SPIRIT OF CHIVALRY.

This fine tableau represents the Spirit or personification of Chivalry, surrounded by men of various pursuits, religious, military, and civil, who represent, as by an upper court or house, the final acquisition of her honors and rewards. Beneath, as not having obtained, though within reach of, the crown, is a young knight who vows chivalric services, and is attended by his page and his young bride. Around him, in various attitudes, other figures are introduced, to connect the abstract representation of Chivalry with its general recognition of intellectual influences; among them, the Painter, the Sculptor, and Man of Science; the Palmer from the Holy Land, and the Poet-Historian, from whom future ages must derive their knowledge of the spirit and deeds of chivalry. The lady who personates the Spirit of Chivalry should be of good figure and features. Her costume consists of a loose white robe, cut high in the neck; a mantle of white tarleton muslin is draped about the shoulders, and fastened in front with a gilt cross; the hair is arranged in bands, falling low in the neck, and encircled with a small wreath of silver leaves or white flowers. In her left hand she holds a small wreath of evergreen, which she extends towards the young knight, who kneels at the foot of the pedestal on which she stands. Her position is, on a pedestal, three feet high by two feet square, which should be placed in the centre of the stage. Her body should be inclined slightly forward, and attention directed to the knight in the foreground; her countenance should express dignity and pleasure. At the back of the pedestal there should be a representation of an altar, consisting of a shaft two and one half feet wide by three feet in height, with a capital on the top one foot wide by three and one half feet long. This can be made of boards, showing a smooth surface, and nailed to the top of the pedestal. It can be papered or painted to represent panels and scrolls. Fourteen other figures are grouped around the pedestal, and as the arrangement of the piece is a trifle complicated, we will designate them in rotation, beginning at the foot of the pedestal. The figures, as they recede in the background, should be placed on small platforms, rising from one to three feet in height. By arranging the figures in this manner, a perfect view of each will be had by the audience. Figure one is a young lady; she kneels at the foot of the pedestal on which the Spirit stands. Costume is, a white dress, cut low at the waist, encircled with a satin sash; hair arranged in curls. Position is, sitting, the body facing the audience, head resting on the hand, and thrown back so as to touch the pedestal, and eyes directed to the face of a harper, who kneels in front of her; the countenance expresses surprise and admiration. Kneeling on the floor, nearly in front of figure one, is a young knight—we have almost a back view of him, the head turned just enough to get a partial profile view of the face; one hand clasps a sword, which he raises in front of the body; the other is lifted above the head, which is thrown back, with the eyes fixed on the Spirit. The armor can be conveniently composed by fastening strips and plates of bright tin to a suit of clothes made of black cambric. The belt, gloves, and boots can be gotten up in the same manner. This suit will cost but a trifle, and in the glare of the footlights will look finely. Figure three is the palmer. He kneels behind figure one. Costume consists of a dark robe, cowl made of black cloth, and face covered with a heavy beard. In his hands he holds a shepherd's crook. His eyes are directed to the harper. Figure four is a small girl, who stands behind figure three, and holds in both hands the helmet of the knight. Her costume consists of a white dress, with a pink sash; hair done up to suit the taste of the performer. Her position is, facing the audience, eyes fixed on the knight, expression of the face denoting pleasure. Two other ladies stand on a small platform, outside of the lady holding the helmet. Their costume consists of a white dress, black velvet waist, hair arranged in wide braids at the side of the face; one clasps her hands in front of her breast, and looks with earnestness at the knight; the other places an arm on the shoulder of her friend, and looks up into her face, her countenance beaming with smiles. Behind these three females, and standing on a platform two feet high, are two peasants. They are dressed in blue frocks, fastened around the waist with black belts, knee breeches of colored cloth, white hose, low shoes, knee and shoe buckles, white Kossuth hats, encircled with a gilt band; the face covered with long, light beards. Each holds a long staff, with a gilt crook at the top. Their position should be behind the altar, arms folded on the breast, head inclined forward, eyes cast down, and the expression of the face melancholy and sober. Opposite to the two figures last described, and standing on a platform at the other side of the altar, is a knight in full armor. He holds a large sword in front of his body, and is looking straight forward. His costume can be made in the same manner as that of the one described at the beginning of the tableau. On a low platform, at the side of the Spirit, stand a Sculptor and a Painter. Their position is, facing the knight, who is kneeling in the foreground. Their costume consists of white jackets, dark pants, and flat, white caps, worn jantily on the side of the head. The Painter holds his pallet and brushes, the Sculptor his mallet and chisel; their attention is directed to the figure of the kneeling knight. Standing on the floor, below the two figures just described, is the Poet-Historian. He faces the audience, and looks at the Harper in the foreground. He is dressed in dark clothes; a heavy white mantle is thrown over his shoulders, the ends trailing to the floor; on his head is placed a garland of green leaves. He holds in both hands a large book, which should be bound richly and opened in the centre. Kneeling on the floor at his feet, and facing the young knight, is the Harper. He holds in his left hand a harp, and touches the strings with his right. His costume consists of a coat made of Turkey cloth, trimmed with black binding four inches wide; black knee breeches, white hose, knee and shoe buckles, and red shoes. Over the left shoulder is carelessly thrown a short velvet cloak, and on the head is a black velvet cap, with a gold band and plume. His head is thrown back, eyes directed to the Spirit, while the countenance should appear to be inspired. Kneeling at the foot of the pedestal, between the first figure and the Harper, is the Troubadour, playing on a guitar; he faces the audience; his head is thrown back, and his eyes cast upward. Costume consists of a purple coat, trimmed with black binding, blue breeches, white hose, low shoes, knee and shoe buckles, belt containing a small dagger, about the waist. The harp can be made of wood, covered with gold paper, and strung with buff cord. The light for this piece should be produced at either side of the stage, and a small quantity at the front. The side light must be very powerful. The accompanying music should be of a brilliant order.

