Chapter 16

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!

MUGGINS.

Two Female Figures.

This tableau represents an oval shield richly ornamented with gold, on which are fastened engine pipes, colored lanterns, trumpets, axes, fire hooks, buckets, hats, &c. These radiate from the centre, and are surrounded by a wreath of gold stars, five inches in diameter. It rests on a pedestal, and is supported on each side by female figures. The shield is seven feet high and four feet wide, the surface covered with blue cambric, with a border of crimson five inches wide, shaded with a band of gold one inch in width. The pedestal is six feet long, one foot high, and three feet wide, the surface covered with crimson cloth, with a black and gold border six inches wide, and an appropriate motto on the front in letters of gold. The young ladies who support the shield must be of equal height, good figure and features. Their costume consists of a white robe cut low in the neck, skirt made to trail on the pedestal, red or black velvet waist, ornamented with gilt buttons and lace, and fireman's hat on the head. Their position is at the sides of the shield, facing the audience; one arm is laid at full length on the top of the oval, the other hangs at the side, the hand grasping a small wreath of myrtle. The head should be slightly turned towards the shield, eyes looking forward, countenance calm. The light for the tableau must be of medium brilliancy, and come from the front of the stage. Music soft.

THE SOLDIER'S FAREWELL.

I could not love thee, dear, so much, Loved I not honor more.

SIR RICHARD LOVELACE.

Three Female and Three Male Figures.

A representation of a young recruit, about to leave his country home for the first time to join the army. In the background is to be seen a cottage, with trellised vines running over the door. The young soldier is standing in front of the cottage, bidding farewell to his young bride, who stands at his side. They both face the audience. She has her right arm around his neck, and is looking into his face. The soldier rests his left arm on her shoulder, and points to the side of the stage with the right hand. His eyes are fixed on the face of his bride. Near the doorstep stands a gray-haired old man, the father of the soldier; he faces the audience, and is holding a musket, the lock of which he is examining. At the left of the soldier stands a young maiden, in a position that exhibits a side view of the body. She is looking to the two figures in front of her, and holds a sword and belt. In the doorway is seen the mother of the soldier, holding a handkerchief to her eyes. A little boy stands at the right of the door, with a tin sword fastened about his waist, a paper cap on his head, and is engaged in blowing on a tin trumpet. The cottage can be framed of wood, covered with cloth, and painted in showy colors; body of the house light brown, frames, cornice, and door green, roof red, and window panes black. The cottage stands in the centre of the stage, with the space on the sides filled up with a small white fence and two spruce trees. The vines over the door can be painted on the house, or made of evergreens and flowers, and tacked to the frame. The soldier's costume consists of a continental uniform--blue coat, faced with buff, buff vest and breeches, white hose, knee and shoe buckles, low shoes, white breast belts, and chapeau. The wife is costumed in a blue dress, cut very short, and high at the top, white apron, white hose, small handkerchief tied about the neck, hair arranged to suit the taste of the performer. The young lady should be costumed in a white dress, green apron, and straw hat, hair hanging in curls, and ornamented with red ribbons. The old gentleman's costume consists of a long gray or drab coat, light vest and breeches, black hose, knee and shoe buckles, low shoes, ruffled bosom, and chapeau. The aged matron is costumed in a light brown dress, calico apron, white cap, black collar. The boy can be attired in any costume that has a variety of colors. Cover the floor of the stage with green bocking, and light the tableau from the left side. A tenor drum should be beaten in the ante-room while the curtain is raised.

IKE PARTINGTON'S GHOST.

Be thou a spirit of health or goblin damned, Bringing with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable? Thou com'st in such a questionable shape That I will speak to thee.

SHAKSPEARE.

One Female and One Male Figure.

