PORTRAIT OF PRINCE ALBERT.

One Male Figure.

This tableau is produced in the same manner as the Madonna. The gentleman who personates Prince Albert should, in general outline of features and form, resemble the original as much as possible. The costume consists of a crimson coat richly trimmed with gold lace, and heavy decorations in silver on the left breast, gold epaulets, a richly ornamented sword and belt, buff vest trimmed with gold lace, buff breeches, top boots trimmed at the top with gold binding, a red sash, and black chapeau. The position must be so that a partial front view can be had of the body; eyes directed straight forward. The light should be of medium quantity, and come from the front of the stage. Music of a national order.



THE RETURN OF THE PRODIGAL SON.

O! thou hast wander'd long From thy home without a guide; And thy native woodland song, In thine altered heart hath died.

Thou hast flung the wealth away, And the glory of thy Spring; And to thee the leaves' light play Is a long-forgotten thing.

Still at thy father's board There is kept a place for thee; And, by thy smile restored, Joy round the hearth shall be.

MRS. HEMANS.

Four Male Figures.

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



SINGLE BLESSEDNESS.

Close by his lonely hearth he sate, While shadows of a welcome dream Passed o'er his heart; disconsolate His home did seem; Comfort in vain was spread around, For something still was wanting found.

ANON.

One Male Figure.

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



MARRIAGE BLISS.

It is most genial to a soul refined, When love can smile unblushing, unconcealed, When mutual thoughts, and words, and acts are kind, And inmost hopes and feelings are revealed, When interest, duty, trust, together bind, And the heart's deep affections are unsealed, When for each other live the kindred pair,— Here is indeed a picture passing fair!

TUPPER.

One Male and Two Female Figures.

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



THE SLEEPING MAIDEN.

Witness this primrose bank whereon I lie; These forceless flowers like sturdy trees support me, Two strengthless doves will draw me through the sky, From morn to night, even where I list, to sport me.

SHAKSPEARE.

One Female Figure.

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



NIGHT AND DAY.

Heaven opened wide Her ever-during gates—harmonious sound— On golden hinges morning to let forth, The king of glory, in his powerful word And spirit, coming to create new worlds.

God saw the light was good, And light from darkness, by the hemisphere, Divided; light the day, and darkness night He named. Thus was the first day, even and morn.

MILTON.

Two Female Figures.

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



THE FIREMEN IN REPOSE.

Ten Male Figures.

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



THE ALARM.

"Prompt when duty calls."

Twelve Male Figures.

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



AT THE FIRE.

"Fire was raging, above and below."

One Female and Thirteen Male Figures.

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



ETHAN ALLEN AT TICONDEROGA.

Nor com'st thou but by Heaven, nor com'st alone. Some god impels with courage not thy own. No human hand the weighty gates unbarred, Nor could the boldest of our youth have dared To pass our outworks, or elude the guard.

POPE'S HOMER.

One Female and Eleven Male Figures.

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



THE GYPSY FORTUNE TELLER.

Seek not to know the future; be happy while you may, Nor cloud with dark foreknowledge the sunshine of to-day. I see that you are hopeful, I read it in your eyes, And I can learn no more from the stars that gem the skies. Trust not the outward seeming of all who speak you fair; What has been, maiden, may be—be watchful and beware.

I will not cheat you, maiden; my gypsy skill you seek; This only of the future the gypsy girl can speak: When flippant worldlings flatter, let then your doubts begin; Take, maiden, for your counsel the "still small voice within." If weak the heart of woman, her stronghold too is there; Guard then the fortress, conscience! be watchful and beware.

CHARLES JEFFERY.

Two Female Figures.

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



PEACE.

Beautiful vision, how bright it rose! Vision of peaceful and calm repose! Well might it brighten the rapt seer's eye, And waken his heart to an ecstasy; 'Twas earth, glad earth, when her strife was o'er, Her conflict ended, and war no more.

ANON.

Eight Male and Twelve Female Figures.

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



WAR.

'Twas man himself Brought Death into the world; and man himself Gave keenness to his darts, quickened his pace, And multiplied destruction on mankind. First Envy, eldest born of Hell, imbrued Her hands in blood, and taught the sons of men To make a death which nature never made, And God abhorred; with violence rude to break The thread of life, ere half its length was run, And rob a wretched brother of his being.

PORTEUS.

Twenty Male and Six Female Figures.

This tableau is a vivid representation of some of the effects of war. The foreground of the picture represents a battle field after the combat has ended.

"'Twas the battle field; and the cold, pale moon Looked down on the dead and dying; And the wind passed o'er, with a dirge and a wail, Where the young and the brave were lying."

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



THE RESCUE.

Presence of mind and courage in distress Are more than armies to procure success.

One Female and Eight Male Figures.

