THE FIREMEN IN REPOSE.

This tableau is a representation of the interior of a firemen's hall. The walls are hung with engravings in rich frames, most of them referring to the fireman's life. The name of the company, in large gilt letters, is placed at the end of the stage. Settees are arranged around the sides; a mahogany table is in the centre, on which is placed a large solar lamp. Seated at the table are half a dozen firemen, dressed in their uniform; these are engaged in reading the news of the day; others are reclining and sitting on the settees, engaged in conversation and smoking. The light for the piece should be of medium brightness, and come from either side of the stage. Music of a secular character.

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THE ALARM.

This tableau is a representation of an alarm of fire, which has aroused the firemen from their repose. The scene represents a view of the front of the engine house. The door is thrown open, and the enginemen are about to draw out their machine. The piece contains twelve figures, ten of which have hold of the engine rope. They are in the position of persons running, and are led on by their captain, who is giving out an order through his trumpet. His position is, facing the men at the ropes; one hand is pointed towards the fire, the light of which is seen in the distance. Near the door of the engine house stands the lantern bearer with his lantern, which is attached to a long pole, and is carried on the right shoulder. The front of the engine house can be formed of wood, covered with cloth, and painted in showy colors. This frame is to be placed at the right hand corner of the background; the name and number of the machine painted over the door. The front wheels and rope will be sufficient to represent the engine. The remaining part is presumed to be within the house. By placing the front of the house in the corner, more room will be had for the line of firemen. All should appear animated, while a few are pointing to the light in the distance. The alarm bells must be sounded while the curtain is raised, and a red fire burned at the left side of the stage, so as to throw a very little light on the extreme edge of the background, which should extend farther in on the scene while the tableau is exhibited.

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AT THE FIRE.

This tableau is a representation of a dwelling house on fire, with the heroic firemen engaged in their various duties in their attempts to extinguish the flames. A front view of the building is exhibited, from which smoke and flames are seen issuing. At the window of the second story, a fireman stands, with an infant in his arms. A ladder is placed against the outside of the window, and a fireman is ascending it. The engineer stands on the steps of the mansion, giving his orders. A fireman is breaking in one of the lower windows with an axe. At the left of the tableau is seen part of the engine. Space will not allow the showing of more than one third of the machine; but by manufacturing a temporary frame, on which the front wheels, brakes, bell, and buckets can be attached, and placing it at the edge of the stage, with the firemen at the brakes, the effect will be quite sufficient. The men on the front brakes should be in a stooping position, those behind standing erect. Two pipe-men are seen in the foreground, with pipes, which they point to the burning building; others are passing out articles of furniture from the windows. The men must be costumed in showy fire suits. Alarm bells should be sounded behind the scenes, and a representation of fire made by burning a red fire at the side of the stage, behind the scenery of the burning house. This scenery can be formed of light slats of wood, covered with cloth, and painted in imitation of a brick house, with mouldings, window frames, and doors. It must extend across the stage, and rise from the floor to the ceiling. The windows should be filled with sashes containing genuine glass, while smoke and flames can be painted on various parts of the building; and, if desirable, a small quantity of wet gunpowder, touched off at the proper moment, will add to the effect.

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ETHAN ALLEN AT TICONDEROGA.

This historical tableau represents Ethan Allen at the entrance of Fort Ticonderoga, ordering De la Place, the commandant of the fort, to immediately surrender, in the name of the great Jehovah and the Continental Congress. Around the door are gathered the soldiers of Allen. De la Place and his wife stand upon the doorstep, partially dressed, and, with looks of astonishment, inquire by what authority he demands the surrender of the fort. The number of figures in this picture is twelve. Ten of them represent American soldiers, and are dressed in the continental uniform, which consists of a blue coat, faced with buff, and ornamented with large brass buttons, buff vest and breeches, white hose, low shoes, knee and shoe buckles, and black chapeau, and each furnished with military equipments. Allen's costume should be of finer material, with an addition of sash, epaulets, plume, and side arms. De la Place has on red breeches, with a gilt stripe, white silk hose, knee buckles, slippers, and wig, a red coat upon his arm, and a sword in his right hand, the handle of which is extended towards Allen. His wife is costumed in a white dress, a white cap on her head, and hair hanging loosely over her shoulders. The scenery of the piece consists of a frame covered with cloth, extending across the stage, and rising from the floor to the ceiling, with a door in the centre, and windows painted on either side, and placed across the stage in the background. Mrs. De la Place's position is on the door sill, her body inclined slightly forward, her left hand holding a candlestick, in which is a lighted candle, her right hand raised in front of her breast, eyes fixed on the face of Allen, while the countenance expresses surprise and fear. The commandant stands on the doorstep at the left of his wife, his left hand stretched out before him, the right holding his sword; his eyes are fixed on those of Allen, while his countenance expresses surprise and indignation. Allen stands in front of him a little at the left, grasping his sword in the right hand, which he raises over the head of the commandant, whilst his left points to his soldiers; his countenance expresses sternness and authority. The soldiers are standing on each side of the door leaning carelessly upon their muskets. The accompanying music should be that of the drum and fife. The light must be of medium brilliancy, and come from the right of the stage.

