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FAITH.
[SEE PLATE.]
High on the mountain's towering head, While darkness rules the sky, Faith stands, and through the stormy cloud Directs her anxious eye. Amidst the gloom, the welcome rays With cheering lustre shine, And open to her ardent gaze A world of bliss divine.
J. FIRIEZE.
Seven Female Figures.
This beautiful statuary tableau is represented in the following manner: Six females kneel in a circle, and support a circular shield three feet in diameter, on which stands a young lady who represents Faith. Her right hand grasps a cross; the left is raised, the forefinger pointing upward. The six ladies should be dressed in pure white robes, cut low at the top. The hair is encircled with a wreath of white flowers. No ornaments of any kind are to be worn. The hair can be arranged to suit the taste of the performers. Their positions are as follows: The two figures supporting the front of the shield will partially face each other, resting the right knee on the floor, and facing outward from the circle, both hands touching the shield above. Two other ladies form behind the right hand figures, in the same position, and two more form behind the left hand figures. They will all face outward, and support the shield with both hands. The eyes should be cast down, the expression of the face serene. It will be necessary, before the ladies take their position, to place the shield on a pedestal one foot square, and high enough to allow the figures to kneel beneath. Cover the pedestal and shield with white cloth. After the six figures have taken their positions, the figure of Faith should be assisted to her position on the top of the shield. She must be of good figure, small, regular features, and dark hair, which should be quite long. Her dress consists of a long, white robe, made to trail on the top of the shield, the waist encircled with a large white cord, with two white tassels attached; the hair brushed back from the head, clasped with a silver band, and allowed to flow loosely over the shoulders; the head is adorned with a small band of silver, one fourth of an inch wide, with a small silver cross, in the centre. She is to stand perfectly erect in the centre of the shield, the cross resting on the right shoulder; the eyes lifted, as in devotion; the expression of the face calm, and yet denoting firmness and energy; the light should be soft, and come from the front right hand corner of the stage; the figures who support the shield must be partially thrown in the shade, while Faith receives the most of the light. Music accompanying this piece should be of a sacred character.
SPIRIT OF RELIGION.
Religion should our thoughts engage Amidst our youthful bloom; 'Twill fit us for declining years, And for the approaching tomb.
ANON.
Six Female and Three Male Figures.
This tableau contains nine figures. The lady who represents Religion stands in the background of the picture, on a pedestal three feet high. She holds a cross on her left shoulder; the right hand grasps her mantle, which she unfolds, revealing herself to mankind. The lady should be of medium height, with light hair, which hangs loosely over the shoulders. The costume consists of a loose white dress, cut high at the top, sleeves fitting tightly to the arms, while over this dress is worn a second, which is open in front, and is made of white tarleton muslin. Position is facing the audience, eyes directed straight forward, expression calm and thoughtful. The second figure is a beautiful young lady, who kneels at the foot of the pedestal, on a small platform one foot high, and represents Hope. One hand rests on a large Bible; the other points up to the cross, and bids the captive, the dying, and broken-hearted, who kneel in the foreground, to look up to Religion. Costume consists of a white dress, cut high at the throat, short sleeves; hair arranged in curls, and wings of gauze fastened to the back of the dress. Position, kneeling at the foot of the pedestal, facing the audience, head turned slightly on one side, one knee resting on the floor, the body erect, the eyes directed to the figure of the captive in the foreground. The third figure is at the right of the pedestal—a young and handsome lady, who represents Faith. She holds a palm branch—the emblem of martyrdom. Her costume consists of a long white dress, over which is thrown a white mantle, which she gathers about her breast. Her hair hangs loosely over her shoulders, and a black band encircles the head. Her position is, standing on a small pedestal two feet high, so that we have a profile view of her form. Her head is raised to the cross, countenance expressing calmness and repose. Charity is represented, on the left of the pedestal, by a young lady who extends her protection to two helpless children. Her costume is a white dress, opening at the bosom; hair done up neatly, over which hangs a white veil. Her position is, seated at the right of the pedestal, on a small platform two feet high, body facing the audience, head bent forward, and turned towards Religion; eyes cast down; each arm embraces a small child, who is dressed in simple costume. The captive is represented by a gentleman wearing a suit made of coarse cloth, long beard and hair, face painted to represent age, arms and waist bound with chains. He kneels at the foot of Charity, on the floor of the stage; his face is turned towards Hope. Both hands are clasped and raised in front of the breast. Kneeling at the foot of Hope are two other figures. One is a female, dressed in deep mourning; the other, an aged man, who is supported by the lady. His costume consists of a loose robe of white cloth, trimmed with purple; his head is covered with white hair, and from his face hangs a long white beard. The hair and beard can be made of flax. The lady is kneeling next to Faith; the right arm is placed around the aged man, and the left points to Religion; the head is turned upward, and the expression of the face denotes grief. The aged man kneels beside the figure in mourning, his head resting on her shoulder, with his clasped hands stretched out in front; the eyes are closed, and the face downcast. The tableau must be formed in the centre of the stage. The light should be quite strong, and come from the right of the stage. Music of a sacred character.
THE POET AND THE GODDESS OF POETRY.
The poet's pen is the true divining rod Which trembles towards the inner fount of feeling, Bringing to light and use, else hid from all, The many sweet, clear sources which we have Of good and beauty in our own deep bosoms; And marks the variations of all mind, As does the needle an air-investing storm.
FESTUS.
One Female and One Male Figure.
