burning 
 a small fire. She is seated on the ground, and 
 holds a pack of cards in her right hand ; her left is 
 pointed upward. Her head is turned towards a young 
 and beautiful girl, who is stooping at her side, gazing 
 with earnestness on the cards. The tent should be 
 five feet high, four feet wide at the bottom, and termi- 
 nating in a point at the top. It can be made of light 
 strips of wood, covered over with cloth. An open 
 space in front, two feet wide, will answer for the door. 
 The fire can be placed in an iron furnace, around 
 which arrange stones or brushwood. Ignite the fire 
 just as the curtain rises. Fill up the background 
 of the stage with scenery representing a forest, or 
 place a few spruce trees behind the tent. The gypsy's 
 costume consists of a bright crimson dress, velvet
 
 152 THE TABLEAU. 
 
 waist, laced across with pink ribbon in front, display- 
 ing a white robe beneath ; rows of gilt buttons on 
 each side of the opening and around the bottom of the 
 sleeves. The hair, which should be long and black, 
 is allowed to hang carelessly over the shoulders ; the 
 face and other exposed parts of the body stained a light 
 brown. The young lady must be of small figure, 
 good form and features, and attired in a white dress, 
 cut low at the top, a red sash around the waist, and a> 
 small straw hat placed jan-tily on the side of the head. 
 The scene should be illuminated by a red fire, burned 
 in small quantities at the side of the stage, and made 
 to reflect on the group. Music soft. 
 
 PEACE. 
 
 Beautiful vision, how bright it rose ! 
 
 Vision of peaceful and calm repose ! 
 
 Well might it brighten the rapt seer's eye, 
 
 And waken his heart to an ecstasy ; 
 
 'Twas earth, glad earth, when her strife was o'er, 
 
 Her conflict ended, and war no more. 
 
 Eight Male and Twelve Female Figures. 
 
 THIS tableau is an allegorical representation of 
 Peace. The number of figures necessary to form it is 
 twenty. They are formed in six separate groups. The 
 centre and principal group is a party of young ladies 
 and gentlemen engaged in the merry dance. They are 
 costumed in their holiday suits, and are formed in a
 
 PEACE. 153 
 
 circle around a May-pole. On a green bank in the 
 background is seated a young lady playing the guitar, 
 and a young gentleman playing the violin. This group 
 is at the right. At the left is a young and beautiful 
 girl, who represents the Queen of May ; by her side 
 stands a second female, about to place a crown of 
 flowers upon her head. Between these two groups, 
 and elevated a foot above them, stands the Goddess of 
 Peace. She holds in her right hand a sheaf of wheat, 
 and in her left an olive branch. At the corners of the 
 foreground are two groups, the one at the left repre- 
 senting a mother surrounded by three children ; she 
 holds a large Bible, which the children are reading. 
 The group at the right represents a blacksmith standing 
 at the side of an anvil, a large hammer in his right 
 hand, engaged in conversation with a farmer, who 
 holds a rake. The costume of the village girls should 
 be white dresses, decorated with flowers, and garlands 
 on their heads. The gentlemen should be dressed in 
 light pants, white vests, and dark coats. The Goddess 
 of Peace has on a long white dress, bound around the 
 waist with a green ribbon ; a wreath of dried grasses 
 and wheat encircles the head. She must stand per- 
 fectly straight, and look directly forward, with a pleas- 
 ant expression of countenance. The gentleman who 
 plays on the violin is costumed in a dark coat, red 
 breeches, white hose, low shoes, knee and shoe buckles, 
 buff vest, a plaid scarf, draped across the shoulders, and 
 tied at the right side, and a small Scotch cap, with 
 a white plume, placed jantily on the head. The
 
 154 THE TABLEAU. 
 
 costume of the lady at his side consists of a red skirt, 
 over which is worn a white skirt that is looped up at 
 the side, and ornamented with small bunches of ever- 
 green and spruce ; a velvet waist, open in front, and 
 laced across with pink ribbons ; short sleeves ; hair 
 hung in ringlets, and ornamented with ribbons ; the 
 countenances of both expressing pleasure. The- May 
 Queen's costume consists of a white robe, trimmed 
 with garlands of flowers. Her attendant is also 
 dressed in white, with a scarf of plaid draped across 
 the breast. The queen is kneeling on a low cushion, 
 holding a small bouquet, the head turned slightly to 
 the right, eyes raised to the ceiling. The lady in 
 the foreground has on a blue silk dress, a white apron, 
 trimmed with green ribbon, and hair arranged to suit 
 the performer's taste. The children's costumes may be 
 of various styles, bright colors predominating. The lady 
 should sit quite low, and hold the Bible with her right 
 hand; the left pointed to the pages. The children 
 and mother sit facing the audience, and all look pleasant 
 and happy. The blacksmith's costume consists of dark 
 pants, blue woollen shirt, sleeves rolled up to the elbow, 
 a low-crowned hat on the head, and leather apron tied 
 around the waist. He stands facing the audience, and 
 is engaged in conversation with the farmer, who is 
 dressed in a long blue frock, buff pants, straw hat, and 
 heavy boots ; the right hand holds a rake, the left 
 is placed on the side of the body. The four groups at 
 the corners should be as compact as possible, giving 
 the greater portion of the room to the dancers in the
 
 WAR. 155 
 
 centre. The bank in the background must be three 
 feet in height, and covered with green booking, and 
 also the floor of the stage. Make the May-pole as 
 high as the space will admit, and cover it with green 
 cambric, decorated with garlands of flowers. The light 
 should be quite brilliant, and come from the right 
 side of the stage. Music inspiring. 
 
 WAR. 
 
 'Twas man himself 
 
 Brought Death into the world ; and man himself 
 Gave keenness to his darts, quickened his pace, 
 And multiplied destruction on mankind. 
 First Envy, eldest born of Hell, imbrued 
 Her hands in blood, and taught the sons of men 
 To make a death which nature never made, 
 And God abhorred ; with violence rude to break 
 The thread of life, ere half its length was run, 
 And rob a wretched brother of his being. 
 
 FOETKUS. 
 
 Twenty Male and Six Female Figures. 
 
 THIS tableau is a vivid representation of some of the 
 effects of war. The foreground of the picture repre- 
 sents a battle field after the combat has ended. 
 
 " 'Twas the battle field ; and the cold, pale moon 
 
 Looked down on the dead and dying ; 
 And the wind passed o'er, with a dirge and a wail, 
 Where the young and the brave were lying." 
 
 The ground is strewn with the dead and wounded 
 soldiers, broken cannon, muskets, flags, swords, and 
 portions of torn and tattered uniforms. In the back-
 
 156 THE TABLEAU. 
 
 ground, there is a representation of a breastwork of 
 stone ; on the extreme right are two females weep- 
 ing ; at the extreme left is a mother and two children. 
 The mother lies across the breastwork, dead. The 
 children stand by her side, looking with wonder into 
 her face. Standing on the centre of the breastwork 
 is the Goddess of War. In one hand she holds a torch, 
 which is raised above her head ; the left grasps a stan- 
 dard and sword. The number of figures in the piece 
 is twenty-six. Twenty young gentlemen must be cos- 
 tumed in various styles of military suits, while many 
 should have wounds painted on various parts of the 
 body. The costume of the Goddess of War consists 
 of a crimson dress, black velvet waist, trimmed with 
 gold, hair hanging loosely over the shoulders, and a 
 red French military hat on the head. The two ladies 
 at the right are costumed in mourning. The mother 
 should be attired in a white dress ; the children in 
 bright-colored costumes, with hair hanging in ringlets. 
 The stage must be formed like an inclined plane, 
 beginning at the footlights, and rising towards the 
 background, and covered with green bocking. The 
 soldiers should be grouped about the ground in various 
 positions, and the cannon and guns scattered about in 
 a promiscuous manner. The two ladies in mourning 
 sit on the top of the breastwork, side by side, their 
 heads bowed down, and hands covering their faces. 
 The mother is seated at the other end of the breast- 
 work, head thrown back, and eyes closed. The chil- 
 dren are standing by her side, clasping their hands and
 
 THE RESCUE. 157 
 
 gazing into her face. The Goddess of War should 
 stand with her left side to the audience, body bent for- 
 ward, the head slightly turned towards the battle field, 
 the countenance expressing animation and determina- 
 tion. A small quantity of smoke should be seen rising 
 behind the breastwork, while the whole scene is illumi- 
 nated by a red light burned at the side of the stage. 
 The booming of distant cannon and martial music 
 may be imitated behind the stage. 
 
 THE EESCUE. 
 
 Presence of mind and courage in distress 
 Are more than armies to procure success. 
 
 One Female and Eight Male Figures. 
 
 THIS tableau is one that can be produced without 
 much trouble or expense. The scene is taken from a 
 historical incident that occurred during the revolu- 
 tionary war. At the close of one of the hard-fought 
 battles between the Americans and British, an Ameri- 
 can officer, having fought long and well, was obliged 
 to seek safety in flight, hotly pursued by a company of 
 British soldiers, led on by their captain. He takes 
 refuge in the mansion of a tory in the vicinity of the 
 battle ground, and prostrates himself at the feet of the 
 lady of the house, who has risen from her chair on 
 hearing the tumult at the door, and with her arm 
 14
 
 158 THE TABLEAU. 
 
 extended and eyes flashing, sternly bade the British 
 officer and his followers to quit the house. The British 
 officer is standing within a few paces of the American, 
 with sword extended, ready to pierce his body. In the 
 rear of the British officer stands a platoon of soldiers, 
 with muskets ready to charge. The furniture of the 
 room consists of chairs, carpet, tables, small sofa, pic- 
 tures, &c. The lady who personates the tory house- 
 keeper should be tall, with good figure and features ; 
 her costume consists of a showy silk dress and velvet 
 waist. Position is, at the right of the stage, near the 
 front. A small table is placed at her side, on which are 
 a work box and piece of embroidery ; behind her is a 
 large chair ; her right hand is extended towards the 
 British officer ; the left is placed on her waist ; her 
 countenance expressing anger and command. The 
 American officer should be costumed in Continental 
 uniform, which consists of a blue coat, decorated with 
 large gilt buttons, and faced with buff, buff breeches, 
 white hose, low shoes, knee and shoe buckles, red sash, 
 epaulets, chapeau, and side arms. In his right hand he 
 grasps a broken sword. The position is, kneeling two 
 paces front of the lady, body bent forward, and eyes 
 cast down to the floor. The British officer and soldiers 
 are dressed in similar costumes, with the exception of 
 the coats, which are scarlet. The British officer's po- 
 sition is, standing in the centre of the stage, with sword 
 pointed towards the American officer, and eyes directed 
 to the lady. The lights for the piece should be of
 
 SOLOMON'S JUDGMENT. 159 
 
 medium brightness, and come from the side of the 
 stage opposite the lady. The background must be 
 partially shaded, while the foreground is light. For 
 music, drum and fife are adapted to the piece. 
 
 SOLOMON'S JUDGMENT. 
 
 " A mother's love." 
 If there be one thing pure, 
 Where all beside is sullied, 
 That can endure 
 When all else pass away 
 If there be aught 
 Surpassing human deed, or word, or thought, 
 
 " It is a mother's love ! " 
 
 Aifoir. 
 
 Three Male and Two Female Figures. 
 
 THIS Scripture tableau is taken from the third chap- 
 ter of the Book of Kings. The scene is at the moment 
 when Solomon passes his judgment between the two 
 women. These two women each had a child of the 
 same age, and resided together. The children resembled 
 each other so much that when one of them died, there 
 arose a dispute as to whom the living child belonged ; 
 and one woman said, " The living is my son, and the 
 dead is thy son." And the other said, " No ; the dead 
 is thy son, and the living is my son." Then said the 
 king, " Bring me a sword." And they brought a 
 sword before the king, and the king said, " Divide the 
 living child in two, and give half to one and half to 
 the other." Then spoke the woman whose the living
 
 160 THE TABLEAU. 
 
 child was unto the king, " my lord, give her the 
 living child, and in no wise slay it." But the other 
 woman said, " Let it be neither mine nor thine, but 
 divide it." Then the king answered and said, " Give 
 her the living child, and in no wise slay it, for she is 
 the mother thereof." The number of figures in this 
 tableau is five. The scenery consists of a platform four 
 feet square and two feet high, covered with red cloth, 
 which should be placed in the background, at equal 
 distances from the sides ; on this is placed a large, 
 showy chair, with a canopy over the top. Seated in 
 the chair is Solomon. His costume consists of a dark 
 velvet suit, trimmed with gold and silver fringe ; a 
 large cloak, trimmed with ermine, is worn on the 
 shoulders ; black hose, reaching to the knee, crossed 
 with crimson ribbon ; red sandals, ornamented with 
 gold ; a showy crown on the head, and his face covered 
 with a heavy white beard, reaching down on his breast ; 
 his right hand is pointed towards the soldier who holds 
 the child ; the eyes are also directed that way, while 
 the countenance appears stern and commanding. The 
 soldier's costume consists of a suit of armor such as 
 can be procured at theatres and costumers; but, if 
 preferred, a military suit of any kind will answer. 
 His position is, near the platform, the left hand grasp- 
 ing the child, while the right holds a sword, which is 
 raised above it ; his body faces the audience, his head 
 turned towards the king, the countenance stern and 
 forbidding. On the other side of the throne stands the 
 king's guard, a man dressed in a blue frock, trimmed
 
 SOLOMON'S JUDGMENT. 161 
 
 around the skirts, sleeves, and front with red ; white 
 hose, reaching to the knee ; black knee breeches ; low 
 shoes ; knee and shoe buckles ; lace collar and wrist- 
 bands; low black Kossuth hat, with gold band and 
 plume. The right hand grasps a long spear. Position 
 is, facing the audience, the body erect, and eyes 
 directed straight forward. At the corner of the plat- 
 form, near the soldier, kneels the mother of the child, 
 in position so that a side view is had of the face ; the 
 hands are clasped and raised in front of her breast, 
 head thrown back, and eyes directed to the king, 
 countenance expressing hope. She is dressed in deep 
 mourning, her hair flowing loosely over her shoulders. 
 On the other side of the throne, opposite the guard, 
 stands the other woman, her arms folded on her breast, 
 eyes directed to the soldier, countenance calm. Her 
 costume consists of a white dress, cut low in the neck, 
 and encircled around the waist with a colored belt ; 
 hair arranged in heavy braids, and ornamented with 
 showy hair pins. The lights should be of medium 
 brilliancy, and come from either side of the stage. If 
 desirable, a few paintings and statuary can be arranged 
 in the background. Music soft and plaintive. 
 14*
 
 162 THE TABLEAU. 
 
 THE BRIDAL PRAYER. 
 
 Sweet be her dreams, the fair, the young ; 
 
 Grace, Beauty, breathe upon her ; 
 Music, haunt thou about her tongue ; 
 
 Life, fill her path with honor. 
 
 All golden thoughts, all wealth of days, 
 
 Truth, friendship, love, surround her ; 
 So may she smile, till life be closed, 
 
 And angel bands have crowned her. 
 
 BARKY CORNWALL. 
 
 One Female Figure. 
 
 THIS simple, yet pretty tableau represents a young 
 maiden dressed in bridal costume, kneeling in prayer 
 in her chamber, preparatory to her descent to the room 
 below, where she is to enter into the holy bonds of 
 matrimony. The stage furniture consists of an orna- 
 mental chamber set, a few richly-bound books, pictures, 
 and other articles pertaining to a chamber. The young 
 lady should be of good figure and features. Costume 
 consists of a white dress, low in the neck, and orna- 
 mented with white flowers. The hair can be dressed 
 to suit the performer's taste, while a wreath of myrtle 
 and flowers encircles the head, at the back of which 
 trails a long white veil. Position is, kneeling in the 
 centre of the stage, so that a side view can be had of 
 the form, the hands raised and placed together in front 
 of the face, the head slightly thrown back, the eyes 
 closed, and the countenance expressing devotion. 
 Little light is required, which should come from the 
 side of the stage. Music soft and plaintive.
 
 THE GUITAR LESSON. 163 
 
 THE GUITAR LESSON. 
 
 O, strike the guitar lightly, lightly ; 
 
 Its tones I ne'er forget ; 
 O, strike the guitar lightly ; 
 
 'Tis sweet as when we met. 
 
 One Female and One Male Figure. 
 
 THIS simple, but pretty tableau represents a young 
 lady at the music room of her teacher, taking a lesson 
 on the guitar. The scene represented is a room fur- 
 nished with table, chairs, carpet, vases, pictures, &c. 
 A small sofa, or a pair of ottomans, are placed in the 
 centre of the apartment, on which is seated a young 
 and beautiful lady, and by her side the teacher. The 
 lady holds in her hands a guitar, on which she is play- 
 ing. Her teacher holds a sheet of music in the left 
 hand, while with the right he points towards the guitar. 
 The maiden's costume consists of a white dress, velvet 
 waist, white flowing sleeves, waist encircled with a 
 crimson sash ; hair done up in a neat manner, and 
 decorated with large feldspar beads. Her position is, 
 facing the audience, head slightly turned to her 
 teacher, eyes directed to the music, face beaming 
 with smiles. The teacher's costume consists of black 
 pants, white hose, reaching to the knee, with a band 
 of colored ribbon, and wide lace attached by a large 
 paste pin at the top, low shoes with buckles, single- 
 breasted vest left unbuttoned, showing a white shirt 
 underneath. A lady's pink or red sack will on an
 
 164 THE TABLEAU. 
 
 emergency answer for a coat. A lady's velvet cape 
 should be thrown carelessly over the shoulder. The 
 wristbands of the shirt bound with wide lace, and a 
 wide lace collar worn around the neck. The head 
 covered with a low-crowned Kossuth hat, orna- 
 mented with a gilt band, and white plume, which 
 is fastened to the hat with a large and brilliant paste 
 pin. Both of these costumes can be arranged at short 
 notice, and the tableau would be suitable for home 
 entertainment. A guitar, played behind the scenes, 
 will answer for the music. The light must be of 
 medium brightness, and come from either side of the 
 stage. 
 
 ROGER WILLIAMS PREACHING TO THE INDIANS. 
 
 " Gitche Manito the Mighty, 
 The Great Spirit, the Creator, 
 Sends them hither on his errand, 
 Sends them to us with his message. 
 
 Let us welcome, then, the strangers, 
 Hail them as our friends and brothers, 
 And the heart's right hand of friendship 
 Give them when they come to see us." 
 
 LONGFELLOW. 
 
 Two Female and Eight Male Figures. 
 
 ROGER WILLIAMS was the first white man that settled 
 in Rhode Island. He was a clergyman, and lived in 
 Boston ; but he did not think exactly as the other cler- 
 gymen of Boston, and was therefore banished from 
 Massachusetts. He emigrated with his family to the
 
 EOGER WILLIAMS PREACHING TO THE INDIANS. 165 
 
 woods. After travelling a considerable time, he se- 
 lected a beautiful spot, and built him a house. Other 
 settlers soon came that way, and founded homes. 
 This was the first settlement of Providence. Wil- 
 liams was kindly treated by the Indians, who seemed 
 pleased at his arrival among them. Every Sabbath he 
 would go into the village and preach to them. The 
 scene in this tableau represents him standing before a 
 wigwam with his Bible in hand, explaining the Holy 
 Scriptures to a group of savages who are gathered 
 about him. A few spruce trees should be placed in 
 the background of the picture, a fire kindled in the 
 centre of the stage, which can be placed in an iron 
 furnace, and surrounded with stones. The floor must 
 be covered with white cloth. Logs and branches of 
 trees should be scattered around the stage. At the 
 left of the stag*e is the wigwam, formed with rough 
 poles, covered with light-brown cloth, and ornamented 
 with red hieroglyphics. In the background, and at 
 each side of the stage, are seated Indians. The floor 
 of the stage in the background should be raised one 
 foot, on which are placed the trees ; in front of the 
 wigwam stands Roger Williams ; he partially faces the 
 audience ; his left hand holds a Bible, while his right is 
 raised upward, his eyes directed towards the Indians 
 countenance expressing animation. Costume consists 
 of black coat of ancient style, black breeches, black 
 vest, white hose, ruffled bosom, and white cravat, knee 
 and shoe buckles, and a long white wig, ending in a 
 cue, and tied with a black ribbon. Costume of the
 
 166 THE TABLEAU. 
 
 Indians is a short frock, made of and trimmed with a 
 bright-colored cambric, pants of dark buff cloth, fitting 
 tightly so as to develop the form of the leg, moccasins 
 of red flannel, decorated with beads ; a strip of card- 
 board, covered with red flannel, and ornamented with 
 feathers of any kind, should be worn around the head. 
 A belt about the waist, containing tomahawk and knife, 
 both of which can be made of wood, and painted in 
 bright colors. A few squaws are interspersed in the 
 scene. Their costumes are similar to those of the 
 men, with the addition of a bright-colored blanket 
 thrown over the shoulders, and hair loosely flowing 
 about the neck. The exposed portions of the bodies 
 of the Indians are stained of the same color as the 
 pants. ' The position of the figures must be varied, 
 while all look with attention to Williams. The scene 
 should be lighted by a red fire, burned'at the front side 
 of the stage. Music soft and of a sacred character.
 