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THE GYPSY FORTUNE TELLER.

This tableau is a representation of a gypsy fortune teller, in a rude tent, in front of which is burning a small fire. She is seated on the ground, and holds a pack of cards in her right hand; her left is pointed upward. Her head is turned towards a young and beautiful girl, who is stooping at her side, gazing with earnestness on the cards. The tent should be five feet high, four feet wide at the bottom, and terminating in a point at the top. It can be made of light strips of wood, covered over with cloth. An open space in front, two feet wide, will answer for the door. The fire can be placed in an iron furnace, around which arrange stones or brushwood. Ignite the fire just as the curtain rises. Fill up the background of the stage with scenery representing a forest, or place a few spruce trees behind the tent. The gypsy's costume consists of a bright crimson dress, velvet waist, laced across with pink ribbon in front, displaying a white robe beneath; rows of gilt buttons on each side of the opening and around the bottom of the sleeves. The hair, which should be long and black, is allowed to hang carelessly over the shoulders; the face and other exposed parts of the body stained a light brown. The young lady must be of small figure, good form and features, and attired in a white dress, cut low at the top, a red sash around the waist, and a small straw hat placed jantily on the side of the head. The scene should be illuminated by a red fire, burned in small quantities at the side of the stage, and made to reflect on the group. Music soft.

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PEACE.

This tableau is an allegorical representation of Peace. The number of figures necessary to form it is twenty. They are formed in six separate groups. The centre and principal group is a party of young ladies and gentlemen engaged in the merry dance. They are costumed in their holiday suits, and are formed in a circle around a May-pole. On a green bank in the background is seated a young lady playing the guitar, and a young gentleman playing the violin. This group is at the right. At the left is a young and beautiful girl, who represents the Queen of May; by her side stands a second female, about to place a crown of flowers upon her head. Between these two groups, and elevated a foot above them, stands the Goddess of Peace. She holds in her right hand a sheaf of wheat, and in her left an olive branch. At the corners of the foreground are two groups, the one at the left representing a mother surrounded by three children; she holds a large Bible, which the children are reading. The group at the right represents a blacksmith standing at the side of an anvil,—a large hammer in his right hand,—engaged in conversation with a farmer, who holds a rake. The costume of the village girls should be white dresses, decorated with flowers, and garlands on their heads. The gentlemen should be dressed in light pants, white vests, and dark coats. The Goddess of Peace has on a long white dress, bound around the waist with a green ribbon; a wreath of dried grasses and wheat encircles the head. She must stand perfectly straight, and look directly forward, with a pleasant expression of countenance. The gentleman who plays on the violin is costumed in a dark coat, red breeches, white hose, low shoes, knee and shoe buckles, buff vest, a plaid scarf, draped across the shoulders, and tied at the right side, and a small Scotch cap, with a white plume, placed jantily on the head. The costume of the lady at his side consists of a red skirt, over which is worn a white skirt that is looped up at the side, and ornamented with small bunches of evergreen and spruce; a velvet waist, open in front, and laced across with pink ribbons; short sleeves; hair hung in ringlets, and ornamented with ribbons; the countenances of both expressing pleasure. The May Queen's costume consists of a white robe, trimmed with garlands of flowers. Her attendant is also dressed in white, with a scarf of plaid draped across the breast. The queen is kneeling on a low cushion, holding a small bouquet, the head turned slightly to the right, eyes raised to the ceiling. The lady in the foreground has on a blue silk dress, a white apron, trimmed with green ribbon, and hair arranged to suit the performer's taste. The children's costumes may be of various styles, bright colors predominating. The lady should sit quite low, and hold the Bible with her right hand; the left pointed to the pages. The children and mother sit facing the audience, and all look pleasant and happy. The blacksmith's costume consists of dark pants, blue woollen shirt, sleeves rolled up to the elbow, a low-crowned hat on the head, and leather apron tied around the waist. He stands facing the audience, and is engaged in conversation with the farmer, who is dressed in a long blue frock, buff pants, straw hat, and heavy boots; the right hand holds a rake, the left is placed on the side of the body. The four groups at the corners should be as compact as possible, giving the greater portion of the room to the dancers in the centre. The bank in the background must be three feet in height, and covered with green bocking, and also the floor of the stage. Make the May-pole as high as the space will admit, and cover it with green cambric, decorated with garlands of flowers. The light should be quite brilliant, and come from the right side of the stage. Music inspiring.