This beautiful tableau is personated by two figures, a young man and a maiden. The scene represented is a dark and gloomy attic. An old table stands in the middle of the room; on it are a few books and manuscripts, an inkstand, a candlestick, with a partly-burned candle inserted in it, a mug of water, and a roll of bread. Near the table is an old-fashioned arm chair, in which is seated a young man dressed in cheap clothing. He has leaned his head upon the table, and is lamenting over his poverty and misfortune. As he sits weeping, a mist gathers in the chamber; it slowly grows denser, till at last it becomes a cloud of light; and lo! in the midst of the cloud stands a divine shape—the Goddess of Poetry—supremely beautiful. She addresses the Poet, gives him advice and consolation, and encourages him to renewed efforts in the path of fame; then vanishes from his sight. Besides the furniture already described, there should be a few chairs, pictures, and a piece of statuary, placed in various parts of the stage. The Poet's costume consists of a loose black coat, dark breeches, light vest, white hose, low shoes, knee and shoe buckles. Position is near the table, his arms laid across it, his head resting on his arms, and in a position that displays a profile view of the body. The Goddess of Poetry should be a young lady of good height, figure, and features, and costumed in a flowing white dress, cut low at the neck, with short sleeves trimmed with white satin ribbon; a wide muslin mantle should be worn across the shoulders; a wreath of myrtle adorns the head. In her right hand she holds a golden harp; the left is placed on the shoulder of the Poet. Her position is behind the table, in the background of the picture, and facing the audience. Her head is slightly bent forward, and eyes directed to the face of the youth; her countenance expresses pleasure. The following machinery can be used, if desired, which will add very much to the beauty of the piece. In place of the Goddess being at the side of the Poet when the curtain rises, a sliding platform can be made to move on to the stage from the ante-room, on which the Goddess should stand. A stout post firmly fixed in one side will enable the lady to stand perfectly still while the platform moves to its position. All that is necessary in the construction of this part of the work is to make a set of ways, and a sliding platform that will run with ease from one side of the stage to the other. A rope attached to the platform, and fastened to a crank below the stage, will propel the Goddess to her position. The ways and platform can be hidden from view by a strip of board, painted to imitate the floor of the room. A small quantity of the whitish-blue fire may be burned near the spot where the Goddess appears. The light should be very dim, and come from the side of the stage opposite the Poet. Music soft and plaintive.
DEATH OF EDITH.
O'er her low couch an Indian matron hung, While in grave silence, yet with earnest eye, The ancient warrior of the waste stood by, Bending in watchfulness his proud gray head, And leaning on his bow.
Solemnly beautiful, a stillness deep, Fell on her settled face. Then, sad and slow, And mantling up his stately head in awe, "Thou'rt passing hence," he sang, that warrior old, In sounds like those by plaintive waters rolled.
"Thou'rt passing from the lake's green side, And the hunter's heath away; For the time of flowers, for the summer's pride, Daughter, thou canst not stay.
"Thou'rt journeying to thy spirit's home, Where the skies are ever clear; The corn-month's golden hours shall come, But they shall not find thee here."
The song ceased, the listeners caught no breath; That lovely sleep had melted into death.
MRS. HEMANS.
Three Female and Two Male Figures.
This tableau is suggested by the beautiful poem of Mrs. Hemans, called Edith, a Tale of the Woods. The circumstances of the poem refer to the western world in its first settlement, when fierce strife and combat raged between the wild Indian and the settlers from the mother country. In one of these fearful scenes a young and beautiful maiden was taken captive, and conveyed to the village of the red man. But the broken flower of England wasted and pined for the fine old home of other days.
"The parting sigh Of autumn through the forests had gone by, And the rich maple, o'er her wanderings lone, Its crimson leaves in many a shower had strown, Flushing the air; and winter's blast had been Amidst the pines; and now a softer green Fringed their dark boughs; for spring again had come, The sunny spring! but Edith to her home Was journeying fast."
The scene represented in this tableau is at the time when Edith is quietly sleeping in the wigwam of the Indian warrior. By her side sits an aged Indian matron, watching the sleeping one. Standing near the couch is an old Indian warrior leaning on his bow, gazing in grave silence on the dying girl. Kneeling at the foot of the couch are an Indian girl and lad, who are looking with wonder on the form of the pale-face. The wigwam should be six feet high, and five feet wide at the bottom. It should be made of light framework, and covered with brown cambric, on which are painted Indian hieroglyphics. This must be placed in the centre of the stage. The opening in front of the wigwam should be four feet wide at the bottom, so as to admit of the occupants being visible to the audience. The couch in the interior is composed of buffalo robes. The scenery in the background should represent woods and rocks. A few fir trees placed at the back part of the stage will answer, if nothing better can be procured. The lady who personates Edith should be one of good features and rather a small form. Her costume consists of a loose white dress, sleeves five inches long, hair done up loosely in the neck, and face and neck made as white as possible. Position, reclining on the couch, facing the audience, the lower part of the body covered with a leopard skin. The head and chest should be in an upright position, the head inclined back slightly, and supported by the right hand. The left hand laid carelessly over the bosom; the eyes are closed, the countenance calm. The aged Indian warrior should be dressed in a costume like that described in Hiawatha; the aged matron's costume similar to that worn by Nokomis, in the death of Minnehaha; the young Indian children in appropriate costumes. The position of the Indian matron is, sitting at the head of the sleeping girl, one hand resting on the pillow, and the other raised to the side of the head; the eyes cast upon the ground. The warrior's position is at the opposite side of the wigwam. He is leaning carelessly upon his bow; his body inclined forward slightly; his eyes fixed upon the sleeping maiden. The children kneel at the foot of the couch; the boy rests his head upon his hand, and gazes upon the face of the dying one; the Indian girl kneels by his side, and points with her right hand to the couch, while her eyes are directed to the face of the boy. The face and other exposed parts of the bodies of the Indian family must be stained light brown. A red fire should be burned in the ante-room, so as to fall upon the performance. Music soft and plaintive.
ABOU BEN ADHEM AND THE ANGEL.
Abou Ben Adhem (may his tribe increase) Awoke one night from a deep dream of peace, And saw, within the moonlight in his room, Making it rich and like a lily in bloom, An angel writing in a book of gold. Exceeding peace had made Ben Adhem bold, And to the presence in the room he said, "What writest thou?" The vision raised its head, And with a look made all of sweet accord, Answered, "The names of those who love the Lord." "And is mine one?" said Abou. "Nay, not so," Replied the angel. Abou spoke more low, But clearly still, and said, "I pray thee, then, Write me as one that loves his fellow-men."
The angel wrote and vanished. The next night It came again with a great wakening light, And showed the names whom love of God had blessed, And lo! Ben Adhem's name led all the rest.
LEIGH HUNT.
One Female and One Male Figure.
This very fine tableau is taken from the beautiful lines written by Leigh Hunt. The tableau is represented in two scenes. In the first scene, Ben Adhem is seen reclining on his couch, gazing with wonder and surprise on the angel, who is standing in the centre of the room, engaged in writing in the book of gold. In the second scene, the angel stands at the foot of the couch, and holds the book towards Ben Adhem for him to read the names written therein. The couch can be formed by placing a small mattress on a few low boxes, and covering the whole with bed clothes, on the outside of which should be a white quilt. It must be placed in the foreground, at the right of the stage. Place a plaster pedestal near the side of the couch, on the top of which stand a lighted lamp. At the background of the picture fasten a set of crimson damask curtains; drape them at each side of the stage, and beneath them place a plaster pedestal, with a piece of statuary on the top.