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



SOLOMON'S JUDGMENT.

"A mother's love." If there be one thing pure, Where all beside is sullied, That can endure When all else pass away— If there be aught Surpassing human deed, or word, or thought, "It is a mother's love!"

ANON.

Three Male and Two Female Figures.

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



THE BRIDAL PRAYER.

Sweet be her dreams, the fair, the young; Grace, Beauty, breathe upon her; Music, haunt thou about her tongue; Life, fill her path with honor.

All golden thoughts, all wealth of days, Truth, friendship, love, surround her; So may she smile, till life be closed, And angel bands have crowned her.

BARRY CORNWALL.

One Female Figure.

This simple, yet pretty tableau represents a young maiden dressed in bridal costume, kneeling in prayer in her chamber, preparatory to her descent to the room below, where she is to enter into the holy bonds of matrimony. The stage furniture consists of an ornamental chamber set, a few richly-bound books, pictures, and other articles pertaining to a chamber. The young lady should be of good figure and features. Costume consists of a white dress, low in the neck, and ornamented with white flowers. The hair can be dressed to suit the performer's taste, while a wreath of myrtle and flowers encircles the head, at the back of which trails a long white veil. Position is, kneeling in the centre of the stage, so that a side view can be had of the form, the hands raised and placed together in front of the face, the head slightly thrown back, the eyes closed, and the countenance expressing devotion. Little light is required, which should come from the side of the stage. Music soft and plaintive.



THE GUITAR LESSON.

O, strike the guitar lightly, lightly; Its tones I ne'er forget; O, strike the guitar lightly; 'Tis sweet as when we met.

One Female and One Male Figure.

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



ROGER WILLIAMS PREACHING TO THE INDIANS.

"Gitche Manito the Mighty, The Great Spirit, the Creator, Sends them hither on his errand, Sends them to us with his message.

Let us welcome, then, the strangers, Hail them as our friends and brothers, And the heart's right hand of friendship Give them when they come to see us."

LONGFELLOW.

Two Female and Eight Male Figures.

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



CROSSING THE LINE.

Far, far upon the sea The good ship speeding free, Upon the deck we gather, young and old, And view the flowing sail Swelling out before the gale, Full and round, without a wrinkle or a fold.

Ten Male Figures.

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



THE WEDDING.

Pass thou on! for the vow is said That may ne'er be broken; The trembling hand hath a blessing laid On snowy forehead and auburn braid, And the word is spoken By lips that never their word betray'd.

Pass thou on! for thy human all Is richly given, And the voice that claims its holy thrall Must be sweeter for life than music's fall, And, this side heaven, Thy lip may never that trust recall.

WILLIS.

One Female and Two Male Figures.

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



HIAWATHA SAILING.

"And thus sailed my Hiawatha Down the rushing Taguamenaw— Sailed through all its bends and windings, Sailed through all its deeps and shallows, While his friend, the strong man Kwasind, Swam the deeps, the shallows waded. Up and down the river went they, In and out among its islands, Cleared its bed of root and sand-bar, Dragged the dead trees from its channel, Made its passage safe and certain, Made a pathway for the people, From its springs among the mountains, To the waters of Pauwating, To the bay of Taguamenaw."

LONGFELLOW.

Two Female and Two Male Figures.

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



THE VILLAGE STILE.

The village stile—and has it gone? Supplanted by this niche of stone, So formal and so new; And worse, still worse, the elder bush, Where sang the linnet and the thrush— Say, has that vanished too?

Age sat upon 't when tired of straying; And children that had been a-maying; These trimmed their garlands gay; What tender partings, blissful meetings, What faint denials, fond entreatings, It witnessed in its day!

One Female and One Male Figure.

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



FLORENCE NIGHTINGALE IN THE CRIMEA.

The tender sigh, the balmy tear, That meek-eyed pity gave, My last expiring hour shall cheer, And bless a soldier's grave.

One Female and Three Male Figures.

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



THE FIREMAN'S STATUE.

One Male and Six Female Figures.

This tableau is quite a tasty design, and is represented by six females in a kneeling posture, supporting a circular shield, on the top of which stands a young and handsome fireman, dressed in his regalia. In his right hand he grasps a hose pipe, the end of which rests on the top of an imitation hydrant, which is placed on the top of the shield at his side. His position is, facing the audience, body and head erect, the left hand resting on the hip, eyes raised upward, countenance calm. The ladies' costume consists of a white dress, red waist, blue sash, hair done up snugly and encircled with a gold band, on the front of which is a silver star, with a blue border and spangles in the centre. The shield should be three feet in diameter, and placed on a pedestal high enough to allow the ladies to kneel beneath. It should be covered with a white cloth that will trail to the floor. The ladies kneel in a circle around the shield, the body facing outward, the head turned slightly to one side, both hands placed against the bottom of the shield, the eyes cast down. The two centre ladies should partially face each other. Expression of the countenance pleasant. Music of an operatic order.



