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HOME PASTIMES;

OR

TABLEAUX VIVANTS.

BY

J. H. HEAD.

[Contents]

BOSTON:
J. E. TILTON AND COMPANY.
1860.

Entered, according to Act of Congress, in the year 1859, by

JAMES H. HEAD,

In the Clerk's Office of the District Court of the District of Massachusetts.

ELECTROTYPED AT THE
BOSTON STEREOTYPE FOUNDRY.

TO

SAMUEL P. LONG, Esq.,

AS AN HUMBLE TRIBUTE OF ADMIRATION FOR HIS ARTISTIC AND LITERARY USEFULNESS,

AND TO THOSE FRIENDS WHO HAVE PARTICIPATED WITH ME IN MANY OF THESE SCENES,

This Work

IS RESPECTFULLY INSCRIBED,

BY THE AUTHOR.

PREFACE.

A sincere desire to extend the influence of a pure and ornamental art, to promote and extend a perfect system of what is really beautiful in the forming of the Tableau, to awaken in the minds of many a quicker sense of the grace and elegance which familiar objects are capable of affording, and to encourage all to cherish a taste for the beautiful, have influenced the author to issue this volume.

Art should not be confined entirely to the studio of the artist. Her presence should embellish every home; her spirit should animate every mind. She is unwearied in her best and brightest attributes, restricting her influence to no peculiar spot of earth, nor conforming her claims to any one sphere. Beauty of form is still beautiful, be it found in the humble cottage or in the magnificent palace.

A perfect picture will be recognized and appreciated whenever displayed, or by whomsoever produced. In fine, nature is still nature, and the germ of poetical feeling is similar in its manifestation wherever it may chance to be shown.

The delineation of the natural and poetical, its realization upon canvas, or upon paper, or in the living picture, tends to improve the mind, assimilates the real with the ideal, conforms taste to the noblest standard, overflows the heart with pure and holy thoughts, and adorns the exterior form with graces surpassing those of the Muses. The producing and forming of tableaux vivants have been the author's study for the past ten years. The choicest gems which adorn this volume are mostly imaginary scenes; others are selected from the poets; and a few are suggested by rare engravings.

The author, in his endeavors to impart and explain many things, has been obliged to sacrifice show and style upon the altar of simplicity; at least, such has been his constant aim. For all imperfections and defects he invokes the charity of a candid public. If this volume should in any degree satisfy a want that has been long felt, or add one devotee to the shrine of beauty, the author will consider his endeavors amply repaid.

JAMES H. HEAD.

Portsmouth, September 2, 1859.

CONTENTS.

INTRODUCTION.

The Tableaux Vivants may be new to many of our readers, although they have been produced and have been quite popular in Europe, and to some extent in this country. For public or private entertainment, there is nothing which is so interesting and instructive as the tableau. The person most fitted to take charge of a tableau-company is one who is expert at drawing and painting: any one who can paint a fine picture can produce a good tableau.

The individual who makes all of the necessary arrangements for a series of tableaux is generally called the stage manager. His first work is to select a programme of tableaux; and in this list there should be a variety of designs, comprising the grave, the comic, and the beautiful. A manuscript should be used in which to write the names of the tableaux, directions for forming each, the names of the performers, the parts which they personate, the styles of the costumes, and the quantity and kind of scenery and furniture used in each design.

The following diagram will illustrate the manner in which the manuscript should be arranged:—

After the manuscript is completed, it will be necessary to select the company and assign the parts. The number of persons required in a first-class tableau-company is forty. It will be necessary to have that number to produce large pictures; fifteen or twenty-five persons will be sufficient for smaller representations. In forming the company, the following persons should be selected: six young ladies, of good form and features, varying in styles and sizes; six young gentlemen, of good figure, and of various heights; two small misses; two small lads; two gentlemen for stage assistants; one painter, one joiner, one lady's wardrobe attendant, one gentleman's wardrobe attendant, one curtain attendant, one announcer. If a large piece is to be performed, such as the Reception of Queen Victoria, it will be necessary to have fifteen or twenty young gentlemen, varying from four to five feet in height, to personate military and other figures. Each person should have written instructions in regard to the scenes in which they take a part, giving full descriptions of the costumes, position, expression, and character which they are to personate; after which they should meet in a large room, and go through a private rehearsal. It will be necessary, previously to appearing before the public, to have three rehearsals—two private ones, and one dress rehearsal on the stage. It will be well to have a few friends witness the dress rehearsal, which will give confidence to the performers, previous to their dêbut before a large audience. As soon as the company has been organized, and each performer has received his several programmes, it will be the duty of the stage manager to see that the various branches of the profession are progressing in unison with the rehearsals. Each tableau should be carefully examined, and a list of the machinery, scenery, wardrobe, and furniture of each piece noted down, and competent persons immediately set to work on their completion. The selection of appropriate music, the drafting and erecting of the stage, and many other minor matters, should all be completed, before the tableaux can be produced.

But before proceeding farther, we will give directions in reference to the size and formation of the stage. It should be strongly framed of joist, and covered with smooth boards, and placed at the end of the hall, at equal distances between the side walls. It should be twelve feet square, and six feet in height. The front of the stage should be made to represent a large picture frame; it can be easily made of boards ten inches wide, fastened together in a bevelled manner, and covered with buff cambric, ornamented with gold paper. Oval frames are frequently used, but they are not so easy to arrange and manage as a square frame. Cover the floor of the stage with a dark woollen carpet, drape the ceiling with light blue cambric, the background with black cambric; the sides should be arranged in the same style as the side scenes of a theatrical stage. Stout frames of wood, two feet wide, reaching to the ceiling, and covered with black cambric, should be placed on the extreme edge of the stage, in such a manner that lamps from the ante-rooms will throw a light upon the stage and not be seen by the audience. Make the drop-curtain of stout blue cambric; fasten a slim piece of wood at the top and the bottom; and, at intervals of one foot on both of the poles, fasten loops of thick leather, containing iron rings one inch in diameter, and between the bottom and top rings, at intervals of one foot, fasten small brass rings; these should be attached to the cambric on the inside of the curtain; then fasten the top pole to the inside of the top of the frame, and attach strong lines to the bottom rings; pass the cords through the brass rings and the iron rings at the top; then gather them together, and pass them through a ship's block fastened in the ante-room. As the lines will be quite likely to run off of the wheel, a piece of hard wood, with a circle at one end, fastened on the inside of the frame, will answer a better purpose for the cords to pass through. After passing them over the block, tie them together, and the curtain will be ready for use. When the ropes are drawn, the curtain will rise up in folds to the top of the frame. The floor of the stage should be built out on the front twelve inches, for the placing of a row of gas-burners with tin reflectors, painted black on the outside; this row of lights should be furnished with a stopcock, which can be placed in the gentleman's dressing-room. A row of strong lights should also be placed on each side of the stage, within three feet of the ceiling; these also should have reflectors and separate stopcocks, for the purpose of casting the proper lights and shades on the stage.

The Dressing-rooms are on each side, and beneath the stage. The floor of the stage should extend out on each side, making small rooms for the placing of the scenery, furniture, &c. A trap-door should be cut in the floor of each room, and flights of steps reaching down into the rooms below, which are used for dressing-rooms. A partition placed under the stage divides the ladies' from the gentlemen's room; these rooms are covered on the front with strong cloth, and decorated with flags.

A stage for tableaux in a private dwelling-house should be formed similarly to a hall stage, but so constructed that it can be put together in a few minutes. The platform should be fourteen feet square, made in three sections, so that it can be handled easily, and should rest on a frame of small joist, which can be mortised together at the corners; place the frame on four boxes, two feet square; at the corners of the platform mortise four square holes, in which insert pieces of joist which will reach to the ceiling; around the top fasten strips of board, by means of screws. Make the frame in three pieces, cover them with cambric, and fasten them to the front joist, and on the top board with long screws; arrange the curtain and scenery similar to the hall stage. The wardrobes and furniture can be furnished by the members of the company, and with a little ingenuity and taste, many suits can be gotten up with little expense. As the view of the tableaux is but momentary, the quality of the costumes will not be noticed.

For a single evening's entertainment, the following arrangement will suffice, providing there be a long entry or a large parlor, separated by folding doors. If the entry is used, let the performers form their tableaux at the lower end; and when all is ready, the audience can be called from the parlors to witness the scene. A parlor with folding doors is undoubtedly the best place, as the doors can be slowly opened, which will give a better effect to the scene. Cover the wall back of the tableaux with black shawls, place the lights on a table at one side of the picture, and hide them from the view of the audience by placing a screen of thick cloth in front of them.

In forming up a tableau, lights and shades should be studied; in fact, this is the main secret of producing effects, and by managing the lights about the stage correctly, you can throw parts of your picture in shadow, while other portions are light. Care should also be taken not to have too great a variety of colors in a picture. The showy costumes should be intermingled with those of modest appearance, and the lightest characters, as a general rule, should be placed in the background to relieve the dark ones; those in the background should be placed on platforms. If there are many figures in the piece, it will be necessary to have a number of forms, of various heights, placed in the background—in this manner all of the figures will be seen.

The scenery, furniture, and machinery of each piece should be arranged previous to the entrance of the performers on the stage. Each performer should be called on separately, and placed in position. By adopting this plan, every tableau can be formed without noise or confusion. When the position is once taken, it should be kept, unless it is a very difficult one.

The stage manager should take his position at the front of the stage, and see that each one is in his proper place. He should prohibit laughter or conversation among the performers, unless any one wishes explanations in regard to the piece. He should be strictly obeyed in all matters referring to the tableaux; and when he has properly adjusted every thing on the stage, he should remove to the ante-rooms, and see that the lights, music, &c., are ready. He should then ring a small bell, and the announcer in the hall will have a programme of the tableaux, and will announce the piece; and if there is any accompanying poem to be read, it will be his duty to read it. The manager will then ring the second bell; this will be a signal for the performers on the stage to take their positions, and for the lights to be turned down in the hall. In thirty seconds after the second bell, the manager will ring a third time, which will be a signal for the curtain attendant to draw up the curtain, which should rise slowly to the top of the frame, and be kept up about thirty seconds. Each tableau should be exhibited twice, and in some cases three times. After the last exhibition, the performers should quietly proceed to the ante-rooms, and immediately dress for the next tableau. The manager and assistants will see that the stage is cleared of the scenery, and new scenery adjusted for the next piece. It will be necessary to work with rapidity, as there are many things to perform which in the aggregate will take much time. Large programmes should be placed in each dressing-room, so that the performers will be able to tell in which tableau they are to perform, without inquiring of the manager. Each performer should be furnished with a large trunk to keep his wardrobe in; and when a change of costume is made, care should be taken that each one places his costumes in his own trunk. If this plan is not followed, before the exhibition is through, many articles will be missing, which will retard the performance.

Each piece of machinery, furniture, scenery, &c., should have a proper place where it should be left when not in use. Nails, pins, hammers, and other articles which come in constant use, should be kept in a large box near the stage. By working systematically, every thing will move on with clockwork nicety, and all confusion be avoided. Colored fires should be burnt in the ante-rooms at the sides of the stage; smoke and clouds should be produced at the back, or in the centre of the stage. The preparation can be ignited by fastening a lighted fuse to a long rod. Large tableaux require all the light than can be produced. Medium pictures should be shaded in different parts. Statuary tableaux require a soft and mellow light. Night scenes require but little light, which should be partially produced by the burning of green fire. The following articles are indispensable to a well-arranged tableaux stage:—

One melodeon, six common chairs, four ditto of better quality, two small tables, two sinks, two sets of pitchers and ewers; two mirrors, combs, hair brushes, pins, tumblers, twine and rope; napkins, nails, tacks, buckets, hammers, brooms, cloth brushes, small bell, large bell, scissors; one large table, one large chair, one set damask curtains, four boxes, four feet long and eighteen inches wide, six ditto eighteen inches square; two pieces black cambric, six feet square; four pieces white cotton cloth, six feet square; (these boxes and cloths are to be used in forming up the groundwork of almost every tableau;) two red damask table covers, (very handy things to use in decorating showy pictures;) one circular platform, four feet in diameter, (much used to form the top of pedestals to group statuary tableaux on;) two steel bars, for producing sounds to represent alarm bells; one bass drum, one tenor drum, one flask of powder, one box of material for colored fires, one set of water-colors, one case containing pink saucer, chalk balls, pencil-brushes, and burnt cork.

It would be almost impossible to furnish a complete list of the articles necessary. Those we have omitted will suggest themselves, or the occasion will suggest them. By closely studying the plans we have outlined, we are certain that no person with tact and taste could assume the directorship of a tableau-company without success.

The Tableau Vivant.

THE WREATH OF BEAUTY.

Ten Female Figures.

This elegant design is one of the finest of this series of tableaux, and is composed of ten young and beautiful ladies, grouped so as to represent a magnificent wreath. The bottom of the wreath rests on the front of the stage; the top reaches up to the ceiling, forming a complete circle of beautiful forms and fair faces, among which are entwined festoons of flowers. Inside of this circle is a large wreath six feet in diameter, and five inches in thickness; this rests on a pink ground, and is composed of spruce, ornamented with artificial flowers.

The first work in the construction of this tableau is to erect a circle of seats reaching from the front of the stage to the ceiling, in the background. This can be easily accomplished by using boxes of various sizes. The wreath should be ten feet in diameter; the boxes should be entirely covered with white cloth, the space in the centre with pink cambric.

The costume of the ladies consists of a white dress, cut very low in the neck; skirt quite long, and worn with few under skirts; sleeves four inches long, trimmed with white satin ribbon; waist encircled with a white satin sash; feet encased in white slippers; hair arranged to suit the performer's taste, and encircled with a wreath of white artificial flowers. The lady at the top of the wreath should first take her position. She should be the lightest in weight of the group, and should recline in an easy position, resting her head upon her hand, the elbow touching the box, and the body slightly inclined to the right. The second lady will then take her position at the right of the first, on the seat below, her arm resting on the form of the lady above, the right hand supporting her head, the face turned in to the centre of the circle, the eyes raised to those of the figure above. The remaining figures should take similar positions, until one half of the circle is complete. The other side of the circle is arranged in a similar manner,—the figures facing inward.