The lady who personates the angel should be of good form and features, of medium height, and costumed in a white dress, over which is worn a loose white tarleton muslin robe, with large flowing sleeves; this must be cut quite low at the top, and made to trail on the floor; hair done up snugly, and encircled with a band of silver, one fourth of an inch wide; large wings, formed of wire, and covered with gauze, and ornamented with silver spangles, should be fastened to the back of the waist. The face and other exposed parts of the body should be whitened with flesh powder. Position in the first scene is, standing in the centre of the room, facing the audience. The book of gold can be imitated by placing sheets of gold paper on the cover and in the inside of a large book. Let it rest on the left arm, and be held at the top by the left hand. The right hand holds a long quill pen, the point of which rests on the pages of the book. Let the body and head incline forward slightly; the eyes directed to the book; the expression of the face tranquil. Ben Adhem's position in the first scene is, reclining on the couch, with the quilt thrown over the lower portion of his body; his left hand resting on the bed, from which he has partially risen; the right raised in front of the chest, the fingers spread out; the face turned towards the angel, the expression of the face denoting surprise and wonder. Costume consists of white pants and shirt, white lace collar and wristbands, and a velvet cloak thrown carelessly over the right shoulder. In the second scene, the angel stands at the foot of the couch, holding the book in the left hand, and pointing to its pages with the right. Her eyes are fixed on Ben Adhem's face, while the countenance is lighted up with smiles. Ben Adhem leans forward, slightly resting his arm on a cushion at his side, and looks with pleasure on the pages of the book. A number of names should be written in the book, and at the top, in large letters, place the name of Abou Ben Adhem. While the tableau is performed, the poem may be read by the announcer. The light for the first scene should be quite dim, and come from the side of the stage opposite Abou. In the second scene, a colored fire must be burned, so as to throw a strong light on the form of the angel. Music in the first scene very soft, and increasing in power in the second.
HIAWATHA AND HIS BRIDE'S ARRIVAL HOME.
Pleasant was their journey homeward! All the birds sang loud and sweetly Songs of happiness and heart's ease; Sang the blue bird, the Owaissa, "Happy are you, Hiawatha, Having such a wife to love you!" Sang the robin, the Opechee, "Happy are you, Laughing Water, Having such a noble husband!"
Thus it was they journeyed homeward; Thus it was that Hiawatha To the lodge of old Nokomis Brought the moonlight, starlight, firelight, Brought the sunshine of his people, Minnehaha, Laughing Water, Handsomest of all the women In the land of the Dacotahs, In the land of handsome women.
LONGFELLOW.
One Male and Two Female Figures.
This interesting tableau is a representation of Hiawatha on the return to his home accompanied by his beautiful bride, Minnehaha. They have just arrived in sight of the lodge of old Nokomis, and are seen in the background of the picture emerging from the forest. A large tree lies in the pathway, and Minnehaha is in the act of stepping over it. She grasps Hiawatha's hand with her right, while the left is pointed towards the wigwam in the foreground. She has just asked Hiawatha if the lodge she sees is his home. Her countenance is lighted up with pleasure. Hiawatha is leading her by the hand, and is a little in advance of her. His face is turned towards her as he gracefully assists her over the fallen tree. His left hand clasps hers, while the right holds carefully his trusty bow.
Hand in hand they went together, Through the woodland and the meadow.
Hiawatha's face is lighted up with pleasant smiles as he looks upon the face of his bride, and tells her that yonder lodge is to be her new home. The lodge of old Nokomis is in the foreground of the picture, at the right of the stage. Minnehaha and Hiawatha are in the background at the left. The door of the wigwam is open, and seated in the doorway on a log is old Nokomis smoking her pipe. In front of the tent are the half burned embers of the camp fire; a light smoke is curling up to the sky, and all is quiet and still. Nokomis is gazing vacantly into the embers of the fire: perhaps she is thinking of the days when she
Nursed the little Hiawatha, Rocked him in his linden cradle, Bedded soft in moss and rushes, Softly bound with reindeer's sinews.
Hiawatha, Minnehaha, and Nokomis should be dressed in Indian costume, which can be cheaply made with a little ingenuity. Hiawatha's coat may be made of light brown cambric, cut frock style, and belted around the waist. The skirt should reach to the knee, and be ornamented with two rows of fringe three inches wide; one should be red, the other yellow. These fringes are also to be placed on the seams and bottom of the sleeves and around the collar; round pieces of brass should be fastened on various parts of the coat and around the belt. The leggings are made of buff cambric, fitting tightly to the legs, and ornamented at the side with red fringe. Black cloth shoes trimmed with beads are worn on the feet; the head is adorned with a gold band, in which are inserted bright-colored feathers. The belt around the waist should be made three inches wide, of red morocco, and contain a small knife and tomahawk; a quiver of arrows is fastened to the back, which can be fashioned of card-board, and covered with bright-colored paper or cloth. The exposed parts of the body should be stained a light brown, the hair brushed up to the top of the head, and confined with a band. Minnehaha's dress is of red cloth, trimmed with yellow fringe intermingled with colored beads. The waist of the dress should be of flesh-colored cloth made to fit the body very snugly. A scarf of ermine is worn over the shoulders, and tied at the left side. On the right side of the skirt is an over-skirt or side-apron, made of a darker colored crimson, and trimmed with ermine; it commences at the front of the body, and extends half way around the skirt; it is scalloped at the bottom, and ornamented with yellow fringe and beads outside of the ermine. The neck is adorned with a large necklace of white beads, while the head is encircled with a band of gold, ornamented with beads and showy plumes. The hair should be left flowing over the shoulders. The wrists are to be decorated with large gold bracelets. The leggings are to be of crimson cloth ornamented with yellow fringe, and small bands of yellow running around them at intervals of four inches. The feet are encased in shoes of black velvet studded with beads. A quiver of arrows is fastened to the back of the dress, and the exposed parts of the body stained light brown.
