FAME.

This tableau is represented by twelve persons, three ladies and nine gentlemen. They are arranged and costumed in the following manner: Standing on a pedestal six feet high, in the centre of the stage, is a female who personates the Goddess of Fame. Her costume consists of a loose white dress, cut low at the top, hair done up neatly and encircled with a wreath of white flowers; at her side, on a small pedestal, is a plaster bust of Shakspeare, which the goddess is about crowning with a wreath of myrtle. At each side of the large pedestal are two others, which are two feet square and three feet high; on each of these stands a female figure, dressed in a loose white robe, cut low at the top, the hair flowing loosely over the shoulder, the head encircled with a wreath of white flowers. Each holds in the right hand a long, slender trumpet, which she is in the act of blowing; the trumpets are pointed horizontally to the right and left; they are three feet long, with a bell, five inches in diameter, at the end. These can be made of card-board, and covered with silver paper. In front of the highest pedestal there should be placed a platform six feet long, four feet wide, and one foot high. On this, a second platform, five feet long, two feet wide, and one foot high. Cover them with white cloth. Kneeling on the front of the large platform are four young men. The first one represents a sculptor. He kneels, facing the audience, and holds a mallet and chisel in his left hand. The second figure represents the mechanic, with his square and level. The third represents the musician, with his harp. The fourth personates the painter, with his pallet and brushes. Kneeling behind them, on the small platform, are three other figures. The first is the poet, with his roll of songs and pen; the second is the soldier, with his sword; and the third is the historian, with a volume of history and a pen. Behind these, and fronting the goddess, stands a figure who represents the orator. His costume consists of a suit of black. He holds a scroll in his left hand; his right raised in front; countenance expressing sternness; eyes slightly raised upwards. The soldier kneels between the poet and the historian; costume consists of a rich military dress; arms are folded across the breast, head turned slightly to the right, eyes cast upward, the face expressing firmness. The poet is costumed in a dark coat, light vest, knee breeches, white hose, low shoes, knee and shoe buckles, lace collar and wristbands. Position is facing the front corner of the stage. Eyes are fixed on the paper before him; face expresses pleasure. On the other side of the soldier kneels the historian. His costume, position, and expression of countenance, the same as the poet. The sculptor kneels on the low platform. He faces the corner of the stage, and casts his eyes upward. Costume consists of a dark coat, white vest, dark breeches, white hose, shoe and knee buckles, a low, flat cap set jantily on one side of the head, and a velvet cape thrown over the left shoulder. The painter kneels on the other end of the platform, and faces the right front corner of the stage. Costume, position, and expression, the same as the sculptor. Between these two, kneel the mechanic and musician. The former looks straight forward. Costume consists of dark coat, light vest, dark breeches and hose, low shoes, knee and shoe buckles. The musician takes a similar position, and holds a harp, on which he is about to play. His head is thrown back, and his eyes are raised upward. Costume consists of a dark coat and breeches, bright-colored vest, black hose, low shoes, knee and shoe buckles. Expression of the face, pleasant. The light must be of medium quantity, and come from the right hand side. Those lights near the front should be stronger than the others. Music soft and plaintive.

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FAITH.

This beautiful statuary tableau is represented in the following manner: Six females kneel in a circle, and support a circular shield three feet in diameter, on which stands a young lady who represents Faith. Her right hand grasps a cross; the left is raised, the forefinger pointing upward. The six ladies should be dressed in pure white robes, cut low at the top. The hair is encircled with a wreath of white flowers. No ornaments of any kind are to be worn. The hair can be arranged to suit the taste of the performers. Their positions are as follows: The two figures supporting the front of the shield will partially face each other, resting the right knee on the floor, and facing outward from the circle, both hands touching the shield above. Two other ladies form behind the right hand figures, in the same position, and two more form behind the left hand figures. They will all face outward, and support the shield with both hands. The eyes should be cast down, the expression of the face serene. It will be necessary, before the ladies take their position, to place the shield on a pedestal one foot square, and high enough to allow the figures to kneel beneath. Cover the pedestal and shield with white cloth. After the six figures have taken their positions, the figure of Faith should be assisted to her position on the top of the shield. She must be of good figure, small, regular features, and dark hair, which should be quite long. Her dress consists of a long, white robe, made to trail on the top of the shield, the waist encircled with a large white cord, with two white tassels attached; the hair brushed back from the head, clasped with a silver band, and allowed to flow loosely over the shoulders; the head is adorned with a small band of silver, one fourth of an inch wide, with a small silver cross, in the centre. She is to stand perfectly erect in the centre of the shield, the cross resting on the right shoulder; the eyes lifted, as in devotion; the expression of the face calm, and yet denoting firmness and energy; the light should be soft, and come from the front right hand corner of the stage; the figures who support the shield must be partially thrown in the shade, while Faith receives the most of the light. Music accompanying this piece should be of a sacred character.