The wreath of spruce and flowers is to be placed within the circle of ladies. The stage and the back scene should be hung with green bocking, and care must be exercised in the forming of the circle, so that it shall appear perfectly round. The small festoons of flowers should be entwined among the figures, after they have taken their position. The expression of the countenances should be pleasant and animated. The light for this piece should come from the foot of the stage, and should be quite brilliant. Music soft, and of a secular character. The tableau, when finished, at a distance appears like an immense wreath resting against a grassy bank.

THE MARBLE MAIDEN.

Three Female and Eleven Male Figures.

This tableau is taken from Shakspeare's drama, "The Winter's Tale." The scene is that wherein Paulina draws away the curtain and discloses the marble statue. She is addressing Leontes, who is seen in the foreground. At the left of the stage, a group of five gentlemen and one lady is seen; on the opposite side of the stage is another group of five gentlemen; all of which are in position, so that a profile view is exhibited.

The scenery of this piece consists of a curtain passing across the stage, three feet from the back end. The curtain described in the tableau of the "[Dancing Girl in Repose]" will answer for this scene, but should be allowed to hang straight from the top, in place of being looped up at the sides. Arranged in this way, it will leave an open space of five or six feet in the centre. The background is seen through this opening, and is to be festooned with wreaths of evergreens and flowers. Close up to the back wall is placed a platform, made in two pieces, the first being four feet square and one foot high. On this rests a second platform, three feet square and one foot high. At the right side of the upper platform is placed a round pedestal, three feet high and one foot in diameter; this has a cap and base, and can be made of card-board, and covered with white marble paper. The platform is to be covered with black marble paper.

By the side of the pedestal stands the statue. The lady who personates this figure should be rather slim, of medium height, good features, and dark hair. Costume consists of a loose, white robe, worn with but few skirts, the sleeves very short, the waist cut low at the neck, the skirt long enough to trail on the platform; the whole covered with white tarleton muslin. Across the shoulders, and tied at the right side, is worn a heavy muslin mantle, trimmed on each edge with white satin ribbon. The hair is arranged in a neat coil, and a small wreath of white leaves encircles the head. These are made of white paper, and fastened to a wire frame. The statue stands perfectly straight at the side of the pedestal, one arm resting on the top, the hand hanging down over the front, while the left arm hangs gracefully at the side. The eyes are directed to the figure of Leontes in the foreground. Pauline, who draws the curtain aside, is costumed in a black silk dress, with a velvet waist, trimmed with bugles, and interspersed with silver spangles. The hair, arranged in a single coil, is decorated with a velvet band, with white paste pin in the centre, from the back of which is fastened a long black lace veil, falling gracefully over the shoulders, and reaching nearly to the floor. She is standing at the right of the curtain, one hand grasping its folds, while the other is extended, and points to the statue. A profile view is had of the figure: the head is slightly turned, the eyes directed to Leontes in the foreground. Leontes' costume consists of a black coat, belted around the waist, black knee breeches and hose, confined with a gold band and showy paste pin. The collar and cuffs of the coat are decorated with deep white lace. A short sword is suspended from the belt; the feet are covered with low shoes, with showy buckles; the head is encircled with a silver band, one inch wide, with a brilliant pin in the centre. Fastened around the neck, and hanging over the shoulders, is a black velvet cape—a small, lady's cape will answer. Position is standing on the extreme front of the stage, with both hands extended above the head, the body thrown back, the feet extended from each other, the back turned to the audience, the head inclined to one side, so that a side view is had of the face, while the eyes are directed to the statue. Behind Leontes stands a tall figure, costumed in a black coat and knee breeches, white hose, knee and shoe buckles, low shoes, waist encircled with a belt, a short cloak thrown over the right shoulder. The other figures are costumed in a similar manner, and stand between Leontes and the side of the stage, and are looking intently at the statue.

Three more gentlemen, costumed in a similar style, occupy positions on the opposite side of the stage, close to the wings. A profile view is had of their figures, while their faces are turned towards the statue. In front of this group stands a young man, with his arm placed around the waist of a young lady who stands at his side, and in such a position that we have almost a back view of them. The lady is costumed in a white dress, cut low at the top, sleeves very short, skirt long, so as to trail ten inches, ornamented with buff ribbon, which should be placed on the bottom of the skirt, around the waist, on the top of the waist, and on the sleeves. Her hair should hang loosely over the shoulders, the head encircled with a string of feldspar or pearl beads. The hands are clasped in front of her bosom, the body inclined forward slightly, the eyes directed towards the statue. The gentleman at her side stands erect. His costume consists of a dark coat, ornamented around the bottom with silver paper, covered with black lace, the sleeves and collar trimmed in the same mode, with an addition of wide white lace cuffs and collar; the breeches are of black cloth, with a band of silver, and buckle at the knee; white hose, low shoes, with buckles, a wide belt around the waist, from which is suspended a long, slim sword. The lights on each side of the background, where the statue is placed, should be quite brilliant. The foreground should receive the rays of light, which should be of medium quantity, from the side of the stage where Leontes stands. Music soft and plaintive.

VENUS RISING FROM THE SEA.

One Female Figure.

This tableau is represented by one beautiful lady, whose costume consists of a flesh-colored dress, fitting tightly to the body, so as to show the form of the person. The hair hangs loosely on the shoulders and breast, and is ornamented with coral necklaces, while the neck is adorned with pearls. To represent the sea, it will be necessary to place, at intervals of two feet, (from wing to wing,) strips of wood, beginning at the floor of the stage, near the front, and rising gradually as they recede in the background, the last strip being two feet from the floor of the stage. After these have been arranged, lay strips of blue cambric across them; cover them entirely, and between the bars of wood let the cambric festoon so as to represent the appearance of waves. It will be necessary to fasten the cambric with small tacks, to keep it in position, while the ridges of the miniature waves should be painted white, to imitate foam. A trap door should be cut in the centre of the stage, and a circle cut in the centre of the cambric, to admit the body of Venus. The waves should come up three inches above the hips, fitting closely around the body. The water about the centre should be made white with foam. A platform can be arranged below the stage for the performer to stand on, and this can be made high or low, according to the height of the lady, by the use of blocks of wood. The right hand of the figure is held above the head. The left hand rests on the water. The countenance is lighted up with smiles. Small particles of isinglass scattered on the waves will make them glisten and sparkle, which will add to the effect, while a green fire, burned for twenty seconds, and then changed to red or bluish white, will give a fine shade to the scene. If the colored fires are not used, the light should come from the front. Music, soft and brilliant.

RECEPTION OF QUEEN VICTORIA AT CHERBOURG.

Ten Female and Twenty Male Figures.

It was in the fall of the year 1858, when the great naval arsenals, magazines, and docks, at Cherbourg, were to be inaugurated; and notwithstanding the admonition of the English press, which represented the establishment of these works as a direct menace against Great Britain, and, taken in connection with the constant increase of the French navy, a proof of ultimate hostile designs on the part of the emperor, Queen Victoria had accepted an invitation to be present on this occasion. The day appropriated for the reception of the queen had arrived. The weather was superb; the skies were blue, and the waters of the channel were calm and placid. The shores and buildings, as far as the eye could reach, were covered with cavalry, infantry, artillery, and citizens. Every bosom in this mighty throng was glowing with enthusiasm. The glittering eagles, the waving banners, the gleam of polished helmets and cuirasses, the clash of arms, the soul-stirring music from the martial bands, and the incessant bustle and activity, presented a spectacle of military splendor which has seldom been equalled. It was war's most brilliant pageant, without any aspect of horror. The frigate La Bretagne, on which the banquet was to take place, was decorated with signals and flags, and most prominent were the national ensigns of France and England. A triumphal throne was erected on the deck of the vessel, on which sat Louis Napoleon, the empress, the officers and great dignitaries of the country, interspersed with the ladies of honor. Salutes from the surrounding forts and ships of war announced the arrival of the barge containing the Queen of England, Prince Albert, and suite. They were received on board the frigate by Napoleon, amid the salvos of artillery and strains of martial music. "God save the Queen," and French national airs, were played by the bands, and the nation's guest was addressed by Napoleon, who, in proposing Victoria's health, said,—

"Facts prove that hostile passions, aided by a few unfortunate incidents, did not succeed in altering either the friendship existing between the two crowns, or the desire of the two nations to remain at peace. He entertained the sincere hope that if attempts were made to stir up the resentments and passions of another epoch, they would break to pieces on common sense. Prince Albert responded, and expressed the most friendly sentiments on behalf of the queen. He said she was happy at having an opportunity, by her presence at Cherbourg, of joining and endeavoring to strengthen as much as possible the bonds of friendship between the nations—a friendship based on mutual prosperity; and the blessing of Heaven would not be denied. He concluded by proposing a toast—The emperor and empress."

The above scene is the one we propose to represent in tableau; and to give a good effect to the piece, it will be necessary to have thirty persons. The number can be increased if there is sufficient room. The four principal characters are Queen Victoria, Prince Albert, Louis Napoleon, and the Empress. In selecting the persons for these parts, it will be well to choose those who are as near like the original as possible. They should be persons of good figure, and of graceful and easy manners. The sailors and military should be composed of young lads; the rest of the performers consist of young ladies and gentlemen. The stage should be arranged in the following manner: Two tiers of seats should be arranged in a curved line from the right of the stage, at the front, to the left of the stage, in the background. The front seat is two feet, the second and back tier should be three feet, in height, with a wide platform behind, of the same height, capable of holding twenty persons. These seats should be covered with a crimson cloth, and are intended to be occupied by Napoleon's suite. In the centre of these seats should be placed a platform four feet square and two feet high; on this place the throne chairs, and build a flight of broad steps in front, covered with crimson, and decorated with gold. The throne chairs should be made as showy as possible. Common office chairs can be easily made to answer the purpose by fastening to the backs pieces of boards one foot wide and four feet high, and covering the fronts and top of the arms with pieces of board four inches wide, decorating them with red turkey cloth, and bands of gold paper. Place them close together, and insert a board decorated in the same manner between the two, and ornament the top with a canopy of Turkey cloth, trimmed with gold; on the top place a pointed gilt crown. This kind of throne can be easily put together, and will be easier to handle than one made in a more workmanlike manner. The emperor and empress should be seated in the chairs. The platform is intended for the military, while the seats should be filled with dignitaries, officers, and ladies. The empress's costume consists of a rich brocade, heavily ornamented with jewelry, gold or silver lace, and any other decoration that will be appropriate, and will add to the richness of the costume. A small crown should adorn the head, which can be made showy by using paste pins of various sizes. The emperor's costume consists of a blue velvet coat, ornamented with gold epaulets, and trimmed with gold fringe, while the right breast is adorned with the cross of the legion of honor. The breeches are of blue velvet, trimmed with silver lace and knee buckles; the remainder of the costume consists of military top boots, silk scarf of blue and red, side arms and crown. At each side of the throne there should be one body guard, fine-looking gentlemen, dressed in court costume, each holding a long halberd. The rest of the gentlemen are costumed in court dress and military suits; the ladies in as showy and rich appearing costume as can be procured. The hair should be arranged to suit the taste of the performers; the head should be adorned with a band of gold, with a colored plume in front. The seats are to be filled entirely with the ladies and gentlemen, and a few should stand at the side and on the platform; careless and graceful attitudes should be taken, and all eyes should be directed to the left of the stage, where the barge is expected to arrive. The soldiers in the background should be formed in platoon, and in such a manner that all will be visible. The muskets should be held at the shoulder. Each should be furnished with a large moustache, and should look directly forward. The performers having all taken their positions, the cannon will commence firing behind the scenes, and the curtain will rise on the first part of the tableau; after exhibiting this part twice, a piece of canvas, painted to represent water, should be spread in front of the throne, while the rest of the scenery and performers should be all ready, so that in five minutes after the first scene, the second should appear. The barge should be made five feet in length, or, rather, five feet of the barge should be seen; the remaining portion of it is presumed to extend behind the scenes. It should be built in the form of the Venetian boats, with the prow running up a foot above the gunwale, and turning over in the form of a scroll. The barge can be framed out of light strips of wood, and covered with canvas; the exterior should be painted in showy colors; the scroll can be covered with gold paper; a wreath of flowers should be painted around the edge of the gunwale; cloth, painted to represent water, should be fastened about the boat near the water line. The barge contains four sailors, Prince Albert, and Queen Victoria. The remainder of the company is imagined to be in the stern of the boat, which is invisible. The boat should be placed sideways to the audience, very near to the side wing, with the bow inclined slightly towards the throne. When the curtain rises on the scene, the emperor should be standing at the foot of the throne, about to assist the queen from the bows of the barge. The queen is standing with hands extended to receive the proffered assistance of Napoleon. Prince Albert is seated directly behind the queen, holding his chapeau in his hand. The sailors hold their oars up in the air, and look towards the audience. The queen's costume consists of a showy brocade dress, ornamented with a mantle in imitation of ermine, and showy jewelry; a crown, of English design, adorns the head. Prince Albert is costumed in a scarlet military coat, with heavy and rich decorations, gold epaulets, crimson sash, buff vest and breeches, side arms and chapeau. Sailors' costume consists of a white shirt, with blue collar and cuffs, black handkerchief about the neck, and black tarpaulin. While the curtain is up, the band should play "God save the Queen." This piece requires great quantity of light, which should come from the side where the barge is placed, and from the front.

SCENE FROM THE OPERA OF "SAPPHO."

Eleven Female and Ten Male Figures.

This thrilling tableau is a representation of a scene from the popular opera of Sappho. The design is taken at the moment when Sappho has finished her first song, "Morning has never dawned," and the attendants join in the chorus. The number of figures in the piece is twenty-one, eleven ladies and ten gentlemen. The scenery in the background and at the sides represent pillars of marble; these can be cheaply made of strips of marble paper, with a cornice running around the top; in the centre of the background is placed a platform two feet high by four feet square; on each side of this are pedestals three feet high by one and a half feet square, the fronts panelled with red Turkey cloth, and bordered with gold paper; on the top of these should be placed large earthen vases, painted to represent bronze, from the mouth of which there should issue colored flames. From the right and left sides of the platform to the front corners of the stage place the chorus singers. The ladies stand on the left side; three are placed on a platform one foot high, and standing in front of them, at equal distances, are seven more. The gentlemen on the other side are arranged in the same manner. Sappho, the heroine of the tableau, stands on the platform between the two pedestals; the left hand rests on the top of one of the pedestals, and the other is raised up at arm's length. The head is thrown back slightly, and the eyes are raised upward. The right foot is placed twenty inches in advance of the left, the body facing the audience.