line

HAIDEE AND DON JUAN IN THE CAVE.

This pleasing tableau is taken from the poem of Don Juan, by Byron. The scene is that where Haidee discovers the insensible form of Juan lying at the mouth of the cave, near to the sea shore. Don Juan has been shipwrecked; his almost lifeless body has washed ashore, and found a resting place in a rocky cave, to be discovered by the beautiful Haidee and her attendant. The principal work in this piece is the forming of the cave, which can be made in the following manner: The floor of the cave should rise gradually from the front to the background; this can be accomplished by using boxes of various sizes, over which place brown cambric, with brown paper attached to it in a crumpled manner, so as to imitate ragged rocks, and when painted with light and brown colors, and ornamented with isinglass, will make a very good appearance. The floor of the cave should extend to within three feet of the front of the stage, and run back to the extreme background. The space between the footlights and the floor of the cave should be covered with blue cambric, painted to represent waves and surf. Directly behind the drop curtain there should be a representation of the roof and sides of the cave. Light frames, covered with brown paper, similar to the floor, and made very irregular at the edges, must be placed at each side of the stage, and at the top; these should be two feet wide, and of the height and width of the stage. Two other sets of frames should be made similar to the first, and placed at equal distances from the fore to the background. The first set must be three feet wide; the second set four feet wide. The background of the cave may also be covered with similar scenery. The idea of arranging the scenery in this manner is to give a deep appearance to the cave. Isinglass should be profusely sprinkled over the surface of the rocks, and a few sprigs of grass fastened to them will add to the effect. The fastening of the brown paper to the frames can be dispensed with if there is any person who can paint out the rocks on plain canvas. The one who personates Juan should be of slight figure, fine, regular features, hair black and curly, and small moustache. Costume consists of black pants, with buff or gold stripe at the side, white shirt, with blue collar, and gold star at the corners, black belt around the waist, white hose, low shoes, with buckles of silver. The shirt should be left open in the neck, so as to expose the bosom. A small wound can be imitated on the side of the head, made with red paint. Position is, reclining on the rocks in the foreground of the cave; the left side touches the rocks, the head thrown back, and face exposed to the view of the audience. The right hand grasps a small oar, while the left is stretched out at his side. The eyes are closed, the feet crossed, and resting in the water. Haidee and her friend are seen in the background. Both should be of small figure and good features. Haidee should be quite pretty, and costumed in a blue dress, black velvet waist, open in front, and laced across with blue ribbons; sleeves long and flowing; a small crimson apron, with bands of gold at the bottom; a black velvet belt around the waist, with a showy pin in the centre; bows of pink ribbon fastened with a small, showy pin at each shoulder; hair hanging in curls; hat made of velvet, trimmed with gold bands and white feathers, which should be placed jantily on the side of the head. Her position is, standing on the rocks in the back of the cave, one hand raised so as to shade her eyes, the other pointing to the body of Juan; the eyes are fixed on the body, while the countenance expresses surprise; the right foot must be placed twenty inches in front of the left, while the body is inclined forward. The figure back of Haidee has on a costume similar to that already described, but of less showy and expensive material. She is standing five or six feet from Haidee, and has her hands filled with shells, which she has gathered from the shore. She is intently engaged in looking at her shells, and has not yet seen Juan; her body is bent forward slightly, the expression of the face denoting curiosity and thought. The light for this piece should come from the front of the stage, and must be quite brilliant. If a melodeon is used as an accompaniment to the piece, it should be played to imitate the roaring of the ocean.

line

POVERTY.

