THE MASQUERADE BALL.

'Tis known—at least it should be—that throughout All countries of the Catholic persuasion, Some weeks before Shrove Tuesday comes about, The people take their fill of recreation, And by repentance, ere they grow devout, However high their rank or low their station, With fiddling, feasting, dancing, drinking, masking, And other things which may be had for asking.

BEPPO.

Ten Female and Twelve Male Figures.

The masked balls, which supersede any other feature of the carnival in attraction, were introduced under the reign of the Duc d'Orleans. A great inconvenience was experienced in the want of an apartment sufficiently spacious to receive the hundreds which thronged to them. At length the Chevalier de Bouillon conceived a plan of converting the opera house into a ball room, and a friar named Sebastian invented the means of elevating the floor of the pit to a level with the stage, lowering it at pleasure. The project succeeded, and the first masked ball at Paris was held on the 2d of January, 1716. They are now given both before and during the carnival, at nearly all the theatres in Paris, as well as at most of the large ball rooms. The leading masquerade ball of the carnival, which reunites the best society and the most gorgeous costumes, is decidedly that which takes place at the Academy of Music or French Opera House. The greater portion of the company go in character, although gentlemen may appear in plain clothes, if they choose, and unmasked. Dancing appears to be the whole and sole motive of the guests, and dance they do, with a vivacity and untiring spirit that could only be found in a land so especially devoted to the worship of Terpsichore as France. In all the ball rooms parties of the Municipal Guard are in attendance to preserve order, and should any of the guests transgress the ordinary rules of decorum, they are immediately consigned to the lock-up of the nearest corps-du-garde. The most prevalent dress at the balls is that of the Debardeur. It is a piquant costume, and consists of dark velvet pantaloons, with satin stripe down the side, ornamented with bright studs, a pink or white shirt, red sash, and a glazed hat with tri-colored streamers, or small bonnet and wig, with cue behind. Considerably more than half of the carnival masques take up this dress, the remainder attiring themselves as hussars, pierrots, and all sorts of eccentric and anomalous costumes. The balls are kept up until six o'clock in the morning.

This tableau can be represented by ten couples. The ladies and gentlemen can dress to suit their own taste. The wardrobe of the company will contain a sufficient number of suits to fit out the tableau. A few of the comic and grotesque costumes should be intermingled, and all the figures wear masks of various patterns. The performers are engaged in dancing the schottische. The ladies and gentlemen must form in couples around the sides and back of the stage. A platform at the rear may be occupied by musicians in fanciful costume. The stage should be illuminated by a purple fire. Music, the schottische.



IRISH COURTSHIP.

One Female and One Male Figure.

This comic tableau represents a young Irishman engaged in courting his true love. The stage should be furnished with kitchen furniture, a small stove, &c. The back of the stage can be hung with cheap room paper. Bridget is seated at a table in the centre of the stage, engaged in sewing. Her costume consists of a white dress and blue apron. Patrick is seated near her, smoking a short pipe. Costume consists of velvet coat and breeches, white hose, large shoes, with hob nails in the soles, buff vest, red wig, face and hands painted tan color. His left leg is placed across the right knee, hands placed in his pants pocket, eyes fixed on Bridget, countenance expressing curiosity. Music, Irish air.



THE FAIRIES' OFFERING TO THE QUEEN OF MAY.

Now the bright morning star, day's harbinger, Comes dancing from the east, and leads with her The flowery May, who from her green lap throws The yellow cowslip and the pale primrose. Hail, bounteous May! that dost inspire Mirth and youth with warm desire; Woods and groves are of thy dressing, Hill and dale doth boast thy blessing. Thus we salute thee with our early song, And welcome thee and wish thee long.

Twenty Female Figures.

So sings Milton to the sweet Birdmonth—he whose mighty mind "nigh sphered in Heaven," hymned the soft beauty of the first day that dawned upon the infant world, which surely must have been a May-morning.

"Sweet day, so calm, so pure, so bright, The bridal of the earth and skies."