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WAR.

The ground is strewn with the dead and wounded soldiers, broken cannon, muskets, flags, swords, and portions of torn and tattered uniforms. In the background, there is a representation of a breastwork of stone; on the extreme right are two females weeping; at the extreme left is a mother and two children. The mother lies across the breastwork, dead. The children stand by her side, looking with wonder into her face. Standing on the centre of the breastwork is the Goddess of War. In one hand she holds a torch, which is raised above her head; the left grasps a standard and sword. The number of figures in the piece is twenty-six. Twenty young gentlemen must be costumed in various styles of military suits, while many should have wounds painted on various parts of the body. The costume of the Goddess of War consists of a crimson dress, black velvet waist, trimmed with gold, hair hanging loosely over the shoulders, and a red French military hat on the head. The two ladies at the right are costumed in mourning. The mother should be attired in a white dress; the children in bright-colored costumes, with hair hanging in ringlets. The stage must be formed like an inclined plane, beginning at the footlights, and rising towards the background, and covered with green bocking. The soldiers should be grouped about the ground in various positions, and the cannon and guns scattered about in a promiscuous manner. The two ladies in mourning sit on the top of the breastwork, side by side, their heads bowed down, and hands covering their faces. The mother is seated at the other end of the breastwork, head thrown back, and eyes closed. The children are standing by her side, clasping their hands and gazing into her face. The Goddess of War should stand with her left side to the audience, body bent forward, the head slightly turned towards the battle field, the countenance expressing animation and determination. A small quantity of smoke should be seen rising behind the breastwork, while the whole scene is illuminated by a red light burned at the side of the stage. The booming of distant cannon and martial music may be imitated behind the stage.

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THE RESCUE.

This tableau is one that can be produced without much trouble or expense. The scene is taken from a historical incident that occurred during the revolutionary war. At the close of one of the hard-fought battles between the Americans and British, an American officer, having fought long and well, was obliged to seek safety in flight, hotly pursued by a company of British soldiers, led on by their captain. He takes refuge in the mansion of a tory in the vicinity of the battle ground, and prostrates himself at the feet of the lady of the house, who has risen from her chair on hearing the tumult at the door, and with her arm extended and eyes flashing, sternly bade the British officer and his followers to quit the house. The British officer is standing within a few paces of the American, with sword extended, ready to pierce his body. In the rear of the British officer stands a platoon of soldiers, with muskets ready to charge. The furniture of the room consists of chairs, carpet, tables, small sofa, pictures, &c. The lady who personates the tory housekeeper should be tall, with good figure and features; her costume consists of a showy silk dress and velvet waist. Position is, at the right of the stage, near the front. A small table is placed at her side, on which are a work box and piece of embroidery; behind her is a large chair; her right hand is extended towards the British officer; the left is placed on her waist; her countenance expressing anger and command. The American officer should be costumed in Continental uniform, which consists of a blue coat, decorated with large gilt buttons, and faced with buff, buff breeches, white hose, low shoes, knee and shoe buckles, red sash, epaulets, chapeau, and side arms. In his right hand he grasps a broken sword. The position is, kneeling two paces front of the lady, body bent forward, and eyes cast down to the floor. The British officer and soldiers are dressed in similar costumes, with the exception of the coats, which are scarlet. The British officer's position is, standing in the centre of the stage, with sword pointed towards the American officer, and eyes directed to the lady. The lights for the piece should be of medium brightness, and come from the side of the stage opposite the lady. The background must be partially shaded, while the foreground is light. For music, drum and fife are adapted to the piece.

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SOLOMON'S JUDGMENT.

