Class JR_N__i_LLO Book 7T"3 S 4 THE BOOK OF TABLEAUX S AND ii i ( SHADOW PANTOMIMES. CONTAINING CHOICE COLLECTION OF TABLEAUX VIVANTS, OR LIVING PIC- TURES, EMBRACING MOVING TABLEAUX. CHARADES IN TAB- LEAUX, MOTHER GOOSE. TABLEAUX AND FAIRY-TALE TABLEAUX; TOGETHER WITH DIRECTIONS FOR ARRANGING THE STAGE, COSTUMING THE CHARACTERS. AND FORM- ING APPROPRIATE GROUPS. By t SAEAH ANNIE FEOST, Author of "The Parlor Stage," "Amateur Theatricals,*' etc. TO WHICH ARE ADDED A NUMBr SHADOW ACTS AND PANTOMIMES, WITH COMPLETE STAGE INSTRUCTIONS. NEW YORK : DICK & FITZGERALD, PUBLISHEES. u*-' Entered according to Act of Congress in the year 18G9, By DICK & FITZGERALD, In the Clerk's Office of the District Court of the United States, for the South- ern District of New York. Payne Brothers, Electrotypers and Stereotypers, 26 Spruce Street. PEEFAOE. The little book of Tableaux Yivants now offered to the public, is intended to fill a want, long and loudly expressed by the amateurs who are fond of this class of amusements. The complaint is made every winter of a want of suitable subjects, or of directions how most effectively to group the performers. The old established pictures are worn threadbare, and many are not able to take the time, or command the books to search out new ones. The writer has endeavored to give a variety of pleasing pictures, easily costumed, grouped and arranged, suited to all ages, each variety of wardrobe and scene. Those requiring claborate'costuiiies and scenery must be appropriated by per- formers who can command an amateur theatre, but there will remain an abundance for such as have only their parlors for a stage and their every-day wardrobes for costumes. "We know it is not easy to dress Queen Elizabeth and place her in a forest, at five minutes notice, but the good nature of the audience may generally be relied upon to forgive defi- ciencies, and the amateurs themselves will be surprised to find how a little practice will sharpen their ingenuity in the ar- rangement of scenes and dresses. The second series of Tableaux, commencing on page 10G, is here introduced from " The Sociable ; or One Thousand 3 4 PREFACE. and One Homo Amusements," and will be found a valuable addition to the list of subjects, as well as affording much ex- cellent information in regard to tableaux in general. The book concludes with full directions for producing the Shadow Pantomime, together with a few comic Acts and Pantomimes illustrating the manner in which this amusing entertainment should be arranged ; also containing hints and directions for adapting humorous pieces to the requirements of the shadow curtain, all written expressly for this work by a gentleman thoroughly experienced in the subject. A glance at the table of contents will suffice to show what a varied and ample fund of entertainment to enliven many a long winter's evening is contained in this little work. STAGE DIBECTIONS. H., right of stage; L., left of stage; C, centre; II. C, right centre ; L. C, left centre ; as viewed by a performer on the stage, facing the audience. CONTENTS. PAGE. TABLEAUX VIV ANTS 9 Yv T aiting for the Verdict , ■. . 11 Neglected Flowers 12 Grandfather's Watch 13 The Fortune Teller. .' 13 My Eye and Betty Martin 14 The Stupid Book • 15 The Valentine 15 Good Night 15 One too many 16 Dressing the Bride 16 The Well of St. Keyne 17 Open your Mouth and shut your Eyes 18 The Polish Exiles 19 Old and Young America 20 The Post Mistress 20 Charity 21 Heel and Toe 22 Confiscated 22 The Pinch of Snuff 23 The Tiff 23 "Who is the Tallest 24 Sitting for a Picture 24 Cupid Conquering Mars 25 Is he not a Tease 26 The Dancing Lesson 26 The Latest from the Front 27 5 6 CONTENTS. PAGE. The bashful Lovers 28 Eory O'More and Kathleen Bawn 28 Hubert and Prince Arthur 29 LETTERS ON TABLEAUX 30 Tableaux Vivants. The Bleeding Nun 31 Lifting the Veil 32 The Sorceress 33 Grandmother's Trunk 34 The Dying Brigand 35 Second Sight 36 The Intercepted Letter 37 Moving Tableaux. The Trial of Constance de Beverly 37 • The Eriar of Orders Gray 40 Joan of Arc's Trial 41 PROVERBS IN TABLEAUX .46 It is well to have two Strings to your^Bow 46 Better half a Loaf than no Bread 47 A Stitch in Time saves Nine 47 "Waking up the "Wrong Passenger 48 Hunger is the best Sauce 48 Dog in the Manger 49 Two are Company ; Three make a Crowd 49 The Gray Mare is the better Horse 50 All is not Gold that Glitters 50 "When Poverty comes in at the Door, Love flies out at the "Window 51 A Bird in Hand is worth two in the Bush 51 A new Broom sweeps clean 52 'Tis an ill Wind that blows Nobody good 52 You cannot put an old Head on young Shoulders 54 Count not your Chickens before they are Hatched 55 Empty Vessels make great Noise 55 EoTbidden Fruit tastos sweet 56 CONTENTS. 7 PAGE. There is no Rose without a Thorn 56 They are Chips from the old Block 57 Listeners hear no Good of Themselves 58 A Friend in need is a Friend indeed 58 Charity begins at Home 59 There's many a Slip 'twixt Cup and Lip 60 Faint Heart never won Fair Lady 60 "When the Cat's away the Mice will play 61 It never Rains but it Pours 61 One's Man's Meat is another Man's Poison 62 The More the Merrier ; the Fewer the better Fare 62 Better be an Old Man's Darling, than a Young Man's Slave 62 Take care of the Pence and the Pounds will take care of themselves 63 Fine Feathers make fine Birds........ , 63 It is dangerous playing with Edge-Tools 64 CHARADES IN- TABLEAUX , , 65 Innocent 65 Patchwork 66 Songstress 67 Dramatic 68 Sweetheart 69 Courtship 71 Knapsack 72 May Queen ^ 74 Hat-band 75 News-boy 77 Hornpipe » 78 Brickbat 79 Bookworm 80 Madcap 81 Idol 82 MOTHER GOOSE TABLEAUX 84 Comprising Twenty-five Tableaux illustrating well-known Nursery Rhymes. 8 CONTENTS. PAGE. FAIRY-TALE TABLEAUX 97 Aladdin, Four Scenes from 97 Bluebeard, Five Scenes from 98 Cinderella, Four Scenes from 100 Beauty and the Beast, Six Scenes from 102 The Sleeping Beauty, Three Scenes from 103 Little Red Ridinghood, Three Scenes from 105 TABLEAUX VIVANTS from "The Sociable" 106 The Gambler's Warning Ill Cagliostro's Magic Mirror 113 The Burglary 114 Mischief in School 116 The Army and Navy 117 The Drunkard's Home , 118 Signing the Pledge ...119 The Temperance Home 120 The Duel 121 Love and Jealousy 123 The Music Lesson 124 The Seasons 125 The Musicians 127 The Brigand's Family 127 The "Witches in Macbeth 128 Schiller's " Song of the Bell " 129 SHADOW ACTS AND PANTOMIMES 143 The Hungry Chinaman 147 Coffee and Pistols for two 151 A Clean Shave 155 Box and Cox 159 Hospital Practice 171 Concluding Remarks 178 BOOK OF TABLEAUX. TABLEAUX VIVANTS. There is scarcely any way of passing a social evening more delightful and popular than that offered by the per- formers of Tableaux Yivants to their audience, but it is but rarely that amateur performers can produce as good an effect as might be had from the properties within their reach. The first thing to be remembered is the fact that the representations are living pictures, and, therefore, must re- semble, as closely as possible, painted pictures. To ensure this appearance, regard must be paid to artistic effect in grouping, attitude, light and color. Too much color will produce a glaring, vulgar effect ; while too little will look dull and sombre. The more scenery and larger space that can be allotted to the performance the better the effect will be, but a parlor may be arranged, with but trifling expense, to represent the principal scenes required. The first requisite is a frame, which must fit exactly the space in the front of the stage. ' A platform stage is not necessary, but, where it can be conveniently arranged, is much more effective. The frame of wood should be at least a foot in breadth. The front must be covered with yellow cambric, with large rosettes of yellow gauze or lace at regular intervals, to represent carved work. Over the 9 10 BOOK OF TABLEAUX. a whole frame covering the space, that the pictures may be seen behind it, strain a piece of coarse black lace. Down the two sides of the frame, at the back, place candle brack- ets at regular intervals, to light your pictures. Candle light shows out color and complexion much better than gas, and you can easily soften or brighten your light by the number of candles used. Have a curtain of blue gauze fastened to the top of the frame, that can be lowered or raised at will. Further direc- tions for the arrangement of the room will be found in the letters, page 34, and also page 108. The best arrangement the writer has ever seen for a par- lor background is a semicircle of heavy wire, supported by strong posts at intervals, and running from one corner of the frame to the other, at the top. From this are draped folds of dark gray woolen, forming a complete background. A few flower-pots set around made a very respectable out- door scene, with the addition of some rustic benches and chairs, or if a garden, an arbor at the back, made of white covered sticks with a vine trailed over them. For a prison scene, a pallet bed, stone pitcher, wooden chair, and iron chain, are all that are required for an effec- tive scene. A farm-house scene needs only a wooden table and chairs, some shelves of crockery, a bird-cage, churn, or any other article of farm furniture that can be easily ob- tained. Parlor scenes are the easiest of all, as the curtain forming background need be only pushed away to one side to allow the usual furniture to be seen. It is a mistaken idea to crowd the stage with furniture, and where the character of the scene needs to be determined, one article in the centre will often serve the purpose as well as to put in a complete set of furniture.. Thus with the plain dark background, an attic can be furnished with a table and chair ; the table having a candle in a porter-bot- tle upon it, and the chair being minus a back. The interest ef the audience will be concentrated more upon the per- WAITING FOR THE VERDICT. 11 formers than the furniture. Of course, when all the scenery and furniture can be easily obtained, to give the picture a perfectly natural, familiar look, it is best to use them. In regard to costumes, the best rule to observe is to obtain, as far as possible, a picturesque effect. Thus, a peasant's, or countryman's costume, should be that of the stage peasant or painted countryman, not the stern reality. It is simply impossible in the limits of a book of this size to give minute directions for costuming, grouping and ar- ranging each tableau. Much must be left to the taste and ingenuity of the performers, and the limits of their theat- rical wardrobe. But each picture is. so described that it can be easily filled up and arranged by experienced performers. Many are merely descriptions of pictures, that will make effective tableaux. Those arranged expressly for children are more minutely described, but must still be under the direction of older heads. WAITING FOE, THE VERDICT. The scene represents the ante-room of a court-house, with benches at the two sides, but no other furniture. Centre of background is an open door-way. Centre of room, seated upon the floor, is a woman dressed in a dark stuff gown, with a shawl over her shoulders, and a bonnet hanging by the strings around her neck. Her hair is disordered, her face excessively pallid, her eyes strained forward with a look of wild misery. Her hands are clasped over her knees. Lying upon the floor, at her feet, is a sleep- ing child. Eight of foreground, seated upon a bench, is an old man, with white hair, dressed like a farmer, his head bowed upon his hands. Beside him, facing audience, is a little girl of about fourteen, her eyes red with crying, who appears to be trying to rouse the old man. 12 BOOK OF TABLEAUX. Left of background, kneeling beside the open door, is a young man in a rustic dress, who appears to be listening intently, and holds up his hands, as if to silence all the others. Eight of background, a young girl, plainly dressed, is trying to listen too at the open door, but is seated, holding a sleeping infant in her arms. Through the door-way, back to audience, a man, in the full black silk robes, and white wig, of an English lawyer, and carrying a roll of paper in his hand, can be seen. Every face must wear a look of strained anxiety, every attitude be that of listening, excepting the old man, who seems in utter despair. The dresses are all those of the poorer class, and all out-door attire. The hats of the men lie upon the benches, and in one corner a covered basket stands, with a white cloth thrown over it. The boy asleep at his mother's feet rests his arm upon his cloak and hat. NEGLECTED FLOWEBS. The scene is a market-place, where empty tables and over- turned chairs and stools, denote that the market is over for the day. Left of foreground, in front of an empty stall, are seated two little girls, and before them a basket full of bouquets of flowers. The elder one wears a straw hat, a dress of bright merino, and a black silk apron. She holds out a bouquet, with a pleading expression, as if imploring some one to buy it. The younger girl wears a dress of brown stuff, and a white apron. Her hair falls in loose curls, and over if is pinned a white handkerchief. She is rolling up her arms i$ her apron, as if to protect them from the cold, while she looks sorrowfully into the face of her companion. Eight of foreground, their backs to the children, as if they had just passed them, are a lady and gentleman in winter walking dress. He wears an overcoat, fur collar and thick gloves. She is dressed in a handsome silk dress, velvet cloak, furs and velvet bonnet. THE FORTUNE-TELLER. 13 GRANDFATHER'S WATCH. The scene is a farm kitchen. Centre of room stands a table with a pitcher, tumbler and loaf of bread upon it. Beside this table is an arm-chair, in which is seated an old man dressed as a farmer. He wears heavy boots, long gai- ters, corduroy pants and a brown coat. In one hand he holds a pipe, in the other a large old-fashioned silver watch. Between his knees stands a very little girl, to whose ear the watch is held. She is dressed in a bright calico dress, white apron, leather shoes and worsted stockings. Her hair falls in curls, and she is holding them back with one hand from the ear where the watch is. The other hand is held up, the forefinger raised, as if listening intently. Leaning over the chair, and smiling at the child's pleasure is a young girl, dressed as a farmer's daughter, in a neat print dress, white apron, and checked handkerchief pinned over the hair. THE FORTUNE-TELLER, The scene is arranged to represent the interior of a tent. White drapery hangs round the background and sides, leav- ing the front open. In the centre is a large, upright pole, and around it are thrown kettles, cards, cloths and eating utensils in confusion. A table and chair stand left of back- ground. In the chair is seated a man, dressed as a gipsey, with velvet breeches, silk tights, a short, velvet jacket over a white shirt, and bright vest. Upon the table is a high- crowned hat trimmed with gay ribbons. Right of fore- ground, seated upon the floor, profile to audience, is a young girl, dressed as a gipsey. She wears a dark cloth dress, embroidered in scarlet, a scarlet cloak, and her hair (black) falls over her shoulders, from a white head-dress twisted carelessly around her head. Upon the ground in front of her are scattered cards. She is looking up at two young girls who stand in front of her, one of whom she holds by 14 TABLEAUX VIVANTS. the hand. Her other hand is raised as if speaking with impressive gesture. The young girls stand, one faeing her, profile to audience, one a little back, facing audience. The girls are dressed in short, gay petticoats, dark dresses looped up, full, white muslin waists, black velvet peasant bodices laced with scarlet, buckled shoes, clocked stockings, round straw hats, and plenty of bright ribbons. The one whose hand the gipsey holds, is looking down, bashfully, as if shyly pleased. The other one looks roguish. Eight of fore- ground a young man in a rustic dress, straw hat and striped shirt, is lifting a corner of the tent and peeping in, while he raises one hand to attract the gipsey's attention, and shows a coin in the open palm of the other. Left of foreground, an old gray-haired gipsey woman, dressed in brown, with a gay handkerchief pinned over her head, is intently study- ing a pack of cards, spread out on the ground before her. MY EYE AND BETTY MAETXN. The scene is the kitchen of a farm-house. Eight of fore- ground stands a spinning wheel with a chair before it ; a shawl thrown carelessly over the back of chair. Left of foreground is a table, upon which are a bottle, tumbler, cocked hat and a book. Beside the table, facing audience, is a large arm-chair, in which is seated an old gentleman. He wears black velvet breeches, coat and waistcoat, long, black silk stockings, buckled shoes, and a gray wig. One hand holds an open book, the other is raised to express pain. One foot too is lifted from the ground. Leaning over him, holding one of his eyes wide open, and blowing into it, is a woman. She wears a white muslin cap, tied with a black ribbon, a skirt of striped woolen, short gown of calico, tied round the waist with a white apron, a small shawl pinned over the bosom, shoes trodden down at the heel, and short sleeves. Her face expresses interest ; the face of the old gentleman and his attitude express agony. GOOD-NIGHT. 15 THE STUPID BOOK. The scene is a parlor. Centre of foreground, facing audi- ence, is a large arm-chair, in which is seated a little girl, with an immense book open before her. She is dressed in white, with knots of ribbon on her shoulders, a broad sash, slippers and pantalettes. Her hair falls in curls around her face. One hand is over her forehead, while with the thumb and forefinger she is holding her eyelids open. The other hand is partly over her mouth, which is stretched wide open in a yawn. The smaller the little girl, and the bigger the book, the better the effect. THE VALENTINE. The scene is a parlor. Centre of foreground, profile to audience, a young lady is seated in a large easy chair. She is dressed richly, and has a shawl thrown over her shoulders. Beside her stands a small table, upon which is a work bask- et, with some embroidery thrown over it. The lady is leaning back, and looking smilingly upon an open valentine she holds before her. Let the device be pretty, and held that the audience may see that it is a valentine. In her other hand the lady holds a ring, which sh» is pressing to her lips. Eight of foreground, behind the chair, a gentleman is stealing on tiptoe toward the lady, as if anxious to see secretly how his valentine has been received. GOOD-NIGHT. The scene is a nursery. Centre of room is a rocking chair, in which the mother is seated, facing audience, hold- ing a baby in a long, white nightgown in her arms. Beside her in her nightgown, kneels a very little girl, her hands clasped, as if saying her evening prayer. Eight of fore- 16 TABLEAUX VIVANTS. ground is seated a little boy with one bare foot, unlacing his boot ; one shoe and stocking lies beside him. Left of foreground, the nurse is kneeling down, unbottonkig the dress of a little girl, who stands in front of her. Left of background is a crib. Sitting up in this, his fists screwed into his eyes as if crying, is a little boy in a nightgown and frilled nightcap. Eight of background, the father is just entering the room, with a little boy riding upon his shoul- der. The boy has a drum, and raises the sticks, but the father looks up to silence him, and points to the kneeling child beside the mother. The light should be very dim, and the children vary from baby to about ten years old. A cra- dle stands centre of background. ONE TOO MANY. The scene is a parlor handsomely furnished, with a win- dow in the background. The curtains are drawn back and the sash raised. Seated before the window, facing audience, is an old lady, in a large arm-chair. She wears a black silk dress, muslin kerchief pinned over the bosom, white cap, and spectacles. In one hand she holds a piece of knitting. The other hand is raised to hold her spectacles, so that she can look through them upon the floor. She appears to be looking intently at a letter, attached by a ribbon to a stone, which lies as if just thrown in at the window. The old lady's chair must stand forward as if out of sight of any one outside of the window. Just starting from a seat close by the window, is a young lady, who looks frightened, and reaches out her hand as if to pick up the letter, yet looks doubtfully at the old lady. She wears a handsome morning dress. Upon the window sill stands a work basket. DEESSXNG THE BEIDE. The scene is a lady's dressing-room. Eight of centre, profile to audience, is a toilet table, upon which jewelry, THE WELL OF ST. KEYNE. 17 ribbons, gloves, fans and flowers are scattered. A large mirror is upon this table. Centre of room, facing the mir- ror, the bride is standing. She wears a white lace dress, over satin, an orange-flower wreath, white satin slippers and white kid gloves. Beside her, standing upon a chair, facing audience, is a young girl, dressed as a lady's maid, who holds a rich lace veil over the bride's head. At each corner of the veil, holding it so that the centre may fall upon the head, are the four bridesmaids, who wear white, trimmed with colors, one pink, one blue, one green and one lilac. Right of foreground, handsomely dressed in evening dress, is the mother, who is wiping away a tear, unperceived by the others. THE WELL OF ST. KEYNE. This tableau can only be arranged when the stage will allow an out-door scene. Bight of foreground is a stone arch, with a basin before it, into which water appears to fall from the mouth of a lion's head in the arch. Upon the^front of the arch the words " Saint Keyne " are engraved, and a figure of the saint sur- mounts the centre above the inscription. Kneeling before the well, his hand raised as if carrying the water to his mouth, is a young man, dressed as a gentle- man of the last century. He is looking up, as if interrupted while drinking. He wears a suit of green velvet, Nvhite silk stockings, buckled shoes, lace cravat and cocked hat. Behind him, facing audience, are two young girls, also in the dress of the last century. One wears all white, a wreath of white roses and a bride's veil. The other is dressed coquet- tishly in gay colors. The bride holds up a bottle in one hand, pointing triumphantly to it with her finger. The other girl points to the gentleman as if mocking him. In the background is seen a church, upon the steps of which stands a priest, whileMariners and their wives are coming out. For the information of those who may not have heard the X 18 TABLEAUX VIVANTS. legend, the Well of St. Keyne was endowed by its patron saint with the power of giving absolute matrimonial author- ity to whichever of the couple drank first of its waters after the wedding. The bridegroom has hurried directly from church, to win the boon, but the bride has been beforehand and secured a bottle of the water, which she has taken to the church with he.r. The tableau admits of very effective scenery and pretty costumes. OPEN YOUR, MOUTH AND SHUT YOUR EYES. The scene, a farm kitchen. Eight of foreground is a table upon which stands a basket heaped with cherries. Beside this table, facing audience, is a young girl dressed as a peasant girl, who is filling a boy's hat with fruit from a basket. She wears a short skirt of striped calico, which shows her feet, scarlet stockings and low buckled shoes, a white apron, white muslin waist, black silk peaeant bodice, laced with scarlet, straw hat with scarlet ribbons, and gay knots of ribbon on her apron and bosom. Centre of foreground is a young man in a picturesque country dress, striped calico shirt, white pants, bright vest and straw hat. The young girl is looking into his face and laughing. Left of foreground, a chair, facing audience, in which is seated a boy dressed as a rustic, striped calico shirt, crimson vest, corduroy pants and heavy boots. The boy has his mouth wide open and his eyes fast shut. The young man standing centre holds a bunch of cherries over his own open mouth, and is putting a bunch of stems into the boy's mouth. Left of background, an old woman, dressed in a dark stuff gown, small shawl pinned over her breast, white muslin cap, spectacles and mittens, is seated, profile to audience, knitting. Her face is turned to the group in foreground, and her ex- pression is that of laughing reproof. Right of background, a little girl in a chintz dress and white THE POLISH EXILES 19 apron is seated, facing audience, upon a low stool, shelling peas. By her side is a basket and a pile of pea-pods, while on her lap is a bowl. She also looks at group in foreground, and is evidently enjoying the joke at the boy's expense. THE POLISH EXILES. In this scene no furniture is required, but the background must be dark and sombre, to show the costumes of the group, standing centre of stage, facing audience. The group consists of an old man and two young girls. The old man stands centre, his head erect, and his eyes raised to heaven. His right hand grasps the hand of the girl at his right, who stands partly back, her head resting upon his shoulder, her left hand under her cheek. His left arm encircles the waist of the other girl, who stands a little forward, her left arm round his neck, her face buried on his bosom. The old man has white hair and a long white beard, and is bareheaded. His trousers, made tight, are of a dull yellow, and boots of black shining leather, trimmed with fur and gold spurred, reach above the knee. His coat is of scarlet, laced with gold, and he wears over the right arm a short cloak of black velvet, edged with sable. The girl at the right wears a dress of white satin, embroid- ered with gold, a long white merino cloak, bound with ermine, a white velvet ermine bound cap, and white satin boots, trimmed with ermine. The girl at the left wears a short skirt of black satin, with rows of green velvet at the bottom ; over this a pelisse of green velvet bound with sable, a square Polish cap of green velvet, trimmed with gold, green velvet boots, bound with sable. Handsomely costumed and gracefully grouped, this tableau is very effective, and needs only the heavy background to throw the group into bold relief. The father seems implor- ing aid from Heaven, the daughters in despairing grief. 20 TABLEAUX VIVANTS. OLD AND YOUNG AMERICA. The scene is a farin kitchen. Centre of the room is a large table, npon which stands a little boy, profile to audi- ence. He is dressed in a short white night-dress, bare-leg- ged and bare-armed. Upon his head is a soldier cap made of newspaper, and in one hand is a toy musket. The child must be as young as can be kept motionless, pretty and well formed, with a merry, bright face. Facing him, standing erect, is and old man, as venerable as white hair and beard will make him, dressed in the full Continental uniform of the Eevolution, buff and blue. He is holding a musket at " order arms," and one hand is raised in salute ; the attitude erect and very stiff. The chi]d must stand in precisely the same attitude, as if being drilled. Left of background, facing audience is a youngf woman, dressed in a neat chintz, linen collar and white apron, who holds some sewing in her lap, but is looking at the child with a proud but sad air, as if memory was recalling some sorrowful thought. Right of background is an open door, and just entering this, is .a soldier, young and handsome, and wearing the full uniform of a lieutenant of the present day, His sword is buckled to his side, and in one hand he carries a carpet bag, as if just coming home. None of the others perceive him. His attitude is that of one just springing over the door-sill, but arrested by the sight of the group in the foreground. His hand is raised to dash away a tear, while he looks proudly at the little descendant of the soldierly father and grandfa- ther. THE POST-MISTRESS. The scene is a humbly-furnished parlor. To the left of foreground is a table with a gay cover, and upon this table sealed letters, newspapers and packages are piled. Beside it lies the empty mail-bag. CHARITY. 