What must have been a May-morning in Paradise, when even now, in the homeliest districts, it gladdens the heart of man with its advent of young flowers and budding leaves and sweetly singing birds! It seems to be Nature's own birthday, throughout the varied kingdoms of her living world. All countries have greeted the welcome arrival of this fair day, but none more so than old Pastoral England, in the time of her elder poets. Time was, when, from the court to the cottage, all "rose up early to observe the rite of May;" some went a "dew-gathering," a sort of rustic love-spell that was sure to enchant every maiden, gentle or simple; others to "fetch in May"—a rivalry that "robbed many a hawthorn of its half-blown sweets;" and others set their wits to work to get up some pretty device, some rural drama, one of which our tableau represents.

The Fairies' Offering to the Queen of May is a tableau of great excellence and artistic beauty. The Queen of May is seated on a floral throne in the background, which is situated upon a platform about six feet high, with broad steps extending across the stage and to the footlights. These should be covered with green bocking, and on them are grouped the fairies, who are offering to the queen, baskets, bouquets, and garlands of flowers. On the lower step are other fairies ascending to the throne, and bearing baskets of fruit and flowers on their heads. The number of figures in the piece is twenty, nineteen of which are young misses, quite small and pretty, and one a beautiful maiden, who takes the part of the May Queen.

You must wake and call me early, call me early, mother dear; To-morrow'll be the happiest time of all the glad New-year; To-morrow'll be of all the year the maddest, merriest day, For I'm to be Queen o' the May, mother, I'm to be Queen o' the May.

TENNYSON.

The stage scenery must be arranged in the following order: A large arm chair, with a shaft running up from the back, to which is attached a canopy, will answer for the throne chair; cover it with green cambric, and decorate with garlands and bouquets. This chair should rest on the platform, which is six feet long, three feet wide, and covered with French patch. A large gilt vase, containing a bouquet, must be placed at each corner. The queen's costume consists of a white robe, decorated with flowers, a garland about the head, the right hand grasping a wand trimmed with silver and gold paper, the body inclined forward slightly, the left hand extended, in the act of taking a bouquet from one of the fairies, whom she is looking at; her countenance is lighted up with smiles. Care should be taken that the fairies who are grouped around the throne do not take the view from the queen. The fairies' costume consists of a short white dress, flesh-colored hose, white slippers, and hair done up in ringlets. The sleeves of the dress made quite short, waist and skirt ornamented with gold bands and spangles, a wreath of pure white flowers, intermingled with myrtle, on the head, and a portion of them wearing gauze wings, studded with spangles. Four of the fairies are to be grouped around the foot of the throne, on the top step. They stand or kneel, so that a partial side view is had of the body; hands extended, and holding bouquets or garlands; eyes fixed on the queen; countenance pleasant. The rest of the misses must be placed on each side of the steps, assuming a variety of positions, and each have fruits or flowers. Those at the lower part of the steps can stand near the sides of the stage, which will allow those above to be seen. The scene should be illuminated by a trio of fires, consisting of green, purple, and red, burned at the side of the stage. For directions, see Pyramid of Beauty. Music soft and animating.



BELSHAZZAR'S FEAST.

Joy holds her courts in great Belshazzar's hall, Where his proud lords attend their monarch's call; The rarest dainties of the teeming East Provoke the revel and adorn the feast. But why, O king, Why dost thou start, with livid cheek?—why fling The untasted goblet from thy trembling hand? Why shake thy joints? thy feet forget to stand? Why roams thine eye, which seems in wild amaze To shun some object, yet returns to gaze, Then shrinks again, appalled, as if the tomb Had sent a spirit from its inmost gloom?

Awful the horror, when Belshazzar raised His arm, and pointed where the vision blazed; For see! enrobed in flame, a mystic shade, As of a hand, a red right hand displayed, And, slowly moving o'er the wall, appear Letters of fate and characters of fear. In death-like silence grouped the revellers all, Fixed their glazed eyeballs on the illumined wall.

T.S. HUGHES.

Seven Female and Eight Male Figures.

