Home Pastimes; or Tableaux Vivants Part 2

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 quant.i.ty of the whitish-blue fire. Music lively.

THE SPECTRE BRIDE.

But, soft; behold! lo, where it comes again!

I'll cross it, though it blast me.--Stay, illusion!

If thou hast any sound, or use of voice, Speak to me: If there be any good thing to be done, That may to thee do ease, and grace to me, Speak to me; If thou art privy to thy country's fate, Which, happily foreknowing, may avoid, O, speak!

Or, if thou hast uph.o.a.rded in thy life Extorted treasures in the womb of earth, For which, they say, you spirits oft walk in death, Speak of it. Stay and speak!

SHAKSPEARE.

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 pa.s.sed, and great preparations were being made in the old castle for a magnificent wedding. The lords and n.o.bles, within a circuit of five hundred miles, were invited to partic.i.p.ate 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 s.p.a.cious 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 ma.s.sive 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 pa.s.sed, 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 s.p.a.ce 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 s.h.i.+ps, should be securely fastened beneath the stage, at the four corners of the square; ropes, three quarters of an inch in diameter, should be pa.s.sed 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 const.i.tutes 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 quant.i.ties near the trap door and larger quant.i.ties 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.

O, there is nought so sweet As lying and listening music from the hands, And singing from the lips, of one we love-- Lips that all others should be turned to. Then The world would all be love and song; heaven's harps And orbs join in; the whole be harmony-- Distinct, yet blended--blending all in one Long, delicious tremble, like a chord.

FESTUS.

The finger of G.o.d is the stamp upon them all, but each has its separate variety.

Beauty, theme of innocence, how may guilt discourse thee?

Let holy angels sing thy praise, for man hath marred thy visage; Still, the maimed torso of a Theseus can gladden taste with its proportions.

Though sin hath shattered every limb, how comely are the fragments!

TUPPER.

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 G.o.ddess of music holds a harp, on which she is playing; the G.o.ddess of painting has a partially painted picture in the left hand, and a brush and pallet in the right; the G.o.ddess 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 G.o.ddess of Music should sit on the right side of the mound, the hand resting on the knee, her eyes cast upward. The G.o.ddess 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 G.o.ddess of Music. The G.o.ddess of Sculpture should sit between the G.o.ddesses 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 G.o.ddess 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

Of Enna, where Proserpine, gathering flowers, Herself a fairer flower, by gloomy Dis Was gathered.

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 s.p.a.ce 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.

Last noon beheld them full of l.u.s.ty life; Last eve in beauty's circle proudly gay; The midnight brought the signal sound of strife; The morn, the marshalling in arms; the day, Battle's magnificently stern array!

The thunder clouds closed o'er it, which, when, rent, The earth is covered thick with other clay, Which her own clay shall cover, heaped and pent, Rider and horse--friend, foe--in one red burial blent.

BYRON.

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 crus.h.i.+ng thunder, burst upon the plain; a tempest of bullets, shot, sh.e.l.ls, and all the horrible missiles of war, fell like hailstones upon the living ma.s.s. 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 s.p.a.ce 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 b.u.t.tons, 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 "Was.h.i.+ngton'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.