This tableau represents the interior of one of the homes of the starving poor, such as are found in all large towns, where vice and intemperance go hand in hand. To make the scene look as natural as possible, a partition should be made to fill up the back of the stage, covered with cheap room paper. Two old window sashes should be inserted in it, with the glass partially broken out, and filled up with old hats and articles of clothing. The furniture of the room consists of an old and broken table, a large chest, three or four old and broken chairs, a few pieces of broken crockery on the table, a black bottle, a candlestick, a bundle of straw, with a few ragged bed clothes, and a few cheap prints hanging from the wall. The table is placed at the back part of the room, and supports the crockery, bottle, and candlestick. The bed is at the left side of the room, and on it reclines a female dressed in dirty and ragged clothing; her hair hangs loosely over her shoulders; right hand supporting her head, and eyes directed to a group of children in the foreground of the picture; the face should be made as white as possible; a small quantity of dark paint about the eyes will give a haggard and sickly look to the features. On the opposite side of the room, seated on the old chest, is the woman's husband. He is dozing in a drunken slumber; his clothes hang about him in tatters; his hat is partially drawn down over his forehead, his matted hair protruding through a hole in the crown; face bloated, from the effects of liquor. By the use of water colors, the face can be made to assume the above description. His position is such that a partial front view is had of the body, the arms hanging carelessly at his side, feet crossed and stretched out on the floor. Seated at the table, and sewing by the light of the candle, is a young girl. She is dressed in dirty and ragged clothes; her hair is tied up in a rough manner; the body bent forward, and eyes cast down upon her work; her face should be made white; the eyes slightly shaded with dark paint, to give a haggard look to the features. In the centre of the room are grouped three small children; they are engaged in eating crusts of bread from a broken plate. Their costume may be varied, and of cheap material. The light for this piece should come from the side on which the man is sitting. The front of the scene must be quite light, while the background is thrown in shadow. Music of a mournful order.

line

DEATH OF MINNEHAHA.

This affecting tableau is a representation of the death of the beautiful Minnehaha. The scene is at the moment when Hiawatha draws back the door of the wigwam, and there beholds his lovely Minnehaha lying dead and cold before him. The scenery of this picture is the same that is used in the tableau of Hiawatha and his Bride's Arrival Home. It is mid-winter, and the fields and woods are covered with snow; and to represent this scene it will be necessary to cover the ground with cotton flannel, instead of the green bocking which we used in the summer scene. The trees, wigwam, and vines should be covered with small pieces of cotton wool, to represent snow. Large bags, filled with straw, may be covered in the same manner, and placed around the doorway of the wigwam at each side of the stage, to represent snow banks. Minnehaha has on the same costume we have before described, and is reclining on a bed of robes near the entrance of the wigwam. Her body should be propped up so that she can be easily seen. A dark robe is thrown across the lower portion of her form, a calm, resigned look is on the countenance. Her hands are folded on her breast, eyes closed as if in sleep. At her side, sitting on a low seat, is Nokomis. She wears the same costume which is described in the return of Hiawatha, with a fur robe gathered about her. She is leaning forward towards the couch, and presses both hands against her face. Her eyes are cast down to the ground, while grief and melancholy are depicted on the countenance. The dying embers of a fire send up a curling smoke by her side. This should be placed in an iron furnace, and surrounded by the imitation snow. Hiawatha stands on one side of the doorway, and is in the position of one running. He clasps the door with his right hand, and is in the act of stepping into the wigwam. His eyes are fixed on Minnehaha; the left hand is pressed against his forehead; grief and amazement are depicted on his countenance. While the picture is being exhibited, a portion of the accompanying poem may be read by the announcer. The music should be quite soft, and of a plaintive character. The lights for this piece must be of medium brightness, and come from the side opposite the door of the wigwam.

line

THE MOTHER'S LAST PRAYER.

This tableau represents a mother and child kneeling at the foot of a cross, amid the drifting snows and icy winds of the Alpine Mountains. Having lost their way, and being unable to travel any farther, the mother kneels in prayer at the foot of one of the crosses which are placed as landmarks along the road, to guide the traveller on his journey. The floor of the stage should be made uneven by placing boxes of various sizes at irregular distances, and covering them with white cotton flannel. A number of spruce trees can be arranged at the sides and at the background, all of which should be covered with small particles of cotton wool; small bags, stuffed with hay, and covered in the same manner, must be placed around the foot of the cross and at various parts of the stage, to represent snow banks. A few handfuls of lint thrown into the air just as the curtain rises, will float about and appear like falling snow. Make the cross of wood, and cover it with brown paper. It should be five feet long and two feet wide; thickness of frame, six inches. It must be placed in the centre of the stage, and sprinkled with the imitation snow. The lady who represents the mother should be of good figure and features, and costumed in a dark plaid dress, a white fur cape fastened about the neck, a velvet cloak worn over the shoulders, and a plaid scarf tied about the head, the ends hanging down on the shoulders. Position is, at the foot of the cross, so that a side view is had of the body; the head thrown back, eyes cast upward, hands clasped and raised in front of the face. The boy is dressed in a dark suit, and reclines on the snow by the side of the mother; his head rests on her dress, arms stretched out towards her waist; his eyes closed in that cold and dreamy sleep which ends in death. The light for this piece must be quite dim, and come from the side of the stage that will reflect on the mother's face. Music, of a low and mournful style, representing the moaning of the winds.