 CROSSING THE LINE. 167 
 
 CROSSING THE LINE. 
 
 Far, far upon the sea 
 
 The good ship speeding free, 
 
 Upon the deck we gather, young and old, 
 And view the flowing sail 
 Swelling out before the gale, 
 
 Full and round, without a wrinkle or a fold. 
 
 Ten Male Figures. 
 
 THIS comic tableau is a representation of a scene which 
 often transpired on board of vessels in passing the line. 
 This time-honored custom of introducing to old Neptune 
 and his suite the persons who, for the first time in their 
 lives, cross the equinoctial line, is now nearly abolished. 
 But until within a quarter of a century, the occasion 
 of crossing the line was one of no little importance. 
 It was a jubilee on board ship which was looked for- 
 ward to with eagerness by the jolly tars who had 
 already shaken hands with the God of the Ocean, and 
 with fear and trembling by the youths who were about 
 to enter for the first time the favorite dominions of the 
 old god. The ceremonies on these occasions varied 
 according to the character of the crew, of the com- 
 mander of the vessel, or of the poor fellows about to 
 undergo the unpleasant and dreadful process of an 
 introduction. They were generally of a harmless and 
 amusing character, one of which was to bring them 
 before old Neptune, and put them through the process 
 of shaving. The chin, and the greater part of the face, 
 would be plastered over with a composition made of
 
 168 THE TABLEAU. 
 
 tar and train oil, laid on thickly with a large tar 
 brush. The razor was often fabricated from a worn- 
 out hoop, notched like a handsaw. This was drawn 
 over the face, not in the most gentle manner. After 
 this operation was completed, a person approached to 
 untie the handkerchief that bandaged the eyes, and at 
 the same moment kicked away the plank on which the 
 victim sat, which precipitated him into the ship's long- 
 boat, filled with water for the occasion. The number 
 of figures in this tableau is ten. Neptune is the 
 principal one, and is costumed in a flesh-colored coat, 
 fitting tightly to the body, and covered with hiero- 
 glyphics in bright colors ; the face painted to look hid- 
 eous, and partially covered with a long, shaggy beard ; 
 a crown on the head, made of card-board, covered with 
 gilt paper and shells ; a spotted fur robe is thrown over 
 the lower portion of the body ; his right hand grasps a 
 three-pronged fork, while the left is stretched out to 
 one of the sailors. His throne, on which he is seated, 
 is made of a number of barrels placed in a row at the 
 back of the stage, on which rests a platform, with an 
 anchor on each side. The victim, as well as the rest 
 of the performers, should be costumed in sailors' suits, 
 differing in colors and styles. In the centre of the 
 stage erect a small platform, one foot high and six feet 
 long. On this place the person who is to be shaved. 
 At his left stand two sailors. One holds the speaking 
 trumpet and a ship's bucket ; the other is in the act of 
 pouring a bucket of water on the head of the victim ; 
 a third sailor holds in his left hand a paint brush, and
 
 THE WEDDING. 169 
 
 brandishes the razor in his right ; a little sailor boy 
 holds a small tub, which contains the soap. Fronting 
 the victim, kneels a sailor, holding a syringe. The 
 remaining figures are looking on to see the sport. The 
 countenances of all but the victim express mirth. An 
 imitation mast and sail should be arranged at the back- 
 ground of the picture, the sides of the stage painted to 
 represent ports of a vessel, and various articles that 
 are used on board a ship must be scattered about 
 the deck. Light brilliant, and come from the right 
 side of the stage. 
 
 THE WEDDING. 
 
 Pass thou on ! for the vow is said 
 
 That may ne'er be broken ; 
 The trembling hand hath a blessing laid 
 On snowy forehead and auburn braid, 
 
 And the word is spoken 
 By lips that never their word betray'd. 
 
 Pass thou on ! for thy human all 
 
 Is richly given, 
 
 And the voice that claims its holy thrall 
 Must be sweeter for life than music's fall, 
 And, this side heaven, 
 Thy lip may never that -trust recall. 
 
 One Female and Two Male Figures. 
 
 THIS tableau is a representation of the marriage 
 
 ceremony, and is arranged with little trouble or ex- 
 
 pense. For a home entertainment it will be quite 
 
 appropriate. The scene is a young and beautiful 
 
 15
 
 170 THE TABLEAU. 
 
 maiden and a fine-looking gentleman kneeling at 
 the foot of an altar, behind which stands a priest, 
 dressed in appropriate costume. He is performing 
 the wedding rites. He holds in his right hand a 
 prayer book ; his left is stretched out over the kneeling 
 couple ; his eyes are raised upward, the countenance 
 calm. The lady and gentleman kneel at the foot of 
 the altar, partially facing each other, so that a side 
 view is had of the body. The eyes of both are cast 
 down ; the lady's costume consists of a white dress, 
 trimmed to suit the taste of the performer. A delicate 
 wreath of silver leaves crowns the head, and a long 
 white veil hangs from the back hair to the floor. The 
 gentleman should be costumed in a black coat and 
 pants, white vest, cravat, and gloves. The priest's cos- 
 tume consists of a black surplice and cowl, white cra- 
 vat, and a large cross suspended from the neck. For 
 want of a better article, a lady's black dress will an- 
 swer for the surplice, and a black silk scarf, wound 
 around the head, will answer for a cowl. The altar 
 can be formed out of a small table, with a white cloth 
 thrown over it, with a large Bible on the top. The 
 light for this piece should be mellow, and come from 
 the left side of the stage. Music soft and plaintive.
 
 HIAWATHA SAILING. 171 
 
 HIAWATHA SAILING. 
 
 " And thus sailed my Hiawatha 
 Down the rushing Taguamenaw 
 Sailed through all its bends and windings, 
 Sailed through all its deeps and shallows, 
 "While his friend, the strong man Kwasind, 
 Swam the deeps, the shallows waded. 
 
 Up and down the river went they, 
 In and out among its islands, 
 Cleared its bed of root and sand-bar, 
 Dragged the dead trees from its channel, 
 Made its passage safe and certain, 
 Made a pathway for the people, 
 From its springs among the mountains, 
 To the waters of Pauwating, 
 To the bay of Taguamenaw." 
 
 LONGFELLOW. 
 
 Two Female and Two Male Figures. 
 
 THIS interesting tableau represents Hiawatha and 
 his friends sailing in his birch canoe. The arrange- 
 ment of the scenery is quite simple, and when properly 
 adjusted, makes one of the finest pictures in this series. 
 The floor of the stage must be arranged to represent 
 water, which can be done in the following manner: 
 Nail strips or narrow bands of wood on each side of the 
 stage, the front ends resting on the floor, the other 
 ends raised to the height of one foot ; at intervals of 
 ten inches on the strips place stout nails, and to these 
 fasten stout cord from one side of the stage to the 
 other ; across the cords place strips of light-blue cam- 
 bric, allowing it to festoon from one cord to the other ; 
 fasten the cambric to the cords with pins, and paint in
 
 172 THE TABLEAU. 
 
 a careless manner the ridges to represent miniature 
 waves ; then scatter the surface with isinglass in small 
 particles. Fill up the background with scenery of a 
 similar character, or with small spruce trees. An imi- 
 tation birch canoe can be made of strips of wood, covered 
 with cloth, painted light brown, and ornamented with 
 bands of crimson, blue, and white paint ; this should be 
 placed in the centre of the stage, on small ways running 
 across from one dressing room to the other, and painted 
 the same color as the waves. Grooved pieces of wood 
 must be fastened to each side of the canoe, so that it 
 can be propelled across the stage on the ways, and 
 appear to be floating on the top of the water. Ropes 
 attached to each end, at the bottom of the boat, 
 passed under the waves, and roved through blocks, 
 can be used to propel it from one side of the stage 
 to the other. The ways should extend into the ante- 
 rooms, so that the boat can pass entirely from the 
 stage. Large leaves and long grasses, made of green 
 cambric, may be placed around the edges of the 
 water. The boat contains two Indian braves and two 
 Indian maidens. All are dressed in costumes, which 
 have been described in the tableau of " Hiawatha and 
 his Bride's Return Home." Hiawatha is seated in the 
 stern of the boat, holding a paddle in the water. The 
 other Indian is kneeling in the bow with his bow and 
 arrow, and in position as if firing to the shore. One 
 of the maidens is looking intently over the side of the 
 canoe, and the other is looking upward. Both should 
 have long black hair flowing over the shoulders. The
 
 THE VILLAGE STILE. 173 
 
 canoe should move very slow, and should be seen in 
 motion when the curtain rises ; and to have it move in 
 a steady manner, the ropes should be attached to a 
 windlass below the stage. The scene must be illumi- 
 nated by a green fire burned at the side of the stage 
 opposite the entrance of the canoe. Music soft and 
 plaintive. 
 
 THE VILLAGE STILE. 
 
 The village stile and has it gone ? 
 Supplanted by this niche of stone, 
 
 So formal and so new ; 
 And worse, still worse, the elder bush, 
 "Where sang the linnet and the thrush ; 
 
 Say, has that vanished too ? 
 
 Age sat upon 't when tired of straying ; 
 And children that had been a-maying ; 
 
 These trimmed their garlands gay ; 
 What tender partings, blissful meetings, 
 What faint denials, fond entreatings, 
 
 It witnessed in its day ! 
 
 One Female and One Male Figure. 
 
 THIS rustic tableau represents a young shepherd and 
 his betrothed seated on the village stile, engaged in 
 conversation. In the centre of the stage, a weather- 
 worn plank should be placed, resting on artificial banks 
 at each side, which are three feet high and four feet 
 wide ; these can be shaped out of boxes or chairs 
 placed together in a careless manner, and covered with 
 green booking; at each side of the stage, near the 
 15*
 
 174 THE TABLEAU. 
 
 banks, place small spruce trees, and beneath the stile 
 build a step out of old plank, one foot high, and the 
 length of the space between the two banks. Seated on 
 the inner side of the stile is the young maiden. She 
 is partially facing the audience, body slightly bent for- 
 ward, right hand placed in that of the shepherd, while 
 the left rests on a basket of flowers placed on her 
 knee. Costume consists of a showy plaid dress, with 
 a green waist, trimmed with purple cloth, cut in scal- 
 lops ; a small pink scarf worn over the shoulders, and 
 tied at the side ; a pink apron, trimmed with white ; a 
 small straw hat, bound with green ribbon, and set jan- 
 tily on the head ; hair done up low in the neck, and 
 ornamented with blue and red ribbons. The eyes are 
 cast down to the basket, the expression of the face 
 thoughtful. The young shepherd stands on the out- 
 side of the stile, reclining carelessly against the green 
 bank. He partially faces the audience ; his eyes are 
 directed to the opposite side of the stage, the expres- 
 sion of the face denoting deep thought. The right 
 hand clasps that of the maiden, while the left hangs 
 carelessly at the side, and grasps a shepherd's crook, 
 which is six feet long. Costume consists of a loose, 
 light-blue coat, bound at the bottom of the skirt and 
 sleeves with dark blue ; a belt of the same encircles 
 the waist ; white hose, low shoes covered with red 
 cloth, knee and shoe buckles, and low-crowned hat ; a 
 straw hat, covered with brown cambric, and bound 
 with red, will answer. If a large dog can be procured,
 
 FLORENCE NIGHTINGALE IN THE CRIMEA. 175 
 
 that will remain perfectly still, place him at the feet of 
 the shepherd. The light should be of medium bril- 
 liancy, and come from the front of either side of the 
 stage. Music soft and of a secular order. 
 
 FLORENCE NIGHTINGALE IN THE CRIMEA. 
 
 The tender sigh, the balmy tear, 
 
 That meek-eyed pity gave, 
 My last expiring hour shall cheer, 
 
 And bless a soldier's grave. 
 
 One Female and Three Male Figures. 
 
 THIS tableau is one that can be easily formed for an 
 evening's entertainment. It represents Florence Night- 
 ingale nursing a young wounded soldier in his tent at 
 the Crimea. Florence Nightingale was one of those 
 philanthropic and humane ladies who left their homes 
 and the comforts of life, and resorted to the Crimea, 
 where, on the field of battle and in the pestilential hos- 
 pital, she comforted and nursed the sick and wounded 
 soldiers. The tent can be made of white cloth, fastened 
 to a frame of light strips of wood eight feet square, 
 with a small flag fastened in front. A couch should 
 be formed at one side of the tent, on which reclines 
 the wounded soldier, with an imitation of a large 
 wound on the forehead, a large black patch on the side 
 of the face, and a bandage around the head ; his face 
 must be made quite white, his body supported by
 
 176 THE TABLEAU. 
 
 pillows ; eyes fixed on Florence, countenance calm 
 and tranquil ; his right arm is extended outside of the 
 coverlet, and is held by a comrade who is at the side of 
 the bed. Florence's costume consists of a red dress 
 reaching to the knee, a white collar, loose blue pants 
 with red stripe, buff apron trimmed with white, a flat 
 blue cap with gold band, a small, square, black bag, 
 suspended at the side by leather straps passing over 
 the shoulders, the hair arranged low in the neck; 
 she is standing by the side of the couch, body bent 
 slightly forward, one hand resting on the pillow, the 
 other grasps the hand of the sufferer. On the other 
 side of the bed is a soldier, seated on a camp-stool, 
 engaged in reading a Bible. He is dressed in a showy 
 uniform, and is facing the audience. The lights for 
 this piece should be of medium brilliancy, and come 
 from the front of the stage. Music of a military style.
 
 THE FIREMAN'S STATUE. 177 
 
 THE FIREMAN'S STATUE. 
 
 One Male and Six Female Figures. 
 
 THIS tableau is quite a tasty design, and is repre- 
 sented by six females in a kneeling posture, supporting 
 a circular shield, on the top of which stands a young 
 and handsome fireman, dressed in his regalia. In his 
 right hand he grasps a hose pipe, the end of which 
 rests on the top of an imitation hydrant, which is 
 placed on the top of the shield at his side. His posi- 
 tion is, facing the audience, body and head erect, the 
 left hand resting on the hip, eyes raised upward, coun- 
 tenance calm. The ladies' costume consists of a white 
 dress, red waist, blue sash, hair done up snugly and 
 encircled with a gold band, on the front of which is a 
 silver star, with a blue border and spangles in the 
 centre. The shield should be three feet in diameter, 
 and placed on a pedestal high enough to allow the 
 ladies to kneel beneath. It should be covered with a 
 white cloth that will trail to the floor. The ladies 
 kneel in a circle around the shield, the body facing 
 outward, the head turned slightly to one side, both 
 hands placed against the bottom of the shield, the eyes 
 cast down. The two centre ladies should partially face 
 each other. Expression of the countenance pleasant. 
 Music of an operatic order.
 
 178 THE TABLEAU. 
 
 JOAN OF ARC AT THE SIEGE OF ORLEANS. 
 
 That was a joyous day in Rheims of old, 
 When peal on peal of mighty music roll'd 
 Forth from her throng'd cathedral ; while around, 
 A multitude, whose billows made no sound, 
 Chain'd to a hush of wonder, though elate 
 With victory, listen'd at their temple's gate. 
 
 But who alone 
 
 And unapproach'd beside the altar stone, 
 With the white banner, forth like sunshine streaming, 
 And the gold helm, through clouds of fragrance gleaming, 
 Silent and radiant stood ? The helm was raised, 
 And the fair face reveal'd that upward gazed 
 Intensely worshipping : a still, clear face, 
 Youthful, but brightly solemn ! Woman's cheek 
 And brow were there, in deep devotion meek, 
 
 Yet glorified with inspiration's trace 
 On its pure paleness ; while, enthroned above, 
 The pictured Virgin, with her smile of love, 
 Seem'd bending o'er her votaress. That slight form ! 
 Was that the leader through the battle storm ? 
 Had the soft light in that adoring eye 
 Guided the warrior where the swords flash'd high ? 
 
 'Twas so, even so ! and thou, the shepherd's child 
 Joanne, the lowly dreamer of the wild ! 
 Never before, and never since that hour, 
 Hath woman, mantled with victorious power, 
 Stood forth as thou beside the shrine didst stand, 
 Holy amidst the knighthood of the land ; 
 And beautiful with joy and with renown 
 Lift thy white banner o'er the olden crown, 
 Hansom'd for France by thee ! 
 
 MRS. HEMAXS. 
 
 One Female and Thirty Male Figures. 
 