This Scripture tableau is taken from the third chapter of the Book of Kings. The scene is at the moment when Solomon passes his judgment between the two women. These two women each had a child of the same age, and resided together. The children resembled each other so much that when one of them died, there arose a dispute as to whom the living child belonged; and one woman said, "The living is my son, and the dead is thy son." And the other said, "No; the dead is thy son, and the living is my son." Then said the king, "Bring me a sword." And they brought a sword before the king, and the king said, "Divide the living child in two, and give half to one and half to the other." Then spoke the woman whose the living child was unto the king, "O my lord, give her the living child, and in no wise slay it." But the other woman said, "Let it be neither mine nor thine, but divide it." Then the king answered and said, "Give her the living child, and in no wise slay it, for she is the mother thereof." The number of figures in this tableau is five. The scenery consists of a platform four feet square and two feet high, covered with red cloth, which should be placed in the background, at equal distances from the sides; on this is placed a large, showy chair, with a canopy over the top. Seated in the chair is Solomon. His costume consists of a dark velvet suit, trimmed with gold and silver fringe; a large cloak, trimmed with ermine, is worn on the shoulders; black hose, reaching to the knee, crossed with crimson ribbon; red sandals, ornamented with gold; a showy crown on the head, and his face covered with a heavy white beard, reaching down on his breast; his right hand is pointed towards the soldier who holds the child; the eyes are also directed that way, while the countenance appears stern and commanding. The soldier's costume consists of a suit of armor such as can be procured at theatres and costumers; but, if preferred, a military suit of any kind will answer. His position is, near the platform, the left hand grasping the child, while the right holds a sword, which is raised above it; his body faces the audience, his head turned towards the king, the countenance stern and forbidding. On the other side of the throne stands the king's guard, a man dressed in a blue frock, trimmed around the skirts, sleeves, and front with red; white hose, reaching to the knee; black knee breeches; low shoes; knee and shoe buckles; lace collar and wristbands; low black Kossuth hat, with gold band and plume. The right hand grasps a long spear. Position is, facing the audience, the body erect, and eyes directed straight forward. At the corner of the platform, near the soldier, kneels the mother of the child, in position so that a side view is had of the face; the hands are clasped and raised in front of her breast, head thrown back, and eyes directed to the king, countenance expressing hope. She is dressed in deep mourning, her hair flowing loosely over her shoulders. On the other side of the throne, opposite the guard, stands the other woman, her arms folded on her breast, eyes directed to the soldier, countenance calm. Her costume consists of a white dress, cut low in the neck, and encircled around the waist with a colored belt; hair arranged in heavy braids, and ornamented with showy hair pins. The lights should be of medium brilliancy, and come from either side of the stage. If desirable, a few paintings and statuary can be arranged in the background. Music soft and plaintive.

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THE BRIDAL PRAYER.

THE GUITAR LESSON.

This simple, but pretty tableau represents a young lady at the music room of her teacher, taking a lesson on the guitar. The scene represented is a room furnished with table, chairs, carpet, vases, pictures, &c. A small sofa, or a pair of ottomans, are placed in the centre of the apartment, on which is seated a young and beautiful lady, and by her side the teacher. The lady holds in her hands a guitar, on which she is playing. Her teacher holds a sheet of music in the left hand, while with the right he points towards the guitar. The maiden's costume consists of a white dress, velvet waist, white flowing sleeves, waist encircled with a crimson sash; hair done up in a neat manner, and decorated with large feldspar beads. Her position is, facing the audience, head slightly turned to her teacher, eyes directed to the music, face beaming with smiles. The teacher's costume consists of black pants, white hose, reaching to the knee, with a band of colored ribbon, and wide lace attached by a large paste pin at the top, low shoes with buckles, single-breasted vest left unbuttoned, showing a white shirt underneath. A lady's pink or red sack will on an emergency answer for a coat. A lady's velvet cape should be thrown carelessly over the shoulder. The wristbands of the shirt bound with wide lace, and a wide lace collar worn around the neck. The head covered with a low-crowned Kossuth hat, ornamented with a gilt band, and white plume, which is fastened to the hat with a large and brilliant paste pin. Both of these costumes can be arranged at short notice, and the tableau would be suitable for home entertainment. A guitar, played behind the scenes, will answer for the music. The light must be of medium brightness, and come from either side of the stage.

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ROGER WILLIAMS PREACHING TO THE INDIANS.

