PORTRAIT OF THE MADONNA.
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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.
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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.