Chapter 2

Ay, love it; 'tis a sister that will bless, And teach thee patience when the heart is lonely; The angels love it, for they wear its dress, And thou art made a little lower--only; Then love the Beautiful.

BURRINGTON.

THE WREATH OF BEAUTY.

While Beauty comes to every human heart, And lingers there, unwilling to depart, Too many own her not, nor heed her claim, But blindly follow some ignoble aim.

LAIGHTON.

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.

_Paulina._ As she lived peerless, So her dead likeness, I do well believe, Excels whatever yet you looked upon Or hand of man done; therefore I kept it Lonely apart; but here it is: prepare To see the life as likely mocked as ever. Still sleep mocked death; behold, and say 'tis well.

WINTER'S TALE.

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.

Then spoke the sovereign lady of the deep-- Spoke, and the waves and whispering leaves were still: "Ever I rise before the eyes that weep, When, born from sorrow, wisdom makes the will; But few behold the shadow through the dark, And few will dare the venture of the bark."

BULWER.

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.

Sing, gladly sing! Let voice and string Our nation's guest proclaim. She comes in peace, Let discord cease, And blow the trump of Fame!

ANON.

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."

The very spot where Sappho sung Her swan-like music, ere she sprung (Still holding, in that fearful leap, By her loved lyre) into the deep, And dying, quenched the fatal fire, At once, of both her heart and lyre.

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.