 THIS historical tableau contains thirty-one figures. 
 A less number will make a picture ; but to give proper 
 effect to the scene, there should be thirty-one. Joan of
 
 JOAN OP ARC AT THE SIEGE OF ORLEANS. 179 
 
 Arc, the heroine of this piece, at the age of nineteen 
 was a simple and Uneducated shepherdess, and by her 
 enthusiastic courage and patriotism was the immediate 
 cause of that sudden revolution in the affairs of 
 France which terminated in the establishment of 
 Charles VII. on the throne of his ancestors, and the 
 final expulsion of the English from that kingdom. 
 The town of Orleans was the only place in France 
 which remained in the possession of the dauphin at 
 the time when this heroine made her appearance, and 
 that was closely besieged by the English, while Charles 
 had not the smallest hope of being able to procure an 
 army to raise the siege. Benevolent in her disposition, 
 gentle and inoffensive in her manners, and above all, 
 dutiful to her parents, Joan had, from her earliest 
 infancy, been ardently attached to her country. Her 
 piety, her enthusiasm being thus united in her young 
 and romantic mind with an all-absorbing feeling of 
 patriotism, she was led to believe herself the humble 
 instrument, in the hands of Heaven, by whom the 
 interest and glory of France were to be redeemed. 
 Under this impression, the maiden left her native vil- 
 lage, and appeared before Charles dressed as a warrior, 
 and informed him that she had two things to accom- 
 plish on the part of the King of heaven; first, to 
 cause the siege of Orleans to be raised ; and secondly, 
 to conduct the King to Rheims, there to be anointed. 
 The enterprise so courageously proposed was con- 
 sidered, and her services publicly accepted. On the 
 29th of April, 1429, Joan of Arc appeared before
 
 180 THE TABLEAU. 
 
 Orleans, with twelve thousand men. She made an 
 attack upon Fort St. Loup, which she carried, sword in 
 hand, as well as the bulwarks of St. John. She had a 
 banner made after her own device ; her sword was 
 taken from the tomb of a knight, where it had lain 
 more than a century ; her helmet was surmounted 
 with feathers. She remained at the head of the army 
 until 1430, when she was taken prisoner by the Eng- 
 lish, at the siege of Campaigne. From the moment 
 she was a prisoner, the heroine was forgotten. Joan 
 was condemned at Rouen, by Cauchon, Bishop of 
 Beauvais, and five other French bishops, to be burned 
 alive for magic and heresy, and her cruel sentence was 
 put in execution on the 24th of May, 1431. Thus was 
 the admirable heroine cruelly delivered over in her 
 youth to the flames, and expiated by the punishment 
 of the fire the signal services which she had rendered 
 to her prince and native country. The scene for the 
 tableau is taken at the moment when Joan of Arc, 
 sword in hand, is leading on the storming party over 
 the bulwarks of St. John. She is seen on the top of 
 the ramparts, near one of the cannon which has just 
 been fired. Her soldiers are charging over the bul- 
 warks around her. In the background are to be seen 
 the troops of the various armies, engaged in hostile 
 combat. The battlements should be three or four feet 
 in height, two feet wide, running across the front of 
 the stage, with an embrasure in the centre. Boxes 
 covered with imitation-stone paper are to be used for its 
 formation. If a small cannon cannot be procured, a
 
 JOAN OF ARC AT THE SIEGE OP ORLEANS. 181 
 
 mock one may be constructed of wood. Platforms 
 rising gradually from the ramparts to the back scene 
 must be used for the figures in the background to stand 
 on. Joan of Arc should be tall in stature, of good fig- 
 ure, and fine looking, with large black eyes, and long- 
 black hair. Costume consists of a crimson skirt, coat 
 of mail buttoned up to the throat, helmet with flowing 
 plumes, riding gloves, crimson sash across the breast, 
 belt and side arms. The banner is made of white 
 cloth, trimmed with crimson, with a gold cross in the 
 centre, and a gilt spear, and tassels on the end of the 
 staff. Sword of rich design, and quite long. Her 
 position is, near the cannon, the right foot on the top 
 of the ramparts or cannon, the left a few inches lower, 
 on a box placed behind the ramparts ; the body bent 
 forward ; right hand grasping a sword and stretched 
 out at arm's length towards the ceiling, the left holding 
 the banner, which is held at the side of the body ; the 
 head slightly turned to the troops at the right ; eyes 
 directed partially to them ; countenance animated. 
 Three soldiers in uniform the prominent colors scar- 
 let are lying on the ground in front of the battle- 
 ments. Wounds should be imitated on the head ; one 
 soldier is lying across the cannon, holding a rammer in 
 his hand ; two others are stretched out on the battle- 
 ments. The costume of Joan's soldiers should be blue 
 and buff, and each wearing a large moustache. Two 
 platoons, each containing five soldiers, are in the act 
 of charging over the ramparts at each side of Joan ; 
 they stand two feet from the breastwork, and look 
 16
 
 182 THE TABLEAU. 
 
 straight forward. One soldier on each side is in the 
 act of piercing with his bayonet the soldiers on the 
 breastwork. The background is filled up with troops 
 of both nations, who are in the act of fencing and fir- 
 ing their muskets at the enemy in the distance ; a 
 variety of positions should be taken, to make the scene 
 as attractive and life-like as possible. The booming of 
 cannon and rattle of musketry may be imitated in the 
 ante-rooms ; a slight quantity of smoke can be made to 
 hover over the combatants by burning a small quantity 
 of the whitish blue fire on the stage before the curtain 
 rises. Care must be taken not to burn too much, as a 
 great quantity of smoke will hide the figures from 
 view. The scene must be illuminated by a brilliant 
 red fire burned on the side of the stage that will most 
 reflect on Joan's face. The piece may be exhibited 
 double the usual length of time of other tableaux, and 
 should be used as a grand finale.
 
 THE PARTING. 183 
 
 THE PARTING. 
 
 Ah ! then and there was hurrying to and fro, 
 And gathering tears, and tremblings of distress, 
 And cheeks all pale, which but an hour ago 
 Blush'd at the praise of their own loveliness. 
 And there were sudden partings, such as press 
 The life from out young hearts, and choking sighs, 
 Which ne'er might be repeated Who could guess 
 If ever more should meet, those mutual eyes, 
 Since upon night so sweet, such awful morn could rise ? 
 
 BtKoy. 
 One Male and Two Female Figures. 
 
 THIS pretty tableau is one that can be formed with- 
 out much expense or trouble. The scene represented 
 is a young knight, about to leave his home, his wife, 
 and child, to fight the battles of his country. A large 
 flight of steps fills up one third of the stage at the 
 background. These can be made by placing strips of 
 boards on boxes, arranged in the form of steps, and 
 covering them with white marble or light stone 
 paper; at one side of the stage is a pedestal three 
 feet high and eighteen inches square, on the top of 
 which is a large vase of flowers. A box covered 
 with marble paper, and fresco cornice, will answer for 
 the pedestal, while a large earthen jar, painted white, 
 will do for the vase. On the other end of the steps, 
 two marble pillars reach from the upper step to the 
 ceiling, and a couple of spruce trees placed back of the 
 steps, at each end, will give a good effect. The knight 
 is costumed in a black frock, trimmed around the bot- 
 tom of the skirt and sleeves with purple cambric, a
 
 184 THE TABLEAU. 
 
 straight collar of the same material, ornamented with 
 gilt buttons and paper ; belt and side arms, red sash, 
 riding gloves, purple knee breeches, white hose, low 
 shoes, knee and shoe buckles, a low cap, with a gilt 
 band, and showy plume fastened to the side with 
 a brilliant paste pin ; a small velvet cape, trimmed 
 around the bottom with gold paper, is worn carelessly 
 over the left shoulder. Position is, standing on the 
 bottom step, facing the audience ; one foot rests on the 
 floor of the stage, the other on the step ; the right hand 
 points to the back of the stage, while the left rests on 
 the shoulder of his wife, who stands at his side ; his 
 body is bent slightly forward, eyes directed to those of 
 his wife ; countenance expresses animation. The lady 
 who personates the wife should have black, curly hair, 
 good figure, medium height, and regular features. 
 Costume consists of a blue silk dress, velvet-waist, hair 
 arranged in curls, and ornamented with showy hair 
 pins. Position is, at the side of her husband, two 
 paces in advance, and in such position that a side view 
 is had of the form ; her body bent forward, so that her 
 hands, which are clasped, will rest on her husband's 
 shoulder, head thrown back, eyes directed to those of 
 her husband, face expressing grief. A few paces to 
 the left of the lady, is a cradle, containing a sleeping- 
 child. A large Newfoundland dog lies quietly watch- 
 ing it. The scene should be illuminated by a purple 
 fire burned near the front of the stage. Music of a 
 martial style.
 
 HAGAR AND ISHMAEL IN THE WILDERNESS. 185 
 
 HAGAR AND ISHMAEL IN THE WILDERNESS. 
 
 It was an hour of rest ! but Hagar found 
 
 No shelter in the wilderness, and on 
 
 She kept her weary way, until the boy 
 
 Hung down his head, and open'd his parch'd lips 
 
 For water ; but she could not give it him. 
 
 She laid him down beneath the sultry sky, 
 
 For it was better than the close, hot breath 
 
 Of the thick pines, and tried to comfort him ; 
 
 But he was sore athirst, and his blue eyes 
 
 "Were dim and bloodshot, and he could not know 
 
 Why God denied him water in the wild. 
 
 She sat a little longer, and he grew 
 
 Ghastly and faint, as if he would have died. 
 
 It was too much for her. She lifted him, 
 
 And bore him farther on, and laid his head 
 
 Beneath the shadow of a desert shrub ; 
 
 And, shrouding up her face, she went away 
 
 And sat to watch where he could sec her not 
 
 Till he should die ; and, watching him, she mourned : 
 
 WILLIS. 
 
 One Female and One Male Figure. 
 
 THIS group is a representation of Hagar and Ish- 
 mael in the wilderness, and is designed to imitate 
 sculpture. The circumstances of the scene are well 
 known in the simple narrative of the Scriptures. The 
 boy, weary and exhausted by imaccustomed hardships 
 and suffering, has sunk down in the desert to die ; but 
 Hagar, sustained by the measureless affection of a 
 mother's breast, supports the fainting form of her son, 
 and has just put aside the cup now drained of its last 
 precious drops of water. She gazes upon- his face, 
 while in her own, hope still lingers, before yielding to 
 16*
 
 186 THE TABLEAU. 
 
 the unutterable anguish of despair. The lady who 
 personates Hagar should be of good figure and fea- 
 tures, tall, and matronly. Costume consists of a white 
 dress, cut low in the neck, sleeves five inches long, a 
 white tarleton scarf worn across the shoulders, and 
 tied at the left side, the hair hanging in curls on the 
 neck, a white turban on the head, with two white strips 
 attached to the side and passed under the chin, and 
 white sandals laced across white hose. The position of 
 Hagar is kneeling, so that a side view is had of the 
 face. The left hand sustains the head of Ishmael, the 
 right is extended to the pitcher which stands at the 
 side of the group ; the head is bent forward consid- 
 erably, eyes fixed on those of the boy, countenance 
 expressing anxiety and hope. A young lad of six 
 years of age, of fair complexion and long, light, 
 curly hair, is required to personate Ishmael. He 
 should be costumed in a loose, white coat or frock, 
 white hose and sandals, with a white gauze mantle 
 draped about the breast. Ishmael's position is, reclin- 
 ing on his side, one leg drawn up and placed across the 
 other, the left arm resting on the ground, supporting 
 the body, the right lying carelessly at the side ; the 
 shoulders rest on the knee of Hagar, head thrown back, 
 and resting on the hand of Hagar, eyes closed, mouth 
 partially open. The pitcher should be of white por- 
 celain, of ancient style. The group is formed on a 
 square or round pedestal, five feet square or in 
 diameter, and one foot high, covered with whito cloth
 
 THE FIGHT FOB THE STANDAED. 187 
 
 or marble paper. The exposed portions of the figures 
 must be made as white as possible with chalk. Light 
 soft, and come from the side of the stage. Music of a 
 plaintive and sacred character. 
 
 THE FIGHT FOR THE STANDARD. 
 
 They saw the princely crest, 
 
 They saw the knightly spear, 
 The banner, and the mail-clad breast, 
 
 Borne down, and trampled here : 
 They saw and glorying there they stand, 
 
 Eternal records to the land. 
 
 MBS. HEMAXS. 
 
 Twelve Male Figures. 
 
 THIS thrilling tableau represents a death struggle 
 between an Arab standard-bearer and a French soldier. 
 The Arab grasps the standard with the left hand, while 
 the right holds a short cimeter at arm's length ; his 
 body is bent forward, right arm extended thirty inches 
 front of the left, and eyes directed to those of the sol- 
 dier, the countenance expressing firmness and excite- 
 ment. Costume consists of a long white coat without 
 sleeves, trimmed about the bottom with buff, open at 
 the top, displaying the neck and chest ; a heavy red 
 sash wound around the waist ; pants of light-blue, cut 
 quite loose, and gathered in with a string at the ankle ; 
 shoes covered with red cloth ; a turban on the head, the 
 top of which is white, and around the bottom is wound 
 a band of red and black cloth, with the ends falling
 
 188 THE TABLEAU. 
 
 over the shoulders ; a belt and scabbard are fastened to 
 the waist. The sword should be two feet long, four 
 inches wide, and curve from hilt to point. This can 
 be made of tin or wood, the scabbard of card-board or 
 leather, and painted red. The French soldier's cos- 
 tume consists of blue coat, trimmed and faced with 
 buff, gold epaulets, large gilt buttons, white pants with 
 stripe of red, red belt and long scabbard, hat with 
 plume and long, straight visor. He holds in his right 
 hand a long, straight sword, while the left grasps the 
 standard. His body is bent forward, and faces the 
 audience, the right foot extended front of the left 
 thirty inches, the eyes fixed on those of the Arab, 
 countenance expressing determination and rage. The 
 staff on which the flag is fastened is seven feet long, 
 with a gilt ball, crescent, and tassels at the top. The 
 flag is made of three stripes, one of light yellow, and 
 two of light red, with a black oval, with red trimmings, 
 in the centre. The flag should be unfplded so as to 
 show the design, but gathered in at the centre by the 
 hand of the soldier. Between these two figures are a 
 French soldier and an Arab lying dead on the ground. 
 Five feet behind this group, and at the right of the 
 stage, are four Arabs, with long spears, charging on 
 the same number of French soldiers opposite, who are 
 holding their muskets in position, ready to repel the 
 charge, their countenances expressing sternness, their 
 eyes fixed on each other. Costumes are similar to 
 those described. Spears can be made of wood, with 
 gilt spear-heads. The skin of the Arabs must be
 
 JONATHAN'S VISIT TO HIS CITY COUSINS. 189 
 
 stained light brown. The French soldiers should wear 
 large mustaches. A slight quantity of smoke is seen 
 floating in the background ; the booming of cannon 
 heard in the distance. The scene is illuminated by a 
 red fire at the side of the stage. Music of a martial 
 style. 
 
 JONATHAN'S VISIT TO HIS CITY COUSINS. 
 
 One Female and One Male Figure. 
 
 THIS comic tableau is one that can be produced at 
 short notice, and without expense. The scene to be 
 represented is a parlor furnished with sofa, chairs, 
 carpet, pictures, table, and a melodeon, which is placed 
 on the side of the stage. A sheet of music is resting 
 on the rack, arid a young lady is seated on the melo- 
 deon stool, body facing the audience, head turned to 
 the back of the room, both hands raised, and eyes fixed 
 on a young man, who is seated on the sofa in the 
 background. Her body is slightly inclined from the 
 young man, countenance expressing affright. She 
 should be costumed in a showy silk dress. The gen- 
 tleman's costume consists of striped pants, reaching with- 
 in six inches of the foot, red straps, thick boots, ancient 
 style swallow-skirted coat, short striped vest, ruffle- 
 bosomed shirt, standing collar reaching to the ears, large 
 brass chain and watch seals hanging from the vest pocket, 
 large red silk handkerchief laid across the knee, and a
 
 190 THE TABLEAU. 
 
 low-crowned white hat in the hand. Position is, seated 
 on the sofa, one hand placed in the pants pocket, the 
 other resting on the knee, body bent forward, eyes fixed 
 on the keys of the melodeon, countenance expressing 
 astonishment. The gentleman best adapted for this 
 part is one who has a natural talent for performing in 
 comedy. Light should be thrown on the scene from 
 the lower end of the side of the stage, and of medium 
 brightness. Music of a spirited character. 
 
 THE THREE GRACES. 
 
 Faith, Hope, and Love, now dwell on earth, 
 
 And earth by them is blest ; 
 But Faith and Hope must yield to Love, 
 
 Of all the graces best. 
 
 Three Female Figures. 
 
 THIS is a statuary tableau, and is represented by 
 three young and beautiful ladies of about the same 
 height and figure, with regular features and long hair. 
 Their costume consists of a long white robe, worn with 
 few skirts, and cut extremely low at the neck, sleeves 
 five inches long, a mantle of white tarleton muslin 
 worn across the breast, tied at the side, and allowed to 
 trail on the floor ; the hair arranged in braids at the 
 sides of the head, ornamented with large beads, clasped 
 with a silver band behind, and allowed to hang in short 
 curls in the neck. The ornaments should be entirely
 
 THE GUARDIAN ANGEL. 191 
 
 white. The three ladies stand on a pedestal three feet 
 high, and four feet in diameter ; this must be covered 
 with black or green marble paper, and placed in the 
 centre of the stage. The centre lady stands facing the 
 audience, with the right hand raised above the head ; 
 the left clasps the hand of the lady at the left side, 
 who is looking into the eyes of the figure at the right, 
 and rests her right hand on the shoulder of the centre 
 figure. The figure on the other side stands in a grace- 
 ful position, resting her hands on the shoulder of the 
 centre figure, and looking into her face. The coun- 
 tenances of the three should express pleasure. The 
 light for the piece must be soft and mellow, and come 
 from the side of the stage. Music low and plaintive. 
 
 THE GUARDIAN ANGEL. 
 
 Angels, joyful to attend, 
 Hovering round thy pillow bend, 
 "Wait to catch the signal given, 
 And convey thee quick to heaven. 
 
 One Female and One Male Figure. 
 
 THIS is a most pleasing tableau, and represents the 
 good angel, in whose existence and controlling power 
 there is scarce any one so rude as not to believe, 
 attending a young boy, who looks reverently upward, 
 to heed the admonitions of his celestial companion. 
 The lady who personates the angel should be of good
 
 192 THE TABLEAU. 
 
 figure, tall and slim, with fine features, and light curly 
 hair. Costume consists of a loose white dress, over 
 which is worn a robe of white tarleton muslin ; these 
 should be cut quite low in the neck, and long at the 
 bottom ; sleeves long, and fitting tight to the arms ; a 
 wide mantle of tarleton muslin worn across the breast, 
 and allowed to trail with the dress at the side. Large 
 wings, formed of wire, covered with white muslin, and 
 ornamented with spangles, must be fastened to the 
 back of the waist. The hair should hang in ringlets, 
 and be encircled with a band of silver. The boy must 
 be of small stature, good features, and have long, light, 
 curly hair. Costume consists of a loose short frock, 
 made of white cloth, trimmed around the collar and 
 ends of sleeves with white lace ; white breeches, white 
 hose, white shoes, and a small satin sash about the 
 waist. Both of the figures stand on -a pedestal two 
 feet high by three square, which should be covered 
 with black marble paper. The angel stands in the 
 centre of the pedestal, the left hand resting on the 
 boy's left shoulder, the right hand on his right shoul- 
 der. Her head is turned away to the left, the eyes 
 fixed on the floor, the countenance pleasant. The boy 
 stands a little to the right of the angel, arms crossed 
 on his breast, head turned sideways, and slightly back, 
 eyes fixed on the face of the angel. The crimson cur- 
 tains, without the fairies, that are used in the tableau 
 of the " Dancing Girl in Repose," may be placed over 
 the group. The side curtains can be held up at the 
 side by crimson bands A curtain of white gauze,
 
 THE PYRAMID OP BEAUTY. 193 
 
 drawn across the front of the stage, will give a good 
 effect to the tableau. The light should be of medium 
 brilliancy, and come from the front side of the stage. 
 Music soft, and of a sacred character. 
 
 THE PYRAMID OF BEAUTY. 
 
 Beauty is as crystal in the torchlight, sparkling on the poet's page ; 
 
 Virgin honey of Hymettus, distilled from the lips of the orator ; 
 
 A savor of sweet spikenard, anointing the hands of liberality ; 
 
 A feast of angel's-food set upon the tables of religion. 
 
 She is seen in the tear of sorrow, and heard in the exuberance of mirth ; 
 
 She goeth out early with the huntsman, and watcheth at the pillow of disease. 
 
 Science, in his secret laws, hath found out latent beauty ; 
 Sphere and square, and cone and curve, are fashioned by her rules : 
 Mechanism met her in his forces, fancy caught her in its fittings, 
 Day is lightened by her eyes, and her eyelids close upon the night. 
 
 Beauty is dependence in the babe, a toothless tender nursling ; 
 Beauty is boldness in the boy, a curly rosy truant ; 
 Beauty is modesty and grace in fair retiring girlhood ; 
 Beauty is openness and strength in pure high-minded youth ; 
 Man, the noble and intelligent, gladdeneth earth in beauty, 
 And woman's beauty sunneth him, as with a smile from heaven. 
 
 TCPPKR. 
 
 Fifteen Female Figures. 
 