JOAN OF ARC AT THE SIEGE OF ORLEANS.

That was a joyous day in Rheims of old, When peal on peal of mighty music roll'd Forth from her throng'd cathedral; while around, A multitude, whose billows made no sound, Chain'd to a hush of wonder, though elate With victory, listen'd at their temple's gate. But who alone And unapproach'd beside the altar stone, With the white banner, forth like sunshine streaming, And the gold helm, through clouds of fragrance gleaming,— Silent and radiant stood?—The helm was raised, And the fair face reveal'd that upward gazed Intensely worshipping:—a still, clear face, Youthful, but brightly solemn!—Woman's cheek And brow were there, in deep devotion meek, Yet glorified with inspiration's trace On its pure paleness; while, enthroned above, The pictured Virgin, with her smile of love, Seem'd bending o'er her votaress.—That slight form! Was that the leader through the battle storm? Had the soft light in that adoring eye Guided the warrior where the swords flash'd high?

'Twas so, even so!—and thou, the shepherd's child Joanne, the lowly dreamer of the wild! Never before, and never since that hour, Hath woman, mantled with victorious power, Stood forth as thou beside the shrine didst stand, Holy amidst the knighthood of the land; And beautiful with joy and with renown Lift thy white banner o'er the olden crown, Ransom'd for France by thee!

MRS. HEMANS.

One Female and Thirty Male Figures.

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



THE PARTING.

Ah! then and there was hurrying to and fro, And gathering tears, and tremblings of distress, And cheeks all pale, which but an hour ago Blush'd at the praise of their own loveliness. And there were sudden partings, such as press The life from out young hearts, and choking sighs, Which ne'er might be repeated—Who could guess If ever more should meet, those mutual eyes, Since upon night so sweet, such awful morn could rise?

BYRON.

One Male and Two Female Figures.

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



HAGAR AND ISHMAEL IN THE WILDERNESS.

It was an hour of rest! but Hagar found No shelter in the wilderness, and on She kept her weary way, until the boy Hung down his head, and open'd his parch'd lips For water; but she could not give it him. She laid him down beneath the sultry sky,— For it was better than the close, hot breath Of the thick pines,—and tried to comfort him; But he was sore athirst, and his blue eyes Were dim and bloodshot, and he could not know Why God denied him water in the wild. She sat a little longer, and he grew Ghastly and faint, as if he would have died. It was too much for her. She lifted him, And bore him farther on, and laid his head Beneath the shadow of a desert shrub; And, shrouding up her face, she went away And sat to watch where he could see her not Till he should die; and, watching him, she mourned:—

WILLIS.

One Female and One Male Figure.

This group is a representation of Hagar and Ishmael in the wilderness, and is designed to imitate sculpture. The circumstances of the scene are well known in the simple narrative of the Scriptures. The boy, weary and exhausted by unaccustomed hardships and suffering, has sunk down in the desert to die; but Hagar, sustained by the measureless affection of a mother's breast, supports the fainting form of her son, and has just put aside the cup now drained of its last precious drops of water. She gazes upon his face, while in her own, hope still lingers, before yielding to the unutterable anguish of despair. The lady who personates Hagar should be of good figure and features, tall, and matronly. Costume consists of a white dress, cut low in the neck, sleeves five inches long, a white tarleton scarf worn across the shoulders, and tied at the left side, the hair hanging in curls on the neck, a white turban on the head, with two white strips attached to the side and passed under the chin, and white sandals laced across white hose. The position of Hagar is kneeling, so that a side view is had of the face. The left hand sustains the head of Ishmael, the right is extended to the pitcher which stands at the side of the group; the head is bent forward considerably, eyes fixed on those of the boy, countenance expressing anxiety and hope. A young lad of six years of age, of fair complexion and long, light, curly hair, is required to personate Ishmael. He should be costumed in a loose, white coat or frock, white hose and sandals, with a white gauze mantle draped about the breast. Ishmael's position is, reclining on his side, one leg drawn up and placed across the other, the left arm resting on the ground, supporting the body, the right lying carelessly at the side; the shoulders rest on the knee of Hagar, head thrown back, and resting on the hand of Hagar, eyes closed, mouth partially open. The pitcher should be of white porcelain, of ancient style. The group is formed on a square or round pedestal, five feet square or in diameter, and one foot high, covered with white cloth or marble paper. The exposed portions of the figures must be made as white as possible with chalk. Light soft, and come from the side of the stage. Music of a plaintive and sacred character.



THE FIGHT FOR THE STANDARD.

