Home Pastimes; or Tableaux Vivants Part 8

_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, ma.s.sive 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-fas.h.i.+oned 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.

So, after bath, the slave girls brought The precious raiment for her wear, The misty izar from Mosul, The pearls and opals for her hair, The slippers for her little feet, (Two radiant crescent moons they were,) And lavender, and spikenard sweet, And attars, nedd, and heavy musk.

When they had finished dressing her, (The Eye of Morn, the Heart's Desire,) Like one pale star against the dusk, A single diamond on her brow Trembled with its imprisoned fire!

T.B. ALDRICH.

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-cus.h.i.+ons, 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.

Hope looks beyond the bounds of time, When what we now deplore Shall rise in full immortal prime, And bloom to fade no more.

FAITH.

'Tis faith that purifies the heart, 'Tis faith that works by love, That bids all sinful joys depart, And lifts the thoughts above.

CHARITY.

O charity, thou heavenly grace, All tender, soft, and kind!

A friend to all the human race, To all that's good inclined.

LOVE.

Love suffers long with patient eye, Nor is provoked in haste; She lets the present injury die, And long forgets the past.

Four Female Figures.

The above characters are represented as statues. Four females of the same height, of graceful form and fine features, are required to form the group. They should all be costumed in long white robes, that will trail eight inches, the waist cut quite low at the top, the sleeves five inches long; a wide scarf of tarleton muslin draped across the breast, tied at the side, and allowed to trail with the dress; hair confined at the back of the head, and left to fall over the shoulders; the head encircled with a wreath of myrtle and white flowers. If any ornaments are worn, they should be pure white. Hoop or any other large skirts must not be worn, as it is necessary to produce a slender figure for a statue design. The positions of the four ladies are in the following order: Hope stands at the right hand side of the stage, one foot from the drop curtain; Love at the left hand side, the same distance from the curtain; Faith and Charity at equal distances from Love and Hope, and three feet from the drop curtain. Placed in this manner, they will form a half oval. The stage furniture consists of four small pedestals, twenty-four inches square, with a cap and base extending out two inches, covered with white cloth, and ornamented in front with a small wreath of myrtle. Faith takes her position on the top of one of the pedestals. Her emblem is the cross, which she holds in her right hand; the left is raised and points upward; the eyes are raised upward, the countenance expresses meekness. Hope is poised on a pedestal, and holds an anchor, the foot of which rests on the top of the pedestal; the right hand is placed on the anchor, the left is on the breast; the eyes are raised slightly, countenance expressing serenity and hope. Charity comes next. In her right hand she holds a silver dish, which is filled with crumbs of white bread. Two robins stand on the side of the dish, eating the crumbs. The left hand rests on the side of the body; the eyes are directed to the birds; the face beams with smiles. Love is standing on one of the pedestals, holding in her right hand a torch, which is raised above her head, while the left gracefully holds the side of her dress. The head should be turned slightly aside, the eyes looking straight forward; countenance diffused with smiles. A gauze curtain may be suspended before the statues, covering the entire s.p.a.ce inside of the frame. The light for this scene should be of medium brilliancy, and come from the front of the stage. The cross and anchor may be painted black, the torch painted blue, and tipped with gold; the flame carved in wood, and gilded. Stuffed birds can be fastened with wire springs, and attached to the silver dish. Music soft and plaintive.

THE DEATH OF GENERAL WARREN.

Thou rising sun, thou blue rejoicing sky, Yea, every thing that is and will be free, Bear witness for me, wheresoe'er ye be, With what deep wors.h.i.+p I have still adored The spirit of divinest Liberty.

COLERIDGE.

Twenty-five Male Figures.

This magnificent tableau represents the scene so well known in the early history of our country, and contains twenty-five figures, thirteen of which should be dressed in crimson uniform, to personate the British soldiers, six in continental costume, three in coa.r.s.e homespun suits, three in sailor's costume. The stage must be formed to represent a hill, which can be done by using boxes and boards, and covering them with green cloth. The hill should rise from the footlights to within four feet of the ceiling in the background. The first and princ.i.p.al figure is General Warren. He is lying on the ground, a few feet from the foot of the hill, supported by one of his officers, who holds his head with his right hand, while with the left he grasps the musket of a British soldier, which is pointed at the breast of Warren. Warren's position is, facing the audience, eyes closed, arms hanging carelessly at his side; costume, continental; side arms, sash, sword, and chapeau lying in front of the body. The figure who supports Warren is dressed in blue breeches, white hose, white s.h.i.+rt, and black belt. Position, kneeling back of Warren, his eyes fixed on the soldier who stands a few paces back of Warren's feet. This soldier leans forward slightly, and grasps a musket, in which is a bayonet, which he is about to plunge into Warren's body.

