LOVE TRIUMPHANT.

This beautiful classic tableau represents two figures, a youth and a maiden, supporting Cupid on their shoulders. The two persons who take these parts should be of good figure and of equal height. The maiden's costume consists of a white dress, cut low at the top, sleeves short; a gauze scarf draped across the breast, tied at the side, and allowed to trail on the floor; white shoes, hair hanging loosely over the shoulders, the head encircled with a wreath of spar beads and white flowers. The right hand grasps a garland of white flowers, while the left helps to support the boy Cupid. The youth's costume consists of a white coat, vest, breeches, hose, cravat, and shoes. Across the left arm hangs a white mantle; the hand grasping a shepherd's crook, which is four feet long, and painted white. The boy Cupid must be quite small, and costumed in a short gauze dress, white hose, and shoes; a white quiver, bow and arrows, must be suspended from the neck by a satin ribbon, and small gauze wings fastened to the back of the dress. The right hand grasps a torch, which is held above the head. This can be made of card board, the flame imitated by gold paper. His head is turned towards the maiden, into whose eyes he is looking, countenance expressing mirth. The two figures stand on a pedestal two feet high and four feet in diameter, covered with black marble paper, and placed in the centre of the stage, the right arm of the gentleman and the left arm of the maiden crossed so as to make a seat for the boy; both assume attitudes of persons in the act of walking, and look up with delight into the face of the boy. The front of the stage, if covered with white gauze, will add to the beauty of the scene, which is intended to represent statuary. Light should come from the side of the stage, and of medium brilliancy. Music, soft and plaintive.

line

THE BANDITTI.

This tableau represents a travelling party attacked on the mountains of Italy by a company of outlaws. It is one which can be easily formed, and contains ten figures, five of which are men dressed to represent banditti; the other personations are an old gentleman, his daughter, a young officer and wife, and coachman. The floor of the stage should rise gradually from the fore to the background. This can be accomplished with boxes and boards covered with green bocking. The bandit's costume consists of a dark coat, open in front, showing a colored shirt, breeches of bright-colored cloth, white hose, knee and shoe buckles, low shoes, red scarf about the waist, in which are pistols and short sword, black felt hat, slouched, with a red band and colored plume; heavy beard, face and neck slightly stained light-brown; the coats can be trimmed with gaudy binding, if desirable. The old gentleman's costume consists of black coat, light pants and vest, light cravat, white wig, light hat, face painted to imitate age. The officer's dress can be quite showy or very plain. If a full military costume cannot be procured, the following will answer: Dark frock coat, buttoned to the neck, and ornamented with large gilt buttons and shoulder straps, black pants with buff stripe, flat cap with gilt band, side arms and sash. The officer's wife is dressed in a showy silk robe; hair arranged to suit the performer's taste. The old man's daughter is costumed in a white dress, pink silk apron, small straw hat trimmed with green ribbon. Coachman's costume is, a long, dark coat, buttoned to the chin, light pants, long boots, black silk hat, with a leather strap and a number in gold in front, black belt around the waist, the right hand grasping a long whip. A representation of the side of a coach, covered with cloth painted in proper style, and placed in the background, will add much to the effect. In the centre of the stage place a large trunk filled with clothing, the cover thrown back so as to display the contents. Watches, jewelry, and other articles of value should be strown promiscuously about, while one of the bandits is seen kneeling over it with a heavy watch and chain in his hand. Back of the trunk stand the officer and a brigand. The officer has a large wound across the temple, and attempts to rescue his wife, who is being dragged away by one of the brigands in the background; he stretches out his arms towards, and looks upon her, but is kept from her by the strong arm of the ruffian at his side, who grasps him by the collar, and holds a bloody sword above his head; the brigand partially faces the audience; the officer stands in a side position; the wife is seen kneeling in the background, with hands clasped and eyes raised to a brigand, who grasps her by the hair of the head with the left hand, and presents a pistol at her with the right. At the left of the trunk is seen the old gentleman. One of the ruffians grasps him by the throat, as if in the act of strangling him. The old man holds a watch in the left hand; the right is thrown upward. His position is, facing the audience; countenance expressing terror and excitement. At the right of the trunk kneels the coachman, with hands tied behind his back, which is turned to the audience, head thrown backward so that a partial side view is had of the features. A few paces in front of him, and facing the audience, is seated a brigand, on the top of a portmanteau; he is smoking a short pipe, and with the right hand points a pistol to the face of the figure kneeling in front of him. Between him and the wife lies the young girl, who has fainted from affright. She lies with her head to the back of the stage, arms stretched out on the grass, and eyes closed. The stage should be illuminated by brilliant lights placed at the left side of the stage. The sound of rain and thunder may be produced in the ante-rooms with good effect.