This tableau represents Ike seated on the top of a pump in the front yard of his mother's cottage, while the old lady is seen in the background, peeping over the fence with looks of horror and astonishment. The person who represents Ike should be of medium height and youthful looking. Costume consists of an old military coat and hat, large sword attached to a belt about the waist, light pants with red stripe, and large boots. The old lady is dressed in a cheap calico dress and white cap. The pump can be made of wood, covered with light brown cambric, the handle painted black. A rough representation of a house should be painted on cloth, and placed at the rear of the stage. A few feet from the house, erect a low white slat fence, with a gate in the centre; a wheelbarrow, shovel, hoe, broom, and water bucket are scattered about the stage. Ike sits on the pump, and faces the audience. His head is drawn down within the coat collar, hands placed on his knees, and eyes rolled up into his head. Light the stage very little, and produce discordant sounds on a melodeon in the ante-room.

THE PEASANT FAMILY IN REPOSE.

Let not Ambition mock their useful toil, Their homely joys, and destiny obscure, Nor Grandeur hear, with a disdainful smile, The short and simple annals of the poor.

GRAY.

Two Female and Three Male Figures.

This scene represents a group of peasants resting on their journey. The party comprises an aged couple and three children. They are seated on a grassy mound at the side of the road. The children lie in the foreground of the mound in various positions, and are asleep. The old gentleman is seated on the back side of the mound, which is higher than the front, and in such a position that a side view is had of the body. His head rests on his left hand, the elbow resting on the knee; the right hand holds a cane; countenance calm. Costume consists of a long, loose blue frock, brown pants, black beaver hat, considerably worn and out of shape, white hair and beard. At the side of the old man, on the lower part of the mound, is seated the old lady. She faces the audience, and leans her head on her right hand, the elbow placed on the knee, eyes directed to the children, countenance expressing deep thought. Costume consists of a brown dress, white handkerchief tied about the neck, and a hood on the head. In front of these figures is a young girl, her back resting against the highest part of the mound, the head inclined to one side, one arm placed across the form of a boy at her side, her eyes closed. She is dressed in a white robe, blue apron, and stout shoes, head uncovered. A small boy reclines at her side, and rests his head on her lap. Costume consists of a red frock, trimmed with white. In front of these two figures is a large boy. He lies on the grass, and rests his head on his arm; his eyes are closed, countenance calm. He is costumed in a dark coat, light pants, white collar, thick boots, and felt hat. The mound on which the tableau is formed can be constructed of boxes, and covered with green bocking. It should be six feet in diameter, varying from one to two feet in height, and placed in the centre of the stage. The scene will require but a small quantity of light, which must come from the right side of the stage. Music soft and of a plaintive character.

THE SOLDIER'S RETURN.

O that 'twere possible, After long grief and pain, To find the arms of my true love Round me once again.

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We stood tranced in long embraces Mixed with kisses sweeter, sweeter Than any thing on earth.

MAUD.

Three Female and Four Male Figures.

This interesting tableau is designed to appear in connection with the soldier's farewell, and is represented by seven persons. The cottage and other scenery described in the "Soldier's Farewell" is used in this piece, and is to be placed in the same position. At the left of the stage, near the front, stands a young gentleman dressed as a hackman. He carries a trunk on his shoulder, and a valise in his left hand; his position is such that a side view is had of the features; his eyes cast down to the floor, body slightly bent forward; a few paces in front of him stands the young soldier, with arms outstretched to receive his wife, who is standing in front of the doorstep, in the act of running towards him. The soldier shows a side view of his form, his feet extended apart, body bent forward, eyes fixed on his wife, countenance smiling. The wife faces the audience; her arms are raised, eyes directed to those of her husband, countenance pleasant. The father and mother of the soldier are seated in large chairs at the sides of the door. A young man is seen climbing over the fence. He holds a rake in his hand, and is looking at the soldier. A young lady is on the doorstep in the position of one running, her eyes fixed on the group at the front of the stage, countenance expressing surprise. Costume similar to the one described in the Farewell. The boy's costume consists of blue overalls, white shirt, and straw hat. The old lady and gentleman wear the suits described in the first scene. The old gentleman has a pair of crutches by his side, and is smoking a pipe. The old lady wears spectacles, and holds a newspaper in the left hand, and points to the soldier with the right; her eyes are turned to her husband, countenance expressing surprise. The soldier's wife has on a white dress with a velvet waist. The soldier is costumed in the suit that we described in the Farewell, with the addition of a red sash about the waist, gold epaulets on the shoulders, and a showy plume in his hat. The hackman's costume consists of a rubber coat and cap, long boots, and light pants. The scene requires a medium light, which should come from the side opposite the soldier. Music of a cheerful and lively style.