21 Behind this table, facing audience, is seated the post- mistress, dressed in a 'dark stuff gown, plaid shawl pinned over her breast, white muslin cap, and spectacles. She is looking up to the figure centre of foreground, and holds one forefinger over her lips as if to enjoin secrecy. Centre of foreground, profile to audience, is a very tall, thin woman, dressed in a short, scant stuff gown, white shawl, and sun-bonnet. (If a tall, lanky, ugly boy can be persuaded to take this part, he will make it very effective ; the writer has seen it so performed. ) She stands on tiptoe, and is holding up a letter, which she is trying to read by pressing it apart at the edges. The letter must be folded after the old fashion, and without envelope. The address, towards audience, must be that of a young lady. Between the post-mistress and central figure is a short, fat woman, dressed in brown chintz, white apron and sun- bonnet, who is trying to reach up to the tall woman's hand, and pull the letter down to the level of her own eyes. Centre of background, just entering the door, is a young lady, dressed in white muslin dress and mantle, straw hat, trimmed with blue, and black lace mittens. She is spring- ing forward with outstretched hand, to save her letter from the curioui trio, her face expressing angry surprise. The women in the foreground do not perceive her, the central one having her lips parted as if reading the contents of the letter aloud to the other two. CHARITY. The scene is a parlor. Centre of foreground is an old beggar man, with a crutch, dressed in ragged and dirty uni- form. One leg is tied up with bandages, and held bent at the knee, as if from a wound. One arm holds his crutch, while he holds his hat extended in the other hand. He stands profile to audience. Itight of foreground, a lady stands, facing audience, with a child in her arms. The lady wears a rich morning dress, 22 . TABLEAUX VIVANTS. and lace cap. The child is dressed in white. The lady looks pityingly at the old beggar, while the child, leaning forward, is dropping a coin into his hat. HEEL AND TOE. The scene is the kitchen of a farm-house. Centre of room, facing audience, is a large arm-chair, in which is seated an old woman. She is dressed in a black stuff gown, white cap and spectacles, small shawl pinned over the breast,- and black mittens. She leans forward, both arms round a little girl, holding a stocking in front of her, in which are the knitting needles. The little girl is dressed in a short chintz dress, leather boots, white apron, and has a ribbon twisted in her hair. She is looking intently at the stocking, which the old lady holds, as if shewing her how to place the needles. Eight of foreground stands a work basket, with some white cloth thrown carelessly over it. Left of foreground is a low stool, and lying upon the floor beside it a doll. CONFISCATED. The scene is a parlor, handsomely furnished. Centre of room is a table with a work-basket, and some embroidery work upon it. Beside the table stands a vacant chair. Bight of foreground is a group of doll's playthings upon the floor, a cradle, bureau, doll's bonnet and cloak, and near all, a child's chair. Left of foreground, upon the floor, are a toy musket, drum, knapsack, canteen and cartridge-box. Centre of foreground, profile to audience, stands a little boy, dressed in short white trousers, socks and pumps, a vel- vet blouse and linen collar. Upon his head is a soldier's cap. In one hand he holds a doll, hanging by the arm, while in the other he flourishes a. wooden sword, with which he is THE TIFF. 23 threatening a little girl who stands a few paces froni him, facing audience. The little girl wears a short white dress, with a broad sash and knots of ribbon on the shoulders. She has her fists m her eyes, and her face screwed up, as if crying bitterly. THE PINCH OP SNUFF. The scene is a parlor. Seated centre of room, facing audi- ence, in a large arm-chair, is a very old gentleman. He wears dressing gown and slippers, and his feet rest on a foot-stool. Eeside the chair stands a cane. The old gentleman is lean- ing forward, his elbows on his knees, his hands holding, one an open snuff-box, the other the lid. Eight of the old gen- tleman, profile to audience, is a little boy, whose hands are raised, and his face screwed up as if just about to sneeze. The contrast in age should be as great as possible. The old gentleman looks roguishly at the boy. Left of foreground, profile to audience, a lady in a rich morning dress is seated, with a piece of sewing in her hands. She is looking at the child, and laughing heartily at the effect of his curiosity. At her feet is seated a little girl nursing a doll. She is pointing to the boy, and seems to be laughing heartily. THE TIFF. The scene is the kitchen of a farm-house. Centre of room, seated upon the table, profile to audience, facing left, is a young man in the dress of a farmer's boy, mending a shovel. In one hand he holds up a hammer, in the other the nail Which he seems just about to strike. He wears corduroy trousers, a striped calico shirt, scarlet waistcoat, straw hat, heavy shoes, and long leather gaiters buttoned up to the knee. His lips are stuck out {is if to whistle, but he looks over his shoulder anxiously at his companion. Beside the table, pro-file to audience, facing right, is a 24 TABLEAUX VIVANTS. young girl, dressed in a chintz dress, white apron, stout leather boots and a sun-bonnet, which hangs round her neck by the strings. She is staring forward, biting the nail of her finger, and looking very sulky. WHO IS THE TALLEST ? The scene is the ldtchen of a farm-house. Centre of stage, facing audience, is a large arm-chair, in which is seated an old woman. Standing in front of her, profile to audience, and back to back, are a little boy and girl, measuring heights. The little girl is standing very demurely looking down, but the boy, with a face full of mischief, is standing upon tip-toe. The old woman is dressed in black silk, white tap and specta- cles. She has one hand upon the head of each of the chil- dren. Eight of foreground, kneeling down and looking at the boy's feet, is a little girl, who points to the trick, and seems to be just exclaiming over her discovery. SITTING FOE, A PICTXJEE. The scene is a painter's studio. Eight and left of back- ground are statues, paintings hanging and leaning against the walls, cloaks, shawls, foils and masks heaped in pictur- esque confusion. Centre of room, facing audience, is a large arm-chair upon a raised platform. Upon this chair is seated a young girl, who is dressed in the powdered wig, hooped-skirts and point- ed waist of the last century. (Any other picturesque dress will do as well.) She is sitting very stiffly, her hands crossed upon her lap, her eyes looking straight forward. Left of foreground, another young lady, in a -handsome walking dress of the present day, is seated, profile to audi- ence. She is mocking the stiff attitude and laughing heart- Eight of foreground stands a painter's easel, with a picture CUPID CONQUERING MARS. 25 upon it, but arranged so that the audience cannot see the face. Standing before this, proiile to audience, is the painter, holding in one hand a palette, and in the other a brush. He is dressed in a loose black velvet coa/fc, white linen pants, white shirt, with a Byron collar, and loose necktie, and black velvet lounging cap, from which the hair falls in loosely curl- ing locks. He is looking at the young lady, centre of room, with a despairing expression and imploring gesture, as if asking her to assume a more natural position. The central figure may be costumed as a shepherdess, in the Louis Quatorze style, as some mythological god.dess, in fact in any picturesque costume that the wardrobe of the performer will admit. The stirrer the attitude, and the moro vacant the expression, the better. CUPID CONQUEKIrTG MAES. The scene is a parlor. Centre of foreground is a sofa, facing audience. Eight of foreground, facing the sofa is an embroidery frame, with a piece of work stretched over it. Left of foreground is a small table, upon which are ly- ing a general's dress hat, a sword, sash, belt and pair of gloves. Upon the sofa are seated a young lady and an old gentle- man. The gentleman wears the full dress uniform of an Ameri- can Major-General of the present day. He has a large, heavy moustache, a stern face, and if a scar can be painted on the face, the effect is better. In one hand he is holding up a worsted needle, in the other a piece of colored zephyr. Upon his lap is a dainty little work basket, full of bright colored silks and worsteds. The needle must be the largest that can be procured, and the eye of it must be broken. The gentleman's face is very earnest, and his eyes fixed in- tently upon the needle. The young lady is dressed in white, with blue ribbons in 26 TABLEAUX VIVANTS. her hair. She is holding out one hand for the needle, but the other hand falls over the arm of the sofa. Her face is turned toward the general, full of merry mischief. Kneeling beside the sofa, out of the general's sight, and raising the lady's hand to his lips, is a young gentleman, in the full dress uniform of a lieutenant in the United States Army. He is half hidden by the back of the sofa, and peeping round it. At the other end of the foreground, seated profile to au- dience, is an elderly lady, sewing. She looks complacently on the general, but does not see the lieutenant, nor the trick of the broken needle. IS HE NOT A TEASE ? The scene is a farm kitchen, with the table spread for tea. Eight of foreground, profile to audience, is seated a young girl, with a sleeping baby in her- arms. She is dressed in a bright chintz dress, white apron, and white muslin kerchief pinned over her breast. She is leaning forward, one hand outstretched. Centre of foreground is a boy, dressed as a farmer's lad, who laughingly holds a sealed letter just out of reach of the young girl's fingers. THE DANCING LESSON. The scene is a parlor, with the furniture set back, so as to leave a clear space in the centre. Bight of centre, profile to audience, is a man in black silk tights, black suit, and pumps. He is holding a violin under his chin, with one hand, and the bow across it with the other. His right foot is put forward, the toe resting on the ground, the heel raised, in a dancing position. Facing him is a young lady in a handsome silk dress, with jewels on her arms and neck. She is holding up her skirts with both hands, showing her feet, in black kid slippers, in precisely the same position ns those of the dancing master. THE LATEST FROM THE FRONT. 27 Left of foreground., profile to audience, is a tiny little girl dressed in white, who holds up her dress, and has her feet in the same position as the other two. Eight of background, just entering the room, is an Irish girl, in a chintz dress and large gingham apron, heavy- leather boots and woolen stockings. She faces audience, and has her mouth set in a broad grin. Her hands hold up her skirts, and her feet are in the same position as those of her mistress. The two central figures must look perfectly serious, while the other two are laughing, but all three of the females must be in exactly the same attitude. THE LATEST FROM THE FRONT. The scene is the kitchen of a farm-house. Centre of room, facing audience, is an arm-chair, in which is seated an old farmer. He is dressed in a homespun suit, flannel shirt, and heavy shoes. He le?ms forward upon a cane, one hand raised behind his ear, listening intently. Eight of foreground a lad of about fourteen is seated upon a low stool, with an open newspaper in his hands. He sits profile to audience, and appears to be reading aloud. Left of foreground, an old woman is seated, profile to audience, leaning forward as if listening. She has let her knitting fall to the floor, and her hands are clasped together and raised, her eyes looking upward as if in despairing- prayer. Left of background, a young girl in the plain dress of a farmer's daughter, has just fallen upon a chair, as if in a fainting fit, her head drooping, and her hands falling nerve- less at her side. Eight of background, another girl, younger then first, is standing facing audience, apron raised to her eyes, as if weeping bitterly. The old man's face expresses perplexity, as if doubtful of his own hearing, but deep grief must be upon all the others. 28 TABLEAUX VIVANTS. The little reader holds the paper in one hand, but the other is pressed against his throat, as if so keep down the sobs. In the centre of the room, beside the old man's chair, the dinner is standing upon a table, the chairs pushed back from it, the piled up plates untouched, as if the paper had arrived just as the family were about to dine. THE BASHFUL LOVEES. The scene is the kitchen of a farm-house. Centre of room, facing audience, is standing a young man, in a farmer's dress. He is holding a bouquet in one hand, and looking bashfully at his companion, as if afraid to offer his gift. A few feet from him, also facing audience, looking down, and twisting the corner of her apron, is a young girl in a pretty country dress. EORY O'MORE AND KATHLEEN BAWK The scene is the kitchen of a farm-house. Centre of stage is a low stool, facing audience, and upon this is ' seated a young Irish girl, while seated on the floor at her feet is her lover. His arm encircles her waist, his hand holds hers, and he is leaning forward for a kiss, while she coquettishly holds back just out of his reach. The whole effect of this tableau will depend upon the costumes. Rory wears blue breeches, long blue woolen stockings, fastened with ribbon garters, low buckled shoes, a scarlet waistcoat, white shirt and black necktie. On the ground? beside him are his hat and a stout walking stick. Kathleen wears white stockings, low black shoes, laced with scarlet, a short skirt of brown stuff, white muslin bod- ice, black peasant waist, laced with scarlet, a scarlet ribbon in her hair, and a dark brown cloak just falling off one HUBERT AND PRINCE ARTHUR. 29 shoulder. Her broad straw hat, trimmed with scarlet rib- bon, hangs upon one arm by its strings. Both should be in the ruddy, fresh Irish style of beauty. This tableau is exceedingly pretty when children are the performers. .HUBEET AND PEINCE AETHUR. Shakespeare, King John — Act IV., Scene I. THE scene is a prison, with a heavy dark background. Left of foreground is a brazier full of live coals, into which are thrust two bars of iron. Centre of stage, facing audi- ence, Hubert is kneeling, his right hand holding the hand of the little Prince, his left hand resting upon his hair. Hubert's dress is of dark purple woolen stuff, trimmed with bands of broad black velvet. It hangs in long loose folds around him, fastened at the waist by a broad black belt. Prince Arthur, who stands profile to audience, is dressed in a tight jacket of crimson velvet, long white silk stock- ings, and crimson velvet breeches. Over his dress is a long loose coat of white merino, embroidered in gold, which falls almost to his feet. His collar is of gold lace, his slippers of crimson velvet, with white satin rosettes. The moment chosen for the tableau is that when Hubert relents from his purpose of destroying Arthur's eyes with red hot irons, at the lines : M Well, see lo live ; I will not touch thine eyes For all the treasure that thine uncle owes." 30 LETTERS ON TABLEAUX, LETTERS ON TABLEAUX. The following letters, published in Godey's Lady's Book, having been found useful to those arranging tableaux, are introduced here in their original form, as they were written from actual tableaux, which the writer had seen performed. The moving tableaux are novel, and admit of such infinite variety that they can scarcely fail to be popular : LETTEE I. -TABLEAU VI Y ANTS. Dear : Here I come with the promised letter to you about our city pleasures this winter. I am staying with my Uncle Walter this season, and have a number of cousins about my own age around me, making it one of the pleas- antest visits I have ever made. First on the list of cousins stands Grace, my especial pet and companion, a tiny blonde, pretty as a picture, and full of life and fun. "We make an odd contrast, Susy, when we stand together before the long mirrors. My black hair and swarthy complexion suffer from a comparison with her clusters of golden hair and clear white skin, while her little graceful figure looks more petite and child-like than ever beside my tall form. Walter and Har- vey, older than Grace, and more like myself in appearance, are twins, and our constant escorts and champions. Then come Hattie and Mary, not yet released from school, pretty girls of eighteen and sixteen, looking very much alike, with brown hair and large blue eyes. Minnie, Grace's counter- part, just nine, and Eddie, the baby, two years old, complete the home circle.- Aunt Harriet is the most indulgent of mothers, and Uncle Walter liberal and hospitable ; so we young folks have carte blanche for all sorts of amusement. You requested me to send you special accounts of our va- rious ways of passing the evenings this winter, in order that THE BLEEDING NUN. 31 you might arrange your parties in the country with some pleasant varieties ; so, if I give you too detailed an account of our doings, you must forgive the error, and remember it was your own request. Last Thursday evening, we had a tableaux party, and a very pleasant one it was. In addition to the home party, our performers numbered several friends, to .whom I shall introduce you a& they come into the pictures. Our parlors are double, with folding doors, and in the space for these doors we fitted our frame. It was made of wood, covered first with yellow paper-muslin, and then with yellow tarletan, large rosettes of the tarletan placed all round, about ten inches apart. The curtain was of deep crimson, and parted in the middle. It was made very full, and fastened to the back of the frame by a long pole. Cur- tain-rings were sewed to the top, but a foot on each side was made fast, letting the curtain slip back to within a foot of the edge of the frame, and then, being looped back, it made a very pretty and effective foreground for the picture behind the frame. A dark brown curtain, made very full, fell for a background, throwing out the colors worn by the perfor- mers most beautifully. For ghostly scenes, a fine blue gauze curtain fell from the frame, but could be removed, if not required for the picture. A coarse black lace was tacked to the frame, being drawn tightly, and through this all the pictures were seen. The first scene was THE BLEEDING NUN. You may not know the legend, so I will tell you. Eay- mond and Agnes are lovers, but she is commanded by her father to take the veil, so they plan an elopement. There is a tradition in the castle of a similar case, where the maiden commits a murder, and then passes at midnight from the castle, in her robes of novice, and bearing a bloody dagger and lamp. Once in five years, the castle-gates are left open for the spirit of the bleeding nun to pass through. Agnes, 32 LETTERS ON TABLEAUX. to elope with Raymond, agrees to personate the spectre ; but, the legend runs, he mistakes the sprite for his lady-love, and elopes with the actual bleeding nun. We chose for our tab- leau the moment when the spectre is greeted by Raymond. Hattie took the part of the bleeding nun. She wore a white dress falling in loose, full folds to her feet; over that, a white veil completely concealing her features and falling below her waist. Large stains of blood on the front of the dress and on the veil. In her right hand she held a bloody dagger, and in her left a lamp. Her face was turned to- ward Raymond, and with the dagger pointed forward, as if inviting him to follow. She stood in the centre of the fore- ground. Raymond (Cousin W alter) wore a large Spanish cloak and black felt hat with a drooping feather ; he stood to the left of the foreground, leaning forward, one arm ex- tended as if to embrace the spectre. In the background, in an attitude of horror, her veil thrown back, her face pallid, and eyes fixed on the spectre, Mary, the Agnes of the tab- leau, stood, her hands clasped, and form bent slighty for- ward ; at her feet lay the lamp and dagger, as if they had just fallen. Her dress was precisely similar to Hattie's, the veil thrown aside showed her masses of brown curls fall- ing loose on her shoulders. The attitude and expression of horror at the sight of Raymond following the spectre were perfect. The second tableau was quite a contrast to the first one, but very pretty. All the performers were children. The scene was from Cinderella — LIFTING THE VEIL. . The room was arranged for the ball scene, and we had about a dozen children in various attitudes for guests. Min- nie was dressed for Cinderella, in a white dress brocaded with gold, worn over a blue satin petticoat ; a light wreath of pale blue flowers was twisted in with her curls, and over all was thrown a thin white illusion veil. She stood in the centre of the foreground. Beside her, just raising the veil, THE SORCERESS. 33 was Harry Hastings, a handsome boy, some twelve years old, who personated the Prince ; his dress was crimson and gold, with full trousers fastened at the knee, long white silk stockings, a short cloak falling over the left arm, and a light crown. The two sisters, one in purple brocade, the other in yellow, stood near the Prince, looking on to see the beauty beneath the veil. . In the background, a tiny blonde, some five years old, personated the fairy god-mother : she wore white guaze spangled, little wings, a crown of small stars, and carried a tiny wand. We stood her upon a marble pedes- tal, and she seemed just waving her wand over the Prince and her pet god-child. The next tableau was THE SORCERESS. The scene required the stage to be divided in two parts, and our arrangements had been made behind the brown cur- tain. A large table, covered with dark green cloth, stood there, and a frame smaller than the one in the foreground rested upon it. The brown curtain was drawn back just to clear this frame. Seated on a throne made of a large easy-chair raised upon a platform and draped with crimson, placed to the left of foreground, was the sorceress, your humble servant, ap- pointed to the office in virtue of her gipsey-like complexion and hair. I wore a white cashmere dress, with cabalistic figures embroidered on the hem ; the sleeves were made very full, with similar figures on the seam and hem. A girdle of crimson, with gold stars, and a short crimson cape, also studded with stars, fastened the robe at the waist and on the shoulders. A gold chain fell over the breast, with a curious ornament — cut from gold paper, Susy — suspended from it. My hair fell loose, slightly curled, and on my head I wore a crimson velvet cap, with a star of diamonds di- rectly over the forehead. An antique lamp stood on the marble pedestal beside me. In one hand I held a scroll of paper, and in the other a wand. Harvey, in a full suit of 34 LETTERS ON TABLEAUX. armor, with a white cloak, bearing upon the shoulder the crimson cross of the Crusaders, knelt before me, his profile to the audience, looking toward the scene in the background, to which I pointed with my wand. This scene, upon the table I mentioned above, was seen through blue gauze, which gave it a fine effect. A white background made the scene in the small frame a tent. Extended upon the ground, dy- ing, his cloak thrown off, his breast-plate beside him, and his armor open, showing the linen stained with blood, lay what seemed the same figure as knelt before me. It was Walter, Harvey's twin brother, and the resemblance was perfect ; but the same effect can be produced, Susy, by mak- ing the two dresses alike, and placing the kneeling figure with his back to the audience. The dying man in the frame extended his arms towards Grace, who turned away from him, to give her hand to another knight, who stood in the attitude of conqueror, with a bloody sword in his hand. Grace wore a simple white dress, with a veil thrown back. The next picture was GRANDMOTHER'S 'TRUNK. Here, the scene was full of funny contrasts, and we had twelve performers on the stage at once. In the centre of the background stood a large, old-fashioned black trunk, open ; dresses were thrown carelessly over the sides and upon the cover, and the performers were each trying on some article supposed to have come from the old trunk. Harvey, standing erect in the background, leaning on his sword, wore the full uniform of the American soldier of 1776, buff and blue, and splendidly handsome he looked. Grace, with her bright golden curls half hiding her saucy, smiling face, was dressed in a short-waisted, long-trained purple brocade, a cloak of black silk falling off her shoulders, and a bonnet, seventy years old — a veritable piece of antiquity, Susy. You cannot fancy anything prettier than her piquant little face and figure, shaded, half hidden, by the loose dress and deep bonnet. W alter, in his every-day dress, sported a mob-cap, THE DYING BRIGAND. 35 a pair of round-eyed spectacles, and a short gown of bright chintz. Hattie had a cocked hat, a long red cloak worn over an every-day merino, and carried a large gold-headed cane. Mary had found a deep hood, in which she buried her pretty face, and from her waist trailed a long silk train. I wont still farther back in my dress, and wore a powdered wig, large hoops, and high-heeled shoes. The dress, of rich dark green satin, embroidered in gold, was made with long points front and back, and the skirt looped at the waist, over a white satin - petticoat. Fanny Jarvis, a little merry brunette, had a full female costume of the Revolutionary days, the dress of a farmer's daughter, or one of middling station of life. A striped chintz skirt was looped over a blue stuff petticoat ; clocked stockings and heeled shoes buckled in front were revealed by the short skirt ; a white kerchief was crossed primly over the neck and pinned at the waist ; long mittens covered the arms, and a chintz hand- kerchief was tied over the black curls and fastened under the chin. Her brother Morris wore a black velvet suit of the same period, with white ruffled shirt and wristbands, 1 and a three-cornered hat: Graham Leslie, "Walter's intimate friend, wore the dandy dress of some forty years ago, and his sister was arrayed in a short gored skirt, prunella shoes, deep bonnet, and short waist of the same period. Little Eddie, who was persuaded to stand, held by Walter, on the marble pedestal, had over his white dress, an old-fashioned waistcoat of yellow satin, and on his long dark curls was placed a cap with deep, stiff ruffles. Minnie, the last on the list, stood near Harvey, in a swallow-tailed coat, over her white dress, and a white felt hat, some thirty years old. There were figures enough to fill the stage without being crowded, and the picture was very effective. The next one was THE DYING BRIGAND. Walter, whose black hair and heavy moustache, dark complexion and large black eyes made a capital Italian face, 36 LETTERS ON TABLEAUX. personated the brigand. A full suit of green velvet — breeches with white stockings and gay garters, a short jacket, and peaked hat — made a good costume. He lay extended in the centre of foreground, his face well floured, his jacket open, displaying a bloody shirt ; one hand clutched a pistol, the other pressed a handkerchief to his breast ; his head was sup- ported upon my knee. My dress consisted of a short, full crimson skirt, a white muslin bodice very full, with a corsage of black velvet laced over it, a white muslin flat cap falling on the neck behind. Kneeling beside "Walter, I supported his head. Morris Jarvis and Graham Leslie — one in the scarlet jacket, buff pantaloons, and high boots of a postilion, with a whip and little scarlet cap ; the other in a courier's dress of buff and green embroidered with gold — stood near us. In the background were a group of travellers in modern dress — Grace in a gray travelling dress, fainting in Harvey's arms, Aunt Harriet and Mary comforting each other, and Uncle William looking ruefully at the brigand, holding in • one hand the pistol supposed to have ended poor Walter's mortal career. Our next tableau was SECOND SIGHT. Morris Jarvis personated the Scotch seer. He made up as an old man very well, wearing the full Highland costume. He was seated on a low stool, to the left of the foreground, his head leaning on his hand, looking intently at the scene in the background. On a bed of skins at his feet, Mary, in a white dress, with a plaid thrown over her, lay asleep. Wal- ter, also in full Highland dress, stood near Morris, his hand upon his shoulder, as if trying to rouse him, while Graham Leslie, to the right of the picture, lay asleep upon a couch. In the background, grouped on table mentioned before, but without the frame, were the three young figures of the fore- ground group. Harriet, who looks very much like Mary, stood erect, the centre of the group, in regal robes — a crown, purple mantle, and rich white satin dress. To the left, Har- THE TRIAL OF CONSTANCE DE BEVERLY. 37 vey, in a beggar's rags, knelt at Harriet's feet, as if in peti- tion. To the right, wrapped in a monk's robe, with the hood drawn over his face, Harry Marston, another friend of Walter's, seemed pointing threateningly to Harvey, as if warning Harriet not to heed his prayer. The scene was effective, and each guest was at liberty to weave his own romance on the picture before him. The last picture of the evening was THE INTERCEPTED LETTER. Aunt Harriet consented to personate the " stern parient," as Harvey said, and, in black silk, with a neat white cap, looked quite fierce. She occupied a rocking-chair to the right of background, while in the centre of foreground Grace, in a white dress„looking sweetly pretty, stood with her hand out to take the letter. Hervey, behind Aunt Harriet's chair, leans forward with the letter, holding it out, his eyes fixed on Grace, while Aunt Harriet holds the other end of the letter, her finger raised threateningly at Grace, who, in a pretty attitude of entreaty, tries to take the billet- doux. MOVING TABLEAUX. Dear Susy: I am going to-day to give you a description of a party Aunt Harriet allowed us to give last evening in honor of the birthday of Walter and Harvey, my twin cousins. The character of the entertainment was invented by Gracie's fertile brain, and was much applauded by the audience. Suppose now the company assembled. The stage was ar- ranged as I described in my first letter, and at eight o'clock the performance commenced. The first scene was from " Marmion." THE TRIAL OF CONSTANCE DE BEVERLY. The curtain rising slowly showed the stage, which was in a shadowy half light. A screen of gray cloth was drawn 38 LETTERS ON TABLEAUX. across the background, reaching from the floor to the ceiling, and from one side of the scene to the other. In the centre of the background was a table, behind which were seated the " heads of convents three." Mary personated the gentle abbess of St. Hilda, wearing a black serge dress, white veil and head-dress, and a large rosary falling from her belt. I* similarly attired, was the prioress of Tynemouth ; and Walter, with a white beard, long white hair, and a monk's dress, took the character of Saint Cuthbert's abbot. An antique lamp was suspended above the table, throwing a full light upon a scroll of paper and a skull and cross which were placed on it. Gracie stood in the centre of the picture, her profile toward the audience. A full, long cloak of white merino fell loosely from her shoulders to her feet, her hair Avas thrown back from her face, and swept in long curls down over her neck, arms, and shoulders, and her cap lay on the floor at her feet. Except- ing the doublet and the " badge of blue," her cloak hid her dress entirely. Crouching to the left of the foreground, Harvey, dressed as a monk, personated Constance's cowardly accomplice. On each side of the three judges in the back- ground, stood two executioners, wearing the gray monk's dress, and each holding a torch. Black muslin, cut round at the top, and basted to the gray screen, made a good im- itation of the niches in the wall, and at the feet of the ex- ecutioners lay their tools, and a plate of food, and pitcher of water. As the curtain rose, Morris, who was concealed behind the frame, began to read the description of the scene, begin- ning at the fifth line, twenty-seventh verse, second canto of Scott's " Marmion." He read well, in a clear, deep voice, and every word was heard distinctly, and not a motion was made by the performers in the tableau until the line, " And now the blind old abbot rose; " here Walter stood up, and, as the next two verses were read, THE CORSAIR. 39 he and Gracie acted their parts in dumb show, until Gracie burst forth with her defence — " I speak not to implore your grace," etc. I never imagined she could give the force and pathos she infused into the lines ; but, as the last line fell on the ear, the audience gave her a round of applause. Morris again read the description, and then the three judges rose. Walter pronounced the doom, and, as he spoke lt Sister, let thy sorrows cease; Sinful brother, part in peace ! " the executioners advanced. Two dragged Harvey to the left hand niche, and he fell upon his knees before it, bend- ing forward, his face to the executioners. Two came, one on each side of Gracie. Slowly she stepped backwards, her cloak still gathered round her, till she stood before the niche facing the audience, an executioner on each side, of her ; then she raised one hand and her eyes, and as she pointed upward the curtain slowly fell. The next scene was from the "Corsair," canto first, verse fourteenth. The curtain drawing up disclosed Hattie, seated on a pile of cushions, with a guitar in her hand. The ac- companiment to the song was played on the piano-forte, out of sight ; but Hattie " went through the motions " on her in- strument. She wore a short skirt of white silk, embroided in scarlet, and a pair of full white silk trousers, gathered in a band at the ankle ; her vest was of blue, and her jacket of scarlet, worked with gold ; her cap of scarlet, worked in gold also. She did not braid her hair, but the soft, full curls did not look amiss. Her pretty little feet were covered with slippers to match the jacket and cap. As the curtain rose, she began to sing, in her clear, sweet voice, Medora's song, " Deep in my soul that tender secret dwells. " As the last note died away, Harvey entered. He had worn his dress in the preceding scene, under the monk's 40 LETTERS ON TABLEAUX. robes, so "he was ready in time. The rich corsair dress was very becoming to his dark style of beauty, and made a splen- didly handsome Conrad. Omitting the two lines after the song, he greeted Hattie, as he entered — "My own Medora ! — " then throwing himself at her feet, he continued — " Sure, thy song is sad." Hattie answered in the exact words of Byron, and they re- cited and acted the conversation between Conrad and Me- dora till the "Adieu;" then, "as she clung to him, he bent proudly over her, and slowly the curtain fell upon them. Well read and well acted, the scene was very effective, and our audience gave token of approbation in the usual noisy style. The next scene was THE FRIARS OF ORDERS GRAY. You remember it, don't you, Susy, the poem by Thomas Percy ? As you may have forgotten it, I refer you to Percy. Mary took the part of the lady-love and Morris personated the friar. Mary wore a simple white dress, and over it an old-fashioned black cloak with a hood; Morris wore a gray dress and cowL The stage was partly darkened, and, as the curtain rose, Morris was discovered pacing slowly up and down, telling his beads. Mary entered from behind, and as she met Mor- ris, he gave a slight start of recognition, drew his cowl closer, and the scene began at the second verse — " Now, Christ thee save, thou reverend friar, I pray thee tell to me If ever at yon holy shrine My true love thou didst see." From this point the poem is all dialogue, and as they threw a great deal of life into the acting (Mary's grief was touch- ing), the scene passed off very well until the curtain fell upon the last verse — JOAN OF ARC'S TRIAL. 