line

PORTRAIT OF LOUIS NAPOLEON.

This portrait-tableau is produced in the same manner as that of "Gabrielle." The gentleman who personates Louis Napoleon should in form and features resemble him. The costume consists of a blue velvet coat, decorated with silver and gold lace, vest of the same material, buff breeches, white hose, low shoes, knee and shoe buckles, gold epaulets and side arms, a decoration on the left breast composed of brilliant stones and spangles, a red and blue silk sash across the breast. Louis Napoleon wears a long beard and heavy mustache. Position is such as to display a partial front view of the body, right hand placed on the hilt of his sword, eyes directed forward, countenance calm. Light should come from the front of the stage, and be of medium brilliancy. Music, Marseillaise Hymn.

line

THE RETURN FROM THE VINTAGE.

This picture represents four laborers returning from the vintage, bearing on their shoulders a large tub of grapes, seated on the top of which is a young girl, and by her side a small child. As they near the shores of the imperial river, they sing one of their national songs, the girl accompanying with a tambourine, and the child with a flute. The costume of the four vintagers consists of colored or check shirts, breeches, long hose, low shoes, knee and shoe buckles, single-breasted vest of bright colors, left open, handkerchief tied carelessly about the neck, and low felt hat with a sprig of grape leaves in front, the face colored slightly with red. The lady's costume consists of a red dress, blue waist, open in front, and laced across with pink ribbon, and a small straw hat trimmed with green ribbon on the head. The boy's costume consists of a velvet jacket, white pants, and small fancy cap. The four vintagers stand in a circle, on a round or square pedestal four feet in diameter, covered with green bocking; they face outward, and support the tub on their shoulders; one hand is raised, and grasps the top of the tub, while the other hangs carelessly at the side. A tall box should be placed under the tub, which will relieve the laborers from the weight. The vintagers look up to the lady, the countenance expressing pleasure. The young lady who is seated on the tub holds the tambourine in her left hand, which is raised above her head; the right hand is raised as high as the face, the head thrown back slightly, eyes lifted, body facing the audience. The boy has the end of the flute or trumpet placed in his mouth; both hands grasp the flute; eyes directed forward. The tub should be three feet wide, and the outside and rim painted in imitation of grapes and leaves. Light will be needed in front and at the left side. Music of an inspiring order.

line

LOVERS GOING TO THE WELL.

This tableau represents a young peasant girl and her lover going to the well. It is a statuary design, and, when well executed, makes a tableau of great beauty. The lady and gentleman who take part in this group must be of the same height, of slim figure, and good features; the gentleman should be without a beard. In the centre of the stage place a round pedestal one foot high, three feet in diameter, and covered with black marble paper. The gentleman's costume consists of a white coat, breeches, hose, shoes, cravat, vest, gloves, hat and collar, and a long gauze scarf, worn over the shoulder, tied at the side, the ends hanging down to the knee, the hat placed jantily on the side of the head. The lady's costume consists of a white dress, worn with but few skirts, and cut low at the top, sleeves long and flowing; a long gauze scarf worn over the shoulders, tied at the side, the ends allowed to trail on the floor; white hose, shoes, gloves, and white felt hat worn carelessly on the head; the exposed parts of both figures made as white as possible. Both stand near the centre of the pedestal, the gentleman's right hand placed across the lady's shoulder; his left hangs carelessly at the side, and grasps a white water pitcher, his right foot placed twenty inches in advance of the left, the toe of the left just touching the pedestal, and the body inclined forward slightly; his head is turned towards the lady, into whose eyes he is looking, while the countenance expresses pleasure. The lady's right hand holds a pitcher similar in shape to the one held by the gentleman. Her left is raised near her bosom, the forefinger pointed to some object in the distance. Her head is turned towards the gentleman, eyes looking into his, and countenance expressing earnestness, her feet and body in the same position as the gentleman's. The front of the stage, if covered with thin white gauze, will add to the beauty of the piece. The light should come from the left side of the stage, and be of a medium brightness. Music soft and plaintive.