 THIS fine tableau contains fifteen female figures, who 
 are arranged in the form of a pyramid. They should 
 be quite young, of good figure and features. Their 
 costume consists of a pure white dress 5 cut low in the 
 neck, sleeves five inches long, a white satin sash about 
 the waist, white shoes and hose, hair done up in a 
 compact and tasty manner, and encircled with a wreath 
 17
 
 194 THE TABLEAU. 
 
 of myrtle, while a small bouquet of flowers is placed 
 oil the front of the waist. The pyramid must be first 
 formed of boxes, fastened firmly together, and covered 
 with white cloth ; five ladies of the same height sit on 
 the lower seat, four on the second seat, three on the 
 third seat, two on the fourth, and one on the fifth and 
 last. Each should be furnished with a garland of 
 flowers fastened to ratan three feet long ; these must 
 be held in the hands of the ladies, making a complete 
 network of flowers. The eyes should be directed 
 straight forward, countenance pleasant. The lights for 
 this*piece are as follows : Just as the curtain begins 
 to rise, a green fire should be gradually thrown on to 
 the stage, and slowly moved off; at the moment it is 
 leaving the picture, a red light steals over the faces of 
 the performers ; this shade vanishes in the same man- 
 ner, and a purple light appears. This will give a 
 happy effect, and can be accomplished by burning the 
 fires in large boxes placed on pivots at the side of the 
 stage, and by turning them at the proper time the dif- 
 ferent colors can be thrown on the stage ; a few of 
 the side or footlights may be burned at the same 
 time, so that when the colored lights are leaving the 
 stage, the figures will still be seen. Music accompany- 
 ing the tableau, must be soft and plaintive.
 
 CORONATION OF QUEEN VICTORIA. 195 
 
 CORONATION OF QUEEN VICTORIA. 
 
 Within that rich pavilion, 
 
 High on a glittering throne, 
 A woman's form sat silently, 
 
 'Midst the glare of light alone. 
 Her jewell'd robes fell strangely still 
 
 The drapery on her breast 
 Seem'd with no pulse beneath to thrill, 
 
 So stone-like was its rest ! 
 
 But a peal of lordly music 
 
 Shook e'en the dust below, 
 When the burning gold of the diadem 
 
 Was set on her pallid brow ! 
 Then died away that haughty sound, 
 
 And from the encircling band 
 Step Prince and Chief, 'midst the hush profound, 
 
 With homage to her hand. 
 
 MBS. HEMANS. 
 
 Twenty Male and Ten Female Figures. 
 
 THIS magnificent tableau contains thirty figures, and, 
 when exhibited with proper scenery and wardrobe, 
 is one of the best of this collection. It should be used 
 as a grand finale scene, and is arranged in the following 
 manner : A number of gentlemen's costumes must be 
 procured at a costumer's or a theatre. Ladies' cos- 
 tumes can be easily prepared. 
 
 At the back of the stage, at equal distances between 
 the sides, erect a throne. First build a platform five 
 feet long, three feet wide, and three feet high, with 
 steps in front, all of which must be covered with crim- 
 son cloth and gold paper. Over the platform place a 
 canopy made of purple cloth, and decorated with gold
 
 196 THE TABLEAU. 
 
 paper, cut to represent fringe. Cover the wall back of 
 the platform with the same material, and in the centre 
 place a large gold V ; a large chair, trimmed with 
 scarlet and gold, should be placed on the platform, and 
 tiers of seats arranged on each side of the throne ; 
 these must form half circles, reaching to the centre of 
 the stage at the sides. Seated and standing on the seats 
 and platforms are the ambassadors, dukes, earls, and 
 officers, in their full dress. The queen dowager and 
 other royal female personages are intermingled among 
 them. The lord steward, and chamberlain stand near 
 the side scenes in the foreground, while the extreme 
 background is filled up by the queen's guards. Stand- 
 ing on the step in front of the throne is the archbishop, 
 holding the crown. A little to the left stands Victoria, 
 her body facing the audience, and bent forward slightly, 
 head bowed, ready to receive the crown. At the other 
 side of the throne stands Prince Albert, dressed in rich 
 uniform. The ladies' costumes consist of rich silks 
 and brocades, ornamented with gold lace, paste pins, 
 brooches, &c. ; the hair arranged to suit the taste of 
 the performers, and encirled with a band of gold, to 
 which fasten a colored plume. The attention of all 
 should be directed to the queen. The archbishop's 
 costume consists of a black robe, large white sleeves, 
 white handkerchief, with square ends, hanging on the 
 breast, and white wig. Queen Victoria's costume, if 
 not procured at a costumer's, consists of a white satin 
 or silk dress, with a long trail, and four flounces on the 
 skirt, each flounce ornamented with a band of gold
 
 CORONATION OF QUEEN VICTORIA. 197 
 
 paper three inches wide, covered with open lace. The top 
 of the waist and bottom of the sleeves decorated in the 
 same manner. A belt of crimson velvet, covered with 
 spangles and small paste pins, encircles the waist ; the 
 sleeves should be open, and fastened across with gilt 
 cord, terminating in tassels, which fall on the arms ; 
 white kid gloves, bound around the top with a band of 
 silver, ornamented with wax beads and spangles ; a 
 long ermine scarf should be thrown gracefully over 
 the shoulders, and trail to the floor. The ermine can 
 be imitated by inserting small pieces of black shag in 
 white cotton flannel. The hair may be done up in a 
 neat coil, and ornamented with wax beads and gilt pins. 
 A long white veil of lace is fastened to the back of the 
 head, and allowed to trail to the feet. The crown can 
 be made of card-board, covered with gold paper and 
 brilliant paste pins. The steward and chamberlain each 
 holds a staff with a large gilt spear-head and tassels 
 at the top. Costume consists of showy suits, similar 
 in style, head covered with low-crowned Kossuth hat, 
 ornamented with a gold band and white lace. The 
 guards must be placed in the extreme background, on 
 high platforms ; they stand perfectly erect, and face 
 the audience. The scene should be brilliantly lighted 
 by lamps at the front and left side of the stage. The 
 booming of cannon is heard in the distance. Music of 
 a majestic style. 
 
 17*
 
 198 THE TABLEAU. 
 
 THE BRIGANDS. 
 
 The gray morn. 
 
 Dawns on the scene; the-sulphurous smoke 
 Before .the wind slow rolls away, 
 And the bright beams of morning dance 
 Along the spangled snow. ' There scattered arms, 
 And lifeless warriors, whose hard lineaments 
 Death's self could change not, mark the dreadful path 
 
 Of the outsallying victors. 
 
 SHELLIT. 
 
 One Female and Five Male Figures. 
 
 A SCENE representing a band of brigands in their 
 mountain fastness, on the watch for plunder and rap- 
 ine. The scenery in the background should resemble 
 ragged rocks, made by fastening brown paper in a 
 rumpled manner to a frame of wood, and shaded with 
 light and dark-brown paints. This must extend two 
 thirds across the stage, three feet from the extreme 
 background. The sides should be covered with sim- 
 ilar scenery. The floor is strown with small boxes, to 
 give it an uneven appearance, and covered with buffalo 
 robes. Two of the brigands are seated at one side of 
 the stage, engaged in playing cards ; one is reclining in 
 the foreground asleep ; another is leaning against the 
 rocks, resting his arms and body on his carbine, while 
 the chief is standing at the end of the ledge in the 
 background, pointing with his right hand into the open 
 space beyond. Behind him stands his wife, to whom 
 he is in the act of speaking, and directing her attention 
 to the road in the distance. She is stooping forward,
 
 THE BRIGANDS. 199 
 
 endeavoring to see the objects -which he points out. 
 The costume of the brigands consists of a frock coat or- 
 namented with large gilt buttons, and trimmed around 
 the bottom with colored cloth ; bright-colored vest bound 
 around the front and bottom with fancy ribbon ; black 
 handkerchief tied loosely in the neck ; knee breeches 
 and hose, with a band of showy cloth around the top, 
 fastened with a brilliant paste pin or silver buckle ; low 
 shoes ; red or blue sash about the waist ; high-crowned 
 black felt hat, ornamented with red binding, wound in 
 a spiral manner from the rim to the top of the hat, 
 and a colored feather at the side. The coat can be 
 decorated in a more profuse manner, if desired ; each 
 must be furnished with musket and pistols. The 
 chief's dress should be of richer material, and more 
 profusely decorated than the other characters. The 
 wife's costume consists of a scarlet skirt, black vel- 
 vet waist open in front and laced across with pink 
 ribbon, a showy scarf tied about the head, the ends 
 falling on the shoulders ; the neck and arms orna- 
 mented with brilliant jewelry ; a morocco belt encircles 
 the waist, to which is attached a small dirk. The two 
 card-players are looking at their cards, countenances 
 expressing deep thought. The one who stands facing 
 the audience looks to the floor-. The one that is 
 asleep should lie in a position so that the countenance 
 can be seen, the head resting on the hand, eyes closed. 
 The wife's position is, standing so that a side view of 
 the countenance is had. The chief stands in front of 
 her, and in the same position, but the head is turned
 
 200 THE TABLEAU. 
 
 around so as to face the audience ; the countenances of 
 both expressing curiosity and excitement. The face 
 and other exposed parts of the persons of all the fig- 
 ures must be colored light-brown, and the men wear 
 heavy beards. The light for this sce,ne should come 
 from a red fire, burned in small quantities at the front 
 side of the stage. No music will be required for the 
 piece. 
 
 DEATH OF SIR JOHN MOOEE. 
 
 Not a drum was heard, not a funeral note, 
 As his corpse to the ramparts we hurried, 
 
 Not a soldier discharged his farewell shot 
 O'er the grave where our hero was buried. 
 
 WOLFE. 
 
 Twenty Male Figures. 
 
 THE battle of Comnna, so disastrous to the British 
 army, was fought January 16, 1809. Sir John Moore 
 arrived in Spain in November, 1808, with a British 
 army, and having advanced some distance into the 
 country, he found himself compelled to make a rapid 
 retreat. He was closely followed by the French under 
 Marshal Soult, who attacked the British as they were 
 embarking. Sir John Moore, while earnestly watching 
 the result of the fight about the village of Elrina, was 
 struck on the left breast by a cannon shot ; the shock 
 threw him from his horse with violence ; he rose again 
 in a sitting position, his countenance unchanged, and 
 his steadfast eye still fixed upon the regiments engaged
 
 DEATH OP SIR JOHN MOORE. 201 
 
 in his front ; no sigh betrayed a sensation of pain ; but 
 in a few moments, when he was satisfied that the troops 
 were gaining ground, his countenance brightened, and 
 he suffered himself to be taken to the rear. As the 
 soldiers placed him in a blanket, his sword got en- 
 tangled, and the hilt entered the wound. A staff offi- 
 cer attempted to take it off, but the dying man stopped 
 him, saying, " It is as well as it is. I had rather it 
 should go out of the field with me." And in this man- 
 ner, so becoming to a soldier, Moore was borne from 
 the field. Several times he caused his attendants to 
 stop and turn him around, that he might behold the 
 field of battle. Night soon darkened the scene ; the 
 rumbling of baggage wagons, and the occasional boom- 
 ing of the distant cannon, alone disturbed the mourn- 
 ful silence of the scene ; here and there the flames of 
 burning villages shed a portentous light through the 
 gloom. At length, to break the mournful silence, 
 and to express the sympathy they might not speak, the 
 band played a requiem for the dying general. The 
 solemn strains arose and fell in prolonged echoes over 
 the field, and swept in softened cadences on the ear of 
 the dying warrior. Moore breathed faintly for a few 
 hours, and before the morning dawned he had passed 
 away. His corpse was wrapped in his military cloak, 
 and was interred by the officers of his staff on the ram- 
 parts of Corunna an event which is commemorated 
 in the beautiful verses of Wolfe, the guns of the en- 
 emy paying him funeral honors. Soult, with a noble 
 feeling of respect for his valor, raised a monument to
 
 202 THE TABLEAU. 
 
 his memory. Thus ended the career of Sir John Moore, 
 a man whose uncommon capacity was sustained by the 
 purest virtue. His tall, graceful person, dark, search- 
 ing eyes, strongly denned forehead, and singularly 
 expressive mouth, indicated a noble disposition and a 
 refined understanding. He maintained the right with 
 a vehemence bordering upon fierceness, and every 
 important transaction in which he engaged increased 
 his reputation for talent, and confirmed his character 
 as a stern enemy to vice, a steadfast friend to merit, a 
 just and faithful servant of his country. 
 
 Description of Tableau. This magnificent scene 
 contains twenty figures. On the centre of the stage, 
 reclining on an English flag, is Sir John Moore, his 
 countenance pale and deathly. He is dressed in rich 
 uniform, which is described in the latter part of the 
 tableau. His position is, lying across the stage, his 
 face turned to the audience. At his feet stand two 
 Highland soldiers, leaning on their muskets, and gaz- 
 ing on the dying man. A soldier with a bandage 
 around his head is kneeling in front of them ; one 
 hand grasps the flag, the other points to the back- 
 ground ; countenance expressing terror. At the head 
 of Moore, partially stooping and holding the end of the 
 flag, are two officers in full uniform ; two other officers 
 are seen back of the body, who are also grasping the 
 flag and gazing on the face of the dying hero ; three 
 soldiers are kneeling in the foreground, their attention 
 fixed on Moore ; back of this group, on a platform one 
 foot high, is seen a platoon of soldiers, one of which
 
 THE FIREMAN'S RESCUE. 203 
 
 holds an ensign; their backs should be towards the 
 audience, muskets to the shoulder, and position of sol- 
 diers marching hastily from the field in retreat ; still 
 further in the background, on a platform four feet high, 
 is placed a second platoon, who are in the same posi- 
 tion ; one or two in each rank are looking back to the 
 group in front ; two soldiers directly back of Moore are 
 levelling their muskets to the enemy in the distance. 
 Cannon, muskets, drums, and swords should be strown 
 carelessly on the stage, while a small quantity of smoke 
 must be made to hover over the scene, and the booming 
 of cannon imitated in the distance. Moore has one 
 hand pressed to his breast ; the other is held by one of 
 the officers at his side. The costumes of the officers 
 should be as varied and brilliant as can be procured. 
 Scarlet coats would be most appropriate. The scene 
 must be illuminated by a red fire burned at the right 
 side of the stage. Music of a mournful and sacred 
 order. 
 
 THE FIREMAN'S RESCUE. 
 
 And the flames in thick wreaths mounted higher and higher ; 
 O God ! it is fearful to perish by fire. 
 
 Two Female and Eight Male Figures. 
 
 THIS tableau represents a dwelling-house, the inte- 
 rior of which is enveloped in flames. The front door 
 stands open, displaying a flight of steps, on which is a
 
 204 THE TABLEAU. 
 
 heroic fireman descending from the burning chamber, 
 with a beautiful child clasped in his arms, which he 
 has rescued from the raging element. Kneeling on 
 the step outside of the door are the parents of the 
 child; their hands are clasped and raised upward, 
 their eyes fixed on the doorway, countenance express- 
 ing intense excitement. Two firemen in the fore- 
 ground are seen holding a hose pipe and hose ; two 
 others, at the extreme end of the stage, are screwing 
 the other end of the hose to a hydrant ; another stands 
 ready with an axe to break in the windows. The cap- 
 tain's position is on the step of the house ; he holds a 
 trumpet in his hand, and is giving orders to his men. 
 The firemen should be dressed in full uniform, the 
 mother in white, and hair hanging loose over the 
 shoulders ; the father's costume should be dark, and 
 the child dressed in a long white robe. The scenery of 
 this piece consists of a frame the width of the stage, 
 and rising from the floor to the ceiling, painted to 
 represent brick, with mouldings, frame, cornice, &c. 
 A door may be placed in the centre, and a window 
 on each side. The stairs should be as wide as the door, 
 and run up five feet, and covered with carpeting ; fire 
 and smoke must be painted as coming from the win- 
 dows. A red fire burned behind the back scene will 
 light it up with fine effect. The light for the front of 
 the picture should be of medium brightness, and come 
 from the side of the stage. Fire bells can be imitated 
 in the ante-rooms.
 
 CATHARINE DOUGLASS BARKING THE DOOR. 205 
 
 CATHARINE DOUGLASS BARRING THE DOOR 
 WITH HER ARM. 
 
 Though perils did 
 
 Abound, as thick as thought could make 'em, and 
 Appear in forms more horrid ; yet my duty, 
 As doth a rock against the chiding flood, 
 Should the approach of this wild river break, 
 And stand unshaken yours. 
 
 SHAKSPEAKE. 
 
 One Female and Six Male Figures. 
 
 UNATTENDED even by a body guard, and confiding in 
 the love of his subjects, James I. of Scotland was 
 residing within the walls of the Carthusian monastery 
 at Scone. Graham of Stratham seized the occasion, 
 and brought down a party by night to the neighbor- 
 hood. Seconded by traitors within, he gained posses- 
 sion of the gates and interior passages. The king's 
 first intimation was from his cup-bearer, who, on leaving 
 the king's chamber, found the passage crowded by 
 armed men, who answered his cry of alarm by striking 
 him dead. The noise reached the royal chamber ; a 
 rush of the assassins followed ; and Catharine Doug- 
 lass, one of the queen's inaids of honor, springing for- 
 ward to bolt the door, found the bar had been clan- 
 destinely removed. With resolute self-devotion she 
 supplied the place with her naked arm. To present a 
 view of the interior of the room, and the passage out- 
 side, it will be necessary to place a partition from the 
 front of the stage, near the footlights, to the left hand 
 18
 
 206 THE TABLEAU. 
 
 corner in the background. In the smallest apartment 
 stands Catharine Douglass. The partition running in 
 this manner will give to the audience a view of the 
 door and iron fastenings through which the arm of the 
 heroine passes, and also the passage where the assas- 
 sins stand. The partition should be made of light 
 strips of wood, covered with cheap cloth, and painted 
 to imitate the interior of a room. The door must be 
 quite near the front, of Gothic form, studded with 
 large nails; two iron sockets, four inches square, 
 should be placed on the door and frame ; a mahog- 
 any table, globe lamp, chairs, carpets, and engravings 
 may be placed in the inner room ; the outer apartment 
 should be empty. The lady who personates the heroine 
 must be of good figure, tall and stout, fine features, 
 and have long black hair. Costume consists of a blue 
 silk dress, pink waist, sleeves five inches long, bordered 
 on the edge with black crape, under sleeves of white 
 tarleton muslin reaching to the wrist, a yellow scarf 
 tied loosely around the waist, hair flowing loosely over 
 the shoulders, a plaid scarf fringed on the ends with 
 gold, bound around the head, the ends hanging in the 
 neck. Position, facing the audience, the right arm 
 bare, and thrust through the first socket, the hand 
 grasping the second ; the left is pressed against the 
 door above the fastening ; the head inclined towards the 
 door, body perfectly upright, eyes looking straight for- 
 ward with intensity, countenance expressing firmness. 
 The assassins, to the number of six, stand around the 
 outside of the door ; each is costumed in a black coat 
 trimmed around the edge and collar with green, and
 
 THE MASQUERADE BALL. 207 
 
 ornamented with large gilt buttons ; colored vests, cut 
 very long and trimmed with black binding, knee 
 breeches of light color, black hose, and a band of 
 bright-colored cloth around the top, low shoes, shoe and 
 knee buckles, black felt hat turned up at one side and 
 ornamented with a colored plume and gilt band, belt 
 around the waist, side arms and pistols ; the face cov- 
 ered with a shaggy beard. Each one grasps a sword, 
 and is in the act of running towards the door, the left 
 hand extended, the right with the sword raised on 
 high, eyes directed to the door, countenance expressing 
 excitement. The light should come from both sides of 
 the stage, the room in which the heroine stands being 
 the lightest. Music wild and animating. 
 
 THE MASQUERADE BALL. 
 
 'Tis known at least it should be that throughout 
 All countries of the Catholic persuasion, 
 Some weeks before Shrove Tuesday comes about, 
 The people take their fill of recreation, 
 And by repentance, ere they grow devout, 
 However high their rank or low their station, 
 With fiddling, feasting, dancing, drinking, masking, 
 And other things which may be had for asking. 
 
 Ten Female and Twelve Male Figures. 
 