Roger Williams was the first white man that settled in Rhode Island. He was a clergyman, and lived in Boston; but he did not think exactly as the other clergymen of Boston, and was therefore banished from Massachusetts. He emigrated with his family to the woods. After travelling a considerable time, he selected a beautiful spot, and built him a house. Other settlers soon came that way, and founded homes. This was the first settlement of Providence. Williams was kindly treated by the Indians, who seemed pleased at his arrival among them. Every Sabbath he would go into the village and preach to them. The scene in this tableau represents him standing before a wigwam with his Bible in hand, explaining the Holy Scriptures to a group of savages who are gathered about him. A few spruce trees should be placed in the background of the picture, a fire kindled in the centre of the stage, which can be placed in an iron furnace, and surrounded with stones. The floor must be covered with white cloth. Logs and branches of trees should be scattered around the stage. At the left of the stage is the wigwam, formed with rough poles, covered with light-brown cloth, and ornamented with red hieroglyphics. In the background, and at each side of the stage, are seated Indians. The floor of the stage in the background should be raised one foot, on which are placed the trees; in front of the wigwam stands Roger Williams; he partially faces the audience; his left hand holds a Bible, while his right is raised upward, his eyes directed towards the Indians—countenance expressing animation. Costume consists of black coat of ancient style, black breeches, black vest, white hose, ruffled bosom, and white cravat, knee and shoe buckles, and a long white wig, ending in a cue, and tied with a black ribbon. Costume of the Indians is a short frock, made of and trimmed with a bright-colored cambric, pants of dark buff cloth, fitting tightly so as to develop the form of the leg, moccasins of red flannel, decorated with beads; a strip of card-board, covered with red flannel, and ornamented with feathers of any kind, should be worn around the head. A belt about the waist, containing tomahawk and knife, both of which can be made of wood, and painted in bright colors. A few squaws are interspersed in the scene. Their costumes are similar to those of the men, with the addition of a bright-colored blanket thrown over the shoulders, and hair loosely flowing about the neck. The exposed portions of the bodies of the Indians are stained of the same color as the pants. The position of the figures must be varied, while all look with attention to Williams. The scene should be lighted by a red fire, burned at the front side of the stage. Music soft and of a sacred character.

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CROSSING THE LINE.

This comic tableau is a representation of a scene which often transpired on board of vessels in passing the line. This time-honored custom of introducing to old Neptune and his suite the persons who, for the first time in their lives, cross the equinoctial line, is now nearly abolished. But until within a quarter of a century, the occasion of crossing the line was one of no little importance. It was a jubilee on board ship which was looked forward to with eagerness by the jolly tars who had already shaken hands with the God of the Ocean, and with fear and trembling by the youths who were about to enter for the first time the favorite dominions of the old god. The ceremonies on these occasions varied according to the character of the crew, of the commander of the vessel, or of the poor fellows about to undergo the unpleasant and dreadful process of an introduction. They were generally of a harmless and amusing character, one of which was to bring them before old Neptune, and put them through the process of shaving. The chin, and the greater part of the face, would be plastered over with a composition made of tar and train oil, laid on thickly with a large tar brush. The razor was often fabricated from a worn-out hoop, notched like a handsaw. This was drawn over the face, not in the most gentle manner. After this operation was completed, a person approached to untie the handkerchief that bandaged the eyes, and at the same moment kicked away the plank on which the victim sat, which precipitated him into the ship's longboat, filled with water for the occasion.—The number of figures in this tableau is ten. Neptune is the principal one, and is costumed in a flesh-colored coat, fitting tightly to the body, and covered with hieroglyphics in bright colors; the face painted to look hideous, and partially covered with a long, shaggy beard; a crown on the head, made of card-board, covered with gilt paper and shells; a spotted fur robe is thrown over the lower portion of the body; his right hand grasps a three-pronged fork, while the left is stretched out to one of the sailors. His throne, on which he is seated, is made of a number of barrels placed in a row at the back of the stage, on which rests a platform, with an anchor on each side. The victim, as well as the rest of the performers, should be costumed in sailors' suits, differing in colors and styles. In the centre of the stage erect a small platform, one foot high and six feet long. On this place the person who is to be shaved. At his left stand two sailors. One holds the speaking trumpet and a ship's bucket; the other is in the act of pouring a bucket of water on the head of the victim; a third sailor holds in his left hand a paint brush, and brandishes the razor in his right; a little sailor boy holds a small tub, which contains the soap. Fronting the victim, kneels a sailor, holding a syringe. The remaining figures are looking on to see the sport. The countenances of all but the victim express mirth. An imitation mast and sail should be arranged at the background of the picture, the sides of the stage painted to represent ports of a vessel, and various articles that are used on board a ship must be scattered about the deck. Light brilliant, and come from the right side of the stage.