NOTES AND EXPLANATIONS.

FOR PREPARING A BRILLIANT RED FIRE.

Weigh five ounces of dry nitrate of strontia, one ounce and a half of finely-powdered sulphur, five drams of chlorate of potash, and four drams of sulphuret of antimony. Powder the sulphuret of antimony and chlorate of potash separately in a mortar, and mix them on paper; after which add them to the other ingredients, previously powdered and mixed. For use, mix with a portion of the powder a small quantity of spirits of wine, in a tin pan resembling a cheese-toaster; light the mixture, and it will shed a rich crimson hue. When the fire burns dim and badly, a very small quantity of finely-powdered charcoal or lamp-black will revive it. This light is used in finale scenes, where the subject is heroic, national, or martial.

GREEN FIRE.

A beautiful green fire may be thus made: Take of flour of sulphur, thirteen parts; nitrate of baryta, seventy-seven; oxy-muriate of potassa, five; metallic arsenic, two; and charcoal, three. Let the nitrate of baryta be well dried and powdered; then add to it the other ingredients, all finely pulverized, and exceedingly well mixed and rubbed together. Place a portion of the composition on a small tin pan having a polished reflector fitted to one side, and set fire to it, when a splendid green illumination will be the result. By adding a little calamine, it will burn more slowly.

PURPLE FIRE.

A purple fire is produced by dissolving chloride of lithium in spirits of wine, and when lighted it will burn with a purple flame.

WHITISH-BLUE FIRE.

Take of nitrate of baryta, twenty-seven parts, by weight; of sulphur, thirteen; of chloride of potassa, five; of realgar, two; and of charcoal three parts. Incorporate them completely, and when inflamed they will emit a whitish-blue light, accompanied by much smoke. This light is much used in fairy scenes.

YELLOW FIRE.

Mix some common salt with spirits of wine, in a metal cup, and set it upon a wire frame, over a spirit lamp. When the cup becomes heated, and the spirits of wine ignited, the other lights on the stage should be extinguished, and that of the spirit lamp shaded in some way. The result will be, that the whole group, faces, dresses, will be of a strong yellow tint.

COLORED LIGHTS.

Colored lights can be produced by filling globes with colored liquid, and placing them in front of the lamps, like those we see in the windows of the chemists' shops.

TO PRODUCE A MISTY OR VANISHING APPEARANCE TO A TABLEAU.

Several curtains of thin gauze, or common mosquito netting, made to let down from rollers, one after another, between the audience and the scene, will give a beautiful, misty appearance; and if a sufficient number of curtains be unrolled, the tableau appears to vanish entirely, allowing room for a change of scenery. Many scenes should have one thickness of muslin before them, which serves to blend the colors, and gives a finish to the picture. The gauze must be carefully managed, as the disclosure of a ragged edge will dispel all the illusion.

TO PRODUCE SOUNDS LIKE FALLING RAIN.

Procure a box six feet long, one foot wide, and one deep. Cover the bottom with small pegs of wood one inch high, and inserted two inches apart. Place a quart of dried peas at one end of the box; then raise that end quite slowly, allowing the peas to roll gradually down to the lower part of the box. The sound they produce in striking against the pegs imitates to perfection the falling of rain. The sound can be continued for any length of time by raising alternately each end of the box.

TO PRODUCE SOUNDS LIKE DISTANT FIRING OF ARTILLERY.

Suspend a large sheet of Russia iron by means of a rope, and strike it in the centre with a heavy drumstick. At a short distance, the sound resembles the booming of heavy artillery.

TO PRODUCE SOUND TO RESEMBLE THUNDER.