line

LOUIS XVI. AND HIS FAMILY.

On the 20th of January, 1793, at three o'clock in the morning, the second year of the French republic, the final vote was taken by the Convention, that Louis XVI. should be executed. All the efforts to save the king were now exhausted, and his fate sealed. The decree of the Convention was sent to the king, declaring him to be guilty of treason; that he was condemned to death; that the appeal to the people was refused; and that he was to be executed within twenty-four hours. The king listened to the reading unmoved; he conversed earnestly with his spiritual adviser respecting his will, which he read, and inquired earnestly for his friends, whose sufferings moved his heart deeply. The hour of seven had now arrived, when the king was to hold his last interview with his family. But even this could not be in private. He was to be watched by his jailers, who were to hear every word and witness every gesture. The door opened, and the queen, pallid and woe-stricken, entered, leading her son by the hand. She threw herself into the arms of her husband, and silently endeavored to draw him towards her chamber. "No, no," whispered the king, clasping her to his heart, "I can see you only here." Madame Elizabeth, with the king's daughter, followed. A scene of anguish ensued which neither pen nor pencil can portray. The king sat down, with the queen upon his right hand, his sister on his left, their arms encircling his neck, and their heads resting upon his breast. The dauphin sat upon his father's knee, with his arm around his neck. The beautiful princess, with dishevelled hair, threw herself between her father's knees. An hour passed, during which not an articulate word was spoken; but cries, and groans, and occasional shrieks of anguish, which pierced even the thick wall of the Temple, and were heard in the street below, rose from the group. For two hours the agonizing interview was continued. As they gradually regained some little composure, in low tones they whispered messages of tenderness and love, interrupted by sobs, and kisses, and blinding floods of tears. Louis XVI. described his trial, excusing those who had sentenced him, gave some religious advice to his children, enjoined them to forgive his enemies and bless them. A few beams of daylight began to penetrate the grated windows of the gloomy prison. The hours passed away, while the king listened to the gathering of the troops in the court yard and around the Temple. At nine o'clock a tumultuous noise was heard of men ascending the staircase. The gens d'armes entered, and conveyed him to the carriage at the entrance. The morning was damp and chilly, and gloomy clouds darkened the sky; sixty drums were beating at the heads of the horses, and an army of troops, with all the most formidable enginery of war, preceded, surrounded, and followed his carriage. They reached the Place de la Révolution at twenty minutes past ten o'clock. An immense crowd filled the place, above which towered the guillotine. With a firm tread he ascended the steps of the scaffold, looked for a moment on the keen and polished edge of the axe, and then, turning to the vast throng, said, in a voice clear and untremulous, "People, I die innocent of all the crimes imputed to me. I pardon the authors of my death, and pray to God that the blood you are about to shed may not fall again on France." The drums were ordered to beat, and Louis XVI. was no more.

