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The golden light into the painter's room Stream'd richly, and the hidden colors stole From the dark pictures radiantly forth, And in the soft and dewy atmosphere Like forms and landscapes magical they lay. The walls were hung with armor, and about In the dim corners stood the sculptured forms Of Cytheris, and Dian, and stern Jove; And from the casement soberly away, Fell the grotesque long shadows, full and true, And, like a veil of filmy mellowness, The lint-specks floated in the twilight air. Willis. |
One Female and One Male Figure.
A representation of a painter's studio. Scattered about the room are works of art, fine paintings, portraits, statuary, vases of ancient form, and flowers. A guitar and flute hang from the wall, and at the left of the stage is a large picture, with a crimson curtain partially drawn across it. The painter's easel stands at the right of the stage; on it is an unfinished portrait of a lady. A small table, sofa, and three ancient chairs complete the furniture of the room. The artist is seated in one of the chairs, engaged in painting the lady's portrait. The lady is seated in a chair in the centre of the stage, her feet resting on a small cushion, right elbow placed on the table which is by her side, and eyes fixed on a book which she holds in her left hand. A few showy bound books and a small bust may be placed on the table. The lady's costume consists of a pink or blue silk dress, cut low at the neck, sleeves of usual length, hair done up to suit the performer's taste. Her position is, facing the audience. The artist's costume consists of a rich dressing gown, a red velvet cap with a gold tassel, light pants and vest. His position is such that a side view is had of the features, the left hand holding a pallet and brushes, the right grasping a small brush, which he is in the act of using. His eyes are fixed on the picture, countenance expressing earnestness. Illuminate the background of the scene with a small quantity of red fire, the foreground with light of medium brilliancy, both of which should come from the right side of the stage. Music soft and plaintive.
PORTRAIT OF GABRIELLE.
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There's nothing ill can dwell in such a temple: If the ill spirit have so fair a house, Good things will strive to dwell with 't. Tempest. |
One Female Figure.
This tableau is suggested by the beautiful picture by De la Roche, one of the most eminent of French painters. The best portrait of Napoleon I. was painted by this artist. The subject of the painter is Gabrielle. The person who represents this portrait should have fine Grecian features, small figure, and hair that will curl profusely. The costume consists of a pink brocade cut low at the top, open in the form of a square in front, and trimmed with white lace and black velvet. The hair must be parted in the centre of the forehead, puffed out at the side, and arranged in short curls in the neck. A band of velvet one inch wide in the middle, and tapered to a point at each end, with a silver star studded with spangles on the widest part, should be placed around the head. The frame, behind which the lady takes her seat, is constructed as follows: Out of boards make a solid frame, four feet long and three feet wide, with a cornice on the outside. From the centre, cut out an oval three feet long and two feet wide; cover the frame with black cambric or velvet, and ornament the cornice and edge of the oval with gold paper; place the frame at the back of the stage on a platform or box three feet high, three feet wide, and two feet deep; fasten the frame by means of hooks or screws to the top of the box, flush with the front; attach a heavy crimson cord and tassel to the top, and pass it over a brass hook screwed to the ceiling. The lady takes her seat behind the frame, in such a position as will display a partial side view of the head and chest in the centre of the oval, the eyes cast down, the countenance expressing sorrow. After the lady has taken her position, the box must be entirely covered with black cambric, and a curtain of the same material should be fastened to the top of the frame, and allowed to trail back of the lady to the floor. With a medium quantity of light from the front of the stage, the tableau at a distance will resemble a painted portrait. A large variety of pictures can be produced in this manner, and at little expense. Music for this scene should be of a sacred character, and quite soft.