This sacred tableau is represented as follows: At the left of the stage, Belshazzar is seated on his throne. At his side stands his wife. Consternation and affright are depicted on their countenances. At the opposite side of the stage stand three wise men. In the centre of the stage is the feast table, covered with silver dishes, candlesticks, and refreshments. Around it are gathered the guests. In the background, on a platform, are seen a group of servants. The handwriting is placed on the back scenery, opposite to the group of servants. The number of figures in the piece is fifteen—eight gentlemen and seven ladies. The scenery in the piece consists of a table six feet long, two and a half feet high, and three feet wide, covered with a green cloth, fringed with gold paper, on this are placed a silver tea set, cake baskets, candlesticks, and refreshments. The throne chairs should be placed on a platform at the left of the stage, near the front; the platform can be formed of boxes, and must be four feet square and two feet high, covered with crimson cloth, trimmed with gold paper; two large chairs, with a canopy over the top, will answer for the throne; one occupied by Belshazzar, the other by his wife. Low seats around the table will be needed for the guests; the seats can be covered with white cloth; showy pictures, in rich frames, adorn the walls, and pedestals and statuary fill the corners of the room. The writing on the wall can be produced by means of a transparency, the words made large, and the letters in German text, with a halo around the whole sentence. Belshazzar's costume consists of a purple velvet coat trimmed with gold, a large cloak trimmed with ermine, velvet breeches, white hose crossed with red tape, sandals on the feet, and a velvet and gold crown on the head. His wife should be dressed in a showy brocade, cut low at the top, short sleeves, a band of black velvet ornamented with gold placed on the head, and a narrow mantle worn over the shoulder. The dress must be ornamented with rich jewelry, gold bands, and a wide belt of red velvet, decorated with paste pins, around the waist. The three wise men's costume consists of long, loose coats, reaching six inches below the knee, and gathered in at the waist with a wide belt. Each coat should vary in color from the others. They can be made of cambric. Colors, red, purple, and blue, with the edges trimmed with cloth of some other color. Black hose, crossed with red, reach to the knees, low shoes, covered with red Turkey cloth, on the feet, and a turban of bright colors on the head, the face covered with a long white beard—this can be made of flax. The ladies at the table must be costumed in silk or satin dresses, ornamented with spangles, and any kind of jewelry that will look showy; hair decorated with spar beads, hair pins, and plumes. The gentlemen's costume consists of rich velvet suits; long beards. Servants in short white coats, with border on the bottom, red breeches, white hose, and light felt hats with gold bands. Belshazzar's position is in the chair near the footlights; body inclined back, arms thrown up, eyes fixed on the writing, countenance expressing affright. His wife is seated in the second chair, one arm resting on the shoulder of her husband, the other raised in front of the face, eyes directed to the writing. The wise men stand opposite to the throne, at the extreme end of the stage, near the footlights; their backs are to the audience; the heads of two are turned to the king, giving a side view of their faces. One of them points to the writing. The party at the table must assume a variety of natural positions; a few look with astonishment, and point at the writing; others are engaged in eating and drinking. The servants stand in the background, and are all looking at the writing. A few lean forward and point to the wall; others take position as if about to flee from the room; the countenances of all express terror. The scene should be lighted by a brilliant red fire burned at the side of the stage opposite Belshazzar. Music, operatic style.



THE VALENTINE.

"I smile at Love and all his arts," The charming Cynthia cried; "Take heed, for Love has piercing darts," A wounded swain replied. "Once free and blessed, as you are now, I trifled with his charms, I pointed at his little bow, And sported with his arms; Till, urged too far, 'Revenge!' he cries; A fatal shaft he drew; It took its passage through your eyes, And to my heart it flew."

J. VANBURGH.

Two Female and Two Male Figures.

This tableau is represented by four persons—two young ladies, and two small lads. One of the young ladies is seated on a sofa, which is placed in the centre of the stage. She holds a valentine in the left hand, and points at it with her right. Her head is turned around to a young lady who stands behind the sofa. The countenance expresses mirth. The lady standing behind the sofa rests her right arm on the shoulder of her friend, and is looking to the valentine, her body inclined forward slightly, face beaming with smiles. Costume consists of a white dress, pink apron trimmed with green, hair done up in wide braids at the side of the head, and ornamented with a few flowers. The costume of the lady seated, consists of a white dress, buff apron trimmed with purple, hair hanging in ringlets, and ornamented with blue ribbon. On each side of the stage, within one foot of the curtain, place pedestals; they should be three feet high, two feet square, with cap and base, and covered with white marble paper or cloth, and decorated with a wreath of flowers on the front. On those stand the young lads, dressed to represent Cupids. Position is, facing the group in the centre of the stage, attitude of one running; one of them holds on high a large sealed letter. The other holds a small tablet in one hand, and a quill in the right; these must be extended towards the centre of the stage. Their costume consists of a short gauze dress, cut low at the top and decorated with spangles, pants of flesh-colored cloth, reaching to the ankles and fitting tightly to the legs, flesh-colored hose, white slippers, gauze wings fastened to the back of the body, and decorated with spangles and silver stars. A small quiver, formed of card-board, covered with blue and gold paper, filled with arrows and bow, suspended from the neck; a low-crowned hat, with a wide brim, covered with pink cambric, and decorated with a wreath of flowers, covers the head; the eyes directed to the group on the sofa, countenance expressing pleasure. The background may be ornamented with pictures and statuary. The light for this piece must be of medium brilliancy, and come from the right side of the stage. Music soft.