Directions for forming the Tableau.—This interesting picture contains seven figures: Louis XVI., his wife the queen, Madame Elizabeth, the king's son and daughter, and two gens d'armes. The stage scenery must be placed in the following order: The background of the stage should represent the granite walls of a prison, with grated windows, massive doors, to which are attached bolts, bars, and heavy locks. This scenery can be made in sections of about four by eight feet in size. One section should represent the door of the cell; on it paint the bolts, bars, and locks. At the right of the stage is placed a table of ancient style; on which is a crucifix, two feet in height, a large Bible, and an old-fashioned candlestick, containing a lighted candle. A chair of ancient manufacture should be placed near the table. Louis XVI. is seated in it, and is costumed in a velvet coat and breeches, white silk hose, low shoes, buff vest, white cravat, ruffled bosom, white wig, knee and shoe buckles. The queen is costumed in a moire antique dress, of a showy color, hair hanging loosely over the shoulder. Madame Elizabeth has on a silk robe, differing in color from the queen's; her hair is loosely fastened behind. The daughter has on a long white dress, with velvet waist. The dauphin is dressed in velvet jacket, blue breeches, white hose, knee and shoe buckles, low slippers, lace collar, ruffled bosom and wristbands, and a pink scarf is fastened about his waist. The gens d'armes have blue coats trimmed with buff, buff vest, crimson breeches, white hose, long wigs, low shoes, knee and shoe buckles, and chapeaux. Each must be furnished with a musket, sword, and belt, and one should hold a bunch of large keys. Louis XVI. encircles his daughter's waist with his right hand; his left is clasped by his son. He sits facing the audience; his head is partially turned towards the crucifix, the eyes cast down, and a melancholy look upon the countenance. The queen stands behind the king, between the chair and table; her left hand is placed upon her waist, her right raised to her forehead; her head is thrown back, the eyes partially closed, and cast upwards, while intense anguish is expressed upon her countenance. Madame Elizabeth is kneeling at the left of the king, her hands clasped and raised upwards, head thrown back, and eyes partially closed. The daughter is seated on the right knee of the king; her right hand is placed across her breast, the left hangs carelessly at her side; her head reclines on the shoulder of her father. The dauphin is kneeling between the king and Madame Elizabeth, and grasping the hand of the king; his eyes are fixed on the face of his father, while the countenance expresses grief and sadness. The gens d'armes stand just inside the door, resting on their guns; their eyes are fixed upon the group in the foreground. The light for this tableau must come from the side of the stage opposite the group, and should be of medium brightness; the background may be thrown in the shade. Music of a mournful character.

line

DRESSING THE BRIDE.

This tableau is taken from the beautiful poem, "The Course of True Love never did run smooth," by Thomas Bailey Aldrich, who describes in his artistic style the bridal toilet of the princess preparatory to her being wedded to the Vizier Giaffer. The scene represented is the princess's chamber in the gorgeous palace of Haroun Al Raschid. The princess is seated in the centre of the room on a crimson divan; at her side kneels one of her attendants, who is engaged in arranging a bracelet on her arm. Standing on the opposite side is another attendant, who is entwining a string of pearls in the princess's hair. The costume of the princess consists of a pink satin dress, reaching within ten inches of the feet, and should be bound around the bottom with silver paper covered with wide white lace. Over this dress must be worn a frock of purple velvet extending to the knee, with flowing sleeves reaching to the elbow; the front of the waist left open, displaying a lace under robe, crossed with ribbons covered with silver paper and gold spangles. The frock decorated with small crescents of gold paper, ornamented with silver spangles. Trim the bottom of the frock and sleeves with gold paper three inches in width, and cover with colored lace. The waist should be encircled with a wide, light-green sash, studded with spangles, fringed at the end with gold paper, and tied in front, allowing the ends to hang down to the bottom of the frock. A necklace can be made to look rich and showy by attaching brilliant paste pins of various sizes to a black velvet band; the centre pin being quite large, those at the sides decreasing in size as they recede from the centre; the arms and hands profusely ornamented with jewelry; the hair arranged in long braids, and allowed to fall over the shoulders. A large diamond or a brilliant stone should be attached to a black velvet band, and placed on the brow. Turkish trousers, made of white and blue stripes, two inches wide, of flowing shape, fastened around the ankle with a gilt band. The shoes can be made of card-board or leather; they should turn up at the toe three inches; cover them with red cloth, and ornament with gold and silver paper and spangles. The costume of the attendants should be of a similar style, but differing in colors, and without decorations. The lady who personates the princess must be small, and of good form, fine, regular features, and quite pretty. Her position is facing the audience, head turned slightly to the left, eyes upturned to her attendant, who is standing at her side, holding in her left hand a fan; the expression of the face pleasant. The attendant who is kneeling, shows a side view of the body, while the one standing, faces the audience, with the body bent slightly forward, her attention directed to the string of pearls which she is arranging in the hair of the princess. The floor of the stage should be covered with a rich Brussels carpet, and the walls draped with showy damask curtains. The room may be furnished with small ottomans, two small marble top tables, one of which should be placed near the group of ladies, and contain stands of cologne, perfumes, mirrors, combs, brushes, pin-cushions, and cases of jewelry. On the other table, which is to be placed in the background, is a large, showy lamp, with colored globe, surrounded by ornamental articles; showy pictures adapted to the subject, in rich gilt frames, adorn the walls; cages containing singing birds should be suspended from the ceilings; large globes, containing gold fish, rest on the carpet, near the foreground; richly ornamented vases, of various sizes, containing magnificent bouquets, can be arranged in various parts of the room, while the inner corners are filled up with marble or plaster pedestals, supporting pieces of statuary; the divan on which the princess is seated must be double the size of those scattered about the room, and covered with striped pink and blue cloth. The scene should be illuminated by a purple fire burned at the right hand side of the stage. A lively serenade would be appropriate music.

line

HOPE, FAITH, CHARITY, AND LOVE.

