Chapter 6

This sacred tableau contains fourteen figures, and is arranged in the following manner. Saul is seen seated on the throne at the background of the picture. On each side of the throne are seated Saul's friends and servants. David is sitting in the foreground, playing on the harp. Saul's costume consists of a scarlet or purple velvet coat and breeches, white hose crossed with red bands, low shoes, a crown of velvet and gold, ornamented with precious stones, on the head, and a large cloak of velvet and ermine thrown over the shoulders. A long white beard should be fastened to the face, and a wig worn on the head. The gentlemen should be attired in long, loose coats, made of bright-colored cambric, trimmed with the same material, of other colors. The head should be covered with a red and black turban. White hose, crossed with black and red bands, breeches of showy-colored cloth, shoes covered with red flannel, and crossed with black binding, the face disguised with a long white beard, which can be made of flax. The ladies can be costumed in satin or silk dresses, the hair hanging in curls, and the person decorated with a profusion of jewelry. The person who takes the part of David should be of fair complexion, without a beard, should have long hair, and be costumed in a light, loose blue coat, reaching five inches below the knee, and gathered around the waist with a crimson belt. He should also wear blue breeches, blue hose crossed with red bands, and sandals on the feet; a turban, made of velvet, and decorated with gold, should adorn the head. The throne platform is to be two feet high and four feet square; on this is placed a large chair, with a canopy over the top, all of which must be trimmed with crimson cloth, and decorated with gold paper. On each side of the throne, place seats to accommodate twelve persons; those in front can be seated, while others, in the background, should be standing; they must assume various positions; a few may be engaged in conversation, while others are looking at David. Saul is seated on the throne, with the right hand resting on the arm of the chair, his body slightly bent forward, and eyes fixed on David. His countenance expresses pleasure. David is seated on a low ottoman in the foreground of the picture. The harp rests on the floor. Position so that a side view is had of the body. His head is thrown back; eyes cast upward; face expresses pleasure. The light for this picture should come from the front and the left side of the stage, and must be quite brilliant. The harp can be made of wood, covered with gold paper, and strung with yellow cord. The music should be of a sacred and inspiring style.

LIBERTY.

"O Liberty, can man resign thee Once having felt thy generous flame? Can dungeons, bolts, or bars confine thee, Or whips thy noble spirit tame? Too long the world has wept, bewailing That falsehood's dagger tyrants wield; But freedom is our sword and shield, And all their arts are unavailing. To arms, to arms, ye brave! The avenging sword unsheathe! March on, march on, all hearts resolved On victory or death."

Seven Female and Six Male Figures.

This tableau is an ideal representation of Liberty, and is represented by thirteen persons--seven young ladies and six young gentlemen. In the background of the picture a platform is raised, on which stands the Goddess of Liberty. This platform is three feet high and four feet square. The front is covered with blue cambric, with a border of red, decorated with gilt stars. In the centre is placed a gilt eagle; on each end of the platform is a small American shield. The background is draped with American flags. On each side of the platforms are placed inclined planes, extending from the corners of the platform to the front corners of the stage; the height of these at the front should be six inches, and three feet high at the background. They are to be covered with white cloth, and ornamented with a border of red and blue cambric. The lady who personates the Goddess of Liberty should be of good height, fine figure and features. Costume consists of a white satin or silk dress, made long enough to trail on the platform, a waist of crimson velvet, covered with small gilt stars, sleeves five inches long, hair done up snugly, and covered with a spiral liberty cap, of blue velvet, decorated with gold bands. Position is, standing in the centre of the platform, grasping with the right hand a slender spear seven feet in length. Entwined around this should be a small American ensign. The left hand hangs carelessly at the side; the head thrown back slightly, the eyes cast upward. The six ladies kneel at equal distances on the inclined plane. Their costume consists of a white dress, blue waist, and red sash; a garland of flowers should adorn the head, and each holds extended in the right hand a wreath of myrtle. Their attention should be directed to the Goddess of Liberty. The six gentlemen take position on the opposite inclined plane. They kneel at equal distances from the platform to the corner of the stage, and are costumed in blue or black coats, white pants, with buff stripe on the side, gold epaulets, side arms, red sash, flat caps, with gilt bands. The cap should be slightly raised with the right hand, while the left is placed on the hip. The eyes are to be directed to the Goddess. The piece should be lighted up by a red fire burned at the opposite side from the gentlemen, and the light must be quite brilliant. Music, Star-spangled Banner.

PAGANISM AND CHRISTIANITY.