41 "Now farewell, grief, and welcome joy, Once more unto my heart; For, since I have found thee, lovely youth, We never more will part." One more scene closed the evening's performance, for these scenes take a longer time to act than to write out for you, Susy, and four are as many as are wanted in an evening ; they are tedious, if you give too many of them. The last was . JOAN OF ARC'S TRIAL. I found the poem in an annual. It was written by Albert Taylor. I will send you the words, for it made a very good one for such a purpose as this. The stage was arranged as a court, and the judges sat to the right, while your humble servant, as Joan of Arc, stood facing the judge, her profile to the audience. I wore a tunic of imitation mail, falling to the knees, and, with my head Uncovered, my hair falling in the greatest confusion all over my shoulders, and my hands chained together, I made quite a respectable Joan. Morris, hidden, read the description, and at the condem- nation "Walter, the judge, rose slowly, and, altering the poem a little, spoke my doom. I recited the defence and the prayer for a soldier's death ; and at the words, " A stir and rise," the judges and court rose slowly, and passed out, leaving me standing alone. The poem goes on with a de- scription of the execution ; but, as I have an objection to being burned at the stake, we stopped at the last line of the copy I send you. When left alone, I knelt down, facing the audience, my hands crossed on my breast, and my eyes raised like, Morris said, " a duck in a thunder storm," and the cur- tain fell. The poem was as follows : JOAN OF ARC. BY ALBERT TAYLOR. " Within the hall of judgment bound, With ruthless foes girt darkly round, 42 LETTERS ON TABLEAUX. Deserted, left to bigot laws, Without one friend to plead her cause. With hair dishevell'd, pallid face, On every wasted limb the trace Of suffering long, and want, and woe, Stood Joan of Arc. You scarce could know, Beneath the ragged vest That clad so poorly that bright form, Once robed in terror, like the storm, There beat a living breast ! So still she stood, so steadfast gazed, , With fixed look and head upraised, As though her thoughts had flown Back to the guileless days of yore, And saw, in yearning fancy saw, Her father's cot, each peaceful scene, The hanging wood, the village green, And heard each sister's tone ; For in her eye grew slow a tear, Quiver'd her lip, but not in fear ; For undismayed she heard at last The deadly, cruel sentence pass'd That gave her to the flame As witch and sorceress." In our version, Susy, "Walter rose at the word " fear," say- ing— " Finding thee guilty of the crimes assigned, We do condemn thee, Joan, to the flame A witch and sorc'ress." Then Morris read again from the original, while I acted my part in dumb show. " Ha ! now! now! Uprose the spirit on her brow, And back the color came. With form erect, fire-flashing eyes, Such as she wore at battle-cry, And arm outstretch' d, and voice whose rush Came sudden on the solemn hush High as trumpet swell — " JOAN OF ARC'S TRIAL. 43 Here I came in, Susy — "By that great God, I swear, whose will Upheld, and will uphold me still, The charge is false as hell ! No. witch am I. And thou, thou Bright Virgin pure, in pity now Look down on thy poor child ! Desert not in this hour of need! Thou know'st still, in thought and deed, This young heart undenTd ! make my innocence appear ! The only shield that's left me here To face my dastard foes. And on them now I turn my face, Flushing with scorn, but not disgrace ; I hurl that back on those Who call dear France their fatherland, And stand, unblushing, hand in hand, Link'd with the foreign wolves, whose prey This woman's arm hath torn away, And hear unmovd the name Before the which their proudest paled, Their far-fam'd iron legions quailed, All slurr'd with guilt and shame ! Ay ! gaze on me, on all that's left Of one of light and air bereft So long, and safely gaze ! this hand No longer wields its battle brand ; It wears this heavy chain ! This woman's arm you've conquered now, But not the spirit on her brow ; That spirit doth remain Unconquerable still, to send Its high defiance to the end. And, would you know the Power that taught This peasant arm, this peasant thought, Do thou, Lord Bishop, tell, When battling for a country's right And sacred laws, whence came the might, 44 LETTERS ON TABLEAUX. From heaven or from hell, That overthrew her foes, and crown'd Her lawful monarch 1 And, though bound With heavy chains, condemn'd to death, I answer with my latest breath. I was the chosen one Of that High God who stays the wave To stay my country's foes, and save That country ; and 'tis done ! 'Tis done ! and humbly I lay down The sword, to take the martyr's crown ! You've torn the honor from my crest, And planted shame there ! take the rest — This young and weary life ! Oh ! flame sears not in fiercest mood Like slander, and ingratitude Cuts sharper than the knife ! Not here, not here ! beyond yon dome Of heaven, in Truth's eternal home, When ruthless ye have trod This soul from out its maiden shrine, I'll lay this injured cause of mine Before the throne of God ! And think not that your steel or stake Shall make this spirit quail or break ; Your power I defy ! For He who gave this arm its power, And nerved it in the battle hour, Will nerve this heart to die ! And, though I go down darkly now, With shame upon my maiden brow, So deadly wronged, so all-forsaken, The time will come, and truth awaken, Another, nobler age will tell Poor Joan of Orleans' tale ; How false her doom, how true she fell In country's cause, and hail Her memory as a beacon light, The battle-cry in freedom's fight, JOAN OF ARC'S TRIAL. 45 And clear her injur'd name ; Without reproach, will on it write ; On yours, Eternal shame ! " The next three lines were omitted — " She paused, while from her lofty brow The flush of maiden scorn pal'd slow ; Then, in a tone more meek and low — " I began, after a short pause here— " And yet, but that I feel 'twere vain From cruelty one hope to gain, A simple boon I still would crave ; A soldier's death, a humble grave, Dug 'neath the forest lone and wild, Where once I rov'd a happy child, t To fancy that each spring The grass that waves o'er this poor breast By sister's hands with flowers be dressed, And round it wild birds sing." Here Morris read again— " She ceased ; there was a trembling sound Upon her voice, and all around She sadly gazed ; a hush profound A moment was, and then A stir and rise." Then as the judges passed slowly out, he read — " God ! for there Was not one heart to urge that prayer, Amidst those iron men." I would suggest to you, if you have an entertainment of this kind, to have a full-dress rehearsal, that none of the little details may be wrong. If well read and acted, these scenes are very effective and entertaining, but poorly rendered they are very wearisome. 46 PROVERBS IN TABLEAUX. PEOVERBS IN TABLEAUX. Proverbs in Tableaux form a most entertaining variation upon the established form of pictures, as they call upon the audience not only for their admiration of effect, but also for the exercise of their ingenuity in guessing what proverb or saying the scene before them is intended to represent. The company when acting proverbs should be divided, one portion performing while the others act as audience. At the end of each tableau let the audience name the pro- verb. If correctly guessed, audience and performers change places. , If not, the performers give the answer and keep their places until one of their proverbs is guessed correctly. Charades in Tableaux must also be guessed by the audi- ence as soon as the curtain falls upon the whole word. IT IS WELL TO HAVE TWO STKINGS TO YOXTE BOW. This tableau can be arranged only where the stage can represent an out-door scene. In the centre of background, facing audience, stands a target, with an arrow in it, near, but not exactly striking the centre. Trees, flowers, and rustic benches, are on both sides of the scene, leaving the centre space open. To the right and left are grouped ladies and gentlemen in archery dresses, the gentlemen wearing suits of Lincoln green, the ladies white with decorations of green, round straw hats with green streamers. All carry bows, and quivers filled with arrows. In the centre of fore- ground are the three performers, a lady and two gentlemen, who form the principal group. The lady is holding a bow, the string of which has just snapped, and is hanging loose. One of /the gentlemen leaning forward, is condoling with her, but the other holds up triumphantly a long piece of new cord. The lady reaches m out her hand for the cord, smiling upon the giver. A STITCH IN TIME SAVES NIKE. 47 BETTER HALF A LOAF THAN NO BREAD. The sceno represents the kitchen of a farm-house. The farmer's wife stands near a table, moulding butter into pats ; one daughter is counting eggs into a basket, the other stands with half a loaf of bread in her hand, pointing to the door, the third one shows her mother a whole loaf, but the mother seems to be pointing out a closet to her, while she is sending the half loaf to the beggar at the door. The beggar should hold an empty basket open, and have two little children clinging to her skirts. Let the farmer's wife and daughters wear neat chintz dresses, cut short enough to show stout shoes and clocked stockings ; the mother wears a white cap, the daughters, three-cornered handkerchiefs pinned under the chin. The beggar's dress, and that of the children, should be as torn and ragged as possible, and the children, bare-headed and barefoot. A STITCH IN TIME SAVES NINE. The scene, a parlor or sitting-room. Near a work-table in the centre of stage, a lady is seated, sewing. Two little boys at right, are playing marbles, a little girl left, is nurs- ing a doll. At the lady's feet a little girl is seated, mend- ing a very small hole in her apron. Another little girl, just passing the work-table, has caught her apron in the knob of the drawer, and torn a long rent. The lady, pointing to the little girl, sewing, seems reminding the other one of the proverb. Another tableau upon the same proverb may represent the boudoir of a lady of fashion, with toilet-table, upon which jewelry, flowers and ribbons are scattered. A young lady in full evening dress, stands centre of room; kneeling at her feet, a lady's maid, catching together a small rent in a lace flounce. Upon a chair is a dress, with a long tear across one breadth, to which the lady points while the maid seems to be reminding her of the proverb. 48 PROVERBS IN TABLEAUX. WAKING UP THE WRONG PASSENGER. Let the chairs be placed in two rows down the centre of stage like the seats on each side of a railway car. The stage must be darkened, the seats filled with people, all of whom are asleep but one. A very humorous tableau may be made in the variety of costume and attitude, amongst the sleep- ers. In the seat nearest the audience is the only passenger awake, who appears to be in a great rage, and scolding furi- ously at the conductor. In one hand he holds a ticket and points to the word Melville ; at the end of the row of seats, have a placard placed with Holmesburg painted upon it, put against the wall. The conductor, who carries a lantern, and throws the light full upon the ticket, seems to be apol- ogizing for his mistake. It adds to the effect, to have one or two passengers just waking up, and looking angrily at the two who are quarrelling. HUNGER IS THE BEST SAUCE. The scene, a hotel dining-room, with the table set for four persons. Two sit facing the audience, and one at each end, profile to audience. They are all gentlemen. Three of the party are dressed in the extreme of fashion, and have a languid, blase look. Their plates are covered with choice food, and stand before them. One holds up a tiny morsel upon his fork, but turns from it, as if disgusted ; the second is pouring gravy into his plate, but looks as if its appear- ance did not please him ; the third holds a wing of a bird in his hand, and is daintily picking off a small piece. with his fork. The fourth one, facing audience, wears the full costume of a hunter, and should be a tall, finely formed man, with a ruddy, healthly face. His plate has nothing upon it but a large slice of beef, and some potatoes, but he appears to be eating voraciously. The others look at him with lan- guid wonder, while he seems inviting them to share his re- past. To the right of the foreground, upon the floor, lie THREE MAKE A CROWD. 49 the gun, shot-bag and a bunch of game ; if a dog can be kept still, it adds very much to the effect to place one beside the hunter's property. To the left of foreground stands a smaller table, upon which are placed the hats, canes and gloves of the three dandies. DOG IN THE MANGEE. Ik the centre of stage is a table piled with cake, fruit, pies and other eatables. In front of the table, facing audience, is an immensely fat boy (stuffing the clothes will produce this effect)' with red cheeks, in the act of vainly endeavor- ing to swallow a mouthful of a cake he holds in his hand. He is dressed in a suit of velvet, richly embroidered, and upon the floor near him lie some expensive toys and games, a pile of sugar-plums, and some money. To the left of stage, standing hand in hand, are a little boy and girl, dressed in very ragged clothes, with thin faces and sad eyes, holding out their hands pitifully to the young glutton, and looking at the profusion on the table. The boy at centre holds up a large cane threateningly,* while he frowns angrily at the little beggars. TWO AEE COMPANY; THEEE MAKE A CEOWD. The stage has two sofas, one to the right, and one to the left of centre. In the centre of the stage, a small table. A lady and gentleman, young, are seated at this table, with a game of chess before them. They are conversing very intently, the lady's hand resting in that of the gentleman, while the other hand of each holds a chessman, as if the game was delayed, not finished. Upon the sofa to the right, another couple, lady and gentleman, with an open book be- fore them, are also conversing earnestly, looking into each other's eyes, evidently forgetting the rest of the company. Upon the sofa at left of stage, are seated another couple, and between them an old lady, knitting. All these are 50 PROVERBS IN TABLEAUX. looking forward blankly, as if they had not a word to say. Upon the back of the sofa, behind the old lady's head, the young folks have clasped hands. At the back of stage, just entering the room, are two young ladies, and one gen- tleman, all looking cross and uncomfortable, as if there was one too many in the party. THE GRAY MAEE IS THE BETTEE HOESE. The scene represents the kitchen of a farm-house. The farmer, just entering the door, is followed by a beggar man, whom he holds by the hand, and at whom he looks very sorrowfully. The farmer's wife, just turning from a v/ ell- spread tea-table, is pointing threateningly to the door, as if ordering the beggar to depart. She looks angry and deter- mined. The farmer looking cowed and afraid, seems to be telling the beggar that he must go. The beggar is turning sorrowfully away. ALL IS M)T GOLD THAT GLITTEES. The scene should be a pawnbroker's office. A table stands centre of stage. Seated at the table, facing audience, is an old man, with a long white beard, dressed in a suit of brown cloth, rather old and seedy. Upon his head is a black velvet skull-cap. He holds in one hand a long gold chain that is very bright, except in one place, where there is a long green stain ; in the other hand he holds a vial of acid, with the cork out. He is holding the chain up, to point out to the would-be seller that the acid proves it brass. The customer is a lady in deep mourning, who stands by the table, profile to audience. She carries in her hand an open jewel-box, in which are some more jewels. Upon the table, in front of the old man, are a number of articles of jewelry, each hav- ing upon it the same green stain as the chain. The lady looks despairingly into the box, from which she takes a brace- let, while the old man's face expresses triumph. A little A BIRD IN HAND IS WORTH TWO IN THE BUSH. 51 green water color will produce the effect of acid upon jew- elry, but can be easily washed off. WHEN POVERTY COMES IN AT THE DOOE, LOVE FLIES OUT AT THE WINDOW. The scene must be a richly-furnished but disorderly room. The husband at the breakfast-table, in his dressing-gown and slippers, the wife in a richly trimmed morning dress with a breakfast cap on. Both are pouting. The lady points to a long milliner's bill which she holds in one hand, the gentle- man shows an empty pocket-book. Coming in at the door is a figure dressed to represent Poverty ; an old man, leaning upon a cane, dressed in ragged clothes, with a long white beard. He holds out his hat, as if begging. Upon the win- dow sill, in an attitude as if just about to fly, have a little child, dressed as a Cupid. He looks at the figure in the door- way as if frightened by it. A BIED IN HAND IS WORTH TWO IN THE BUSH. The . prettiest scene is a garden, but if the properties do not extend to out-of-door views, flower stands in a parlor make a very pretty scene. In the centre of stage stands a table, upon this a bird cage, with a bird in it. A little girl stands behind the table facing audience; she holds up a lump of sugar to the bars of the cage, and appears to be coaxing the bird to eat it. To the left of foreground is a large stand covered with flowers in pots. Upon one bush is a stuffed bird, with out-stretched wings, as if just flying away. A little boy carrying in one hand a box marked " salt," is advancing on tip-toe behind the bird, one hand reached out, with the forefinger and thumb closed, as if holding a pinch of salt, to deposit on the bird's tail. To the right of foreground is a large chair, and upon the back of it is another stuffed bird, apparently just ready to soar upwards. Behind this bird is a little girl, who holds up her 52 PROVERBS IN TABLEAUX. apron, just ready to throw over it. Both children pursuing the birds should look vexed at their escape, while the little girl feeding the one in the cage, looks perfectly contented with her prize. A NEW BEOOM SWEEPS CLEAN. The scene is a parlor, with two servants putting it in order. The furniture is in confusion, as if pushed out into the centre of room for convenience in sweeping. One ser- vant, young and smartly dressed, at right of stage, has a new broom, and behind it is a very clean space on the carpet, while, a pile of dust lies before it. The girl appears to be working very actively and good-naturedly. At left of stage is an old woman with a worn-out old broom, that she is lazily dragging over the carpet, without any effect. The mis- tress of the house, standing centre of stage, seems to be reproving the old servant, and pointing to the young one, as if for example, but the old servant points to the new broom, and looks at the old one, as if reminding her mis- tress of the proverb. 'TIS AN ILL WIND THAT BLOWS NOBODY GOOD. The stage is arranged as a market scene. All the performers should be children, the variety in costume and occupation of the miniature market people producing a very pretty effect. Five market stalls, two at each side, and one in the centre of background, are quite enough. The arrangement of these stalls is very simple, but by grouping and contrasting colors tastefully, the effect can be made very beautiful. Poultry, feathered game, greens, fruits, vegetables, radishes, and a profusion of flowers are requisite. These can all be imita- ted ; the fowls in pasteboard, and the vegetables and flowers in tissue paper, and the fruit in wax or plaster. On the stall, at centre of background, are flowers and fruits only, arranged in pots, bouquets and baskets. A little girl stands before 'tis an ill wind that blows nobody good. 53 this stall ; she wears a short, gay petticoat, looped over this is a skirt of dark woolen, with a bodice of the same, trimmed with black velvet, an under-waist of white muslin, a straw hat with long gay ribbons ; she is offering a bouquet to a boy in a dandified officer's dress, with a sword buckled to his side. The stall left of background has upon it poultry, but- ter, sausages, and other country produce. A little boy in a pair of corduroy pants, dark coat and felt hat, made country fashion, is holding up a pair of fowls to show to another lad, dressed as a negro servant, and carrying a large basket, al- raady half filled with provisions. The stall right of back- ground is arranged for a vegetable woman. Here are tissue paper cabbages lying in bright contrast to paper radishes and carrots, and large bushel baskets show their wealth of wooden potatoes and plaster eggs. Before this stall is seated a little girl, in a dark stuff gown, knit mittens, and Dutch cap, busily engaged in knitting. The stall at left of foreground is a butcher's, and has lordly rounds of beef, of red and yellow paper-covered wood, with paper -mutton and wooden veal hanging from the hooks. The little boy in attendance upon this stall wears a long white apron, and is tapping with a large piece of meat, which he offers to a little girl, in the quiet gray dress and plain bonnet of a lady marketer. The principal stall, upon which the proverb depends, is to the right of foreground. It is that of an old apple woman, and is overturned. Apples, cakes, nuts and candies lie around it upon the ground. A little girl, dressed as an old market woman, with a calico gown, kerchief pinned over the breast, spectacles, cap and mittens, stands beside the upset stall. She is holding up both hands in consternation. Five or six little ragged children are seizing the fruit and cakes. Two on their knees, are fighting for a large apple, one is running off with both hands full, one filling his pockets, one just coming up, and one cramming his mouth full. If the tableau described is found too expensive or trouble- some to arrange, the proverb may be illustrated by the apple- woman's stall alone, with the saucy boys proving the proverb. 54 PliOVERBS IN TABLEAUX. Another illustration of the proverb inay be arranged as follows : A lady, dressed in the height of the fashion, stands in the centre of room, with a handsome bonnet in her hand. A milliner's girl, holding a bandbox, stands at right of fore- ground, and seems to- be apologizing for some defect. The servant of the house is at the left of foreground, and the lady is giving her the bonnet. The lady's face expresses perfect disgust, that of the milliner's girl regret, and that of the ser- vant perfect delight. Just entering the door is the husband, who holds up both hands in consternation at his wife's ex- travagance. Another illustration may be arranged thus : A handsomely-dressed boy has a basket before him, from which he is selecting an apple. Two little chimney sweeps stand beside him, grinning with pleasure, and with both hands filled with the apples he has rejected. YOU CANNOT PUT AN OLD HEAD ON YOUNG SHOULDEES. The scene represents a parlor. In the centre of the stage stand two chairs facing audience. Upon one of these chairs stands a little girl, dressed in a white muslin dress, panta- lettes and slippers. Upon the other chair stands a little boy who wears short white trousers, a blouse, socks and pumps. Both children must be as young as can be persuaded to stand still. To the right of the little girl stands an older girl, who is tying the strings of a cap under the little one's chin. The cap must be that of an old woman, with a broad frill round the face, and large bows of sober ribbon. The little girl has on a pair of large old-fashioned spectacles. Be- hind the chair stands another girl who holds over the little one's head a large old-fashioned straw bonnet, trimmed with gay ribbons, and immense bunches of flowers. She holds this just over the cap, so as to form a frame for the child's face, but seems waiting for the cap strings to be tied EMPTY VESSELS MAKE GREAT l^OISE. 55 before putting it on. The little boy already wears a pair of spectacles, a gray wig, and cocked hat, and stands very erect, as if conscious of increased dignity. A larger boy be- side him is offering a cane and snuff-box. To the left of foreground the mother is seated at a sewing table ; she looks up at the children, but smiles as if reminding them of the proverb. COUNT NOT YOUR CHICKENS BEFORE THEY ARE HATCHED. A yehy pretty tableau may be made of the fable of the milkmaid who counted her chickens before she sold her pail of milk. The scene had better be a farm kitchen. The milkmaid wears a calico dress looped over a gay petticoat, low shoes with heels, and clocked stockings ; a bodice of black velvet or scarlet silk, laced over a white muslin waist ; a cap of white muslin, trimmed with bright ribbons. She ' stands in the centre of stage, facing audience, looking in dismay at her pail of milk lying upset at her feet. The pail is full of cotton-wool pulled very light, or a long strip of paper lying on the floor for a trail of spilt milk, will have the same effect. EMPTY VESSELS MAKE GREAT NOISE. The scene is a schoolroom. Upon a bench, centre of stage, stands a fat, stupid looking boy, who is haranguing the others with a very important face and gesture. Upon the other benches are seated a number of boys mocking and laughing at the orator. One points to his head in derision, another yawns, another imitates the gesture and another laughs heartily. To left of foreground a boy holds up a large empty copper pot, and a stick, as if in the act of strik- ing it, while his face expresses triumph ; to the right of fore- ground, another boy is striking a similar pot full of water, but his face expresses disappointment. The boy with the 56 PROVERBS IN TABLEAUX. empty vessel seems to be striking lightly and easily, while the other seems throwing all his strength into the blow. FORBIDDEN FRUIT TASTES SWEET. The scene is a dining-room. In the centre of background is a large side-board, open, displaying upon its shelves fruit- cakes, bottles of wine, tumblers of jelly, jars of preserved fruit, and other eatables. Two little boys are seated in cen- tre of foreground with a basket of apples before them, from which they have filled their pockets, which are stuffed out with the fruit. Each holds an apple with a large piece bit- ten out, and they are looking at each other as if expressing their pleasure at the taste of the fruit. Just entering the door is the servant girl, who looks aghast at the boys and the open side-board. THEEE IS NO ROSE WITHOUT A THORN. The scene is a parlor, In the centre of foreground, seated on the floor, are two little girls arranging flowers. Flowers are scattered on the floor beside them, and they have their laps filled with them. They are dressed in white, and wear wreathes and knots of flowers on their bosoms. Between them is a fancy basket half filled with roses. One of the little girls is looking at the basket, and holds a flower, as if hesitating where to place it ; the other holds in one hand a red rose, but holds up the other hand to show a long red scratch made upon it with a thorn. In the centre of stage stands a table, upon which ribbons, baskets, wreaths, and loose flowers are tossed in careless, graceful profusion. Be- hind this table, facing audience, stands a boy, who is cutting the thorns off the stem of a white rose, with his penknife, be- fore offering it to a little girl, who stands beside him with hand outstretched for the flower. To the right of background stand a young gentleman and lady, in polka attitude. They appear to be conversing earnestly and lovingly ; the THEY ARE CHIPS FROM THE OLD BLOCK. 57 gentleman is placing a ring upon the lady's finger, while his eyes look — all sorts of things. Behind this couple, entirely unperceived by either the lady or the gentleman, is an elderly gentleman in gray wig and spectacles. He wears his overcoat and hat, as if he had just come in from the street. He looks furiously angry and raises his cane over the shoulders of the young gentleman. At the left of background stands a chair, upon which is a large earthen jar marked "Nuts." A little boy standing beside the chair is vainly trying to draw his hand through the mouth of the jar, while he looks round to see if his lar- ceny and unpleasant predicament are discovered. THEY AEE CHIPS FROM THE OLD BLOCK. The stage is arranged as a lady's dressing room. In the centre, facing left, is a toilet, with a large mirror upon it. Upon this table stands a handsome pincushion, with shawl- pins, breast-pins, belt-pins and common pins in it. Beside the pincushion stands an open jewel-box, with chains, rings, bracelets, and jewelled hair-pins scattered around it. On the same table are lying a bouquet, ball-book, embroidered handkerchief, fan, and pair of lady's white kid gloves. Scarfs, wreaths, knots of ribbon, tastefully contrasting in color, are also lying upon the table, or hanging from the frame of the mirror. Chairs stand in the room, covered with drapery. One has an opera cloak and hood upon it ; another a handsome silk dress, with a shawl thrown care- lessly over it ; a third a rich morning wrapper and embroid- ered skirt. Facing the mirror, profile to audience, stands a lady in full evening dress. She is looking at her own re- flection with an air of satisfied vanity ; one hand arranges a flower in her head-dress, while the other sweeps back the folds of her dress. To the left of foreground stands a chair, tied to which is a small toy mirror. Before this glass is standing a little girl. She wears a white muslin dress, over which she has tied a scarf, like a sash, and on her head she 58 PROVERBS IN TABLEAUX. lias placed one of her mamma's head-dresses. With exactly the same expression and attitude, as the older lady, she is arranging her wreath and pushing back the folds of her short dress. Centre of background is a door. Entering the room, by this door, are the father, and a lad of about fifteen or sixteen in full evening dress, the height of the prevailing fashion, white kid gloves, and curled hair. Each carries an opera-hat. The father carefully adjusts his pet curl, with his right hand, and the son adjusts his in precisely the same attitude. Both must be dressed handsomely, and the costumes must be exactly alike, while the disparity in age and stature must be as great as possible. Both have a self- satisfied smirk, and carry themselves with a self-important air. To the right of foreground stand the valet and lady's maid, half hidden from the family" by the mirror on toilet table. The valet is pointing to the father and son, and whispering to the maid, with an^air of derision, while she, laughing heartily, points to the mother and daughter, as if still further illustrating the proverb. LISTENEKS HEAE NO GOOD OF THEMSELVES. The scene is a parlor. In the centre of foreground are seated two young ladies, handsomely dressed, who are con- versing very earnestly, and with much gesture. To the left of foreground is a closet, from the half-open door of which an old woman is peeping out, and shaking her fist at the two girls. A FKIEND IK NEED 18 A FRIEND INDEED. The scene must represent the extreme of poverty. A poor bed is standing centre of stage, as if rudely pulled from its place near the wall ; near the door stands a rude table with two broken chairs upon it, and on the floor is a broken dish and some pieces of bread and meat. A work-basket lies upset at right of foreground; the chest of drawers is CHARITY BEGINS AT HOME. 59 pulled from the wall ; the whole scene is to indicate a seiz- ure of furniture for rent. In the centre of the room stand two constables, who are lifting from an easy chair an old woman, who raises her clasped hands as if imploring pity. The mother is kneeling at left of foreground, as if praying, while her arms encircle a little girl, who is weeping bitterly. At right of foreground a gentleman stands, as if he had just entered, who holds an open pocket book in his hand, and is speaking to another man, the landlord, who shows him a bill. The landlord raises his hand to stop the constables, who look round at him, for further instructions. A young girl, in a mean dress, is looking gratefully at the gentleman paying the rent, while a little boy runs towards his mother, pointing to their friend, and trying to rouse her attention to the good news. The more ragged the children that can be crowded in, in every attitude of want and distress, the more effective the tableau ; and a husband lying drunk in one corner, is also very effective. CHAEITY BEGI1\ T S AT*HOME. The scene is a parlor. A lady dressed in rich material, but carelessly, with disordered liair, and shoes down at the heel, sits beside a table, portioning out money into different envelopes. Some of these envelopes, directed in a largo bold hand, are placed so as to be seen by audience. One is directed to the " Soldier's Mission," another to " African Fund Society," another to " South Sea Mission Fund," an- other " Sandwich Island Society." Two dirty, forlorn look- ing children, right of foreground are quarrelling over a piece of bread. A gentleman, shabbily dressed, sits discon- solately at left of foreground, looking over a pile of unre- ceipted house bills. The money on the table must be sorted into lules, with an envelope upon each pile. Tracts and circulars are scattered on the table, and on the floor near it. At the door a beggar woman is trying to enter, while the 60 PROVERBS IN TABLEAUX. servant is keeping her out, pointing to the mistress, and seeming to say it is useless to beg of her. THERE'S MANY A SLIP 'TWIXT CUP AND LIP. The scene is a farm kitchen. A large table stands centre of stage, and behind this, facing audience, is a young girl dressed as a dairy-maid, working butter. In one hand she holds a small wooden paddle. Her face is full of mischief. Behind her, on tiptoe, is a young man in a farmer's dress, his arms extended and his lips set for a kiss ; he is leaning forward. The girl holds the paddle so as to show the au- dience she means to slip it between her face and her lover's when he attempts to kiss her. To the right of foreground stands a little boy looking ruefully at a broken cup at his feet, from which the milk is pouring out upon the floor. To the left of foreground a little girl is raising an apple to her mouth, while behind her a big boy is leaning forward, his hand open to catch away the fruit before it reaches her mouth. FAINT HEAET NEYEB WON FAIE LADY. The scene is a parlor, and the performers are arranged in three groups. To the right of the foreground, a lady in full evening dress, is seated upon a sofa. She has just ex- tended her hand to a handsomely-dressed officer, who is taking it with a confident air, as if pleased, but not surprised. To the left of foreground, another lady, also seated, is turning away contemptuously from a suitor, who stands embarrassed, holding his hat awkwardly, and looking with timid, implor- ing eyes at the fair scornful one. In the centre of room, a lady, very handsomely dressed, with a gay coquettish air, is accepting a ring from a tall dashing looking gentleman, who offers it with easy confidence, While just moving away, with an air of utter despair, is another shy suitor, looking hopelessly at a bouquet he is afraid to offer. IN NEVER RAINS BUT IT POURS. 