The learned Germans, who regard the whole Grecian mythology as personifying natural phenomena, interpret the legend as follows: Proserpine who is carried off to the lower world is the seed corn, that, for a time, is buried in the ground. Proserpine who returns to her mother is the corn which rises again to support mankind. The lady who takes the part of Proserpine should be quite handsome, with fine, regular features, a high forehead, and a good form. Her dress should be pure white, and cut extremely low at the neck; the hair should be brushed back from the forehead, done up neatly behind, allowing five or six curls to hang loosely in the neck, and a braid of hair should be worn across the front of the head. No ornaments of any kind should be worn.

The machinery of this tableau is arranged as follows: The revolving beam that is described in the tableau of the [Flower Vase] is to be used in this piece. The beam is placed in the centre of the stage, on the top of which is a wooden pedestal, three and a half feet high by seventeen inches in diameter on the inside. This pedestal should be made in two parts, having hinges, and a hook, to fasten them together. It must have a cap and base, and be covered with white cloth, over which fasten white tarleton muslin. The bottom of it should be six inches in thickness, with a square mortise in the centre, to allow the top of the beam to enter. The lady who personates Proserpine is to stand inside of this pedestal, and, as the space is quite small, it will be necessary to wear few under skirts. A frame should be manufactured of wire, and covered with white cloth and white muslin, and should be made to fit the back and breast of the figure, allowing room for the arms to be folded inside of it. This is to be made at the top in the same shape as the dress worn by the lady, and should reach to the waist of the person, fitting tightly, and from the waist be made to flare off in scroll form so as to rest on the top of the pedestal. By looking at a bust, one will easily understand the shape of the frame. It must be made in two pieces, and fastened at the sides with tape strings; around the top of the frame put a small wreath of white leaves and flowers. The lady must take her position inside of the pedestal which has been placed on the top of the shaft; hook it firmly together, and pack cloth between the lady and the inside of the pedestal, for the purpose of keeping the body from moving from one side to the other. Then place the front and back wire frames in their position, and fasten them firmly. See that the arms are folded out of sight, and the hair arranged properly. The eyes should be cast upward slightly, and when once fixed in position, they should not be moved. The face and neck should be made as white as possible; the expression of the countenance calm and serene. The fairies and the crimson curtain used in the tableau of the [Dancing Girl] can be used in this piece. A side view should be given of the statue before it revolves. In the second view, the pedestal must slowly revolve, while a plaintive air is played on the melodeon. This tableau has been admired by many, and will repay any one for the trouble of producing it.

NAPOLEON AND HIS OLD GUARD AT WATERLOO.

Last noon beheld them full of lusty life;
Last eve in beauty's circle proudly gay;
The midnight brought the signal sound of strife;
The morn, the marshalling in arms; the day,
Battle's magnificently stern array!
The thunder clouds closed o'er it, which, when, rent,
The earth is covered thick with other clay,
Which her own clay shall cover, heaped and pent,
Rider and horse—friend, foe—in one red burial blent.
Byron.

Forty Male Figures.

The battle of Waterloo was fought on the 18th of June, 1815. It was on the Sabbath day. The Emperor's wasted bands were now in the extreme of exhaustion. For eight hours, every physical energy had been tasked to its utmost endurance, by such a conflict as the world had seldom seen before. Twenty thousand of his soldiers were either bleeding upon the ground or motionless in death. Every thing depended now upon one desperate charge by the Old Guard. The Emperor placed himself at the head of this devoted and invincible band, and advanced in front of the British lines. Silently, sternly, unflinchingly they pressed on, till they arrived within a few yards of the batteries of the enemy. A peal, as of crushing thunder, burst upon the plain; a tempest of bullets, shot, shells, and all the horrible missiles of war, fell like hailstones upon the living mass. A gust of wind swept away the smoke, and, as the anxious eye of Napoleon pierced the tumult of the battle to find his Guard, it had disappeared. Napoleon threw himself into a small square which he had kept as a reserve, and urged it forward into the densest throngs of the enemy. He was resolved to perish with his Guard. Cambronne, its brave commander, seized the reins of the Emperor's horse, and said to him, in beseeching tones, "Sire, death shuns you; you will but be made a prisoner." Napoleon shook his head, and for a moment resisted; but his better judgment told him that thus to throw away his life would be but an act of suicide. With tearful eyes, he bowed to those heroes who proved faithful even to death; with a melancholy cry, they shouted, "Vive l'Empereur!" These were their last words—their dying farewell. Silent and sorrowful, Napoleon put spurs to his horse, and disappeared from the field. This one square, of two battalions, alone covered the flight of the army. Squadrons of cavalry plunged upon them, and still they remained unbroken. The flying artillery was brought up, and pitilessly pierced this heroic band with a storm of cannon ball. The invincible square, the last fragment of the Old Guard, revered by that soul which its imperial creator breathed into it, calmly closed up as death thinned its ranks. The English and Prussians sent a flag of truce, demanding a capitulation. General Cambronne returned the immortal reply, "The Guard dies, but never surrenders!" A few more discharges of grape shot from the artillery mowed them all down. Thus perished, on the field of Waterloo, the Old Guard of Napoleon.

Directions for forming the Tableau.—This splendid battle-scene contains forty figures. It can be produced with a less number, but to give a good effect, it should contain forty persons. The scene occurs at the time when Napoleon has thrown himself in the square of the Guard, and is about to press forward to the enemy. Napoleon is seated on his white horse, in the centre of the stage; we have a side view of the horse, and almost a front view of Napoleon, who grasps the reins with his left hand, and his sword with the right; his eyes are fixed on the advancing troops in the distance; his countenance expresses firmness and anxiety. Cambronne is on the point of advancing, with hands stretched out, about to grasp the reins of Napoleon's horse; his position is sideways to the audience. Marshal Ney is seen running towards Napoleon, on the other side of the picture, his right hand extended, his chapeau grasped with the left. In the foreground are four wounded soldiers, lying in various positions; muskets and other implements of war are scattered over the ground. Directly behind Napoleon is seen an officer holding the French standard, with a gilt eagle at the top. The Old Guard are formed in platoons, one at the right, one at the left, and one in the background; they should form with the face outward, and hold their muskets as if about to repel a charge of cavalry. The rear platoon should stand on a platform two feet in height, while the space behind is to be filled with soldiers engaged in fencing. They should be placed on raised platforms, varying from two to eight feet in height. The costume of Napoleon consists of a blue dress coat with a buff breast, eagle buttons, buff vest and knee breeches, top boots, spurs, sash, side arms, black chapeau, and gray overcoat. The horse which Napoleon rides can be made of wood, at a trifling expense. Minute explanation in regard to its construction will be found in the tableau of "[Washington's entrance into Portsmouth]." The costume of the officers consists of as rich military suits as can be procured. The soldiers should wear a showy military suit and bearskin hats. The muskets must be furnished with bayonets, and a thin smoke should be made to float over the scene. The roll of the tenor drum, the shrill music of the fife, the rattle of musketry, and the booming of cannon, should be heard in the distance. A red light must be thrown upon all the figures; if this is not sufficient to light up the piece, the footlights fronting Napoleon can be lighted. The person who takes the part of Napoleon must resemble, in features and form, the original character.