Sappho's costume is a long, white robe, cut low at the top, over which is worn a short half skirt of white tarleton muslin, reaching to the knee; sleeves five inches long, trimmed with Grecian border; the lower portion of both of the skirts trimmed with black velvet two inches wide, ornamented with gold paper and spangles; a wide band of gold is placed around the top of the dress, and covered with wide white lace. A band of wide black velvet ribbon, ornamented with showy paste pins, encircles the waist, and a wreath of silver leaves adorns the head. These can be cut from silver paper, lined with cloth, and fastened to a small wire. The hair is arranged in wide braids at the side of the head, clasped by a silver band at the back, and allowed to hang in short curls in the neck.

The chorus ladies are costumed in white dresses, low-necked; sleeves five inches long, trimmed with narrow pink ribbon, a bow of the same at the top of the sleeves, fastened to the dress by a brilliant glass pin; over the skirt of the dress should be worn a half skirt of white tarleton muslin, which should be two feet long in front, and three behind; this is belted about the waist with a pink ribbon, and trimmed around the bottom with oak leaves. The hair of most of the ladies should be arranged in curls, which should be confined together with a band of silver, while three of the ladies must allow their hair to fall loosely over the shoulders; wreaths of artificial flowers should adorn the heads of all. The lady who stands near the corner of the stage at the front should have in her left hand a torch, from which issues colored flame, while the right hand is raised above the head, the right foot placed twenty inches before the left, the body and head thrown back, the eyes cast upward, and excitement should be expressed in the countenance. (The torch can be made of wood, and covered with silver paper.) Every other lady in the row of seven should hold a torch, and take similar positions. Those standing near the torch-bearers are costumed in the same manner, and hold small harps in the left hand, while the right touches the strings. The body and head are thrown back slightly, and the eyes cast upward. Those performers standing near the platform should be elevated on small platforms of various heights, so as to be distinctly seen. On the platform behind the seven stand three other ladies, at equal distances from the front corner of the stage to the pedestals. Their costume should be similar to the others; position the same, while the hands are clasped in front of the bosom, and the eyes are directed to the form of Sappho.

The ten gentlemen are costumed in white coats trimmed around the bottom, the sleeves and collar with black cambric two inches in width, and ornamented with gold; a black belt of the same material encircles the waist; black pants or breeches; white hose reaching to the knee, and fastened with a silver band and buckle; low shoes, with a blue rosette on the front. A wide white mantle trimmed with oak leaves should be worn across the breast, the ends ornamented with wide yellow cambric fringe, which should be fastened at the side with a blue rosette, and trail made nearly long enough to reach the floor. The head is adorned with a wide band of velvet, ornamented with gold. The performers should be furnished with long, full beards, which can be made of hemp or horse-hair. The arrangement of the gentlemen is the same as that of the ladies—seven placed on a line from the pedestal to the corner of the stage, and three on the platform behind. The front rank have the golden harps and the torches. The gentlemen on the platform clasp their hands in the same manner as the ladies opposite. The position of all the chorus singers is such that a profile view is had of their features.

The front lights should be turned down quite low; the lights at the side where the gentlemen stand should be very brilliant. A red fire should be thrown on the platform and the figure of Sappho. Music should be quite brilliant.

FLORA AND THE FAIRIES.

Eight Female Figures.

This elegant tableau represents Flora seated in a beautiful car drawn by six fairies. The car is easily made of wood covered with paper or cloth, and decorated with flowers. It should be five feet long, and made in the form of a scroll, the largest part of which should be at the back of the car. Cover the centre of the scroll which forms the sides with crimson paper or cloth, ornamented with a border of gold paper three inches wide, and a second border of artificial flowers. Make the wheels of solid pieces of wood; the front ones, one foot in diameter; the back ones, double the size; cover them with crimson cloth, and ornament them with large gold stars; build a small seat at the back end, and extend the floor of the car one foot out from the back part, for the footman to stand on. The front of the car should be built in the form of a scroll, and should sustain a small vase of flowers on the top. Vases of similar shape, containing flowers, should be placed on each side of the seat; a long rope, covered with crimson cloth, should be attached to the front axletree. As only one side of the car is visible, it will be necessary to decorate only one side. A platform one foot high should be built on the front of the stage; a second one, three feet from the first, which should be two feet high; a third, in the rear of the second, should be three feet in height. These must be covered with green bocking, to represent turf. Place the car near the front of the stage, at the right corner; attach six pieces of green ribbon to the crimson rope, for the fairies to take hold of; six pink ribbons must be fastened to the waist of the fairies, and held by Flora, who is seated in the car.

The young lady who personates Flora should be of good figure and features, and rather small form. Her costume consists of a white robe, cut low at the neck; sleeves five inches long, trimmed with flowers; a belt of green cloth, adorned with artificial flowers, around the waist; a crown, made in like manner, encircling the head; a small bouquet of flowers fastened to the front of the waist. The hair is arranged in short curls about the head; a side view is had of the body, while the head is turned around to face the audience. The hands are employed in holding the pink ribbons and whip, which is made of a long, slender branch of the willow, with a few leaves on the extreme end. The countenance expresses pleasure and animation.

Seven small misses personate the fairies, and their costume consists of a short white dress, decorated with silver spangles. Strips of blue ribbon, one inch wide, should be placed around the skirt, running from the waist to the bottom of the skirt; these must be three inches apart. The waist is made of blue silk, and trimmed with silver paper and spangles. The hose are flesh color; shoes, white satin; the head is encircled with a wreath of flowers; the hair should be arranged in short curls, and small wings formed out of wire, covered with gauze, and ornamented with silver spangles, are fastened to the back of the waist. The fairies should stand in double files, one couple standing on the first platform, one on the second, and one on the third; they should be three feet apart, standing in the form of a half circle, so that each will be seen. One hand should grasp the pink ribbon, while the other is raised, holding a small bunch of flowers. The fairy footman's costume is like the others, and the position is on the back of the car, both hands upon the back of the seat, and at the same time holding the ends of a long wreath, which arches over the head of Flora.

The light should come from the side of the stage where the fairies stand, where should be burned a small quantity of the whitish-blue fire. Music lively.

THE SPECTRE BRIDE.

Twelve Female and Twelve Male Figures.

This interesting and imposing tableau is taken from a legend, which has been handed down from generation to generation among the villagers living in the neighborhood of Glenburne Castle, England. The story, probably as authentic as many which are often heard of in those districts, is as follows:—

Many years ago, that portion of the country where Glenburne Castle now stands was owned and governed by an intriguing and overbearing lord. He had a beautiful companion for a wife, who loved him too well; but his affections wandered from her. He looked into a brighter eye, and on a fairer brow. His wife pined away, lived miserably for years, and died at last broken-hearted. Six months had passed, and great preparations were being made in the old castle for a magnificent wedding. The lords and nobles, within a circuit of five hundred miles, were invited to participate in the festivities of the day. The halls were hung with beautiful tapestry and garlands of flowers, and the castle resounded with strains of sweet music, "and all went merry as a marriage bell." But this finely-arranged entertainment did not end in so pleasant a manner as was intended. The hour had arrived when the lord of the castle was about to lead to the hymeneal altar the bright-eyed lady he so long loved. The spacious and magnificent drawing rooms were thronged with the wealthy and the beautiful; all were attired in robes of silk and satin, and costumes of velvet, which glistened with pearls and precious stones. A temporary platform was placed at one end of the hall, on which was raised a crimson and gold canopy. On the platform were to be seated the bride and bridegroom, and the grand cardinal who was to perform the service. It was seven o'clock in the evening; the guests had all arrived, and were seated around the room awaiting the entrance of the lord and his intended bride. Soon the castle resounded with the sound of trumpets. The massive doors opened wide, and the grand cardinal, followed by the bride and bridegroom, entered the apartment, and took their position beneath the canopy. The marriage ceremony had been partly completed, when all were suddenly petrified with horror. A bluish flame is seen rising from the centre of the floor, and within this cloud of flame the spirit form of the bridegroom's first wife slowly rises up through the floor, and points her bony fingers to the horror-stricken husband. The guests and attendants rush from the castle, and hasten to their homes. The intended bride remained insensible for many hours, and when she revived she was no more herself. The fearful scene had crushed out forever the last spark of reason. She was a maniac. The lord of the castle was left alone with his spectre bride, but not long. Forsaken by every one, he cared not for life, and when death came, which was not long after this occurrence, he welcomed him as his best friend. Years have passed, but the mysterious story still hangs over the spot; and at certain times of the year, it is said the apparition, surrounded by a cloud of fire, keeps its midnight vigils among the time-worn ruins.

The number of figures required to represent this tableau is twenty-four. The stage scenery is arranged in the following manner: In one corner of the background erect a platform two feet high by four feet square; over this place a canopy of crimson cloth, ornamented with gold paper. The platform should be decorated in the same manner. Red shawls or table covers will answer all purposes. Extending from each side of the stage to the platform, there should be two rows of seats and a platform behind; the first row of seats is to be eighteen inches high; the second three feet high, with a platform behind two feet wide; the platform can be left out at the sides, which will give more space in the centre of the stage. The seats and platforms can be formed of boxes and boards and covered with white cloth. Ten ladies, and the same number of gentlemen are to occupy the seats, while the platform is reserved for the bridal party. A trap door, two and a half feet square, should be cut out of the floor four feet from the front, and at equal distances from each side of the stage. This must be made secure, when not in use, by the means of bolts. The machinery for raising the spectre is arranged in the following manner: Strong blocks, such as are used on board of ships, should be securely fastened beneath the stage, at the four corners of the square; ropes, three quarters of an inch in diameter, should be passed through them, and one end of each fastened to fifty-six pound weights; the other ends of the ropes are to be fastened to rings attached to a platform two and a half feet square. A piece of four inch joist should be fastened near the centre of the platform, which should be three and a half feet high; small handles, two feet long, should also be fastened securely at the sides of the platform, on which the person who personates the spectre will stand. When the time has arrived for the spectre to appear in the tableau, two persons can easily guide the platform from the floor to the stage above. All the gentlemen are required to do, is to guide the platform; the heavy weights attached to the ropes will draw it up. The post fastened in the centre is intended for the lady to take hold of to keep her position; it should be covered with white cloth, and hid from view by the drapery of the costume of the spectre. The lady personating the spectre should take her position on the platform in the same manner that she will appear on the stage, which is such that a side view can be had of the figure, the right hand pointing to the platform where the bridal party are standing. The costume consists of a long white dress, worn without many skirts, over which is draped a robe of white muslin; a long, white gauze veil should be loosely tied around the head; the hair is allowed to hang loosely over the shoulders. The face, and arms, and neck must be made as white as possible by the use of pearl-powder. The features should express sternness.

The bridegroom should be dressed in a velvet coat trimmed with gold lace, velvet breeches, white vest, white hose, low shoes, knee and shoe buckles, ruffled bosom, white lace collar. The bride should be adorned in a showy dress of rich brocade or satin, decorated with jewels; mantle of ermine worn over the shoulders; the hair arranged to suit the taste of the performer, and encircled with a wreath of silver leaves, while a heavy white veil is fastened to the back of the head. The cardinal should have on a long black silk surplice, white cravat, and a mitre hat on the head. The couple face the audience, the cardinal standing directly behind them in the same position, with his hands raised over their heads. The ladies, who occupy seats at each side of the platform, should be costumed in as great a variety and as richly appearing dresses as can be procured; bands of gold, ornamented with colored plumes, are worn on the head.

Jewelry of all kinds should be worn in profusion. The gentlemen may be costumed in embroidered and military suits of various colors; white hose, knee and shoe buckles, breeches and side arms; each being disguised with wigs and false beards. The ladies and gentlemen should be intermingled, those in the foreground seated, while a portion of the others are in a standing position. At each side of the platform there should be a page, holding the chapeau and side arms of the bridegroom. Their costume consists of short velvet coat trimmed with gold, pink breeches, white hose, white shoes, silver shoe and knee buckles, white silk scarf, lace collar and cuffs. The attention of the guests and attendants should be directed to the group on the platform, the expression of their countenances denoting pleasure and interest. This constitutes the first scene, and ought to be exhibited three times; after which, the performers will take positions for the second scene.

The bride should be reclining insensible on the arm of the bridegroom; the cardinal is about seeking safety in flight; the lord looks with horror on the spectre, and throws out his arm as if he thought the spectre was about to grasp him; portions of the guests have risen, and are about to take flight; others are stupefied with affright; hands and arms are thrown up in fear; consternation is depicted on every face. When all is ready for representation, the stage manager must give the signal to those in charge of the curtain, machinery below the stage, and colored fires at the same moment, so that all will work in unison. The whitish-blue fire should be burned in small quantities near the trap door and larger quantities of the same in the ante-rooms, which will reflect on the forms of the performers. The curtain should be drawn up quite fast, while the spectre, starting at the same time, should rise very slowly.

The lights for this piece should be opposite the platform, where the bridal party stand; they must be very brilliant, and as many as can be procured. The music in the first scene should be of a lively nature; in the second scene, of a mournful style.

MUSIC, PAINTING, AND SCULPTURE.

Three Female Figures.