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SPIRIT OF RELIGION.

This tableau contains nine figures. The lady who represents Religion stands in the background of the picture, on a pedestal three feet high. She holds a cross on her left shoulder; the right hand grasps her mantle, which she unfolds, revealing herself to mankind. The lady should be of medium height, with light hair, which hangs loosely over the shoulders. The costume consists of a loose white dress, cut high at the top, sleeves fitting tightly to the arms, while over this dress is worn a second, which is open in front, and is made of white tarleton muslin. Position is facing the audience, eyes directed straight forward, expression calm and thoughtful. The second figure is a beautiful young lady, who kneels at the foot of the pedestal, on a small platform one foot high, and represents Hope. One hand rests on a large Bible; the other points up to the cross, and bids the captive, the dying, and broken-hearted, who kneel in the foreground, to look up to Religion. Costume consists of a white dress, cut high at the throat, short sleeves; hair arranged in curls, and wings of gauze fastened to the back of the dress. Position, kneeling at the foot of the pedestal, facing the audience, head turned slightly on one side, one knee resting on the floor, the body erect, the eyes directed to the figure of the captive in the foreground. The third figure is at the right of the pedestal—a young and handsome lady, who represents Faith. She holds a palm branch—the emblem of martyrdom. Her costume consists of a long white dress, over which is thrown a white mantle, which she gathers about her breast. Her hair hangs loosely over her shoulders, and a black band encircles the head. Her position is, standing on a small pedestal two feet high, so that we have a profile view of her form. Her head is raised to the cross, countenance expressing calmness and repose. Charity is represented, on the left of the pedestal, by a young lady who extends her protection to two helpless children. Her costume is a white dress, opening at the bosom; hair done up neatly, over which hangs a white veil. Her position is, seated at the right of the pedestal, on a small platform two feet high, body facing the audience, head bent forward, and turned towards Religion; eyes cast down; each arm embraces a small child, who is dressed in simple costume. The captive is represented by a gentleman wearing a suit made of coarse cloth, long beard and hair, face painted to represent age, arms and waist bound with chains. He kneels at the foot of Charity, on the floor of the stage; his face is turned towards Hope. Both hands are clasped and raised in front of the breast. Kneeling at the foot of Hope are two other figures. One is a female, dressed in deep mourning; the other, an aged man, who is supported by the lady. His costume consists of a loose robe of white cloth, trimmed with purple; his head is covered with white hair, and from his face hangs a long white beard. The hair and beard can be made of flax. The lady is kneeling next to Faith; the right arm is placed around the aged man, and the left points to Religion; the head is turned upward, and the expression of the face denotes grief. The aged man kneels beside the figure in mourning, his head resting on her shoulder, with his clasped hands stretched out in front; the eyes are closed, and the face downcast. The tableau must be formed in the centre of the stage. The light should be quite strong, and come from the right of the stage. Music of a sacred character.

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THE POET AND THE GODDESS OF POETRY.

This beautiful tableau is personated by two figures, a young man and a maiden. The scene represented is a dark and gloomy attic. An old table stands in the middle of the room; on it are a few books and manuscripts, an inkstand, a candlestick, with a partly-burned candle inserted in it, a mug of water, and a roll of bread. Near the table is an old-fashioned arm chair, in which is seated a young man dressed in cheap clothing. He has leaned his head upon the table, and is lamenting over his poverty and misfortune. As he sits weeping, a mist gathers in the chamber; it slowly grows denser, till at last it becomes a cloud of light; and lo! in the midst of the cloud stands a divine shape—the Goddess of Poetry—supremely beautiful. She addresses the Poet, gives him advice and consolation, and encourages him to renewed efforts in the path of fame; then vanishes from his sight. Besides the furniture already described, there should be a few chairs, pictures, and a piece of statuary, placed in various parts of the stage. The Poet's costume consists of a loose black coat, dark breeches, light vest, white hose, low shoes, knee and shoe buckles. Position is near the table, his arms laid across it, his head resting on his arms, and in a position that displays a profile view of the body. The Goddess of Poetry should be a young lady of good height, figure, and features, and costumed in a flowing white dress, cut low at the neck, with short sleeves trimmed with white satin ribbon; a wide muslin mantle should be worn across the shoulders; a wreath of myrtle adorns the head. In her right hand she holds a golden harp; the left is placed on the shoulder of the Poet. Her position is behind the table, in the background of the picture, and facing the audience. Her head is slightly bent forward, and eyes directed to the face of the youth; her countenance expresses pleasure. The following machinery can be used, if desired, which will add very much to the beauty of the piece. In place of the Goddess being at the side of the Poet when the curtain rises, a sliding platform can be made to move on to the stage from the ante-room, on which the Goddess should stand. A stout post firmly fixed in one side will enable the lady to stand perfectly still while the platform moves to its position. All that is necessary in the construction of this part of the work is to make a set of ways, and a sliding platform that will run with ease from one side of the stage to the other. A rope attached to the platform, and fastened to a crank below the stage, will propel the Goddess to her position. The ways and platform can be hidden from view by a strip of board, painted to imitate the floor of the room. A small quantity of the whitish-blue fire may be burned near the spot where the Goddess appears. The light should be very dim, and come from the side of the stage opposite the Poet. Music soft and plaintive.