THE FAIRIES' RAINBOW BRIDGE.

Love and Hope and Youth, together Travelling once in stormy weather, Met a deep and gloomy tide, Flowing swift, and dark, and wide. 'Twas named the River of Despair,— And many a wreck was floating there. The urchins paused, with faces grave, Debating how to cross the wave, When, lo! the curtain of the storm Was severed, and the rainbow's form Stood against the parting cloud, Emblem of peace on trouble's shroud. Hope pointed to the signal flying, And the three, their shoulders plying, O'er the stream the light arch threw— A rainbow bridge of loveliest hue! Now, laughing as they tripped it o'er, They gayly sought the other shore.

ANON.

Three Male Figures.

This brilliant tableau represents a rippling stream of water, with luxuriant banks on either side, spanned by a beautiful rainbow. A party of fairies, wishing to pass the stream, have made use of the rainbow as a bridge. One of them is seen in the centre of the bridge, holding a golden wand, with which he endeavors to balance himself in his passage over the water. Standing on the right bank, near the end of the bridge, is a fairy who has safely passed over, and is encouraging his friend on the opposite side to make the trial, who is seated on the grass arranging a bunch of flowers. The scenery of the piece can be adjusted in the following manner: Boxes two feet wide and three feet high placed on each side of the stage, from the front to the background, and covered with green bocking, will answer for the banks of the river. A few branches of spruce, intermingled with flowers, should be fastened to the side scenes, and a few spruce trees arranged in the background. At the front end of the banks place showy vases of flowers; and at the other end, on pedestals two feet high, place larger vases, containing bouquets. To make the river show to advantage, it will be necessary to arrange it in the form of an inclined plane. Strips of wood placed across the stage at a distance of one foot from each other, on a rise of two inches to a foot, and covered with blue cambric, will answer for the river. Let the cloth festoon between the strips, paint the ridges of the miniature waves with white paint, and sprinkle them with small particles of isinglass. On the foreground of the scene place two swans, and around the edges of the banks fasten pieces of spruce and grasses. The bridge should be made slightly oval, and placed in the centre of the stage. Three stringers, sawed out of inch board, and covered with lathes two feet long, will answer for the flooring. This can be entirely hid from view by a railing on the front side, and is made as follows: Manufacture a frame to correspond with the curve and length of the flooring, and twelve inches in width; cover it with white cloth, and paint it to represent a rainbow; the colors may be purple, crimson, yellow, green, and white; lights placed behind it, will give a fine effect. The fairies' costume consists of a short muslin dress, with a border three inches wide, of pink muslin, decorated with gold stars—the white muslin ornamented with silver spangles and stars; flesh-colored hose, white slippers, a band of silver, ornamented with paste pins, about the head, and small wings attached to the back of the dress,—the wings formed of wire, covered with gauze, and ornamented with endless bands of blue tarleton muslin, ornamented with silver spangles. Each holds a gold wand three feet long. The position of the fairy on the bridge is such that a side view is had of the form, while the face is turned towards the front of the stage. The wand is grasped in the centre, and held across the bosom. The countenance expresses pleasure. The fairy who has passed over is standing at the end of the bridge, partly facing the audience, with both hands extended towards his friend, his countenance expressing mirth. The fairy on the other bank is seated on the ground arranging flowers. He faces the audience, and is looking at a large rose which he holds in his right hand. This scene must be illuminated by green, red, and yellow fire, which is described in the tableau of the "Pyramid of Beauty." Music, light and animating.



LITTLE EVA AND UNCLE TOM.