His eyes are fixed on the prostrate form before him, while the countenance expresses excitement and rage. Costume consists of a red coat, white breeches and hose, low shoes, knee and shoe buckles, white breast belts, black waist belt, and black military hat, with plume. By the side of the soldier, near the front of the stage, stands an officer, who is leading on the British. He holds a sword on his right shoulder, while the left grasps the b.u.t.t of the musket of the soldier previously described. His body is bent forward, feet separated thirty inches, eyes fixed on Warren, countenance expressing energy and decision. Costume consists of a crimson coat, decorated with gold epaulets and lace, white silk hose, buff breeches, low shoes, knee and shoe buckles, red sash, side arms, and chapeau. Directly behind the figure who supports Warren stands an American soldier, with a musket held in front of his body, which he points towards the British soldier, who is about to pierce the body of Warren. His body is slightly bent backward, eyes fixed on the soldier, countenance expressing fear. The remaining figures should be placed in the s.p.a.ce from the top of the hill down to the group we have described; a few should be fencing; some using their muskets as clubs; others firing at the enemy in the distance; while a few are stretched out in death on the ground. They must be placed in as great a variety of positions as possible, and in such a manner that one figure will not obscure the other. The countenances of all should appear excited. The booming of cannon and roll of the drum can be produced behind the scenes. The picture should be illuminated by a brilliant red fire burned at the side of the stage.

PORTRAIT OF PRINCE ALBERT.

One Male Figure.

This tableau is produced in the same manner as the Madonna. The gentleman who personates Prince Albert should, in general outline of features and form, resemble the original as much as possible. The costume consists of a crimson coat richly trimmed with gold lace, and heavy decorations in silver on the left breast, gold epaulets, a richly ornamented sword and belt, buff vest trimmed with gold lace, buff breeches, top boots trimmed at the top with gold binding, a red sash, and black chapeau. The position must be so that a partial front view can be had of the body; eyes directed straight forward. The light should be of medium quant.i.ty, and come from the front of the stage.

Music of a national order.

THE RETURN OF THE PRODIGAL SON.

O! thou hast wander'd long From thy home without a guide; And thy native woodland song, In thine altered heart hath died.

Thou hast flung the wealth away, And the glory of thy Spring; And to thee the leaves' light play Is a long-forgotten thing.

Still at thy father's board There is kept a place for thee; And, by thy smile restored, Joy round the hearth shall be.

MRS. HEMANS.

Four Male Figures.

This scene, so familiar in Scripture history, represents the father standing on the step of his mansion, about to embrace his son, who stands near. The background of the picture should represent the portico of a house, and can be made in the following manner: Procure at a paper store four fresco pilasters, with caps and bases, and a wide cornice to match; also a roll of granite paper; paste the cornice and pilasters on cloth; fasten the cornice across the ceiling of the stage, five feet from the background, and suspend the pilasters from the lower edge, placing them at equal distances from each other; form the steps out of boxes and boards, and cover them with the granite paper. At each side of the steps place a large vase of flowers. Behind the pilasters, at the end of the upper step, are seen two servants.

They are stooping down and looking at the group in the foreground.

Their costume can be easily made up. Frock coats, trimmed on the bottom of the skirts, cuffs, and front with colored cloth, five inches wide; white pants, black hose, crossed with red binding; low shoes; knee and shoe buckles; low-crowned, black Kossuth hat, encircled with a band of gold, and ornamented in front with a large paste pin and showy plume. The gentleman who represents the father must be of good height and large figure. His costume consists of a purple velvet coat and breeches, white hose, crossed with black ribbons, low shoes, knee and shoe buckles; over the shoulders is thrown a long cloak, trimmed with ermine; hair and beard quite long, which can be imitated with flax, glued to cloth made to fit the head and face. If dresses cannot be procured at a costumer's, cheap material can be made up for the occasion, and will look quite pretty. A blue circular cloak, or a lady's velvet cape, trimmed with white cotton flannel, two inches wide, with small pieces of black-s.h.a.g fastened on at intervals of five inches, will look well, and will resemble ermine. The breeches can be made of purple cambric, trimmed with gold paper. A blue dress coat, trimmed with gold paper, and covered with white lace, will answer for an under-coat. The father's position is, standing on the second step of the portico, with both hands extended, body bending forward slightly, eyes fixed on the son, countenance expressing joy and happiness. The son stands at the foot of the steps, leaning on a stout branch of a tree, which he has been using for a cane on his journey.

He displays a side view of the body, and is costumed in a coa.r.s.e brown frock, open in the neck, displaying his neck and bosom, and tied around the waist with a piece of rope; large rents should be made in the sleeves, showing the flesh within; knee breeches of coa.r.s.e material, torn at the side; brown hose; and shoes, which are almost worn out, and are tied to the foot with strings; hair hanging over the forehead; skin colored light brown; his eyes cast down to the ground, and countenance melancholy. The light must be quite brilliant, and come from the side opposite to the servants. Music animating.

SINGLE BLESSEDNESS.

Close by his lonely hearth he sate, While shadows of a welcome dream Pa.s.sed o'er his heart; disconsolate His home did seem; Comfort in vain was spread around, For something still was wanting found.