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DEATH OF EDITH.

This tableau is suggested by the beautiful poem of Mrs. Hemans, called Edith, a Tale of the Woods. The circumstances of the poem refer to the western world in its first settlement, when fierce strife and combat raged between the wild Indian and the settlers from the mother country. In one of these fearful scenes a young and beautiful maiden was taken captive, and conveyed to the village of the red man. But the broken flower of England wasted and pined for the fine old home of other days.

The scene represented in this tableau is at the time when Edith is quietly sleeping in the wigwam of the Indian warrior. By her side sits an aged Indian matron, watching the sleeping one. Standing near the couch is an old Indian warrior leaning on his bow, gazing in grave silence on the dying girl. Kneeling at the foot of the couch are an Indian girl and lad, who are looking with wonder on the form of the pale-face. The wigwam should be six feet high, and five feet wide at the bottom. It should be made of light framework, and covered with brown cambric, on which are painted Indian hieroglyphics. This must be placed in the centre of the stage. The opening in front of the wigwam should be four feet wide at the bottom, so as to admit of the occupants being visible to the audience. The couch in the interior is composed of buffalo robes. The scenery in the background should represent woods and rocks. A few fir trees placed at the back part of the stage will answer, if nothing better can be procured. The lady who personates Edith should be one of good features and rather a small form. Her costume consists of a loose white dress, sleeves five inches long, hair done up loosely in the neck, and face and neck made as white as possible. Position, reclining on the couch, facing the audience, the lower part of the body covered with a leopard skin. The head and chest should be in an upright position, the head inclined back slightly, and supported by the right hand. The left hand laid carelessly over the bosom; the eyes are closed, the countenance calm. The aged Indian warrior should be dressed in a costume like that described in Hiawatha; the aged matron's costume similar to that worn by Nokomis, in the death of Minnehaha; the young Indian children in appropriate costumes. The position of the Indian matron is, sitting at the head of the sleeping girl, one hand resting on the pillow, and the other raised to the side of the head; the eyes cast upon the ground. The warrior's position is at the opposite side of the wigwam. He is leaning carelessly upon his bow; his body inclined forward slightly; his eyes fixed upon the sleeping maiden. The children kneel at the foot of the couch; the boy rests his head upon his hand, and gazes upon the face of the dying one; the Indian girl kneels by his side, and points with her right hand to the couch, while her eyes are directed to the face of the boy. The face and other exposed parts of the bodies of the Indian family must be stained light brown. A red fire should be burned in the ante-room, so as to fall upon the performance. Music soft and plaintive.

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ABOU BEN ADHEM AND THE ANGEL.

This very fine tableau is taken from the beautiful lines written by Leigh Hunt. The tableau is represented in two scenes. In the first scene, Ben Adhem is seen reclining on his couch, gazing with wonder and surprise on the angel, who is standing in the centre of the room, engaged in writing in the book of gold. In the second scene, the angel stands at the foot of the couch, and holds the book towards Ben Adhem for him to read the names written therein. The couch can be formed by placing a small mattress on a few low boxes, and covering the whole with bed clothes, on the outside of which should be a white quilt. It must be placed in the foreground, at the right of the stage. Place a plaster pedestal near the side of the couch, on the top of which stand a lighted lamp. At the background of the picture fasten a set of crimson damask curtains; drape them at each side of the stage, and beneath them place a plaster pedestal, with a piece of statuary on the top.