The above characters are represented as statues. Four females of the same height, of graceful form and fine features, are required to form the group. They should all be costumed in long white robes, that will trail eight inches, the waist cut quite low at the top, the sleeves five inches long; a wide scarf of tarleton muslin draped across the breast, tied at the side, and allowed to trail with the dress; hair confined at the back of the head, and left to fall over the shoulders; the head encircled with a wreath of myrtle and white flowers. If any ornaments are worn, they should be pure white. Hoop or any other large skirts must not be worn, as it is necessary to produce a slender figure for a statue design. The positions of the four ladies are in the following order: Hope stands at the right hand side of the stage, one foot from the drop curtain; Love at the left hand side, the same distance from the curtain; Faith and Charity at equal distances from Love and Hope, and three feet from the drop curtain. Placed in this manner, they will form a half oval. The stage furniture consists of four small pedestals, twenty-four inches square, with a cap and base extending out two inches, covered with white cloth, and ornamented in front with a small wreath of myrtle. Faith takes her position on the top of one of the pedestals. Her emblem is the cross, which she holds in her right hand; the left is raised and points upward; the eyes are raised upward, the countenance expresses meekness. Hope is poised on a pedestal, and holds an anchor, the foot of which rests on the top of the pedestal; the right hand is placed on the anchor, the left is on the breast; the eyes are raised slightly, countenance expressing serenity and hope. Charity comes next. In her right hand she holds a silver dish, which is filled with crumbs of white bread. Two robins stand on the side of the dish, eating the crumbs. The left hand rests on the side of the body; the eyes are directed to the birds; the face beams with smiles. Love is standing on one of the pedestals, holding in her right hand a torch, which is raised above her head, while the left gracefully holds the side of her dress. The head should be turned slightly aside, the eyes looking straight forward; countenance diffused with smiles. A gauze curtain may be suspended before the statues, covering the entire space inside of the frame. The light for this scene should be of medium brilliancy, and come from the front of the stage. The cross and anchor may be painted black, the torch painted blue, and tipped with gold; the flame carved in wood, and gilded. Stuffed birds can be fastened with wire springs, and attached to the silver dish. Music soft and plaintive.

line

THE DEATH OF GENERAL WARREN.

This magnificent tableau represents the scene so well known in the early history of our country, and contains twenty-five figures, thirteen of which should be dressed in crimson uniform, to personate the British soldiers, six in continental costume, three in coarse homespun suits, three in sailor's costume. The stage must be formed to represent a hill, which can be done by using boxes and boards, and covering them with green cloth. The hill should rise from the footlights to within four feet of the ceiling in the background. The first and principal figure is General Warren. He is lying on the ground, a few feet from the foot of the hill, supported by one of his officers, who holds his head with his right hand, while with the left he grasps the musket of a British soldier, which is pointed at the breast of Warren. Warren's position is, facing the audience, eyes closed, arms hanging carelessly at his side; costume, continental; side arms, sash, sword, and chapeau lying in front of the body. The figure who supports Warren is dressed in blue breeches, white hose, white shirt, and black belt. Position, kneeling back of Warren, his eyes fixed on the soldier who stands a few paces back of Warren's feet. This soldier leans forward slightly, and grasps a musket, in which is a bayonet, which he is about to plunge into Warren's body. His eyes are fixed on the prostrate form before him, while the countenance expresses excitement and rage. Costume consists of a red coat, white breeches and hose, low shoes, knee and shoe buckles, white breast belts, black waist belt, and black military hat, with plume. By the side of the soldier, near the front of the stage, stands an officer, who is leading on the British. He holds a sword on his right shoulder, while the left grasps the butt of the musket of the soldier previously described. His body is bent forward, feet separated thirty inches, eyes fixed on Warren, countenance expressing energy and decision. Costume consists of a crimson coat, decorated with gold epaulets and lace, white silk hose, buff breeches, low shoes, knee and shoe buckles, red sash, side arms, and chapeau. Directly behind the figure who supports Warren stands an American soldier, with a musket held in front of his body, which he points towards the British soldier, who is about to pierce the body of Warren. His body is slightly bent backward, eyes fixed on the soldier, countenance expressing fear. The remaining figures should be placed in the space from the top of the hill down to the group we have described; a few should be fencing; some using their muskets as clubs; others firing at the enemy in the distance; while a few are stretched out in death on the ground. They must be placed in as great a variety of positions as possible, and in such a manner that one figure will not obscure the other. The countenances of all should appear excited. The booming of cannon and roll of the drum can be produced behind the scenes. The picture should be illuminated by a brilliant red fire burned at the side of the stage.

line

PORTRAIT OF PRINCE ALBERT.