Dry thy tears for holy Eva, With the blessed angels leave her; Of the form so sweet and fair Give to earth the tender care.

For the golden locks of Eva Let the sunny south land give her Flowery pillows of repose, Orange bloom and budding rose.

J.G. WHITTIER.

One Female and One Male Figure.

This tableau is one that can be easily produced, and will not be expensive. It represents little Eva seated in an arbor by the side of Uncle Tom. She has a large Bible before her, which she is reading and explaining to her friend. A rustic arbor can be made of strips of wood, covered with white cloth, and painted to resemble slats and running vines; the dimensions of which are six feet high, four feet wide, and three feet deep. A rough seat at the back part is occupied by Eva and Uncle Tom. A festoon of artificial flowers and spruce should be arranged in front, and a large spruce tree placed on either side. The person who personates Uncle Tom must be one of large figure and pleasant countenance. Costume consists of a coat of coarse material, white pants, light vest, colored handkerchief tied about the neck, striped hose, low shoes, a wig of black, curly hair, and a wide-brimmed straw hat, which lies on the ground by his side. The wig can be formed of curled horse-hair, fastened to a covering made to fit the crown of the head. Color the exposed parts of the body black, the lips red. Little Eva should be quite small, pretty, and have long light curls. Her costume consists of a white dress, trimmed at the top and around the sleeves with pink ribbon; a straw hat, trimmed with wild flowers, which hangs by the strings on her arm, and dark shoes. Uncle Tom is seated on one side of the seat, his legs crossed, body bent forward slightly, hands placed on his knees, his head turned towards Eva, and eyes fixed on the Bible with an expression of pleasure and earnestness. Eva is seated at his side, with her feet resting on a small stool, one hand placed on Uncle Tom's arm, while with the other she points to the pages of the Bible. Her face is turned towards her friend. The countenance expresses sadness. A small quantity of light is required for the piece, which should come from the left side. Music, soft and plaintive.



LOVE TRIUMPHANT.

In peace, Love tunes the shepherd's reed; In war, he mounts the warrior's steed; In halls, in gay attire is seen, In hamlets, dances on the green. Love rules the court, the camp, the grove, And men below, and saints above; For love is heaven, and heaven is love.

SIR WALTER SCOTT.

One Female and Two Male Figures.

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



THE BANDITTI.

But wilder sounds were there; th' imploring cry That woke the forest's echo in reply, But not the heart's! Unmoved, the wizard train Stood round their human victim, and in vain His prayer for mercy rose; in vain his glance Look'd up, appealing to the blue expanse, Where, in their calm, immortal beauty, shone Heaven's cloudless orbs. With faint and fainter moan, Bound on the shrine of sacrifice he lay, Till, drop by drop, life's current ebb'd away; Till rock and turf grew deeply, darkly red, And the pale moon gleam'd paler on the dead.

Two Female and Eight Male Figures.

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



PORTRAIT OF LOUIS NAPOLEON.

One Male Figure.

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



THE RETURN FROM THE VINTAGE.

It is the Rhine! our mountain vineyards laving; I see the bright flood shine; Sing on the march, with every banner waving, Sing, brothers; 'tis the Rhine!

Home, home! thy glad wave hath a tone of greeting, Thy path is by my home; Even now my children count the hours, till meeting; O, ransomed ones, I come.

MRS. HEMANS.

One Female and Four Male Figures.

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



LOVERS GOING TO THE WELL.

How dear to my heart are the scenes of my childhood, When fond recollection presents them to view; The orchard, the meadow, the deep-tangled wildwood, And every loved spot which my infancy knew; The wide-spreading pond, and the mill that stood by it, The bridge, and the rock where the cataract fell, The cot of my fathers, the dairy house nigh it, And e'en the rude bucket which hung in the well; The old oaken bucket, the iron-bound bucket, The moss-covered bucket, which hung in the well.

One Male and One Female Figure.

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



THE ITALIAN FLOWER VASE.

O Attic shape! Fair attitude! With brede Of marble men and maidens overwrought With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought, As doth eternity. Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours; a friend to man, to whom thou say'st, "Beauty is truth, truth beauty"—that is all Ye know on earth, and all ye need to know.

KEATS'S "ODE ON A GRECIAN URN."

Three Female Figures.

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

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



PORTRAIT OF THE MADONNA.

