Home Pastimes; or Tableaux Vivants

by James H. Head

Twelve Female and Twelve Male Figures.

This interesting and imposing tableau is taken from a legend, which has been handed down from generation to generation among the villagers living in the neighborhood of Glenburne Castle, England. The story, probably as authentic as many which are often heard of in those districts, is as follows:—

Many years ago, that portion of the country where Glenburne Castle now stands was owned and governed by an intriguing and overbearing lord. He had a beautiful companion for a wife, who loved him too well; but his affections wandered from her. He looked into a brighter eye, and on a fairer brow. His wife pined away, lived miserably for years, and died at last broken-hearted. Six months had passed, and great preparations were being made in the old castle for a magnificent wedding. The lords and nobles, within a circuit of five hundred miles, were invited to participate in the festivities of the day. The halls were hung with beautiful tapestry and garlands of flowers, and the castle resounded with strains of sweet music, "and all went merry as a marriage bell." But this finely-arranged entertainment did not end in so pleasant a manner as was intended. The hour had arrived when the lord of the castle was about to lead to the hymeneal altar the bright-eyed lady he so long loved. The spacious and magnificent drawing rooms were thronged with the wealthy and the beautiful; all were attired in robes of silk and satin, and costumes of velvet, which glistened with pearls and precious stones. A temporary platform was placed at one end of the hall, on which was raised a crimson and gold canopy. On the platform were to be seated the bride and bridegroom, and the grand cardinal who was to perform the service. It was seven o'clock in the evening; the guests had all arrived, and were seated around the room awaiting the entrance of the lord and his intended bride. Soon the castle resounded with the sound of trumpets. The massive doors opened wide, and the grand cardinal, followed by the bride and bridegroom, entered the apartment, and took their position beneath the canopy. The marriage ceremony had been partly completed, when all were suddenly petrified with horror. A bluish flame is seen rising from the centre of the floor, and within this cloud of flame the spirit form of the bridegroom's first wife slowly rises up through the floor, and points her bony fingers to the horror-stricken husband. The guests and attendants rush from the castle, and hasten to their homes. The intended bride remained insensible for many hours, and when she revived she was no more herself. The fearful scene had crushed out forever the last spark of reason. She was a maniac. The lord of the castle was left alone with his spectre bride, but not long. Forsaken by every one, he cared not for life, and when death came, which was not long after this occurrence, he welcomed him as his best friend. Years have passed, but the mysterious story still hangs over the spot; and at certain times of the year, it is said the apparition, surrounded by a cloud of fire, keeps its midnight vigils among the time-worn ruins.

The number of figures required to represent this tableau is twenty-four. The stage scenery is arranged in the following manner: In one corner of the background erect a platform two feet high by four feet square; over this place a canopy of crimson cloth, ornamented with gold paper. The platform should be decorated in the same manner. Red shawls or table covers will answer all purposes. Extending from each side of the stage to the platform, there should be two rows of seats and a platform behind; the first row of seats is to be eighteen inches high; the second three feet high, with a platform behind two feet wide; the platform can be left out at the sides, which will give more space in the centre of the stage. The seats and platforms can be formed of boxes and boards and covered with white cloth. Ten ladies, and the same number of gentlemen are to occupy the seats, while the platform is reserved for the bridal party. A trap door, two and a half feet square, should be cut out of the floor four feet from the front, and at equal distances from each side of the stage. This must be made secure, when not in use, by the means of bolts. The machinery for raising the spectre is arranged in the following manner: Strong blocks, such as are used on board of ships, should be securely fastened beneath the stage, at the four corners of the square; ropes, three quarters of an inch in diameter, should be passed through them, and one end of each fastened to fifty-six pound weights; the other ends of the ropes are to be fastened to rings attached to a platform two and a half feet square. A piece of four inch joist should be fastened near the centre of the platform, which should be three and a half feet high; small handles, two feet long, should also be fastened securely at the sides of the platform, on which the person who personates the spectre will stand. When the time has arrived for the spectre to appear in the tableau, two persons can easily guide the platform from the floor to the stage above. All the gentlemen are required to do, is to guide the platform; the heavy weights attached to the ropes will draw it up. The post fastened in the centre is intended for the lady to take hold of to keep her position; it should be covered with white cloth, and hid from view by the drapery of the costume of the spectre. The lady personating the spectre should take her position on the platform in the same manner that she will appear on the stage, which is such that a side view can be had of the figure, the right hand pointing to the platform where the bridal party are standing. The costume consists of a long white dress, worn without many skirts, over which is draped a robe of white muslin; a long, white gauze veil should be loosely tied around the head; the hair is allowed to hang loosely over the shoulders. The face, and arms, and neck must be made as white as possible by the use of pearl-powder. The features should express sternness.

The bridegroom should be dressed in a velvet coat trimmed with gold lace, velvet breeches, white vest, white hose, low shoes, knee and shoe buckles, ruffled bosom, white lace collar. The bride should be adorned in a showy dress of rich brocade or satin, decorated with jewels; mantle of ermine worn over the shoulders; the hair arranged to suit the taste of the performer, and encircled with a wreath of silver leaves, while a heavy white veil is fastened to the back of the head. The cardinal should have on a long black silk surplice, white cravat, and a mitre hat on the head. The couple face the audience, the cardinal standing directly behind them in the same position, with his hands raised over their heads. The ladies, who occupy seats at each side of the platform, should be costumed in as great a variety and as richly appearing dresses as can be procured; bands of gold, ornamented with colored plumes, are worn on the head.

Jewelry of all kinds should be worn in profusion. The gentlemen may be costumed in embroidered and military suits of various colors; white hose, knee and shoe buckles, breeches and side arms; each being disguised with wigs and false beards. The ladies and gentlemen should be intermingled, those in the foreground seated, while a portion of the others are in a standing position. At each side of the platform there should be a page, holding the chapeau and side arms of the bridegroom. Their costume consists of short velvet coat trimmed with gold, pink breeches, white hose, white shoes, silver shoe and knee buckles, white silk scarf, lace collar and cuffs. The attention of the guests and attendants should be directed to the group on the platform, the expression of their countenances denoting pleasure and interest. This constitutes the first scene, and ought to be exhibited three times; after which, the performers will take positions for the second scene.

The bride should be reclining insensible on the arm of the bridegroom; the cardinal is about seeking safety in flight; the lord looks with horror on the spectre, and throws out his arm as if he thought the spectre was about to grasp him; portions of the guests have risen, and are about to take flight; others are stupefied with affright; hands and arms are thrown up in fear; consternation is depicted on every face. When all is ready for representation, the stage manager must give the signal to those in charge of the curtain, machinery below the stage, and colored fires at the same moment, so that all will work in unison. The whitish-blue fire should be burned in small quantities near the trap door and larger quantities of the same in the ante-rooms, which will reflect on the forms of the performers. The curtain should be drawn up quite fast, while the spectre, starting at the same time, should rise very slowly.

The lights for this piece should be opposite the platform, where the bridal party stand; they must be very brilliant, and as many as can be procured. The music in the first scene should be of a lively nature; in the second scene, of a mournful style.