Hold a large sheet of Russia iron at one end and commence shaking it very slowly. It will give out a low, rumbling sound, which can be gradually increased in power. Graduate the sounds from heavy peals to the first starting point, then discontinue the shaking for a few seconds, and repeat the variety of changes as long as is necessary.

TO IMITATE THE FIRE ALARM BELL.

Suspend to a wooden frame two pieces of steel two inches square and three feet long. Select pieces that will give out different tones, and strike them alternately with an iron hammer. They will sound much clearer and louder than any small bells.

DISTANT FIRING OF MUSKETRY.

Sounds similar to a distant discharge of musketry can be produced in a number of ways. The tenor drum can be made to give out sounds to resemble volleys of musketry. Leaden shot dropped into a large tin pan will produce a good imitation. A fireman's rattle can be also used for the same purpose.

MAGIC LIGHTNING.

Mix gunpowder with a small quantity of water and gum arabic, and with a brush place it on a screen in the background in an irregular manner, resembling flashes of lightning. The screen being previously painted to resemble thunder clouds, let there be a number of distinct flashes painted, the ends of which should be near the ante-room. At intervals of thirty seconds, touch a lighted fusee to one of these paintings, which will burn quickly, illuminate the clouds, and resemble lightning flashes.

TO STAIN THE FLESH A COPPER COLOR.

To stain the flesh a copper color, as is necessary in representing Indian characters, use Spanish brown, mixed with oil, and rub in thoroughly.

TO MAKE WRINKLES.

Use India ink, moistened with water, softening the lines with chalk, if necessary. Moustaches and whiskers may also be made with the same material.

FLESH WOUNDS, &c.

Flesh wounds and blood may be represented by the use of rose pink mixed with water.

THEATRICAL INCANTATIONS.

Dissolve crystals of nitrate of copper in spirits of wine. Light the solution, and it will burn with a beautiful emerald green flame. Pieces of sponge soaked in this spirit, lighted and suspended by fine wires over the stage, produces the lambent green flames now so common in incantation scenes; strips of flannel saturated with it, and applied round copper swords, tridents, &c., produce, when lighted, the flaming swords and fire forks brandished by the demons in such scenes; indeed, the chief consumption of nitrate of copper is for these purposes.

LIGHTS AND SHADES.

If you wish to throw the background of a tableau in shade, intervene screens between the lights at the sides of the stage and that part of the picture you desire to have dark; _vice versa_ with the foreground. Particular points or characters can be more brilliantly lighted than others by placing at the side of the stage a strong light within a large box, open at one side, and lined with bright reflectors. Light of different colors can be thrown successively on a picture, and made to blend one with another, by placing the various colored fires in boxes three feet square, open at one side, and lined with bright reflectors; these, arranged at the side of the stage on pivots, can be turned on, one after another, so as to throw their light on the stage. Before one light has entirely vanished from the scene, a different color should gradually take its place.

ART RECREATIONS:

BEING

A COMPLETE GUIDE TO

PENCIL DRAWING, OIL PAINTING, WATER-COLOR PAINTING, CRAYON DRAWING AND PAINTING, PAINTING ON GROUND GLASS, GRECIAN PAINTING, ANTIQUE PAINTING, ORIENTAL PAINTING, SIGN PAINTING, THEOREM PAINTING, MOSS WORK, PAPIER MACHE, CONE WORK, FEATHER FLOWERS, POTICHOMANIE, LEATHER WORK, HAIR WORK, TAXIDERMY, GILDING AND BRONZING, PLASTER WORK, WAX WORK, SHELL WORK, MAGIC LANTERN, PAPER FLOWERS, IMITATION OF PEARL, THE AQUARIUM, SEALING-WAX PAINTING, PANORAMA PAINTING, COLORING PHOTOGRAPHS, ENAMEL PAINTING, ETC.

BY

MADAME L.B. URBINO, PROF. HENRY DAY, AND OTHERS.

WITH VALUABLE RECEIPTS FOR PREPARING MATERIALS.

Splendidly Illustrated.

BOSTON:

J. E. TILTON AND COMPANY.

1860.

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