They haunt me still—those calm, pure, holy eyes; Their piercing sweetness wanders through my dreams: The soul of music that within them lies, Comes o'er my soul in soft and sudden gleams.

Are there not deep, sad oracles to read In the calm stillness of that radiant face? Yes, even like thee must gifted spirits bleed, Thrown on a world, for heavenly things no place.

One Female Figure.

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



THE SHOEMAKER IN LOVE.

Love's feeling is more soft and sensible Than are the tender horns of cockled snails.

SHAKSPEARE.

One Male and Two Female Figures.

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



PRINCE CHARLES EDWARD AFTER THE BATTLE OF CULLODEN.

Our bugles sung truce, for the night cloud had lower'd, And the sentinel stars set their watch in the sky, And thousands had sunk on the ground overpower'd, The weary to sleep, and the wounded to die.

THOMAS CAMPBELL.

One Female and Six Male Figures.

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

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



THE FLOWER GIRL.

FLOWERS.

They are the autographs of angels, penn'd In Nature's green-leav'd book, in blended tints, Borrowed from rainbows and the sunset skies, And written every where—on plain and hill, In lonely dells, 'mid crowded haunts of men; On the broad prairies, where no eye save God's May read their silent, sacred mysteries.

Thank God for flowers! they gladden human hearts; Seraphic breathings part their fragrant lips With whisperings of Heaven.

ALBERT LAIGHTON.

One Female Figure.

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



PRESENTATION OF FIREMAN'S TRUMPET.

"Honor to whom honor is due."

Eleven Male and Eleven Female Figures.

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



THE PAINTER'S STUDIO.

The golden light into the painter's room Stream'd richly, and the hidden colors stole From the dark pictures radiantly forth, And in the soft and dewy atmosphere Like forms and landscapes magical they lay. The walls were hung with armor, and about In the dim corners stood the sculptured forms Of Cytheris, and Dian, and stern Jove; And from the casement soberly away, Fell the grotesque long shadows, full and true, And, like a veil of filmy mellowness, The lint-specks floated in the twilight air.

WILLIS.

One Female and One Male Figure.

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



PORTRAIT OF GABRIELLE.

There's nothing ill can dwell in such a temple: If the ill spirit have so fair a house, Good things will strive to dwell with 't.

TEMPEST.

One Female Figure.

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



THE ELOPEMENT.

Dear art thou to the lover, thou sweet light, Fair, fleeting sister of the mournful night! As in impatient hope he stands apart, Companioned only by his beating heart, And with an eager fancy oft beholds The vision of a white robe's fluttering folds Flit through the grove, and gain the open mead, True to the hour by loving hearts agreed! At length she comes. The evening's holy grace Mellows the glory of her radiant face; The curtain of that daylight, faint and pale, Hangs round her like the shading of a veil; As turning with a bashful timid thought, From the dear welcome she herself hath sought, Her shadowy profile drawn against the sky, Cheats while it charms his fond adoring eye.

MRS. NORTON.

One Male and Two Female Figures.

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



FIREMAN'S COAT OF ARMS.

By Jove! I'll have a fine establishment, And keep a coat-of-arms!

MUGGINS.

Two Female Figures.

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



THE SOLDIER'S FAREWELL.

I could not love thee, dear, so much, Loved I not honor more.

SIR RICHARD LOVELACE.

Three Female and Three Male Figures.

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



IKE PARTINGTON'S GHOST.

Be thou a spirit of health or goblin damned, Bringing with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable? Thou com'st in such a questionable shape That I will speak to thee.

SHAKSPEARE.

One Female and One Male Figure.

This tableau represents Ike seated on the top of a pump in the front yard of his mother's cottage, while the old lady is seen in the background, peeping over the fence with looks of horror and astonishment. The person who represents Ike should be of medium height and youthful looking. Costume consists of an old military coat and hat, large sword attached to a belt about the waist, light pants with red stripe, and large boots. The old lady is dressed in a cheap calico dress and white cap. The pump can be made of wood, covered with light brown cambric, the handle painted black. A rough representation of a house should be painted on cloth, and placed at the rear of the stage. A few feet from the house, erect a low white slat fence, with a gate in the centre; a wheelbarrow, shovel, hoe, broom, and water bucket are scattered about the stage. Ike sits on the pump, and faces the audience. His head is drawn down within the coat collar, hands placed on his knees, and eyes rolled up into his head. Light the stage very little, and produce discordant sounds on a melodeon in the ante-room.