O'er the realms of pagan darkness, Let the eye of pity gaze; See the kindred of the people Lost in sin's bewildering maze; May the heathen, now adoring Idol gods of wood and stone, Come, and, worshipping before him, Serve the living God alone.

COTTERILL.

Two Female and Two Male Figures.

This double tableau represents the idolatrous system of faith and worship of the pagans, and by simple machinery the scene is made to pass from the view of the audience, and we have represented the faith and glorious emblems of Christianity. The machinery and scenery which are used in the piece are made in the following manner: A revolving beam should be set up under the stage, the upper end protruding through the floor. Washers will be needed for the bottom and top, and wooden pins, passing through the beam, will be necessary, to take hold of to move it around. Build a circular platform ten feet in diameter; make it strong with braces, and, if necessary, it can be made in two parts, and fastened together with iron hooks and clamps. Cut a square hole in the centre of the platform, corresponding with the thickness of the beam. Then place it on the top of the beam, six inches from the floor, secure it firmly, and make it perfectly level. Across the centre of the platform cut small holes for the purpose of inserting the ends of a partition which will divide the circle into two apartments; make the partition of wood; cover one side with white cloth, and also the floor with the same; the other side and floor with black cloth. It should be five feet high, ten feet wide, and oval at the top. After the tableaux are arranged on each side of the platform, persons under the stage can revolve the whole with very little exertion. The tableau of Christianity should be formed on the light side, and Paganism on the dark side. By placing numbers on the revolving beam, and corresponding numbers on the washers, the assistant below will be able to tell when the tableau is in the right position above. To represent Paganism, a large idol should be constructed, and seated in the centre, and close to the black partition. The form of the human body can be imitated by taking a suit of old garments, stuffing them with straw, and covering them with buff cambric, on which hieroglyphics can be painted. A large mask, with artificial hair, and crown made of gaudy-colored cloth, will answer for the head; a short frock of red Turkey cloth, trimmed with gold paper, should be fastened about the lower portion of the body. The idol should be seated on a pedestal sixteen inches high, which is placed on a platform three feet square and eight inches high. These are to be decorated with showy cloth or paper. Kneeling at the foot of the pedestal are two figures, one a female, the other a male. Their hands are clasped in front of the face, the eyes raised to the idol, head turned, so that a side view is had of the features. The costume of the youth consists of a loose coat, made of brown cambric, trimmed with crimson cloth and beads; flesh-colored pants, fitting tightly to the legs; shoes covered with showy cloth; a turban on the head, made of strips of red and buff cloth; the face and other exposed parts of the body stained a light brown. The young lady's costume consists of a loose dressing gown, trimmed around the top and on the ends of the sleeves with bands of red cloth, and gold paper cut in the form of diamonds. The hair should hang loosely over the shoulders, and about the head entwine a string of beads; the head is slightly turned to the young man; the eyes directed to the idol; the face and arms stained like the young man's. The extreme ends of the platform are occupied by two figures costumed similar to those already described. They are kneeling at the feet of small pedestals in such a position that a profile view is had of the form. The pedestals should be two feet high, and covered with bright-colored cloth. On one is a representation of the sun, made by pasting a sheet of gold paper on card-board, and cutting out rays around the edge. On the other pedestal is placed a figure of the moon, with the stars radiating around it. The moon can be made of card-board and silver paper, and the stars of gold paper; these must be fastened to wires, and placed ten inches from the top of the pedestals. Indian war clubs, spears, shields, and other heathen curiosities, should be placed about the figures. The light for this scene must be quite mild, and come from the right hand side of the stage. Music low and of a mournful character.

SECOND SCENE OF PAGANISM AND CHRISTIANITY.

Upon the gospel's sacred page The gathered beams of ages shine; And as it hastens, every age But makes its brightness more divine.

On mightier wing, in loftier flight, From year to year does knowledge soar, And as it soars, the gospel light Adds to its influence more and more.

BOWRING.

One Male and Two Female Figures.