 THE masked balls, which supersede any other feature 
 of the carnival in attraction, were introduced under 
 the reign of the Due d'Orleans. A great inconven- 
 ience was experienced in the want of an apartment
 
 208 THE TABLEAU. 
 
 sufficiently spacious to receive the hundreds which 
 thronged to them. At length the Chevalier de Bouillon 
 conceived a plan of converting the opera house into 
 a ball room, and a friar named Sebastian invented the 
 means of elevating the floor of the pit to a level with 
 the stage, lowering it at pleasure. The project suc- 
 ceeded, and the first masked ball at Paris was held on 
 the 2d of January, 1716. They are now given both 
 before and during the carnival, at nearly all the theatres 
 in Paris, as well as at most of the large ball rooms. The 
 leading masquerade ball of the carnival, which reunites 
 the best society and the most gorgeous costumes, is 
 decidedly that which takes place at the Academy of 
 Music or French Opera House. The greater portion of 
 the company go in character, although gentlemen may 
 appear in plain clothes, if they choose, and unmasked. 
 Dancing appears to be the whole and sole motive of the 
 guests, and dance they do, with a vivacity and untiring 
 spirit that could only be found in a land so especially 
 devoted to the worship of Terpsichore as France. In 
 all the ball rooms parties of the Municipal Guard are 
 in attendance to preserve order, and should any of the 
 guests transgress the ordinary rules of decorum, they 
 are immediately consigned to the lock-up of the nearest 
 corps-du~garde. The most prevalent dress at the balls 
 is that of the Debardeur. It is a piquant costume, and 
 consists of dark velvet pantaloons, with satin stripe 
 down the side, ornamented with bright studs, a pink or 
 white shirt, red sash, and a glazed hat with tri-colored 
 streamers, or small bonnet and wig, with cue behind.
 
 IRISH COUETSHIP. 209 
 
 Considerably more than half of the carnival masques 
 take up this dress, the remainder attiring themselves 
 as hussars, pierrots, and all sorts of eccentric and 
 anomalous costumes. The balls are kept up until six 
 o'clock in the morning. 
 
 This tableau can be represented by ten couples. The 
 ladies and gentlemen can dress to suit their own taste. 
 The wardrobe of the company will contain a sufficient 
 number of suits to fit out the tableau. A few of the 
 comic and grotesque costumes should be intermin- 
 gled, and all the figures wear masks of various pat- 
 terns. The performers are engaged in dancing the 
 schottische. The ladies and gentlemen must form in 
 couples around the sides and back of the stage. A 
 platform at the rear may be occupied by musicians 
 in fanciful costume. The stage should be illuminated 
 by a purple fire. Music, the schottische. 
 
 IRISH COURTSHIP. 
 
 One Female and One Male Figure. 
 
 THIS comic tableau represents a young Irishman 
 engaged in courting his true love. The stage should 
 be furnished with kitchen furniture, a small stove, &c. 
 The back of the stage can be hung with cheap room 
 paper. Bridget is seated at a table in the centre of the 
 stage, engaged in sewing. Her costume consists of a 
 white dress and blue apron. Patrick is seated near 
 18*
 
 210 THE TABLEAU. 
 
 her, smoking a short pipe. Costume consists of velvet 
 coat and breeches, white hose, large shoes, with hob 
 nails in the soles, buff vest, red wig, face and hands 
 painted tan color. His left leg is placed across the 
 right knee, hands placed in his pants pocket, eyes fixed 
 on Bridget, countenance expressing curiosity. Music, 
 Irish air. 
 
 THE FAIRIES' OFFERING TO THE QUEEN OF MAY. 
 
 Now the bright morning star, day's harbinger, 
 Comes dancing from the east, and leads with her 
 The flowery May, who from her green lap throws 
 The yellow cowslip and the pale primrose. 
 Hail, bounteous May ! that dost inspire 
 Mirth and youth with warm desire ; 
 Woods and groves are of thy dressing, 
 Hill and dale doth boast thy blessing. 
 Thus we salute thee with our early song, 
 And welcome thee and wish thee long. 
 
 Twenty Female Figures. 
 
 So sings Milton to the sweet Birdmonth he 
 whose mighty mind "nigh sphered in Heaven," hymned 
 the soft beauty of the first day that dawned upon the 
 infant world, which surely must have been a May- 
 morning. 
 
 " Sweet day, so calm, so pure, so bright, 
 The bridal of the earth and skies." 
 
 What must have been a May-morning in Paradise, 
 when even now, in the homeliest districts, it gladdens 
 the heart of man with its advent of young flowers 
 and budding leaves and sweetly singing birds! It
 
 THE FAIRIES' OFFERING TO THE QUEEN OF MAY. 211 
 
 seems to be Nature's own birthday, throughout the 
 varied kingdoms of her living world. All countries 
 have greeted the welcome arrival of this fair day, but 
 none more so than old Pastoral England, in the time of 
 her elder poets. Time was, when, from the court to 
 the cottage, all " rose up early to observe the rite of 
 May ; " some went a " dew-gathering," a sort of rus- 
 tic love-spell that was sure to enchant every maiden, 
 gentle or simple ; others to " fetch in May " a rival- 
 ry that "robbed many a hawthorn of its half-blown 
 sweets ; " and others set their wits to work to get up 
 some pretty device, some rural drama, one of which our 
 tableau represents. 
 
 The Fairies' Offering to the Queen of May is a tab- 
 leau of great excellence and artistic beauty. The 
 Queen of May is seated on a floral throne in the back- 
 ground, which is situated upon a platform about six 
 feet high, with broad steps extending across the stage 
 and to the footlights. These should be covered with 
 green booking, and on them are grouped the fairies, 
 who are offering to the queen, baskets, bouquets, and 
 garlands of flowers. On the lower step are other 
 fairies ascending to the throne, and bearing baskets of 
 fruit and flowers on their heads. The number of fig- 
 ures in the piece is twenty, nineteen of which are 
 young misses, quite small and pretty, and one a beauti- 
 ful maiden, who takes the part of the May Queen. 
 
 You must wake and call me early, call me early, mother dear ; 
 To-morrow '11 be the happiest time of all the glad New-year ; 
 To-morrow'll be of all the year the maddest, merriest day, 
 For I'm to be Queen o' the May, mother, I'm to be Queen o' the May.
 
 212 THE TABLEAU. 
 
 The stage scenery must be arranged in the following 
 order : A large arm chair, with a shaft running up from 
 the back, to which is attached a canopy, will answer 
 for the throne chair ; cover it with green cambric, and 
 decorate with garlands and bouquets. This chair 
 should rest on the platform, which is six feet long, three 
 feet wide, and covered with French patch. A large 
 gilt vase, containing a bouquet, must be placed at each 
 corner The queen's costume consists of a white robe, 
 decorated with flowers, a garland about the head, 
 the right hand grasping a wand trimmed with silver 
 and gold paper, the body inclined forward slightly, the 
 left hand extended, in the act of taking a bouquet 
 from one of the fairies, whom she is looking at ; her 
 countenance is lighted up with smiles. Care should 
 be taken that the fairies who are grouped around the 
 throne do not take the view from the queen. The 
 fairies' costume consists of a short white dress, flesh- 
 colored hose, white slippers, and hair done up in ring- 
 lets. The sleeves of the dress made quite short, waist 
 and skirt ornamented with gold bands and spangles, 
 a wreath of pure white flowers, intermingled with 
 myrtle, on the head, and a portion of them wearing 
 gauze wings, studded with spangles. Four of the 
 fairies are to be grouped around the foot of the throne, 
 on the top step. They stand or kneel, so that a par- 
 tial side view is had of the body ; hands extended, and 
 holding bouquets or garlands; eves fixed on the 
 queen ; countenance pleasant. The rest of the misses 
 must be placed on each side of the steps, assuming a
 
 BELSHAZZAR'S FEAST. 213 
 
 variety of positions, and each have fruits or flowers. 
 Those at the lower part of the steps can stand near the 
 sides of the stage, which will allow those above to be 
 seen. The scene should be illuminated by a trio of 
 fires, consisting of green, purple, and red, burned at 
 the side of the stage. For directions, see Pyramid of 
 Beauty. Music soft and animating. 
 
 BELSHAZZAR'S FEAST. 
 
 Joy holds her courts in great Belshazzar's hall, 
 Where his proud lords attend their monarch's call ; 
 The rarest dainties of the teeming East 
 Provoke the revel and adorn the feast. 
 
 But why, O king, 
 
 Why dost thou start, with livid cheek ? why fling 
 The untasted gohlet from thy trembling hand ? 
 Why shake thy joints ? thy feet forget to stand ? 
 Why roams thine eye, which seems in wild amaze 
 To shun some object, yet returns to gaze, 
 Then shrinks again, appalled, as if the tomb 
 Had sent a spirit from its inmost gloom ? 
 
 Awful the horror, when Belshazzar raised 
 His arm, and pointed where the vision blazed ; 
 For see ! enrobed in flame, a mystic shade, 
 As of a hand, a red right hand displayed, 
 And, slowly moving o'er the wall, appear 
 Letters of fate and characters of fear. 
 In death-like silence grouped the revellers all, 
 Fixed their glazed eyeballs on the illumined wall. 
 
 T. s. HUGHES. 
 
 Seven Female and Eight Male Figures. 
 
 THIS sacred tableau is represented as follows : At 
 the left of the stage, Belshazzar is seated on his throne.
 
 214 THE TABLEAU. 
 
 At his side stands his wife. Consternation and affright 
 are depicted on their countenances. At the opposite 
 side of the stage stand three wise men. In the centre 
 of the stage is the feast table, covered with silver 
 dishes, candlesticks, and refreshments. Around it are 
 gathered the guests. In the background, on a plat- 
 form, are seen a group of servants. The handwriting 
 is placed on the back scenery, opposite to the group of 
 servants. The number of figures in the piece is fif- 
 teen eight gentlemen and seven ladies. The scenery 
 in the piece consists of a table six feet long, two and a 
 half feet high, and three feet wide, covered with a 
 green cloth, fringed with gold paper , on this are placed 
 a silver tea set, cake baskets, candlesticks, and refresh- 
 ments. The throne chairs should be placed on a plat- 
 form at the left of the stage, near the front ; the plat- 
 form can be formed of boxes, and must be four feet 
 square and two feet high, covered with crimson cloth, 
 trimmed with gold paper; two large chairs, with a 
 canopy over the top, will answer for the throne ; one 
 occupied by Belshazzar, the other by his wife. Low 
 seats around the table will be needed for the guests ; 
 the seats can be covered with white cloth ; showy pic- 
 tures, in rich frames, adorn the walls, and pedestals 
 and statuary fill the corners of the room. The writing 
 on the wall can be produced by means of a trans- 
 parency, the words made large, and the letters in Ger- 
 man text, with a halo around the whole sentence. 
 Belshazzar's costume consists of a purple velvet coat 
 trimmed with gold, a large cloak trimmed with
 
 BELSHAZZAR'S FEAST. 215 
 
 ermine, velvet breeches, white hose crossed with red 
 tape, sandals on the feet, and a velvet and gold crown 
 on the head. His wife should be dressed in a showy 
 brocade, cut low at the top, short sleeves, a band of 
 black velvet ornamented with gold placed on the head, 
 and a narrow mantle worn over the shoulder. The 
 dress must be ornamented with rich jewelry, gold 
 bands, and a wide belt of red velvet, decorated with 
 paste pins, around the waist. The three wise men's 
 costume consists of long, loose coats, reaching six inches 
 below the knee, and gathered in at the waist with a 
 wide belt. Each coat should vary in color from the 
 others. They can be made of cambric. Colors, red, 
 purple, and blue, with the edges trimmed with cloth of 
 some other color. Black hose, crossed with red, reach 
 to the knees, low shoes, covered with red Turkey cloth, 
 on the feet, and a turban of bright colors on the head, 
 the face covered with a long white beard this can be 
 made of flax. The ladies at the table must be cos- 
 tumed in silk or satin dresses, ornamented with span- 
 gles, and any kind of jewelry that will look showy ; 
 hair decorated with spar beads, hair pins, and plumes. 
 The gentlemen's costume consists of rich velvet suits ; 
 long beards. Servants in short white coats, with bor- 
 der on the bottom, red breeches, white hose, and light 
 felt hats with gold bands. Belshazzar's position is in 
 the chair near the footlights ; body inclined back, arms 
 thrown up, eyes fixed on the writing, countenance 
 expressing affright. His wife is seated in the second 
 chair, one arm resting on the shoulder of her husband,
 
 216 THE TABLEAU. 
 
 the other raised in front of the face, eyes directed to 
 the writing. The wise men stand opposite to the 
 throne, at the extreme end of the stage, near the foot- 
 lights ; their backs are to the audience ; the heads of 
 two are turned to the king, giving a side view of their 
 faces. One of them points to the writing. The party 
 at the table must assume a variety of natural positions ; 
 a few look with astonishment, and point at the writing ; 
 others are engaged in eating and drinking. The ser- 
 vants stand in the background, and are all looking at 
 the writing. A few lean forward and point to the 
 wall ; others take position as if about to flee from the 
 room ; the countenances of all express terror. The 
 scene should be lighted by a brilliant red fire burned at 
 the side of the stage opposite Belshazzar. Music, 
 operatic style.
 
 THE VALENTINE. 217 
 
 THE VALENTINE. 
 
 " I smile at Love and all his arts," 
 
 The charming Cynthia cried ; 
 " Take heed, for Love has piercing darts," 
 
 A wounded swain replied. 
 " Once free and blessed, as you are now, 
 
 I trifled with his charms, 
 I pointed at his little bow, 
 
 And sported with his arms ; 
 Till, urged too far, ' Revenge ! ' he cries ; 
 
 A fatal shaft he drew ; 
 It took its passage through your eyes, 
 
 And to my heart it flew." 
 
 J. VANBUEOH. 
 
 Two Female and Two Male Figures. 
 
 THIS tableau is represented by four persons two 
 young ladies, and two small lads. One of the young 
 ladies is seated on a sofa, which is placed in the centre 
 of the stage. She holds a valentine in the left hand, 
 and points at it with her right. Her head is turned 
 around to a young lady who stands behind the sofa. 
 The countenance expresses mirth. The lady standing 
 behind the sofa rests her right arm on the shoulder of 
 her friend, and is looking to the valentine, her body 
 inclined forward slightly, face beaming with smiles. 
 Costume consists of a white dress, pink apron trimmed 
 with green, hair done up in wide braids at the side of 
 the head, and ornamented with a few flowers. The 
 costume of the lady seated, consists of a white dress, 
 buff apron trimmed with purple, hair hanging in ring- 
 lets, and ornamented with blue ribbon. On each side 
 19
 
 218 THE TABLEAU. 
 
 of the stage, within one foot of the curtain, place ped- 
 estals ; they should be three feet high, two feet square, 
 with cap and base, and covered with white marble 
 paper or cloth, and decorated with a wreath of flowers 
 on the front. On these stand the young lads, dressed 
 to represent Cupids. Position is, facing the group in 
 the centre of the stage, attitude of one running; one 
 of them holds on high a large sealed letter. The other 
 holds a small tablet in one hand, and a quill in the 
 right ; these must be extended towards the centre of 
 the stage. Their costume consists of a short gauze 
 dress, cut low at the top and decorated with spangles, 
 pants of flesh-colored cloth, reaching to the ankles and 
 fitting tightly to the legs, flesh-colored hose, white slip- 
 pers, gauze wings fastened to the back of the body, and 
 decorated with spangles and silver stars. A small 
 quiver, formed of card-board, covered with blue and 
 gold paper, filled with arrows and bow, suspended 
 from the neck ; a low-crowned hat, with a wide brim, 
 covered with pink cambric, and decorated with a 
 wreath of flowers, covers the head ; the eyes directed 
 to the group on the sofa, countenance expressing 
 pleasure. The background may be ornamented with 
 pictures and statuary. The light for this piece must 
 be of medium brilliancy, and come from the right side 
 of the stage. Music soft.
 
 THE FAIBIES' RAINBOW BRIDGE. 219 
 
 THE FAIRIES' RAINBOW BRIDGE. 
 
 Love and Hope and Youth, together 
 Travelling once in stormy weather, 
 Met a deep and gloomy tide, 
 Flowing swift, and dark, and wide. 
 'Twas named the River of Despair, 
 And many a wreck was floating there. 
 The urchins paused, with faces grave, 
 Debating how to cross the wave, 
 When, lo ! the curtain of the storm. 
 Was severed, and the rainbow's form 
 Stood against the parting cloud, 
 Emblem of peace on trouble's shroud. 
 Hope pointed to the signal flying, 
 And the three, their shoulders plying, 
 O'er the stream the light arch threw 
 A rainbow bridge of loveliest hue ! 
 Now, laughing as they tripped it o'er, 
 They gayly sought the other shore. 
 
 Asotr. 
 
 Three Male Figures. 
 
 THIS brilliant tableau represents a rippling stream of 
 water, with luxuriant banks on either side, spanned by 
 a beautiful rainbow. A party of fairies, wishing to 
 pass the stream, have made use of the rainbow as a 
 bridge. One of them is seen in the centre of the 
 bridge, holding a golden wand, with which he endeavors 
 to balance himself in his passage over the water. 
 Standing on the right bank, near the end of the bridge, 
 is a fairy who has safely passed over, and is encour- 
 aging his friend on the opposite side to make the trial, 
 who is seated on the grass arranging a bunch of 
 flowers. The scenery of the piece can be adjusted in
 
 220 THE TABLEAU. 
 
 the following manner : Boxes two feet wide and three 
 feet high placed on each side of the stage, from the front 
 to the background, and covered with green booking, 
 will answer for the banks of the river. A few branches 
 of spruce, intermingled with flowers, should be fastened 
 to the side scenes, and a few spruce trees arranged in 
 the background. At the front end of the bauks place 
 showy vases of flowers ; and at the other end, on ped- 
 estals two feet high, place larger vases, containing bou- 
 quets. To make the river show to advantage, it will 
 be necessary to arrange it in the form of an inclined 
 plane. Strips of wood placed across the stage at a 
 distance of one foot from each other, on a rise of two 
 inches to a foot, and covered with blue cambric, will 
 answer for the river. Let the cloth festoon between 
 the strips, paint the ridges of the miniature waves 
 with white paint, and sprinkle them with small par- 
 ticles of isinglass. On the foreground of the scene 
 place two swans, and around the edges of the banks 
 fasten pieces of spruce and grasses. The bridge should 
 be made slightly oval, and placed in the centre of the 
 stage. Three stringers, sawed out of inch board, and 
 covered with lathes two feet long, will answer for the 
 flooring. This can be entirely hid from view by a rail- 
 ing on the front side, and is made as follows : Man- 
 ufacture a frame to correspond with the curve and 
 length of the flooring, and twelve inches in width; 
 cover it with white cloth, and paint it to represent a 
 rainbow; the colors may be purple, crimson, yellow, 
 green, and white ; lights placed behind it, will give a
 
 THE FAIRIES' KAINBOW BRIDGE. 221 
 
 fine effect. The fairies' costume consists of a short 
 muslin dress, with a border three inches wide, of pink 
 muslin, decorated with gold stars the white muslin 
 ornamented with silver spangles and stars ; flesh- 
 colored hose, white slippers, a band of silver, orna- 
 mented with paste pins, about the head, and small wings 
 attached to the back of the dress, the wings formed 
 of wire, covered with gauze, and ornamented with 
 endless bands of blue tarletori muslin, ornamented 
 with silver spangles. Each holds a gold wand three 
 feet long. The position of the fairy on the bridge is 
 such that a side view is had of the form, while the face 
 is turned towards the front of the stage. The wand is 
 grasped in the centre, and held across the bosom. The 
 countenance expresses pleasure. The fairy who has 
 passed over is standing at the end of the bridge, partly 
 facing the audience, with both hands extended towards 
 his friend, his countenance expressing mirth. The 
 fairy on the other bank is seated on the ground ar- 
 ranging flowers. He faces the audience, and is look- 
 ing at a large rose which he holds in his right hand. 
 This scene must be illuminated by green, red, and 
 yellow fire, which is described in the tableau of the 
 " Pyramid of Beauty." Music, light and animating. 
 19*
 
 222 THE TABLEAU. 
 
 LITTLE EVA AND UNCLE TOM. 
 