They saw the princely crest, They saw the knightly spear, The banner, and the mail-clad breast, Borne down, and trampled here: They saw—and glorying there they stand, Eternal records to the land.

MRS. HEMANS.

Twelve Male Figures.

This thrilling tableau represents a death struggle between an Arab standard-bearer and a French soldier. The Arab grasps the standard with the left hand, while the right holds a short cimeter at arm's length; his body is bent forward, right arm extended thirty inches front of the left, and eyes directed to those of the soldier, the countenance expressing firmness and excitement. Costume consists of a long white coat without sleeves, trimmed about the bottom with buff, open at the top, displaying the neck and chest; a heavy red sash wound around the waist; pants of light-blue, cut quite loose, and gathered in with a string at the ankle; shoes covered with red cloth; a turban on the head, the top of which is white, and around the bottom is wound a band of red and black cloth, with the ends falling over the shoulders; a belt and scabbard are fastened to the waist. The sword should be two feet long, four inches wide, and curve from hilt to point. This can be made of tin or wood, the scabbard of card-board or leather, and painted red. The French soldier's costume consists of blue coat, trimmed and faced with buff, gold epaulets, large gilt buttons, white pants with stripe of red, red belt and long scabbard, hat with plume and long, straight visor. He holds in his right hand a long, straight sword, while the left grasps the standard. His body is bent forward, and faces the audience, the right foot extended front of the left thirty inches, the eyes fixed on those of the Arab, countenance expressing determination and rage. The staff on which the flag is fastened is seven feet long, with a gilt ball, crescent, and tassels at the top. The flag is made of three stripes, one of light yellow, and two of light red, with a black oval, with red trimmings, in the centre. The flag should be unfolded so as to show the design, but gathered in at the centre by the hand of the soldier. Between these two figures are a French soldier and an Arab lying dead on the ground. Five feet behind this group, and at the right of the stage, are four Arabs, with long spears, charging on the same number of French soldiers opposite, who are holding their muskets in position, ready to repel the charge, their countenances expressing sternness, their eyes fixed on each other. Costumes are similar to those described. Spears can be made of wood, with gilt spear-heads. The skin of the Arabs must be stained light brown. The French soldiers should wear large mustaches. A slight quantity of smoke is seen floating in the background; the booming of cannon heard in the distance. The scene is illuminated by a red fire at the side of the stage. Music of a martial style.



JONATHAN'S VISIT TO HIS CITY COUSINS.

One Female and One Male Figure.

This comic tableau is one that can be produced at short notice, and without expense. The scene to be represented is a parlor furnished with sofa, chairs, carpet, pictures, table, and a melodeon, which is placed on the side of the stage. A sheet of music is resting on the rack, and a young lady is seated on the melodeon stool, body facing the audience, head turned to the back of the room, both hands raised, and eyes fixed on a young man, who is seated on the sofa in the background. Her body is slightly inclined from the young man, countenance expressing affright. She should be costumed in a showy silk dress. The gentleman's costume consists of striped pants, reaching within six inches of the foot, red straps, thick boots, ancient style swallow-skirted coat, short striped vest, ruffle-bosomed shirt, standing collar reaching to the ears, large brass chain and watch seals hanging from the vest pocket, large red silk handkerchief laid across the knee, and a low-crowned white hat in the hand. Position is, seated on the sofa, one hand placed in the pants pocket, the other resting on the knee, body bent forward, eyes fixed on the keys of the melodeon, countenance expressing astonishment. The gentleman best adapted for this part is one who has a natural talent for performing in comedy. Light should be thrown on the scene from the lower end of the side of the stage, and of medium brightness. Music of a spirited character.



THE THREE GRACES.

Faith, Hope, and Love, now dwell on earth, And earth by them is blest; But Faith and Hope must yield to Love, Of all the graces best.

Three Female Figures.

This is a statuary tableau, and is represented by three young and beautiful ladies of about the same height and figure, with regular features and long hair. Their costume consists of a long white robe, worn with few skirts, and cut extremely low at the neck, sleeves five inches long, a mantle of white tarleton muslin worn across the breast, tied at the side, and allowed to trail on the floor; the hair arranged in braids at the sides of the head, ornamented with large beads, clasped with a silver band behind, and allowed to hang in short curls in the neck. The ornaments should be entirely white. The three ladies stand on a pedestal three feet high, and four feet in diameter; this must be covered with black or green marble paper, and placed in the centre of the stage. The centre lady stands facing the audience, with the right hand raised above the head; the left clasps the hand of the lady at the left side, who is looking into the eyes of the figure at the right, and rests her right hand on the shoulder of the centre figure. The figure on the other side stands in a graceful position, resting her hands on the shoulder of the centre figure, and looking into her face. The countenances of the three should express pleasure. The light for the piece must be soft and mellow, and come from the side of the stage. Music low and plaintive.