61 WHEN THE CAT'S AWAY THE MICE WILL PLAY. The scene is a young ladies' boarding-school. Centre of background is the teacher's desk, upon a raised platform. Seated at this, facing audience, is a young girl, who is ring- ing a bell, and holding up a ruler as if to enforce silence. Nobody pays the least attention to her. The other scholars are all grouped in different attitudes for mischief and idle- ness. Two at one desk have a doll, and are discussing a bonnet for it. Two more are writing a billet, and the di- rection on the envelope, " James Lee, Esq.," must be turned to audience. Two more are dividing a large cake, with a paper-folder. Two more are reading Byron's Poems, the book held so that the audience may read the title. Two more are at the blackboard, upon which one is drawing a car- icature of a very prim looking lady, with a book in one hand, and a ruler in the other. Just entering the door, is the teacher, unperceived by any of the scholars. Behind her is an elderly gentleman, who, laughing Heartily, seems reminding her of the proverb. IT NEVEB, KAINS BUT IT POUES. The scene is an attic, where a poor author sits at a table. His ink has upset over his his last sheet of paper, and is dripping down upon a clean shirt upon a chair near the table. A servant, just entering the door with a tray, has dropped the dinner upon the floor, and stands looking at the scattered dishes. The landlady stands at the right hand of the author, holding out a bill ; a gentleman stands at left of author, with another bill ; he is dripping wet, and holds a wet umbrella from which the water is lying in a puddle directly over a pile of manuscript, on the floor near the table. A young girl stands behind the author with his coat in her hand, showing him a long tear in the back. The author has both hands to his head, his fingers rumbling his 62 PROVERBS IN TABLEAUX. hair, and causing it to to stand on end ; lie looks perfectly crazy with the accumulation of misfortune. All the others are urging their claims upon him with threatening gestures. ONE MAN'S MEAT IS ANOTHER MAN'S POISON. The scene is a dining-room. In the centre stands a table, upon which is a large dish, with lobster salad, or some other showy food upon it. Two plates are set. Before one, facing audience, a gentleman is seated, eating, with the greatest relish, of the dish, which he also seems urging upon his com- panion. The second gentleman turns from the table with an expression of the greatest disgust, holding his nose, and pushing the plate before him as far away as possible. THE MORE THE MERRIER ; THE FEWER THE BETTER FARE. The scene represents a school-room during recess. To the right and left of foreground are desks, and upon each of the two desks is a pound cake. To the right, a boy is divid- ing the cake, which is cut up into small pieces ; round him stand as many boys as the strength of the dramatic force will allow ; some of them munching their cake, some wait- ing their turn, but all in the highest good humor, and ap- pear to be laughing, joking and enjoying themselves very much. To the left two boys have divided the other cake between them, and are eating it, but look sour and discon- tented. BETTER BE" AN OLD MAN'S DARLING THAN A YOUNG MAN'S SLA YE. The scene is a parlor. Right of foreground is a young lady seated upon a sofa in a negligent attitude. She is dressed very richly, wears jewels, and carries a beautiful fan. Kneeling at her feet, holding an open jewel case, in which FINE FEATHERS MAKE FINE BIBBS 63 is a partire of diamonds, is an old man, handsomely dressed, but very infirm, He is ■ offering the diamonds with ' an air of humble devotion, while he raises one of the lady's hands to his lips; slie looks at the jewels with an air of indiffer- ence and languor. Left of foreground is a large arm-chair, in which a young gentleman is seated. He wears a richly embroidered dressing-gown and smoldng-cap, and has his feet extended upon a footstool. His expression is that of anger, and one hand is raised threateningly to a young lady, standing in front of him. She has a waiter in her hand, upon which are cigars, a bottle and tumbler, some lemons, sugar and spoon. Her dress is very plain, and her eyes red as if from crying. She stands in a timid way, her head drooping, and eyes cast down, as if terrified at the scolding- she is receiving. TAKE CAEE OF THE PENCE, AND THE POUNDS WILL -TAKE CAEE OF THEMSELVES. A GOOD humorous tableau may be made of this proverb. The scene is a miserable room, with every mark of poverty in its arrangement. Near an open window, centre of back- ground, stands a table, before which is seated a miserably dressed man. He is old, shabby and iniirm. Upon the table is a large pile of pennies, over which the miser is spreading out his hands, while flying out of the window, as if just caught up by a breeze, are a number of bank notes, with £ marked conspicuously against the figures. A very fine thread attached to the paper notes and the window curtain, will be invisible to the audience, while it will hold the notes up in mid air, as if blowing away. The miser must be stretched out over the pennies, looking with dismay at the notes. FINE FEATHEES MAKE FINE BIEDS. The scene represents a handsomely-furnished drawing- room. The ladies taking the principal parts must consent 64 PROVERBS IN TABLEAUX. to have their faces made as ugly as paint and crow's feet will permit. One standing in centre of room is very tall and very thin, with a red nose, gray hair, crow's feet and wrinkles on her face. She wears an extremely handsome dress, cut with low neck and short sleeves, in the height of the prevailing fashion, and very richly trimmed ; a head- dress of flowers, and a profusion of jewelry complete the costume. She is standing, with an air of silly affectation, listening to a gentleman, who appears struck with admira- tion at her appearance. The other lady, short and fat, has a broad red face, vulgar and wrinkled. She is also extrava- gantly dressed, but seated profile to audience, at left of fore- ground. A gentleman is leaning over the chair, and raises her hand to his lips, but turns away his face to conceal a smile of derision. IT IS DANGEROUS PLAYING WITH EDGE-TOOLS. The scene is a carpenter's shop. Centre of stage is a bench upon which are carpenter's tools. A little boy is standing centre of foreground, profile to audience, holding in one hand a chisel, and the other hand raised displaying a long cut. One foot is lifted as if in pain, and the face ex- presses agony. INNOCENT. 65 CHARADES IN TABLEAUX. INNOCENT. TABLEAU' I. — INN. The scene is the drawing room of an inn. At the table are seated travellers in every variety of travelling costume, all appearing to be eating hastily. The door is centre of background, and standing open shows the sign swinging against the door-post. Just entering the door, is the driver of the stage-coach, his horn in one hand, and his whip in the other, announcing that he is ready to start. Near the table, as if waiting upon the guests, stands the landlord, in his white apron, the landlady, and their daughter, who is coquettishly dressed, and is listening smilingly to one of the gentleman travellers, who seem to be complimenting her. Standing at left of foreground, and scowling angrily at the pretty daughter of the house, is a young man in a rustic dress. TABLEAU 11. — NO. Scene is a parlor, handsomely furnished. To the right of foreground is seated an old lady, to the left an old gentle- man. Kneeling before the old lady is a young girl, with clasped hands, who seems to be praying for some boon. Standing before the old gentleman is a young man, who points to the kneeling girl, and seems to be pleading for her. Both the old people turn away from the young suppliants, with their lips set as if saying no. TABLEAU III.— CENT, The scene is a parlor richly furnished ; in the centre of the room, stands a very small child, dressed as a beggar. She is stooping, and has just picked up from the floor a cent, 66 CHARADES IN TABLEAUX. which she displays to audience, with her whole face beam- ing with pleasure. Entering the door, centre of background, are a lady and child richly dressed. The child seems start- ing forward as if to claim the beggar child's prize, and the mother holding her back seems reproving her for her greed- iness. TABLEAU IY. — INNOCENT. The scene is a parlor, with the whole space left in the centre. In the centre of foreground is a crimson velvet cushion, upon the floor, upon which is placed a sleeping in- fant, in long white robes. The light should be very dim, and no other figure upon the stage. Low, soft music adds very much to the effect of this scene. PATCHWOEK. TABLEAU I.— PATCH. The scene is a parlor, where a number of boys are congre- gated. Two, centre of stage, are making a kite ; two, right of foreground, are playing chess ; two, left of foreground, are examining a bat and ball ; two, left of background, are reading ; two, right of background, are playing jack-straws. All are nicely dressed, and present the appearance of boys in good circumstances. Entering the door is another boy, meanly dressed, with a large black patch upon the knee of a pair of light pantaloons. He looks ashamed and uneasy. All the other boys are looking up from their several employ- ments, and each one points with the forefinger of his right hand at the patch, while they are all laughing Tieartily. TABLEAU II. — WORK. The scene is a large workshop, where a whole family are carrying on different trades. Centre of room is a large table, where the father is seated cross-legged, making a pair of pantaloons, while on the table are scattered a tailor's tools. Right of centre the mother is making a dress ; left of centre SONGSTRESS. 67 the eldest daughter is trimming a bonnet ; left of foreground the son, on a cobbler's bench, is mending a boot ; right o£ foreground, another son is mending a chair ; centre of background, another daughter is sweeping the room ; while entering the door is a little errand boy with a large bundle in his hands. Each performer must appear to be intent on his or her work. TABLEAU III. — PATCHWORK. The scene is a poorly-furnished room. Centre of stage is a large arm-chair, in which is seated the grandmother. She wears a black silk dress, white muslin kerchief pinned over the breast, muslin cap and spectacles. At her feet is seated a little girl, in a calico dress, and white apron, fitting a square upon a long strip of patch-work. The grand- mother bends over the child as if superintending the work. SONGSTRESS. TABLEAUX I.— SONGS. The scene represents a fancy fair. Two tables run down the sides of the room, and one occupies centre. Centre table is covered with fancy articles, and a young lady, dressed in white, with a broad blue sash and scarlet ribbons in her hair, is acting as saleswoman ; she is offering a sheet of music — a song — to a gentleman, who seems about to pur- chase it. Left of foreground another table, also- covered with fancy articles, is tended by a young lady dressed in the national colors, who is selling to a little boy two of the penny songs in sheets, holding them so that the audience can see the titles. Right of foreground another table, tended by a young lady, dressed as the two first, is selling to a little girl a "Book of Songs" The saleswomen and customers in background may be arranged to suit the taste of the performers and strength of the company. TABLEAU II. — TRESS. The scene is a parlor. Centre of stage is a sofa, drawn 68 CHARADES IN TABLEAUX. up to face audience ; upon the sofa are seated a lady and gentleman. The lady is in evening dress, and wears her hair in curls. The gentleman, with a curl in one hand and a pair of scissors in the other, seems about severing the tress of hair, while the lady holds up her hand as if to prevent him. A humorous scene may be made of this, by the gen- tleman's detaching a set of false Grecian curls, which are coming off in his hand, while the lady, in dismay, tries to hold them up. TABLEAU III. — SONGSTRESS. The scene represents a parlor, during an evening party. In the centre is a table, round which two ladies and three gentlemen fire grouped with pictures and books in their hands. Eight of background, a lady and gentleman on a sofa are flirting over a bouquet ; left of foreground, two gentlemen stand as if conversing ; left of foreground, a lady and gentleman are standing as if conversing. Eight of foreground, a lady is seated, facing audience, with a gui- tar in her hands, while other ladies and gentlemen stand around her. Her head is thrown back and her mouth wide open, while she holds her breath to give the effect of strain- ing for a very high note. All the others in the room are looking at her, some faces expressing admiration, some sur- prise, and some consternation. Well grouped, this tableau is very funny. DRAMATIC. TABLEAU I. — DRAM. The scene is a bar-room. The counter runs across back- ground, and behind it stands the landlord, who is pouring liquor from a bottle. In front of the bar, profile to audi- ence, stands a ragged, dirty looking man, who extends his hand for the glass the landlord is filling. Eight of fore- ground, two men are seated at a little table, and are touch- ing glasses. Left of foreground, four men are seated at a table, playing cards. SWEETHEART. 69 TABLEAU II.— ATTIC. The scene is an attic, exhibiting the extreme of poverty. Centre of stage is a table, at which a shabby-looking man is writing busily; right of centre, a poorly-dressed woman is sewing upon a shirt ; right of foreground, a ragged girl is rocking a broken, miserable cradle, in which lies a sleep- ing baby ; left of foreground, a ragged little boy is trying to catch together a long rent in his coat. Make the scene as poverty-stricken as is possible. TABLEAU III.— DRAMATIC The scene is the green-room of a theatre, and the per- formers must muster in full strength and in every variety of costume. Centre of stage, Eichard the Third, in full suit of black velvet, with his hump in view, kneels before a coquettishly-dressed village girl, who is blackening his eye- brows with a hare's foot. Left of background, Lady Mac- beth, in long white wrapper, and loosened hair, is accepting a bouquet from Tony Lumpkin, who wears leather-colored tights and breeches, ^, scarlet vest and white shirt. Eight of background, Hamlet in black velvet, is seated on a low stool, both ears stopped with his fingers, his eyes fastened on an open book upon his knees, and his lips set as if study- ing his part. Eight of foreground, two sailors are practis- ing a fencing scene. Left of foreground, King Lear is whispering something very tender in the ear of Juliet. Other performers, all costumed in stage attire, are grouped in the scene, according to their own taste. SWEETHEAET. TABLEAU I. — SWEET. The stage is fitted up to represent a pantry, with jars of preserved fruit, jams and jellies upon the shelves. Centre of stage is a table, upon which stand bowls of sugar, tumblers of jelly and a cake. Behind this are two little girls, facing 70 CHARADES IN TABLEAUX. audience, one cutting the cake, the other eating lumps of sugar. In front of table, seated on the floor, facing audience, is the smallest boy who will sit still, with a large jar, marked " Jam," between his knees. One hand is in the jar, the other arm embraces it, while he peeps inside, over the edge. Left of background, a little boy is pouring from a bottle, marked " Sweet Currant "Wine," into a tumbler ; behind him, stand- ing upon a chair, is a little girl, who is taking from a high shelf a jar, marked " Sweet Pickle." Left of foreground a little girl is seated, eating a large piece of pie ; right of fore- ground, another little girl is opening a box, marked " Cake." All the children face audience. Centre of background, an open door, at which stand an elderly lady and gentleman, and a young lady and gentleman. The two first hold up their hands in horror ; the others are laughing heartily. TABLEAU II. — HEART. The scene is a parlor on St. Valentine's Day. Centre of room is a table, at which is seated a young lady, absorbed in a letter, the fancifully decorated envelope lying at her feet. Right of background, another young lady, standing upon a chair, holds a letter high above her head, while a gentleman beside her tries to reach it. Left of background a negro waiter is entering carrying a pile of letters upon a salver. Right of foreground, a little boy is seated on the floor, writ- ing an address upon an envelope, which he holds upon a book. The envelope has a large heart in one corner. Left of foreground, a little girl holds up, for the others to see, an open sheet, with an immense red heart, transfixed with an arrow, painted upon it. The words, " St Valentine offers you his heart," are written in large characters underneath the heart. TABLEAU III. — SWEETHEART. A garden scene is the prettiest for this tableau, but if that is difficult to arrange, a parlor scene will do. The per- formers should be children as young* as can be teamed for the COURTSHIP. 71 parts. Two only are on the stage, and stand centre of the room. The little girl is dressed in a fanciful peasant's cos- tume ; a short scarlet petticoat ; red and blue clocked stock- ings ; black slippers, with bows of scarlet ribbon. The dress of dark blue woolen is looped to show the petticoat, and laced in front to show a white muslin body under its peas- ant waist. A pretty straw hat, with a broad brim, is held on by a gay handkerchief over it, pinned under the chin. She holds a bouquet in one hand, and in the other a single flower which she offers to her little lover. The boy is dressed as a sailor. Full white pantaloons, black pumps, a blue woolen shirt trimmed on the broad collar with white stars, and a black necktie tied in a large sailor's knot, form his costume. His right arm is round his sweetheart's waist, and while his left hand takes the offered flower, he leans for- ward to kiss her cheek, which she holds just out of his reach. Eight of foreground is a pretty work-basket, with sewing and knitting in it. Left of foreground is a sailor's hat, and a bundle in a handkerchief, tied to a stick. COUETSHIP. TABLEAU I. — COURT. The scene represents the trial of Effie Deans. Centre of background, the judge, in full black silk robes, white wig and spectacles, is seated, facing audience, upon a raised platform, beside him three other judges dressed as he is. In front of the platform a table, at which are seated law- yers, in white wigs and loose dresses, writing. A rail runs across. Left of foreground, profile to audience, Effie Deans is trying to escape from two soldiers, who hold her back from rushing to the group at right of foreground. Eight of foreground Jennie Deans is bending over the prostrate figure of the father, who lies senseless upon the floor. The large steel-plate engraving of the trial will be the best guide for amateurs in arranging this tableau. If not prac- ticable, introduce any scene in a court ; the trial of Pick- 72 CHARADES IN TABLEAUX. wick makes a good scene, if the performers are humorously inclined. TABLEAU II. — SHIP. The scene is a room in a cottage. Centre of room is a table, upon which stands the model of a ship, full rigged. On one side of the table is seated an old sailor, who is point-* ing to the ship, as if explaining it to two boys, who stand at the other side of the table, admiring the model. TABLEAU III. — COURTSHIP. The scene is a parlor. Seated upon a sofa, centre of fore- ground, is a lady, old and ugly, but dressed in the extreme of youthful fashion, and wearing a profusion of jewelry. Kneeling at her feet is a very shabby young gentleman, his coat buttoned up to his chin, and his clothes worn and rusty. He appears to be making the most vehement declaration of love, while the lady looks bashfully away, and holds a fan before her face. Centre of background stand a young lady and gentleman, as if just entering. The young lady wears a garden-hat, and carries some flowers. The gentleman ap- pears to be starting forward to interrupt the courtship in foreground ; he looks angry ; the lady holds him back, look- ing into his face as if coaxing him to good humor. KNAPSACK. TABLEAU I.— NAP. The scene represents the kitchen of a farm-house. Eight of foreground is a large arm-chair, in which is seated an old woman, profile to audience. She wears a black dress, shawl pinned over the bosom, spectacles and white muslin cap. In her right hand is a ball of yarn, in her left the thread con- necting the ball with the skein. Upon her lap is lying a half knit stocking, upon which her hands have fallen, crossed. Her head droops forward upon her breast, and her eyes are closed. She is an old woman taking a nap while winding KNAPSACK- 73 her yarn. Left of foreground, opposite to and facing the old lady, is a little boy in the dress of a country boy. Upon his outstretched hands he holds an enormous hank of yarn, and looks disconsolately at the idle ball. Centre of background, at an open door, are children holding up balls, tops and ap- ples to coax the little skein-holder from his post. TABLEAU II. — SACK. The scene represents a barn. In the background are piled up sacks of apples and potatoes, while in the foreground a party of mischievous boys are collected. One of them holds open the mouth of a large sack of apples ; each of the others has secured an apple, excepting one, who is crawling into the open sack — he is in, and the boys are grouped to show that they mean to tie up the mouth of the sack ; one holds the string ready, another leans forward to help the one holding the sack open, and all are laughing. In the background the farmer is just entering, softly, with a large whip in his hand. The boys do not- see him. TABLEAU III. — KNAPSACK. Here the scene is again the kitchen of a farm-house, where the family is engaged in fitting out the volunteer. To the right, standing erect, his musket grasped in his right hand, his left arm clasping his wife, who is weeping on his breast, stands a man in the private's costume of the United States Army. His eyes are bent upon his wife, full of love, while his attitude and the firm grasp of his gun show his resolve to go. Near him, seated on the floor and playing with his canteen, is a little girl, while in the centre of foreground, upon the floor, is his open knapsack. The old mother, kneel- ing beside it, is xoutting in his Bible, the father stands with his hands full of stockings, shirts, and other necessaries, while to the left, two sisters are gathering from a table the other articles to fill the knapsack. Children are very good in this tableau, and there is plenty of room for effective dresses. The little old man and woman can wear the dress of the last cen- 74 CHARADES IN TABLEAUX. tury, the girls pretty country costumes, and the soldier-boy the blue uniform of the present day — or, the whole scene may be made to represent an event in the Revolution, with the young soldier in full Continental uniform, and the other characters in the dress of that day. If the costumes can be obtained, the latter is by far the best for effect, and an old flag with the thirteen stars may be held by a child in the background. Music, as " Hail Columbia," or the " Star Spangled Banner," if the performer is concealed, will add very much to the effect of the scene. * MAY QUEEN. TABLEAU I. — MAY. Let the furniture be removed from the stage, and the background draped with white, looped with garlands of flow- ers and leaves ; the floor, covered with white, and flowers scattered over it. One single figure represents May. A beautiful blond should be selected. Let her wear pure white ; the dress long, full, and floating. Her hair should fall free, either in curls or waving ripples, and a wreath of delicate flowers rest on her head ; flowers should appear to fall all about her, in her hair and on her dress (small pins, or a few stitches of thread will fasten them) ; her hands are raised, her eyes uplifted, as if she were just about to rise and soar away. The writer has seen a lovely child so dressed and standing, and the tableau was as beautiful as can be im- agined. TABLEAU" II. — QUEEN. The celebrated historical scene of Raleigh spreading his cloak for Queen Elizabeth to step upon, makes here a most effective tableau. Let the group of attendants, maids of honor and courtiers be as large as the wardrobe of the com- pany will allow. Queen Bess, in the centre of the stage, should be a little girl with red hair. She wears the high ruff, small crown, and long train of the famous sovereign ; at her feet kneels Raleigh, spreading his velvet cloak before her. HAT-BAND. 75 He wears the courtier's dress of the time. The queen, smil- ing, lifts her robe with one hand, and extends the other to wave her thanks to the courtier. A full description of the scene may be found in Scott's Kenilworth, and the costumes should be prepared from pictures of the times. TABLEAU III. — MAY QTJEEN". Ix the centre of stage is a throne, with an arch of flowers above it, and seated upon this is the May queen. She wears white, and holds a sceptre of a long-stemmed lily or branch of tuberose. At her right, one foot on the upper step of the platform of the throne, one on the step lower, is another young girl in pink, who holds the crown of roses over the May queen's head. Kneeling at the left, before the throne, is a third little girl in pale blue, who offers a basket of flow- ers. A group of children, boys and girls, in light dresses, trimmed with flowers, the boys wearing wreaths on their hats, the girls flowers in their hair and on their dresses, are standing round the throne, their hands joined and forming a circle, as if just dancing round the newly-crowned queen. HAT-BAND. TABLEAU I. — HAT. The scene is a parlor. In the foreground (centre), facing the audience, is a very little girl, dressed in white. Long yellow curls and blue eyes are the prettiest for effect. She is trying on a man's hat, and holding it up from falling down on her shoulders, with both hands. Two other children to the left are laughing at her, while, to the right, just entering, are a lady and gentleman. The former is in a home dress, the latter is in street costume, with overcoat and cane, but without any hat. The lady holds up her finger to silence the laughing children, while the gentleman stoops over the little thief, with his arms outstretched to prison her, and his lips ready for the kiss she has forfeited. 76 CHARADES IN TABLEAUX. TABLEAU II. — BAND. The background has a balcony window in the centre. (A very effective one may be made by placing a fender on a large table, with two upright posts at each end, placed about two feet apart. Drape from these heavy crimson curtains, looped up, and put a bar across for the window-frame.) At the window are two little girls wrapped in large shawls, as if just awakened by the music. In the foreground seven little boys represent the serenade band. One blows a penny trum- pet, the second has a pair of bone clappers, the third a toy drum, the fourth a toy fife, the fifth a tambourine, the sixth a toy violin, and the seventh an immense trombone. They all carry sheets of music, are wrapped in long cloaks, and wear large^ slouch hats. The stage must be darkened, except the light given by seven candles, held one behind each per- former by his servant, dressed as a negro-valet. These seven boys, with black faces and hands, dressed in absurd negro costume, must be grinning with delight at their masters' per- formance. One of the little girls at the window leans for- ward, holding a bouquet over the balcony front, while the other points with dismay to a tall figure of a woman, who is seen behind the window, holding up a bucket of water to deluge the juvenile serenaders. TABLEAU III. —HAT-BAND. Here the same scene and performers as are in the first tableau appear again. The little girl seated on the floor has a long garland of flowers, which she is going to wreath round the hat. A second little girl is cutting off the hat-band with a pair of scissors, while a third holds the hat for the. opera- tion. The little one on the floor has her lap full of flowers, and holds one end of the garland up in front of the hat to try the effect ; the one who holds the hat kneels to her right ; and between them, stands, stooping, the one who has the scissors. Laughing, in the background* are the lady and NEWSBOY. 