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THE WEDDING.

This tableau is a representation of the marriage ceremony, and is arranged with little trouble or expense. For a home entertainment it will be quite appropriate. The scene is a young and beautiful maiden and a fine-looking gentleman kneeling at the foot of an altar, behind which stands a priest, dressed in appropriate costume. He is performing the wedding rites. He holds in his right hand a prayer book; his left is stretched out over the kneeling couple; his eyes are raised upward, the countenance calm. The lady and gentleman kneel at the foot of the altar, partially facing each other, so that a side view is had of the body. The eyes of both are cast down; the lady's costume consists of a white dress, trimmed to suit the taste of the performer. A delicate wreath of silver leaves crowns the head, and a long white veil hangs from the back hair to the floor. The gentleman should be costumed in a black coat and pants, white vest, cravat, and gloves. The priest's costume consists of a black surplice and cowl, white cravat, and a large cross suspended from the neck. For want of a better article, a lady's black dress will answer for the surplice, and a black silk scarf, wound around the head, will answer for a cowl. The altar can be formed out of a small table, with a white cloth thrown over it, with a large Bible on the top. The light for this piece should be mellow, and come from the left side of the stage. Music soft and plaintive.

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HIAWATHA SAILING.

This interesting tableau represents Hiawatha and his friends sailing in his birch canoe. The arrangement of the scenery is quite simple, and when properly adjusted, makes one of the finest pictures in this series. The floor of the stage must be arranged to represent water, which can be done in the following manner: Nail strips or narrow bands of wood on each side of the stage, the front ends resting on the floor, the other ends raised to the height of one foot; at intervals of ten inches on the strips place stout nails, and to these fasten stout cord from one side of the stage to the other; across the cords place strips of light-blue cambric, allowing it to festoon from one cord to the other; fasten the cambric to the cords with pins, and paint in a careless manner the ridges to represent miniature waves; then scatter the surface with isinglass in small particles. Fill up the background with scenery of a similar character, or with small spruce trees. An imitation birch canoe can be made of strips of wood, covered with cloth, painted light brown, and ornamented with bands of crimson, blue, and white paint; this should be placed in the centre of the stage, on small ways running across from one dressing room to the other, and painted the same color as the waves. Grooved pieces of wood must be fastened to each side of the canoe, so that it can be propelled across the stage on the ways, and appear to be floating on the top of the water. Ropes attached to each end, at the bottom of the boat, passed under the waves, and roved through blocks, can be used to propel it from one side of the stage to the other. The ways should extend into the ante-rooms, so that the boat can pass entirely from the stage. Large leaves and long grasses, made of green cambric, may be placed around the edges of the water. The boat contains two Indian braves and two Indian maidens. All are dressed in costumes, which have been described in the tableau of "Hiawatha and his Bride's Return Home." Hiawatha is seated in the stern of the boat, holding a paddle in the water. The other Indian is kneeling in the bow with his bow and arrow, and in position as if firing to the shore. One of the maidens is looking intently over the side of the canoe, and the other is looking upward. Both should have long black hair flowing over the shoulders. The canoe should move very slow, and should be seen in motion when the curtain rises; and to have it move in a steady manner, the ropes should be attached to a windlass below the stage. The scene must be illuminated by a green fire burned at the side of the stage opposite the entrance of the canoe. Music soft and plaintive.

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THE VILLAGE STILE.

This rustic tableau represents a young shepherd and his betrothed seated on the village stile, engaged in conversation. In the centre of the stage, a weather-worn plank should be placed, resting on artificial banks at each side, which are three feet high and four feet wide; these can be shaped out of boxes or chairs placed together in a careless manner, and covered with green bocking; at each side of the stage, near the banks, place small spruce trees, and beneath the stile build a step out of old plank, one foot high, and the length of the space between the two banks. Seated on the inner side of the stile is the young maiden. She is partially facing the audience, body slightly bent forward, right hand placed in that of the shepherd, while the left rests on a basket of flowers placed on her knee. Costume consists of a showy plaid dress, with a green waist, trimmed with purple cloth, cut in scallops; a small pink scarf worn over the shoulders, and tied at the side; a pink apron, trimmed with white; a small straw hat, bound with green ribbon, and set jantily on the head; hair done up low in the neck, and ornamented with blue and red ribbons. The eyes are cast down to the basket, the expression of the face thoughtful. The young shepherd stands on the outside of the stile, reclining carelessly against the green bank. He partially faces the audience; his eyes are directed to the opposite side of the stage, the expression of the face denoting deep thought. The right hand clasps that of the maiden, while the left hangs carelessly at the side, and grasps a shepherd's crook, which is six feet long. Costume consists of a loose, light-blue coat, bound at the bottom of the skirt and sleeves with dark blue; a belt of the same encircles the waist; white hose, low shoes covered with red cloth, knee and shoe buckles, and low-crowned hat; a straw hat, covered with brown cambric, and bound with red, will answer. If a large dog can be procured, that will remain perfectly still, place him at the feet of the shepherd. The light should be of medium brilliancy, and come from the front of either side of the stage. Music soft and of a secular order.