THE GUARDIAN ANGEL.

Angels, joyful to attend, Hovering round thy pillow bend, Wait to catch the signal given, And convey thee quick to heaven.

One Female and One Male Figure.

This is a most pleasing tableau, and represents the good angel, in whose existence and controlling power there is scarce any one so rude as not to believe, attending a young boy, who looks reverently upward, to heed the admonitions of his celestial companion. The lady who personates the angel should be of good figure, tall and slim, with fine features, and light curly hair. Costume consists of a loose white dress, over which is worn a robe of white tarleton muslin; these should be cut quite low in the neck, and long at the bottom; sleeves long, and fitting tight to the arms; a wide mantle of tarleton muslin worn across the breast, and allowed to trail with the dress at the side. Large wings, formed of wire, covered with white muslin, and ornamented with spangles, must be fastened to the back of the waist. The hair should hang in ringlets, and be encircled with a band of silver. The boy must be of small stature, good features, and have long, light, curly hair. Costume consists of a loose short frock, made of white cloth, trimmed around the collar and ends of sleeves with white lace; white breeches, white hose, white shoes, and a small satin sash about the waist. Both of the figures stand on a pedestal two feet high by three square, which should be covered with black marble paper. The angel stands in the centre of the pedestal, the left hand resting on the boy's left shoulder, the right hand on his right shoulder. Her head is turned away to the left, the eyes fixed on the floor, the countenance pleasant. The boy stands a little to the right of the angel, arms crossed on his breast, head turned sideways, and slightly back, eyes fixed on the face of the angel. The crimson curtains, without the fairies, that are used in the tableau of the "Dancing Girl in Repose," may be placed over the group. The side curtains can be held up at the side by crimson bands. A curtain of white gauze, drawn across the front of the stage, will give a good effect to the tableau. The light should be of medium brilliancy, and come from the front side of the stage. Music soft, and of a sacred character.



THE PYRAMID OF BEAUTY.

Beauty is as crystal in the torchlight, sparkling on the poet's page; Virgin honey of Hymettus, distilled from the lips of the orator; A savor of sweet spikenard, anointing the hands of liberality; A feast of angel's-food set upon the tables of religion. She is seen in the tear of sorrow, and heard in the exuberance of mirth; She goeth out early with the huntsman, and watcheth at the pillow of disease.

Science, in his secret laws, hath found out latent beauty; Sphere and square, and cone and curve, are fashioned by her rules: Mechanism met her in his forces, fancy caught her in its flittings, Day is lightened by her eyes, and her eyelids close upon the night.

Beauty is dependence in the babe, a toothless tender nursling; Beauty is boldness in the boy, a curly rosy truant; Beauty is modesty and grace in fair retiring girlhood; Beauty is openness and strength in pure high-minded youth; Man, the noble and intelligent, gladdeneth earth in beauty, And woman's beauty sunneth him, as with a smile from heaven.

TUPPER.

Fifteen Female Figures.

This fine tableau contains fifteen female figures, who are arranged in the form of a pyramid. They should be quite young, of good figure and features. Their costume consists of a pure white dress, cut low in the neck, sleeves five inches long, a white satin sash about the waist, white shoes and hose, hair done up in a compact and tasty manner, and encircled with a wreath of myrtle, while a small bouquet of flowers is placed on the front of the waist. The pyramid must be first formed of boxes, fastened firmly together, and covered with white cloth; five ladies of the same height sit on the lower seat, four on the second seat, three on the third seat, two on the fourth, and one on the fifth and last. Each should be furnished with a garland of flowers fastened to ratan three feet long; these must be held in the hands of the ladies, making a complete network of flowers. The eyes should be directed straight forward, countenance pleasant. The lights for this piece are as follows: Just as the curtain begins to rise, a green fire should be gradually thrown on to the stage, and slowly moved off; at the moment it is leaving the picture, a red light steals over the faces of the performers; this shade vanishes in the same manner, and a purple light appears. This will give a happy effect, and can be accomplished by burning the fires in large boxes placed on pivots at the side of the stage, and by turning them at the proper time the different colors can be thrown on the stage; a few of the side or footlights may be burned at the same time, so that when the colored lights are leaving the stage, the figures will still be seen. Music accompanying the tableau, must be soft and plaintive.



CORONATION OF QUEEN VICTORIA.

Within that rich pavilion, High on a glittering throne, A woman's form sat silently, 'Midst the glare of light alone. Her jewell'd robes fell strangely still— The drapery on her breast Seem'd with no pulse beneath to thrill, So stone-like was its rest!

But a peal of lordly music Shook e'en the dust below, When the burning gold of the diadem Was set on her pallid brow! Then died away that haughty sound, And from the encircling band Step Prince and Chief, 'midst the hush profound, With homage to her hand.