line

THE ITALIAN FLOWER VASE.

This exquisite statue tableau represents a beautiful vase, the sides of which are ornamented with statues, personifying Spring, Summer, and Autumn. The vase is made to revolve by machinery. Three ladies of good figure and features, and of equal height, are required, to fill out the design. Their costumes consist of long white muslin robes, worn with few under skirts, cut low at the neck, sleeves reaching to the elbow, and flowing, white hose and slippers; hair combed up from the forehead, clasped with a band of silver behind, and allowed to hang in heavy curls in the neck; a string of small wax or spar beads entwined about the top of the head, the ends trailing among the curls; a bouquet of white flowers placed on the front of the waist, and a white rose fastened to the front of the spar wreath which adorns the head; the exposed portions of the body made as white as possible.

The stage machinery is constructed in the following manner: After arranging the revolving beam beneath the stage, (described in the "Bust of Proserpine,") the base of the vase should be fastened to the top of the shaft which protrudes through the floor, and fastened so firmly that the weight of the three females will not impede the revolutions. It must also be constructed so that it can be easily shipped and unshipped. The base is of octagon form, two feet in diameter, one foot thick, and ornamented with small scrolls around the sides, the whole to be covered with white cloth, and decorated with artificial or painted wreaths and festoons of flowers. On the top of the base there must be a box one foot high, and five inches square, fastened firmly to the main body with iron braces; this is for the insertion of the shaft of the vase, which is made of joist, four inches square, six feet in length, and painted white. The top or bowl of the vase should be made in the form of a saucer; the material used in its composition must be light; its dimensions, four feet in diameter, with a square cavity in the centre, in which to place the shaft; cover the exterior with white cloth; around the top paint a wreath of large flowers, and from the centre to the rim paint other festoons of smaller flowers four inches apart; around the cavity where the shaft enters, place three pieces of wood, made and painted to resemble large leaves, the size of which should be seven inches in length by five in width. The vase can be made in one piece, if there is sufficient room for the accommodation of so large a piece of furniture. But for a small stage it will be better to have it in three parts. The ladies stand on the base of the vase, with their backs against the shaft, the top of the head just touching the bottom of the large leaves, the head and body perfectly erect, the hands of the three clasped at the side, and holding the ends of festoons of colored flowers, eyes slightly raised, countenance calm and pleasant. The festoons must run from the hands of the statues to the shaft, fastened there, and pass down to the other hand, and so on around the three figures. The vase should revolve quite slowly, and be put in motion while the curtain is rising. Gauze before this piece will add to the effect. The light must come from the left side of the stage, and be of medium brilliancy. Music soft and plaintive.

line

PORTRAIT OF THE MADONNA.

This portrait tableau is produced in the same manner as that of "Gabrielle." The lady who personates the Madonna should be of good figure, fine, regular features, eyes large and expressive, a full face and dark hair. Costume consists of white dress open slightly in front, sleeves long and flowing, a velvet cape thrown negligently over the shoulders, a large cross suspended from the neck by a necklace of wax beads, the hair puffed slightly at the side, and arranged in a neat coil at the back, and a large braid passed across the top of the head. She should partially face the audience, the head slightly inclined forward, eyes cast upward, hands clasped in front of the breast, and lips partly open, the countenance expressing earnestness and meekness. Light will be required at the front of the stage, and must be of medium brilliancy. Music of a sacred and plaintive style.

line

THE SHOEMAKER IN LOVE.

