Home Pastimes; or Tableaux Vivants Part 17

PRINCE CHARLES EDWARD AFTER THE BATTLE OF CULLODEN.

Our bugles sung truce, for the night cloud had lower'd, And the sentinel stars set their watch in the sky, And thousands had sunk on the ground overpower'd, The weary to sleep, and the wounded to die.

THOMAS CAMPBELL.

One Female and Six Male Figures.

This tableau contains seven figures, and represents Prince Charles Edward asleep in one of his hiding-places after the battle of Culloden, protected by Flora Macdonald and Highland outlaws, who are alarmed on their watch. Here rests, in fitful and affrighted slumbers, the recent victor, Prince Charles Edward, a broken and despairing fugitive, his gallant spirit dissipated, and his well-knit limbs stained, and bruised, and soiled by urgent journeys and perilous encounters. Beside him sits a sleepless guardian, the brave, the beautiful, the heroic Flora Macdonald. A deer-hound, who had crouched at her feet, has given an alarm of coming danger. The peril is imminent, but the foe is invisible. What shall be done? Shall the sleeper be awakened? His devoted protector, prompt as the occasion, and wise beyond the emergency, counsels on the instant, silence, caution, self-possession. Thereupon the Highlanders draw together, and, restraining the frenzy of their first emotions, wait, with desperate resolution, the first manifestation of coming danger.

The scenery accompanying this piece represents a cave in the rocks; in the centre of the back wall is an opening, through which the Highland outlaws are looking. The rocks can be imitated by covering wooden frames with coa.r.s.e brown paper, fastened on in a rumpled manner, and shaded with light and dark brown paint, sprinkled over with small particles of isingla.s.s. These frames should reach to the ceiling of the stage, and be constructed in sections four feet wide; they must be arranged in the background in the form of a half circle, the floor and sides of the stage covered with the same kind of scenery; a box six feet long and two feet wide, covered with a robe, should be placed in the centre of the cave, for the prince to recline upon. Spears, s.h.i.+elds and battle axes may be strewn about, and a small fire made to smoulder in the foreground. This can be built in an iron furnace, surrounded by rocks. The prince is costumed in a rich Highland suit.

The coat, which reaches to the knee, is made of Scotch plaid, trimmed at the bottom of the skirt, sleeves, and on the front with black velvet ornamented with gold; plaid breeches and hose, worn so as to leave a naked s.p.a.ce of five inches between the top of the hose and bottom of the breeches; short-legged boots, with red tops, spurs; a heavy plaid scarf, decorated with gold, worn across the shoulders; and a flat Highland cap, with plume in front, which lies on the couch at his side. The prince is lying on his side, lengthwise of the cave, in position so that his face can be seen, his head resting on his left arm, while his right hangs down to the floor of the cave, touching his sword and pistols. Flora Macdonald is seated near the head of Prince Charles. Her costume consists of a Highland frock reaching below the knees, hose of scarlet plaid, a scarf about the breast made of black cloth, and fringed on the side with buff, and across the shoulders is worn a blue cape trimmed with velvet and gold; her hair hangs loosely on the shoulders; the left hand gathers the cloak about the breast, while the right is raised in front of the face, the fingers extended, the head turned around to the group of Highlanders at the back of the cave, to whom she is in the act of speaking. Fear and caution are expressed on her countenance. The group of Highlanders are at the right of the cave, in the extreme background, near the opening. Their costume is similar to that of the prince, but of cheaper material, and without decorations. Each has a sword and musket. The first outlaw is looking out of the opening; he holds his musket in front of him; at his side stoops another, with musket trailing. Behind these two stands a third, with a long spear. Back of him is one with a sword in his hand. He is in the act of speaking to Flora Macdonald; his countenance denotes affright; his left hand points to the opening in the cave; his body inclined backward slightly. The fifth figure is kneeling in the foreground, holding a hound by the collar. The countenances of the first three outlaws should express caution. The faces of the gentlemen can be disguised by false beards. The scene must be illuminated by a small quant.i.ty of red fire burned at the front part of the ante-room, opposite the group of outlaws. Thunder and the falling of rain imitated in the ante-rooms will add to the effect. No music will be required.

THE FLOWER GIRL.

FLOWERS.

They are the autographs of angels, penn'd In Nature's green-leav'd book, in blended tints, Borrowed from rainbows and the sunset skies, And written every where--on plain and hill, In lonely dells, 'mid crowded haunts of men; On the broad prairies, where no eye save G.o.d's May read their silent, sacred mysteries.

Thank G.o.d for flowers! they gladden human hearts; Seraphic breathings part their fragrant lips With whisperings of Heaven.

ALBERT LAIGHTON.

One Female Figure.