MRS. HEMANS.

Twenty Male and Ten Female Figures.

This magnificent tableau contains thirty figures, and, when exhibited with proper scenery and wardrobe, is one of the best of this collection. It should be used as a grand finale scene, and is arranged in the following manner: A number of gentlemen's costumes must be procured at a costumer's or a theatre. Ladies' costumes can be easily prepared.

At the back of the stage, at equal distances between the sides, erect a throne. First build a platform five feet long, three feet wide, and three feet high, with steps in front, all of which must be covered with crimson cloth and gold paper. Over the platform place a canopy made of purple cloth, and decorated with gold paper, cut to represent fringe. Cover the wall back of the platform with the same material, and in the centre place a large gold V; a large chair, trimmed with scarlet and gold, should be placed on the platform, and tiers of seats arranged on each side of the throne; these must form half circles, reaching to the centre of the stage at the sides. Seated and standing on the seats and platforms are the ambassadors, dukes, earls, and officers, in their full dress. The queen dowager and other royal female personages are intermingled among them. The lord steward, and chamberlain stand near the side scenes in the foreground, while the extreme background is filled up by the queen's guards. Standing on the step in front of the throne is the archbishop, holding the crown. A little to the left stands Victoria, her body facing the audience, and bent forward slightly, head bowed, ready to receive the crown. At the other side of the throne stands Prince Albert, dressed in rich uniform. The ladies' costumes consist of rich silks and brocades, ornamented with gold lace, paste pins, brooches, &c.; the hair arranged to suit the taste of the performers, and encircled with a band of gold, to which fasten a colored plume. The attention of all should be directed to the queen. The archbishop's costume consists of a black robe, large white sleeves, white handkerchief, with square ends, hanging on the breast, and white wig. Queen Victoria's costume, if not procured at a costumer's, consists of a white satin or silk dress, with a long trail, and four flounces on the skirt, each flounce ornamented with a band of gold paper three inches wide, covered with open lace. The top of the waist and bottom of the sleeves decorated in the same manner. A belt of crimson velvet, covered with spangles and small paste pins, encircles the waist; the sleeves should be open, and fastened across with gilt cord, terminating in tassels, which fall on the arms; white kid gloves, bound around the top with a band of silver, ornamented with wax beads and spangles; a long ermine scarf should be thrown gracefully over the shoulders, and trail to the floor. The ermine can be imitated by inserting small pieces of black shag in white cotton flannel. The hair may be done up in a neat coil, and ornamented with wax beads and gilt pins. A long white veil of lace is fastened to the back of the head, and allowed to trail to the feet. The crown can be made of card-board, covered with gold paper and brilliant paste pins. The steward and chamberlain each holds a staff with a large gilt spear-head and tassels at the top. Costume consists of showy suits, similar in style, head covered with low-crowned Kossuth hat, ornamented with a gold band and white lace. The guards must be placed in the extreme background, on high platforms; they stand perfectly erect, and face the audience. The scene should be brilliantly lighted by lamps at the front and left side of the stage. The booming of cannon is heard in the distance. Music of a majestic style.



THE BRIGANDS.

The gray morn Dawns on the scene; the sulphurous smoke Before the wind slow rolls away, And the bright beams of morning dance Along the spangled snow. There scattered arms, And lifeless warriors, whose hard lineaments Death's self could change not, mark the dreadful path Of the outsallying victors.

SHELLEY.

One Female and Five Male Figures.

A scene representing a band of brigands in their mountain fastness, on the watch for plunder and rapine. The scenery in the background should resemble ragged rocks, made by fastening brown paper in a rumpled manner to a frame of wood, and shaded with light and dark-brown paints. This must extend two thirds across the stage, three feet from the extreme background. The sides should be covered with similar scenery. The floor is strown with small boxes, to give it an uneven appearance, and covered with buffalo robes. Two of the brigands are seated at one side of the stage, engaged in playing cards; one is reclining in the foreground asleep; another is leaning against the rocks, resting his arms and body on his carbine, while the chief is standing at the end of the ledge in the background, pointing with his right hand into the open space beyond. Behind him stands his wife, to whom he is in the act of speaking, and directing her attention to the road in the distance. She is stooping forward, endeavoring to see the objects which he points out. The costume of the brigands consists of a frock coat ornamented with large gilt buttons, and trimmed around the bottom with colored cloth; bright-colored vest bound around the front and bottom with fancy ribbon; black handkerchief tied loosely in the neck; knee breeches and hose, with a band of showy cloth around the top, fastened with a brilliant paste pin or silver buckle; low shoes; red or blue sash about the waist; high-crowned black felt hat, ornamented with red binding, wound in a spiral manner from the rim to the top of the hat, and a colored feather at the side. The coat can be decorated in a more profuse manner, if desired; each must be furnished with musket and pistols. The chief's dress should be of richer material, and more profusely decorated than the other characters. The wife's costume consists of a scarlet skirt, black velvet waist open in front and laced across with pink ribbon, a showy scarf tied about the head, the ends falling on the shoulders; the neck and arms ornamented with brilliant jewelry; a morocco belt encircles the waist, to which is attached a small dirk. The two card-players are looking at their cards, countenances expressing deep thought. The one who stands facing the audience looks to the floor. The one that is asleep should lie in a position so that the countenance can be seen, the head resting on the hand, eyes closed. The wife's position is, standing so that a side view of the countenance is had. The chief stands in front of her, and in the same position, but the head is turned around so as to face the audience; the countenances of both expressing curiosity and excitement. The face and other exposed parts of the persons of all the figures must be colored light-brown, and the men wear heavy beards. The light for this scene should come from a red fire, burned in small quantities at the front side of the stage. No music will be required for the piece.