77 gentleman mentioned before ; she springing forward to save the hat, he holding her back. NEWSBOY. TABLEAU I. — NEWS. The scene represents the kitchen of a farm-house. In the centre of the stage is a large old-fashioned chair, in which is seated an old man, in the naval or military costume of 1812. (Borrow somebody's heirlooms.) To his left is a table, upon which stands a jug of ale and a plate of apples. The old man's left arm rests upon the table, his hand up to his ear to help his hearing ; his right hand rests upon a cane held be- tween his knees, and his whole attitude is one of listening. To his right, in foreground, is seated a little boy reading from a newspaper. To the left, in front of the table, stands a little girl, her hands clasped together, looking intently at the reader; leaning over the old man, one hancf on the back of his chair, one on the table, is a young girl, whose face is anxious, and attitude one of painful attention. Against the wall, above her head, hangs the portrait of a soldier. TABLEAU II. — BOY. The scene represents a school-room, with an open door to the left of background. In the centre of stage is the school- master's desk, and one of the boys is seated on the stool behind it, holding up a ruler in laughing menace. Part of the boys are ranged in front of the desk for recitation ; and one poor fellow, with his face tied up, is seated on a stool by the master's desk, studying. In the centre of foreground is a timid-looking boy — the new hoy — who, with folded hands and frightened face, is being victimized. A group of boys are around him. One is inking a fierce moustache on his upper lip ; another puts a fool's-cap on his head ; a third has taken his cap, and is putting a tall feather into it ; a fourth is stealing the luncheon out of his satchel ; a fifth 78 CHARADES IN TABLEAUX. draws a caricature of him on a slate ; a sixth points his fin- ger and laughs at him, while a seventh, kneeling, is turn- ing his toes in. Through the open door in the background, the schoolmaster is seen conversing with the new boy's mother, who is paying him some money, while the little sister peeps round the door-post to see the school-room. TABLEAU III. — NEWSBOY. Only one figure is required for this ^cene. A boy in the ragged dress of a newsboy, with a shabby cap, and toes peeping out of his boots, is seated on the floor in the centre of foreground. On the floor beside him is a pile of papers, and a half-eaten apple ; in the front of him on the floor is a pile of pennies, which he is engaged in counting. A boy in the dark Italian style of beauty, with black eyes, dressed in a red shirt, with colored stockings, and without any jacket, makes the best effect. I HOENPIPE. TABLEAU I. — HOBN. The scene is a parlor. Centre of room, facing audience, stands a large arm-chair, in which is seated an invalid lady. She wears a white wrapper, white lace cap, and has a large shawl wrapped around her. Her feet are upon a footstool, and behind her is a large white pillow. At her right hand is a small table upon which are bottles, cups, spoons, an orange, tumblers of jelly, and a book. At her left is a chair, upon which the doctor is seated ; in one hand he holds the lady's wrist, in the other his watch, the invalid's disengaged hand is raised to her forehead, as if distracted with noise. Both the doctor and the invalid are looking toward right of stage. Right of stage, foreground, is a very little boy, with short white trousers, bare legs, short socks, pumps, a velvet jacket and lace collar, who holds to his mouth, with both hands, an immense tin horn. A very small boy and a very large horn. The boy's cheeks are puffed out as if blowing, BRICKBAT. 79 and his legs are stretched apart as if strutting into the room. Behind him, her arms stretched out to catch him, her face expressing dismay, is a woman in the white cap, white apron, and bright dress of a French nurse. TABLEAU II.— PIPE. The scene is the kitchen of a farm-house. Centre of room is a small table, upon which stand a pitcher, two pewter mugs, and a plate of apples. Seated at each side of this table, facing the audience, is a farmer. They wear plain homespun suits. One is just lifting a cup to his lips as if drinking. The other is looking up, smiling, to a young girl, filling a pipe, and holds out one hand for it. The girl wears a bright chintz dress and coquettish little cap. She stands behind the table, facing audience. One hand holds a clay pipe, and with the forefinger of the other hand, she is pressing tobacco into the bowl. Both farmers are elderly men, the girl young and pretty. TABLEAU III. — HORNPIPE. The scene is again the kitchen of a farm-house. The centre of the room is cleared, but at both sides stand as many country folks, in pretty peasant dresses, as can well be raised in the corps of performers. Centre of room, one hand raised to his hat, one arm a kimbo, and hand on the hip, is a sailor in one of the attitudes of the hornpipe. If there is a good dancer in the dramatic force, the dance itself may be introduced here. BEICKBAT. TABLEAU I. — BBICK. Let these tableaux be entrusted entirely to the boys. The scene for the first, is an Irishman's cabin. The table is spread for supper, centre of room. Paddy, seated on the floor, centre of foreground, has at his side a hod, in which is one brick. He takes it out with one hand, while with 80 CHARADES IN TABLEAUX. the otlier lie points to a pile of bricks in the corner of the room. The thieving hod carrier wears corduroy trousers, low shoes, woolen stockings, a flannel shirt, knit jacket and felt hat, and is covered with brick dust. TABLEAU II. — BAT. The scene is a large empty space, out-door, if possible, where eight boys stand for a game of base-ball. The ninth stands centre of foreground, and holds in his hand a bat snapped in two. All the faces express disappointment. TABLEAU III. — BRICKBAT. The scene is the street. Eight of foreground stands a gentleman, handsomely dressed, holding one foot in his hand, and in the other hand a large brickbat. His face and attitude express angry pain. Eunning off, extreme right of background, is a ragged boy, his finger on his nose as he looks centre of stage. Centre of stage a policeman has just collared another ragged boy, and shakes his stick at the one retreating. The captured boy is crying and trying to escape. BOOKWOEM. TABLEAU I. — BOOK. The scene represents a young lady's school on exhibition day. Centre of background is a platform, upon which are seated two lady and two gentleman teachers. Eight of stage is a row of chairs upon which visitors, ladies and gen- tlemen, are seated. Left of stage, another row of chairs, upon which are seated young ladies dressed in white with broad blue sashes. Centre of platform, profile to audience, facing each other, the principal of the school and a young lady are standing. She wears white with a crimson sash, and wreath of flowers. He wears a black suit and specta- cles. The principal is handing to the scholar a large hand- somely bound book. MADCAP. 81 TABLEAU II. — WORM. The scene is a parlor. Centre of room stands a group o£ three persons. The figure to the right is a gentleman hand- ing a bouquet to a young lady, who is the central figure, and fainting into the arms of another gentleman standing, left, who supports her with one arm, while with the forefinger of his disengaged hand he points to a long worm on her dress, looking at the first gentleman angrily, as if the worm had dropped from the bouquet. The gentlemen are dressed in black, the lady wears a white dress, and the worm must be conspicuously large and black. TABLEAU in. — BOOKWORM. The scene is a library. Upon the sides of the room are book cases filled with books. Centre of stage stands a large table completely covered with large volumes, piled at each end, but leaving the centre space clear for one very large volume, which lies open. Chairs stand in the room, piled with book, and the floor is covered with similar piles. Be- hind the table, facing audience, is an elderly man, dressed in a ragged wrapper, shabby shirt, without collar or necktie, old slippers, hair long and disordered, reading. Both elbows are upon the table and both hands support his head, while his whole attention is absorbed in the volume open before him. MADCAP. TABLEAU I. — MAD. The scene is a cell, with stone sides. Gray muslin draped from the sides will produce this effect. Right of background a mattress is upon the floor, covered with a check quilt. Left of background stands a table and chair ; upon the for- mer a pitcher, and plate of bread. Centre of foreground, seated upon the floor facing audience, is a woman dressed in white, stocking feet, hair hanging loosely over her shoulders, and a face pallid and haggard. She has a chain round her 82 CHARADES IN TABLEAUX. waist, which fastens her to the wall behind the mattress. She is playing with some straws, but looks up with a be- wildered, terrified expression. TABLEAU II. — CAP. The scene is a parlor. Centre of room, facing audience, is a very little girl dressed in white, who is putting on her head a^very gay old woman's cap. TABLEAU III. — MADCAP. The scene is a parlor. Centre of room is a table, with books, work-baskets and fancy articles in the greatest dis- order. Eight of foreground an old lady and gentleman are seated upon a sofa-. The old lady holds in one hand a pair of spectacles, in the other a handkerchief. She has just put one finger, covered with the handkerchief, through the spec- tacle frame, and is looking with consternation at the vacant place where the glass ought to be. The old gentleman has in one hand a snuff-box, from which he is taking a pinch, holding the box so that the audience can see it is full of salt instead of snuff. Left of foreground a young lady is seated upon a sofa, with a piece of knitting in her hand, from which the needles have been drawn and the wool of which is entangled. Standing beside her, a young gentle- man is wiping his forehead with a handkerchief that is smutty, and he has a long black streak upon his face. Cen- tre of background, facing audience, laughing immoderately, stands a little girl, who points right and left of foreground, as if mocking the victimis of her mischief. IDOL. TABLEAU I. — EYE. The scene is a school-room. Some boys are seated at desks as if studying, some grouped together over slates as if drawing. Centre of background is the teacher's desk and chair, empty. Left of foreground, two boys are playing IDOL. 83 with a blow-pipe. One kneels, facing audience, with a ball of putty, which he holds up to his companion. The other, profile to audience, has the pipe to his mouth, and his cheeks puffed out as if blowing. The pipe is aimed to right of background, where the teacher is just entering. One hand is placed over his eye, and the other doubled up to shake at the owner of the blow-pipe. His countenance expresses pain and rage. TABLEAU II.— DOLL. Tle scene is a parlor. Centre of room is seated a little girl, with a large doll in her arms, which she is hushing to sleep. Beside her stands dolly's cradle. TABLEAU in. — IDOL. Here the scene is an empty space in the centre of stage. There is no furniture, but centre of background stands a large hideous idol. A living figure can be dressed and placed upon a pedestal, but it must be as grotesque and horrible as possible. Standing right and left of idol, facing audience, are two priests in long white robes, with arabesque figures embroidered upon the hems, white veils fastened round the forehead with gold bands. Eight and left of foreground are men and women in long robes of various colors, with head coverings of white cambric, all kneeling with their foreheads touching the ground. 84 MOTHER GOOSE TABLEAUX. MOTHER GOOSE TABLEAUX. These tableaux are intended for the amusement of very little folks, who must act both as performers and guessers in the audience. For the holidays, either in the afternoon or evening, they will be found very amusing even for the older folks, who will doff their seniority for a time. One of our most scientific physicians was at such a performance, and owing to his well-known learning and dignified man- ner was condemned to sit in an upper room with some of the elder members of the family. After fidgeting for some time, and evidently listening to the gleeful laughter below with more interest than to his host's polite conversation, he suddenly turned to one of the ladies present — " Pray, madam," he said, " how old are you ? " Seeing the fun in his eyes, she promptly replied : "Six!" "Well," he said, " I am ten. Let's go play with the rest of the children." And for the remainder of the evening he was the life of the entertainment. So, you who read these articles, put your years in your pocket, and remember they are written for "you and the rest of the children." No scenery will be required, no curtain but the folding- doors, no properties that your housekeeping apparatus will not supply, no wardrobe but the nursery bureau, and no orchestra but the laugh and applause of your little folks. TABLEAU I. " Humpity, dumpity, my mammy's maid, She stole oranges I am afraid ; Some in her pocket, some in her sleeve, She stole oranges, I do believe ! " The stage is arranged as a dining-room. Upon the table MOTHER GOOSE TABLEAUX. 85 (centre of stage) are the remains of the dessert, half-eaten pies, saucers, tumblers, bottles and plates, and, near the edge of the table, toward audience, a large dish of oranges. " My mammy's maid " stands between the table and the audience, profile to each. The little girl who takes this part must wear a chintz dress with full sleeves, fastening at the wrists, a large apron with pockets, a white cap and kerchief. The apron pockets are full of oranges, and she is stuffing two into her sleeve. Just entering the door is a little boy, who points triumphantly to the maid (he must be behind her). He looks very mischievous, and appears to be advancing on tip- toe to catch her. If the audience, do not guess the rhyme, let the little boy sing it before the curtain falls. TABLEAU II. " Little Jack Horner Sat in a corner, Eating a Christmas pie. He put in his thumb, And pulled out a plum, And said, ' what a good boy am I ! ' " The stage is arranged as a family sitting-room. In the centre is a table. One little girl, with spectacles and cap, is the nurse, sitting at the table sewing. The baby lies asleep in a cradle. In the right hand corner of foreground, facing audience, his feet stretched far apart, Jack Horner is seated on the floor, with the pie between his knees. He wears short socks, and short trousers, a blouse and large collar. One hand holds up the crust of the pie, while the other holds over his head a large raisin. A very small boy, with a very large pie, has the best effect. TABLEAU III. " There was an old woman Who lived in a shoe ; She had so many children She didn't know what to do ; 86 MOTHER GOOSE TABLEAUX. She gave them some broth Without any bread, She whipped them all soundly And sent them to bed." Some little ingenuity is here required to make the shoe, but let the manager keep up a brave heart, and make the boys useful. First have a frame work made of wood in the shape of a shoe, standing up on end, the opening and instep toward audience. Cover this with black cambric, and make an immense white paper buckle. Between the sole and up- per, thrust the heads of all the " crying babes " in the house, as it is too elevated a position for the " live stock." The old woman, a girl about fourteen, must wear a white cap, a pair of spectacles, a petticoat of red stuff, with the skirt of her chintz dress looped up over it, a white shawl pinned over her shoulders, and heeled shoes. In her hand she has a a large bunch of rods. She stands centre of stage, in front of the shoe, holding her bunch of rods over the head of a little boy, "just caught," in his night-gown, and night- cap, and barefoot, and rubbing his eyes with his clenched fists, his face " made up " for a yell. All the children wear their night-gowns and wraps. One, right of foreground, is seated on the floor with a big bowl of soup between his knees, raising a spoon to his lips. One behind him, is lean- ing over with open mouth, as if waiting for his turn. Two are stealing into the shoe to escape the whipping. In short, have on the stage all the children you can muster, in vari- ous attitudes — some running away, some crying, some eating broth, and some hiding and peeping out behind the mam- moth shoe. TABLEAU IV. " To market, to market, To buy a plum bun, Home again, home again, Market is done." Here a very pretty market scene can be made. Have MOTHER GOOSE TABLEAUX. 87 five empty tables for stalls, two on each, side of the room, one centre of background. In front of these put bushel baskets, empty tubs, and trays all empty. To the left of foreground, have a procession of the market people going home ; one little girl in the high cap, stuff gown and white apron of the Dutch huckster ; a little boy with a big butch- er's apron ; a little girl in a straw hat and stripped dress for a flower-girl ; little boy in a countryman's dress ; as many children, in short, as can be dressed up for hucksters, butch- ers, buttermen, pie and cake men. They are all leaving the empty stalls. Right of foreground, profile to audience, as if just entering the market, is a very little boy, with straw hat, blouse, and short trousers. In one hand he holds a penny. On the other arm is an enormous basket. He sings gleefully the first two lines of the verse. In deep tones, the market people, turning suddenly round to face him, sing the second, and then wheel into their first positions. The little boy's face changes to a look of dismay, and all stand mo- tionless again until the curtain falls. The moving tableaux require rather expert performers to give the peculiar au- tomaton jerks, like jumping Jacks moved by a string, but they can be made very funny. In this scene let every one of the market people raise the right arm, and drop it at the end of the verse. Raise it at " home," turning to face the child, drop it at " done," turning from him. TABLEAU V. '• Ride a cock horse to Banbury Cross, To see an old woman ride on a horse ; With rings on her lingers and bells on her toes, She shall have music wherever she goes." In the centre of background stands a large white paste- board cross, with Banbury upon it in large black letters. About the centre of the stage, a little to the left, stands the rocking horse. Upon this is seated the old woman, who wears a high pointed black hat, with a white cap under it, 88 MOTHER GOOSE TABLEAUX. spectacles, heeled and buckled shoes, a short gown of chintz, and petticoat of red stuff. Her right hand falls down show- ing the number of rings, and from the toes of her shoes hang small brass bells. Between her and the cross, and be- tween her and audience, are a number of children, astride of sticks or stick horses, with whips in their hands, who stand perfectly still, staring at the old woman. TABLEAU VI. " Ride away, ride away, Johnny shall ride. He shall have little dog tied to one side ; He shall have pussy cat tied to the other, And Johnny shall ride to see his grandmother. Bemove the cross from the preceding scene, and in its place put a work-table. At this table is seated the mother (Madame Mere had best join the rest of the children), sew- ing. The rocking horse, in its old place, is mounted by Master Johnny, in his short trousers and socks, and holding a big whip. To his belt are fastened two long strings, which are fastened at the other end, one to a cat, and the other to a curly dog (toys on wheels). In the corner of foreground, facing the horse, sits the grandmother. A bas- ket of work is on the floor beside her ; one hand holds the stocking she is knitting. She has both arms out to welcome Master John, coming to visit her. If there is no rocking horse in the nursery, a stick horse, or even a broom handle will do for Johnny's spirited steed. TABLEAUX VII, VIII, IX. " When I was a bachelor, I lived by myself, And all the bread and cheese I got, I put upon a shelf, The rats and the mice they made such a strife, I was forced to go to London to get myself a wife." The stage represents a kitchen, with a shelf across the background. In the centre of stage is a table, upon which is a hat and scarf. Upon the shelf are loaves of bread and MOTHER GOOSE TABLEAUX. 89 cheese, all overrun with rats and mice (made of lead-colored canton flannel, with black bead eyes, long horse-hair whis- kers, and string tails, if the the little folks have not toy rats and mice). In the centre of foreground stands the bachelor, who, with a very rueful face, is putting on his overcoat before starting for London. " The roads were so bad, the lanes were so narrow, I was forced to bring my wife home in a wheelbarrow.'' Scene same as before. The bachelor, with hat and scarf on, is just wheeling the barrow into the room (centre of fore- ground). In the wheelbarrow is seated a little girl, with a fashionable bonnet, cloak and dress, holding an open para- sol over her head. " The wheelbarrow broke and my wife had a fall. Down came the wheelbarrow, wife and all." By taking out the sides of the barrow, removing the wheel and tipping it over, the curtain rises again upon a melancholy wreck. The wife lies on the floor crying, the parasol fallen from her, and the late bachelor stands with raised hands and a face of dismay looking at the mischief. TABLEAU X. "Little Miss Muffet Sat on a tuffet, Eating her curds and whey ; There came a big spider, And sat down beside her, And frightened Miss Muffet away." If in the housekeeping furniture there is a "tuffet," so much the better, but if you, like me, have had your educa- tion so shockingly neglected, that the word is in an unknown tongue, you may use one of the nursery crickets for Miss Muffet's throne. Miss Muffet's hair (another of the deep mysteries of the popular author of the poem), must be in a 90 MOTHER GOOSE TABLEAUX. state of dire confusion — or as the nurses say, " all on end." She must be seated centre of stage, facing audience, with a large bowl of curds-and-whey in her lap. One hand holds the bowl, and the other the spoon. Close beside her is the dreadful animal, the " big spider." (Horrible looking spi- ders on spiral wires may be bought for a few pennies at any toy shop). Miss Muffet's face, full of terror, is turned to the spider, and she grasps the bowl and spoon as if about to run away. TABLEAUX XI., XII. " Sing a song o' sixpence, a pocket full of rye, Four and twenty blackbirds baked in a pie ; When the pie was opened the birds began to sing ; Was not that a dainty dish to set before a king ? The king was in the parlor, counting out his money." IN" the centre of stage is a table, and upon it the wonder- ful pie in a large dish. The table is covered with a cloth that reaches to the floor. To the left of foreground is an- other smaller table, with money piled upon it. Behind this, facing audience, is a little boy, with the long robe and gilt paper crown of a king. One hand is over the money, the other raised as if listening, and his face, full of astonishment, is turned to the pie. Behind the centre table, facing audience, is another little boy with the white apron and cap of a cook. In his hands, upraised with wonder, are a knife and fork. His face expresses astonishment and wonder. Rising from the centre of the pie are the heads of the blackbirds, their mouths open. Concealed under the table is a little boy with a bird whistle, which he blows until the curtain falls. " The queen was in the kitchen, eating bread and honey, The maid was out of doors, hanging up the clothes, Along came a blackbird, and snapped off her nose." The scene is a kitchen with half parted off to make a background scene. The clothes-horse stretched across, or a line with shawls hanging from it, divides a stage very nicely Leave an open door. In the foreground is a table, upon MOTHER GOOSE TABLEAUX. 91 which is placed a loaf of bread, plate and knife, and a large jar marked honey. The queen, in a long train, high collar ruff, and gilt crown, is seated before the table, just raising a slice of bread and honey to her lips. Through the door in background, the maid, in a neat dress and cap, is seen hold- ing up a white apron as if hanging it on a line ; at her feet is a basket of clothes. In the air above her, suspended from the ceiling, is an artificial or stuffed blackbird, with out- stretched wings and open bill, flying at her face. She is starting back as if to save her threatened and doomed fea- ture. TABLEAU XIII. " Jack Sprat could eat no fat, His wife could eat no lean, So Hwixt them both, they cleared the cloth, And licked the platter clean." In the centre of the stage is a table covered with a white cloth. Upon this is a large empty meat dish, two plates, one with an immense piece of fat upon it, the other a piece of lean meat. These plates stand at each end of the table. In front of them, at either end, profile to audience, are seated Jack Sprat and his wife, a little boy and girl. The little boy wears a country dress of old fashion, large lay-down collar, swallow-tailed coat, and broad-brimmed hat. The wife has a cap, kerchief and stuff gown. In front of Jack is the plate of lean meat, in front of his wife the fat. Each holds a knife and fork, and appears to be eating with voracity. A pitcher, cups or tumblers, and bread may also stand upon the table. TABLEAU XIY. 11 See-saw, Margery Daw Sold her bed, and lay upon straw, Sold her ease for a bed of dried grass, To buy herself a looking-glass." The stage is arranged as a meanly-furnished room, in the 92 MOTHER GOOSE TABLEAUX. centre of floor is thrown a large bundle of straw. Upon the rickety chair is a handsome dress, and upon a table a bonnet and shawl. Margery Daw is lying on the bundle of straw, fast asleep, covered with a large shawl. In the centre of background is a handsome mirror hanging on the wall. TABLEAU XV. " Pussy cat, pussy cat, where Lave you been 1 I've been to London, to see the Queen. Pussy cat, pussy cat, what did you do there ? I frightened a little mouse under a chair." One of the little boys must play pussy. His pasteboard mask, with large green eyes and long horse-hair whiskers, and his long tail of gray worsted scarf, will make him a fero- cious beast. Upon his hands and knees, he must remain centre of foreground motionless. In the centre of back- ground sits the queen upon her throne, surrounded by court- iers waiting for pussy to pay his respects. The Queen wears a gilt crown, holds a sceptre, and sits very erect. Her silk train sweeps the floor. Grouped around her are gayly dressed little boys and girls for courtiers. To the left of foreground stands a chair, and under this is the poor frightened little mouse at whom pussy is lifting one paw. TABLEAUX XVI., XYIL, XVIII AND XIX. " When good King Arthur ruled this land He was a goodly King ; He stole three pecks of barley meal, To make a bag pudding." The scene is a dimly-lighted room, fitted up for a miller's store. Barrels and sacks of meal stand against the wall. A little boy with a long robe and gilt crown represents King Arthur. With a bag of meal in one hand and a dark lan- tern in the other, he is just stealing on tiptoe off the stage. MOTHER GOOSE TABLEAUX. 93 (: A bag pudding the King did make, And stuffed it well with plums, And put in two great lumps of fat, As big as my two thumbs." The scene is a kitchen. In the centre of stage is a table, npon which stands the kneading-trough. Plates of plums, flour, eggs, and the immortal lumps of fat are all on the table. Behind the trough, facing audience, is the King, his sleeves rolled up, and a large white apron before him. He is pouring plums, well floured, from a large bowl into the pud- ding. " The King and Queen did eat thereof, And all the court beside." Scene same as before. Upon the table stands an immense dish, and upon it the large, round pudding. Seated around the table are the courtiers (the more extravagant the dresses the better), each with a plate before him. The King and Queen sit at each end of the table, facing each other, profile to audience. All the performers hold up a knife and fork, and look w r ith hungry eyes at the pudding. " And what they could not eat that night, The Queen next morning fried." Scene same as before. Upon the table stands half of the pudding and a large frying-pan. The Queen, with her crown on, and a large white apron before her, is cutting the pud- ding into slices ; one hand holds a large knife, the other is just putting a slice of pudding in the pan. TABLEAU XX. " Rock-a-by, baby, thy cradle is green, -Father's a nobleman, mother's a Queen, Betty's a lady and wears a gold ring, And Johnny's a drummer, and drums for the King." The scene is a nursery. In the centre of stage is a cradle, with a great top and green quilt, and in the cradle is a 94 MOTHER GOOSE TABLEAUX. baby (or big doll). Beside the cradle is seated Betty, in a handsome silk dress, playing with a gold ring on her finger. Coming in the door, centre of background, is the " noble- man," a little boy in a fancy court dress, leading in the Queen crowned and sceptred. In the foreground is a little boy, dressed in a velvet suit, with short trousers and short socks, who has a big drum strung round his neck. His fists hold the drum-sticks raised up to strike the drum. TABLEAU XXI. " If I'd as much money as I could spend, I never would cry old chairs to mend, Old chairs to mend, old chairs to mend, I never would cry old chairs to mend." " If I'd as much money as I could tell, I never would cry old rags to sell, Old rags to sell, old rags to sell, I never would cry old rags to sell." Let the curtain rise on a stage perfectly empty. From one side behind the scenes, comes the cry " Old chairs to mend ! Old chairs to mend !" From the other side the cry is, " Old rags to sell ! Old rags to sell ! " The merchants must wear old ragged dresses, overcoats, and gloves without fingers, " shocking bad hats," and gap- ing boots. One carries on his head a pile of chairs, the other shoulders an immense rag bag. After the cry off the stage (repeated alternately), the performers come on the stage from opposite sides, each crying their wares. Meeting in the centre of the foreground they stop, eye each other, and bow. Then the rag man sings sarcastically the first verse of the song, with a strong accent on the personal pro- . noun. After he finishes the chair man walks deliberately round him, and then in a contemptuous manner, also em- phasizing the I, sings the seconds verse. At its conclusion, with every gesture of contempt, the merchants turn their backs upon each other, and go out at the side opposite to MOTHER GOOSE TABLEAUX. 95 tlie one at which they entered, each in a loud, defiant tone, crying their " Old chairs to mend ! y> and " Old rags to sell ! " TABLEAUX XXII, XXIII. " Simple Simon met a pieman Going to the fair ; Said simple Simon to the pieman, Let me taste your ware. Said the pieman to simple Simon, Show me first your penny. Said simple Simon to the pieman, Indeed I have not any." In the centre of stage stands the pieman, with a white apron and baker's cap on. Upon his arm is a large square basket covered with a white cloth. In one hand he holds out a small pie, while the other is extended qjpen for a penny. The boy, who takes the part of Simon, must be capable of putting on a perfectly vacant stare. He is standing left of pieman, facing audience, staring eagerly at the pie, his pockets turned inside out, and his hands feeling them for the missing penny. " Simple Simon went a fishing For to catch a whale ; All the water he could get Was in his mother's pail." In the centre of foreground stands the pail of water. In the centre of foreground, exactly facing the pail, simple Simon is seated upon a chair placed upon a table. He has a long fishing pole, the line from which falls into the pail, and his eyes are fixed with eagerness upon the hook. The best dress for simple Simon is a pair of summer pants, too short and too tight (a fat boy is best for the part), a long gingham apron with sleeves, a hat without a brim, low shoes and colored cotton stockings. All his clothes should appear to be outgrown. 96 MOTHER GOOSE TABLEAUX. TABLEAU XXIV. " Pat a cake, pat a cake, baker's man, So I will, master, as fast as I can, Pat it, and prick it, and mark it with B, And toss it in the oven for baby and me." In the centre of the stage have a table, upon which is the kneading-trough. Behind the table, facing audience, is the " baker's man," with his white apron and cap, patting a piece of dough. In the foreground stands the master, with the baby on his arm. Crying babies are best for tableaux, as, if broken, they are not quite so important as " mamma's darling." TABLEAU XXY. " Dickerty, dickerty, dock, The mouse ran up the clock, The clock struck one, The mouse ran down, Dickerty, dickerty, dock." Iisr centre, rear of stage, the imitation of an old-fashioned wooden-cased clock, with hands set to represent one o'clock. A large mouse, with a fine black thread attached to its head, and another to its tail, is drawn by the head-string slowly up the front of the clock, while a group of children, fanci- fully dressed, all point at the mouse. As soon the mouse has reached the top, the clock must strike one, the strings reversed, and the mouse let down by the tail-string ; at the same time all the children should wheel round, facing audi- ence, with both arms raised as if in astonishment. The children should be grouped with a view to general effect, and change position all together, exactly at the stroke of the clock. TABLEAUX FROH "ALADDIN." 