The statue tableau of the Flower Girl is quite a pretty design, and is produced in the following manner: A pedestal two feet in height, with a circular s.h.i.+eld at the top three feet in diameter, is placed in the centre of the stage, around the sides and on the top of which are arranged folds of white cloth. The young lady who personates the flower girl is to stand in the centre of the s.h.i.+eld, holding in front of her a basket of flowers. She should be of good form and features.

Her costume consists of a pure white robe cut low at the top and long at the bottom, sleeves short, the front of the waist ornamented with a small bouquet, and a wreath of flowers or silver leaves around the head, the hair puffed slightly at the side, and confined at the back of the head with a band of silver, and allowed to hang in curls in the neck; the basket filled to the top with flowers, held at arm's length, and resting against the right side of the front of the body. The lady faces the audience, inclines her body forward a very little, the hands grasping the basket at each side, right foot placed twelve inches in advance of the left, head inclined back and to the left, the eyes directed forward, countenance pleasant. The crimson curtain, and the two fairies used in the "Bust of Proserpine," can be used in this piece, the curtain placed above the statue, the fairies taking the same position as in Proserpine. Illuminate the stage with the footlights. Music soft and plaintive.

PRESENTATION OF FIREMAN'S TRUMPET.

"Honor to whom honor is due."

Eleven Male and Eleven Female Figures.

This interesting tableau contains twenty-two figures. The scene represents a young and beautiful female presenting a silver trumpet to a fireman. In the background of the stage there should be erected a platform, from which a flight of steps extends down to the foreground. On the right side of the steps are young ladies in appropriate costumes, and at the left of the steps are the comrades of the receiver of the trumpet. Standing in the centre of the platform is a young lady, about to present the trumpet to the fireman, who is kneeling at her feet. The platform must be four feet high and two feet wide, the steps running nearly across the stage, and within three feet of the footlights. At each side of the platform place a large vase of flowers, and cover the steps with green bocking. The ladies' costume consists of a white dress, with red sash around the waist, a wreath of myrtle on the head, and a wreath of flowers held in the right hand.

The gentlemen's costume consists of a showy fireman's suit. The lady who presents the trumpet should be costumed in a white dress decorated with artificial flowers, a crown of the same on the head, and a belt about the waist. The ladies and gentlemen at the sides of the stage are all kneeling, and in such a position that a profile view is had of the body. The ladies rest the left hand on the waist, and extend towards the top of the platform the right hand, which holds the wreath of flowers. Their attention is directed to the lady above, the countenance expressing pleasure. The gentlemen form in a like manner, and raise the right hand to the side of the face. The gentleman who receives the trumpet kneels on the upper step, and in such a position that a profile view will be had of the face; the left hand rests on the waist, while the right is extended to take the trumpet; the head is thrown back slightly, the eyes fixed on those of the lady, who stands in the centre of the platform. Her body is inclined forward, eyes fixed on the face of the fireman, right hand extended and holding the trumpet, her countenance beaming with smiles. Light from the foot and left side of the stage will be required, which should be very brilliant. Music of an operatic character.

THE PAINTER'S STUDIO.

The golden light into the painter's room Stream'd richly, and the hidden colors stole From the dark pictures radiantly forth, And in the soft and dewy atmosphere Like forms and landscapes magical they lay.

The walls were hung with armor, and about In the dim corners stood the sculptured forms Of Cytheris, and Dian, and stern Jove; And from the cas.e.m.e.nt soberly away, Fell the grotesque long shadows, full and true, And, like a veil of filmy mellowness, The lint-specks floated in the twilight air.

WILLIS.

One Female and One Male Figure.

A representation of a painter's studio. Scattered about the room are works of art, fine paintings, portraits, statuary, vases of ancient form, and flowers. A guitar and flute hang from the wall, and at the left of the stage is a large picture, with a crimson curtain partially drawn across it. The painter's easel stands at the right of the stage; on it is an unfinished portrait of a lady. A small table, sofa, and three ancient chairs complete the furniture of the room. The artist is seated in one of the chairs, engaged in painting the lady's portrait.

The lady is seated in a chair in the centre of the stage, her feet resting on a small cus.h.i.+on, right elbow placed on the table which is by her side, and eyes fixed on a book which she holds in her left hand. A few showy bound books and a small bust may be placed on the table. The lady's costume consists of a pink or blue silk dress, cut low at the neck, sleeves of usual length, hair done up to suit the performer's taste. Her position is, facing the audience. The artist's costume consists of a rich dressing gown, a red velvet cap with a gold ta.s.sel, light pants and vest. His position is such that a side view is had of the features, the left hand holding a pallet and brushes, the right grasping a small brush, which he is in the act of using. His eyes are fixed on the picture, countenance expressing earnestness.