The lady who personates the angel should be of good form and features, of medium height, and costumed in a white dress, over which is worn a loose white tarleton muslin robe, with large flowing sleeves; this must be cut quite low at the top, and made to trail on the floor; hair done up snugly, and encircled with a band of silver, one fourth of an inch wide; large wings, formed of wire, and covered with gauze, and ornamented with silver spangles, should be fastened to the back of the waist. The face and other exposed parts of the body should be whitened with flesh powder. Position in the first scene is, standing in the centre of the room, facing the audience. The book of gold can be imitated by placing sheets of gold paper on the cover and in the inside of a large book. Let it rest on the left arm, and be held at the top by the left hand. The right hand holds a long quill pen, the point of which rests on the pages of the book. Let the body and head incline forward slightly; the eyes directed to the book; the expression of the face tranquil. Ben Adhem's position in the first scene is, reclining on the couch, with the quilt thrown over the lower portion of his body; his left hand resting on the bed, from which he has partially risen; the right raised in front of the chest, the fingers spread out; the face turned towards the angel, the expression of the face denoting surprise and wonder. Costume consists of white pants and shirt, white lace collar and wristbands, and a velvet cloak thrown carelessly over the right shoulder. In the second scene, the angel stands at the foot of the couch, holding the book in the left hand, and pointing to its pages with the right. Her eyes are fixed on Ben Adhem's face, while the countenance is lighted up with smiles. Ben Adhem leans forward, slightly resting his arm on a cushion at his side, and looks with pleasure on the pages of the book. A number of names should be written in the book, and at the top, in large letters, place the name of Abou Ben Adhem. While the tableau is performed, the poem may be read by the announcer. The light for the first scene should be quite dim, and come from the side of the stage opposite Abou. In the second scene, a colored fire must be burned, so as to throw a strong light on the form of the angel. Music in the first scene very soft, and increasing in power in the second.

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HIAWATHA AND HIS BRIDE'S ARRIVAL HOME.

This interesting tableau is a representation of Hiawatha on the return to his home accompanied by his beautiful bride, Minnehaha. They have just arrived in sight of the lodge of old Nokomis, and are seen in the background of the picture emerging from the forest. A large tree lies in the pathway, and Minnehaha is in the act of stepping over it. She grasps Hiawatha's hand with her right, while the left is pointed towards the wigwam in the foreground. She has just asked Hiawatha if the lodge she sees is his home. Her countenance is lighted up with pleasure. Hiawatha is leading her by the hand, and is a little in advance of her. His face is turned towards her as he gracefully assists her over the fallen tree. His left hand clasps hers, while the right holds carefully his trusty bow.

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

Hiawatha, Minnehaha, and Nokomis should be dressed in Indian costume, which can be cheaply made with a little ingenuity. Hiawatha's coat may be made of light brown cambric, cut frock style, and belted around the waist. The skirt should reach to the knee, and be ornamented with two rows of fringe three inches wide; one should be red, the other yellow. These fringes are also to be placed on the seams and bottom of the sleeves and around the collar; round pieces of brass should be fastened on various parts of the coat and around the belt. The leggings are made of buff cambric, fitting tightly to the legs, and ornamented at the side with red fringe. Black cloth shoes trimmed with beads are worn on the feet; the head is adorned with a gold band, in which are inserted bright-colored feathers. The belt around the waist should be made three inches wide, of red morocco, and contain a small knife and tomahawk; a quiver of arrows is fastened to the back, which can be fashioned of card-board, and covered with bright-colored paper or cloth. The exposed parts of the body should be stained a light brown, the hair brushed up to the top of the head, and confined with a band. Minnehaha's dress is of red cloth, trimmed with yellow fringe intermingled with colored beads. The waist of the dress should be of flesh-colored cloth made to fit the body very snugly. A scarf of ermine is worn over the shoulders, and tied at the left side. On the right side of the skirt is an over-skirt or side-apron, made of a darker colored crimson, and trimmed with ermine; it commences at the front of the body, and extends half way around the skirt; it is scalloped at the bottom, and ornamented with yellow fringe and beads outside of the ermine. The neck is adorned with a large necklace of white beads, while the head is encircled with a band of gold, ornamented with beads and showy plumes. The hair should be left flowing over the shoulders. The wrists are to be decorated with large gold bracelets. The leggings are to be of crimson cloth ornamented with yellow fringe, and small bands of yellow running around them at intervals of four inches. The feet are encased in shoes of black velvet studded with beads. A quiver of arrows is fastened to the back of the dress, and the exposed parts of the body stained light brown.

Nokomis has on a loose coat of brown cambric fringed with yellow, leggings of buff cambric fringed with light blue, dark shoes ornamented with beads and red binding. The hair should be black, and left to hang loose on the shoulders; a blue blanket trimmed with crimson fringe is gathered about the shoulders, and a black belt encircles the waist. The person who represents Nokomis should be of large figure and face. The features must be painted to represent old age. The scenery consists of the following articles, which should be arranged in perfect order to give the proper effect to the picture. The stage must be covered with green cloth, and should gradually rise from the fore to the background; small spruce trees can be arranged at the back and sides of the stage, with vines of flowers hanging from them. Two or three stuffed birds should be fastened to the top branches of the trees. The fire can be placed in a furnace near the wigwam, and surrounded with dried branches. The fallen tree and Nokomis' seat may be represented by artificial or natural logs. The tableau should receive the light from the right hand side, the greater portion of which should be thrown into the background. The accompanying music should be of secular and inspiring order.