 Dry thy tears for holy Eva, 
 With the blessed angels leave her ; 
 Of the form so sweet and fair 
 Give to earth the tender care. 
 
 For the golden locks of Eva 
 Let the sunny soutk land give her 
 Flowery pillows of repose, 
 Orange bloom and budding rose. 
 
 J. G. WDITTIKB. 
 
 One Female and One Male Figure. 
 
 THIS tableau is one that can be easily produced, and 
 will not be expensive. It represents little Eva seated 
 in an arbor by the side of Uncle Tom. She has a 
 large Bible before her, which she is reading and ex- 
 plaining to her friend. A rustic arbor can be made of 
 strips of wood, covered with white cloth, and painted 
 to resemble slats and running vines ; the dimensions 
 of which are six feet high, four feet wide, and three 
 feet deep. A rough seat at the back part is occupied 
 by Eva and Uncle Tom. A festoon of artificial flowers 
 and spruce should be arranged in front, and a large 
 spruce tree placed on either side. The person who 
 personates Uncle Tom must be one of large figure 
 and pleasant countenance. Costume consists of a coat 
 of coarse material, white pants, light vest, colored 
 handkerchief tied about the neck, striped hose, low 
 shoes, a wig of black, curly hair, and a wide-brimmed 
 straw hat, which lies on the ground by his side. The
 
 LITTLE EVA AND UNCLE TOM. 223 
 
 wig can be formed of curled horse-hair, fastened to a 
 covering made to fit the crown of the head. Color the 
 exposed parts of the body black, the lips red. Little 
 Eva should be quite, small, pretty, and have long light 
 curls. Her costume consists of a white dress, trimmed 
 at the top and around the sleeves with pink ribbon ; a 
 straw hat, trimmed with wild flowers, which hangs by 
 the strings on her arm, and dark shoes. Uncle Tom is 
 seated on one side of the seat, his legs crossed, body 
 bent forward slightly, hands placed on his knees, his 
 head turned towards Eva, and eyes fixed on the 
 Bible with an expression of pleasure and earnestness. 
 Eva is seated at his side, with her feet resting on a 
 small stool, one hand placed on Uncle Tom's arm, 
 while with the other she points to the pages of the 
 Bible. Her face is turned towards her friend. The 
 countenance expresses sadness. A small quantity of 
 light is required for the piece, which should come from 
 the left side. Music, soft and plaintive.
 
 224 THE TABLEAU. 
 
 LOVE TRIUMPHANT. 
 
 In peace, Love tunes the shepherd's reed; 
 
 In war, he mounts the warrior's steed; 
 
 In halls, in gay attire is seen, 
 
 In hamlets, dances on the green. 
 
 Love rules the court, the camp, the grove, 
 
 And men below, and saints above ; 
 
 For love is heaven, and heaven is love. 
 
 SIR WALTER SCOTT. 
 
 One Female and Two Male Figures. 
 
 THIS beautiful classic tableau represents two figures, 
 a youth and a maiden, supporting Cupid on their 
 shoulders. The two persons who take these parts 
 should be of good figure and of equal height. The 
 maiden's costume consists of a white dress, cut low at 
 the top, sleeves short ; a gauze scarf draped across the 
 breast, tied at the side, and allowed to trail on the floor; 
 white shoes, hair hanging loosely over the shoulders, the 
 head encircled with a wreath of spar beads and white 
 flowers. The right hand grasps a garland of white 
 flowers, while the left helps to support the boy Cupid. 
 The youth's costume consists of a white coat, vest, 
 breeches, hose, cravat, and shoes. Across the left arm 
 hangs a white mantle ; the hand grasping a shepherd's 
 crook, which is four feet long, and painted white. The 
 boy Cupid must be quite small, and costumed in a 
 short gauze dress, white hose, and shoes ; a white 
 quiver, bow and arrows, must be suspended from the 
 neck by a satin ribbon, and small gauze wings fastened
 
 LOVE TRIUMPHANT. 225 
 
 to the back of the dress. The right hand grasps a 
 torch, which is held above the head. This can be 
 made of card board, the flame imitated by gold paper. 
 His head is turned towards the maiden, into whose 
 eyes he is looking, countenance expressing mirth. The 
 two figures stand on a pedestal two feet high and four 
 feet in diameter, covered with black marble paper, and 
 placed in the centre of the stage, the right arm of the 
 gentleman and the left arm of the maiden crossed so 
 as to make a seat for the boy ; both assume attitudes 
 of persons in the act of walking, and look up with 
 delight into the face of the boy. The front of the 
 stage, if covered with white gauze, will add to the 
 beauty of the scene, which is intended to represent 
 statuary. Light should come from the side of the 
 stage, and of medium brilliancy. Music, soft and 
 plaintive.
 
 226 THE TABLEAU. 
 
 THE BANDITTI. 
 
 But wilder sounds were there ; th' imploring cry 
 
 That woke the forest's echo in reply, 
 
 But not the heart's ! Unmoved, the wizard train 
 
 Stood round their human victim, and in vain 
 
 His prayer for mercy rose ; in vain his glance 
 
 Look'd up, appealing to the blue expanse, 
 
 Where, in their calm, immortal beauty, shone 
 
 Heaven's cloudless orbs. With faint and fainter moan, 
 
 Bcund on the shrine of sacrifice he lay, 
 
 Till, drop by drop, life's current ebb'd away ; 
 
 Till rock and turf grew deeply, darkly red, 
 
 And the pale moon gleam'd paler on the dead. 
 
 Two Female and Eight Male Figures. 
 
 THIS tableau represents a travelling party attacked 
 on the mountains of Italy by a company of outlaws. 
 It is one which can be easily formed, and contains ten 
 figures, five of which are men dressed to represent 
 banditti ; the other personations are an old gentleman, 
 his daughter, a young officer and wife, and coachman. 
 The floor of the stage should rise gradually from the 
 fore to the background. This can be accomplished 
 with boxes and boards covered with green booking. 
 The bandit's costume consists of a dark coat, open in 
 front, showing a colored shirt, breeches of bright- 
 colored cloth, white hose, knee and shoe buckles, low 
 shoes, red scarf about the waist, in which are pistols 
 and short sword, black felt hat, slouched, with a red 
 band and colored plume ; heavy beard, face and neck 
 slightly stained light-brown ; the coats can be trimmed
 
 THE BANDITTI. 227 
 
 with gaudy binding, if desirable. The old gentleman's 
 costume consists of black coat, light pants and vest, 
 light cravat, white wig, light hat, face painted to imi- 
 tate age. The officer's dress can be quite showy or 
 very plain. If a full military costume cannot be pro- 
 cured, the following will answer: Dark frock coat, 
 buttoned to the neck, and ornamented with large gilt 
 buttons and shoulder straps, black pants with buff 
 stripe, flat cap with gilt band, side arms and sash. 
 The officer's wife is dressed in a showy silk robe ; 
 hair arranged to suit the performer's taste. The old 
 man's daughter is costumed in a white dress, pink silk 
 apron, small straw hat trimmed with green ribbon. 
 Coachman's costume is, a long, dark coat, buttoned to 
 the chin, light pants, long boots, black silk hat, with a 
 leather strap and a number in gold in front, black belt 
 around the waist, the right hand grasping a long whip. 
 A representation of the side of a coach, covered with 
 cloth painted in proper style, and placed in the back- 
 ground, will add much to the effect. In the centre of 
 the stage place a large trunk filled with clothing, the 
 cover thrown back so as to display the contents. 
 Watches, jewelry, and other articles of value should be 
 strown promiscuously about, while one of the bandits 
 is seen kneeling over it with a heavy watch and chain 
 in his hand. Back of the trunk stand the officer and 
 a brigand. The officer has a large wound across the 
 temple, and attempts to rescue his wife, who is being 
 dragged away by one of the brigands in the back- 
 ground ; he stretches out his arms towards, and looks
 
 228 THE TABLEAU. 
 
 upon her, but is kept from her by the strong arm of 
 the ruffian at his side, who grasps him by the collar, 
 and holds a bloody sword above his head ; the brigand 
 partially faces the audience ; the officer stands in a 
 side position ; the wife is seen kneeling in the back- 
 ground, with hands clasped and eyes raised to a 
 brigand, who grasps her by the hair of the head with 
 the left hand, and presents a pistol at her with 
 the right. At the left of the trunk is seen the old 
 gentleman. One of the ruffians grasps him by the 
 throat, as if in the act of strangling him. The old 
 man holds a watch in the left hand ; the right is thrown 
 upward. His position is, facing the audience ; coun- 
 tenance expressing terror and excitement. At the 
 right of the trunk kneels the coachman, with hands 
 tied behind his back, which is turned to the audience, 
 head thrown backward so that a partial side view is 
 had of the features. A few paces in front of him, and 
 facing the audience, is seated a brigand, on the top of 
 a portmanteau ; he is smoking a short pipe, and with 
 the right hand points a pistol to the face of the figure 
 kneeling in front of him. Between him and the wife 
 lies the young girl, who has fainted from affright. She 
 lies with her head to the back of the stage, arms 
 stretched out on the grass, and eyes closed. The stage 
 should be illuminated by brilliant lights placed at the 
 left side of the stage. The sound of rain and thunder 
 may be produced in the ante-rooms with good effect.
 
 PORTRAIT OF LOUIS NAPOLEON. 229 
 
 PORTRAIT OF LOUIS NAPOLEON. 
 
 One Male Figure. 
 
 THIS portrait-tableau is produced in the same man- 
 ner as that of " Gabrielle." The gentleman who per- 
 sonates Louis Napoleon should in form and features 
 resemble him. The costume consists of a blue velvet 
 coat, decorated with silver and gold lace, vest of the 
 same material, buff breeches, white hose, low shoes, 
 knee and shoe buckles, gold epaulets and side arms, a 
 decoration on the left breast composed of brilliant 
 stones and spangles, a red and blue silk sash across the 
 breast. Louis Napoleon wears a long beard and heavy 
 mustache. Position is such as to display a partial 
 front view of the body, right hand placed on the hilt of 
 his sword, eyes directed forward, countenance calm. 
 Light should come from the front of the stage, and be 
 of medium brilliancy. Music, Marseillaise Hymn. 
 20
 
 230 THE TABLEAU. 
 
 THE RETURN FROM THE VINTAGE. 
 
 It is the Rhine ! our mountain vineyards laving ; 
 
 I see the bright flood shine ; 
 Sing on the march, with every banner waving, 
 
 Sing, brothers ; 'tis the Ilhine ! 
 
 Home, home ! thy glad wave hath a tone of greeting, 
 
 Thy path is by my home ; 
 Even now my children count the hours, till meeting ; 
 
 0, ransomed ones, I come. 
 
 SlKS. IlEUAXS. 
 
 One Female and Four Male Figures. 
 
 THIS picture represents four laborers returning from 
 the vintage, bearing on their shoulders a large tub of 
 grapes, seated on the top of which is a young girl, and 
 by her side a small child. As they near the shores of 
 the imperial river, they sing one of their national songs, 
 the girl accompanying with a tambourine, and the child 
 with a flute. The costume of the four vintagers con- 
 sists of colored or check shirts, breeches, long hose, 
 low shoes, knee and shoe buckles, single-breasted vest 
 of bright colors, left open, handkerchief tied carelessly 
 about the neck, and low felt hat with a sprig of grape 
 leaves in front, the face colored slightly with red. The 
 lady's costume consists of a red dress, blue waist, open 
 in front, and laced across with pink ribbon, and a small 
 straw hat trimmed with green ribbon on the head. 
 The boy's costume consists of a velvet jacket, white 
 pants, and small fancy cap. The four vintagers stand 
 in a circle, on a round or square pedestal four feet in
 
 THE RETURN FROM THE VINTAGE. 231 
 
 diameter, covered with green booking ; they face out- 
 ward, and support the tub on their shoulders ; one 
 hand is raised, and grasps the top of the tub, while the 
 other hangs- carelessly at the side. A tall box should 
 be placed under the tub, which will relieve the laborers 
 from the weight. The vintagers look up to the lady, 
 the countenance expressing pleasure. The young lady 
 who is seated on the tub holds the tambourine in her 
 left hand, which is raised above her head ; the right 
 hand is raised as high as the face, the head thrown 
 back slightly, eyes lifted, body facing the audience. 
 The boy has the end of the flute or trumpet placed in 
 his mouth ; both hands grasp the flute ; eyes directed 
 forward. The tub should be three feet wide, and the 
 outside and rim painted in imitation of grapes and 
 leaves. Light will be needed in front and at the left 
 side. Music of an inspiring order.
 
 232 THE TABLEAU. 
 
 LOVERS GOING TO THE WELL. 
 
 How dear to my heart are the scenes of my childhood, 
 
 "When fond recollection presents them to view ; 
 The orchard, the meadow, the deep-tangled wildwood, 
 
 And every loved spot which my infancy knew ; 
 The wide-spreading pond, and the mill that stood by it, 
 
 The bridge, and the rock where the cataract fell, 
 The cot of my fathers, the dairy house nigh it, 
 
 And e'en the rude bucket which hung in the well; 
 The old oaken bucket, the iron-bound bucket, 
 
 The moss-covered bucket, which hung in the well. 
 
 One Male and One Female Figure. 
 
 THIS tableau represents a young peasant girl and 
 her lover going to the well. It is a statuary design, 
 and, when well executed, makes a tableau of great 
 beauty. The lady and gentleman who take part in this 
 group must be of the same height, of slim figure, and 
 good features ; the gentleman should be without a 
 beard. In the centre of the stage place a round ped- 
 estal one foot high, three feet in diameter, and covered 
 with black marble paper. The gentleman's costume 
 consists of a white coat, breeches, hose, shoes, cravat, 
 vest, gloves, hat and collar, and a long gauze scarf, 
 worn over the shoulder, tied at the side, the ends 
 hanging down to the knee, the hat placed jantily on 
 the side of the head. The lady's costume consists of 
 a white dress, worn with but few skirts, and cut low at 
 the top, sleeves long and flowing ; a long gauze scarf 
 worn over the shoulders, tied at the side, the ends 
 allowed to trail on the floor ; white hose, shoes, gloves,
 
 LOVERS GOING TO THE WELL. 233 
 
 and white felt hat worn carelessly on the head ; 
 the exposed parts of both figures made as white 
 as possible. Both stand near the centre of the ped- 
 estal, the gentleman's right hand placed across the 
 lady's shoulder ; his left hangs carelessly at the side, 
 and grasps a white water pitcher, his right foot placed 
 twenty inches in advance of the left, the toe of the left 
 just touching the pedestal, and the body inclined for- 
 ward slightly; his head is turned towards the lady, 
 into whose eyes he is looking, while the countenance 
 expresses pleasure. The lady's right hand holds a 
 pitcher similar in shape to the one held by the gentle- 
 man. Her left is raised near her bosom, the forefinger 
 pointed to some object in the distance. Her head is 
 turned towards the gentleman, eyes looking into his, 
 and countenance expressing earnestness, her feet and 
 body in the same position as the gentleman's. The 
 front of the stage, if covered with thin white gauze, 
 will add to the beauty of the piece. The light should 
 come from the left side of the stage, and be of a me- 
 dium brightness. Music soft and plaintive. 
 20*
 
 234 THE TABLEAU. 
 
 THE ITALIAN FLOWER VASE. 
 
 Attic shape ! Fair attitude ! With brede 
 
 Of marble men and maidens overwrought 
 With forest branches and the trodden weed ; 
 
 Thou, silent form, dost tease us out of thought, 
 As doth eternity. Cold Pastoral ! 
 
 When old age shall this generation waste, 
 Thou shalt remain, in midst of other woe 
 
 Than ours ; a friend to man, to whom thou say'st, 
 " Beauty is truth, truth beauty " that is all 
 
 Ye know on earth, and all ye need to know. 
 
 KEATS'S " ODE ON A GBECIAX UBS." 
 
 Three Female Figures. 
 
 THIS exquisite statue tableau represents a beautiful 
 yase, tbe sides of which are ornamented with statues, 
 personifying Spring, Summer, and Autumn. The vase 
 is made to revolve by machinery. Three ladies of 
 good figure and features, and of equal height, are re- 
 quired, to fill out the design. Their costumes consist 
 of long white muslin robes, worn with few under skirts, 
 cut low at the neck, sleeves reaching to the elbow, and 
 flowing, white hose and slippers ; hair combed up from 
 the forehead, clasped with a band of silver behind, and 
 allowed to hang iu heavy curls in the neck ; a string of 
 small wax or spar beads entwined about the top of the 
 head, the ends trailing among the curls ; a bouquet of 
 white flowers placed on the front of the waist, and a 
 white rose fastened to the front of the spar wreath 
 which adorns the head ; the exposed portions of the 
 body made as white as possible.
 
 THE ITALIAN FLOWER VASE. 235 
 
 The stage machinery is constructed in the following 
 manner : After arranging the revolving beam beneath 
 the stage, (described in the " Bust of Proserpine,") 
 the base of the vase should be fastened to the top of 
 the shaft which protrudes through the floor, and fas- 
 tened so firmly that the weight of the three females 
 will not impede the revolutions. It must also be con- 
 structed so that it can be easily shipped and unshipped. 
 The base is of octagon form, two feet in diameter, one 
 foot thick, and ornamented with small scrolls around 
 the sides, the whole to be covered with white cloth, and 
 decorated with artificial or painted wreaths and fes- 
 toons of flowers. On the top of the base there must 
 be a box one foot high, and five inches square, fastened 
 firmly to the main body with iron braces ; this is for 
 the insertion of the shaft of the vase, which is made of 
 joist, four inches square, six feet in length, and painted 
 white. The top or bowl of the vase should be made in 
 the form of a saucer ; the material used in its compo- 
 sition must be light ; its dimensions, four feet in diam- 
 eter, with a square cavity in the centre, in which to 
 place the shaft ; cover the exterior with white cloth ; 
 around the top paint a wreath of large flowers, and 
 from the centre to the rim paint other festoons of 
 smaller flowers four inches apart; around the cavity 
 where the shaft enters, place three pieces of wood, made 
 and painted to resemble large leaves, the size of which 
 should be seven inches in length by five in width. The 
 vase can be made in one piece, if there is sufficient room 
 for the accommodation of so large a piece of furniture.
 
 236 THE TABLEAU. 
 
 But for a small stage it will be better to have it in 
 three parts. The ladies stand on the base of the vase, 
 with their backs against the shaft, the top of the head 
 just touching the bottom of the large leaves, the head 
 and body perfectly erect, the hands of the three clasped 
 at the side, and holding the ends of festoons of colored 
 flowers, eyes slightly raised, countenance calm and 
 pleasant. The festoolis must run from the hands of 
 the statues to the shaft, fastened there, and pass down 
 to the other hand, and so on around the three figures. 
 The vase should revolve quite slowly, and be put in 
 motion while the curtain is rising. Gauze before this 
 piece will add to the effect. The light must come from 
 the left side of the stage, and be of medium brilliancy. 
 Music soft and plaintive. 
 
 PORTRAIT OF THE MADONNA. 
 
 They haunt me still those calm, pure, holy eyes ; 
 
 Their piercing sweetness wanders through my dreams : 
 The soul of music that within them lies, 
 
 Comes o'er my soul in soft and sudden gleams. 
 
 Are there not deep, sad oracles to read 
 In the calm stillness of that radiant face ? 
 
 Yes, even like thee must gifted spirits bleed, 
 Thrown on a world, for heavenly things no place. 
 
 One Female Figure. 
 