07 FAIKY TALE TABLEAUX. These scenes are also arranged expressly for juvenile per- formers, and are most of them descriptions of tableaux wit- nessed by the writer ; the pretty scenes and costumes of the little folks making very effective pictures. The audience, after seeing all the scenes bearing upon one fairy tale, should be required to guess the story represented. TABLEAUX FEOM " ALADDIF, OR THE WONDER- FUL LAMP. 53 Scexe I. represents the magician and Aladdin when the latter is about descending into the magic cave. The magi- cian must wear a long white beard and hair ; a high-pointed black cap, with a band upon which are cabalistic figures in gilt paper ; a full robe of black, with similar figures just above the hem and on the belt. Aladdin wears an Oriental dress of dark blue stuff, and a cap of red cloth. The mo- ment chosen is that of the incantation. Upon the ground is a pile of dry sticks, heaped as if for a fire ; Aladdin kneels with a lighted taper, as if about to light the pile, while the magician, erect, extends his arms over the sticks. The fire should be centre of stage ; the magician behind it, facing audience ; Aladdin left, profile to audience. Scene II. represents the mother of Aladdin cleaning the lamp. In the centre of stage is a table, upon which are the antique bronze lamp and a cup of water. The mother of Aladdin, in an Oriental dress, is standing right of table, profile to audience, rubbing the Jamp. Aladdin, left of ta- ble, facing his mother, has his hand raised in an attitude of terrified astonishment. Behind the table, facing audience, .is the genius invoked by rubbing the lamp. Here is a chance for the boys. The head of the genius may be made 98 FAIRY TALE TABLEAUX. of the lid of a bandbox, painted to represent a ferociously ugly human face, with a shock of black worsted hair. The body made of a broomstick with a cross-piece for shoulders. Drape from this a scarlet mantle. The legs are two boys, whose body and two legs represent one leg of the genius. A blue sack, open at the bottom and gathered at the neck, makes each leg of the trousers, and the scarlet mantle must cover the boys' heads. This form stands centre of back- ground, facing audience. Aladdin seems fainting with fear ; but the mother does not see the spirit she has invoked. Scene III. represents the sale of the wonderful lamp. In the centre of background is seated the princess, in a rich Oriental costume, before an embroidery frame. She has suspended her work, and is looking at the group in fore- ground. The magician, with a coarse blue cloak over his magic robe, and a red cap on his head, is kneeling right of foreground. Upon the ground before him is a basket cov- ered with a white cloth. One of the magician's hands is on the handle of the basket; the other holds up to the slave a very shiny new brass lamp. The princess' slave, in an Oriental dress, stands before magician, holding toward him the old lamp, her other hand extended to take the new one. Scene IY. represents the death of the magician. In the centre of stage is a table with fruit, cakes, and glasses upon it. On left side, profile to audience, is seated the princess, leaning forward, and looking eagerly at the magician, who is seated opposite to her. He has just fallen back, as if dead ; his hand, toward audience, grasrjing the cup which has con- tained the poison. Entering the room, centre of back- ground, is Aladdin. TABLEAUX EEOM - BLUE-BEABD." Sce^e I. represents the marriage of Bluebeard. The scene is a parlor, decorated with white and flowers. In centre of background is a large arch of flowers. Under this arch, fac- ing audience, stands the priest, in a long, full white robe. TABLEAUX FROM " BLUE-BEARD." 99 He holds an open book in his hands. The bride wears full white Turkish trousers, a tunic of rich silk, a sash, and a long white veil, which covers her from head to foot. The bridegroom wears a robe of rich crimson silk, yellow trousers, and a profusion of blue worsted curls and long blue beard. The bride and groom stand, profile to audience, in front of the priest. Their' hands are clasped. Behind the bride stands sister Anne, the mother, and two brothers, the latter dressed as Turkish soldiers. (A Zouave dress would have a fine ef- fect.) Grouped at the sides of the room have as many guests as your wafdrobe of Oriental dresses will permit. Scene It. represents the wife of Bluebeard entering the fatal closet. In the centre of background must be a door, which she is just entering. With pallid face, and raised hands she stands in an attitude of horror, looking before her. At her feet, in a pool of blood (crimson flannel), lies a small key. In the foreground, stretched out stiffly, lie the five murdered wives, three on one side, two on the other. They wear long white robes, covering their feet, and have well- floured faces. Their garments are stained with blood, and are open at the throat to show a long gash at the neck. The scene should be in a ghastly, half light, but the wife of Blue- beard carries a lamp raised above her head, which shines upon her. This lamp should have a shade that throws the glare full upon her figure, leaving the foreground darkened. Scene III. represents the attempt to clean the key. A table stands in the centre of stage, upon which is a vessel of water. Behind the table, facing audience, is tlie wife of Bluebeard, rubbing the little key. She looks worried and terrified. Sis- ter Anne stands beside her, listening to the tale the wife is telling her ; her face expresses horror and surprise. Scene IV. represents the threatened death of the poor wife. She stands centre of stage, leaning toward the door, as if answering her husband's angry call. Her hair is unbound and falling over her shoulders, her face pale and terrified. From the window sister Anne is leaning, looking out, her hand raised as if to screen the sun from her eyes. 100 FAIRY TALE TABLEAUX. Scene V. represents the death of Bluebeard. The wife kneels centre of stage, her hands raised and clasped together, her. face expressing terror and her attitude as if asking mercy. Bluebeard, one hand grasping a cimetar, the other the un- bound hair of his wife, is just reeling back from the death blow. Standing beside him is one brother, whose sword is buried in Bluebeard's garments, as if it pierced his heart. He appears to have just made the thrust. Entering the door is the second brother, with drawn sword, and angry face. Sister Anne stands near the wife, her hands extended to raise her from her kneeling position. This scene is rfiuch more effective if part of the background is curtained off with sev- eral thicknesses of blue gauze, behind which stand grouped the five murdered wives, with with white faces and bloody garments. TABLEAUX FEOM " CINDERELLA." Scene I. represents the sisters of Cinderella dressing for the ball. The scene is a lady's-dressing room. Left of cen- tre is a toilet- table with jewelry, bouquets, laces and ribbons scattered upon it, and a large mirror, facing right. Oppo- site the mirror, profile to audience stands a little girl in a yellow silk petticoat, purple satin train, white plumes, pur- ple satin waist, buttoned with white. She is looking in the glass and arranging the feathers in her hair. Left of fore- ground is another little girl dressed in a crimson velvet dress over a white satin petticoat, crimson flowers in her hair, and a gold chain round her neck. Both sisters wear jewelry. Kneeling beside the one, left of foreground, pro- file to audience, is Cinderella, dressed in a ragged brown calico with a handkerchief pinned over her hair. She is arranging a fold in the velvet train. Eight of foreground, seated, is the step-mother, dressed in green satin, with white plumes in her hair. Scene II. represents Cinderella's appearance at the ball. The scene is a ball-room, with children dressed in every TABLEAUX FROM " CINDERELLA. " 101 color, some dancing, some conversing, grouped in the back- ground. Bight of foreground, facing left, is a throne, upon which are seated the King and Queen. The King wears a purple marrtle trimmed, with ermine, and a gold crown ; the Queen wears a white satin dress, crimson velvet mantle trimmed with ermine and a crown. Left of foreground the step-mother and sisters are seated. Centre of room Cin- derella and the Prince are standing ; the Prince is just lift- ing Cinderella's veil. The Prince wears a suit of blue vel- vet, slashed, with white satin let in ; long silk stockings, a velvet mantle falling over one arm, blue velvet slippers with gold buckles ; a blue velvet cap, with a white plume fastened with a jewelled clasp. Cinderella is dressed in white lace, over white satin, white satin shoes thickly covered with spangles, white plumes ; a large illusion veil thrown over her head covers her from head to foot. This veil the Prince is raising, his face bent forward to see hers, while she looks down. Scene III. represents the King's herald trying on the slipper, Scene same as Scene II. Centre of stage is a large arm-chair, facing audience, in which is seated Cinderella covered with a large brown cloak, which hides her dress. One foot is covered with her white satin slipper, and she is drawing the mate to it from her pocket. The Prince stands at right, in an attitude of surprise. Left, the step-mother and sisters, looking very angry. Just entering the door, centre of background, is the fairy god-mother, dressed in a long scarlet cloak, high heeled slippers, a pointed cap, and carrying a crutch. The ball-room guests, King and Queen, as in Scene II. Scene IV. Cinderella triumphant. The scene same as II. and III. Cinderella is standing before the arm-chair, dressed as in Scene II., without the veil. At her feet the Prince is kneeling, kissing her hand, while she looks down smilingly upon him. All the others stand in attitudes of astonishment. The King and Queen have risen, and hold up their hands, the step-mother and sisters hids their faces, 102 FAIRY TALE TABLEAUX. and the guests all stand in surprise. The fairy god-mother is standing upon the arm-chair waving her crutch over the Prince and Cinderella. TABLEAUX FEOM " BEAUTY AND THE BEAST." Scene I. Represents the father of Beauty starting upon his journey. The scene is the kitchen of a farm-house. In the centre of the stage stands the old merchant, dressed for travel, and embracing Beauty. Beauty wears a plain, poor dress, very neat, and has a sweet, fair face. The sisters stand right of background, dressed in old shabby finery. One is looking delighted, as if anticipating the wealth she hopes for, the other curls her lip scornfully, looking at her father embracing Beauty. Scene II. represents the merchant taking the rose. As a garden scene is difficult to arrange, a flower-stand placed in a room will do as well. In the centre of the room stands a table spread for supper. The flower-stand is right of foreground, and upon it are pots of roses in bloom. In centre of foreground the merchant is kneeling, his hands clasped and raised up, imploring pity. In his grasp is a large red rose. Standing before the merchant (both have profile to audience) is the Beast. The boy who takes this part must wear a complete bear's skin (a suit can easily be hired at a costumer's, or it may be made of shag cloth, the head composed of paste-board, covered with shag cloth, with a huge red mouth, long tongue, and large glass eyes), and carry an immense club. He is raising his club with' both hands over the kneeling merchant. Scene III. represents Beauty and the Beast at supper. The scene is the same as scene second. At the table are seated Beauty and the Beast, opposite each other, and pro- file to audience. Beauty is dressed in a magnificent evening costume, with jewels and flowers. The Beast is offering her a dish, which she waves away with one hand. Scene IY. represents Beauty's vision. The room is the same TABLEAUX FROM a THE SLEEPING BEAUTY." 103 as in Scenes II. and III., the background being concealed by a curtain. In the foreground stands the Beast, pointing to the curtain. Beauty seated left of foreground looks . at the curtain. Slowly, to music, the curtain is raised. Behind it is seen a sofa upon which lies the merchant, his eyes closed, as if dying. Beside him kneels one of the sisters, and be- hind the sofa, facing audience, the other sisters stand up ; one brother stands beside her, holding. her as she is weeping on his breast ; the other two brothers stand at foot of sofa looking at the merchant. Scene V. represents the return of Beauty to the Beast. The scene is the same as II. and III., the curtain being re., moved. In the centre of the stage the Beast lies on the ground as if dying. Behind him, kneeling, facing audience, is Beauty, bending, weeping over him. Drop the curtain tp raise it instantly again, for. Scene VI., representing the transformation. Have ready the boy who takes the part of the Prince, a handsome lad in a rich dress. Beauty stands centre of stage, while at her feet kneels the Prince. Beside them on the ground lies a bear-skin. If the curtain is raised quickly, the change of performers and position being made rapidly, the effect of these tableaux is very striking. THE SLEEPING BEAUTY. Scene I. represents the fairies bestowing their gifts upon the infant Princess. Centre of background is a raised throne, upon which are seated the King and Queen wear- ing fur-trimmed mantles and golden crowns. Punning lengthwise of the stage is a table, upon which are fruit, cakes and wine. Six plates of gold, and one of silver, six gold cups and one silver one, stand upon the table. Right of foreground is a cradle, with a baby in it. Pound this are clustered five fairies dressed in white, spangled with gold, with white wreaths and star-tipped wands. Left of fore- ground stands an old fairy, dressed in scarlet and black, 104 FAIKY TALE TABLEAUX. carrying a wand round which two snakes are twisted, and wearing a scarlet and black crown. She seems angry, and points the snake wand at the cradle. The five fairies hold each one arm over the baby, while the other is extended to the angry fairy, as if to avert her displeasure. The King and Queen are leaning forward with clasped hands and im- ploring faces. Behind the throne, just coming forward, is a little fairy in light blue, with silver spangles and a wand tipped with a silver star. Scene II. represents the enchantment. The scene is an attic. Centre of background stands a spinning-wheel, before which is seated the angry fairy, dressed as an old woman, in a white cap and brown cloak. She has one hand upon the spinning-wheel, with the other one points mockingly to the Princess, while her face expresses malignant pleasure. The Princess, dressed in white satin trimmed with gold, a gold coronet, and jewels on her neck and arms, lies in a chair, right of foreground, profile to audience, as if she had just fallen senseless. In one hand she holds the distaff, as if it was piercing the palm, while the other hand hangs over the arm of the chair. Scene III. represents the wakening. The scene is a richly furnished room. Centre of background is a couch covered with white. The Princess, dressed as in Scene II., is reclin- ing upon this, facing audience, her head upon her hand, the elbow of her arm resting upon the couch. The other arm encircles the neck of the Prince, who kneels, profile to audi- ence, facing the Princess. He is dressed in crimson velvet, slashed, with white satin let in, a crimson cap with a white plume lies on the floor at his side. His eyes look lovingly into those of the Princess, one arm thrown around her, while the other hand raises a tress of her hair to his lips, Left of foreground, the King and Queen are just entering the room, rubbing their eyes as if just wakening from a nap. Bight of foreground, the six good fairies are coming in, while right of background, just hobbling off, is the bad fairy, ' dressed as in Scene I. LITTLE BED IilDINGHOOD. 105 LITTLE BED BIDINGHOOD. Scene I. represents the mother dressing Little Bed Biding- hood for her visit to her grandmother. The scene is the kitchen of a farm-house. Centre of room stands a table, upon which ar,e a covered basket and a small earthen jar. In front of the table is an arm-chair, in which is seated the mother, profile to audience. She is dressed in a dark stuff gown, looped over a gay petticoat, buckled shoes, clocked stockings, a plaid kerchief pinned over her breast, and a high white muslin cap. She is fastening the cloak upon Little Bed Bid- inghood, who stands facing her. The child's dress is entirely covered with a long scarlet cloak, the hood of which i3 drawn up over her hair. Scene II. represents the meeting with the wolf. Here the boys must exercise their ingenuity till one of them is trans- formed into a famous wolf. A complete skin may be ob- tained at a costumer's, but if that is not feasible, a paste- board head can be painted, and a shaggy coat made of muslin covered with worsted, or a stuffed dog can have a wolf's head fastened upon it. The scene is a field, and the wolf and Little Bed Bidinghood stand, she facing, he pro- file to audience, in the centre. The child looks down, as if talking to the wolf. Scene III. represents the wolf about to devour Little Bed Bidinghood. The scene is a bed-room. Centre of background is a bed, from which the wolf in a night-cap and night- gown is looking over the edge, and reaching out his arm to hold the child, who is just trying to escape. She is dressed in a long white night-gown, and is kneeling on the floor, profile to audience, her hands raised and clasped and looking up at the wolf. Upon a chair at the foot of the bed, are her scarlet cloak, dress, and shoes and stockings, and on a table, right of foreground, arc the basket and jar. 106 TABLEAUX VIVANTS, TABLEAUX VIVANTS. The following Tableaux, together with some excellent preliminary remarks and directions for the effective repre- sentation of Tableaux in general, are adapted from " The Sociable ; or, 1001 Home Amusements." The main points to be observed in getting up a tableau, are just the same as in painting a picture. Light and shade, color and tone, are the means by which all pictorial effects are produced on the stage or on the canvas, and he who best understands their employment, is the best artist. Without doubt, the best place for the arrangement of tableaux, is a parlor, separated from the audience by folding-doors. It is impossible to give any fixed rules which will apply to ail tableaux, as the effects required for different subjects are totally different. But a few general directions may not be amiss, as they will be found of frequent service, and will suggest many more. The costuming of the performers will be one of the most important features, and will depend en- tirely upon their taste and resources. A most important part of dramatic preparation is what is technically termed the " making up " of the characters, and one which requires some practice and observation. This is the painting and shading of faces, the adaptation of wigs, etc., to make the young look old, the plump lean, etc. For the " making up " of any variety of different faces, a box of good water-colors, a little fine chalk, some camel's- I hair pencils, and dry rouge, are wanted. If a comical ex- pression is required, mix a reddish brown tint with the wa- ter-colors, stand before a mirror, assume the desired " broad grin," and trace the wrinkles produced with a fine brush of the brown tint. This will fix the line which your face requires, to give it the expression, much more naturally than you could do it by following any of the rules current TABLEAUX VIVANTS. 107 among artists. The saine may be done with frowns, smirks, simpers, scowls, and all other marked* contortions of fea- ture. Rouge should be applied with the forefinger — a much better implement than the traditional hare's-foot — and should be softly graded off upon the cheek. Chalk should be very sx)aringly used. Burnt cork is very effective for black eyes, or for representing leanness, by applying a very faint tint underneath the eyes, on the sides of the cheeks and under the lower lip. A strong mark running from the corner of the nose down to ward's the corner of the mouth, on each side, is a good sign of age or emaciation, but these points are best learned by observing different faces. Mous- taches and beards, when slight, should be made with India- ink and a fine pencil. A few sets of false ones, of real hair, however, as also a few wigs of various colors and patterns, will be found a great addition to the wardrobe. In the tableau of the " Drunkard's Home," in this work, there is great scope for the art of " making up," and a good effect may be produced on the faces and arms of the women and children, by deepening the shadows with cork, or India-ink, and heightening the prominent features with chalk. For the man, a flushed color, with a few purplish spots on the cheeks and nose, will be appropriate, The colors of garments used in tableaux are much more to be considered than in dramatic representations, as much of the beauty of the picture depends upon a harmonious and pleasing distribution of tints. As a general rule, the lightest colored figures should be kept in the background, to relieve the darker ones. A strong "bit of color," such as a scarlet shawl, or military coat, gracefully disposed in the middle ground, between the nearest and farthest figures, will have a good effect in many scenes, whether worn by some char- acter, or thrown over a piece of furniture. At the same time, great care should be taken to avoid the common and vulgar error of combining too many gay colors. Indeed, the two great reasons of the want of artistic effect in tub- 103 TABLEAUX VI V ANTS. leaux, as commonly arranged, are first, too much light, and second, too much color. In. almost every tableau where -more than three figures appear, one at least should be in shadow, relieved by something light behind. The following diagram will show how the shadow may be gained : B. LIGHT. 2 4 1 STAGE. h 3 CO Q w H W * li LIGHT. 7 6 fed II * FRONT. Suppose the figures 1, 2, 3, 4, 5, 6, 7, to represent the per- formers. The two lights, indicated thus *., illuminate the back of the stage, forming a light background. Figure 1 will then be in range of both lights ; figure 2 will be par- tially shaded by figure 5 ; figure 3 will be partially shaded by the rear screen ; figures 4 and 5 will be in full light ; fig- ure 6 in the deep shadow from both screens, and figure 7 dimly illuminated by the rear light only. Here we have a different degree of light for almost every character, and the effect will be found a charming one. Foot-lights should hardly ever be used in arranging tableaux, as they give shadows exactly the opposite of picturesque. The lights should be brilliant,««placed high up, and few in number. A good effect may sometimes be got by cross lights, but, gen- erally, it is best to have them all on one side of the stage. Colored lights are capable of being used with very happy results, and it is by no means a difficult matter to produce TABLEAUX VXVANTS. 109 tliem, eii}her by colored fires, such as are used at the theatres, or by filling globes with colored liquids, and placing them in front of the lamps, like those we see in the windows of the chemists' shops, Heel fire, which is beautiful for light- ing up the finale of the scene, especially where the subject is heroic, national, or martial, may be made from the follow- ing receipt (care being taken to follow the proportions) : Five ounces nitrate of strontia (dry) ; one-and-a-half ounces finely-powdered sulphur ; take five drams chlorate of potash, and four drams sulphuret of antimony, and pow- der them separately in a mortar ; then mix them on paper, and having mixed the other ingredients (previously pow- dered), add these last, and rub the whole together on paper. ' For use, mix a little spirits of wine with the powder, and burn in a flat iron pan or plate. A beautiful green fire, forming a fine contrast to the for- mer, may be made by powdering finely and mixing well thirteen parts flour of sulphur, five parts oxymuriate of potassa, two parts metallic arsenic, and three parts pulverized charcoal. Then take seventy-seven parts nitrate of baryta, dry it carefully, powder it, and mix the whole thoroughly. A polished reflector, fitted on one side of the pan in which this is burned, will concentrate the light, and cast a brilliant green lustre on the figures. A bluish-green fire may be produced by burning muriate of copper, finely powdered and mixed with spirits of wine, and several other colors can be obtained by a little study of chemistry ; but the smoke and smell of these preparations render* them less pleasant for the drawing-room than the globes filled with colored liquids. Where a window opens from the side of the stage, the fire might be burned outside, or even in a hall, where a door could be opened. Generally, however, the other plan will be found the neatest and sim- plest. Sulphate of copper, dissolved in water (after having been heated and pulverized), will give a beautiful blue liquid. The common red cabbage, or litmus, so well known in chemistry, will give three different colors, thus : 110 TABLEAUX V1VANTS. Slice the litmus thin, and pour boiling water on it. De- cant the infusion, when cold, and add a small quantity of alum dissolved in water, which will give a clear rich purple. If potash dissolved in water be used instead of alum, the water will assume a brilliant green tint. A fine crimson may be got by a few drops of muriatic acid, instead of alum or potash. For ghostly scenes, where a sepulchral unearthly effect is desired, the following may be tried, and if properly man- aged, will astonish even the performers themselves : 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 ignite, the other lights in the room should be extinguished, and that of the spirit-lamp shaded in some way. The result will be that the whole group — faces, dresses, and all — will be of one dingy yellow tint, no matter how bright their cos- tumes or how rosy their cheeks may be. Another great accessory to the tableau, but one which cannot always be had, is thin gauze, or common mosquito netting — in fact, any stuff which can be seen through — to interpose between the audience and the scene. Several cur- tains of this, made to let down from rollers, one after another, will give a beautiful, misty, vanishing appearance ; and if enough be unrolled, the tableau appears to vanish entirely, allowing room for a change of scene, if desired. This gauze should be carefully managed, as the disclosure of a ragged edge would dispel all the illusion. Many scenes should have one thickness before them at first, to prevent too startling dis- tinctness ; and some may be concealed entirely by the gauze, which is gradually rolled up, until the tableau becomes visible. These varieties of effect, however, depend on the subjects, and the taste of those who arrange them. A number of almost supernatural effects may be procured by the aid of a magic latern ; and that instrument will bo found quite invaluable to the. amateur theatrical company. THE gambler's warning. Ill Its use, in getting up tableaux or scenes containing ghosts, dreams, or fancies of any kind, is very great. These, with a few screens for shading certain figures, are about all the appurtenances required for arranging excel- lent tableaux which are at all dirncult to procure. The ma- terials for all else may be found in almost any house, either in the city or country. The tableaux which follow are in- tended more to suggest how such things are to be done than as models. After two or three of them have been got up, careful attention having been paid to the directions, it will be an easy matter to invent new ones. The great require- ment on the part of the performers is, of course, to remain perfectly still — a fea% which may be acquired to a wonderful degree by practising before a mirror. Where a large group is to hepoted, there is often a tendency to laugh — why, it is hard to say ; but this may be overcome by frequent re- hearsals. In tact, none but the very simplest tableaux should be produced without three rehearsals at least, and many require half-a-dozen. We need scarcely add, that appropriate music on the piano- forte, harp, or other instrument, will add much to the effect of any tableaux. THE GAMBLER'S WAENIMG. At right centre of stage is a table covered with green baize, around which six or seven men are sitting, playing at cards. At the back of stage is a sideboard with decanter and glasses. A negro in a white jacket is standing at side- board, pouring some liquor into a tumbler ; near him, and leaning against the sideboard, in an easy attitude, is one of the gamblers. On the left of stage some gauze should be stretched across diagonally, behind which is the figure of a woman, with one arm laid across her breast, and the other pointing upward. All the figures at the table are intently watching the cards, with one exception ; he is standing 112 TABLEAUX VIVANTS. erect, with an expression, of wonderment and terror upon his face, and is looking at figure behind gauze. His left hand is resting upon the table ; the right is outstretched, holding a card ; two cards are upon the iloor, as though they had just fallen from his hand. POSITION OF CHARACTERS IX TABLEAU. STAGE. E. a 2 ^\ \4 1 6 7 1 FRONT OF STAGE. 1 . The table at which the gamblers are sitting. 2. The sideboard. 3. Gauze stretched across stage. 4. Figure behind gauze. 5. The figure standing erect. 6. The negro. 7. Man leaning against sideboard. In this tableau the right of stage should be in full light ; the left in shadow. A strong soft light should be thrown upon the figure behind gauze, which can be made by letting the light shine through a globe of clear water. After a few moments, a good effect could be obtained by letting a blue light fall upon character on left, and a red one upon the gamblers. It can easily be done by using colored water in the globes. The figure behind gauze should be attired in a white robe, looking very pale, with a sorrowful expression upon her face. The gamblers should be well, but showily dressed, with heavy moustaches, otherwise cleanly shaved. The figure standing at the table should be neatly dressed, and wearin no beard or moustache. g CAGLIOSTRIO'S MAGIC MIRROR. 113 CAGLIOSTEO'S MAGIC MIEEOE. This tableau illustrates the tradition of the Magic Mir- ror possessed by Count Cagliostro, a so-called magician, who lived some 'me during the seventeenth century. In the present scene, he is supposed to be showing a young courtier the image of his lady-love, who is deceased. A large frame should be set up in the rear of the stage, centre, with a large volume open before it. A lamp, one of curious form, if such can be got, stands just behind the vol- ume, and across the open pages of the latter a naked sword is laid. If a human skull can be had, that also may be placed on the. book. On the left of frame, in shadow, stands Count Cagliostro, pointing towards the vision. On the right, the young no- bleman stands in an attitude of fear and wonder. The vision is in the centre of the frame, standing just back from it, and is represented by a young girl, extremely pale, in a long, sweeping, white robe, with her hands crossed upon her bosom, and her eyes turned upwards. One or two thicknesses of gauze should be stretched over the frame, and the vision illuminated by two lights, placed one on each side, behind, and concealed by the frame. If curtains can be attached to the latter, so as to prevent the light of these lamps from falling on anything but the girl, the effect will be beautiful. The costume of the Count should be a small black cap, with a single drooping black feather, a long black cloak or robe, with a lace collar turned over it, and ruffles about his wrists ; black stockings and knee-breeches, pumps with large buckles, and a small sword, complete the dress. His face should be rather pale, with a black moustache and heavy black eyebrows. His expression should be solemn, and a little scornful. The young courtier should have a somewhat rich dress. A dark coat, with gold lace on the cuffs, collar, and lappels ; 114 TABLEAUX VIVANTS. light-colored knee-breeches, white stockings, pumps with rosettes, a dress sword, lace collar and wristbands, and (if possible) a powdered court wig. He may have a slight moustache and imperial, but should appear much younger than Cagliostro, and should stand more in the light. Direc- tions for producing these occasional lights and shades will be found in the introduction. E 5 | 1 6 S 2 4 PHONT OE STAGE. 1. A large table, upon which the girl who represents the vision, is to stand. Upon its front edge the frame is to be rested. 2. Small stand, covered with dark cloth, supporting book, lamp, sword, etc. . Cagliostro. 4. Courtier. 