This is a comic tableau, and represents a pretty young lady at a country shoemaker's shop, in the act of having her foot measured for a pair of shoes. The lady stands in the centre of the stage, and rests her unslippered foot on a small box, while the knight of the lapstone and hammer is engaged in taking the measure of her foot. While occupied in this duty, he is suddenly smitten, either with her pretty face or small foot, and instead of proceeding with his task, he stops and looks up with a pleasant smile into the face of his fair customer. In the background, peeping out from behind a screen, is the shoemaker's wife, with a broomstick in her hand. The scenery consists of a wooden screen, covered with cloth, extending half way across the centre of the stage, on which is painted, in large letters, the name "Ebenezer Heeltap." Shelves of boots, shoes, shoemaker's tools, and other articles, should also be painted on the screen. In the foreground place a shoemaker's bench, and a few shoes, partly worn out, scattered on the floor. The young lady's costume consists of a blue silk dress, crimson shawl, white bonnet, and sunshade. Position is, standing at the side of the stage, showing a side view of the body, one foot resting on a box, both hands grasping her dress, which she draws up sufficiently high to display her foot and ankle, body bent forward, and eyes fixed on her foot. The shoemaker kneels on the floor opposite to her, holding a strap in one hand, the other resting on the box, the head thrown back, and eyes cast upward to the face of the lady. Costume consists of a suit of coarse material, sleeves rolled up to the elbow, leather apron tied about the waist, paper cap on the head, red or gray wig, and shaggy beard. The old lady's costume consists of a cheap calico dress, white ruffled cap, white handkerchief tied about the neck, and spectacles on the nose. The light must come from the right side of the stage, and be of medium brilliancy. Music of a secular order.

line

PRINCE CHARLES EDWARD AFTER THE BATTLE OF CULLODEN.

This tableau contains seven figures, and represents Prince Charles Edward asleep in one of his hiding-places after the battle of Culloden, protected by Flora Macdonald and Highland outlaws, who are alarmed on their watch. Here rests, in fitful and affrighted slumbers, the recent victor, Prince Charles Edward, a broken and despairing fugitive, his gallant spirit dissipated, and his well-knit limbs stained, and bruised, and soiled by urgent journeys and perilous encounters. Beside him sits a sleepless guardian, the brave, the beautiful, the heroic Flora Macdonald. A deer-hound, who had crouched at her feet, has given an alarm of coming danger. The peril is imminent, but the foe is invisible. What shall be done? Shall the sleeper be awakened? His devoted protector, prompt as the occasion, and wise beyond the emergency, counsels on the instant, silence, caution, self-possession. Thereupon the Highlanders draw together, and, restraining the frenzy of their first emotions, wait, with desperate resolution, the first manifestation of coming danger.