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DAVID PLAYING BEFORE SAUL.

This sacred tableau contains fourteen figures, and is arranged in the following manner. Saul is seen seated on the throne at the background of the picture. On each side of the throne are seated Saul's friends and servants. David is sitting in the foreground, playing on the harp. Saul's costume consists of a scarlet or purple velvet coat and breeches, white hose crossed with red bands, low shoes, a crown of velvet and gold, ornamented with precious stones, on the head, and a large cloak of velvet and ermine thrown over the shoulders. A long white beard should be fastened to the face, and a wig worn on the head. The gentlemen should be attired in long, loose coats, made of bright-colored cambric, trimmed with the same material, of other colors. The head should be covered with a red and black turban. White hose, crossed with black and red bands, breeches of showy-colored cloth, shoes covered with red flannel, and crossed with black binding, the face disguised with a long white beard, which can be made of flax. The ladies can be costumed in satin or silk dresses, the hair hanging in curls, and the person decorated with a profusion of jewelry. The person who takes the part of David should be of fair complexion, without a beard, should have long hair, and be costumed in a light, loose blue coat, reaching five inches below the knee, and gathered around the waist with a crimson belt. He should also wear blue breeches, blue hose crossed with red bands, and sandals on the feet; a turban, made of velvet, and decorated with gold, should adorn the head. The throne platform is to be two feet high and four feet square; on this is placed a large chair, with a canopy over the top, all of which must be trimmed with crimson cloth, and decorated with gold paper. On each side of the throne, place seats to accommodate twelve persons; those in front can be seated, while others, in the background, should be standing; they must assume various positions; a few may be engaged in conversation, while others are looking at David. Saul is seated on the throne, with the right hand resting on the arm of the chair, his body slightly bent forward, and eyes fixed on David. His countenance expresses pleasure. David is seated on a low ottoman in the foreground of the picture. The harp rests on the floor. Position so that a side view is had of the body. His head is thrown back; eyes cast upward; face expresses pleasure. The light for this picture should come from the front and the left side of the stage, and must be quite brilliant. The harp can be made of wood, covered with gold paper, and strung with yellow cord. The music should be of a sacred and inspiring style.

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LIBERTY.

This tableau is an ideal representation of Liberty, and is represented by thirteen persons—seven young ladies and six young gentlemen. In the background of the picture a platform is raised, on which stands the Goddess of Liberty. This platform is three feet high and four feet square. The front is covered with blue cambric, with a border of red, decorated with gilt stars. In the centre is placed a gilt eagle; on each end of the platform is a small American shield. The background is draped with American flags. On each side of the platforms are placed inclined planes, extending from the corners of the platform to the front corners of the stage; the height of these at the front should be six inches, and three feet high at the background. They are to be covered with white cloth, and ornamented with a border of red and blue cambric. The lady who personates the Goddess of Liberty should be of good height, fine figure and features. Costume consists of a white satin or silk dress, made long enough to trail on the platform, a waist of crimson velvet, covered with small gilt stars, sleeves five inches long, hair done up snugly, and covered with a spiral liberty cap, of blue velvet, decorated with gold bands. Position is, standing in the centre of the platform, grasping with the right hand a slender spear seven feet in length. Entwined around this should be a small American ensign. The left hand hangs carelessly at the side; the head thrown back slightly, the eyes cast upward. The six ladies kneel at equal distances on the inclined plane. Their costume consists of a white dress, blue waist, and red sash; a garland of flowers should adorn the head, and each holds extended in the right hand a wreath of myrtle. Their attention should be directed to the Goddess of Liberty. The six gentlemen take position on the opposite inclined plane. They kneel at equal distances from the platform to the corner of the stage, and are costumed in blue or black coats, white pants, with buff stripe on the side, gold epaulets, side arms, red sash, flat caps, with gilt bands. The cap should be slightly raised with the right hand, while the left is placed on the hip. The eyes are to be directed to the Goddess. The piece should be lighted up by a red fire burned at the opposite side from the gentlemen, and the light must be quite brilliant. Music, Star-spangled Banner.

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PAGANISM AND CHRISTIANITY.