This artistic group is represented by three beautiful females, seated on a mossy bank, each one holding the emblems of her profession. The goddess of music holds a harp, on which she is playing; the goddess of painting has a partially painted picture in the left hand, and a brush and pallet in the right; the goddess of sculpture has a small bust in her right hand—in her left she holds a small mallet and chisel. Their costumes consist of a loose white robe, cut quite low at the top, and without sleeves; a heavy mantle of white muslin is draped across the breast; the hair should hang in ringlets, or be left to flow negligently on the shoulders. The Goddess of Music should sit on the right side of the mound, the hand resting on the knee, her eyes cast upward. The Goddess of Painting sits on the left of the mound, her picture resting on the left knee, the right hand holding the pallet and brush, the body slightly bent forward, the eyes fixed on the Goddess of Music. The Goddess of Sculpture should sit between the Goddesses of Music and Painting, the bust which she holds resting on the right knee, the left hand grasping the mallet and chisel. Her attention is fixed on the Goddess of Music. The mound should be placed in the centre of the stage; it can be made of boxes, and covered with green baize; it should be two feet high, and four or five feet in diameter. The light comes from the right side of the stage, and should not be very strong. The accompanying music should be soft and plaintive.

BUST OF PROSERPINE.

One Female Figure.

This artistic tableau is a living representation of the bust of Proserpine by Powers. The head is ideal, and we may conceive it as embodying our great sculptor's conception of female beauty in repose. The wreath of leaves and flowers which encircles it, alludes, perhaps remotely, to the legend, familiar in the poets, of the field

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.

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.

THE DANCING GIRL IN REPOSE.

Three Female Figures.

This pleasing tableau represents a young and beautiful dancing girl reposing after one of her successful and fascinating dances. The scenery should be arranged in the following manner: A curtain of red Turkey cloth or cambric, fringed with gold, which can be made by cutting strips of buff cloth to imitate fringe, and decorating it with gold paper; this, in the evening, will make quite a rich appearance. The curtain should be but two feet long in the centre, cut in three festoons, each three feet wide. At the ends of the festoons, the curtains must be wide enough to fill out the space at the side of the stage, and so long that they will trail on the floor. This curtain should be attached to a strip of wood, which can be fastened in position on the ceiling. On each side of the stage, near the centre, place small pedestals, one and a half feet square, covered with green cambric, and decorated with bouquets of artificial or painted flowers. In the centre of the stage, directly under the curtain, place a pedestal two feet square, with a shaft at the side three feet high by six inches in diameter; this must be covered with light green cambric, and festooned with wreaths of flowers. The number of figures in this piece are three: one alone takes a prominent part; the remaining two are intended as an addition to the scenery. The two small pedestals are to be occupied by pretty little misses, of about six years of age, dressed to represent fairies. Their costume consists of short white dresses covered with bands of gold and spangles; white hose and slippers; a pink gauze sash, decorated with gold spangles, worn across the shoulders; the hair arranged in ringlets; wings formed of wire, covered with white muslin, and decorated with spangles, and fastened to the shoulders. The costume of the dancing girl consists of a white dress reaching to the knees, covered with white tarleton muslin, and ornamented on the front with a small bouquet, and bands of crimson ribbon running around the skirt. The waist should be low on the bosom, the sleeves quite short, and trimmed with flowers; the hair can be dressed to suit the taste of the performer. Flesh-colored hose and white slippers should be worn. The position of the dancing girl is on the centre of the pedestal, in a careless attitude. One arm hangs negligently at her side, the hand grasping a tambourine; the other rests on the top of the shaft. The weight of the body rests on the right foot; the left foot crosses the right. The eyes should be cast down to the floor, and the expression of the face sad and thoughtful. The fairies stand on the small pedestals at the sides of the stage. We have a side view of them as they stoop forward and clasp the folds of the curtain. The right hand is extended, the forefinger pointing at the dancing girl. The weight of the body should mostly rest on the right foot; the left is extended behind, the toe touching the top of the pedestal. The head slightly turned towards the audience; the expression of the countenance quite brilliant. The lights should be at the left side of the stage, and of medium quantity. A waltz or polka can be played while the tableau is exhibited.

WASHINGTON'S ENTRANCE INTO PORTSMOUTH.

Ten Female and Thirty-two Male Figures.

"Saturday, 31st Oct.

"Left Newburyport a little after eight o'clock, (first breakfasting with Mr. Dalton,) and to avoid a wider ferry, more inconvenient boats, and a piece of heavy sand, we crossed the river at Salisbury, two miles above, and in three miles came to the line which divides the State of Massachusetts from that of New Hampshire. Here I took leave of Mr. Dalton and many other private gentlemen, also of General Titcomb, who had met me on the line between Middlesex and Essex counties, corps of light horse, and many officers of militia, and was received by the president of the State of New Hampshire, the vice president, some of the council, Messrs. Langdon and Wingate of the Senate, Colonel Parker, marshal of the state, and many other respectable characters, besides several troops of well-clothed horse, in handsome uniforms, and many officers of the militia, also in handsome white and red uniforms of the manufacture of the state. With this cavalcade we proceeded, and arrived before three o'clock at Portsmouth, New Hampshire, where we were received with every token of respect and appearance of cordiality, under a discharge of artillery. The streets, doors, and windows were thronged with the populace. Alighting at the town house, odes were sung and played in honor of the president."—Washington's Private Diary.

"A visit from a person so distinguished and beloved, had he come without the insignia of office, would have created no little enthusiasm; but a visit from its president, when the young republic had been organized scarcely half a year, occasioned to the community a thrill of ecstasy which vibrated through every heart—an outburst of joy due from a grateful populace to one to whose skill and superior virtues they owed their happiness. There was a mixture of novelty, of joy, of patriotic enthusiasm, felt by every heart. A committee of twelve was appointed in town-meeting to superintend the reception. The president left his carriage at Greenland, at the residence of Colonel Tobias Lear, and mounted his favorite white horse; he was there met by Colonel Wentworth's troop, and on Portsmouth plains the president was saluted by Major General Cilly, and other officers in attendance. From the west end of the State House, on both sides of Congress Street, and into Middle Street, the citizens and military were arranged in lines, and on the east side of the parade ground were the children of the schools, dressed appropriately for the occasion. The president at the entrance received a federal salute from the three companies of artillery under Colonel Hackett. The streets through which he passed were lined with citizens; the bells rang a joyful peal, and repeated shouts from grateful thousands hailed him welcome to the metropolis of New Hampshire."—Brewster's Rambles.

This national tableau contains forty-two figures: Washington, sixteen soldiers, ten young ladies, six citizens, and nine school children. The number can be made less if there is not sufficient room on the stage. The stage scenery consists of the following articles: A fac-simile of the white horse, which is to be made in the following manner: With a tape measure and rule take the dimensions of a small-sized horse; let your carpenter make a skeleton horse according to your dimensions, of wood, as strong and light as possible; then take curled hair or hay and fill out the frame so that it will look symmetrical, using twine to bind on the material used. It will be a good plan to have an engraving of a horse to look at, so that you will more easily arrive at the proportions of the body. The right foot of the horse must be raised. After you have satisfied yourself in regard to the form of the animal, take cheap cotton cloth and sew over all parts of his body. Cover this with three coats of white paint, and sprinkle slightly with black. The eyes can be imitated by using the bottom of a small black glass bottle; the ears should be made of leather; the mouth and nostrils can be painted; make the mane and tail of flax or hemp. Insert the feet into a heavy plank, and decorate him with a showy military saddle and bridle. A triumphal arch, made in three parts, of wood, covered with green cambric, and decorated with flowers, will also be wanted.

Washington's costume consists of a black velvet continental coat, buff vest, white hose, shoes, knee and shoe buckles, white cravat, ruffled bosom, black chapeau, sash, epaulets, side arms, and white wig. The military are dressed in blue coats trimmed with buff, white pants, chapeau, cross and waist belts, swords and muskets; officers in as showy uniforms as can be procured. The ladies should be of various sizes, and costumed in white dress, red sash, and wreaths of myrtle on the head; each should hold a garland, bouquet, or small basket of flowers. Citizens' costume consists of black coat and breeches, light vest, chapeau, white hose, shoe and knee buckles; children in dark jackets, white pants, dark caps, with a wreath of evergreen worn over the shoulders. Washington is seated on his horse, the left hand grasping the reins and whip, while the right holds his chapeau. He leans forward slightly, and is looking to the ladies, who are strewing his path with flowers. His face is lighted with smiles of pleasure as he beholds the crowds of delighted people who are seen on every side. On each side of the horse, and in the foreground, the young ladies are placed. They are in kneeling positions, and extend their flowers towards Washington; their faces are turned upward, and are suffused with smiles. The military are placed on the extreme right and left of the stage, the head of each platoon commencing at the front of the stage, and extending into the background. As they recede in the distance they must have a higher position, so that every one will be seen. They should turn the head a trifle towards the audience, and present arms. The citizens, placed on raised platforms, take positions behind the horse. They hold their hats in the left hand, and look at Washington. The children stand in a line in the background of the picture. They must be placed on high platforms, so that they may be seen distinctly. They look straight forward, with the right hand placed at the side of the cap. The triumphal arch is to be erected directly over the head of Washington; it should not be very heavy, as it is necessary to have as much of the space occupied by the characters as is possible. The horse and arch must be first brought on the stage, then the military, next Washington, and the ladies, then the children and citizens will take their positions. All the light that can be produced in front, and facing Washington, must be used. The booming of cannon, ringing of bells, and the loud hurrah of the populace should be heard in the distance. "Hail Columbia" would be the appropriate music for the piano-forte or melodeon.

FAME.

Three Female and Nine Male Figures.

This tableau is represented by twelve persons, three ladies and nine gentlemen. They are arranged and costumed in the following manner: Standing on a pedestal six feet high, in the centre of the stage, is a female who personates the Goddess of Fame. Her costume consists of a loose white dress, cut low at the top, hair done up neatly and encircled with a wreath of white flowers; at her side, on a small pedestal, is a plaster bust of Shakspeare, which the goddess is about crowning with a wreath of myrtle. At each side of the large pedestal are two others, which are two feet square and three feet high; on each of these stands a female figure, dressed in a loose white robe, cut low at the top, the hair flowing loosely over the shoulder, the head encircled with a wreath of white flowers. Each holds in the right hand a long, slender trumpet, which she is in the act of blowing; the trumpets are pointed horizontally to the right and left; they are three feet long, with a bell, five inches in diameter, at the end. These can be made of card-board, and covered with silver paper. In front of the highest pedestal there should be placed a platform six feet long, four feet wide, and one foot high. On this, a second platform, five feet long, two feet wide, and one foot high. Cover them with white cloth. Kneeling on the front of the large platform are four young men. The first one represents a sculptor. He kneels, facing the audience, and holds a mallet and chisel in his left hand. The second figure represents the mechanic, with his square and level. The third represents the musician, with his harp. The fourth personates the painter, with his pallet and brushes. Kneeling behind them, on the small platform, are three other figures. The first is the poet, with his roll of songs and pen; the second is the soldier, with his sword; and the third is the historian, with a volume of history and a pen. Behind these, and fronting the goddess, stands a figure who represents the orator. His costume consists of a suit of black. He holds a scroll in his left hand; his right raised in front; countenance expressing sternness; eyes slightly raised upwards. The soldier kneels between the poet and the historian; costume consists of a rich military dress; arms are folded across the breast, head turned slightly to the right, eyes cast upward, the face expressing firmness. The poet is costumed in a dark coat, light vest, knee breeches, white hose, low shoes, knee and shoe buckles, lace collar and wristbands. Position is facing the front corner of the stage. Eyes are fixed on the paper before him; face expresses pleasure. On the other side of the soldier kneels the historian. His costume, position, and expression of countenance, the same as the poet. The sculptor kneels on the low platform. He faces the corner of the stage, and casts his eyes upward. Costume consists of a dark coat, white vest, dark breeches, white hose, shoe and knee buckles, a low, flat cap set jantily on one side of the head, and a velvet cape thrown over the left shoulder. The painter kneels on the other end of the platform, and faces the right front corner of the stage. Costume, position, and expression, the same as the sculptor. Between these two, kneel the mechanic and musician. The former looks straight forward. Costume consists of dark coat, light vest, dark breeches and hose, low shoes, knee and shoe buckles. The musician takes a similar position, and holds a harp, on which he is about to play. His head is thrown back, and his eyes are raised upward. Costume consists of a dark coat and breeches, bright-colored vest, black hose, low shoes, knee and shoe buckles. Expression of the face, pleasant. The light must be of medium quantity, and come from the right hand side. Those lights near the front should be stronger than the others. Music soft and plaintive.

FAITH.

[See Plate.]

Seven Female Figures.

This beautiful statuary tableau is represented in the following manner: Six females kneel in a circle, and support a circular shield three feet in diameter, on which stands a young lady who represents Faith. Her right hand grasps a cross; the left is raised, the forefinger pointing upward. The six ladies should be dressed in pure white robes, cut low at the top. The hair is encircled with a wreath of white flowers. No ornaments of any kind are to be worn. The hair can be arranged to suit the taste of the performers. Their positions are as follows: The two figures supporting the front of the shield will partially face each other, resting the right knee on the floor, and facing outward from the circle, both hands touching the shield above. Two other ladies form behind the right hand figures, in the same position, and two more form behind the left hand figures. They will all face outward, and support the shield with both hands. The eyes should be cast down, the expression of the face serene. It will be necessary, before the ladies take their position, to place the shield on a pedestal one foot square, and high enough to allow the figures to kneel beneath. Cover the pedestal and shield with white cloth. After the six figures have taken their positions, the figure of Faith should be assisted to her position on the top of the shield. She must be of good figure, small, regular features, and dark hair, which should be quite long. Her dress consists of a long, white robe, made to trail on the top of the shield, the waist encircled with a large white cord, with two white tassels attached; the hair brushed back from the head, clasped with a silver band, and allowed to flow loosely over the shoulders; the head is adorned with a small band of silver, one fourth of an inch wide, with a small silver cross, in the centre. She is to stand perfectly erect in the centre of the shield, the cross resting on the right shoulder; the eyes lifted, as in devotion; the expression of the face calm, and yet denoting firmness and energy; the light should be soft, and come from the front right hand corner of the stage; the figures who support the shield must be partially thrown in the shade, while Faith receives the most of the light. Music accompanying this piece should be of a sacred character.

SPIRIT OF RELIGION.

Six Female and Three Male Figures.