The scenery accompanying this piece represents a cave in the rocks; in the centre of the back wall is an opening, through which the Highland outlaws are looking. The rocks can be imitated by covering wooden frames with coarse brown paper, fastened on in a rumpled manner, and shaded with light and dark brown paint, sprinkled over with small particles of isinglass. These frames should reach to the ceiling of the stage, and be constructed in sections four feet wide; they must be arranged in the background in the form of a half circle, the floor and sides of the stage covered with the same kind of scenery; a box six feet long and two feet wide, covered with a robe, should be placed in the centre of the cave, for the prince to recline upon. Spears, shields and battle axes may be strewn about, and a small fire made to smoulder in the foreground. This can be built in an iron furnace, surrounded by rocks. The prince is costumed in a rich Highland suit. The coat, which reaches to the knee, is made of Scotch plaid, trimmed at the bottom of the skirt, sleeves, and on the front with black velvet ornamented with gold; plaid breeches and hose, worn so as to leave a naked space of five inches between the top of the hose and bottom of the breeches; short-legged boots, with red tops, spurs; a heavy plaid scarf, decorated with gold, worn across the shoulders; and a flat Highland cap, with plume in front, which lies on the couch at his side. The prince is lying on his side, lengthwise of the cave, in position so that his face can be seen, his head resting on his left arm, while his right hangs down to the floor of the cave, touching his sword and pistols. Flora Macdonald is seated near the head of Prince Charles. Her costume consists of a Highland frock reaching below the knees, hose of scarlet plaid, a scarf about the breast made of black cloth, and fringed on the side with buff, and across the shoulders is worn a blue cape trimmed with velvet and gold; her hair hangs loosely on the shoulders; the left hand gathers the cloak about the breast, while the right is raised in front of the face, the fingers extended, the head turned around to the group of Highlanders at the back of the cave, to whom she is in the act of speaking. Fear and caution are expressed on her countenance. The group of Highlanders are at the right of the cave, in the extreme background, near the opening. Their costume is similar to that of the prince, but of cheaper material, and without decorations. Each has a sword and musket. The first outlaw is looking out of the opening; he holds his musket in front of him; at his side stoops another, with musket trailing. Behind these two stands a third, with a long spear. Back of him is one with a sword in his hand. He is in the act of speaking to Flora Macdonald; his countenance denotes affright; his left hand points to the opening in the cave; his body inclined backward slightly. The fifth figure is kneeling in the foreground, holding a hound by the collar. The countenances of the first three outlaws should express caution. The faces of the gentlemen can be disguised by false beards. The scene must be illuminated by a small quantity of red fire burned at the front part of the ante-room, opposite the group of outlaws. Thunder and the falling of rain imitated in the ante-rooms will add to the effect. No music will be required.

line

THE FLOWER GIRL.

The statue tableau of the Flower Girl is quite a pretty design, and is produced in the following manner: A pedestal two feet in height, with a circular shield at the top three feet in diameter, is placed in the centre of the stage, around the sides and on the top of which are arranged folds of white cloth. The young lady who personates the flower girl is to stand in the centre of the shield, holding in front of her a basket of flowers. She should be of good form and features. Her costume consists of a pure white robe cut low at the top and long at the bottom, sleeves short, the front of the waist ornamented with a small bouquet, and a wreath of flowers or silver leaves around the head, the hair puffed slightly at the side, and confined at the back of the head with a band of silver, and allowed to hang in curls in the neck; the basket filled to the top with flowers, held at arm's length, and resting against the right side of the front of the body. The lady faces the audience, inclines her body forward a very little, the hands grasping the basket at each side, right foot placed twelve inches in advance of the left, head inclined back and to the left, the eyes directed forward, countenance pleasant. The crimson curtain, and the two fairies used in the "Bust of Proserpine," can be used in this piece, the curtain placed above the statue, the fairies taking the same position as in Proserpine. Illuminate the stage with the footlights. Music soft and plaintive.

line

PRESENTATION OF FIREMAN'S TRUMPET.

This interesting tableau contains twenty-two figures. The scene represents a young and beautiful female presenting a silver trumpet to a fireman. In the background of the stage there should be erected a platform, from which a flight of steps extends down to the foreground. On the right side of the steps are young ladies in appropriate costumes, and at the left of the steps are the comrades of the receiver of the trumpet. Standing in the centre of the platform is a young lady, about to present the trumpet to the fireman, who is kneeling at her feet. The platform must be four feet high and two feet wide, the steps running nearly across the stage, and within three feet of the footlights. At each side of the platform place a large vase of flowers, and cover the steps with green bocking. The ladies' costume consists of a white dress, with red sash around the waist, a wreath of myrtle on the head, and a wreath of flowers held in the right hand. The gentlemen's costume consists of a showy fireman's suit. The lady who presents the trumpet should be costumed in a white dress decorated with artificial flowers, a crown of the same on the head, and a belt about the waist. The ladies and gentlemen at the sides of the stage are all kneeling, and in such a position that a profile view is had of the body. The ladies rest the left hand on the waist, and extend towards the top of the platform the right hand, which holds the wreath of flowers. Their attention is directed to the lady above, the countenance expressing pleasure. The gentlemen form in a like manner, and raise the right hand to the side of the face. The gentleman who receives the trumpet kneels on the upper step, and in such a position that a profile view will be had of the face; the left hand rests on the waist, while the right is extended to take the trumpet; the head is thrown back slightly, the eyes fixed on those of the lady, who stands in the centre of the platform. Her body is inclined forward, eyes fixed on the face of the fireman, right hand extended and holding the trumpet, her countenance beaming with smiles. Light from the foot and left side of the stage will be required, which should be very brilliant. Music of an operatic character.

line

THE PAINTER'S STUDIO.