This double tableau represents the idolatrous system of faith and worship of the pagans, and by simple machinery the scene is made to pass from the view of the audience, and we have represented the faith and glorious emblems of Christianity. The machinery and scenery which are used in the piece are made in the following manner: A revolving beam should be set up under the stage, the upper end protruding through the floor. Washers will be needed for the bottom and top, and wooden pins, passing through the beam, will be necessary, to take hold of to move it around. Build a circular platform ten feet in diameter; make it strong with braces, and, if necessary, it can be made in two parts, and fastened together with iron hooks and clamps. Cut a square hole in the centre of the platform, corresponding with the thickness of the beam. Then place it on the top of the beam, six inches from the floor, secure it firmly, and make it perfectly level. Across the centre of the platform cut small holes for the purpose of inserting the ends of a partition which will divide the circle into two apartments; make the partition of wood; cover one side with white cloth, and also the floor with the same; the other side and floor with black cloth. It should be five feet high, ten feet wide, and oval at the top. After the tableaux are arranged on each side of the platform, persons under the stage can revolve the whole with very little exertion. The tableau of Christianity should be formed on the light side, and Paganism on the dark side. By placing numbers on the revolving beam, and corresponding numbers on the washers, the assistant below will be able to tell when the tableau is in the right position above. To represent Paganism, a large idol should be constructed, and seated in the centre, and close to the black partition. The form of the human body can be imitated by taking a suit of old garments, stuffing them with straw, and covering them with buff cambric, on which hieroglyphics can be painted. A large mask, with artificial hair, and crown made of gaudy-colored cloth, will answer for the head; a short frock of red Turkey cloth, trimmed with gold paper, should be fastened about the lower portion of the body. The idol should be seated on a pedestal sixteen inches high, which is placed on a platform three feet square and eight inches high. These are to be decorated with showy cloth or paper. Kneeling at the foot of the pedestal are two figures, one a female, the other a male. Their hands are clasped in front of the face, the eyes raised to the idol, head turned, so that a side view is had of the features. The costume of the youth consists of a loose coat, made of brown cambric, trimmed with crimson cloth and beads; flesh-colored pants, fitting tightly to the legs; shoes covered with showy cloth; a turban on the head, made of strips of red and buff cloth; the face and other exposed parts of the body stained a light brown. The young lady's costume consists of a loose dressing gown, trimmed around the top and on the ends of the sleeves with bands of red cloth, and gold paper cut in the form of diamonds. The hair should hang loosely over the shoulders, and about the head entwine a string of beads; the head is slightly turned to the young man; the eyes directed to the idol; the face and arms stained like the young man's. The extreme ends of the platform are occupied by two figures costumed similar to those already described. They are kneeling at the feet of small pedestals in such a position that a profile view is had of the form. The pedestals should be two feet high, and covered with bright-colored cloth. On one is a representation of the sun, made by pasting a sheet of gold paper on card-board, and cutting out rays around the edge. On the other pedestal is placed a figure of the moon, with the stars radiating around it. The moon can be made of card-board and silver paper, and the stars of gold paper; these must be fastened to wires, and placed ten inches from the top of the pedestals. Indian war clubs, spears, shields, and other heathen curiosities, should be placed about the figures. The light for this scene must be quite mild, and come from the right hand side of the stage. Music low and of a mournful character.

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SECOND SCENE OF PAGANISM AND CHRISTIANITY.

The Tableau of Christianity.—On the side of the platform which is covered with white cloth there should be erected a small pulpit. Make it of boards, cover it with cloth, and paint it in imitation of mahogany. A small red cushion should be placed on the top, supporting a large Bible, and on each side place lamps, with glass shades. In the pulpit stands a young man dressed to represent a minister of the gospel; one hand resting on the Bible, the other raised upward. In front of the pulpit place a small table, covered with a white cloth, on which set four silver goblets. By the side of the table place a plaster pedestal, with a white urn on the top, to represent a font; on each side of the pulpit, and at the extreme ends of the platform, are two female figures; both are kneeling by the side of small pedestals; these can be made of small boxes, covered with white cloth, and ornamented with myrtle. The female figures should face the audience. One holds a large Bible with the right hand, and points to the pages with the left. The eyes are cast upward; the face expresses meekness and serenity. The second figure, at the other end of the platform, holds a cross in the left hand, and points to it with the right; the eyes are raised upward, the face expressing pleasure. Their costume consists of white dresses, cut low at the top, sleeves quite long and flowing, and ornamented with white muslin; the waist is encircled with a band of satin ribbon; a wreath of white flowers adorns the head, and gauze wings are fastened to the back of the waist. The hair should be dressed closely to the head, and a few curls allowed to hang on the shoulders. The length of the cross is three feet; color, light blue. On small pedestals, between the pulpit and the female figures, place models of the steam engine, steamboat, printing press, and telegraph. The tableau of Paganism must be first produced, after which the machinery should slowly revolve, bringing into the view the tableau of Christianity. The curtain must be kept up until both are exhibited. The light for these tableaux should be quite brilliant, and issue from the left side of the stage. Music of a sacred character.