This tableau contains nine figures. The lady who represents Religion stands in the background of the picture, on a pedestal three feet high. She holds a cross on her left shoulder; the right hand grasps her mantle, which she unfolds, revealing herself to mankind. The lady should be of medium height, with light hair, which hangs loosely over the shoulders. The costume consists of a loose white dress, cut high at the top, sleeves fitting tightly to the arms, while over this dress is worn a second, which is open in front, and is made of white tarleton muslin. Position is facing the audience, eyes directed straight forward, expression calm and thoughtful. The second figure is a beautiful young lady, who kneels at the foot of the pedestal, on a small platform one foot high, and represents Hope. One hand rests on a large Bible; the other points up to the cross, and bids the captive, the dying, and broken-hearted, who kneel in the foreground, to look up to Religion. Costume consists of a white dress, cut high at the throat, short sleeves; hair arranged in curls, and wings of gauze fastened to the back of the dress. Position, kneeling at the foot of the pedestal, facing the audience, head turned slightly on one side, one knee resting on the floor, the body erect, the eyes directed to the figure of the captive in the foreground. The third figure is at the right of the pedestal—a young and handsome lady, who represents Faith. She holds a palm branch—the emblem of martyrdom. Her costume consists of a long white dress, over which is thrown a white mantle, which she gathers about her breast. Her hair hangs loosely over her shoulders, and a black band encircles the head. Her position is, standing on a small pedestal two feet high, so that we have a profile view of her form. Her head is raised to the cross, countenance expressing calmness and repose. Charity is represented, on the left of the pedestal, by a young lady who extends her protection to two helpless children. Her costume is a white dress, opening at the bosom; hair done up neatly, over which hangs a white veil. Her position is, seated at the right of the pedestal, on a small platform two feet high, body facing the audience, head bent forward, and turned towards Religion; eyes cast down; each arm embraces a small child, who is dressed in simple costume. The captive is represented by a gentleman wearing a suit made of coarse cloth, long beard and hair, face painted to represent age, arms and waist bound with chains. He kneels at the foot of Charity, on the floor of the stage; his face is turned towards Hope. Both hands are clasped and raised in front of the breast. Kneeling at the foot of Hope are two other figures. One is a female, dressed in deep mourning; the other, an aged man, who is supported by the lady. His costume consists of a loose robe of white cloth, trimmed with purple; his head is covered with white hair, and from his face hangs a long white beard. The hair and beard can be made of flax. The lady is kneeling next to Faith; the right arm is placed around the aged man, and the left points to Religion; the head is turned upward, and the expression of the face denotes grief. The aged man kneels beside the figure in mourning, his head resting on her shoulder, with his clasped hands stretched out in front; the eyes are closed, and the face downcast. The tableau must be formed in the centre of the stage. The light should be quite strong, and come from the right of the stage. Music of a sacred character.

THE POET AND THE GODDESS OF POETRY.

One Female and One Male Figure.

This beautiful tableau is personated by two figures, a young man and a maiden. The scene represented is a dark and gloomy attic. An old table stands in the middle of the room; on it are a few books and manuscripts, an inkstand, a candlestick, with a partly-burned candle inserted in it, a mug of water, and a roll of bread. Near the table is an old-fashioned arm chair, in which is seated a young man dressed in cheap clothing. He has leaned his head upon the table, and is lamenting over his poverty and misfortune. As he sits weeping, a mist gathers in the chamber; it slowly grows denser, till at last it becomes a cloud of light; and lo! in the midst of the cloud stands a divine shape—the Goddess of Poetry—supremely beautiful. She addresses the Poet, gives him advice and consolation, and encourages him to renewed efforts in the path of fame; then vanishes from his sight. Besides the furniture already described, there should be a few chairs, pictures, and a piece of statuary, placed in various parts of the stage. The Poet's costume consists of a loose black coat, dark breeches, light vest, white hose, low shoes, knee and shoe buckles. Position is near the table, his arms laid across it, his head resting on his arms, and in a position that displays a profile view of the body. The Goddess of Poetry should be a young lady of good height, figure, and features, and costumed in a flowing white dress, cut low at the neck, with short sleeves trimmed with white satin ribbon; a wide muslin mantle should be worn across the shoulders; a wreath of myrtle adorns the head. In her right hand she holds a golden harp; the left is placed on the shoulder of the Poet. Her position is behind the table, in the background of the picture, and facing the audience. Her head is slightly bent forward, and eyes directed to the face of the youth; her countenance expresses pleasure. The following machinery can be used, if desired, which will add very much to the beauty of the piece. In place of the Goddess being at the side of the Poet when the curtain rises, a sliding platform can be made to move on to the stage from the ante-room, on which the Goddess should stand. A stout post firmly fixed in one side will enable the lady to stand perfectly still while the platform moves to its position. All that is necessary in the construction of this part of the work is to make a set of ways, and a sliding platform that will run with ease from one side of the stage to the other. A rope attached to the platform, and fastened to a crank below the stage, will propel the Goddess to her position. The ways and platform can be hidden from view by a strip of board, painted to imitate the floor of the room. A small quantity of the whitish-blue fire may be burned near the spot where the Goddess appears. The light should be very dim, and come from the side of the stage opposite the Poet. Music soft and plaintive.

DEATH OF EDITH.

Three Female and Two Male Figures.

This tableau is suggested by the beautiful poem of Mrs. Hemans, called Edith, a Tale of the Woods. The circumstances of the poem refer to the western world in its first settlement, when fierce strife and combat raged between the wild Indian and the settlers from the mother country. In one of these fearful scenes a young and beautiful maiden was taken captive, and conveyed to the village of the red man. But the broken flower of England wasted and pined for the fine old home of other days.

The scene represented in this tableau is at the time when Edith is quietly sleeping in the wigwam of the Indian warrior. By her side sits an aged Indian matron, watching the sleeping one. Standing near the couch is an old Indian warrior leaning on his bow, gazing in grave silence on the dying girl. Kneeling at the foot of the couch are an Indian girl and lad, who are looking with wonder on the form of the pale-face. The wigwam should be six feet high, and five feet wide at the bottom. It should be made of light framework, and covered with brown cambric, on which are painted Indian hieroglyphics. This must be placed in the centre of the stage. The opening in front of the wigwam should be four feet wide at the bottom, so as to admit of the occupants being visible to the audience. The couch in the interior is composed of buffalo robes. The scenery in the background should represent woods and rocks. A few fir trees placed at the back part of the stage will answer, if nothing better can be procured. The lady who personates Edith should be one of good features and rather a small form. Her costume consists of a loose white dress, sleeves five inches long, hair done up loosely in the neck, and face and neck made as white as possible. Position, reclining on the couch, facing the audience, the lower part of the body covered with a leopard skin. The head and chest should be in an upright position, the head inclined back slightly, and supported by the right hand. The left hand laid carelessly over the bosom; the eyes are closed, the countenance calm. The aged Indian warrior should be dressed in a costume like that described in Hiawatha; the aged matron's costume similar to that worn by Nokomis, in the death of Minnehaha; the young Indian children in appropriate costumes. The position of the Indian matron is, sitting at the head of the sleeping girl, one hand resting on the pillow, and the other raised to the side of the head; the eyes cast upon the ground. The warrior's position is at the opposite side of the wigwam. He is leaning carelessly upon his bow; his body inclined forward slightly; his eyes fixed upon the sleeping maiden. The children kneel at the foot of the couch; the boy rests his head upon his hand, and gazes upon the face of the dying one; the Indian girl kneels by his side, and points with her right hand to the couch, while her eyes are directed to the face of the boy. The face and other exposed parts of the bodies of the Indian family must be stained light brown. A red fire should be burned in the ante-room, so as to fall upon the performance. Music soft and plaintive.

ABOU BEN ADHEM AND THE ANGEL.

One Female and One Male Figure.

This very fine tableau is taken from the beautiful lines written by Leigh Hunt. The tableau is represented in two scenes. In the first scene, Ben Adhem is seen reclining on his couch, gazing with wonder and surprise on the angel, who is standing in the centre of the room, engaged in writing in the book of gold. In the second scene, the angel stands at the foot of the couch, and holds the book towards Ben Adhem for him to read the names written therein. The couch can be formed by placing a small mattress on a few low boxes, and covering the whole with bed clothes, on the outside of which should be a white quilt. It must be placed in the foreground, at the right of the stage. Place a plaster pedestal near the side of the couch, on the top of which stand a lighted lamp. At the background of the picture fasten a set of crimson damask curtains; drape them at each side of the stage, and beneath them place a plaster pedestal, with a piece of statuary on the top.

The lady who personates the angel should be of good form and features, of medium height, and costumed in a white dress, over which is worn a loose white tarleton muslin robe, with large flowing sleeves; this must be cut quite low at the top, and made to trail on the floor; hair done up snugly, and encircled with a band of silver, one fourth of an inch wide; large wings, formed of wire, and covered with gauze, and ornamented with silver spangles, should be fastened to the back of the waist. The face and other exposed parts of the body should be whitened with flesh powder. Position in the first scene is, standing in the centre of the room, facing the audience. The book of gold can be imitated by placing sheets of gold paper on the cover and in the inside of a large book. Let it rest on the left arm, and be held at the top by the left hand. The right hand holds a long quill pen, the point of which rests on the pages of the book. Let the body and head incline forward slightly; the eyes directed to the book; the expression of the face tranquil. Ben Adhem's position in the first scene is, reclining on the couch, with the quilt thrown over the lower portion of his body; his left hand resting on the bed, from which he has partially risen; the right raised in front of the chest, the fingers spread out; the face turned towards the angel, the expression of the face denoting surprise and wonder. Costume consists of white pants and shirt, white lace collar and wristbands, and a velvet cloak thrown carelessly over the right shoulder. In the second scene, the angel stands at the foot of the couch, holding the book in the left hand, and pointing to its pages with the right. Her eyes are fixed on Ben Adhem's face, while the countenance is lighted up with smiles. Ben Adhem leans forward, slightly resting his arm on a cushion at his side, and looks with pleasure on the pages of the book. A number of names should be written in the book, and at the top, in large letters, place the name of Abou Ben Adhem. While the tableau is performed, the poem may be read by the announcer. The light for the first scene should be quite dim, and come from the side of the stage opposite Abou. In the second scene, a colored fire must be burned, so as to throw a strong light on the form of the angel. Music in the first scene very soft, and increasing in power in the second.

HIAWATHA AND HIS BRIDE'S ARRIVAL HOME.

One Male and Two Female Figures.

This interesting tableau is a representation of Hiawatha on the return to his home accompanied by his beautiful bride, Minnehaha. They have just arrived in sight of the lodge of old Nokomis, and are seen in the background of the picture emerging from the forest. A large tree lies in the pathway, and Minnehaha is in the act of stepping over it. She grasps Hiawatha's hand with her right, while the left is pointed towards the wigwam in the foreground. She has just asked Hiawatha if the lodge she sees is his home. Her countenance is lighted up with pleasure. Hiawatha is leading her by the hand, and is a little in advance of her. His face is turned towards her as he gracefully assists her over the fallen tree. His left hand clasps hers, while the right holds carefully his trusty bow.

Hiawatha's face is lighted up with pleasant smiles as he looks upon the face of his bride, and tells her that yonder lodge is to be her new home. The lodge of old Nokomis is in the foreground of the picture, at the right of the stage. Minnehaha and Hiawatha are in the background at the left. The door of the wigwam is open, and seated in the doorway on a log is old Nokomis smoking her pipe. In front of the tent are the half burned embers of the camp fire; a light smoke is curling up to the sky, and all is quiet and still. Nokomis is gazing vacantly into the embers of the fire: perhaps she is thinking of the days when she

Hiawatha, Minnehaha, and Nokomis should be dressed in Indian costume, which can be cheaply made with a little ingenuity. Hiawatha's coat may be made of light brown cambric, cut frock style, and belted around the waist. The skirt should reach to the knee, and be ornamented with two rows of fringe three inches wide; one should be red, the other yellow. These fringes are also to be placed on the seams and bottom of the sleeves and around the collar; round pieces of brass should be fastened on various parts of the coat and around the belt. The leggings are made of buff cambric, fitting tightly to the legs, and ornamented at the side with red fringe. Black cloth shoes trimmed with beads are worn on the feet; the head is adorned with a gold band, in which are inserted bright-colored feathers. The belt around the waist should be made three inches wide, of red morocco, and contain a small knife and tomahawk; a quiver of arrows is fastened to the back, which can be fashioned of card-board, and covered with bright-colored paper or cloth. The exposed parts of the body should be stained a light brown, the hair brushed up to the top of the head, and confined with a band. Minnehaha's dress is of red cloth, trimmed with yellow fringe intermingled with colored beads. The waist of the dress should be of flesh-colored cloth made to fit the body very snugly. A scarf of ermine is worn over the shoulders, and tied at the left side. On the right side of the skirt is an over-skirt or side-apron, made of a darker colored crimson, and trimmed with ermine; it commences at the front of the body, and extends half way around the skirt; it is scalloped at the bottom, and ornamented with yellow fringe and beads outside of the ermine. The neck is adorned with a large necklace of white beads, while the head is encircled with a band of gold, ornamented with beads and showy plumes. The hair should be left flowing over the shoulders. The wrists are to be decorated with large gold bracelets. The leggings are to be of crimson cloth ornamented with yellow fringe, and small bands of yellow running around them at intervals of four inches. The feet are encased in shoes of black velvet studded with beads. A quiver of arrows is fastened to the back of the dress, and the exposed parts of the body stained light brown.

Nokomis has on a loose coat of brown cambric fringed with yellow, leggings of buff cambric fringed with light blue, dark shoes ornamented with beads and red binding. The hair should be black, and left to hang loose on the shoulders; a blue blanket trimmed with crimson fringe is gathered about the shoulders, and a black belt encircles the waist. The person who represents Nokomis should be of large figure and face. The features must be painted to represent old age. The scenery consists of the following articles, which should be arranged in perfect order to give the proper effect to the picture. The stage must be covered with green cloth, and should gradually rise from the fore to the background; small spruce trees can be arranged at the back and sides of the stage, with vines of flowers hanging from them. Two or three stuffed birds should be fastened to the top branches of the trees. The fire can be placed in a furnace near the wigwam, and surrounded with dried branches. The fallen tree and Nokomis' seat may be represented by artificial or natural logs. The tableau should receive the light from the right hand side, the greater portion of which should be thrown into the background. The accompanying music should be of secular and inspiring order.