DEATH OF SIR JOHN MOORE.

Not a drum was heard, not a funeral note, As his corpse to the ramparts we hurried, Not a soldier discharged his farewell shot O'er the grave where our hero was buried.

WOLFE.

Twenty Male Figures.

The battle of Corunna, so disastrous to the British army, was fought January 16, 1809. Sir John Moore arrived in Spain in November, 1808, with a British army, and having advanced some distance into the country, he found himself compelled to make a rapid retreat. He was closely followed by the French under Marshal Soult, who attacked the British as they were embarking. Sir John Moore, while earnestly watching the result of the fight about the village of Elrina, was struck on the left breast by a cannon shot; the shock threw him from his horse with violence; he rose again in a sitting position, his countenance unchanged, and his steadfast eye still fixed upon the regiments engaged in his front; no sigh betrayed a sensation of pain; but in a few moments, when he was satisfied that the troops were gaining ground, his countenance brightened, and he suffered himself to be taken to the rear. As the soldiers placed him in a blanket, his sword got entangled, and the hilt entered the wound. A staff officer attempted to take it off, but the dying man stopped him, saying, "It is as well as it is. I had rather it should go out of the field with me." And in this manner, so becoming to a soldier, Moore was borne from the field. Several times he caused his attendants to stop and turn him around, that he might behold the field of battle. Night soon darkened the scene; the rumbling of baggage wagons, and the occasional booming of the distant cannon, alone disturbed the mournful silence of the scene; here and there the flames of burning villages shed a portentous light through the gloom. At length, to break the mournful silence, and to express the sympathy they might not speak, the band played a requiem for the dying general. The solemn strains arose and fell in prolonged echoes over the field, and swept in softened cadences on the ear of the dying warrior. Moore breathed faintly for a few hours, and before the morning dawned he had passed away. His corpse was wrapped in his military cloak, and was interred by the officers of his staff on the ramparts of Corunna—an event which is commemorated in the beautiful verses of Wolfe, the guns of the enemy paying him funeral honors. Soult, with a noble feeling of respect for his valor, raised a monument to his memory. Thus ended the career of Sir John Moore, a man whose uncommon capacity was sustained by the purest virtue. His tall, graceful person, dark, searching eyes, strongly defined forehead, and singularly expressive mouth, indicated a noble disposition and a refined understanding. He maintained the right with a vehemence bordering upon fierceness, and every important transaction in which he engaged increased his reputation for talent, and confirmed his character as a stern enemy to vice, a steadfast friend to merit, a just and faithful servant of his country.

Description of Tableau.—This magnificent scene contains twenty figures. On the centre of the stage, reclining on an English flag, is Sir John Moore, his countenance pale and deathly. He is dressed in rich uniform, which is described in the latter part of the tableau. His position is, lying across the stage, his face turned to the audience. At his feet stand two Highland soldiers, leaning on their muskets, and gazing on the dying man. A soldier with a bandage around his head is kneeling in front of them; one hand grasps the flag, the other points to the background; countenance expressing terror. At the head of Moore, partially stooping and holding the end of the flag, are two officers in full uniform; two other officers are seen back of the body, who are also grasping the flag and gazing on the face of the dying hero; three soldiers are kneeling in the foreground, their attention fixed on Moore; back of this group, on a platform one foot high, is seen a platoon of soldiers, one of which holds an ensign; their backs should be towards the audience, muskets to the shoulder, and position of soldiers marching hastily from the field in retreat; still further in the background, on a platform four feet high, is placed a second platoon, who are in the same position; one or two in each rank are looking back to the group in front; two soldiers directly back of Moore are levelling their muskets to the enemy in the distance. Cannon, muskets, drums, and swords should be strown carelessly on the stage, while a small quantity of smoke must be made to hover over the scene, and the booming of cannon imitated in the distance. Moore has one hand pressed to his breast; the other is held by one of the officers at his side. The costumes of the officers should be as varied and brilliant as can be procured. Scarlet coats would be most appropriate. The scene must be illuminated by a red fire burned at the right side of the stage. Music of a mournful and sacred order.