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THE FAIRIES' DANCE.

This beautiful tableau is represented by eight small misses, eight small lads, and two young and pretty ladies. The stage should be formed so as to rise gradually from the footlights to the background, which can be done by using boxes of various sizes, and covering them with green bocking. Twelve of the children should form a circle, the front of which must be two feet from the footlights, the back extending to the other end of the stage. They should clasp each other by the hand, and take the position of the Highland fling; the right hand raised above the head, the left placed on the hip; the attitudes should be as graceful as possible. The expression of the faces denoting pleasure and mirth. Near the footlights, two of the children should be seated, looking at the others; and standing on pedestals at each side of the stage, near the front, are the young ladies. The pedestals are two feet high, covered with pink cambric, and bordered with green leaves and flowers. The position of the female figures must be graceful and easy. They stand so as to show a profile view of the body; each holds a golden wand, which she extends out over the heads of the dancers. Their eyes are fixed on the movements of the children, the left hand clasps a stout cord, to which is fastened a large crimson tassel, that will help sustain the body in position. The costume of the misses consists of a short white dress, with short sleeves, the waist studded with small stars and spangles; the bottom of the skirt bound with light green ribbon, three inches wide, with gold paper fastened to each edge, and small pink roses placed between. The sleeves are bound with gold and pink ribbon in alternate bands, three inches wide; a small scarf of white gauze, covered with spangles and fringed at the ends with gold, encircles the waist. Flesh-colored hose, white slippers, a wreath of silver leaves about the head. The hair arranged in short curls, and small gauze wings, ornamented with spangles, fastened to the back of the waist.

The young lads' costume consists of a short coat, buttoned snugly over the breast, made of light pink cambric. The bottom, the ends of the sleeves, and the collar trimmed with purple cambric, three inches in width, with narrow strips of gold paper on each side; between the bands of gold, insert small diamond-shaped pieces of gold paper, bordered with spangles. A belt made of the same material encircles the waist; hose of flesh-colored cloth; white slippers, with pink rosette on the front; a small cap, made of purple cambric, in the form of a tulip, is worn on the head; it should be rather low, with a stem of green protruding from the top, the edges scalloped, and bound with gold paper. Small gauze wings are fastened to the shoulders, which are ornamented with spangles and silver stars. The young ladies' costume consists of a long white dress, with a robe worn on the outside of tarleton muslin; the outer dress should have three wide flounces, the edges of which are to be trimmed with large silver leaves, interspersed with gilt roses; these can be made from gold and silver paper. The waist must be cut quite low, and decorated in the same manner; the sleeves flowing, and trimmed with spangles and pink ribbons; large gauze wings, decorated with spangles and silver tinsel, should be fastened to the back of the waist. The hair must be done up in a neat coil, and encircled with a band of white flowers. Make the wands four feet in length, and one half an inch in diameter; cover them with silver paper, attach a gilt heart on the end. The light for this tableau can be produced by a whitish-blue fire, burned at either side of the stage; it should be quite brilliant, and must be lighted before the curtain rises. Music of a lively order.

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BUST OF PRAYER.

This beautiful production should be represented by one who has an amiable and modest appearing countenance, good figure and features. The hair must be brushed up from the forehead, and fastened behind in a black crochet net. The dress should be pure white, open very low at the front and back. A cross is suspended from the neck by a band of white ribbon. A heavy white veil should pass over the top and back of the head, and be tied loosely four inches below the chin; the head inclined forward slightly, the eyes closed, while the countenance should appear serene, pure, and full of hope; the arms are to be folded out of sight upon the breast. The same machinery, pedestal, wire basque, crimson curtain, and fairies that are used in the Bust of Proserpine, may be used in this piece. The light should be mild, and come from the left side of the stage. Music plaintive, and of a sacred order.

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MORNING WELCOMED BY THE STARS.

This beautiful spectacle is represented by twenty-one persons. Twenty of the number should be young misses, of about six or eight years of age, who will personate the stars, and one, a young and handsome lady, who is to represent morning. The sides of the stage must be arranged in the form of terraced banks, two feet wide at the bottom, and four feet wide at the top; they should be built from the footlights to within three feet of the ceiling, covered with cloth, and painted to represent clouds. Blue cambric, with white clouds and gold stars, will answer the purpose. In the centre of the stage, two pieces of joist must be placed in an inclined position, running from the footlights to the background. On these build a sliding platform, four feet square, with a small seat, one foot high. This should be made to run with ease from the top to the bottom of the joist; cloth, painted in imitation of clouds and stars, can be extended across the space between the two terraces and the joist, so that it will show a smooth surface. Cover the moving platform with cloth, arranged in drapery style, and paint in the same manner as the rest of the scenery. A back scene should be placed at the top of the terraces, leaving a space of three feet between it and the back wall; this must be painted like the rest of the scenery, and made to open in the centre, near the top of the joist.