Nokomis has on a loose coat of brown cambric fringed with yellow, leggings of buff cambric fringed with light blue, dark shoes ornamented with beads and red binding. The hair should be black, and left to hang loose on the shoulders; a blue blanket trimmed with crimson fringe is gathered about the shoulders, and a black belt encircles the waist. The person who represents Nokomis should be of large figure and face. The features must be painted to represent old age. The scenery consists of the following articles, which should be arranged in perfect order to give the proper effect to the picture. The stage must be covered with green cloth, and should gradually rise from the fore to the background; small spruce trees can be arranged at the back and sides of the stage, with vines of flowers hanging from them. Two or three stuffed birds should be fastened to the top branches of the trees. The fire can be placed in a furnace near the wigwam, and surrounded with dried branches. The fallen tree and Nokomis' seat may be represented by artificial or natural logs. The tableau should receive the light from the right hand side, the greater portion of which should be thrown into the background. The accompanying music should be of secular and inspiring order.
DAVID PLAYING BEFORE SAUL.
Sing aloud unto God our strength, and make a joyful noise unto the God of Jacob. Take a psalm, and bring hither the timbrel, the pleasant harp with the psaltery. Blow upon the trumpet in the new moon, in the time appointed, on our solemn feast day. For this was a statute for Israel and a law of the God of Jacob.
PSALM LXXXI.
And Saul's servants said unto him, Behold now, an evil spirit from God troubleth thee. Let our Lord now command thy servants, which are before thee, to seek out a man who is a cunning player on a harp; and it shall come to pass, when the evil spirit from God is upon thee, that he shall play with his hand, and thou shalt be well. And Saul said unto his servants, Provide me now a man that can play well, and bring him to me. Then answered one of his servants, and said, Behold, I have seen a son of Jesse the Bethlehemite, that is cunning in playing, and a comely person. Wherefore Saul sent messengers unto Jesse, and said, Send me David thy son. And David came to Saul, and stood before him; and it came to pass, when the evil spirit from God was upon Saul, that David took a harp, and played with his hand. So Saul was refreshed, and was well, and the evil spirit departed from him.
1 SAMUEL XVI.
Six Female and Eight Male Figures.
This sacred tableau contains fourteen figures, and is arranged in the following manner. Saul is seen seated on the throne at the background of the picture. On each side of the throne are seated Saul's friends and servants. David is sitting in the foreground, playing on the harp. Saul's costume consists of a scarlet or purple velvet coat and breeches, white hose crossed with red bands, low shoes, a crown of velvet and gold, ornamented with precious stones, on the head, and a large cloak of velvet and ermine thrown over the shoulders. A long white beard should be fastened to the face, and a wig worn on the head. The gentlemen should be attired in long, loose coats, made of bright-colored cambric, trimmed with the same material, of other colors. The head should be covered with a red and black turban. White hose, crossed with black and red bands, breeches of showy-colored cloth, shoes covered with red flannel, and crossed with black binding, the face disguised with a long white beard, which can be made of flax. The ladies can be costumed in satin or silk dresses, the hair hanging in curls, and the person decorated with a profusion of jewelry. The person who takes the part of David should be of fair complexion, without a beard, should have long hair, and be costumed in a light, loose blue coat, reaching five inches below the knee, and gathered around the waist with a crimson belt. He should also wear blue breeches, blue hose crossed with red bands, and sandals on the feet; a turban, made of velvet, and decorated with gold, should adorn the head. The throne platform is to be two feet high and four feet square; on this is placed a large chair, with a canopy over the top, all of which must be trimmed with crimson cloth, and decorated with gold paper. On each side of the throne, place seats to accommodate twelve persons; those in front can be seated, while others, in the background, should be standing; they must assume various positions; a few may be engaged in conversation, while others are looking at David. Saul is seated on the throne, with the right hand resting on the arm of the chair, his body slightly bent forward, and eyes fixed on David. His countenance expresses pleasure. David is seated on a low ottoman in the foreground of the picture. The harp rests on the floor. Position so that a side view is had of the body. His head is thrown back; eyes cast upward; face expresses pleasure. The light for this picture should come from the front and the left side of the stage, and must be quite brilliant. The harp can be made of wood, covered with gold paper, and strung with yellow cord. The music should be of a sacred and inspiring style.
LIBERTY.
"O Liberty, can man resign thee Once having felt thy generous flame? Can dungeons, bolts, or bars confine thee, Or whips thy noble spirit tame? Too long the world has wept, bewailing That falsehood's dagger tyrants wield; But freedom is our sword and shield, And all their arts are unavailing. To arms, to arms, ye brave! The avenging sword unsheathe! March on, march on, all hearts resolved On victory or death."
Seven Female and Six Male Figures.
This tableau is an ideal representation of Liberty, and is represented by thirteen persons—seven young ladies and six young gentlemen. In the background of the picture a platform is raised, on which stands the Goddess of Liberty. This platform is three feet high and four feet square. The front is covered with blue cambric, with a border of red, decorated with gilt stars. In the centre is placed a gilt eagle; on each end of the platform is a small American shield. The background is draped with American flags. On each side of the platforms are placed inclined planes, extending from the corners of the platform to the front corners of the stage; the height of these at the front should be six inches, and three feet high at the background. They are to be covered with white cloth, and ornamented with a border of red and blue cambric. The lady who personates the Goddess of Liberty should be of good height, fine figure and features. Costume consists of a white satin or silk dress, made long enough to trail on the platform, a waist of crimson velvet, covered with small gilt stars, sleeves five inches long, hair done up snugly, and covered with a spiral liberty cap, of blue velvet, decorated with gold bands. Position is, standing in the centre of the platform, grasping with the right hand a slender spear seven feet in length. Entwined around this should be a small American ensign. The left hand hangs carelessly at the side; the head thrown back slightly, the eyes cast upward. The six ladies kneel at equal distances on the inclined plane. Their costume consists of a white dress, blue waist, and red sash; a garland of flowers should adorn the head, and each holds extended in the right hand a wreath of myrtle. Their attention should be directed to the Goddess of Liberty. The six gentlemen take position on the opposite inclined plane. They kneel at equal distances from the platform to the corner of the stage, and are costumed in blue or black coats, white pants, with buff stripe on the side, gold epaulets, side arms, red sash, flat caps, with gilt bands. The cap should be slightly raised with the right hand, while the left is placed on the hip. The eyes are to be directed to the Goddess. The piece should be lighted up by a red fire burned at the opposite side from the gentlemen, and the light must be quite brilliant. Music, Star-spangled Banner.
PAGANISM AND CHRISTIANITY.
O'er the realms of pagan darkness, Let the eye of pity gaze; See the kindred of the people Lost in sin's bewildering maze; May the heathen, now adoring Idol gods of wood and stone, Come, and, worshipping before him, Serve the living God alone.
COTTERILL.
Two Female and Two Male Figures.