_The Tableau of Christianity._--On the side of the platform which is covered with white cloth there should be erected a small pulpit. Make it of boards, cover it with cloth, and paint it in imitation of mahogany. A small red cushion should be placed on the top, supporting a large Bible, and on each side place lamps, with glass shades. In the pulpit stands a young man dressed to represent a minister of the gospel; one hand resting on the Bible, the other raised upward. In front of the pulpit place a small table, covered with a white cloth, on which set four silver goblets. By the side of the table place a plaster pedestal, with a white urn on the top, to represent a font; on each side of the pulpit, and at the extreme ends of the platform, are two female figures; both are kneeling by the side of small pedestals; these can be made of small boxes, covered with white cloth, and ornamented with myrtle. The female figures should face the audience. One holds a large Bible with the right hand, and points to the pages with the left. The eyes are cast upward; the face expresses meekness and serenity. The second figure, at the other end of the platform, holds a cross in the left hand, and points to it with the right; the eyes are raised upward, the face expressing pleasure. Their costume consists of white dresses, cut low at the top, sleeves quite long and flowing, and ornamented with white muslin; the waist is encircled with a band of satin ribbon; a wreath of white flowers adorns the head, and gauze wings are fastened to the back of the waist. The hair should be dressed closely to the head, and a few curls allowed to hang on the shoulders. The length of the cross is three feet; color, light blue. On small pedestals, between the pulpit and the female figures, place models of the steam engine, steamboat, printing press, and telegraph. The tableau of Paganism must be first produced, after which the machinery should slowly revolve, bringing into the view the tableau of Christianity. The curtain must be kept up until both are exhibited. The light for these tableaux should be quite brilliant, and issue from the left side of the stage. Music of a sacred character.

THE FAIRIES' DANCE.

The moon is full, the stars are bright, The monks are all asleep; Now gayly come the Fays to-night, Their revelry to keep. They love the abbeys old and gray, Whence the vesper song is heard, And the matin hymn at break of day Awakes the singing bird.

With waving torch and tiny shout, The nimble foot they ply, And Fairy laughs are ringing out Beneath the midnight sky;-- Then mortals hear the merry peals, And wonder at the sound, So like the chiming of harebells, When light winds steal around.

ANON.

Ten Female and Eight Male Figures.

This beautiful tableau is represented by eight small misses, eight small lads, and two young and pretty ladies. The stage should be formed so as to rise gradually from the footlights to the background, which can be done by using boxes of various sizes, and covering them with green bocking. Twelve of the children should form a circle, the front of which must be two feet from the footlights, the back extending to the other end of the stage. They should clasp each other by the hand, and take the position of the Highland fling; the right hand raised above the head, the left placed on the hip; the attitudes should be as graceful as possible. The expression of the faces denoting pleasure and mirth. Near the footlights, two of the children should be seated, looking at the others; and standing on pedestals at each side of the stage, near the front, are the young ladies. The pedestals are two feet high, covered with pink cambric, and bordered with green leaves and flowers. The position of the female figures must be graceful and easy. They stand so as to show a profile view of the body; each holds a golden wand, which she extends out over the heads of the dancers. Their eyes are fixed on the movements of the children, the left hand clasps a stout cord, to which is fastened a large crimson tassel, that will help sustain the body in position. The costume of the misses consists of a short white dress, with short sleeves, the waist studded with small stars and spangles; the bottom of the skirt bound with light green ribbon, three inches wide, with gold paper fastened to each edge, and small pink roses placed between. The sleeves are bound with gold and pink ribbon in alternate bands, three inches wide; a small scarf of white gauze, covered with spangles and fringed at the ends with gold, encircles the waist. Flesh-colored hose, white slippers, a wreath of silver leaves about the head. The hair arranged in short curls, and small gauze wings, ornamented with spangles, fastened to the back of the waist.

The young lads' costume consists of a short coat, buttoned snugly over the breast, made of light pink cambric. The bottom, the ends of the sleeves, and the collar trimmed with purple cambric, three inches in width, with narrow strips of gold paper on each side; between the bands of gold, insert small diamond-shaped pieces of gold paper, bordered with spangles. A belt made of the same material encircles the waist; hose of flesh-colored cloth; white slippers, with pink rosette on the front; a small cap, made of purple cambric, in the form of a tulip, is worn on the head; it should be rather low, with a stem of green protruding from the top, the edges scalloped, and bound with gold paper. Small gauze wings are fastened to the shoulders, which are ornamented with spangles and silver stars. The young ladies' costume consists of a long white dress, with a robe worn on the outside of tarleton muslin; the outer dress should have three wide flounces, the edges of which are to be trimmed with large silver leaves, interspersed with gilt roses; these can be made from gold and silver paper. The waist must be cut quite low, and decorated in the same manner; the sleeves flowing, and trimmed with spangles and pink ribbons; large gauze wings, decorated with spangles and silver tinsel, should be fastened to the back of the waist. The hair must be done up in a neat coil, and encircled with a band of white flowers. Make the wands four feet in length, and one half an inch in diameter; cover them with silver paper, attach a gilt heart on the end. The light for this tableau can be produced by a whitish-blue fire, burned at either side of the stage; it should be quite brilliant, and must be lighted before the curtain rises. Music of a lively order.

