"A tableau vivant may be formed in two ways: it may consist of a group of persons, who take some well-known subject in history or fiction to illustrate, and who form a group to tell the story according to their own taste; or, it may be a copy, as exact as circumstances will permit, of some celebrated picture. The first plan, it may be easily imagined, is very rarely effective; since, as we find that even the best masters are often months, or even years, before they can arrange a group satisfactorily on canvas, it is not probable that persons who are not artists should succeed in making good impromptu pictures. Indeed, it has been observed, that artists themselves, when they have to arrange a tableau vivant, always prefer copying a picture to composing one.
"Copying a real picture, by placing living persons in the positions of the figures indicated in the picture, appears, at first sight, an easy task enough; and the effect ought to be easily attained, as there can be no bad drawing, and no confused light and shade, to destroy the effect of the grouping. There are, however, many difficulties to conquer, which it requires some knowledge of art to be aware of. Painting being on a flat surface, every means are taken to give roundness and relief to the figures, which qualities of course are found naturally in a tableau vivant. In a picture the light is made effective by a dark shadow placed near it; diminished lights or demi-tints are introduced to prevent the principal light appearing a spot; and these are linked together by artful shades, which show the outline in some places, and hide it in others. The colors must also be carefully arranged, so as to blend or harmonize with each other. A want of attention to these minute points will be sufficient to destroy the effect of the finest picture, even to those who are so unacquainted with art as to be incapable of explaining why they are dissatisfied, except by an involuntary liking or disliking of what they see.
"The best place for putting up a tableau vivant is in a door-way, with an equal space on each side; or, at least, some space on both sides is necessary; and if there is a room or a passage between the door selected for the picture and the room the company is to see it from, so much the better, as there should be a distance of at least four yards between the first row of the spectators and the picture. It must be remembered that, while the tableau is being shown, nearly all the lights must be put out in the room where the company is assembled; and, perhaps, only one single candle, properly placed, in the intervening space between the company and the tableau, must be left slightly to illuminate the frame. In the above-mentioned door-way a frame, somewhat smaller than the original picture, must be suspended, three, four, or even five feet from the floor, as may suit the height of the door; or, if the door is not very high, the frame may be put one or two feet behind, to gain space; but care must be taken to fill up the opening that would, in that case, show between the door-way and the frame; also a piece of dark cloth ought to be put from the bottom of the frame to the ground, to give the appearance of the picture hanging on the wall. The most important thing is, that the chairs or tables ought to be placed behind the frame, so that the persons who are to represent the tableau may sit or stand as nearly in the position, with regard to the frame, as the figures appear to do in the real picture they are trying to imitate, and at about two feet from the frame, so that the light which is attached to the back of the frame may fall properly on the figures. In order to accomplish this, great study and contrivance are required, so that the shades may fall in precisely the same places as in the original picture; and sometimes the light is put on one side, sometimes on the other, and often on the top; and sometimes shades of tin or paper are put between the lights and the tableaux, to assist in throwing a shadow over any particular part. The background is one of the most important parts, and should be made to resemble that of the picture as nearly as possible; if it is dark, coarse cloth absorbs the light best; but whether it is to be black, blue, or brown, must depend on the tint of the picture; should the background be a light one, colored calico, turned on the wrong side, is generally used. If trees or flowers form the background, of course real branches or plants must be introduced to imitate those in the picture. Even rocks have been imitated; and spun glass has often successfully represented water. A thin, black gauze, black muslin, or tarlatan veil, should be fastened to the top of the frame, on the outside of it, through which the tableau is to be seen.
"Care ought to be taken to conceal the peculiarities of the different materials used in the draperies, and it is even sometimes necessary to cover the stuffs used for the purpose with a gauze of a different color, so as to imitate the broken and transparent colors found in most good pictures. This, carefully attended to, will give a quietness and simplicity to the whole, which will greatly add to the illusion."
The next subject upon the list of accomplishments, should be filled by some words upon fancy sewing. Under this head will come—Crochet, Knitting, Tapestry work, Embroidery, Chenille work, Netting, Canvas work, Berlin wool work, Frame work, Braiding, Bead work, etc.
Small social gatherings will be much more entertaining, the time will pass much more quickly, and the conversation flows more freely if the fingers are employed with some light work.
Pretty presents—nay, beautiful ones—may be made in this way, when the fingers would otherwise be idle, and these will have an additional value in being the work of your own hands.
From the most remote ages needlework has been, not only a source of pecuniary advantage for poor women, but also of pleasant pastime for the rich. It is one of the most elegant of the imitative art, and from time immemorial it has been an amusement for otherwise idle fingers, from the cottage to the palace.
I have not space for a long disquisition upon the uses and pleasures of fancy work; every woman has moments when such pretty playwork will be a valuable recreation. The taste for fancy work increases daily, and can be made not only ornamental, but useful. A ladies' wardrobe consists of so many, and such varied objects, that the evenings of an entire winter may be spent in making various useful garments, which are, at the same time, suitable for company sewing. Opera hoods, wool shawls, sleeves, Sontags, and other ladies' articles, may be varied by embroidering smoking caps, slippers, or handkerchiefs for gentlemen.
Embroidering on canvas, or tapestry work, opens a large field for taste and skill in execution. Beautiful articles for presents, chair covers, sofa cushions, slippers, may be worked in the otherwise idle moments spent in familiar society, and the fingers will soon acquire skill and astonishing rapidity.