THE PEASANT FAMILY IN REPOSE.

Let not Ambition mock their useful toil, Their homely joys, and destiny obscure, Nor Grandeur hear, with a disdainful smile, The short and simple annals of the poor.

GRAY.

Two Female and Three Male Figures.

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



THE SOLDIER'S RETURN.

O that 'twere possible, After long grief and pain, To find the arms of my true love Round me once again.

* * * * *

We stood tranced in long embraces Mixed with kisses sweeter, sweeter Than any thing on earth.

MAUD.

Three Female and Four Male Figures.

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



NOTES AND EXPLANATIONS.

FOR PREPARING A BRILLIANT RED FIRE.

Weigh five ounces of dry nitrate of strontia, one ounce and a half of finely-powdered sulphur, five drams of chlorate of potash, and four drams of sulphuret of antimony. Powder the sulphuret of antimony and chlorate of potash separately in a mortar, and mix them on paper; after which add them to the other ingredients, previously powdered and mixed. For use, mix with a portion of the powder a small quantity of spirits of wine, in a tin pan resembling a cheese-toaster; light the mixture, and it will shed a rich crimson hue. When the fire burns dim and badly, a very small quantity of finely-powdered charcoal or lamp-black will revive it. This light is used in finale scenes, where the subject is heroic, national, or martial.

GREEN FIRE.

A beautiful green fire may be thus made: Take of flour of sulphur, thirteen parts; nitrate of baryta, seventy-seven; oxy-muriate of potassa, five; metallic arsenic, two; and charcoal, three. Let the nitrate of baryta be well dried and powdered; then add to it the other ingredients, all finely pulverized, and exceedingly well mixed and rubbed together. Place a portion of the composition on a small tin pan having a polished reflector fitted to one side, and set fire to it, when a splendid green illumination will be the result. By adding a little calamine, it will burn more slowly.

PURPLE FIRE.

A purple fire is produced by dissolving chloride of lithium in spirits of wine, and when lighted it will burn with a purple flame.

WHITISH-BLUE FIRE.

Take of nitrate of baryta, twenty-seven parts, by weight; of sulphur, thirteen; of chloride of potassa, five; of realgar, two; and of charcoal three parts. Incorporate them completely, and when inflamed they will emit a whitish-blue light, accompanied by much smoke. This light is much used in fairy scenes.

YELLOW FIRE.

Mix some common salt with spirits of wine, in a metal cup, and set it upon a wire frame, over a spirit lamp. When the cup becomes heated, and the spirits of wine ignited, the other lights on the stage should be extinguished, and that of the spirit lamp shaded in some way. The result will be, that the whole group, faces, dresses, will be of a strong yellow tint.

COLORED LIGHTS.

Colored lights can be produced by filling globes with colored liquid, and placing them in front of the lamps, like those we see in the windows of the chemists' shops.

TO PRODUCE A MISTY OR VANISHING APPEARANCE TO A TABLEAU.

Several curtains of thin gauze, or common mosquito netting, made to let down from rollers, one after another, between the audience and the scene, will give a beautiful, misty appearance; and if a sufficient number of curtains be unrolled, the tableau appears to vanish entirely, allowing room for a change of scenery. Many scenes should have one thickness of muslin before them, which serves to blend the colors, and gives a finish to the picture. The gauze must be carefully managed, as the disclosure of a ragged edge will dispel all the illusion.

TO PRODUCE SOUNDS LIKE FALLING RAIN.

Procure a box six feet long, one foot wide, and one deep. Cover the bottom with small pegs of wood one inch high, and inserted two inches apart. Place a quart of dried peas at one end of the box; then raise that end quite slowly, allowing the peas to roll gradually down to the lower part of the box. The sound they produce in striking against the pegs imitates to perfection the falling of rain. The sound can be continued for any length of time by raising alternately each end of the box.

TO PRODUCE SOUNDS LIKE DISTANT FIRING OF ARTILLERY.

Suspend a large sheet of Russia iron by means of a rope, and strike it in the centre with a heavy drumstick. At a short distance, the sound resembles the booming of heavy artillery.