DAVID PLAYING BEFORE SAUL.

And Saul's servants said unto him, Behold now, an evil spirit from God troubleth thee. Let our Lord now command thy servants, which are before thee, to seek out a man who is a cunning player on a harp; and it shall come to pass, when the evil spirit from God is upon thee, that he shall play with his hand, and thou shalt be well. And Saul said unto his servants, Provide me now a man that can play well, and bring him to me. Then answered one of his servants, and said, Behold, I have seen a son of Jesse the Bethlehemite, that is cunning in playing, and a comely person. Wherefore Saul sent messengers unto Jesse, and said, Send me David thy son. And David came to Saul, and stood before him; and it came to pass, when the evil spirit from God was upon Saul, that David took a harp, and played with his hand. So Saul was refreshed, and was well, and the evil spirit departed from him.

1 Samuel xvi.

Six Female and Eight Male Figures.

This sacred tableau contains fourteen figures, and is arranged in the following manner. Saul is seen seated on the throne at the background of the picture. On each side of the throne are seated Saul's friends and servants. David is sitting in the foreground, playing on the harp. Saul's costume consists of a scarlet or purple velvet coat and breeches, white hose crossed with red bands, low shoes, a crown of velvet and gold, ornamented with precious stones, on the head, and a large cloak of velvet and ermine thrown over the shoulders. A long white beard should be fastened to the face, and a wig worn on the head. The gentlemen should be attired in long, loose coats, made of bright-colored cambric, trimmed with the same material, of other colors. The head should be covered with a red and black turban. White hose, crossed with black and red bands, breeches of showy-colored cloth, shoes covered with red flannel, and crossed with black binding, the face disguised with a long white beard, which can be made of flax. The ladies can be costumed in satin or silk dresses, the hair hanging in curls, and the person decorated with a profusion of jewelry. The person who takes the part of David should be of fair complexion, without a beard, should have long hair, and be costumed in a light, loose blue coat, reaching five inches below the knee, and gathered around the waist with a crimson belt. He should also wear blue breeches, blue hose crossed with red bands, and sandals on the feet; a turban, made of velvet, and decorated with gold, should adorn the head. The throne platform is to be two feet high and four feet square; on this is placed a large chair, with a canopy over the top, all of which must be trimmed with crimson cloth, and decorated with gold paper. On each side of the throne, place seats to accommodate twelve persons; those in front can be seated, while others, in the background, should be standing; they must assume various positions; a few may be engaged in conversation, while others are looking at David. Saul is seated on the throne, with the right hand resting on the arm of the chair, his body slightly bent forward, and eyes fixed on David. His countenance expresses pleasure. David is seated on a low ottoman in the foreground of the picture. The harp rests on the floor. Position so that a side view is had of the body. His head is thrown back; eyes cast upward; face expresses pleasure. The light for this picture should come from the front and the left side of the stage, and must be quite brilliant. The harp can be made of wood, covered with gold paper, and strung with yellow cord. The music should be of a sacred and inspiring style.

LIBERTY.

Seven Female and Six Male Figures.

This tableau is an ideal representation of Liberty, and is represented by thirteen persons—seven young ladies and six young gentlemen. In the background of the picture a platform is raised, on which stands the Goddess of Liberty. This platform is three feet high and four feet square. The front is covered with blue cambric, with a border of red, decorated with gilt stars. In the centre is placed a gilt eagle; on each end of the platform is a small American shield. The background is draped with American flags. On each side of the platforms are placed inclined planes, extending from the corners of the platform to the front corners of the stage; the height of these at the front should be six inches, and three feet high at the background. They are to be covered with white cloth, and ornamented with a border of red and blue cambric. The lady who personates the Goddess of Liberty should be of good height, fine figure and features. Costume consists of a white satin or silk dress, made long enough to trail on the platform, a waist of crimson velvet, covered with small gilt stars, sleeves five inches long, hair done up snugly, and covered with a spiral liberty cap, of blue velvet, decorated with gold bands. Position is, standing in the centre of the platform, grasping with the right hand a slender spear seven feet in length. Entwined around this should be a small American ensign. The left hand hangs carelessly at the side; the head thrown back slightly, the eyes cast upward. The six ladies kneel at equal distances on the inclined plane. Their costume consists of a white dress, blue waist, and red sash; a garland of flowers should adorn the head, and each holds extended in the right hand a wreath of myrtle. Their attention should be directed to the Goddess of Liberty. The six gentlemen take position on the opposite inclined plane. They kneel at equal distances from the platform to the corner of the stage, and are costumed in blue or black coats, white pants, with buff stripe on the side, gold epaulets, side arms, red sash, flat caps, with gilt bands. The cap should be slightly raised with the right hand, while the left is placed on the hip. The eyes are to be directed to the Goddess. The piece should be lighted up by a red fire burned at the opposite side from the gentlemen, and the light must be quite brilliant. Music, Star-spangled Banner.

PAGANISM AND CHRISTIANITY.

Two Female and Two Male Figures.

This double tableau represents the idolatrous system of faith and worship of the pagans, and by simple machinery the scene is made to pass from the view of the audience, and we have represented the faith and glorious emblems of Christianity. The machinery and scenery which are used in the piece are made in the following manner: A revolving beam should be set up under the stage, the upper end protruding through the floor. Washers will be needed for the bottom and top, and wooden pins, passing through the beam, will be necessary, to take hold of to move it around. Build a circular platform ten feet in diameter; make it strong with braces, and, if necessary, it can be made in two parts, and fastened together with iron hooks and clamps. Cut a square hole in the centre of the platform, corresponding with the thickness of the beam. Then place it on the top of the beam, six inches from the floor, secure it firmly, and make it perfectly level. Across the centre of the platform cut small holes for the purpose of inserting the ends of a partition which will divide the circle into two apartments; make the partition of wood; cover one side with white cloth, and also the floor with the same; the other side and floor with black cloth. It should be five feet high, ten feet wide, and oval at the top. After the tableaux are arranged on each side of the platform, persons under the stage can revolve the whole with very little exertion. The tableau of Christianity should be formed on the light side, and Paganism on the dark side. By placing numbers on the revolving beam, and corresponding numbers on the washers, the assistant below will be able to tell when the tableau is in the right position above. To represent Paganism, a large idol should be constructed, and seated in the centre, and close to the black partition. The form of the human body can be imitated by taking a suit of old garments, stuffing them with straw, and covering them with buff cambric, on which hieroglyphics can be painted. A large mask, with artificial hair, and crown made of gaudy-colored cloth, will answer for the head; a short frock of red Turkey cloth, trimmed with gold paper, should be fastened about the lower portion of the body. The idol should be seated on a pedestal sixteen inches high, which is placed on a platform three feet square and eight inches high. These are to be decorated with showy cloth or paper. Kneeling at the foot of the pedestal are two figures, one a female, the other a male. Their hands are clasped in front of the face, the eyes raised to the idol, head turned, so that a side view is had of the features. The costume of the youth consists of a loose coat, made of brown cambric, trimmed with crimson cloth and beads; flesh-colored pants, fitting tightly to the legs; shoes covered with showy cloth; a turban on the head, made of strips of red and buff cloth; the face and other exposed parts of the body stained a light brown. The young lady's costume consists of a loose dressing gown, trimmed around the top and on the ends of the sleeves with bands of red cloth, and gold paper cut in the form of diamonds. The hair should hang loosely over the shoulders, and about the head entwine a string of beads; the head is slightly turned to the young man; the eyes directed to the idol; the face and arms stained like the young man's. The extreme ends of the platform are occupied by two figures costumed similar to those already described. They are kneeling at the feet of small pedestals in such a position that a profile view is had of the form. The pedestals should be two feet high, and covered with bright-colored cloth. On one is a representation of the sun, made by pasting a sheet of gold paper on card-board, and cutting out rays around the edge. On the other pedestal is placed a figure of the moon, with the stars radiating around it. The moon can be made of card-board and silver paper, and the stars of gold paper; these must be fastened to wires, and placed ten inches from the top of the pedestals. Indian war clubs, spears, shields, and other heathen curiosities, should be placed about the figures. The light for this scene must be quite mild, and come from the right hand side of the stage. Music low and of a mournful character.

SECOND SCENE OF PAGANISM AND CHRISTIANITY.

One Male and Two Female Figures.

The Tableau of Christianity.—On the side of the platform which is covered with white cloth there should be erected a small pulpit. Make it of boards, cover it with cloth, and paint it in imitation of mahogany. A small red cushion should be placed on the top, supporting a large Bible, and on each side place lamps, with glass shades. In the pulpit stands a young man dressed to represent a minister of the gospel; one hand resting on the Bible, the other raised upward. In front of the pulpit place a small table, covered with a white cloth, on which set four silver goblets. By the side of the table place a plaster pedestal, with a white urn on the top, to represent a font; on each side of the pulpit, and at the extreme ends of the platform, are two female figures; both are kneeling by the side of small pedestals; these can be made of small boxes, covered with white cloth, and ornamented with myrtle. The female figures should face the audience. One holds a large Bible with the right hand, and points to the pages with the left. The eyes are cast upward; the face expresses meekness and serenity. The second figure, at the other end of the platform, holds a cross in the left hand, and points to it with the right; the eyes are raised upward, the face expressing pleasure. Their costume consists of white dresses, cut low at the top, sleeves quite long and flowing, and ornamented with white muslin; the waist is encircled with a band of satin ribbon; a wreath of white flowers adorns the head, and gauze wings are fastened to the back of the waist. The hair should be dressed closely to the head, and a few curls allowed to hang on the shoulders. The length of the cross is three feet; color, light blue. On small pedestals, between the pulpit and the female figures, place models of the steam engine, steamboat, printing press, and telegraph. The tableau of Paganism must be first produced, after which the machinery should slowly revolve, bringing into the view the tableau of Christianity. The curtain must be kept up until both are exhibited. The light for these tableaux should be quite brilliant, and issue from the left side of the stage. Music of a sacred character.

THE FAIRIES' DANCE.

Ten Female and Eight Male Figures.

This beautiful tableau is represented by eight small misses, eight small lads, and two young and pretty ladies. The stage should be formed so as to rise gradually from the footlights to the background, which can be done by using boxes of various sizes, and covering them with green bocking. Twelve of the children should form a circle, the front of which must be two feet from the footlights, the back extending to the other end of the stage. They should clasp each other by the hand, and take the position of the Highland fling; the right hand raised above the head, the left placed on the hip; the attitudes should be as graceful as possible. The expression of the faces denoting pleasure and mirth. Near the footlights, two of the children should be seated, looking at the others; and standing on pedestals at each side of the stage, near the front, are the young ladies. The pedestals are two feet high, covered with pink cambric, and bordered with green leaves and flowers. The position of the female figures must be graceful and easy. They stand so as to show a profile view of the body; each holds a golden wand, which she extends out over the heads of the dancers. Their eyes are fixed on the movements of the children, the left hand clasps a stout cord, to which is fastened a large crimson tassel, that will help sustain the body in position. The costume of the misses consists of a short white dress, with short sleeves, the waist studded with small stars and spangles; the bottom of the skirt bound with light green ribbon, three inches wide, with gold paper fastened to each edge, and small pink roses placed between. The sleeves are bound with gold and pink ribbon in alternate bands, three inches wide; a small scarf of white gauze, covered with spangles and fringed at the ends with gold, encircles the waist. Flesh-colored hose, white slippers, a wreath of silver leaves about the head. The hair arranged in short curls, and small gauze wings, ornamented with spangles, fastened to the back of the waist.

The young lads' costume consists of a short coat, buttoned snugly over the breast, made of light pink cambric. The bottom, the ends of the sleeves, and the collar trimmed with purple cambric, three inches in width, with narrow strips of gold paper on each side; between the bands of gold, insert small diamond-shaped pieces of gold paper, bordered with spangles. A belt made of the same material encircles the waist; hose of flesh-colored cloth; white slippers, with pink rosette on the front; a small cap, made of purple cambric, in the form of a tulip, is worn on the head; it should be rather low, with a stem of green protruding from the top, the edges scalloped, and bound with gold paper. Small gauze wings are fastened to the shoulders, which are ornamented with spangles and silver stars. The young ladies' costume consists of a long white dress, with a robe worn on the outside of tarleton muslin; the outer dress should have three wide flounces, the edges of which are to be trimmed with large silver leaves, interspersed with gilt roses; these can be made from gold and silver paper. The waist must be cut quite low, and decorated in the same manner; the sleeves flowing, and trimmed with spangles and pink ribbons; large gauze wings, decorated with spangles and silver tinsel, should be fastened to the back of the waist. The hair must be done up in a neat coil, and encircled with a band of white flowers. Make the wands four feet in length, and one half an inch in diameter; cover them with silver paper, attach a gilt heart on the end. The light for this tableau can be produced by a whitish-blue fire, burned at either side of the stage; it should be quite brilliant, and must be lighted before the curtain rises. Music of a lively order.

BUST OF PRAYER.

One Female Figure.

This beautiful production should be represented by one who has an amiable and modest appearing countenance, good figure and features. The hair must be brushed up from the forehead, and fastened behind in a black crochet net. The dress should be pure white, open very low at the front and back. A cross is suspended from the neck by a band of white ribbon. A heavy white veil should pass over the top and back of the head, and be tied loosely four inches below the chin; the head inclined forward slightly, the eyes closed, while the countenance should appear serene, pure, and full of hope; the arms are to be folded out of sight upon the breast. The same machinery, pedestal, wire basque, crimson curtain, and fairies that are used in the [Bust of Proserpine], may be used in this piece. The light should be mild, and come from the left side of the stage. Music plaintive, and of a sacred order.

MORNING WELCOMED BY THE STARS.

Twenty-one Female Figures.