BUST OF PRAYER.

Prayer is the soul's sincere desire, Utter'd or unexpress'd; The motion of a hidden fire That trembles in the breast.

Prayer is the burden of a sigh,-- The falling of a tear,-- The upward glancing of an eye, When none but God is near.

Prayer is the simplest form of speech That infant lips can try; Prayer, the sublimest strains that reach The Majesty on high.

One Female Figure.

This beautiful production should be represented by one who has an amiable and modest appearing countenance, good figure and features. The hair must be brushed up from the forehead, and fastened behind in a black crochet net. The dress should be pure white, open very low at the front and back. A cross is suspended from the neck by a band of white ribbon. A heavy white veil should pass over the top and back of the head, and be tied loosely four inches below the chin; the head inclined forward slightly, the eyes closed, while the countenance should appear serene, pure, and full of hope; the arms are to be folded out of sight upon the breast. The same machinery, pedestal, wire basque, crimson curtain, and fairies that are used in the Bust of Proserpine, may be used in this piece. The light should be mild, and come from the left side of the stage. Music plaintive, and of a sacred order.

MORNING WELCOMED BY THE STARS.

A glorious vision: as I walked in gloom, The children of the sun came thronging round me, In shining robes and diamond-studded shoon; And they did wing me with them, and soon In a bright dome of wondrous width I found me, Set all with beautiful eyes, whose wizard rays,---- Shed on my soul, in strong enchantment bound me; And so I looked and looked with dazzled gaze, Until my spirit drank in so much light That I grew, like the sons of that glad place, Transparent, lovely, pure, serene, and bright; Then they did call me brother; and there grew Swift from my sides broad pinions gold and white, And with that happy flock a brilliant thing I flew!

TUPPER.

Twenty-one Female Figures.

This beautiful spectacle is represented by twenty-one persons. Twenty of the number should be young misses, of about six or eight years of age, who will personate the stars, and one, a young and handsome lady, who is to represent morning. The sides of the stage must be arranged in the form of terraced banks, two feet wide at the bottom, and four feet wide at the top; they should be built from the footlights to within three feet of the ceiling, covered with cloth, and painted to represent clouds. Blue cambric, with white clouds and gold stars, will answer the purpose. In the centre of the stage, two pieces of joist must be placed in an inclined position, running from the footlights to the background. On these build a sliding platform, four feet square, with a small seat, one foot high. This should be made to run with ease from the top to the bottom of the joist; cloth, painted in imitation of clouds and stars, can be extended across the space between the two terraces and the joist, so that it will show a smooth surface. Cover the moving platform with cloth, arranged in drapery style, and paint in the same manner as the rest of the scenery. A back scene should be placed at the top of the terraces, leaving a space of three feet between it and the back wall; this must be painted like the rest of the scenery, and made to open in the centre, near the top of the joist.

The young misses' costume consists of a short white dress, decorated with gold stars, and silver paper interspersed with spangles, white hose and shoes, hair hanging in curls, and encircled with a band of silver leaves, with a silver star on the forehead; a light blue sash, covered with spangles, tied about the waist; and small gauze wings fastened to the back of the dress. Each one should hold a small torch ten inches in length, from which rises a blue flame; these can be made of card-board, and covered with light blue paper, with the ends tipped with gold. At the end from which the flame is produced, insert a strip of tin, to protect the torch from the flames. The torches should not be lighted until all the figures are in position. The young misses take their position at each side of the stage, on the outer edge of the terrace. They must lean forward slightly, and hold the torch out from them. Their attitudes should be varied; those near the top should be gazing upward, others looking down, and a few engaged in conversation. The young lady who represents Morning must be costumed in a loose white robe of tarleton muslin, cut low at the top, flowing sleeves, skirt covered with three wide flounces, trimmed in front with silver rays five inches long. The waist and sleeves decorated with silver and gold spangles, and a satin belt, ornamented in like manner, worn about the waist. The hair should be brushed back from the forehead, and clasped with a band of silver, and allowed to hang over the shoulders in long curls; the head is adorned with a band of gold, with rays of silver radiating from the centre. The position is, seated on the platform, head slightly inclined to the left, the right hand raised over the head, the left rests on the waist; eyes directed to the children in the foreground, countenance expressing pleasure. The goddess Morning will be seated on the platform, behind the scenery.