This double tableau represents the idolatrous system of faith and worship of the pagans, and by simple machinery the scene is made to pass from the view of the audience, and we have represented the faith and glorious emblems of Christianity. The machinery and scenery which are used in the piece are made in the following manner: A revolving beam should be set up under the stage, the upper end protruding through the floor. Washers will be needed for the bottom and top, and wooden pins, passing through the beam, will be necessary, to take hold of to move it around. Build a circular platform ten feet in diameter; make it strong with braces, and, if necessary, it can be made in two parts, and fastened together with iron hooks and clamps. Cut a square hole in the centre of the platform, corresponding with the thickness of the beam. Then place it on the top of the beam, six inches from the floor, secure it firmly, and make it perfectly level. Across the centre of the platform cut small holes for the purpose of inserting the ends of a partition which will divide the circle into two apartments; make the partition of wood; cover one side with white cloth, and also the floor with the same; the other side and floor with black cloth. It should be five feet high, ten feet wide, and oval at the top. After the tableaux are arranged on each side of the platform, persons under the stage can revolve the whole with very little exertion. The tableau of Christianity should be formed on the light side, and Paganism on the dark side. By placing numbers on the revolving beam, and corresponding numbers on the washers, the assistant below will be able to tell when the tableau is in the right position above. To represent Paganism, a large idol should be constructed, and seated in the centre, and close to the black partition. The form of the human body can be imitated by taking a suit of old garments, stuffing them with straw, and covering them with buff cambric, on which hieroglyphics can be painted. A large mask, with artificial hair, and crown made of gaudy-colored cloth, will answer for the head; a short frock of red Turkey cloth, trimmed with gold paper, should be fastened about the lower portion of the body. The idol should be seated on a pedestal sixteen inches high, which is placed on a platform three feet square and eight inches high. These are to be decorated with showy cloth or paper. Kneeling at the foot of the pedestal are two figures, one a female, the other a male. Their hands are clasped in front of the face, the eyes raised to the idol, head turned, so that a side view is had of the features. The costume of the youth consists of a loose coat, made of brown cambric, trimmed with crimson cloth and beads; flesh-colored pants, fitting tightly to the legs; shoes covered with showy cloth; a turban on the head, made of strips of red and buff cloth; the face and other exposed parts of the body stained a light brown. The young lady's costume consists of a loose dressing gown, trimmed around the top and on the ends of the sleeves with bands of red cloth, and gold paper cut in the form of diamonds. The hair should hang loosely over the shoulders, and about the head entwine a string of beads; the head is slightly turned to the young man; the eyes directed to the idol; the face and arms stained like the young man's. The extreme ends of the platform are occupied by two figures costumed similar to those already described. They are kneeling at the feet of small pedestals in such a position that a profile view is had of the form. The pedestals should be two feet high, and covered with bright-colored cloth. On one is a representation of the sun, made by pasting a sheet of gold paper on card-board, and cutting out rays around the edge. On the other pedestal is placed a figure of the moon, with the stars radiating around it. The moon can be made of card-board and silver paper, and the stars of gold paper; these must be fastened to wires, and placed ten inches from the top of the pedestals. Indian war clubs, spears, shields, and other heathen curiosities, should be placed about the figures. The light for this scene must be quite mild, and come from the right hand side of the stage. Music low and of a mournful character.
SECOND SCENE OF PAGANISM AND CHRISTIANITY.
Upon the gospel's sacred page The gathered beams of ages shine; And as it hastens, every age But makes its brightness more divine.
On mightier wing, in loftier flight, From year to year does knowledge soar, And as it soars, the gospel light Adds to its influence more and more.
BOWRING.
One Male and Two Female Figures.
The Tableau of Christianity.—On the side of the platform which is covered with white cloth there should be erected a small pulpit. Make it of boards, cover it with cloth, and paint it in imitation of mahogany. A small red cushion should be placed on the top, supporting a large Bible, and on each side place lamps, with glass shades. In the pulpit stands a young man dressed to represent a minister of the gospel; one hand resting on the Bible, the other raised upward. In front of the pulpit place a small table, covered with a white cloth, on which set four silver goblets. By the side of the table place a plaster pedestal, with a white urn on the top, to represent a font; on each side of the pulpit, and at the extreme ends of the platform, are two female figures; both are kneeling by the side of small pedestals; these can be made of small boxes, covered with white cloth, and ornamented with myrtle. The female figures should face the audience. One holds a large Bible with the right hand, and points to the pages with the left. The eyes are cast upward; the face expresses meekness and serenity. The second figure, at the other end of the platform, holds a cross in the left hand, and points to it with the right; the eyes are raised upward, the face expressing pleasure. Their costume consists of white dresses, cut low at the top, sleeves quite long and flowing, and ornamented with white muslin; the waist is encircled with a band of satin ribbon; a wreath of white flowers adorns the head, and gauze wings are fastened to the back of the waist. The hair should be dressed closely to the head, and a few curls allowed to hang on the shoulders. The length of the cross is three feet; color, light blue. On small pedestals, between the pulpit and the female figures, place models of the steam engine, steamboat, printing press, and telegraph. The tableau of Paganism must be first produced, after which the machinery should slowly revolve, bringing into the view the tableau of Christianity. The curtain must be kept up until both are exhibited. The light for these tableaux should be quite brilliant, and issue from the left side of the stage. Music of a sacred character.
THE FAIRIES' DANCE.
The moon is full, the stars are bright, The monks are all asleep; Now gayly come the Fays to-night, Their revelry to keep. They love the abbeys old and gray, Whence the vesper song is heard, And the matin hymn at break of day Awakes the singing bird.
With waving torch and tiny shout, The nimble foot they ply, And Fairy laughs are ringing out Beneath the midnight sky;— Then mortals hear the merry peals, And wonder at the sound, So like the chiming of harebells, When light winds steal around.
ANON.
Ten Female and Eight Male Figures.