A representation of a painter's studio. Scattered about the room are works of art, fine paintings, portraits, statuary, vases of ancient form, and flowers. A guitar and flute hang from the wall, and at the left of the stage is a large picture, with a crimson curtain partially drawn across it. The painter's easel stands at the right of the stage; on it is an unfinished portrait of a lady. A small table, sofa, and three ancient chairs complete the furniture of the room. The artist is seated in one of the chairs, engaged in painting the lady's portrait. The lady is seated in a chair in the centre of the stage, her feet resting on a small cushion, right elbow placed on the table which is by her side, and eyes fixed on a book which she holds in her left hand. A few showy bound books and a small bust may be placed on the table. The lady's costume consists of a pink or blue silk dress, cut low at the neck, sleeves of usual length, hair done up to suit the performer's taste. Her position is, facing the audience. The artist's costume consists of a rich dressing gown, a red velvet cap with a gold tassel, light pants and vest. His position is such that a side view is had of the features, the left hand holding a pallet and brushes, the right grasping a small brush, which he is in the act of using. His eyes are fixed on the picture, countenance expressing earnestness. Illuminate the background of the scene with a small quantity of red fire, the foreground with light of medium brilliancy, both of which should come from the right side of the stage. Music soft and plaintive.

line

PORTRAIT OF GABRIELLE.

This tableau is suggested by the beautiful picture by De la Roche, one of the most eminent of French painters. The best portrait of Napoleon I. was painted by this artist. The subject of the painter is Gabrielle. The person who represents this portrait should have fine Grecian features, small figure, and hair that will curl profusely. The costume consists of a pink brocade cut low at the top, open in the form of a square in front, and trimmed with white lace and black velvet. The hair must be parted in the centre of the forehead, puffed out at the side, and arranged in short curls in the neck. A band of velvet one inch wide in the middle, and tapered to a point at each end, with a silver star studded with spangles on the widest part, should be placed around the head. The frame, behind which the lady takes her seat, is constructed as follows: Out of boards make a solid frame, four feet long and three feet wide, with a cornice on the outside. From the centre, cut out an oval three feet long and two feet wide; cover the frame with black cambric or velvet, and ornament the cornice and edge of the oval with gold paper; place the frame at the back of the stage on a platform or box three feet high, three feet wide, and two feet deep; fasten the frame by means of hooks or screws to the top of the box, flush with the front; attach a heavy crimson cord and tassel to the top, and pass it over a brass hook screwed to the ceiling. The lady takes her seat behind the frame, in such a position as will display a partial side view of the head and chest in the centre of the oval, the eyes cast down, the countenance expressing sorrow. After the lady has taken her position, the box must be entirely covered with black cambric, and a curtain of the same material should be fastened to the top of the frame, and allowed to trail back of the lady to the floor. With a medium quantity of light from the front of the stage, the tableau at a distance will resemble a painted portrait. A large variety of pictures can be produced in this manner, and at little expense. Music for this scene should be of a sacred character, and quite soft.

line

THE ELOPEMENT.