THE FIREMAN'S RESCUE.

And the flames in thick wreaths mounted higher and higher; O God! it is fearful to perish by fire.

Two Female and Eight Male Figures.

This tableau represents a dwelling-house, the interior of which is enveloped in flames. The front door stands open, displaying a flight of steps, on which is a heroic fireman descending from the burning chamber, with a beautiful child clasped in his arms, which he has rescued from the raging element. Kneeling on the step outside of the door are the parents of the child; their hands are clasped and raised upward, their eyes fixed on the doorway, countenance expressing intense excitement. Two firemen in the foreground are seen holding a hose pipe and hose; two others, at the extreme end of the stage, are screwing the other end of the hose to a hydrant; another stands ready with an axe to break in the windows. The captain's position is on the step of the house; he holds a trumpet in his hand, and is giving orders to his men. The firemen should be dressed in full uniform, the mother in white, and hair hanging loose over the shoulders; the father's costume should be dark, and the child dressed in a long white robe. The scenery of this piece consists of a frame the width of the stage, and rising from the floor to the ceiling, painted to represent brick, with mouldings, frame, cornice, &c. A door may be placed in the centre, and a window on each side. The stairs should be as wide as the door, and run up five feet, and covered with carpeting; fire and smoke must be painted as coming from the windows. A red fire burned behind the back scene will light it up with fine effect. The light for the front of the picture should be of medium brightness, and come from the side of the stage. Fire bells can be imitated in the ante-rooms.



CATHARINE DOUGLASS BARRING THE DOOR WITH HER ARM.

Though perils did Abound, as thick as thought could make 'em, and Appear in forms more horrid; yet my duty, As doth a rock against the chiding flood, Should the approach of this wild river break, And stand unshaken yours.

SHAKSPEARE.

One Female and Six Male Figures.

Unattended even by a body guard, and confiding in the love of his subjects, James I. of Scotland was residing within the walls of the Carthusian monastery at Scone. Graham of Stratham seized the occasion, and brought down a party by night to the neighborhood. Seconded by traitors within, he gained possession of the gates and interior passages. The king's first intimation was from his cup-bearer, who, on leaving the king's chamber, found the passage crowded by armed men, who answered his cry of alarm by striking him dead. The noise reached the royal chamber; a rush of the assassins followed; and Catharine Douglass, one of the queen's maids of honor, springing forward to bolt the door, found the bar had been clandestinely removed. With resolute self-devotion she supplied the place with her naked arm.—To present a view of the interior of the room, and the passage outside, it will be necessary to place a partition from the front of the stage, near the footlights, to the left hand corner in the background. In the smallest apartment stands Catharine Douglass. The partition running in this manner will give to the audience a view of the door and iron fastenings through which the arm of the heroine passes, and also the passage where the assassins stand. The partition should be made of light strips of wood, covered with cheap cloth, and painted to imitate the interior of a room. The door must be quite near the front, of Gothic form, studded with large nails; two iron sockets, four inches square, should be placed on the door and frame; a mahogany table, globe lamp, chairs, carpets, and engravings may be placed in the inner room; the outer apartment should be empty. The lady who personates the heroine must be of good figure, tall and stout, fine features, and have long black hair. Costume consists of a blue silk dress, pink waist, sleeves five inches long, bordered on the edge with black crape, under sleeves of white tarleton muslin reaching to the wrist, a yellow scarf tied loosely around the waist, hair flowing loosely over the shoulders, a plaid scarf fringed on the ends with gold, bound around the head, the ends hanging in the neck. Position, facing the audience, the right arm bare, and thrust through the first socket, the hand grasping the second; the left is pressed against the door above the fastening; the head inclined towards the door, body perfectly upright, eyes looking straight forward with intensity, countenance expressing firmness. The assassins, to the number of six, stand around the outside of the door; each is costumed in a black coat trimmed around the edge and collar with green, and ornamented with large gilt buttons; colored vests, cut very long and trimmed with black binding, knee breeches of light color, black hose, and a band of bright-colored cloth around the top, low shoes, shoe and knee buckles, black felt hat turned up at one side and ornamented with a colored plume and gilt band, belt around the waist, side arms and pistols; the face covered with a shaggy beard. Each one grasps a sword, and is in the act of running towards the door, the left hand extended, the right with the sword raised on high, eyes directed to the door, countenance expressing excitement. The light should come from both sides of the stage, the room in which the heroine stands being the lightest. Music wild and animating.