5, 6. Curtains stretched from the side of the frame, to conceal. the lamps which light up the vision. The frame may easily be made of narrow boards, roughly nailed together, and covered with black velvet, neatly tacked on. )ra, etc. e lamps THE BUEGLAEY. Unlike the above, this scene owes its charm chiefly to the picturesqueness of its effects. The scene is a chamber, with a bed, right, in which a man is sleeping. Another, roughly dressed and closely muffled up, with a hat slouched over his eyes, stands over the sleeper, with a knife raised above him. The robber should be " made up " in the most repulsive manner possible — his face slightly smutted with THE BURGLARY. 115 burnt cork, a black patch, over one eye, a red handkerchief loosely knotted about his neck, and his whole appearance that of a scoundrel of the lowest class. (See Introduction.) In the centre, another burglar is kneeling on one knee in front of a trunk, taking from it a variety of articles, some of which are scattered about him. Among these, some pieces of plate, jewelry, and ornaments of procelain or metal, with some blue, green, crimson, or other gay stuffs, will give brilliancy to the scene, and should be illuminated by a dark- lantern in the hand of the burglar who is examining them. A centre-bit, chisel, and pistols, should lie near him, and he should be made up similarly to the first. The chamber should contain a bureau, dressing-case, etc. ; and a looking- glass may be so placed at back of stage as to reflect one of the burglars with good effect. 2 a 4 1 4. 3 - FRONT OF STAGE. 1. Bed, with man asleep. 3. Trunk, •with articles scattered about. 2. Burglar with knife. 4. Burglar with lantern. The light on the stage should be very dim, and unless the stage be very large, that of the lantern will be sufficient. The burglar at the bed should shade the sleeper, and be only in a half-light himself. The one at the chest should have his face in full light, and great care should be taken in making him up. For low or villainous characters, an addi- 116 TABLEAUX YIVANTS. tional ghastliness may be produced by showing no white of shirt or collar, having simply a black or colored handker- chief around the throat. A black cloth tied around the head, and under the chin, gives a peculiarly horrible effect. ■ Of course, the sleeper's clothing should be hung upon a chair near the bed, and other appointments arranged about the stage to give an air of naturalness. A single thickness of gauze in front of the scene will add to its gloomy air. MISCHIEF IN SCHOOL. For this tableau the stage should be furnished with desks, benches, etc., to resemble a school as nearly as possible. A black-board is hung at the back of the stage, in centre, and E. 2 1 3 C. 5 4 10 8 9 11 12 7 6 i FRONT OF STAGE. 1. Boy at black-board. 8, 9, 10. Boys playing marbles. 2, 3, 4, 5. Boys looking" on. 11. Boys scuffling. 6. Boy at desk, pretending to study. 12. Door, with master entering. 7. Table, with boy in dunce's cap. a boy stands on a stool before it, sketching a ridiculous caricature of the master. Three or four others stand around him, in school-boy position, watching the progress of the THE ARMY AND NAVY. 117 drawing. A desk is placed at right of stage, at which a boy- sits, pretending to study, but with his eye fixed on the door, left, where the master is seen entering with a long rod in his hand, and a grim smile on his face. Two boys are in the act of scuffling at the left of stage, concealed from the mas- ter by the door. Another stands on a table, near the desk, right, with the dunce's cap on his head. Three others are playing marbles near the group, centre. The diagram on page 116 will explain the positions. Some of the boys may be eating apples, cakes, etc., and a variety of books, maps, inkstands, rulers, and other school- furniture should be scattered about here and there. As the interest of the scene depends entirely upon the surprise, but little attention need be paid to the effects of light and shade, etc., the main object being to have all the groups in plain sight, and naturally arranged. THE AEMY AND NAVY. In the centre of stage the Goddess of Liberty is sitting, resting upon her shield, and holding in her hand a pole, on POSITION OF CHARACTERS IN TABLEAU. STAGE. FRONT OF STAGE. 1. Goddess of Liberty. 2. The Sailor. 3. The Soldier. the top of which is the Phrygian cap. On left centre of 118 TABLEAUX VIVANTS. stage, a sailor is standing with the American flag in his hand. On the right centre a soldier is standing, also with a banner in his hand. The flags are crossed, and their faces are turned towards audience. In this tableau as much light should be thrown upon the stage as possible. The Goddess of Liberty should have bare arms, and be arrayed in a loose, flowing, white garment. The shield of Liberty can easily be made out of cardboard, with the assistance of some blue and red paint. The liberty cap can also be made in the same way. With regard to the soldier and sailor, we presume that all our readers will be enabled to costume them without our assistance. Just be- fore the curtain descends, a good effect can be produced by igniting some red fire on each side of stage. > THE DHUNKAKD'S HOME. A dilapidated room, with an empty grate, and an empty saucepan lying on its side, so that the audience can see the interior. In one corner of the room (L.) a bed of straw, POSITION OF CHARACTERS IN TABLEAU. STAGE. FRONT OF STAGE. 1. The bed of straw, upon which the children are lying. 2. The wife. 3. The drunkard. upon which two children are lying. The elder, a girl, is supporting the younger, a boy, and is leaning over him, as though she were trying to soothe him and keep him quiet. SIGNING THE PLEDGE. 119 A mother is sitting upon a stool (E. C), holding a baby- closely to her breast, with an old worn-out shawl wrapped around it. On the right, the drunkard is stretched upon the ground, insensible from drink. His clothes are torn and muddy ; by his side is an old and battered hat ; in his hand is an empty bottle, which he still clutches firmly. The wife is gazing upon the husband, with a look of mingled love and sorrow. Everything is to denote, as much as possible, misery and want. The woman to have hollow eyes and sunken cheeks. The children upon the straw are to have bare arms, and to be " made up," so as to appear wretchedly thin and emaci- ated. (See instructions for making up, page 105.) To heighten the effect of this tableau, some fine gauze might be stretched across the stage, so as to give everything a dim and cheerless appearance. In using gauze, care should be taken that the whole front of the stage be carefully cov- ered, so as not to mar the effect by having a stronger light at the bottom, sides, or top, than in the centre. Instructions are given in the introduction to tableaux page 110, how the gauze can be fixed. SIGNING THE PLEDGE. The same room as in the Drunkard's Home. In the centre of the stage is a stool. The drunkard is kneeling upon one knee, with his face towards the audience. He has a pen in his hand, and is signing his name to a paper that is upon ! the stool. His eldest daughter is looking timidly over his right shoulder, with her left hand resting upon him. On the right of the drunkard is the temperance advocate ; he has an ink-horn in his hand, and is looking down, smiling benignantly, upon the signer. At the left of centre the wife is kneeling down; on one arm she holds her babe, while ' the other is uplifted toward heaven. Her face is upturned also, with an expression of gratitude and happiness upon it. The boy has hold of his mother's skirt, and is looking at her with wondering eyes. 120 TABLEAUX VI V ANTS. POSITION OF CHARACTERS IK TABLEAU. STAGE. 2 1 3 • 5 4 K. FRONT OF STAGE. 1. The drunkard signing pledge. 4. The mother with her babe. 2. The daughter. 5. The little boy. 3. The temperance advocate. Instead of dropping curtain, for the last tableau, " Drunk- ard's Home," some gauze might be let down, gradually in- creasing in thickness, till it completely shuts out the tableau from audience. "Signing the Pledge" might then be ar- ranged, which must be done quickly, but noiselessly ; then clear away all the gauze, and have a subdued light fall upon the whole group. A good soft light can be obtained by let- ting the gas, or lamp, shine through glass globes, containing water. The globes, such as are seen in chemist's shop- win- dows, can easily be obtained at any druggist's fixture store, at a small cost. The above tableau, if arranged and con- ducted properly, will have a very pleasing and telling result. THE TEMPERANCE HOME. A ROOM comfortably, but meanly furnished, with a square piece of drugget in centre of stage. A deal table is placed on the middle of carpet, upon which are laid some tea-things, as though supper was about to be served. At left of stage, the husband is standing, with his hat on, and a basket of tools at his back, as though he had just come in from work. The boy is clutching him round the leg, and looking up into his face. The girl is sitting on a chair (R.), nursing the baby, and is looking towards her father with a smile of wel- THE DUEL. 121 come. "The wife is standing by a chair, as though she had just risen from it, with her body inclined toward her hus- band, one hand is extended and in the other she holds some needle-work. POSITION 02T CHARACTERS IK TABLEAU. STAGE. 4 a 5 ji E. 2 ERONT OF STAGE. 1. A .piece of drug-get. 4. The wife. 2. A deal table. 5. The daughter, with baby. 3. The husband, with boy clinging to his leg. In this tableau as much light should be thrown upon the stage as possible, so as to give the whole chamber a com- fortable and pleasant appearance. We presume we need not tell the performers in this tab- leau, that all the figures should be economically but neatly dressed ; so as to make the illusion greater to the audience, with regard to its being the home of a mechanic. THE DUEL. At the back of stage five or six chairs are piled one on top of another. Also at back of stage (L.), a table, upon which are some bottles and glasses ; under table a pack of cards is scattered. On the left of stage, one of the duellists stands, in shirt-sleeves, looking toward left at his opponent, with a 122 TABLEAUX VIVANTS. grim smile upon his countenance. He is wiping his sword with a handkerchief, that he holds in his left hand. His second has his right hand resting upon the duellist's left arm, looking at him with an anxious face, and is pointing off with his left hand, as if advising him to fly. On the right of stage, a wounded man is lying, in his shirt-sleeves, with his head and shoulders supported by his second, who is in a kneeling position, and looking at the injured man with a terrified expression. By the side of the fallen man is a doctor, examining the wound with professional calmness. On the backs of some of the chairs, the coats, vests, neck- ties, etc., are carelessly thrown. In the centre of stage is a sword lying upon the floor. POSITION OF CHARAGTERS IN TABLEAU. STAGE. R. 1 7 6 5 C. 3 8 4 FRONT OF STAGE. 1. Chairs. 5. The wounded man. 2. Table. 6. His second. 3. The duellist wiping his sword. 7. The doctor. 4. His second. 8. sword. In this tableau the lights should be softened as much as possible. A fine gauze stretched across stage would add much to the appearance of this tableau. The wounded man LOYE AND JEALOUSY. 123 is to be "made up " so as to appear extremely pale and ghastly. To heighten the effect, a few drops of blood can be seen upon his shirt, which can be easily represented by a little crimson lake being smeared upon a piece of rag, and pinned upon it. LOYE AND JEALOUSY. To the right centre of stage, a cavalier, dressed in a slashed doublet and jacket, trunk hose, low shoes, with large pink rosettes, and a velvet cap and feather. At his side hangs a rapier. A guitar, upon which he is playing, is suspended from his neck with a blue ribbon. The cavalier wears a small moustache, and carries himself jauntily. To the left centre of stage, a man, enveloped 'fh a dark cloak, lined with red, creeping stealthily towards the cavalier. In his right hand is a poniard. A slouched hat, with feather, is to be pulled down over "his brow, and a heavy beard and moustache is to be worn ; also black stockings and low shoes. "With his left arm he is holding the cloak to his face, as though trying to disguise his features. POSITION OF CHARACTERS IN TABLEAU. STAGE. FBONT OF STAGE 1. The cavalier. 2. The man with poniard. Stage to be rather dark. The cavalier to be in full light, with his back turned toward assassin, who is to be in deep shadow. 124 TABLEAUX VI V ANTS. THE MUSIC LESSON. The stage for this tableau is arranged like a lady's bou- doir, with the usual complement of birds, cages, flower-pots, toilet appurtenances, drawing and embroidery materials, etc. A sofa is set in the centre, a little back, and a folding screen placed zigzag just behind it. On the sofa a young lady is seated, holding a guitar listlessly in her left hand, while a gentleman, kneeling gracefully before her, is kissing her right. He should be so placed, however, as to show his pro- file to the audience, as it is in bad taste ever to turn the back directly towards the front of the stage. Over the top of the screen, immediately behind the young couple, is seen the head of another man — the father or guardian of the lady — intently regarding her with an expression of comical horrcj; and sur- prise. STAGE. E. 1 ■ - ' [~ 2 i 3 C. FRONT OF STAGE. 1. The guardian, behind the screen. 2. The sofa, with the young lady. 3. The gentleman, kneeling. Some sheet music should be carelessly scattered about the floor and sofa, with the hat and gloves of the gallant teacher of music. The young lady should be in an easy, elegant position, with her face a little averted, but her eyes turned toward her suitor. A little rouge may be effectively used upon her cheeks, for producing the blush which is supposed to be natural to such occasions. The face of the guardian should be carefully " made up " with reference to age and THE SEASONS. 125 expression, with, eyebrows strongly arched, wrinkles, a fero- cious moustache, curled up at the ends, etc. If conveniences can be had for getting up picturesque and elegant costumes, the suitor may be dressed as a cavalier, with doublet, belt, lace collar and cuffs, knee-breeches and stockings, and a rapier. His hat should then be a wide- brimmed black felt, caught up on the left side with a buckle and feather, and his gloves should be riding gauntlets. The lady should also have a dress in accordance with the styles of the middle ages, which may be learned by consulting the French prints representing similar scenes, and her hair should be drawn straight back from her forehead, and powdered. A large white ruffle around the guardian's neck will be in keeping, and add to the ludicrousness of his appearance. If, however, the resources of the parlor theatrical troupe are limited, the costume of the day may. be used. In arranging the light, care should be taken to have the guardian's face in half-shade, and the strongest light upon the lady. Some heavy, dark curtains may be hung at the sides of the stage, to bring out the colors of the sofa, the lady's dress, etc., and the ornaments and toilet articles should be strewn about with an easy graceful negligence. THE SEASONS. Spring, Summer, Autumn, and "Winter, represented by female figures, will, always form a popular and graceful pic- ture. This has been already successfully performed in the fol- lowing manner : Three platforms are raised on the stage, each a little higher than the one in front of it, like the broad steps of a staircase receding from the audience. Spring is a little child dressed in green, of a light but bril- liant tint (the new Malachite shade is best adapted for this). She is holding in her hands a basket filled to overflowing with beautiful spring flowers, some of which are also lying at her feet. She stands in front of the stage nearest the 126 TABLEAUX VIVANTS. spectators. A single thickness of gauze is* run across in front of the first platform, on which stands Summer, a young girl just verging on womanhood. She is holding an apron of summer fruits mingled with flowers. Her dress is white, but trimmed with roses and green leaves, with which she is also crowned. Another thickness of gauze is stretched behind her, just in front of the platform on which Autumn stands. STAGE. E. 1 K . n 2 3 u I 4 i FRONT OF STAGE. 1. The first and highest platform, with Winter. 2. The second, supporting Autumn. 3. The third, for Summer. 4. The figure of Spring. 5, 5. The first gauze. 6, 6. The second gauze. 7, 7. The third gauze. Autumn, a smiling matron, in a dress of crimson, crowned with corn and poppies. A long branch of the vine, laden with grapes, is thrown across her shoulder, and in her arms she holds a cornucopia filled with fruits and flowers, a sickle and sheaf of grain are at her side. Winter stands on the farthest platform. This may be rep- resented by a man, who must, however, be made up like an old crone, with a wrinkled and sallow face. Her bent and stooping form is heavily draped in a robe of dark brown or gray woolen stuff. On one shoulder she bears a faggot of dry sticks, and in her hand an axe. Her brown garment should, over her shoulders (and also on her head), be pow- dered with masses of flour to imitate snow, and to complete THE BRIGAND'S FAMILY. 127 the representation, pieces of small glass tubing may bo at- tached to the edges and sides of her robe to imitate icicles. The gauze screens will shade the figures sufficiently, with- out any different degrees of light being thrown upon them. THE MUSICIANS. A PARTY of young and old people are practising singing in parts by candlelight. They are standing round a small table, on which is a single candle. In this tableau all other lights but this solitary candle should be extinguished, as the whole effect produced arises from the shadows thrown on the faces by their being placed so much higher than the light. For this purpose also a tallow candle is best. The singers should be dressed after the costumes met with in the old Dutch pictures. The hair of the women drawn tightly back under a close stuff cap. The men in dark cloth clothes. Every one should assume some slightly different position, but the mouths of all should be opened as if in the act of sing- ing. This scene, which, if well executed, will recall some of the favorite pictures of the old Dutch school, is more par- ticularly effective if it succeeds a tableau, in which brilliant colors and much light is introduced. THE BBIGAND'S FAMILY. An Italian peasant woman is seated on a large piece of rock, busily examining some jewels taken from a traveller's box beside her. At the moment of the tableau she is holding up to the admiration of her husband, who is standing lean- ing on his gun at some little way off, a long and costly string of pearls ; a little child leaning against her lap, with its full face to the spectators, is playing with some more beads lying on her lap. The woman's face is nearly in profile to the audience. She is dressed in the Neapolitan costume. The white square-folded head-dress, her long black hair drawn off he^face, and dressed in heavy plaits at the back of her 128 TABLEAUX VIVANTS. head, and stuck into these a showy round gold pin. Her . skirt is of blue, bound and trimmed with scarlet ; her bodice scarlet ; to this she wears no sleeves ; a band of black over the shoulder fully displaying her large white chemise sleeve ; her feet are bare, as are also the little child's, who wears but one short linen garment. The brigand himself is dressed in the full costume of the Calabrian peasant — a high peaked hat, bound round the crown with colored ribbon, and a flower stuck jauntily.cn one side of it ; a short jacket worn over a loose shirt, tight pantaloons reaching only a little below the knee, leather gaiters cut off at the ankle, and sandals. Two other brigands, one of them a youngster of eighteen, the other somewhat older, are lying in careless attitudes on the ground ; near them is a pack of cards, with which they have been playing. This scene should be well lighted, as it is supposed to be daylight — the bright daylight of an Italian sun. The same characters may also, with some variations of position, be represented in a second tableau as watching and listening for travellers, lighted up only by a red fire burnt in front of the stage. THE WITCHES IN MACBETH. TABLEAU IN THREE DIVISIONS OR PERIODS. PART I. — The curtain draws up and reveals three witches, each pointing with the forefinger and bared and skinny arms to the cauldron, round which fire is burning and flames springing up. The witches should be dressed in long black dresses, very high peaked hats, and long staffs in their hands. These parts are better performed by men, as they require marked and prominent features, or else long false noses must be worn. Part II. — Hecate and three other witches appear in the background, all pointing with the forefinger to the three first witches. Hecate and the three newly-arrived witches being dressed in long red-brown dresses. Part III. — The witches and Hecate all take hands, and SONG OF THE BELL. 129 group in fantastic and wild attitudes round the cauldron as if in the act of dancing. Between each of these parts the curtain falls and rises, so as to reveal the groups of witches in three various attitudes. Thunder should be imitated, as well as the shrieks of the night-owl, the mewing of cats, &q.j outside the scenes. The overture from the opera of Der Freischutz is appropriate music for this tableau. Yery little light, except what is produced by the names round the caul- dron, is needed. To make the fire, dissolve crystals of nitrate of copper in spirits of wine. Light the solution and it will burn with a beautiful emerald name. To imitate thunder, hold a large sheet of Russian iron at one end and commence shaking it very slowly. It will give out a low rumbling sound which can gradually be 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 it is necessary. A SERIES OF TABLEAUX VIVANTS, ILLUSTRAT- ING SCHILLER'S " SONG OF THE BELL. r In the early part of the year 1852 an extensive fire broke out in the town of Trauenstein, in Bavaria. Its effects were most disastrous, spreading rapidly among the wood-built houses, until nearly half the town was consumed, and its unfortunate inhabitants left exposed to all the inclemencies of a tardy Bavarin spring, without clothes or shelter. As soon as the news of the calamity reached the capital, the King of Bavaria and many of the principal nobility and gentlemen of Munich started for the scene of suffering, and by the prompt distribution of money, food, and raiment, did all that could be done at the moment to alleviate the distress of so many homeless beings. The king himself saved, by his judicious orders on the spot, the remainder of the town, causing houses to be razed in the quarters the fire seemed most likely to spread in, and by his calm and collected pres- ence inciting the panic-stricken inhabitants to fresh exer- 130 TABLEAUX VIVANTS. tions. The wealthy and compassionate in Munich hastened to forward their subscriptions and contributions. Extensive, however, as these were, the king on his return pronounced them still inadequate, und he, with the queen, united in calling on the ladies and gentlemen of his court — at that moment celebrating the carnival in Munich — to turn their talents, and even their amusements, to good account for the unhappy sufferers at Trauenstein. After some little deliber- ation, it was determined that a series of tableaux vivants should be prepared. The respectable public were to be admitted by paid tickets, obtained from one or other of the lady pat- ronesses. Two representations were decided upon : the first being in the light of a dress rehearsal, 'the moderate sum of a florin was only demanded. This representation was crowded by the tradespeople and bourgeoisie of the town. The second evening, the king, queen, and court, with all that was great and gay in Munich, graced the tableaux as spectators, the tickets being nominally raised to two florins. As they became scarcer, however, the price rose again, and an English family stopping for a few days at one of the hotels in Munich had to pay, it was said, as much as ten florins each for their tickets ; a price considered extortionate by many of the Germans, but which the fair lady patroness who sold the tickets considered herself quite justified in de- manding from " those rich English" in the cause of charity. Duke Maximilian, of Bavaria, placed the private theatre in his palace at the disposal of the performers, who were se- lected from amongst the noblest of the Bavarian families, or from the various members of the foreign corps diplomatique then resident at Munich ; chosen, of course, chiefly for their personal attractions. Three young English girls also assist- ed in the performances, and well sustained Englishwomen's pretensions to the necessary qualifications. The director of the royal theatre lent his valuable services, and superin- tended the getting up of the scenery and accessories ; whilst three of the first artists in Munich undertook to arrange the grouping, costumes and lighting up of the tableaux. The SONG OF THE BELLS. 131 cousin of the Emperor of the French (Count Charles T- de la P ) was made stage manager ; and, finally, the subject selected was Schiller's "beautiful and popular poem, the " Song of the Bell." 'Nine tableaux vivants were to illus- trate this, ushered in by the introductory scene of the bell- casting. We will pass lightly over the preliminary prepar- ations, the several rehearsals, before all was deemed complete and perfect, merely hinting that, in spite of the charitable object of the performance, the assembling together of so many various elements was not free from the usual amount of heart-burnings and discontent amongst those who deemed their pretensions to beauty and grace entitled them to the most prominent positions. Before the last rehearsal these feelings were all calmed down by the artists' inflexible de- crees on the subject, or by the discontented withdrawing their services ; and much amiability, on the other hand, was displayed by one or two of the "grande dames" placing their costly wardrobes at the disposal of their poorer sisters for the occasion. Beauty is not always presuming and pre- tentious, for the most graceful and brilliant of the company, the beautiful and high-born Countess de B , was as con- spicuous for her generosity and amiability on the occassion as for the rare personal attractions which adorned the tab- leaux. When the eventful day arrived, the green-room pre- sented a strange medley of costumes. Obedient to the drawings given them by the artists, the performers had to make their costumes their own particular charge. The awkward fashion of men's costume in the present day ne- cessitated the choice of a period when their habiliments in particular were richer and more shapely. The period of the reign of Francis L, of France, was decided on. Clad in rich velvet stuffs and tight hose, the men looked bravely, whilst it also afforded an opportunity to the ladies of displaying, on their square-cut bodices, the blaze of magnificent hered- itary jewels for which the Bavarian families are famous. The artists were the critics and approvers, giving a hint here, entreating some little change from another ; and our 132 TABLEAUX YIVANTS. English readers will be glad to hear that, amongst the most correct copies of the period given, the costumes of their countrywomen were conspicuous. Much amusement amongst the actors and actresses was created by the stage manager arrogating to himself the part of rouge applier ; it being found that in the strong glare of theatrical light a more than ordinary amount of red paint was necessary to prevent the dangers of a ghastly appearance to those who impersonated youth and health. Eehind the scenes, how- ever, such glaring colors were not appreciated by the fair performers, so as fast as the Count T applied the color, he detected some quiet rubbing down not approved of. At last, however, all is ready, the signal bell rings, the perfor- mers in silence take their places, well rehearsed before-hand, and the curtain rises, displaying the introductory tableaux of— THE FOUNDRY. Dimly seen by the red uncertain light of the furnaces are the tall powerful forms of the workmen, in their leath- ern aprons and bared arms, anxiously watching the heating of the metal until the critical moment shall arrive when it will be ready to now into the mould prepared to receive it. THE BELL. Nothing could be more effective than the grouping, color- ing, and light, of this Rembrant-like tableau, which seemed to give a living interest and force to the words of the poet^ uttered by the full, deep voice of the young nobleman, who, enacting the master or foreman, was heard addressing his companions "Fest gemanet in der Erde," &c. For the benefit of our readers, we shall give the translation of the recitation. " Firmly bound, the mould of clay In its dungeon walls doth stand ; Born must be the bell to-day, Comrades, haste, now be at hand ! SONG OF THE BELL. 133 From the brow of all Must the sweat-drop fall. If in his work the master live, The blessing God alone can give. ***** "Wood cut from the pine-tree take. But well seasoned let it be ; That the flames compressed may break Through the cauldron's molten sea ; Boil the copper within, Quick bring hither the tin ; That the bell's tough metal may Smoothly flow, in truest way." Here the voice of the master ceased for a while, and logs of wood were thrust into the furnace, making the sparks fly brightly out, whilst the fire burnt hot and fresh, casting through the dark chamber its reflections on the master and workmen. And now the head workman comes forward and takes up theme : " What in earth's deep and hidden cell The hand with fire's help doth speed Will in the steeple's belfry dwell, And loudly witness of our deed v In many an ear its thrilling tale 'Twill pour, nor heed the flight of time ; 'Twill with the child of sorrow wail, • And join devotion's choral chime. " Whate'er unto the earth-born crowd The frown or smile of fortune bring, The metal tongue proclaims it loud, While far those cheering accents ring. * * 5f£ * * With festive, joyous accents rife It greets the well-beloved child, Launched on its first career of life, In slumber's arm so sweet and mild. " As the voice of the workman concluded, uttering these last 134 TABLEAUX VIVANTS. words, a strain of soft music arose. Slowly a curtain at the back of the foundry drew lip, revealing the pictured scene just described in the poet's words. A long, winding, chris- tening procession, in the picturesque costumes of the mid- dle ages, is approaching the church door. The parents lead the way ; the mother's head is turned back to gaze at the infant, lying in the nurse's arms, followed by the sponsors, ' relatives, and friends. It was easy to detect the artistic feel- ing which had placed a lovely boy of about eight years old leaning in a graceful attitude against the door of the church, apparently watching the procession advance. This child, the only son of Count B— : — m, -was one of the ornaments of this and the successive tableaux. Three times the cur- tain rose and fell, the workmen of the foundry, in front of the stage, drawing off to each side, so as not to interfere with the mute and motionless tableau which, formed such a brilliant contrast, in light and coloring, to the foundry. As the curtain fell for the last time on this, the first tableau, the music ceased, and the master's voice was again heard : " See the silver bubbles now ! Good ! the molten billows swell ! Potash in the furnace throw, For it speeds the casting well. And from scoria free Must the mixture be, That its voice may, full and clear, Wake the echoes of the sphere." The workmen, after obeying the master's orders, wait and watch again, listening anew to*the foreman, who resumes : " Where gentleness with strength we find, The tender with the stern combined, The harmony is sweet and strong ; Then prove, e'er wedlock's wreath be twined, If heart to heart its fetters bind ; Illusion's sweet repentance long. Sweetly, in the bridal locks, SONG OF THE BELL. 135 Smiles the virgin wreath of green.