This beautiful tableau is represented by eight small misses, eight small lads, and two young and pretty ladies. The stage should be formed so as to rise gradually from the footlights to the background, which can be done by using boxes of various sizes, and covering them with green bocking. Twelve of the children should form a circle, the front of which must be two feet from the footlights, the back extending to the other end of the stage. They should clasp each other by the hand, and take the position of the Highland fling; the right hand raised above the head, the left placed on the hip; the attitudes should be as graceful as possible. The expression of the faces denoting pleasure and mirth. Near the footlights, two of the children should be seated, looking at the others; and standing on pedestals at each side of the stage, near the front, are the young ladies. The pedestals are two feet high, covered with pink cambric, and bordered with green leaves and flowers. The position of the female figures must be graceful and easy. They stand so as to show a profile view of the body; each holds a golden wand, which she extends out over the heads of the dancers. Their eyes are fixed on the movements of the children, the left hand clasps a stout cord, to which is fastened a large crimson tassel, that will help sustain the body in position. The costume of the misses consists of a short white dress, with short sleeves, the waist studded with small stars and spangles; the bottom of the skirt bound with light green ribbon, three inches wide, with gold paper fastened to each edge, and small pink roses placed between. The sleeves are bound with gold and pink ribbon in alternate bands, three inches wide; a small scarf of white gauze, covered with spangles and fringed at the ends with gold, encircles the waist. Flesh-colored hose, white slippers, a wreath of silver leaves about the head. The hair arranged in short curls, and small gauze wings, ornamented with spangles, fastened to the back of the waist.
The young lads' costume consists of a short coat, buttoned snugly over the breast, made of light pink cambric. The bottom, the ends of the sleeves, and the collar trimmed with purple cambric, three inches in width, with narrow strips of gold paper on each side; between the bands of gold, insert small diamond-shaped pieces of gold paper, bordered with spangles. A belt made of the same material encircles the waist; hose of flesh-colored cloth; white slippers, with pink rosette on the front; a small cap, made of purple cambric, in the form of a tulip, is worn on the head; it should be rather low, with a stem of green protruding from the top, the edges scalloped, and bound with gold paper. Small gauze wings are fastened to the shoulders, which are ornamented with spangles and silver stars. The young ladies' costume consists of a long white dress, with a robe worn on the outside of tarleton muslin; the outer dress should have three wide flounces, the edges of which are to be trimmed with large silver leaves, interspersed with gilt roses; these can be made from gold and silver paper. The waist must be cut quite low, and decorated in the same manner; the sleeves flowing, and trimmed with spangles and pink ribbons; large gauze wings, decorated with spangles and silver tinsel, should be fastened to the back of the waist. The hair must be done up in a neat coil, and encircled with a band of white flowers. Make the wands four feet in length, and one half an inch in diameter; cover them with silver paper, attach a gilt heart on the end. The light for this tableau can be produced by a whitish-blue fire, burned at either side of the stage; it should be quite brilliant, and must be lighted before the curtain rises. Music of a lively order.
BUST OF PRAYER.
Prayer is the soul's sincere desire, Utter'd or unexpress'd; The motion of a hidden fire That trembles in the breast.
Prayer is the burden of a sigh,— The falling of a tear,— The upward glancing of an eye, When none but God is near.
Prayer is the simplest form of speech That infant lips can try; Prayer, the sublimest strains that reach The Majesty on high.
One Female Figure.
This beautiful production should be represented by one who has an amiable and modest appearing countenance, good figure and features. The hair must be brushed up from the forehead, and fastened behind in a black crochet net. The dress should be pure white, open very low at the front and back. A cross is suspended from the neck by a band of white ribbon. A heavy white veil should pass over the top and back of the head, and be tied loosely four inches below the chin; the head inclined forward slightly, the eyes closed, while the countenance should appear serene, pure, and full of hope; the arms are to be folded out of sight upon the breast. The same machinery, pedestal, wire basque, crimson curtain, and fairies that are used in the Bust of Proserpine, may be used in this piece. The light should be mild, and come from the left side of the stage. Music plaintive, and of a sacred order.
MORNING WELCOMED BY THE STARS.
A glorious vision: as I walked in gloom, The children of the sun came thronging round me, In shining robes and diamond-studded shoon; And they did wing me with them, and soon In a bright dome of wondrous width I found me, Set all with beautiful eyes, whose wizard rays,—— Shed on my soul, in strong enchantment bound me; And so I looked and looked with dazzled gaze, Until my spirit drank in so much light That I grew, like the sons of that glad place, Transparent, lovely, pure, serene, and bright; Then they did call me brother; and there grew Swift from my sides broad pinions gold and white, And with that happy flock a brilliant thing I flew!
TUPPER.
Twenty-one Female Figures.
This beautiful spectacle is represented by twenty-one persons. Twenty of the number should be young misses, of about six or eight years of age, who will personate the stars, and one, a young and handsome lady, who is to represent morning. The sides of the stage must be arranged in the form of terraced banks, two feet wide at the bottom, and four feet wide at the top; they should be built from the footlights to within three feet of the ceiling, covered with cloth, and painted to represent clouds. Blue cambric, with white clouds and gold stars, will answer the purpose. In the centre of the stage, two pieces of joist must be placed in an inclined position, running from the footlights to the background. On these build a sliding platform, four feet square, with a small seat, one foot high. This should be made to run with ease from the top to the bottom of the joist; cloth, painted in imitation of clouds and stars, can be extended across the space between the two terraces and the joist, so that it will show a smooth surface. Cover the moving platform with cloth, arranged in drapery style, and paint in the same manner as the rest of the scenery. A back scene should be placed at the top of the terraces, leaving a space of three feet between it and the back wall; this must be painted like the rest of the scenery, and made to open in the centre, near the top of the joist.
The young misses' costume consists of a short white dress, decorated with gold stars, and silver paper interspersed with spangles, white hose and shoes, hair hanging in curls, and encircled with a band of silver leaves, with a silver star on the forehead; a light blue sash, covered with spangles, tied about the waist; and small gauze wings fastened to the back of the dress. Each one should hold a small torch ten inches in length, from which rises a blue flame; these can be made of card-board, and covered with light blue paper, with the ends tipped with gold. At the end from which the flame is produced, insert a strip of tin, to protect the torch from the flames. The torches should not be lighted until all the figures are in position. The young misses take their position at each side of the stage, on the outer edge of the terrace. They must lean forward slightly, and hold the torch out from them. Their attitudes should be varied; those near the top should be gazing upward, others looking down, and a few engaged in conversation. The young lady who represents Morning must be costumed in a loose white robe of tarleton muslin, cut low at the top, flowing sleeves, skirt covered with three wide flounces, trimmed in front with silver rays five inches long. The waist and sleeves decorated with silver and gold spangles, and a satin belt, ornamented in like manner, worn about the waist. The hair should be brushed back from the forehead, and clasped with a band of silver, and allowed to hang over the shoulders in long curls; the head is adorned with a band of gold, with rays of silver radiating from the centre. The position is, seated on the platform, head slightly inclined to the left, the right hand raised over the head, the left rests on the waist; eyes directed to the children in the foreground, countenance expressing pleasure. The goddess Morning will be seated on the platform, behind the scenery.