This is a very pretty tableau, in two parts. The first, represents a young gentleman, standing at the foot of a rope ladder which reaches to the railing of a balcony on the front of a dwelling house; leaning over the railing is a young and lovely maiden, who is about to make her descent on the ladder to her lover below. The gentleman grasps the rope with the left hand, and holds the right upward in the act of beckoning to the lady. His position is such that a side view is had of the body; his head thrown back, eyes directed to the balcony, countenance expressing pleasure and entreaty. His costume consists of a dark coat, trimmed around the edge with purple lace or gimp, light breeches, black hose, colored vest, low shoes, knee and shoe buckles, red sash about the waist, black felt hat with plume, velvet cape on the left shoulder, lace collar and wristbands, ruffled bosom, and mustache. The lady is attired in a bright-colored silk robe, riding hat, and red scarf. The balcony can be made of boards, and covered with fresco paper, representing two pillars, a cornice, and a railing above. The second scene, which follows immediately, represents the lady and her lover just about to step into the ante-room, opposite the balcony. The gentleman has his right arm around the waist of the lady, the left extended towards the balcony, face turned in that direction, his back to the audience, the countenance expressing caution. The lady places her left hand on the gentleman's shoulder, and the right on her breast; her eyes are directed to the ante-room. A front view is had of her form. The head of the gentleman turned to the balcony will give a partial side view of the face. The young lady's mother is seen on the balcony, looking out into the darkness, and holding a crutch before her, as if in the act of striking. Her costume consists of a white robe and nightcap. The light for the first scene should be of medium brightness, and come from the ante-room opposite the balcony. In the second scene, it will be necessary to produce the light on the other side of the stage, which will throw the balcony in the shade. The low rumbling of thunder, and the noise of falling rain, produced in the ante-room, will add to the effect of the scene.

line

FIREMAN'S COAT OF ARMS.

This tableau represents an oval shield richly ornamented with gold, on which are fastened engine pipes, colored lanterns, trumpets, axes, fire hooks, buckets, hats, &c. These radiate from the centre, and are surrounded by a wreath of gold stars, five inches in diameter. It rests on a pedestal, and is supported on each side by female figures. The shield is seven feet high and four feet wide, the surface covered with blue cambric, with a border of crimson five inches wide, shaded with a band of gold one inch in width. The pedestal is six feet long, one foot high, and three feet wide, the surface covered with crimson cloth, with a black and gold border six inches wide, and an appropriate motto on the front in letters of gold. The young ladies who support the shield must be of equal height, good figure and features. Their costume consists of a white robe cut low in the neck, skirt made to trail on the pedestal, red or black velvet waist, ornamented with gilt buttons and lace, and fireman's hat on the head. Their position is at the sides of the shield, facing the audience; one arm is laid at full length on the top of the oval, the other hangs at the side, the hand grasping a small wreath of myrtle. The head should be slightly turned towards the shield, eyes looking forward, countenance calm. The light for the tableau must be of medium brilliancy, and come from the front of the stage. Music soft.

line

THE SOLDIER'S FAREWELL.

A representation of a young recruit, about to leave his country home for the first time to join the army. In the background is to be seen a cottage, with trellised vines running over the door. The young soldier is standing in front of the cottage, bidding farewell to his young bride, who stands at his side. They both face the audience. She has her right arm around his neck, and is looking into his face. The soldier rests his left arm on her shoulder, and points to the side of the stage with the right hand. His eyes are fixed on the face of his bride. Near the doorstep stands a gray-haired old man, the father of the soldier; he faces the audience, and is holding a musket, the lock of which he is examining. At the left of the soldier stands a young maiden, in a position that exhibits a side view of the body. She is looking to the two figures in front of her, and holds a sword and belt. In the doorway is seen the mother of the soldier, holding a handkerchief to her eyes. A little boy stands at the right of the door, with a tin sword fastened about his waist, a paper cap on his head, and is engaged in blowing on a tin trumpet. The cottage can be framed of wood, covered with cloth, and painted in showy colors; body of the house light brown, frames, cornice, and door green, roof red, and window panes black. The cottage stands in the centre of the stage, with the space on the sides filled up with a small white fence and two spruce trees. The vines over the door can be painted on the house, or made of evergreens and flowers, and tacked to the frame. The soldier's costume consists of a continental uniform—blue coat, faced with buff, buff vest and breeches, white hose, knee and shoe buckles, low shoes, white breast belts, and chapeau. The wife is costumed in a blue dress, cut very short, and high at the top, white apron, white hose, small handkerchief tied about the neck, hair arranged to suit the taste of the performer. The young lady should be costumed in a white dress, green apron, and straw hat, hair hanging in curls, and ornamented with red ribbons. The old gentleman's costume consists of a long gray or drab coat, light vest and breeches, black hose, knee and shoe buckles, low shoes, ruffled bosom, and chapeau. The aged matron is costumed in a light brown dress, calico apron, white cap, black collar. The boy can be attired in any costume that has a variety of colors. Cover the floor of the stage with green bocking, and light the tableau from the left side. A tenor drum should be beaten in the ante-room while the curtain is raised.