THE RETURN OF THE PRODIGAL SON.

This scene, so familiar in Scripture history, represents the father standing on the step of his mansion, about to embrace his son, who stands near. The background of the picture should represent the portico of a house, and can be made in the following manner: Procure at a paper store four fresco pilasters, with caps and bases, and a wide cornice to match; also a roll of granite paper; paste the cornice and pilasters on cloth; fasten the cornice across the ceiling of the stage, five feet from the background, and suspend the pilasters from the lower edge, placing them at equal distances from each other; form the steps out of boxes and boards, and cover them with the granite paper. At each side of the steps place a large vase of flowers. Behind the pilasters, at the end of the upper step, are seen two servants. They are stooping down and looking at the group in the foreground. Their costume can be easily made up. Frock coats, trimmed on the bottom of the skirts, cuffs, and front with colored cloth, five inches wide; white pants, black hose, crossed with red binding; low shoes; knee and shoe buckles; low-crowned, black Kossuth hat, encircled with a band of gold, and ornamented in front with a large paste pin and showy plume. The gentleman who represents the father must be of good height and large figure. His costume consists of a purple velvet coat and breeches, white hose, crossed with black ribbons, low shoes, knee and shoe buckles; over the shoulders is thrown a long cloak, trimmed with ermine; hair and beard quite long, which can be imitated with flax, glued to cloth made to fit the head and face. If dresses cannot be procured at a costumer's, cheap material can be made up for the occasion, and will look quite pretty. A blue circular cloak, or a lady's velvet cape, trimmed with white cotton flannel, two inches wide, with small pieces of black-shag fastened on at intervals of five inches, will look well, and will resemble ermine. The breeches can be made of purple cambric, trimmed with gold paper. A blue dress coat, trimmed with gold paper, and covered with white lace, will answer for an under-coat. The father's position is, standing on the second step of the portico, with both hands extended, body bending forward slightly, eyes fixed on the son, countenance expressing joy and happiness. The son stands at the foot of the steps, leaning on a stout branch of a tree, which he has been using for a cane on his journey. He displays a side view of the body, and is costumed in a coarse brown frock, open in the neck, displaying his neck and bosom, and tied around the waist with a piece of rope; large rents should be made in the sleeves, showing the flesh within; knee breeches of coarse material, torn at the side; brown hose; and shoes, which are almost worn out, and are tied to the foot with strings; hair hanging over the forehead; skin colored light brown; his eyes cast down to the ground, and countenance melancholy. The light must be quite brilliant, and come from the side opposite to the servants. Music animating.

line

SINGLE BLESSEDNESS.

This tableau is a representation of a young bachelor seated alone in his chamber. He has around him all the luxuries that wealth will purchase, and is reclining on a low sofa, quietly smoking his meerschaum. Rich furniture, soft carpets, fine pictures, and gorgeous curtains decorate the apartment. Books, statuary, boxing gloves, fencing swords, fowling pieces, pipes of various patterns, and a countless multitude of other articles, are scattered about the room. On the marble table at his side is a bunch of cigars, a paper of Ma'am Miller's fine-cut tobacco, a decanter of wine, and a pair of goblets, one of which is partially filled with wine. He holds in his left hand his meerschaum; his right hangs carelessly at his side, and grasps a novelette. The gentleman who personates the bachelor must be of good figure and features, and is costumed in the following manner: A rich dressing-gown should be worn, which is thrown back from the breast, showing a vest of bright colors, to which is attached a heavy gold chain and seals; light fancy pants, embroidered slippers, white hose, blue cravat, smoking cap, ruffled bosom and wristbands. Countenance sober, eyes raised to one of the engravings on the wall. Light of medium brightness, which may come from either side of the stage. Music of operatic style.

line

MARRIAGE BLISS.

This tableau represents a home scene. A wife and husband, and a young child, are seated at a table in a snug little parlor. A solar lamp is burning on the table, by the light of which the wife is engaged in finishing a piece of embroidery. The husband is reclining in a spacious easy chair, busily occupied in perusing the evening paper. The little girl is at play with her tea sets and paper dolls. The wife is costumed in a blue silk dress, cut low at the top, a white apron, trimmed with pink ribbon, and hair arranged to suit the performer's taste. She should be quite pretty, and of small figure. She is seated at the right of the table, facing the audience, body bent forward, and eyes fixed on her work, the countenance expressing earnestness. The husband is costumed in light pants and vest, dressing gown and slippers. He is seated at the left of the table, showing a partial front view of the body; his feet rest on a small ottoman; paper held in such a position that it will not hide his body; eyes fixed on the paper, countenance placid. The child is costumed in white dress, trimmed with blue ribbon, and is seated at the back of the table, holding in her hands a paper doll, which she extends towards her mother, for her to look at. Her eyes are directed to her mother, her countenance beaming with smiles. The table should be covered with a crimson cloth. The furniture of the room of good quality, the floor carpeted, walls hung with curtains and pictures. Light of medium quantity, which may come from either side of the stage. Music soft and plaintive.

line

THE SLEEPING MAIDEN.