 THIS portrait tableau is produced in the same man- 
 ner as that of " Gabrielle." The lady who personates
 
 THE SHOEMAKER IN LOVE. 237 
 
 the Madonna should be of good figure, fine, regular 
 features, eyes large and expressive, a full face and dark 
 hair. Costume consists of white dress open slightly in 
 front, sleeves long and flowing, a velvet cape thrown 
 negligently over the shoulders, a large cross suspended 
 from the neck by a necklace of wax beads, the hair 
 puffed slightly at the side, and arranged in a neat coil 
 at the back, and a large braid passed across the top of 
 the head. She should partially face the audience, the 
 head slightly inclined forward, eyes cast upward, hands 
 clasped in front of the breast, and lips partly open, the 
 countenance expressing earnestness and meekness. 
 Light will be required at the front of the stage, and 
 must be of medium brilliancy. Music of a sacred and 
 plaintive style. 
 
 THE SHOEMAKER IN LOVE. 
 
 Love's feeling is more soft and sensible 
 Than are the tender horns of cockled snails. 
 
 SHAKSPEAKE. 
 
 One Male and Two Female Figures. 
 
 THIS is a comic tableau, and represents a pretty 
 young lady at a country shoemaker's shop, in the act 
 of having her foot measured for a pair of shoes. The 
 lady stands in the centre of the stage, and rests her 
 unslippered foot on a small box, while the knight of 
 the lapstone and hammer is engaged in taking the 
 measure of her foot. While occupied in this duty, he
 
 238 THE TABLEAU. 
 
 is suddenly smitten, either with her pretty face or small 
 foot, and instead of proceeding with his task, he stops 
 and looks up with a pleasant smile into the face of his 
 fair customer. In the background, peeping out from 
 behind a screen, is the shoemaker's wife, with a broom- 
 stick in her hand. The scenery consists of a wooden 
 screen, covered with cloth, extending half way across the 
 centre of the stage, on which is painted, in large let- 
 ters, the name " Ebenezer Heeltap." Shelves of boots, 
 shoes, shoemaker's tools, and other articles, should also 
 be painted on the screen. In the foreground place a 
 shoemaker's bench, and a few shoes, partly worn out, 
 scattered on the floor. The young lady's costume con- 
 sists of a blue silk dress, crimson shawl, white bonnet, 
 and sunshade. Position is, standing at the side of 
 the stage, showing a side view of the body, one foot 
 resting on a box, both hands grasping her dress, which 
 she draws up sufficiently high to display her foot 
 and ankle, body bent forward, and eyes fixed on her 
 foot. The shoemaker kneels on the floor opposite to 
 her, holding a strap in one hand, the other resting on 
 the box, the head thrown back, and eyes cast upward 
 to the face of the lady. Costume consists of a suit of 
 coarse material, sleeves rolled up - to the elbow, 
 leather apron tied about the waist, paper cap on the 
 head, red or gray wig, and shaggy beard. The old 
 lady's costume consists of a cheap calico dress, white 
 ruffled cap, white handkerchief tied about the neck, and 
 spectacles on the nose. The light must come from the 
 right side of the stage, and be of medium brilliancy. 
 Music of a secular order.
 
 PRINCE EDWARD AFTER THE BATTLE OP CULLODEN. 239 
 
 PRINCE CHARLES EDWARD AFTER THE 
 BATTLE OF CULLODEN. 
 
 Our bugles sung truce, for the night cloud had lower'd, 
 And the sentinel stars set their watch in the sky, 
 
 And thousands had sunk on the ground overpower'd, 
 The weary to sleep, and the wounded to die. 
 
 THOMAS CAMPBELL. 
 
 One Female and Six Male Figures. 
 
 THIS tableau contains seven figures, and represents 
 Prince Charles Edward asleep in one of his hiding- 
 places after the battle of Culloden, protected by Flora 
 Macdonald and Highland outlaws, who are alarmed on 
 their watch. Here rests, in fitful and affrighted slum- 
 bers, the recent victor, Prince Charles Edward, a 
 broken and despairing fugitive, his gallant spirit dissi- 
 pated, and his well-knit limbs stained, and bruised, and 
 soiled by urgent journeys and perilous encounters. 
 Beside him sits a sleepless guardian, the brave, the 
 beautiful, the heroic Flora Macdonald. A deer-hound, 
 who had crouched at her feet, has given an alarm of 
 coming danger. The peril is imminent, but the foe is 
 invisible. What shall be done ? Shall the sleeper be 
 awakened? His devoted protector, prompt as the 
 occasion, and wise beyond the emergency, counsels on 
 the instant, silence, caution, self-possession. There- 
 upon the Highlanders draw together, and, restraining 
 the frenzy of their first emotions, wait, with desperate 
 resolution, the first manifestation of coming danger.
 
 240 THE TABLEAU. 
 
 The scenery accompanying this piece represents a 
 cave in the rocks ; in the centre of the back wall is an 
 opening, through which the Highland outlaws are 
 looking. The rocks can be imitated by covering 
 wooden frames with coarse brown paper, fastened on 
 in a rumpled manner, and shaded with light and 
 dark brown paint, sprinkled over with small particles 
 of isinglass. These frames should reach to the ceiling 
 of the stage, and be constructed in sections four feet 
 wide ; they must be arranged in the background in the 
 form of a half circle, the floor and sides of the stage 
 covered with the same kind of scenery ; a box six feet 
 long and two feet wide, covered with a robe, should be 
 placed in the centre of the cave, for the prince to re- 
 cline upon. Spears, shields and battle axes may be 
 strewn about, and a small fire made to smoulder in the 
 foreground. This can be built in an iron furnace, sur- 
 rounded by rocks. The prince is costumed in a rich 
 Highland suit. The coat, which reaches to the knee, 
 is made of Scotch plaid, trimmed at the bottom of the 
 skirt, sleeves, and on the front with black velvet orna- 
 mented with gold ; plaid breeches and hose, worn so as 
 to leave a naked space of five inches between the top 
 of the hose and bottom of the breeches ; short-legged 
 boots, with red tops, spurs ; a heavy plaid scarf, deco- 
 rated with gold, worn across the shoulders ; and a flat 
 Highland cap, with plume in front, which lies on the 
 couch at his side. The prince is lying on his side, 
 lengthwise of the cave, in position so that his face can 
 be seen, his head resting on his left arm, while his right
 
 PRINCE EDWARD AFTER THE BATTLE OF CULLODEN. 241 
 
 hangs down to the floor of the cave, touching his 
 sword and pistols. Flora Macdonald is seated near the 
 head of Prince Charles. Her costume consists of a 
 Highland frock reaching below the knees, hose of scar- 
 let plaid, a scarf about the breast made of black cloth, 
 and fringed on the side with buff, and across the shoul- 
 ders is worn a blue cape trimmed with velvet and gold ; 
 her hair hangs loosely on the shoulders ; the left hand 
 gathers the cloak about the breast, while the right is 
 raised in front of the face, the fingers extended, the 
 head turned around to the group of Highlanders at the 
 back of the cave, to whom she is in the act of speaking. 
 Fear and caution are expressed on her countenance. 
 The group of Highlanders are at the right of the cave, 
 in the extreme background, near the opening. Their 
 costume is similar to that of the prince, but of cheaper 
 material, and without decorations. Each has a sword 
 and musket. The first outlaw is looking out of the 
 opening ; he holds his musket in front of him ; at his 
 side stoops another, with musket trailing. Behind 
 these two stands a third, with a long spear. Back of 
 him is one with a sword in his hand. He is in the act 
 of speaking to Flora Macdonald ; his countenance de- 
 notes affright ; his left hand points to the opening in 
 the cave ; his body inclined backward slightly. The 
 fifth figure is kneeling in the foreground, holding a 
 hound by the collar. The countenances of the first 
 three outlaws should express caution. The faces of 
 the gentlemen can be disguised by false beards. The 
 scene must be illuminated by a small quantity of red 
 21
 
 242 THE TABLEAU. 
 
 fire burned at the front part of the ante-room, oppo- 
 site the group of outlaws. Thunder and the falling of 
 rain imitated in the ante-rooms will add to the effect. 
 No music will be required. 
 
 THE FLOWER GIRL. 
 
 FLOWERS. 
 
 They are the autographs of angels, penn'd 
 In Nature's green-leav'd book, in blended tints, 
 Borrowed from rainbows and the sunset skies, 
 And written every where on plain and hill, 
 In lonely dells, 'mid crowded haunts of men ; 
 On the broad prairies, where no eye save God's 
 May read their silent, sacred mysteries. 
 
 Thank God for flowers ! they gladden human hearts ; 
 Seraphic breathings part their fragrant lips 
 With whisperings of Heaven. 
 
 ALBEBT LAIQHTON. 
 
 One Female Figure. 
 
 THE statue tableau of the Flower Girl is quite a 
 pretty design, and is produced in the following manner : 
 A pedestal two feet in height, with a circular shield at 
 the top three feet in diameter, is placed in the centre 
 of the stage, around the sides and on the top of which 
 are arranged folds of white cloth. The young lady 
 who personates the flower girl is to stand in the centre 
 of the shield, holding in front of her a basket of 
 flowers. She should be of good form and features. 
 Her costume consists of a pure white robe cut low
 
 PRESENTATION OP FIREMAN'S TRUMPET. 243 
 
 at the top and long at the bottom, sleeves short, the 
 front of the waist ornamented with a small bouquet, 
 and a wreath of flowers or silver leaves around the 
 head, the hair puffed slightly at the side, and con- 
 fined at the back of the head with a band of silver, and 
 allowed to hang in curls in the neck ; the basket filled 
 to the top with flowers, held at arm's length, and rest- 
 ing against the right side of the front of the body. 
 The lady faces the audience, inclines her body forward 
 a very little, the hands grasping the basket at each 
 side, right foot placed twelve inches in advance of the 
 left, head inclined back and to the left, the eyes 
 directed forward, countenance pleasant. The crimson 
 curtain, and the two fairies used in the " Bust of Pros- 
 erpine," can be used in this piece, the curtain placed 
 above the statue, the fairies taking the same position as 
 in Proserpine. Illuminate the stage with the foot- 
 lights. Music soft and plaintive. 
 
 PRESENTATION OF FIREMAN'S TRUMPET. 
 
 " Honor to whom honor is due." 
 Eleven Male and Eleven Female Figures. 
 
 THIS interesting tableau contains twenty-two figures. 
 The scene represents a young and beautiful female 
 presenting a silver trumpet to a fireman. In the back- 
 ground of the stage there should be erected a platform,
 
 244 THE TABLEAU. 
 
 from which a flight of steps extends down to the fore- 
 ground. On the right side of the steps are young 
 ladies in appropriate costumes, and at the left of the 
 steps are the comrades of the receiver of the trumpet. 
 Standing in the centre of the platform is a young 
 lady, about to present the trumpet to the fireman, who 
 is kneeling at her feet. The platform must be four 
 feet high and two feet wide, the steps running nearly 
 across the stage, and within three feet of the footlights. 
 At each side of the platform place a large vase of 
 flowers, and cover the steps with green booking. The 
 ladies' costume consists of a white dress, with red sash 
 around the waist, a wreath of myrtle on the head, and 
 a wreath of flowers held in the right hand. The 
 gentlemen's costume consists of a showy fireman's suit. 
 The lady who presents the trumpet should be costumed 
 in a white dress decorated with artificial flowers, a 
 crown of the same on the head, and a belt about the 
 waist. The ladies and gentlemen at the sides of the 
 stage are all kneeling, and in such a position that a 
 profile view is had of the body. The ladies rest the 
 left hand on the waist, and extend towards the top of 
 the platform the right hand, which holds the wreath of 
 flowers. Their attention is directed to the lady above, the 
 countenance expressing pleasure. The gentlemen form 
 in a like manner, and raise the right hand to the side 
 of the face. The gentleman who receives the trumpet 
 kneels on the upper step, and in such a position that 
 a profile view will be had of the face ; the left hand 
 rests on the waist, while the right is extended to take
 
 THE PAINTER'S STUDIO. 245 
 
 the trumpet; the head is thrown back slightly, the 
 eyes fixed on those of the lady, who stands in tho cen- 
 tre of the platform. Her body is inclined forward, eyes 
 fixed on the face of the fireman, right hand extended 
 and holding the trumpet, her countenance beaming 
 with smiles. Light from the foot and left side of the 
 stage will be required, which should be very brilliant. 
 Music of an operatic character. 
 
 THE PAINTER'S STUDIO. 
 
 The golden light into the painter's room 
 Stream'd richly, and the hidden colors stole 
 From the dark pictures radiantly forth, 
 And in the soft and dewy atmosphere 
 Like forms and landscapes magical they lay. 
 The walls were hung with armor, and about 
 In the dim corners stood the sculptured forms 
 Of Cytheris, and Dian, and stern Jove ; 
 And from the casement soberly away, 
 Fell the grotesque long shadows, full and true, 
 And, like a veil of filmy mellowness, 
 The lint-specks floated in the twilight air. 
 
 WILLIS. 
 
 One Female and One Male Figure. 
 
 A REPRESENTATION of a painter's studio. Scattered 
 about the room are works of art, fine paintings, por- 
 traits, statuary, vases of ancient form, and flowers. A 
 guitar and flute hang from the wall, and at the left of 
 the stage is a large picture, with a crimson curtain 
 partially drawn across it. The painter's easel stands 
 at the right of the stage ; on it is an unfinished por- 
 21*
 
 246 THE TABLEAU. 
 
 trait of a lady. A small table, sofa, and three ancient 
 chairs complete the furniture of the room. The artist 
 is seated in one of the chairs, engaged in painting the 
 lady's portrait. The lady is seated in a chair in the 
 centre of the stage, her feet resting on a small cushion, 
 right elbow placed on the table which is by her side, 
 and eyes fixed on a book which she holds in her left 
 hand. A few showy bound books and a small bust 
 may be placed on the table. The lady's costume con- 
 sists of a pink or blue silk dress, cut low at the neck, 
 sleeves of usual length, hair done up to suit the per- 
 former's taste. Her position is, facing the audience. 
 The artist's costume consists of a rich dressing gown, a 
 red velvet cap with a gold tassel, light pants and vest. 
 His position is such that a side view is had of the fea- 
 tures, the left hand holding a pallet and brushes, the 
 right grasping a small brush, which he is in the act of 
 using. His eyes are fixed on the picture, countenance 
 expressing earnestness. Illuminate the background of 
 the scene with a small quantity of red fire, the fore- 
 ground with light of medium brilliancy, both of which 
 should come from the right side of the stage. Music 
 soft and plaintive.
 
 PORTBAIT OF GABEIELLE. 247 
 
 PORTRAIT OF GABRIELLE. 
 
 There's nothing ill can dwell in such a temple : 
 If the ill spirit have so fair a house, 
 Good things will strive to dwell with 't. 
 
 TEMPEST. 
 
 One Female Figure. 
 
 THIS tableau is suggested by the beautiful picture by 
 De la Roche, one of the most eminent of French 
 painters. The best portrait of Napoleon I. was painted 
 by this artist. The subject of the painter is Gabrielle. 
 The person who represents this portrait should have 
 fine Grecian features, small figure, and hair that will 
 curl profusely. The costume consists of a pink bro- 
 cade cut low at the top, open in the form of a square 
 in front, and trimmed with white lace and black velvet. 
 The hair must be parted in the centre of the forehead, 
 puffed out at the side, and arranged in short curls in 
 the neck. A band of velvet one inch wide in the mid- 
 dle, and tapered to a point at each end, with a silver 
 star studded with spangles on the widest part, should 
 be placed around the head. The frame, behind which 
 the lady takes her seat, is constructed as follows : Out 
 of boards make a solid frame, four feet long and three 
 feet wide, with a cornice on the outside. From the 
 centre, cut out an oval three feet long and two feet 
 wide ; cover the frame with black cambric or velvet, 
 and ornament the cornice and edge of the oval with 
 gold paper ; place the frame at the back of the stage on
 
 248 THE TABLEAU. 
 
 a platform or box three feet high, three feet wide, and 
 two feet deep ; fasten the frame by means of hooks or 
 screws to the top of the box, flush with the front ; 
 attach a heavy crimson cord and tassel to the top, and 
 pass it over a brass hook screwed to the ceiling. The 
 lady takes her seat behind the frame, in such a position 
 as will display a partial side view of the head and 
 chest in the centre of the oval, the eyes cast down, the 
 countenance expressing sorrow. After the lady has 
 taken her position, the box must be entirely covered 
 with black cambric, and a curtain of the same material 
 should be fastened to the top of the frame, and allowed 
 to trail back of the lady to the floor. With a medium 
 quantity of light from the front of the stage, the tab- 
 leau at a distance will resemble a painted portrait. A 
 large variety of pictures can be produced in this man- 
 ner, and at little expense. Music for this scene should 
 be of a sacred character, and quite soft.
 
 THE ELOPEMENT. 249 
 
 THE ELOPEMENT. 
 
 Dear art thou to the lover, thou sweet light, 
 Fair, fleeting sister of the mournful night ! 
 As in impatient hope he stands apart, 
 Companioned only by his beating heart, 
 And with an eager fancy oft beholds 
 The vision of a white robe's fluttering folds 
 Flit through the grove, and gain the open mead, 
 True to the hour by loving hearts agreed ! 
 At length she comes. The evening's holy grace 
 Mellows the glory of her radiant face ; 
 The curtain of that daylight, faint and pale, 
 Hangs round her like the shading of a veil ; 
 As turning with a bashful timid thought, 
 From the dear welcome she herself hath sought, 
 Her shadowy profile drawn against the sky, 
 Cheats while it charms his fond adoring eye. 
 
 MBS. NOKTOIC. 
 
 One Male and Two Female Figures. 
 
 THIS is a very pretty tableau, in two parts. The first, 
 represents a young gentleman, standing at the foot of 
 a rope ladder which reaches to the railing of a balcony 
 on the front of a dwelling house ; leaning over the 
 railing is a young and lovely maiden, who is about 
 to make her descent on the ladder to her lover below. 
 The gentleman grasps the rope with the left hand, and 
 holds the right upward in the act of beckoning to the 
 lady. His position is such that a side view is had of 
 the body ; his head thrown back, eyes directed to the 
 balcony, countenance expressing pleasure and entreaty. 
 His costume consists of a dark coat, trimmed around 
 the edge with purple lace or gimp, light breeches, black
 
 250 THE TABLEAU. 
 
 hose, colored vest, low shoes, knee and shoe buckles, 
 red sash about the waist, black felt hat with plume, 
 velvet cape on the left shoulder, lace collar and wrist- 
 bands, ruffled bosom, and mustache. The lady is 
 attired in a bright-colored silk robe, riding hat, and red 
 scarf. The balcony can be made of boards, and cov- 
 ered with fresco paper, representing two pillars, a cor- 
 nice, and a railing above. The second scene, which 
 follows immediately, represents the lady and her lover 
 just about to step into the ante-room, opposite the bal- 
 cony. The gentleman has his right arm around the 
 waist of the lady, the left extended towards the bal- 
 cony, face turned in that direction, his back to the au- 
 dience, the countenance expressing caution. The lady 
 places her left hand on the gentleman's shoulder, and 
 the right on her breast ; her eyes are directed to the 
 ante-room. A front view is had of her form. The 
 head of the gentleman turned to the balcony will give 
 a partial side view of the face. The young lady's 
 mother is seen on the balcony, looking out into the 
 darkness, and holding a crutch before her, as if in the 
 act of striking. Her costume consists of a white robe 
 and nightcap. The light for the first scene should be 
 of medium brightness, and come from the ante-room 
 opposite the balcony. In the second scene, it will be 
 necessary to produce the light on the other side of the 
 stage, which will throw the balcony in the shade. The 
 low rumbling of thunder, and the noise of falling rain, 
 produced in the ante-room, will add to the effect of the 
 scene.
 
 FIREMAN'S COAT OF ARMS. 251 
 
 FIREMAN'S COAT OF ARMS. 
 
 By Jove ! I'll have a fine establishment, 
 And keep a coat-of-arms ! 
 
 MUGGINS. 
 Two Female Figures. 
 