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FLORENCE NIGHTINGALE IN THE CRIMEA.

This tableau is one that can be easily formed for an evening's entertainment. It represents Florence Nightingale nursing a young wounded soldier in his tent at the Crimea. Florence Nightingale was one of those philanthropic and humane ladies who left their homes and the comforts of life, and resorted to the Crimea, where, on the field of battle and in the pestilential hospital, she comforted and nursed the sick and wounded soldiers. The tent can be made of white cloth, fastened to a frame of light strips of wood eight feet square, with a small flag fastened in front. A couch should be formed at one side of the tent, on which reclines the wounded soldier, with an imitation of a large wound on the forehead, a large black patch on the side of the face, and a bandage around the head; his face must be made quite white, his body supported by pillows; eyes fixed on Florence, countenance calm and tranquil; his right arm is extended outside of the coverlet, and is held by a comrade who is at the side of the bed. Florence's costume consists of a red dress reaching to the knee, a white collar, loose blue pants with red stripe, buff apron trimmed with white, a flat blue cap with gold band, a small, square, black bag, suspended at the side by leather straps passing over the shoulders, the hair arranged low in the neck; she is standing by the side of the couch, body bent slightly forward, one hand resting on the pillow, the other grasps the hand of the sufferer. On the other side of the bed is a soldier, seated on a camp-stool, engaged in reading a Bible. He is dressed in a showy uniform, and is facing the audience. The lights for this piece should be of medium brilliancy, and come from the front of the stage. Music of a military style.

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THE FIREMAN'S STATUE.

JOAN OF ARC AT THE SIEGE OF ORLEANS.