TO PRODUCE SOUND TO RESEMBLE THUNDER.

Hold a large sheet of Russia iron at one end and commence shaking it very slowly. It will give out a low, rumbling sound, which can be gradually increased in power. Graduate the sounds from heavy peals to the first starting point, then discontinue the shaking for a few seconds, and repeat the variety of changes as long as is necessary.

TO IMITATE THE FIRE ALARM BELL.

Suspend to a wooden frame two pieces of steel two inches square and three feet long. Select pieces that will give out different tones, and strike them alternately with an iron hammer. They will sound much clearer and louder than any small bells.

DISTANT FIRING OF MUSKETRY.

Sounds similar to a distant discharge of musketry can be produced in a number of ways. The tenor drum can be made to give out sounds to resemble volleys of musketry. Leaden shot dropped into a large tin pan will produce a good imitation. A fireman's rattle can be also used for the same purpose.

MAGIC LIGHTNING.

Mix gunpowder with a small quantity of water and gum arabic, and with a brush place it on a screen in the background in an irregular manner, resembling flashes of lightning. The screen being previously painted to resemble thunder clouds, let there be a number of distinct flashes painted, the ends of which should be near the ante-room. At intervals of thirty seconds, touch a lighted fusee to one of these paintings, which will burn quickly, illuminate the clouds, and resemble lightning flashes.

TO STAIN THE FLESH A COPPER COLOR.

To stain the flesh a copper color, as is necessary in representing Indian characters, use Spanish brown, mixed with oil, and rub in thoroughly.

TO MAKE WRINKLES.

Use India ink, moistened with water, softening the lines with chalk, if necessary. Moustaches and whiskers may also be made with the same material.

FLESH WOUNDS, &c.

Flesh wounds and blood may be represented by the use of rose pink mixed with water.

THEATRICAL INCANTATIONS.

Dissolve crystals of nitrate of copper in spirits of wine. Light the solution, and it will burn with a beautiful emerald green flame. Pieces of sponge soaked in this spirit, lighted and suspended by fine wires over the stage, produces the lambent green flames now so common in incantation scenes; strips of flannel saturated with it, and applied round copper swords, tridents, &c., produce, when lighted, the flaming swords and fire forks brandished by the demons in such scenes; indeed, the chief consumption of nitrate of copper is for these purposes.

LIGHTS AND SHADES.

If you wish to throw the background of a tableau in shade, intervene screens between the lights at the sides of the stage and that part of the picture you desire to have dark; vice versa with the foreground. Particular points or characters can be more brilliantly lighted than others by placing at the side of the stage a strong light within a large box, open at one side, and lined with bright reflectors. Light of different colors can be thrown successively on a picture, and made to blend one with another, by placing the various colored fires in boxes three feet square, open at one side, and lined with bright reflectors; these, arranged at the side of the stage on pivots, can be turned on, one after another, so as to throw their light on the stage. Before one light has entirely vanished from the scene, a different color should gradually take its place.



ART RECREATIONS:

BEING

A COMPLETE GUIDE TO

PENCIL DRAWING, OIL PAINTING, WATER-COLOR PAINTING, CRAYON DRAWING AND PAINTING, PAINTING ON GROUND GLASS, GRECIAN PAINTING, ANTIQUE PAINTING, ORIENTAL PAINTING, SIGN PAINTING, THEOREM PAINTING, MOSS WORK, PAPIER MACHE, CONE WORK, FEATHER FLOWERS, POTICHOMANIE, LEATHER WORK, HAIR WORK, TAXIDERMY, GILDING AND BRONZING, PLASTER WORK, WAX WORK, SHELL WORK, MAGIC LANTERN, PAPER FLOWERS, IMITATION OF PEARL, THE AQUARIUM, SEALING-WAX PAINTING, PANORAMA PAINTING, COLORING PHOTOGRAPHS, ENAMEL PAINTING, ETC.

BY

MADAME L.B. URBINO, PROF. HENRY DAY, AND OTHERS.

WITH VALUABLE RECEIPTS FOR PREPARING MATERIALS.

Splendidly Illustrated.

BOSTON:

J. E. TILTON AND COMPANY.

1860.

* * * * *

Price of this valuable work is but $1.50.

Sold by all booksellers, and sent by mail postpaid.

THE END