This beautiful spectacle is represented by twenty-one persons. Twenty of the number should be young misses, of about six or eight years of age, who will personate the stars, and one, a young and handsome lady, who is to represent morning. The sides of the stage must be arranged in the form of terraced banks, two feet wide at the bottom, and four feet wide at the top; they should be built from the footlights to within three feet of the ceiling, covered with cloth, and painted to represent clouds. Blue cambric, with white clouds and gold stars, will answer the purpose. In the centre of the stage, two pieces of joist must be placed in an inclined position, running from the footlights to the background. On these build a sliding platform, four feet square, with a small seat, one foot high. This should be made to run with ease from the top to the bottom of the joist; cloth, painted in imitation of clouds and stars, can be extended across the space between the two terraces and the joist, so that it will show a smooth surface. Cover the moving platform with cloth, arranged in drapery style, and paint in the same manner as the rest of the scenery. A back scene should be placed at the top of the terraces, leaving a space of three feet between it and the back wall; this must be painted like the rest of the scenery, and made to open in the centre, near the top of the joist.

The young misses' costume consists of a short white dress, decorated with gold stars, and silver paper interspersed with spangles, white hose and shoes, hair hanging in curls, and encircled with a band of silver leaves, with a silver star on the forehead; a light blue sash, covered with spangles, tied about the waist; and small gauze wings fastened to the back of the dress. Each one should hold a small torch ten inches in length, from which rises a blue flame; these can be made of card-board, and covered with light blue paper, with the ends tipped with gold. At the end from which the flame is produced, insert a strip of tin, to protect the torch from the flames. The torches should not be lighted until all the figures are in position. The young misses take their position at each side of the stage, on the outer edge of the terrace. They must lean forward slightly, and hold the torch out from them. Their attitudes should be varied; those near the top should be gazing upward, others looking down, and a few engaged in conversation. The young lady who represents Morning must be costumed in a loose white robe of tarleton muslin, cut low at the top, flowing sleeves, skirt covered with three wide flounces, trimmed in front with silver rays five inches long. The waist and sleeves decorated with silver and gold spangles, and a satin belt, ornamented in like manner, worn about the waist. The hair should be brushed back from the forehead, and clasped with a band of silver, and allowed to hang over the shoulders in long curls; the head is adorned with a band of gold, with rays of silver radiating from the centre. The position is, seated on the platform, head slightly inclined to the left, the right hand raised over the head, the left rests on the waist; eyes directed to the children in the foreground, countenance expressing pleasure. The goddess Morning will be seated on the platform, behind the scenery.

A yellow fire must be burned in the ante-room, and so shaded that, just as the curtain rises, a small portion of the light will shine on the centre of it; this light should increase in brightness for a few seconds, when the sky in the background must open, and the goddess glide slowly down to the centre of the stage. As the platform moves, the fire should increase in brightness; when she has arrived at the centre of the stage, the yellow light should be thrown into the foreground, and a red light thrown into the background. This can be accomplished by placing the colored fires in large boxes furnished with sliding covers and reflectors; and by drawing out the covers gradually, the light will be thrown on to the picture in the proper manner. The curtain in the background can be opened by attaching at each corner, near the centre, a small cord, which can be passed through pulleys, and attended to in the ante-rooms. The curtain or scenery should be drawn up on the back side, and let down in its place as soon as the platform has passed through. A small rope, painted blue, must be attached to the platform, and pass through a block fastened to the wall of the stage; this can be tended by a person under the stage, who will allow the platform to move with exactness to its stopping place. If the light from the colored fire is not brilliant enough, a few of the lights at the same side from whence the fire is produced can be lighted. Music soft and plaintive at first, and increasing in power at the finale.

THE STATUE VASE.

One Female Figure.

This design is a beautiful female, supporting a horn of plenty, from which rises a basket of intermingling vines and flowers. The lady is standing on a pedestal, which is described in the tableau of the [Italian Flower Vase], as is also the basket which the lady supports. This basket or bowl of the vase can be suspended from the centre of the ceiling by the means of wire hooks. The pedestal must be placed directly under it. The space between the top of the pedestal and the bottom of the basket should be just the height of the lady who takes the part of the statue in the piece; so that when she is in position on the pedestal, the bottom of the basket will touch the top of her head. The horn of plenty can be made of cloth; it should be five inches in diameter at the top, three foot long, and end in a point at the bottom; it can be stuffed with wool, covered with green cambric, and decorated with artificial flowers. It is to be attached to the bottom of the basket, pass down over the lady's shoulder, and held in its position by the left arm and hand. The lady who takes this part should be of large and good figure, regular features, and quite pretty. The costume consists of a white dress, with sleeves five inches long, cut low at the neck, skirt made rather long, and worn without many underskirts; a scarf of gauze worn over the shoulders, and tied at the right side, allowing the ends to trail on the pedestal. The hair should be arranged in wide braids at the side of the face, confined at the back with a band of silver, and allowed to fall in short curls over the neck. The position of the lady is, standing in the centre of the pedestal, her body facing the audience, and head turned partially to the right. The eyes should be raised a trifle, while the expression of the face denotes tranquillity and repose. The left hand must gracefully press the horn of plenty against the side of the breast, while the right is raised above the head, and touches the basket as if to steady it. The light for this piece should be of medium brilliancy, and placed at the side opposite to the face of the statue. Music soft and of a secular order.

SPIRIT OF CHIVALRY.

Nine Male and Five Female Figures.

This fine tableau represents the Spirit or personification of Chivalry, surrounded by men of various pursuits, religious, military, and civil, who represent, as by an upper court or house, the final acquisition of her honors and rewards. Beneath, as not having obtained, though within reach of, the crown, is a young knight who vows chivalric services, and is attended by his page and his young bride. Around him, in various attitudes, other figures are introduced, to connect the abstract representation of Chivalry with its general recognition of intellectual influences; among them, the Painter, the Sculptor, and Man of Science; the Palmer from the Holy Land, and the Poet-Historian, from whom future ages must derive their knowledge of the spirit and deeds of chivalry. The lady who personates the Spirit of Chivalry should be of good figure and features. Her costume consists of a loose white robe, cut high in the neck; a mantle of white tarleton muslin is draped about the shoulders, and fastened in front with a gilt cross; the hair is arranged in bands, falling low in the neck, and encircled with a small wreath of silver leaves or white flowers. In her left hand she holds a small wreath of evergreen, which she extends towards the young knight, who kneels at the foot of the pedestal on which she stands. Her position is, on a pedestal, three feet high by two feet square, which should be placed in the centre of the stage. Her body should be inclined slightly forward, and attention directed to the knight in the foreground; her countenance should express dignity and pleasure. At the back of the pedestal there should be a representation of an altar, consisting of a shaft two and one half feet wide by three feet in height, with a capital on the top one foot wide by three and one half feet long. This can be made of boards, showing a smooth surface, and nailed to the top of the pedestal. It can be papered or painted to represent panels and scrolls. Fourteen other figures are grouped around the pedestal, and as the arrangement of the piece is a trifle complicated, we will designate them in rotation, beginning at the foot of the pedestal. The figures, as they recede in the background, should be placed on small platforms, rising from one to three feet in height. By arranging the figures in this manner, a perfect view of each will be had by the audience. Figure one is a young lady; she kneels at the foot of the pedestal on which the Spirit stands. Costume is, a white dress, cut low at the waist, encircled with a satin sash; hair arranged in curls. Position is, sitting, the body facing the audience, head resting on the hand, and thrown back so as to touch the pedestal, and eyes directed to the face of a harper, who kneels in front of her; the countenance expresses surprise and admiration. Kneeling on the floor, nearly in front of figure one, is a young knight—we have almost a back view of him, the head turned just enough to get a partial profile view of the face; one hand clasps a sword, which he raises in front of the body; the other is lifted above the head, which is thrown back, with the eyes fixed on the Spirit. The armor can be conveniently composed by fastening strips and plates of bright tin to a suit of clothes made of black cambric. The belt, gloves, and boots can be gotten up in the same manner. This suit will cost but a trifle, and in the glare of the footlights will look finely. Figure three is the palmer. He kneels behind figure one. Costume consists of a dark robe, cowl made of black cloth, and face covered with a heavy beard. In his hands he holds a shepherd's crook. His eyes are directed to the harper. Figure four is a small girl, who stands behind figure three, and holds in both hands the helmet of the knight. Her costume consists of a white dress, with a pink sash; hair done up to suit the taste of the performer. Her position is, facing the audience, eyes fixed on the knight, expression of the face denoting pleasure. Two other ladies stand on a small platform, outside of the lady holding the helmet. Their costume consists of a white dress, black velvet waist, hair arranged in wide braids at the side of the face; one clasps her hands in front of her breast, and looks with earnestness at the knight; the other places an arm on the shoulder of her friend, and looks up into her face, her countenance beaming with smiles. Behind these three females, and standing on a platform two feet high, are two peasants. They are dressed in blue frocks, fastened around the waist with black belts, knee breeches of colored cloth, white hose, low shoes, knee and shoe buckles, white Kossuth hats, encircled with a gilt band; the face covered with long, light beards. Each holds a long staff, with a gilt crook at the top. Their position should be behind the altar, arms folded on the breast, head inclined forward, eyes cast down, and the expression of the face melancholy and sober. Opposite to the two figures last described, and standing on a platform at the other side of the altar, is a knight in full armor. He holds a large sword in front of his body, and is looking straight forward. His costume can be made in the same manner as that of the one described at the beginning of the tableau. On a low platform, at the side of the Spirit, stand a Sculptor and a Painter. Their position is, facing the knight, who is kneeling in the foreground. Their costume consists of white jackets, dark pants, and flat, white caps, worn jantily on the side of the head. The Painter holds his pallet and brushes, the Sculptor his mallet and chisel; their attention is directed to the figure of the kneeling knight. Standing on the floor, below the two figures just described, is the Poet-Historian. He faces the audience, and looks at the Harper in the foreground. He is dressed in dark clothes; a heavy white mantle is thrown over his shoulders, the ends trailing to the floor; on his head is placed a garland of green leaves. He holds in both hands a large book, which should be bound richly and opened in the centre. Kneeling on the floor at his feet, and facing the young knight, is the Harper. He holds in his left hand a harp, and touches the strings with his right. His costume consists of a coat made of Turkey cloth, trimmed with black binding four inches wide; black knee breeches, white hose, knee and shoe buckles, and red shoes. Over the left shoulder is carelessly thrown a short velvet cloak, and on the head is a black velvet cap, with a gold band and plume. His head is thrown back, eyes directed to the Spirit, while the countenance should appear to be inspired. Kneeling at the foot of the pedestal, between the first figure and the Harper, is the Troubadour, playing on a guitar; he faces the audience; his head is thrown back, and his eyes cast upward. Costume consists of a purple coat, trimmed with black binding, blue breeches, white hose, low shoes, knee and shoe buckles, belt containing a small dagger, about the waist. The harp can be made of wood, covered with gold paper, and strung with buff cord. The light for this piece should be produced at either side of the stage, and a small quantity at the front. The side light must be very powerful. The accompanying music should be of a brilliant order.

HAIDEE AND DON JUAN IN THE CAVE.

One Male and Two Female Figures.

This pleasing tableau is taken from the poem of Don Juan, by Byron. The scene is that where Haidee discovers the insensible form of Juan lying at the mouth of the cave, near to the sea shore. Don Juan has been shipwrecked; his almost lifeless body has washed ashore, and found a resting place in a rocky cave, to be discovered by the beautiful Haidee and her attendant. The principal work in this piece is the forming of the cave, which can be made in the following manner: The floor of the cave should rise gradually from the front to the background; this can be accomplished by using boxes of various sizes, over which place brown cambric, with brown paper attached to it in a crumpled manner, so as to imitate ragged rocks, and when painted with light and brown colors, and ornamented with isinglass, will make a very good appearance. The floor of the cave should extend to within three feet of the front of the stage, and run back to the extreme background. The space between the footlights and the floor of the cave should be covered with blue cambric, painted to represent waves and surf. Directly behind the drop curtain there should be a representation of the roof and sides of the cave. Light frames, covered with brown paper, similar to the floor, and made very irregular at the edges, must be placed at each side of the stage, and at the top; these should be two feet wide, and of the height and width of the stage. Two other sets of frames should be made similar to the first, and placed at equal distances from the fore to the background. The first set must be three feet wide; the second set four feet wide. The background of the cave may also be covered with similar scenery. The idea of arranging the scenery in this manner is to give a deep appearance to the cave. Isinglass should be profusely sprinkled over the surface of the rocks, and a few sprigs of grass fastened to them will add to the effect. The fastening of the brown paper to the frames can be dispensed with if there is any person who can paint out the rocks on plain canvas. The one who personates Juan should be of slight figure, fine, regular features, hair black and curly, and small moustache. Costume consists of black pants, with buff or gold stripe at the side, white shirt, with blue collar, and gold star at the corners, black belt around the waist, white hose, low shoes, with buckles of silver. The shirt should be left open in the neck, so as to expose the bosom. A small wound can be imitated on the side of the head, made with red paint. Position is, reclining on the rocks in the foreground of the cave; the left side touches the rocks, the head thrown back, and face exposed to the view of the audience. The right hand grasps a small oar, while the left is stretched out at his side. The eyes are closed, the feet crossed, and resting in the water. Haidee and her friend are seen in the background. Both should be of small figure and good features. Haidee should be quite pretty, and costumed in a blue dress, black velvet waist, open in front, and laced across with blue ribbons; sleeves long and flowing; a small crimson apron, with bands of gold at the bottom; a black velvet belt around the waist, with a showy pin in the centre; bows of pink ribbon fastened with a small, showy pin at each shoulder; hair hanging in curls; hat made of velvet, trimmed with gold bands and white feathers, which should be placed jantily on the side of the head. Her position is, standing on the rocks in the back of the cave, one hand raised so as to shade her eyes, the other pointing to the body of Juan; the eyes are fixed on the body, while the countenance expresses surprise; the right foot must be placed twenty inches in front of the left, while the body is inclined forward. The figure back of Haidee has on a costume similar to that already described, but of less showy and expensive material. She is standing five or six feet from Haidee, and has her hands filled with shells, which she has gathered from the shore. She is intently engaged in looking at her shells, and has not yet seen Juan; her body is bent forward slightly, the expression of the face denoting curiosity and thought. The light for this piece should come from the front of the stage, and must be quite brilliant. If a melodeon is used as an accompaniment to the piece, it should be played to imitate the roaring of the ocean.