Illuminate the background of the scene with a small quant.i.ty of red fire, the foreground with light of medium brilliancy, both of which should come from the right side of the stage. Music soft and plaintive.

PORTRAIT OF GABRIELLE.

There's nothing ill can dwell in such a temple: If the ill spirit have so fair a house, Good things will strive to dwell with 't.

TEMPEST.

One Female Figure.

This tableau is suggested by the beautiful picture by De la Roche, one of the most eminent of French painters. The best portrait of Napoleon I. was painted by this artist. The subject of the painter is Gabrielle. The person who represents this portrait should have fine Grecian features, small figure, and hair that will curl profusely. The costume consists of a pink brocade cut low at the top, open in the form of a square in front, and trimmed with white lace and black velvet. The hair must be parted in the centre of the forehead, puffed out at the side, and arranged in short curls in the neck. A band of velvet one inch wide in the middle, and tapered to a point at each end, with a silver star studded with spangles on the widest part, should be placed around the head. The frame, behind which the lady takes her seat, is constructed as follows: Out of boards make a solid frame, four feet long and three feet wide, with a cornice on the outside. From the centre, cut out an oval three feet long and two feet wide; cover the frame with black cambric or velvet, and ornament the cornice and edge of the oval with gold paper; place the frame at the back of the stage on a platform or box three feet high, three feet wide, and two feet deep; fasten the frame by means of hooks or screws to the top of the box, flush with the front; attach a heavy crimson cord and ta.s.sel to the top, and pa.s.s it over a bra.s.s hook screwed to the ceiling. The lady takes her seat behind the frame, in such a position as will display a partial side view of the head and chest in the centre of the oval, the eyes cast down, the countenance expressing sorrow. After the lady has taken her position, the box must be entirely covered with black cambric, and a curtain of the same material should be fastened to the top of the frame, and allowed to trail back of the lady to the floor. With a medium quant.i.ty of light from the front of the stage, the tableau at a distance will resemble a painted portrait. A large variety of pictures can be produced in this manner, and at little expense. Music for this scene should be of a sacred character, and quite soft.

THE ELOPEMENT.

Dear art thou to the lover, thou sweet light, Fair, fleeting sister of the mournful night!

As in impatient hope he stands apart, Companioned only by his beating heart, And with an eager fancy oft beholds The vision of a white robe's fluttering folds Flit through the grove, and gain the open mead, True to the hour by loving hearts agreed!

At length she comes. The evening's holy grace Mellows the glory of her radiant face; The curtain of that daylight, faint and pale, Hangs round her like the shading of a veil; As turning with a bashful timid thought, From the dear welcome she herself hath sought, Her shadowy profile drawn against the sky, Cheats while it charms his fond adoring eye.

MRS. NORTON.

One Male and Two Female Figures.

This is a very pretty tableau, in two parts. The first, represents a young gentleman, standing at the foot of a rope ladder which reaches to the railing of a balcony on the front of a dwelling house; leaning over the railing is a young and lovely maiden, who is about to make her descent on the ladder to her lover below. The gentleman grasps the rope with the left hand, and holds the right upward in the act of beckoning to the lady. His position is such that a side view is had of the body; his head thrown back, eyes directed to the balcony, countenance expressing pleasure and entreaty. His costume consists of a dark coat, trimmed around the edge with purple lace or gimp, light breeches, black hose, colored vest, low shoes, knee and shoe buckles, red sash about the waist, black felt hat with plume, velvet cape on the left shoulder, lace collar and wristbands, ruffled bosom, and mustache. The lady is attired in a bright-colored silk robe, riding hat, and red scarf. The balcony can be made of boards, and covered with fresco paper, representing two pillars, a cornice, and a railing above. The second scene, which follows immediately, represents the lady and her lover just about to step into the ante-room, opposite the balcony. The gentleman has his right arm around the waist of the lady, the left extended towards the balcony, face turned in that direction, his back to the audience, the countenance expressing caution. The lady places her left hand on the gentleman's shoulder, and the right on her breast; her eyes are directed to the ante-room. A front view is had of her form. The head of the gentleman turned to the balcony will give a partial side view of the face. The young lady's mother is seen on the balcony, looking out into the darkness, and holding a crutch before her, as if in the act of striking. Her costume consists of a white robe and nightcap. The light for the first scene should be of medium brightness, and come from the ante-room opposite the balcony. In the second scene, it will be necessary to produce the light on the other side of the stage, which will throw the balcony in the shade. The low rumbling of thunder, and the noise of falling rain, produced in the ante-room, will add to the effect of the scene.

FIREMAN'S COAT OF ARMS.

By Jove! I'll have a fine establishment, And keep a coat-of-arms!