line

IKE PARTINGTON'S GHOST.

THE PEASANT FAMILY IN REPOSE.

This scene represents a group of peasants resting on their journey. The party comprises an aged couple and three children. They are seated on a grassy mound at the side of the road. The children lie in the foreground of the mound in various positions, and are asleep. The old gentleman is seated on the back side of the mound, which is higher than the front, and in such a position that a side view is had of the body. His head rests on his left hand, the elbow resting on the knee; the right hand holds a cane; countenance calm. Costume consists of a long, loose blue frock, brown pants, black beaver hat, considerably worn and out of shape, white hair and beard. At the side of the old man, on the lower part of the mound, is seated the old lady. She faces the audience, and leans her head on her right hand, the elbow placed on the knee, eyes directed to the children, countenance expressing deep thought. Costume consists of a brown dress, white handkerchief tied about the neck, and a hood on the head. In front of these figures is a young girl, her back resting against the highest part of the mound, the head inclined to one side, one arm placed across the form of a boy at her side, her eyes closed. She is dressed in a white robe, blue apron, and stout shoes, head uncovered. A small boy reclines at her side, and rests his head on her lap. Costume consists of a red frock, trimmed with white. In front of these two figures is a large boy. He lies on the grass, and rests his head on his arm; his eyes are closed, countenance calm. He is costumed in a dark coat, light pants, white collar, thick boots, and felt hat. The mound on which the tableau is formed can be constructed of boxes, and covered with green bocking. It should be six feet in diameter, varying from one to two feet in height, and placed in the centre of the stage. The scene will require but a small quantity of light, which must come from the right side of the stage. Music soft and of a plaintive character.

line

THE SOLDIER'S RETURN.

This interesting tableau is designed to appear in connection with the soldier's farewell, and is represented by seven persons. The cottage and other scenery described in the "Soldier's Farewell" is used in this piece, and is to be placed in the same position. At the left of the stage, near the front, stands a young gentleman dressed as a hackman. He carries a trunk on his shoulder, and a valise in his left hand; his position is such that a side view is had of the features; his eyes cast down to the floor, body slightly bent forward; a few paces in front of him stands the young soldier, with arms outstretched to receive his wife, who is standing in front of the doorstep, in the act of running towards him. The soldier shows a side view of his form, his feet extended apart, body bent forward, eyes fixed on his wife, countenance smiling. The wife faces the audience; her arms are raised, eyes directed to those of her husband, countenance pleasant. The father and mother of the soldier are seated in large chairs at the sides of the door. A young man is seen climbing over the fence. He holds a rake in his hand, and is looking at the soldier. A young lady is on the doorstep in the position of one running, her eyes fixed on the group at the front of the stage, countenance expressing surprise. Costume similar to the one described in the Farewell. The boy's costume consists of blue overalls, white shirt, and straw hat. The old lady and gentleman wear the suits described in the first scene. The old gentleman has a pair of crutches by his side, and is smoking a pipe. The old lady wears spectacles, and holds a newspaper in the left hand, and points to the soldier with the right; her eyes are turned to her husband, countenance expressing surprise. The soldier's wife has on a white dress with a velvet waist. The soldier is costumed in the suit that we described in the Farewell, with the addition of a red sash about the waist, gold epaulets on the shoulders, and a showy plume in his hat. The hackman's costume consists of a rubber coat and cap, long boots, and light pants. The scene requires a medium light, which should come from the side opposite the soldier. Music of a cheerful and lively style.

line