Elegant Zinnia. Zinnia elegans.
Dedicated to St. Eusebius.
Fantoccini.
Fantoccini.
“He gives me the motions.”
Shakspeare.
Mr. George Cruikshank’s pencil has been put in requisition for a fantoccini, and his drawing, engraved by Mr. Henry White, appears [above].
This exhibition took place in a street at Pentonville, during the present month, 1825. Its coming was announced by a man playing the Pan-pipes, or “mouth-organ,” which he accompanied by beating the long drum; after him followed the theatre, consisting of a square frame-work about ten feet high, boarded in front, and painted as represented in the print, carried by a man within the frame; the theatrical properties were in a box strapped on the inside towards the bottom. The musician was preceded by a foreign-looking personage—the manager. As soon as he had fixed on a station he deemed eligible, the trio stopped, the theatre was on its legs in a minute, and some green baize furled towards the top of each side, and at the back, was let down by the manager himself, who got within the frame and thus concealed himself. The band of two instruments was set in motion by its performer, who took his station on one side, and the carrier of the theatre assuming the important office of money collector. “Come ladies and gentlemen,” he said, “we can’t begin without you encourage us—some money if you please—please to remember what you are going to see!” Boys came running in from the fields, women with children got “good places,” windows were thrown up and well filled, the drummer beat and blew away lustily, the audience increased every minute, a collection was made, and the green curtain at length drew up, and discovered a stage also lined with green cloth at the top, bottom, and sides. In about a minute the tune altered, and the show began.
Scene 1. A jolly-looking puppet performed the tricks of a tumbler and posture master with a hoop.
Scene 2. The money taker called out, “This is the representation of a skeleton.” The music played solemnly, and the puppet skeleton came slowly through a trap door in the floor of the stage; its under jaw chattered against the upper, it threw its arms up mournfully, till it was fairly above ground, and then commenced a “grave” dance. On a sudden its head dropped off, the limbs separated from the trunk in a moment, and the head moved about the floor, chattering, till it resumed its place together with the limbs, and in an instant danced as before; its efforts appeared gradually to decline, and at last it sank into a sitting posture, and remained still. Then it held down its skull, elevated its arms, let them fall on the ground several times dolorously; fell to pieces again; again the head moved about the stage and chattered; again it resumed its place, the limbs reunited, and the figure danced till the head fell off with a gasp; the limbs flew still further apart; all was quiet; the head made one move only towards the body, fell sideways, and the whole re-descended to a dirge-like tune. Thus ended the second scene.