A yellow fire must be burned in the ante-room, and so shaded that, just as the curtain rises, a small portion of the light will shine on the centre of it; this light should increase in brightness for a few seconds, when the sky in the background must open, and the goddess glide slowly down to the centre of the stage. As the platform moves, the fire should increase in brightness; when she has arrived at the centre of the stage, the yellow light should be thrown into the foreground, and a red light thrown into the background. This can be accomplished by placing the colored fires in large boxes furnished with sliding covers and reflectors; and by drawing out the covers gradually, the light will be thrown on to the picture in the proper manner. The curtain in the background can be opened by attaching at each corner, near the centre, a small cord, which can be passed through pulleys, and attended to in the ante-rooms. The curtain or scenery should be drawn up on the back side, and let down in its place as soon as the platform has passed through. A small rope, painted blue, must be attached to the platform, and pass through a block fastened to the wall of the stage; this can be tended by a person under the stage, who will allow the platform to move with exactness to its stopping place. If the light from the colored fire is not brilliant enough, a few of the lights at the same side from whence the fire is produced can be lighted. Music soft and plaintive at first, and increasing in power at the finale.
THE STATUE VASE.
She spoke to vanish, but the single ray Shot from the unseen moon, still palely breaketh The awe that rests with midnight on the way; Faithful as Hope when Wisdom's self forsaketh— The buoyant beam the lonely man pursued— And, feeling God, he felt not Solitude.
And now, he enters, with that lurid tide, Where time-long corals shape a mighty hall; Three curtain'd arches on the dexter side, And on the floors a ruby pedestal, On which with marble lips, that life-like smiled, Stood the fair Statue of a crowned Child.
BULWER'S KING ARTHUR.
One Female Figure.
This design is a beautiful female, supporting a horn of plenty, from which rises a basket of intermingling vines and flowers. The lady is standing on a pedestal, which is described in the tableau of the Italian Flower Vase, as is also the basket which the lady supports. This basket or bowl of the vase can be suspended from the centre of the ceiling by the means of wire hooks. The pedestal must be placed directly under it. The space between the top of the pedestal and the bottom of the basket should be just the height of the lady who takes the part of the statue in the piece; so that when she is in position on the pedestal, the bottom of the basket will touch the top of her head. The horn of plenty can be made of cloth; it should be five inches in diameter at the top, three foot long, and end in a point at the bottom; it can be stuffed with wool, covered with green cambric, and decorated with artificial flowers. It is to be attached to the bottom of the basket, pass down over the lady's shoulder, and held in its position by the left arm and hand. The lady who takes this part should be of large and good figure, regular features, and quite pretty. The costume consists of a white dress, with sleeves five inches long, cut low at the neck, skirt made rather long, and worn without many underskirts; a scarf of gauze worn over the shoulders, and tied at the right side, allowing the ends to trail on the pedestal. The hair should be arranged in wide braids at the side of the face, confined at the back with a band of silver, and allowed to fall in short curls over the neck. The position of the lady is, standing in the centre of the pedestal, her body facing the audience, and head turned partially to the right. The eyes should be raised a trifle, while the expression of the face denotes tranquillity and repose. The left hand must gracefully press the horn of plenty against the side of the breast, while the right is raised above the head, and touches the basket as if to steady it. The light for this piece should be of medium brilliancy, and placed at the side opposite to the face of the statue. Music soft and of a secular order.
SPIRIT OF CHIVALRY.
Strike the loud harp, ye minstrel train! Pour forth your loftiest lays; Each heart shall echo to the strain Breathed in the warrior's praise.
Bid every string triumphant swell Th' inspiring sounds that heroes love so well. Chieftains, lead on! our hearts beat high— For combat's glorious hour; Soon shall the red cross banners fly On Salem's loftiest tower! We burn to mingle with the strife, Where but to die insures eternal life.
MRS. HEMANS.
Nine Male and Five Female Figures.
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.
HAIDEE AND DON JUAN IN THE CAVE.
His eyes he opened, shut, again unclosed, For all was doubt and dizziness; he thought He still was in the boat, and had but dozed, And felt again with his despair o'erwrought, And wished it death in which he had reposed; And then once more his feelings back were brought, And slowly by his swimming eyes was seen A lovely female face of seventeen.
'Twas bending close o'er his, and the small mouth Seemed almost prying into his for breath; And, chafing him, the soft, warm hand of youth Recalled his answering spirits back from death; And, bathing his chill temples, tried to soothe Each pulse to animation, till beneath Its gentle touch and trembling care, a sigh To these kind efforts made a low reply.
BYRON.
One Male and Two Female Figures.
This pleasing tableau is taken from the poem of Don Juan, by Byron. The scene is that where Haidee discovers the insensible form of Juan lying at the mouth of the cave, near to the sea shore. Don Juan has been shipwrecked; his almost lifeless body has washed ashore, and found a resting place in a rocky cave, to be discovered by the beautiful Haidee and her attendant. The principal work in this piece is the forming of the cave, which can be made in the 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.
POVERTY.
The sun is bright and glad, but not for me; My heart is dead to all but pain and sorrow; No care nor hope have I in all I see, Save from the fear that I may starve to-morrow. Alas, for you, poor famishing, patient wife, And pale-faced little ones! Your feeble cries Torture my soul; worse than a blank is life Beggared of all that makes that life a prize: Yet one thing cheers me,—is not life the door To that rich world where no one can be poor?
TUPPER.
Three Female and Two Male Figures.
This tableau represents the interior of one of the homes of the starving poor, such as are found in all large towns, where vice and intemperance go hand in hand. To make the scene look as natural as possible, a partition should be made to fill up the back of the stage, covered with cheap room paper. Two old 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.
DEATH OF MINNEHAHA.
O the long and dreary Winter! O the cold and cruel Winter! Ever thicker, thicker, thicker Froze the ice on lake and river, Ever deeper, deeper, deeper Fell the snow o'er all the landscape, Fell the covering snow, and drifted Through the forest, round the village. O the famine and the fever! O the wasting of the famine! O the blasting of the fever! O the wailing of the children! O the anguish of the women! "Give us food, or we must perish! Give me food for Minnehaha, For my dying Minnehaha!"
