Second Scene.—The curtains were drawn forward so as nearly to meet in the centre, giving a glimpse only of the back-scene which throughout the entire play remained in its place. The wings were reversed, showing their other sides to the audience. These reverse sides were covered with smooth yellowish paper, painted to represent large blocks of pale stone. The wings, it must be said, had no attachment at the foot, but the heads of them turned in iron forks, like the rowlocks of a boat, reversed and fixed to beams above at the proper intervals. One of the wings, that nearest the back-scene (R.), was painted to represent a tall door with iron scrollwork across it. Lights up.
Third Scene.—This was the same as the first, but the large properties used in this prevented a sense of monotony. Lights down.
Fourth Scene.—This was the same again, with other large properties. Lights half down.
Fifth Scene.—This was the same again with further properties. Lights up.
Finally, overhead throughout were hung ordinary “flies,” or long strips of cotton, as broad as the stage and about two feet deep.
II. THE PROPERTIES
Under this head it is proposed to describe chiefly those properties that needed actual construction. For all the articles used throughout, such as the table and stools in the kitchen-scene, it is enough to say that they should be as simple and rough as possible. They should be even rather dirty.
In the first scene there is no property used beyond those connected with costumes (to be described later) except the tree-stump on which the shepherd sits. This is simply a three-legged stool with a dust-sheet draped over it.
In the second scene, there is the fire over which the inn-keeper is cooking. A strong black bandbox was taken, and from it were cut out sections, supported by uprights, making it to resemble a road-mender’s brazier. On the floor of this stood a cylindrical candle-lantern with a burning candle within; and round this lantern was wrapped red flannel. Between the flannel and the bars of the “brazier” were inserted sticks at irregular intervals. The whole thing was placed on a three-legged stool, and a brown cooking-dish rested on the top.
In the third scene this fire figured again, standing on the ground. Most of the stage R. was occupied by the shepherds’ shelter, with room, however, left to pass both behind and before it. The shelter was constructed of a three-sided clothes-horse, about six feet high; and this was hung all over and roofed by pieces of old sacking and deer-skins. The opening was towards the audience. A hurdle, standing on end, projected above the roof.