POVERTY.

Three Female and Two Male Figures.

This tableau represents the interior of one of the homes of the starving poor, such as are found in all large towns, where vice and intemperance go hand in hand. To make the scene look as natural as possible, a partition should be made to fill up the back of the stage, covered with cheap room paper. Two old window sashes should be inserted in it, with the glass partially broken out, and filled up with old hats and articles of clothing. The furniture of the room consists of an old and broken table, a large chest, three or four old and broken chairs, a few pieces of broken crockery on the table, a black bottle, a candlestick, a bundle of straw, with a few ragged bed clothes, and a few cheap prints hanging from the wall. The table is placed at the back part of the room, and supports the crockery, bottle, and candlestick. The bed is at the left side of the room, and on it reclines a female dressed in dirty and ragged clothing; her hair hangs loosely over her shoulders; right hand supporting her head, and eyes directed to a group of children in the foreground of the picture; the face should be made as white as possible; a small quantity of dark paint about the eyes will give a haggard and sickly look to the features. On the opposite side of the room, seated on the old chest, is the woman's husband. He is dozing in a drunken slumber; his clothes hang about him in tatters; his hat is partially drawn down over his forehead, his matted hair protruding through a hole in the crown; face bloated, from the effects of liquor. By the use of water colors, the face can be made to assume the above description. His position is such that a partial front view is had of the body, the arms hanging carelessly at his side, feet crossed and stretched out on the floor. Seated at the table, and sewing by the light of the candle, is a young girl. She is dressed in dirty and ragged clothes; her hair is tied up in a rough manner; the body bent forward, and eyes cast down upon her work; her face should be made white; the eyes slightly shaded with dark paint, to give a haggard look to the features. In the centre of the room are grouped three small children; they are engaged in eating crusts of bread from a broken plate. Their costume may be varied, and of cheap material. The light for this piece should come from the side on which the man is sitting. The front of the scene must be quite light, while the background is thrown in shadow. Music of a mournful order.

DEATH OF MINNEHAHA.

One Male and Two Female Figures.

This affecting tableau is a representation of the death of the beautiful Minnehaha. The scene is at the moment when Hiawatha draws back the door of the wigwam, and there beholds his lovely Minnehaha lying dead and cold before him. The scenery of this picture is the same that is used in the tableau of [Hiawatha and his Bride's Arrival Home]. It is mid-winter, and the fields and woods are covered with snow; and to represent this scene it will be necessary to cover the ground with cotton flannel, instead of the green bocking which we used in the summer scene. The trees, wigwam, and vines should be covered with small pieces of cotton wool, to represent snow. Large bags, filled with straw, may be covered in the same manner, and placed around the doorway of the wigwam at each side of the stage, to represent snow banks. Minnehaha has on the same costume we have before described, and is reclining on a bed of robes near the entrance of the wigwam. Her body should be propped up so that she can be easily seen. A dark robe is thrown across the lower portion of her form, a calm, resigned look is on the countenance. Her hands are folded on her breast, eyes closed as if in sleep. At her side, sitting on a low seat, is Nokomis. She wears the same costume which is described in the return of Hiawatha, with a fur robe gathered about her. She is leaning forward towards the couch, and presses both hands against her face. Her eyes are cast down to the ground, while grief and melancholy are depicted on the countenance. The dying embers of a fire send up a curling smoke by her side. This should be placed in an iron furnace, and surrounded by the imitation snow. Hiawatha stands on one side of the doorway, and is in the position of one running. He clasps the door with his right hand, and is in the act of stepping into the wigwam. His eyes are fixed on Minnehaha; the left hand is pressed against his forehead; grief and amazement are depicted on his countenance. While the picture is being exhibited, a portion of the accompanying poem may be read by the announcer. The music should be quite soft, and of a plaintive character. The lights for this piece must be of medium brightness, and come from the side opposite the door of the wigwam.

THE MOTHER'S LAST PRAYER.

One Female and One Male Figure.

This tableau represents a mother and child kneeling at the foot of a cross, amid the drifting snows and icy winds of the Alpine Mountains. Having lost their way, and being unable to travel any farther, the mother kneels in prayer at the foot of one of the crosses which are placed as landmarks along the road, to guide the traveller on his journey. The floor of the stage should be made uneven by placing boxes of various sizes at irregular distances, and covering them with white cotton flannel. A number of spruce trees can be arranged at the sides and at the background, all of which should be covered with small particles of cotton wool; small bags, stuffed with hay, and covered in the same manner, must be placed around the foot of the cross and at various parts of the stage, to represent snow banks. A few handfuls of lint thrown into the air just as the curtain rises, will float about and appear like falling snow. Make the cross of wood, and cover it with brown paper. It should be five feet long and two feet wide; thickness of frame, six inches. It must be placed in the centre of the stage, and sprinkled with the imitation snow. The lady who represents the mother should be of good figure and features, and costumed in a dark plaid dress, a white fur cape fastened about the neck, a velvet cloak worn over the shoulders, and a plaid scarf tied about the head, the ends hanging down on the shoulders. Position is, at the foot of the cross, so that a side view is had of the body; the head thrown back, eyes cast upward, hands clasped and raised in front of the face. The boy is dressed in a dark suit, and reclines on the snow by the side of the mother; his head rests on her dress, arms stretched out towards her waist; his eyes closed in that cold and dreamy sleep which ends in death. The light for this piece must be quite dim, and come from the side of the stage that will reflect on the mother's face. Music, of a low and mournful style, representing the moaning of the winds.

LOUIS XVI. AND HIS FAMILY.

Three Female and Four Male Figures.

On the 20th of January, 1793, at three o'clock in the morning, the second year of the French republic, the final vote was taken by the Convention, that Louis XVI. should be executed. All the efforts to save the king were now exhausted, and his fate sealed. The decree of the Convention was sent to the king, declaring him to be guilty of treason; that he was condemned to death; that the appeal to the people was refused; and that he was to be executed within twenty-four hours. The king listened to the reading unmoved; he conversed earnestly with his spiritual adviser respecting his will, which he read, and inquired earnestly for his friends, whose sufferings moved his heart deeply. The hour of seven had now arrived, when the king was to hold his last interview with his family. But even this could not be in private. He was to be watched by his jailers, who were to hear every word and witness every gesture. The door opened, and the queen, pallid and woe-stricken, entered, leading her son by the hand. She threw herself into the arms of her husband, and silently endeavored to draw him towards her chamber. "No, no," whispered the king, clasping her to his heart, "I can see you only here." Madame Elizabeth, with the king's daughter, followed. A scene of anguish ensued which neither pen nor pencil can portray. The king sat down, with the queen upon his right hand, his sister on his left, their arms encircling his neck, and their heads resting upon his breast. The dauphin sat upon his father's knee, with his arm around his neck. The beautiful princess, with dishevelled hair, threw herself between her father's knees. An hour passed, during which not an articulate word was spoken; but cries, and groans, and occasional shrieks of anguish, which pierced even the thick wall of the Temple, and were heard in the street below, rose from the group. For two hours the agonizing interview was continued. As they gradually regained some little composure, in low tones they whispered messages of tenderness and love, interrupted by sobs, and kisses, and blinding floods of tears. Louis XVI. described his trial, excusing those who had sentenced him, gave some religious advice to his children, enjoined them to forgive his enemies and bless them. A few beams of daylight began to penetrate the grated windows of the gloomy prison. The hours passed away, while the king listened to the gathering of the troops in the court yard and around the Temple. At nine o'clock a tumultuous noise was heard of men ascending the staircase. The gens d'armes entered, and conveyed him to the carriage at the entrance. The morning was damp and chilly, and gloomy clouds darkened the sky; sixty drums were beating at the heads of the horses, and an army of troops, with all the most formidable enginery of war, preceded, surrounded, and followed his carriage. They reached the Place de la Révolution at twenty minutes past ten o'clock. An immense crowd filled the place, above which towered the guillotine. With a firm tread he ascended the steps of the scaffold, looked for a moment on the keen and polished edge of the axe, and then, turning to the vast throng, said, in a voice clear and untremulous, "People, I die innocent of all the crimes imputed to me. I pardon the authors of my death, and pray to God that the blood you are about to shed may not fall again on France." The drums were ordered to beat, and Louis XVI. was no more.

Directions for forming the Tableau.—This interesting picture contains seven figures: Louis XVI., his wife the queen, Madame Elizabeth, the king's son and daughter, and two gens d'armes. The stage scenery must be placed in the following order: The background of the stage should represent the granite walls of a prison, with grated windows, massive doors, to which are attached bolts, bars, and heavy locks. This scenery can be made in sections of about four by eight feet in size. One section should represent the door of the cell; on it paint the bolts, bars, and locks. At the right of the stage is placed a table of ancient style; on which is a crucifix, two feet in height, a large Bible, and an old-fashioned candlestick, containing a lighted candle. A chair of ancient manufacture should be placed near the table. Louis XVI. is seated in it, and is costumed in a velvet coat and breeches, white silk hose, low shoes, buff vest, white cravat, ruffled bosom, white wig, knee and shoe buckles. The queen is costumed in a moire antique dress, of a showy color, hair hanging loosely over the shoulder. Madame Elizabeth has on a silk robe, differing in color from the queen's; her hair is loosely fastened behind. The daughter has on a long white dress, with velvet waist. The dauphin is dressed in velvet jacket, blue breeches, white hose, knee and shoe buckles, low slippers, lace collar, ruffled bosom and wristbands, and a pink scarf is fastened about his waist. The gens d'armes have blue coats trimmed with buff, buff vest, crimson breeches, white hose, long wigs, low shoes, knee and shoe buckles, and chapeaux. Each must be furnished with a musket, sword, and belt, and one should hold a bunch of large keys. Louis XVI. encircles his daughter's waist with his right hand; his left is clasped by his son. He sits facing the audience; his head is partially turned towards the crucifix, the eyes cast down, and a melancholy look upon the countenance. The queen stands behind the king, between the chair and table; her left hand is placed upon her waist, her right raised to her forehead; her head is thrown back, the eyes partially closed, and cast upwards, while intense anguish is expressed upon her countenance. Madame Elizabeth is kneeling at the left of the king, her hands clasped and raised upwards, head thrown back, and eyes partially closed. The daughter is seated on the right knee of the king; her right hand is placed across her breast, the left hangs carelessly at her side; her head reclines on the shoulder of her father. The dauphin is kneeling between the king and Madame Elizabeth, and grasping the hand of the king; his eyes are fixed on the face of his father, while the countenance expresses grief and sadness. The gens d'armes stand just inside the door, resting on their guns; their eyes are fixed upon the group in the foreground. The light for this tableau must come from the side of the stage opposite the group, and should be of medium brightness; the background may be thrown in the shade. Music of a mournful character.

DRESSING THE BRIDE.

Three Female Figures.

This tableau is taken from the beautiful poem, "The Course of True Love never did run smooth," by Thomas Bailey Aldrich, who describes in his artistic style the bridal toilet of the princess preparatory to her being wedded to the Vizier Giaffer. The scene represented is the princess's chamber in the gorgeous palace of Haroun Al Raschid. The princess is seated in the centre of the room on a crimson divan; at her side kneels one of her attendants, who is engaged in arranging a bracelet on her arm. Standing on the opposite side is another attendant, who is entwining a string of pearls in the princess's hair. The costume of the princess consists of a pink satin dress, reaching within ten inches of the feet, and should be bound around the bottom with silver paper covered with wide white lace. Over this dress must be worn a frock of purple velvet extending to the knee, with flowing sleeves reaching to the elbow; the front of the waist left open, displaying a lace under robe, crossed with ribbons covered with silver paper and gold spangles. The frock decorated with small crescents of gold paper, ornamented with silver spangles. Trim the bottom of the frock and sleeves with gold paper three inches in width, and cover with colored lace. The waist should be encircled with a wide, light-green sash, studded with spangles, fringed at the end with gold paper, and tied in front, allowing the ends to hang down to the bottom of the frock. A necklace can be made to look rich and showy by attaching brilliant paste pins of various sizes to a black velvet band; the centre pin being quite large, those at the sides decreasing in size as they recede from the centre; the arms and hands profusely ornamented with jewelry; the hair arranged in long braids, and allowed to fall over the shoulders. A large diamond or a brilliant stone should be attached to a black velvet band, and placed on the brow. Turkish trousers, made of white and blue stripes, two inches wide, of flowing shape, fastened around the ankle with a gilt band. The shoes can be made of card-board or leather; they should turn up at the toe three inches; cover them with red cloth, and ornament with gold and silver paper and spangles. The costume of the attendants should be of a similar style, but differing in colors, and without decorations. The lady who personates the princess must be small, and of good form, fine, regular features, and quite pretty. Her position is facing the audience, head turned slightly to the left, eyes upturned to her attendant, who is standing at her side, holding in her left hand a fan; the expression of the face pleasant. The attendant who is kneeling, shows a side view of the body, while the one standing, faces the audience, with the body bent slightly forward, her attention directed to the string of pearls which she is arranging in the hair of the princess. The floor of the stage should be covered with a rich Brussels carpet, and the walls draped with showy damask curtains. The room may be furnished with small ottomans, two small marble top tables, one of which should be placed near the group of ladies, and contain stands of cologne, perfumes, mirrors, combs, brushes, pin-cushions, and cases of jewelry. On the other table, which is to be placed in the background, is a large, showy lamp, with colored globe, surrounded by ornamental articles; showy pictures adapted to the subject, in rich gilt frames, adorn the walls; cages containing singing birds should be suspended from the ceilings; large globes, containing gold fish, rest on the carpet, near the foreground; richly ornamented vases, of various sizes, containing magnificent bouquets, can be arranged in various parts of the room, while the inner corners are filled up with marble or plaster pedestals, supporting pieces of statuary; the divan on which the princess is seated must be double the size of those scattered about the room, and covered with striped pink and blue cloth. The scene should be illuminated by a purple fire burned at the right hand side of the stage. A lively serenade would be appropriate music.

HOPE, FAITH, CHARITY, AND LOVE.

Hope.

Faith.

Charity.

Love.