 THIS tableau represents an oval shield richly orna- 
 mented with gold, on which are fastened engine pipes, 
 colored lanterns, trumpets, axes, fire hooks, buckets, 
 hats, &c. These radiate from the centre, and are 
 surrounded by a wreath of gold stars, five inches in 
 diameter. It rests on a pedestal, and is supported on 
 each side by female figures. The shield is seven feet 
 high and four feet wide, the surface covered with blue 
 cambric, with a border of crimson five inches wide, 
 shaded with a band of gold one inch in width. The 
 pedestal is six feet long, one foot high, and three feet 
 wide, the surface covered with crimson cloth, with a 
 black and gold border six inches wide, and an appro- 
 priate motto on the front in letters of gold. The young 
 ladies who support the shield must be of equal height, 
 good figure and features. Their costume consists of a 
 white robe cut low in the neck, skirt made to trail on 
 the pedestal, red or black velvet waist, ornamented with 
 gilt buttons and lace, and fireman's hat on the head. 
 Their position is at the sides of the shield, facing the 
 audience ; one arm is laid at full length on the top of 
 the oval, the other hangs at the side, the hand grasping 
 a small wreath of myrtle. The head should be slightly
 
 252 THE TABLEAU. 
 
 turned towards the shield, eyes looking forward, coun- 
 tenance calm. The light for the tableau must be of 
 medium brilliancy, and come from the front of the 
 stage. Music -soft. 
 
 THE SOLDIER'S FAREWELL. 
 
 I could not love thee, dear, so much, 
 Loved I not honor more. 
 
 SIB RICHARD LOVELACE. 
 
 Three Female and Three Male Figures. 
 
 A REPRESENTATION of a young recruit, about to leave 
 his country home for the first time to join the army. 
 In the background is to be seen a cottage, with trel- 
 lised vines running over the door. The young soldier 
 is standing in front of the cottage, bidding farewell to 
 his young bride, who stands at his side. They both 
 face the audience. She has her right arm around his 
 neck, and is looking into his face. The soldier rests 
 his left arm on her shoulder, and points to the side of 
 the stage with the right hand. His eyes are fixed on 
 the face of his bride. Near the doorstep stands a gray- . 
 haired old man, the father of the soldier ; he faces the 
 audience, and is holding a musket, the lock of which 
 he is examining. At the left of the soldier stands a 
 young maiden, in a position that exhibits a side view of 
 the body. She is looking to the two figures in front of 
 he*, and holds a sword and belt. In the doorway is 
 seen the mother of the soldier, holding a handkerchief
 
 THE SOLDIER'S FAREWELL. 253 
 
 to her eyes. A little boy stands at the right of the 
 door, with a tin sword fastened about his waist, a paper 
 cap on his head, and is engaged in blowing on a tin 
 trumpet. The cottage can be framed of wood, covered 
 with cloth, and painted in showy colors ; body of the 
 house light brown, frames, cornice, and door green, 
 roof red, arid window panes black. The cottage stands 
 in the centre of the stage, with the space on the sides 
 filled up with a small white fence and two spruce trees. 
 The vines over the door can be painted on the house, 
 or made of evergreens and flowers, and tacked to the 
 frame. The soldier's costume consists of a continental 
 uniform blue coat, faced with buff, buff vest and 
 breeches, white hose, knee and shoe buckles, low shoes, 
 white breast belts, and chapeau. The wife is costumed 
 in a blue dress, cut very short, and high at the top, 
 white apron, white hose, small handkerchief tied about 
 the neck, hair arranged to suit the taste of the per- 
 former. The young lady should be costumed in a 
 white dress, green apron, and straw hat, hair hanging 
 in curls, and ornamented with red ribbons. The old 
 gentleman's costume consists of a long gray or drab 
 coat, light vest and breeches, black hose, knee and shoe 
 buckles, low shoes, ruffled bosom, and chapeau. The 
 aged matron is costumed in a light brown dress, calico 
 apron, white cap, black collar. The boy can be attired 
 in any costume that has a variety of colors. Cover the 
 floor of the stage with green booking, and light the 
 tableau from the left side. A tenor drum should be 
 beaten in the ante-room while the curtain is raised. 
 22
 
 254 THE TABLEAU. 
 
 IKE PARTINGTON'S GHOST. 
 
 Be thou a spirit of health or goblin damned, 
 
 Bringing with thee airs from heaven or blasts from hell, 
 
 Be thy intents .wicked or charitable ? 
 
 Thou com'st in such a questionable shape 
 
 That I will speak to thee. 
 
 SHAKSPEAEE. 
 
 One Female and One Male Figure. 
 
 THIS tableau represents Ike seated on the top of a 
 pump in the front yard of his mother's cottage, while 
 the old lady is seen in the background, peeping over 
 the fence with looks of horror and astonishment. The 
 person who represents Ike should be of medium height 
 and youthful looking. Costume consists of an old 
 military coat and hat, large sword attached to a belt 
 about the waist, light pants with red stripe, and large 
 boots. The old lady is dressed in a cheap calico dress 
 and white cap. The pump can be made of wood, cov- 
 ered with light brown cambric, the handle painted 
 black. A rough representation of a house should be 
 painted on cloth, and placed at the rear of the stage. 
 A few feet from the house, erect a low white slat fence, 
 with a gate in the centre ; a wheelbarrow, shovel, hoe, 
 broom, and water bucket are scattered about the stage. 
 Ike sits on the pump, and faces the audience. His 
 head is drawn down within the coat collar, hands 
 placed on his knees, and eyes rolled up into his head. 
 Light the stage very little, and produce discordant 
 sounds on a melodeon in the ante-room.
 
 THE PEASANT FAMILY IN EEPOSE. 255 
 
 THE PEASANT FAMILY IN REPOSE. 
 
 Let not Ambition mock their useful toil, 
 Their homely joys, and destiny obscure, 
 
 Nor Grandeur hear, with a disdainful smile, 
 The short and simple annals of the poor. 
 
 Two Female and Three Male Figures. 
 
 THIS scene represents a group of peasants resting on 
 their journey. The party comprises an aged couple 
 and three children. They are seated on a grassy 
 mound at the side of the road. The children lie in 
 the foreground of the mound in various positions, and 
 are asleep. The old gentleman is seated on the back 
 side of the mound, which is higher than the front, and 
 in such a position that a side view is had of the body. 
 His head rests on his left hand, the elbow resting on 
 the knee ; the right hand holds a cane ; countenance 
 calm. Costume consists of a long, loose blue frock, 
 brown pants, black beaver hat, considerably worn and 
 out of shape, white hair and beard. At the side of the 
 old man, on the lower part of the mound, is seated the 
 old lady. She faces the audience, and leans her head 
 on her right hand, the elbow placed on the knee, eyes 
 directed to the children, countenance expressing deep 
 thought. Costume consists of a brown dress, white 
 handkerchief tied about the neck, and a hood on the 
 head. In front of these figures is a young girl, her 
 back resting against the highest part of the mound,
 
 256 THE TABLEAU. 
 
 the head inclined to one side, one arm placed across 
 the form of a boy at her side, her eyes closed. She is 
 dressed in a white robe, blue apron, and stout shoes, 
 head uncovered. A small boy reclines at her side, and 
 rests his head on her lap. Costume consists of a red 
 frock, trimmed with white. In front of these two fig- 
 ures is a large boy. He lies on the grass, and rests his 
 head on his arm; his eyes are closed, countenance 
 calm. He is costumed in a dark coat, light pants, 
 white collar, thick boots, and felt hat. The mound 
 on which the tableau is formed can be constructed 
 of boxes, and covered with green booking. It should 
 be six feet in diameter, varying from one to two feet in 
 height, and placed in the centre of the stage. The 
 scene will require but a small quantity of light, which 
 must come from the right side of the stage. Music 
 soft and of a plaintive character.
 
 THE SOLDIER'S RETURN. 257 
 
 THE SOLDIER'S EETUKN. 
 
 O that 'twere possible, 
 
 After long grief and pain, 
 To find the arms of my true love 
 Round me once again. 
 
 * * * 
 
 We stood tranced in long embraces 
 Mixed with kisses sweeter, sweeter 
 Than any thing on earth. 
 
 MAUD. 
 
 Three Female and Four Male Figures. 
 
 THIS interesting tableau is designed to appear in 
 connection with the soldier's farewell, and is repre- 
 sented by seven persons. The cottage and other sce- 
 nery described in the " Soldier's Farewell " is used in 
 this piece, and is to be placed in the same position. At 
 the left of the stage, near the front, stands a young gen- 
 tleman dressed as a hackman. He carries a trunk on 
 his shoulder, and a valise in his left hand ; his position 
 is such that a side view is had of the features ; his eyes 
 cast down to the floor, body slightly bent forward ; a 
 few paces in front of him stands the young soldier, 
 with arms outstretched to receive his wife, who is 
 standing in front of the doorstep, in the act of running 
 towards him. The soldier shows a side view of his 
 form, his feet extended apart, body bent forward, eyes 
 fixed on his wife, countenance smiling. The wife faces 
 the audience ; her arms are raised, eyes directed to 
 those of her husband, countenance pleasant. The 
 22*
 
 258 THE TABLEAU. 
 
 father and mother of the soldier are seated in large 
 chairs at the sides of the door. A young man is seen 
 climbing over the fence. He holds a rake in his 
 hand, and is looking at the soldier. A young lady is 
 on the doorstep in the position of one running, her 
 eyes fixed on the group at the front of the stage, coun- 
 tenance expressing surprise. Costume similar to the 
 one described in the Farewell. The boy's costume con- 
 sists of blue overalls, white shirt, and straw hat. The 
 old lady and gentleman wear the suits described in the 
 first scene. The old gentleman has a pair of crutches 
 by his side, and is smoking a pipe. The old lady wears 
 spectacles, and holds a newspaper in the left hand, and 
 points to the soldier with the right ; her eyes are 
 turned to her husband, countenance expressing sur- 
 prise. The soldier's wife has on a white dress with a 
 velvet waist. The soldier is costumed in the suit that 
 we described in the Farewell, with the addition of a red 
 sash about the waist, gold epaulets on the shoulders, 
 and a showy plume in his hat. The hackman's cos- 
 tume consists of a rubber coat and cap, long boots, and 
 light pants. The scene requires a medium light, which 
 should come from the side opposite the soldier. Music 
 of a cheerful and lively style.
 
 NOTES AND EXPLANATIONS. 259 
 
 NOTES AND EXPLANATIONS. 
 
 FOR PREPARING A BRILLIANT RED FIRE. 
 
 WEIGH five ounces of dry nitrate of strontia, one ounce and a half 
 of finely-powdered sulphur, five drams of chlorate of potash, and 
 four drams of sulphuret of antimony. Powder the sulphuret of an- 
 timony and chlorate of potash separately in a mortar, and mix them 
 on paper ; after which add them to the other ingredients, previously 
 powdered and mixed. For use, mix with a portion of the powder a 
 small quantity of spirits of wine, in a tin pan resembling a cheese- 
 toaster ; light the mixture, and it will shed a rich crimson hue. 
 When the fire burns dim and badly, a very small quantity of finely- 
 powdered charcoal or lamp-black -will revive it. This light is used 
 in finale scenes, where the subject is heroic, national, or martial. 
 
 GREEN FIRE. 
 
 A beautiful green fire may be thus made : Take of flour of sul- 
 phur, thirteen parts ; nitrate of baryta, seventy-seven ; oxy-muriate 
 of potassa, five ; metallic arsenic, two ; and charcoal, three. Let the 
 nitrate of baryta be well dried and powdered ; then add to it the other 
 ingredients, all finely pulverized, and exceedingly well mixed and 
 rubbed together. Place a portion of the composition on a small tin 
 pan having a polished reflector fitted to one side, and set fire to it, 
 when a splendid green illumination will be the result. By adding a 
 little calamine, it will burn more slowly.
 
 260 THE TABLEAU. 
 
 PUEPLE TIRE. 
 
 A purple fire is produced by dissolving chloride of lithium in spirits 
 of wine, and when lighted it will burn with a purple flame. 
 
 WHITISH-BLUE FIRE. 
 
 Take of nitrate of baryta, twenty- seven parts, by weight ; of sul- 
 phur, thirteen ; of chloride of potassa, five ; of realgar, two ; and of 
 charcoal three parts. Incorporate them completely, and when in- 
 flamed they will emit a whitish-blue light, accompanied by much 
 smoke. This light is much used in fairy scenes. 
 
 YELLOW FIRE. 
 
 Mix some common salt with spirits of wine, in a metal cup, and set 
 it upon a wire frame, over a spirit lamp. When the cup becomes 
 heated, and the spirits of wine ignited, the other lights on the stage 
 should be extinguished, and that of the spirit lamp shaded in some 
 way. The result will be, that the whole group, faces, dresses, will be 
 of a strong yellow tint.. 
 
 COLORED LIGHTS. 
 
 Colored lights can be produced by filling globes with colored liquid, 
 and placing them in front of the lamps, like those we see in the win- 
 dows of the chemists' shops.
 
 NOTES AND EXPLANATIONS. 261 
 
 TO PRODUCE A MISTY OR VANISHING APPEARANCE 
 TO A TABLEAU. 
 
 Several curtains of thin gauze, or common mosquito netting, made 
 to let down from rollers, one after another, between the audience and 
 the scene, will give a beautiful, misty appearance ; and if a sufficient 
 number of curtains be unrolled, the tableau appears to vanish en- 
 tirely, allowing room for a change of scenery. Many scenes should 
 have one thickness of muslin before them, which serves to blend the 
 colors, and gives a finish to the picture. The gauze must be carefully 
 managed, as the disclosure of a ragged edge will dispel all the 
 illusion. 
 
 TO PRODUCE SOUNDS LIKE FALLING RAIN. 
 
 Procure a box six feet long, one foot jivide, and one deep. Cover 
 the bottom with small pegs of wood one inch high, and inserted two 
 inches apart. Place a quart of dried peas at one end of the box ; 
 then raise that end quite slowly, allowing the peas to roll gradually 
 down to the lower part of the box. The sound they produce in 
 striking against the pegs imitates to perfection the falling of rain. 
 The sound can be continued for any length of time by raising alter- 
 nately each end of the box. 
 
 TO PRODUCE SOUNDS LIKE DISTANT FIRING OF 
 ARTILLERY. 
 
 Suspend a large sheet of Russia iron by means of a rope, and strike 
 it in the centre with a heavy drumstick. At a short distance, the 
 sound resembles the booming of heavy artillery.
 
 262 THE TABLEAU. 
 
 TO PRODUCE SOUND TO RESEMBLE THUNDER. 
 
 Hold a large sheet of Russia iron at one end and commence shaking 
 it very slowly. It will give out a low, rumbling sound, which can be 
 gradually increased in power. Graduate the sounds from heavy peals 
 to the first starting point, then discontinue the shaking for a few 
 seconds, and repeat the variety of changes as long as is necessary. 
 
 TO IMITATE THE FIRE ALARM BELL. 
 
 Suspend to a wooden frame two pieces of steel two inches square 
 and three feet long. Select pieces that will give out different tones, 
 and strike them alternately with an iron hammer. They will sound 
 much clearer and louder than any small bells. 
 
 DISTANT FIRING OF MUSKETRY. 
 
 Sounds similar to a distant discharge of musketry can be produced 
 in a number of ways. The tenor drum can be made to give out 
 sounds to resemble volleys of musketry. Leaden shot dropped into a 
 large tin pan will produce a good imitation. A fireman's rattle can 
 be also used for the same purpose. 
 
 MAGIC LIGHTNING. 
 
 Mix gunpowder with a small quantity of water and gum arabic, 
 and with a brush place it on a screen in the background in an irreg- 
 ular manner, resembling flashes of lightning. The screen being pre- 
 viously painted to resemble thunder clouds, let there be a number of
 
 NOTES AND EXPLANATIONS. 263 
 
 distinct flashes painted, the ends of which should be near the ante- 
 room. At intervals of thirty seconds, touch a lighted fusee to one of 
 these paintings, which will burn quickly, illuminate the clouds, and 
 resemble lightning flashes. 
 
 TO STAIN THE FLESH A COPPER COLOR. 
 
 To stain the flesh a copper color, as is necessary in representing 
 Indian characters, use Spanish brown, mixed with oil, and rub in 
 thoroughly. 
 
 TO MAKE WRINKLES. 
 
 Use India ink, moistened with' water, softening the lines with chalk, 
 if necessary. Moustaches and whiskers may also be made with the 
 same material. 
 
 FLESH WOUNDS, &c. 
 
 Flesh wounds and blood may be represented by the use of rose 
 pink mixed with water. 
 
 THEATRICAL INCANTATIONS. 
 
 Dissolve crystals of nitrate of copper in spirits of wine. Light the 
 solution, and it will burn with a beautiful emerald green flame. 
 Pieces of sponge soaked in this spirit, lighted and suspended by fine 
 wires over the stage, produces the lambent green flames now so com- 
 mon in incantation scenes ; strips of flannel saturated with it, and 
 applied round copper swords, tridents, &c., produce, when lighted, 
 the flaming swords and fire forks brandished by the demons in such 
 scenes ; indeed, the chief consumption of nitrate of copper is for 
 these purposes.
 
 264 THE TABLEAU 
 
 LIGHTS AND SHADES. 
 
 If you wish to throw the background of a tableau in shade, inter- 
 vene screens between the lights at the sides of the stage and that part 
 of the picture you desire to have dark ; vice versa with the foreground. 
 Particular points or characters can be more brilliantly lighted than 
 others by placing at the side of the stage a strong light within a large 
 box, open at one side, and lined with bright reflectors. Light of dif- 
 ferent colors can be thrown successively on a picture, and made to 
 blend one with another, by placing the various colored fires in boxes 
 three feet square, open at one side, and lined with bright reflectors ; 
 these, arranged at the side of the stage on pivots, can be turned on, 
 one after another, so as to throw their light on the stage. Before 
 one light has entirely vanished from the scene, a different color should 
 gradually take its place.
 
 ART RECREATIONS: 
 
 A COMPLETE GUIDE TO 
 
 PENCIL DRAWING, 
 
 OIL PAINTING, 
 
 WATER-COLOB PAINTING, 
 
 CRAYON DRAWING AND PAINTIN8, 
 
 PAINTING ON GROUND GLASS, 
 
 GRECIAN PAINTING, 
 
 ANTIQUE PAINTING, 
 
 ORIENTAL PAINTING, 
 
 SIGN PAINTING, 
 
 THEOREM PAINTING, 
 
 MOSS WORK, 
 
 PAPIER MACHE, 
 
 CONE WORK, 
 
 FEATHER FLOWERS, 
 
 POTICHOMANIE, 
 
 LEATHER WORK, 
 
 HAIR WORK, 
 
 TAXIDERMY, 
 
 GILDING AND BRONZING, 
 
 PLASTER WORK, 
 
 BY 
 
 WAX WORK, 
 SHELL WORK, 
 MAGIC LANTERN, 
 PAPER FLOWERS, 
 IMITATION OF PEARL, 
 THE AQUARIUM, 
 SEALING-WAX PAINTING, 
 PANORAMA PAINTING, 
 COLORING PHOTOGRAPHS, 
 ENAMEL PAINTING, ETC. 
 
 MADAME L. B. URBINO, PROF. HENRY DAY, AND OTHERS. 
 
 WITH VALUABLE RECEIPTS FOR PREPARING MATERIALS. 
 
 Illustrate. 
 
 BOSTON: 
 J. E. TILTON AND COMPANY. 
 
 1860.
 
 GERMAINE 
 
 EDMOND ABOUT, 
 
 AU-THOK OF "THE ROMAS QUESTION," ETC. 
 
 TRANSLATED 
 
 BY MARY L. BOOTH 
 
 BOSTON: 
 J. E. TILTON AND COMPANY. 
 
 1860.
 
 University of California 
 
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 405 Hilgard Avenue, Los Angeles, CA 90024-1388 
 
 Return this material to the library 
 
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