Home Pastimes; or Tableaux Vivants

by James H. Head

SCENE FROM THE OPERA OF "SAPPHO."

The very spot where Sappho sung Her swan-like music, ere she sprung (Still holding, in that fearful leap, By her loved lyre) into the deep, And dying, quenched the fatal fire, At once, of both her heart and lyre. Opera of Sappho.

Eleven Female and Ten Male Figures.

This thrilling tableau is a representation of a scene from the popular opera of Sappho. The design is taken at the moment when Sappho has finished her first song, "Morning has never dawned," and the attendants join in the chorus. The number of figures in the piece is twenty-one, eleven ladies and ten gentlemen. The scenery in the background and at the sides represent pillars of marble; these can be cheaply made of strips of marble paper, with a cornice running around the top; in the centre of the background is placed a platform two feet high by four feet square; on each side of this are pedestals three feet high by one and a half feet square, the fronts panelled with red Turkey cloth, and bordered with gold paper; on the top of these should be placed large earthen vases, painted to represent bronze, from the mouth of which there should issue colored flames. From the right and left sides of the platform to the front corners of the stage place the chorus singers. The ladies stand on the left side; three are placed on a platform one foot high, and standing in front of them, at equal distances, are seven more. The gentlemen on the other side are arranged in the same manner. Sappho, the heroine of the tableau, stands on the platform between the two pedestals; the left hand rests on the top of one of the pedestals, and the other is raised up at arm's length. The head is thrown back slightly, and the eyes are raised upward. The right foot is placed twenty inches in advance of the left, the body facing the audience.

Sappho's costume is a long, white robe, cut low at the top, over which is worn a short half skirt of white tarleton muslin, reaching to the knee; sleeves five inches long, trimmed with Grecian border; the lower portion of both of the skirts trimmed with black velvet two inches wide, ornamented with gold paper and spangles; a wide band of gold is placed around the top of the dress, and covered with wide white lace. A band of wide black velvet ribbon, ornamented with showy paste pins, encircles the waist, and a wreath of silver leaves adorns the head. These can be cut from silver paper, lined with cloth, and fastened to a small wire. The hair is arranged in wide braids at the side of the head, clasped by a silver band at the back, and allowed to hang in short curls in the neck.

The chorus ladies are costumed in white dresses, low-necked; sleeves five inches long, trimmed with narrow pink ribbon, a bow of the same at the top of the sleeves, fastened to the dress by a brilliant glass pin; over the skirt of the dress should be worn a half skirt of white tarleton muslin, which should be two feet long in front, and three behind; this is belted about the waist with a pink ribbon, and trimmed around the bottom with oak leaves. The hair of most of the ladies should be arranged in curls, which should be confined together with a band of silver, while three of the ladies must allow their hair to fall loosely over the shoulders; wreaths of artificial flowers should adorn the heads of all. The lady who stands near the corner of the stage at the front should have in her left hand a torch, from which issues colored flame, while the right hand is raised above the head, the right foot placed twenty inches before the left, the body and head thrown back, the eyes cast upward, and excitement should be expressed in the countenance. (The torch can be made of wood, and covered with silver paper.) Every other lady in the row of seven should hold a torch, and take similar positions. Those standing near the torch-bearers are costumed in the same manner, and hold small harps in the left hand, while the right touches the strings. The body and head are thrown back slightly, and the eyes cast upward. Those performers standing near the platform should be elevated on small platforms of various heights, so as to be distinctly seen. On the platform behind the seven stand three other ladies, at equal distances from the front corner of the stage to the pedestals. Their costume should be similar to the others; position the same, while the hands are clasped in front of the bosom, and the eyes are directed to the form of Sappho.

The ten gentlemen are costumed in white coats trimmed around the bottom, the sleeves and collar with black cambric two inches in width, and ornamented with gold; a black belt of the same material encircles the waist; black pants or breeches; white hose reaching to the knee, and fastened with a silver band and buckle; low shoes, with a blue rosette on the front. A wide white mantle trimmed with oak leaves should be worn across the breast, the ends ornamented with wide yellow cambric fringe, which should be fastened at the side with a blue rosette, and trail made nearly long enough to reach the floor. The head is adorned with a wide band of velvet, ornamented with gold. The performers should be furnished with long, full beards, which can be made of hemp or horse-hair. The arrangement of the gentlemen is the same as that of the ladies—seven placed on a line from the pedestal to the corner of the stage, and three on the platform behind. The front rank have the golden harps and the torches. The gentlemen on the platform clasp their hands in the same manner as the ladies opposite. The position of all the chorus singers is such that a profile view is had of their features.

The front lights should be turned down quite low; the lights at the side where the gentlemen stand should be very brilliant. A red fire should be thrown on the platform and the figure of Sappho. Music should be quite brilliant.