This exquisite tableau represents a magnificent garden, filled with beautiful flowers, trellised vines, vases, statuary, and sparkling fountains. On a grassy mound, in the centre of this lovely scene, reclines a beautiful maiden, wrapped in profound sleep. The right hand supports her head, the elbow resting on the grass; the left is thrown carelessly over the top of the head; the expression of the face calm and dreamy. Her costume consists of a long white dress, cut low at the top, open in front, displaying a pink under-skirt of silk. The edges of the dress on each side of the under-skirt should be trimmed with gold paper, covered with white lace. A belt of the same encircles the waist. The waist must be open in front, exposing a white lace under-robe, which is crossed with golden cords. Short sleeves, open below, and closed by little cords of gold, terminated by tassels of the same material, which fall down upon the arms. The hair arranged in heavy braids, done up low in the neck, and ornamented with a head dress, formed of silver gauze, adorned with slight bands of gold thread falling on the shoulder. Position is, facing the audience, the body extended on a line with the front and back corners of the stage. The floor of the stage must be formed to represent a number of terraced banks. There should be five, each being one foot in height. A few boxes and stout boards will be needed to form the banks, over which place green bocking. If a piece of scenery cannot be procured for the background, it can be covered with light-green cambric, and festooned with dark evergreens and bright flowers. At each of the inner corners of the stage place a white pedestal, two feet in height. A box of the above dimensions, covered with white cloth, will answer. On these place pieces of large statuary, and between the two place a large vase of flowers, and intersperse smaller vases, containing bouquets. Ornament the second terrace with pots of house plants, and at each end place a showy cage of birds. Decorate the third terrace with rich vases of artificial flowers, with a statue of the fisher boy at each end. In the centre of this terrace, the mound on which the maiden reclines is placed. It should be five feet in diameter, and one foot high. Cover the surface with light-green cambric, and decorate the outer edge with large sea shells. On the fourth terrace arrange small pots of house plants that are in bloom, and at each end place large vases of fruit. On the fifth and last terrace place a row of deep glass dishes, filled with flowers, with a plaster figure of Flora at the ends. Festoon the sides of the scenery and the ceiling with spruce and flowers. The scenery in the background, if it can be easily painted, should represent figures similar to those on the stage, interspersed with fountains. If there is sufficient room for the accommodation and preservation of large mirrors, they can be used to advantage by placing them at the background of the stage, which will give a fine effect to the scene. This tableau must be lighted from the left side of the stage; the light being very brilliant, both at the top and bottom. A green fire burned just as the curtain falls, will add much to the beauty of the picture. Music accompanying the piece, soft, and of a lively order.

line

NIGHT AND DAY.

This simple tableau is represented by two females: one personates Day, and is costumed in a long white robe. The other represents Night, and is dressed in black. Two arches should be made in the centre of the stage, one covered with black cloth, the other with white. They must be five feet in height, three feet in width, and three feet deep; the back, sides, and top covered with cloth. They are to be placed on a platform one foot high and six feet square. The lady who personates Night should be of good figure and features, black hair, and dark complexion. She kneels under the arch covered with black cloth, and faces the audience; the right knee touches the platform, hands placed together and raised front of the breast, head slightly inclined back, eyes raised upward, the countenance in repose. Her costume consists of a black silk dress, low neck, and trimmed with wide black lace and bugles; a scarf of black crape, sprinkled with small silver stars, is draped across the breast, a black cross suspended from the neck by a velvet ribbon; black bracelets ornament the arms; and a wreath of black bugles and beads encircles the head, on the front of which is placed a small silver moon. The hair is arranged in wide, heavy bands, at the side and back of the head. The lady who personates Day should be of good figure and features, clear light complexion, and light hair. Her position is, kneeling under the white arch, hands crossed on her breast, eyes slightly cast upward, and a smile on the countenance. Costume consists of a pure white dress, cut low at the neck, short sleeves; waist and bottom of sleeves trimmed with wide lace and silver spangles; a scarf of white tarleton muslin draped across the breast; the waist encircled with a satin sash, and the head crowned with a wreath of pearls, in the front of which place a small gold sun. The hair can be arranged in ringlets, or brushed back from the forehead, and confined in a silk net. The light for this piece must come from the front of the stage, and should be of medium brilliancy. Music soft and plaintive.

line