This historical tableau contains thirty-one figures. A less number will make a picture; but to give proper effect to the scene, there should be thirty-one. Joan of Arc, the heroine of this piece, at the age of nineteen was a simple and uneducated shepherdess, and by her enthusiastic courage and patriotism was the immediate cause of that sudden revolution in the affairs of France which terminated in the establishment of Charles VII. on the throne of his ancestors, and the final expulsion of the English from that kingdom. The town of Orleans was the only place in France which remained in the possession of the dauphin at the time when this heroine made her appearance, and that was closely besieged by the English, while Charles had not the smallest hope of being able to procure an army to raise the siege. Benevolent in her disposition, gentle and inoffensive in her manners, and above all, dutiful to her parents, Joan had, from her earliest infancy, been ardently attached to her country. Her piety, her enthusiasm being thus united in her young and romantic mind with an all-absorbing feeling of patriotism, she was led to believe herself the humble instrument, in the hands of Heaven, by whom the interest and glory of France were to be redeemed. Under this impression, the maiden left her native village, and appeared before Charles dressed as a warrior, and informed him that she had two things to accomplish on the part of the King of heaven; first, to cause the siege of Orleans to be raised; and secondly, to conduct the King to Rheims, there to be anointed. The enterprise so courageously proposed was considered, and her services publicly accepted. On the 29th of April, 1429, Joan of Arc appeared before Orleans, with twelve thousand men. She made an attack upon Fort St. Loup, which she carried, sword in hand, as well as the bulwarks of St. John. She had a banner made after her own device; her sword was taken from the tomb of a knight, where it had lain more than a century; her helmet was surmounted with feathers. She remained at the head of the army until 1430, when she was taken prisoner by the English, at the siege of Campaigne. From the moment she was a prisoner, the heroine was forgotten. Joan was condemned at Rouen, by Cauchon, Bishop of Beauvais, and five other French bishops, to be burned alive for magic and heresy, and her cruel sentence was put in execution on the 24th of May, 1431. Thus was the admirable heroine cruelly delivered over in her youth to the flames, and expiated by the punishment of the fire the signal services which she had rendered to her prince and native country. The scene for the tableau is taken at the moment when Joan of Arc, sword in hand, is leading on the storming party over the bulwarks of St. John. She is seen on the top of the ramparts, near one of the cannon which has just been fired. Her soldiers are charging over the bulwarks around her. In the background are to be seen the troops of the various armies, engaged in hostile combat. The battlements should be three or four feet in height, two feet wide, running across the front of the stage, with an embrasure in the centre. Boxes covered with imitation-stone paper are to be used for its formation. If a small cannon cannot be procured, a mock one may be constructed of wood. Platforms rising gradually from the ramparts to the back scene must be used for the figures in the background to stand on. Joan of Arc should be tall in stature, of good figure, and fine looking, with large black eyes, and long black hair. Costume consists of a crimson skirt, coat of mail buttoned up to the throat, helmet with flowing plumes, riding gloves, crimson sash across the breast, belt and side arms. The banner is made of white cloth, trimmed with crimson, with a gold cross in the centre, and a gilt spear, and tassels on the end of the staff. Sword of rich design, and quite long. Her position is, near the cannon, the right foot on the top of the ramparts or cannon, the left a few inches lower, on a box placed behind the ramparts; the body bent forward; right hand grasping a sword and stretched out at arm's length towards the ceiling, the left holding the banner, which is held at the side of the body; the head slightly turned to the troops at the right; eyes directed partially to them; countenance animated. Three soldiers in uniform—the prominent colors scarlet—are lying on the ground in front of the battlements. Wounds should be imitated on the head; one soldier is lying across the cannon, holding a rammer in his hand; two others are stretched out on the battlements. The costume of Joan's soldiers should be blue and buff, and each wearing a large moustache. Two platoons, each containing five soldiers, are in the act of charging over the ramparts at each side of Joan; they stand two feet from the breastwork, and look straight forward. One soldier on each side is in the act of piercing with his bayonet the soldiers on the breastwork. The background is filled up with troops of both nations, who are in the act of fencing and firing their muskets at the enemy in the distance; a variety of positions should be taken, to make the scene as attractive and life-like as possible. The booming of cannon and rattle of musketry may be imitated in the ante-rooms; a slight quantity of smoke can be made to hover over the combatants by burning a small quantity of the whitish blue fire on the stage before the curtain rises. Care must be taken not to burn too much, as a great quantity of smoke will hide the figures from view. The scene most be illuminated by a brilliant red fire burned on the side of the stage that will most reflect on Joan's face. The piece may be exhibited double the usual length of time of other tableaux, and should be used as a grand finale.

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THE PARTING.

This pretty tableau is one that can be formed without much expense or trouble. The scene represented is a young knight, about to leave his home, his wife, and child, to fight the battles of his country. A large flight of steps fills up one third of the stage at the background. These can be made by placing strips of boards on boxes, arranged in the form of steps, and covering them with white marble or light stone paper; at one side of the stage is a pedestal three feet high and eighteen inches square, on the top of which is a large vase of flowers. A box covered with marble paper, and fresco cornice, will answer for the pedestal, while a large earthen jar, painted white, will do for the vase. On the other end of the steps, two marble pillars reach from the upper step to the ceiling, and a couple of spruce trees placed back of the steps, at each end, will give a good effect. The knight is costumed in a black frock, trimmed around the bottom of the skirt and sleeves with purple cambric, a straight collar of the same material, ornamented with gilt buttons and paper; belt and side arms, red sash, riding gloves, purple knee breeches, white hose, low shoes, knee and shoe buckles, a low cap, with a gilt band, and showy plume fastened to the side with a brilliant paste pin; a small velvet cape, trimmed around the bottom with gold paper, is worn carelessly over the left shoulder. Position is, standing on the bottom step, facing the audience; one foot rests on the floor of the stage, the other on the step; the right hand points to the back of the stage, while the left rests on the shoulder of his wife, who stands at his side; his body is bent slightly forward, eyes directed to those of his wife; countenance expresses animation. The lady who personates the wife should have black, curly hair, good figure, medium height, and regular features. Costume consists of a blue silk dress, velvet waist, hair arranged in curls, and ornamented with showy hair pins. Position is, at the side of her husband, two paces in advance, and in such position that a side view is had of the form; her body bent forward, so that her hands, which are clasped, will rest on her husband's shoulder, head thrown back, eyes directed to those of her husband, face expressing grief. A few paces to the left of the lady, is a cradle, containing a sleeping child. A large Newfoundland dog lies quietly watching it. The scene should be illuminated by a purple fire burned near the front of the stage. Music of a martial style.

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