The young misses' costume consists of a short white dress, decorated with gold stars, and silver paper interspersed with spangles, white hose and shoes, hair hanging in curls, and encircled with a band of silver leaves, with a silver star on the forehead; a light blue sash, covered with spangles, tied about the waist; and small gauze wings fastened to the back of the dress. Each one should hold a small torch ten inches in length, from which rises a blue flame; these can be made of card-board, and covered with light blue paper, with the ends tipped with gold. At the end from which the flame is produced, insert a strip of tin, to protect the torch from the flames. The torches should not be lighted until all the figures are in position. The young misses take their position at each side of the stage, on the outer edge of the terrace. They must lean forward slightly, and hold the torch out from them. Their attitudes should be varied; those near the top should be gazing upward, others looking down, and a few engaged in conversation. The young lady who represents Morning must be costumed in a loose white robe of tarleton muslin, cut low at the top, flowing sleeves, skirt covered with three wide flounces, trimmed in front with silver rays five inches long. The waist and sleeves decorated with silver and gold spangles, and a satin belt, ornamented in like manner, worn about the waist. The hair should be brushed back from the forehead, and clasped with a band of silver, and allowed to hang over the shoulders in long curls; the head is adorned with a band of gold, with rays of silver radiating from the centre. The position is, seated on the platform, head slightly inclined to the left, the right hand raised over the head, the left rests on the waist; eyes directed to the children in the foreground, countenance expressing pleasure. The goddess Morning will be seated on the platform, behind the scenery.

A yellow fire must be burned in the ante-room, and so shaded that, just as the curtain rises, a small portion of the light will shine on the centre of it; this light should increase in brightness for a few seconds, when the sky in the background must open, and the goddess glide slowly down to the centre of the stage. As the platform moves, the fire should increase in brightness; when she has arrived at the centre of the stage, the yellow light should be thrown into the foreground, and a red light thrown into the background. This can be accomplished by placing the colored fires in large boxes furnished with sliding covers and reflectors; and by drawing out the covers gradually, the light will be thrown on to the picture in the proper manner. The curtain in the background can be opened by attaching at each corner, near the centre, a small cord, which can be passed through pulleys, and attended to in the ante-rooms. The curtain or scenery should be drawn up on the back side, and let down in its place as soon as the platform has passed through. A small rope, painted blue, must be attached to the platform, and pass through a block fastened to the wall of the stage; this can be tended by a person under the stage, who will allow the platform to move with exactness to its stopping place. If the light from the colored fire is not brilliant enough, a few of the lights at the same side from whence the fire is produced can be lighted. Music soft and plaintive at first, and increasing in power at the finale.

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THE STATUE VASE.

This design is a beautiful female, supporting a horn of plenty, from which rises a basket of intermingling vines and flowers. The lady is standing on a pedestal, which is described in the tableau of the Italian Flower Vase, as is also the basket which the lady supports. This basket or bowl of the vase can be suspended from the centre of the ceiling by the means of wire hooks. The pedestal must be placed directly under it. The space between the top of the pedestal and the bottom of the basket should be just the height of the lady who takes the part of the statue in the piece; so that when she is in position on the pedestal, the bottom of the basket will touch the top of her head. The horn of plenty can be made of cloth; it should be five inches in diameter at the top, three foot long, and end in a point at the bottom; it can be stuffed with wool, covered with green cambric, and decorated with artificial flowers. It is to be attached to the bottom of the basket, pass down over the lady's shoulder, and held in its position by the left arm and hand. The lady who takes this part should be of large and good figure, regular features, and quite pretty. The costume consists of a white dress, with sleeves five inches long, cut low at the neck, skirt made rather long, and worn without many underskirts; a scarf of gauze worn over the shoulders, and tied at the right side, allowing the ends to trail on the pedestal. The hair should be arranged in wide braids at the side of the face, confined at the back with a band of silver, and allowed to fall in short curls over the neck. The position of the lady is, standing in the centre of the pedestal, her body facing the audience, and head turned partially to the right. The eyes should be raised a trifle, while the expression of the face denotes tranquillity and repose. The left hand must gracefully press the horn of plenty against the side of the breast, while the right is raised above the head, and touches the basket as if to steady it. The light for this piece should be of medium brilliancy, and placed at the side opposite to the face of the statue. Music soft and of a secular order.

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