Through the far-resounding forest, Through the forest vast and vacant— Rung that cry of desolation; But there came no other answer Than the echo of his crying, Than the echo of the woodlands, "Minnehaha! Minnehaha!" All day long roved Hiawatha In that melancholy forest, Through the shadow of whose thickets, In the pleasant days of Summer, Of that ne'er forgotten Summer, He had brought his young wife homeward From the land of the Dacotahs.
In the wigwam with Nokomis, With those gloomy guests, that watched her, With the Famine and the Fever, She was lying, the Beloved, She the dying Minnehaha. "Hark!" she said; "I hear a rushing, Hear a roaring and a rushing, Hear the Falls of Minnehaha Calling to me from a distance!" "No, my child!" said old Nokomis, "'Tis the night wind in the pine trees!" "Look!" she said; "I see my father Standing lonely at his doorway, Beckoning to me from his wigwam In the land of the Dacotahs!" "No, my child," said old Nokomis; "'Tis the smoke, that waves and beckons!" "Ah!" she said, "the eyes of Pauguk Glare upon me in the darkness, I can feel his icy fingers Clasping mine amid the darkness! Hiawatha! Hiawatha!"
And the desolate Hiawatha, Far away amid the forest, Miles away among the mountains, Heard that sudden cry of anguish, Heard the voice of Minnehaha Calling to him in the darkness, "Hiawatha! Hiawatha!" Over snow-fields waste and pathless, Under snow-encumbered branches, Homeward hurried Hiawatha, Empty-handed, heavy-hearted;
And he rushed into the wigwam, Saw the old Nokomis slowly Rocking to and fro and moaning, Saw his lovely Minnehaha Lying dead and cold before him, And his bursting heart within him Uttered such a cry of anguish, That the forest moaned and shuddered, That the very stars in heaven Shook and trembled with his anguish.
LONGFELLOW.
One Male and Two Female Figures.
This affecting tableau is a representation of the death of the beautiful Minnehaha. The scene is at the moment when Hiawatha draws back the door of the wigwam, and there beholds his lovely Minnehaha lying dead and cold before him. The scenery of this picture is the same that is used in the tableau of 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.
THE MOTHER'S LAST PRAYER.
Her hands were clasped, her dark eyes raised; The breeze threw back her hair; Up to the cross she fondly gazed, And raised her voice in prayer.
While there she knelt in deep despair Beside her own first born, And bowing her deep soul in prayer Forth on the rushing storm.
She wiped the death damps from his brow With her pale hands and soft, Whose touch upon the lute chords low Had stilled his heart so oft.
ANON.
One Female and One Male Figure.
This tableau represents a mother and child kneeling at the foot of a cross, amid the drifting snows and icy winds of the Alpine Mountains. Having lost their way, and being unable to travel any farther, the mother kneels in prayer at the foot of one of the crosses which are placed as landmarks along the road, to guide the traveller on his journey. The floor of the stage should be made uneven by placing boxes of various sizes at irregular distances, and covering them with white cotton flannel. A number of spruce trees can be arranged at the sides and at the background, all of which should be covered with small particles of cotton wool; small bags, stuffed with hay, and covered in the same manner, must be placed around the foot of the cross and at various parts of the stage, to represent snow banks. A few handfuls of lint thrown into the 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.
LOUIS XVI. AND HIS FAMILY.
I hear thy whisper, and the warm tears gush Into mine eyes; the quick pulse thrills my heart. Thou bidd'st the peace, the reverential hush, The still submission, from my thoughts depart. Dear one, this must not be!
The past looks on me from thy mournful eye; The beauty of our free and vernal days; Our communings with sea, and hill, and sky— O, take that bright world from my spirit-gaze. Thou art all earth to me!
Shut out the sunshine from my dying room, The jasmine's breath, the murmur of the bee; Let not the joy of bird-notes pierce the gloom; They speak of love, of summer, and of thee Too much, and death is here!
ANON.
Three Female and Four Male Figures.
On the 20th of January, 1793, at three o'clock in the morning, the second year of the French republic, the final vote was taken by the Convention, that Louis XVI. should be executed. All the efforts to save the king were now exhausted, and his fate sealed. The decree of the Convention was sent to the king, 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 Revolution at twenty minutes past ten o'clock. An immense crowd filled the place, above which towered the guillotine. With a firm tread he ascended the steps of the scaffold, looked for a 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.
DRESSING THE BRIDE.
So, after bath, the slave girls brought The precious raiment for her wear, The misty izar from Mosul, The pearls and opals for her hair, The slippers for her little feet, (Two radiant crescent moons they were,) And lavender, and spikenard sweet, And attars, nedd, and heavy musk. When they had finished dressing her, (The Eye of Morn, the Heart's Desire,) Like one pale star against the dusk, A single diamond on her brow Trembled with its imprisoned fire!
T.B. ALDRICH.
Three Female Figures.
This tableau is taken from the beautiful poem, "The Course of True Love never did run smooth," by Thomas Bailey Aldrich, who describes in his artistic style the bridal toilet of the princess preparatory to her being wedded to the Vizier Giaffer. The scene 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.
HOPE, FAITH, CHARITY, AND LOVE.
HOPE.
Hope looks beyond the bounds of time, When what we now deplore Shall rise in full immortal prime, And bloom to fade no more.
FAITH.
'Tis faith that purifies the heart, 'Tis faith that works by love, That bids all sinful joys depart, And lifts the thoughts above.
CHARITY.
O charity, thou heavenly grace, All tender, soft, and kind! A friend to all the human race, To all that's good inclined.
LOVE.
Love suffers long with patient eye, Nor is provoked in haste; She lets the present injury die, And long forgets the past.
Four Female Figures.
The above characters are represented as statues. Four females of the same height, of graceful form and fine features, are required to form the group. They should all be costumed in long white robes, that will trail eight inches, the waist cut quite low at the top, the sleeves five inches long; a wide scarf of tarleton muslin draped across the breast, tied at the side, and allowed to trail with the dress; hair confined at the 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.
THE DEATH OF GENERAL WARREN.
Thou rising sun, thou blue rejoicing sky, Yea, every thing that is and will be free, Bear witness for me, wheresoe'er ye be, With what deep worship I have still adored The spirit of divinest Liberty.
COLERIDGE.
Twenty-five Male Figures.
This magnificent tableau represents the scene so well known in the early history of our country, and contains twenty-five figures, thirteen of which should be dressed in crimson uniform, to personate the British 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. |
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