* When the mellow church bell rocks, Bidding to the festive scene." Here again, as the workman's voice paused, the curtain behind the foundry was raised, and before the altar in the tableau were seen kneeling the bride and bridegroom, with the assembled guests. The bride was the young and inno- cent-looking Countess S — m — , and distinguished among the bridesmaids and guests were the two English girls already referred to. [Nothing could be more brilliant than the whole picture, the rich white satin dress of the bride giving prominence to her figure against the dark and richly- slashed velvet dresses surrounding her. After three exhibi- tions of this tableau to the spectators the curtain fell, and the work of the foundry was resumed. The master's voice being again heard : " Lo, the pipe's already brown! I will dip this wand therein, Doth a glaze the surface crown, We the casting may begin $ Quick, amid the glow, Test the medley's now. See, if with a goodly sign, Soft and brittle doth combine/' The proving over, the workman's voice is again heard re- citing : " Then boundless in torrents comes pouring the gift, The garners o'erflow with the costliest thrift ; The store-rooms increase, the mansions expand. Within it reigns - The prudent wife, The tender mother ; In wisdom's ways Her house she sways ; * In Germany it is customary lor a bride to wear a green instead of a white wreath. 136 TABLEAUX VIYANTS. Instructeth the girls, Controlleth the boys ; With diligent hands She works and commands ; Increases the gains, And order maintains.' 1 He pauses, and the curtain is again raised behind the foundry, accompanied always by soft music, and displaying a young mother at her spinning-wheel, surrounded by her children prettily grouped with their toys. One boy is, how- ever, raising his whip to strike his companion ; the mother's hand has arrested the wheel for a moment that she may raise the other in an attitude of correction towards the culprit. The eldest girl is hanging caressingly over the back of the mother's chair, watching and learning to perform the moth- er's task. This tableau was particularly touching to the hearts of the German bourgeoisie, and they entreated an additional repetition of it. At last, the curtain falling again, the master recites : " Good ! now may the cast begin. Firm the fracture is and fair ! But, before we run it in, Offer up a fervent prayer ! Loose the spigot, loose ! ' God preserve the house! Smoking in the hollow cave, Hushes forth the glowing wave." When the workmen have obeyed the master's voice and pause again, the workman is once more heard reciting : " How genial is fire's might, When tamed and watched by man aright ! Whate'er he forms, or shapes, its source He owes to this celestial force. But fearful this celestial force, When bursting forth in madden' d course, Unshackled on its path so wild, It rushes, Nature's free-born child SONG OF THE BELL. 137 Woe. when bursting fortli it flies, Spreading with unbridled ire, In the busy street arise Mountain waves of raging fire ! For the elements despise Wealth that human hands acquire. " From the cloud Blessings rush, Waters gush ; Where it listeth, iight'ning flashes, Thunder crashes ! " Hear ye that wail from yon tower's walls ? The tocsin calls ! Red as blood Glow the skies ! That is not daylight's flood ! Hark ! what cries In street and square Clouds uptear ! " Surging upwards higher, higher, Through the streets the pillared fire Rushes with the whirlwind's ire ! Like the blast in furnace pent Glows the air, now beams are rent, Windows rattle, rafters creak, Mothers wonder, children shriek, And cattle low Mid ruin's glow ! " They run, they save, rush to and fro, The night vies with the daylight's glow ! As the zealous chain expands Through the hands Flies the bucket ; arching o'er, Streams the jet, the torrents pour. Then the storm, 'mid howl and roar, With the raging flames dispute, 138 TABLEAUX YIVANTS. Crackling 'mid the grain and fruit ; Through the garner's space they gleam, Seize the dry and massive beam ; And as though they in their flight Would the earth-ball with them tear, Upwards sweeping through the air, Surge they to the heaven's height, With giant scope ! Deprived of hope, Man submits as he surveys, Wond'ring with an idle gaze, What the hand of God has done." Hardly had the reciter's voice concluded this wondrous description of a fire, recalling all the sorrows of their un- fortunate brethern at Trauenstein, when the curtain behind the foundry was drawn swiftly up, and there before the spectators was the scene realized : a glaring red light il- lumined the agonized faces of the townsfolk, watching the fearful progress of the destructive element. Against the burning house a ladder had been placed, and the moment of the tableau was that when a beautiful young boy, with- out any other covering but his child's shirt, was being car- ried in the arms of a young man down the ladder. On her knees in the street was the agonized and prayerful mother, the red flames from the house casting strong reflections on her face and on those of the townsfolk grouped around her. This tableau produced a stirring effect on the feelings of the spectators on the night of the court representation ; the murmur of applause was increased by the royal party giving the signal for the expression of satisfaction and admiration, and the applause was long and repeated. The curtain fell over it at last, and once more the audience were illumined only by the fitful light from the foundry. And the master's voice was again heard : " In the earth it is received i % With success the mould we fill ; Will the work, when 'tis achieved, SONG OF THE BELL. 139 Recompense our toil and skill 1 ^ If the cast should break 7 If the mould be weak 1 Alas ! while hope still cheers us on, Perhaps fell mischief's done." Then the workman takes up the strain from the master : ^ u From the steeple Tolls the bell, Deep and sadly, Death's last knell, The mournful dirge peals from the lofty dome, To guide a wand'rer to his last long home. 'Tis the wife, the well-beloved one, 'Tis, alas ! the faithful mother, Whom the prince of shadows chases From her husband's fond embraces, From her children in their bloom." The curtain drew slowly up, and revealed a mournful party clothed in black. A father, with his children grouped around, mourning their mother. This scene, which formed to artistic eyes a good contrast to the glowing colors hitherto displayed, was nevertheless painful and therefore dismissed in silence by the spectators. It was not long before the voice of the master again broke the silence with " Till the bell can cool away, Let us leave our toil a while. As the feathered songsters play, So may each his time beguile. When the stars appear, Free from care and fear, The workman hears the vesper bell, The master cannot care dispel." Then the workman's voice continued : " Cheerful through the forest's gloom Wends the wanderer his steps Back to his dear cottage home ; 140 TABLEAUX VIVANTS. Through the gate Reels the wain ; 'Neath the grain * On the sheaves, ( With their many-colored leaves, Garlands lie ; To the dance the jocund reapers Jocund hie." The curtain again drew up revealing a most graceful pic- ture. Peasant girls and men, surrounded by corn sheaves, were in the various attitudes of dancing. Two graceful fig- ures in the foreground were prominent in beauty. One, a young peasant woman, arrayed in brilliant colors, was hold- ing up in her hands, high above her head, a bunch of grapes, the long sweeping tendrils of which had woven themselves round her head and form. Standirig behind her was a youthful father, holding up a child to snatch, the proffered bunch of grapes. The beauty of the mother, represented by the wife of the Count Charles T , and the charmingly natural attitude of the father and child was the admiration of all ; and this tableau coming after the scene of mourning dazzled the eyes of all by its gayety and brightness. When the curtain dropped again, the master resumed the work at the furnace, saying : — " Break asunder now the mould, For its work is done at last ; Let both heart and eye behold Proudly the successful cast ! Wield the hammer, wield, . - Till it split the shield ! Before the bell can rise on high, The mantle must in pieces fly." The workman follows up the master's pause, saying : " Now freedom's cry is heard around, "The peaceful burghers fly to arms ; The streets fill fast, the halls resound, I SONG OF THE BELL. 141 And murd'rous bands spread dire alarms. Woe, when within the city's wall, The smould'ring sparks in silence bnrn ; The people, bursting from their thrall, To savage wilfulness return ; Then rocks the bell upon its throne And howls on high ; rebellion calls ; And vow'd but to a peaceful tone, The signal gives for savage brawls." Here the curtain again drew up, showing the street of a town. On the ground was the wounded and prostrate figure of an armed man ; between him and the pursuers, threaten- ing with spears, swords, and battle-axes, a beautiful but shrinking woman had thrown herself, shielding with her own body that of her dying lover ; one hand was raised, and her supplicating face was turned towards the murderous tribe, levelling their weapons against the fallen man. As the curtain fell, the master resumed his recitation : " God hath filled me with delight ! Like a golden star, behold ! Like a kernel, smooth and bright, Peels the metal from the mould ! How the whole doth gleam Like the sunny beam ! And in the escutcheon's shield Is a master's hand revealed. Come in, come in ! Stand, comrades, round, and lend your aid To christen, now, the bell we've made. Concordia her name shall be ! In bonds of peace and concord may her peal Unite the loving congregation's zeal." Again the curtain rose — the triumphant music almost drowning the speaker's voice. The final tableau displayed the bell itself, " Concordia " written on its side, whilst grouped around it were all the 142 TABLEAUX VIVANTS. principal figures of the various tableaux. Soon, again, the music slackened and paused, allowing the master's voice to be heard for the last time : " "With the power of the cable Raise the bell from out the ground, That to mount it may be able Up to heaven's realm of sound. Pull, comrades, rise ! See, she moves, she sways ! O'er our town let gladness reign, Peace, be this her first refrain." Whilst uttering this final verse, the bell was slowly drawn up to the roof of the theatre, supported at its first move- ment by the hands of all the fair bevy of performers. When it was seen no more, the curtain fell. The king and queen were graciously pleased to send a message to the performers expressive of their enjoyment of the evening's entertain- ment, and their satisfaction that the appeal made to the ladies and gentlemen of the court, in aid of the charitable mission, had been so completely and successfully responded to. Several thousand florins were in this manner collected for the inhabitants of Trauenstein ; and the artists of Mu- nich were so entirely satisfied with the tableaux vivants, that a series of engravings by Eetzsch, illustrating the " Song of the Bell," and drawn from the " living pictures," prepetuated in Germany the evening's amusement. We have given this little sketch, written by an eye-witness, without any curtailment, believing it will be interesting to our readers, and of service in suggesting plans and ideas when a series of tableaux illustrating any poem or subject is desired. We trust, also, that the persual of the above may incite our youthful readers sometimes to turn their talents and amusements to profit in the cause of charity as success- fully as the ladies of Munich. SHADOW ACTS AND PANTOMIMES. 143 SHADOW ACTS AND PANTOMIMES. Of all the various methods which have been devised for furnishing an amusing entertainment, there is, probably, none which so strongly recommends itself for its simplicity, its scope for originality and for genuine fun, as the Shadow Pantomime. To the uninitiated, the effects produced are startling ; and to all, if properly managed, ludicrous in the extreme. In the arrangement of tableaux, it has been seen that their effect is mainly dependent upon the judicious and artistic blending of colors, the expression of the countenance, and the graceful positions of the parties representing them. In this, color is of no consequence, and facial expression is confined entirely to the profile. The first thing requisite is a white curtain or sheet to re- ceive the shadows. Where there is already a stage and. drop curtain, the white sheet is arranged as an extra drop, care being taken to have it hang as tightly and as free from in- equalities as possible, and the larger the better. In adapt- ing the exhibition to a parlor entertainment, the white sheet can be stretched on a frame made to fit exactly between slid- ing or folding doors ; before stretching the sheet, it should be thoroughly and uniformly wetted, and then wrung out — this insures sharpness of outline to the shadows. The front, or that side of the sheet appropriated to the au- dience, must, during the performance, be entirely dark — and on the stage, or behind the sheet, where the performers are, only one bright, steady light ; this must be arranged so as to be as near to the ground as possible, and exactly opposite the centre of the sheet. For parlor purposes, where there is gas in the room, the best contrivance is a drop light, whoso burner (a good large one) is not more than two or three inches from the ground, and placed so as to present the thin 144 SHADOW ACTS AND PANTOMIMES. edge (not the flat) of tlie flame to the curtain ; this will ren- der the outlines all the more distinct and clearly defined. If gas is not to be had, the next best is a tin cup filled with tallow, in the centre of which is a cotton wick secured by a wire coil soldered into the middle of the inside of the cup, to prevent the wick from falling down when the tallow has melted. This tin lamp had better be placed in the centre of a flat dish full of sand, as a precaution against accident. "Where the curtain is large, the light should be placed at a distance of about five or six feet from it ; but a small cur- tain requires the light to be Wo or three feet further away. The distance can be best ascertained by experiment. If there should be no means of closing the sheet after or in the intervals of a performance, there should be a light placed on each side, behind the curtain, in such a position that no shadow can be thrown by it, and the centre light extin- guished, or effectually shaded by placing some solid object close in front of it. During the performance, care must be taken that those persons whose shadows are not for the moment needed, should stand behind the light. An entrance or exit is effected by jumping lightly, or stepping, sideways, over the light. This produces an effect on the curtain just as if the shadow had dropped down from or gone up into the ceiling. As profile is essential, the side and not the front or back, should, as far as practicable, be presented to the light ; and, in using tables or chairs, let them be placed close to, but not touching, the curtain ; the nearer the curtain, the clearer the shadow. In order to bring any article on a table clearly into shad- ow, it must be placed at the edge of the table nearest the light, otherwise the shadow of the top of the table will ob- scure the shadow of the lower part of the object ; the table, therefore, for general purposes, should not be too wide, and may be just as well a strip of board, from two to three feet long, and'eight inches to a foot wide, nailed on to four strips of wood for legs. An amusing deception can be practised with small objects, SHADOW ACTS AND PANTOMIMES. 145 such as cups and saucers, &c, by first placing them at the ©dge furthest from the light, where they will be out of shad- ow, and by fastening a string to them (which can be done with a piece of shoemaker's wax) and carrying the end over the edge and down the leg nearest the light, through a small eyelet at the bottom of the leg, and so along the ground to the back of the light. By this means the objects can be drawn across to the edge nearest the light, and they will ap- pear to rise up out of the table. By reversing the arrange- ment they can be drawn back again, and appear to sink down into the table. For this purpose the table should be a little wider than that ordinarily used. These, as well as all other minor arrangements will require careful practice and rehearsal before performance, as any bungling will not only destroy the effect dependent on that particular attempt, but may seriously mar the illusion of an entire representation. Sign-boards can be made out of a strip of card-board, or very stout paper (the letters being cut out), and then pinned onto the back of the curtain. Many scenic effects can be made in this way ; for instance : to make a false nose, cut a piece of pasteboard to the required shape, and split open the back edge-sumciently to allow the real nose to be inserted ; it can be fixed securely either by strings attached to each side and tied behind the head, or by gumming on with mu- cilage. The latter plan is the best, as it admits of the nose being apparently pulled off. When this is done, the performer who loses his nose should have his hand full of sawdust, and, at the moment the false nose is removed, bring that hand up in time to prevent the shadow of his own nose appearing on the curtain ; then leaning his head forward, and letting the sawdust drop gently (in little gushes as it were), the blood will seem to drop down, and call forth manifestations of deep emotion (or high delight) from a sympathizing audience. Sawdust is the best thing to represent liquid in the act of pouring ; but if the orifice be small, as in the case of a cof- 146 SHADOW ACTS AND PANTOMIMES. fee-pot, &c., it will be apt to choke up the spout, and sand, thoroughly dried, will be found preferable. Erom these few hints and directions, it will be seen what marvellous and laughable effects may be produced by the exercise of a little ingenuity and sufficient practice. Too much stress cannot be laid on thorough rehearsal ; everything should be tried over again and again, until perfectly accom- plished. Care should also be taken that the acts, or separate pieces performed during an exhibition, be as distinct in de- tails as possible, so as not to allow the effects produced in any one of them to be repeated in any other ; everybody knows how much any deception loses by repetition, and a per- former, led away on the spur of the moment, by a spirit brimful of fun, is very apt to introduce, as ".gags," the very points on which the success of some other piece greatly de- pends. A few pantomimes and speaking scenes will be introduced here which will not only provide sufficient materials for a. full evening's entertainment, but will suggest the means of adapting almost any amusing piece to the shadow curtain. With each piece thorough directions will be found, which, closely followed and properly managed, are amply sufficient for its successful performance. It is scarcely necessary to introduce any specimens of tab- leaux in connection with the shadow pantomime. It is not particularly well adapted to that kind of exhibition, as the effects dependent on grouping, as well as the graceful folds of drapery, cannot be given. Poses plastiques, or imitations of statuary, including two or three figures only, may be made pretty effective, especially if a sudden and simultaneous change of attitude be accom- plished, at a given signal. The stage directions, Right, Left, &c, should be understood to refer to the right or left side of the stage as seen by a performer facing the audience. THE HUNGRY CHINAMAN. 147 THE HUNGBY CHINAMAN. A PANTOMIME. ■ Chinaman — Hungry and moneyless •, in search of a meal. Restaurant Keeper — With a very mixed bill of fare. .Waiter — Too active to wait long. Carpenter — With such a saw as you never did see-saw. Costumes. — Chinaman — This part should be sustained by a very thin person dressed in tight drawers ; short sack coat, with short, wide sleeves ; Chinese cap, with brim turned up all round ; a long pig- tail bach of head ; long moustache, hanging down about a foot, made of soft cord ; and, if possible, short thick shoes, in Chinese style ; a piece of putty stuck on the tip of his nose, so as to make , a handsome pug (if naturally so gifted, omit the putty), and high cheek bones, made with the same material, will add greatly to the Celestial make-up of his appearance. The Restaurant Keep- er should be portly, or be padded to appear so, and should wear an apron in addition to a plain Chinese costume ; he must have no hat, but wear his hair smooth on his head, with pigtail and mous- tache. The Waiter is best Represented by a long, thin-legged per- son, who can take a long stride, and wear neither coat nor hat ; a short apron will complete his costume ; his head got up as ludicrous- ly as possible, and in Chinese style. The Carpenter need be dis- tinguished only by a square paper cap, and must be provided with a large pasteboard saw, with large teeth. Scene. — The rigid edge of curtain should be trimmed with Chinese cor- nices similar to the side of a pagoda ; and from the upper part a swinging sign, with the words, Restatjrant — No Trust, cut in it ; this can all be done by cutting the required shapes out of stout paper, and pinning them on the curtain. 148 SHADOW ACTS AND PANTOMIMES. Chinaman, {enters over light.) Staggering with weakness from extreme hunger, manifested by pressing both hands on stomach, pointing with finger repeatedly to open mouth, and sadly shaking the head and waving the hands. In the course of his agonies, he catches sight of the restaurant sign, and goes through action of delight, cutting capers, throw- ing up and catching his hat, etc., at last summons Res- taurant Keeper, by stamping twice with foot and majes- tically beckoning with one arm, then stands with folded arms, waiting. Restaurant Keeper, (enter right.) Obsequiously bowing and rubbing his hands one over the other. Chinaman demands food, (stamps twice and points with finger to open mouth), and then points with hand (off right), as if instructing him to go and fetch something to eat. Restaurant Keeper unrolls a long bill of fare, pointing to the different articles on it, as if for the Chinaman to se- lect to his taste. ( The bill of fare is a strip of strong paper, six inches wide and three feet long, with different designs cut out in succession ; for instance ; a string of four or Jive sausages, a frog, a fowl, a pig, a nice pair of rats, "a snake, a cat, a dog, half a dozen eggs, and as much as will fill the paper in length, of such humorous objects as the fancy may suggest.) Chinaman" selects a great variety, and exhibits signs of impatience. Restaurant Keeper turns ip go (off right), and receives an additional impetus from Chinaman's best leg foremost. Chinaman continues to manifest severe internal pangs of hunger, pointing to open mouth, and rolling on the ground on his stomach, and a variety of other contortions. (This should be the result of caref id practice, as the shadow can be made to assume most ludicrous and impossible positions, if ingenuity be exer- cised). Waiter (enters right), empty handed, and is received with a fury of impatience by 'Chinaman, who finally chases him off the stage (left), follows him, and both reappear immedi- ately (over light) in flight and -pursuit, and the Waiter escapes THE HUNGRY CHIKAMAN. 149 Chinaman exhausted, puffs and blows, snaking fist (off right), and finally sits down, squatting {I' ft of stage, facing right). ■ Waiter {enters right), with a basket full of the articles {cut out of pasteboard) Chinaman has ordered,* and sets it down in front of him. Chixaman, in delightful anticipation, signs impatiently to Waiter to hand over the food quickly, and receives one by one, a large number of objects from the Waiter, which he, with great ostentation, swallows, rubbing himself down the breast and showing signs of extreme delight. [The act of swallowing is accomplished by passing the object just behind the shadow of the open mouth, and letting it drop down at the side of the per- former, where it can remain fiat on the ground, and may be used ov?r and over again, at the option of performer.) At last he comes to a big rat, which he holds up by the end of its long tail. At this rather less delicate morsel he hesitates ; measures his open mouth with his fingers, and compares with size of rat. After some doubt, he crams it (apparently) down, but before he lets go of its tail (the only part now visible) he chokes, and tries to eject it, seemingly tugging at the tail to get it out, in which, after a protracted struggle, he succeeds, and shows symptoms of great relief; after viewing it a mo- ment, he again attempts to swallow it (having first bent it a trifle so as to make its shadow a degree thinner), and manages to worry it down. (During this time, the performer must manage to stuff out the front of his drawers with a cloth, pre- viously, laid flat on the ground, so that iche?i he gets up, his insides will appear to have benefited by his varied repast.) He now gets up, throws basket (over light), and then kicks Waiter (over light), and dances around, delighted to find that his stomach is in better condition. Eestauraxt Keeper, (enters right) and goes through business of complimenting him on his improved appearance, concluding with politely requesting his money, handing Chinaman a card with §12 (cut out) on it. Chln*AMAN as politely receives it and gracefully bows Res- 150 SHADOW ACTS AND PANTOMIMES. taurant Keeper out. (Exit Restaurant Keeper, right. ) He then regards the card with astonishment, pulls both pockets inside out, feels all over himself, looks in hfs shoes — can't find a cent ; first appears greatly troubled, then stands in attitude of deep thought (left hand on right elbow, head lent down a little, and right forefinger tapping forehead). Restaurant Keeper (enters right), demands his money, (holds out left hand, palm upwards, and taps it with bach of fin- ■ gers of right hand, also palm upwards). Chinaman conveys him the information that he has none. Restaurant Keeper indignantly and peremptorily de- mands it, working himself up into a passion, threatening Chinaman. Chinaman falls on his knees and begs to be spared. Restaurant Keeper won't hear of it — calls (claps his hands three times) for Waiter, who enters (over light) and orders him to fetch the carpenter — (points upward and goes through mo- tions of sawing). Exit Waiter (over light), returning immedi- ately (same way) with carpenter. Restaurant Keeper signs to carpenter that Chinaman has eaten till his stomach has swelled, and then won't pay, and explains by signs that he wants carpenter to cut him open, in order to get his food back again. Chinaman, horror-stricken, implores for mercy, but can make no impression on the obdurate Restaurant Keeper, and finally tragically faints (centre of stage) from terror. Carpenter with a great deal of preparation and fuss, with the assistance of Waiter, who holds Chinaman's legs down, commences to saw him open, longitudinally of course, the Restaurant Keeper gazing with folded arms. Positions. — Chinaman laying full length on ground, centre head to right. Waiter left, kneeling, with hands on Chinaman 's feet. Carpenter right, ivithleft hand on Chinaman 1 s forehead, holding h one by one, examining them with great care, to see if they are in good order. As he is just concluding his investigations, a noise, as of a person in pain, is heard be- hind. Doctor starts, listens, rubs his hands at the prospect of a job, and calls his Assistant. Assistant (enters lef), cutting grotesque antics ending with a low salaam (bows loio with arms arched over head). Doctor (listens, hand to ear), points off back, nods his head and motions to Assistant to go and see what is the matter. Assistant (exit over light), returning with patient stagger- ing and moaning, and holding his left shoulder with right hand. (An exact profile of the patient's left arm and hand sJwuld be fastened outsid.e his left shoulder — the real left arm being held close to side and the hand secure in pocket — and hang down loosely, as if dislocated at shoulder pint. The patient must be careful to bring his profile only in shadow, to prevent real arm being seen. ) Doctor examines him all over, at last lifts the false arm and lets it drop again, nods his head as if satisfied that he has found out what the trouble is. He again lifts the arm, and appears with great care to examine the shoulder — shakes his head, motions it is a bad case, and that the arm must be amputated. Assistant jumps around with delight, goes through the motions of cutting his arm off, and laughs. Doctor beckons him to come and hold up the false arm straight out, which he does, cutting capers meanwhile. Patient stamps with pain, and shakes his right fist at the Assistant, who becomes quiet. Doctor fetches his knife, re-arranges position of false arm, and appears to cut round the shoulder clean to the bone, the patient writhing and howling under the treatment. Doctor next fetches his saw, and commences sawing through the shoulder bone. (At the same time unfastening the false arm, HOSPITAL PRACTICE. 173 so that, when the sawing is finished, the shoulder end falls downjand swings by the hand end held by the Assistant). Assistant catches the amputated shoulder with the hand that he has at liberty (in which he should have some saw- dust ready), and letting a little blood run out of the shoulder, throws the false arm over light. Doctor is busy rubbing the place where the arm came off, with one hand, while with the other he supports the patient, who has fainted, and brings the real arm into sha- dow. Patient comes to himself gradually, and finding his arm in good working order, tries its action in every way, swing- ing it round, etc., at last knocks the Doctor down with his new arm, and jumps over light. Assistant, with hands on knees, laughing heartily, points at Doctor and jumps over light. Doctor picks himself slowly up, and signifies his indigna- tion at the treatment he has received— has cut the man's arm off and received no pay — at last, goes to table and wipes his knife and saw carefully and arranges his instru- ments. Somebody knocks — he summons his Assistant, who enters (over light), and sends him backs (over light) to see who knocks. Assistant returns (over light) with a patient, suffering from toothache (signified by holding face with hand). Patient motions to Doctor that he has a severe toothache, and opens his mouth wide for the Doctor to examine. Doctor looks in Patient's m'outh, holds up both hands in amazement, shakes his head, and informs him that the tooth must come out. Patient demurs, would rather not. Doctor insists no other way to relieve him. Patient signifies that if it must be, he is willing. Doctor sends Assistant for a chair. Assistant (exit right, returning with chair), places chair right, invites the Patient to be seated and places himself behind the chair. 174 SHADOW ACTS AND PANTOMIMES. Patient reluctantly sits down, getting up and sitting down again two or three times, as if he could hardly make up his mind to undergo the operation. Doctor takes his forceps from the table and advances to- wards Patient. Patient recoils in horror from the delicate instrument. Doctor motions to Assistant to hold him down firmly on the chair, which he does by placing both hands on the Pa- tient's shoulders. Doctor {who has the profile tooth concealed in his vest), opens Patient's mouth and inserts the pincers, seeming to select carefully the proper tooth, and with one foot raised on front of chair, makes believe to pull vigorously. The poor Patient, firmly held by the Assistant, can offer but feeble resistance, tut the tooth remains fast. The Doctor, taking a shorter hold of the pincers, advances near enough to conceal the shadow of the Patient's head for an instant, during which he conceals, and holds the profile tooth at side of Patient's head, just below the ear, and then with a mighty wrench^ using both hands for this last grand effort, produces the tooth, apparently from Patient's mouth, and holds it up in triumph. Patient holds his jaw with both hands (in one of which is a little sawdust) and leaning forward, lets a little blood gush out of his mouth. Then, shaking his fist at Doctor, jumps over light. Doctor signs to Assistant to follow and bring Patient back, as he has not paid his fee. Assistant jumps over light, and reappears same way in- forming Doctor that he cannot find Patient, he is gone. Doctor walks up and down in a rage, and finally wipes off his forceps and starts to go off stage {right), but is ar- rested by hearing a loud and impatient knocking {bade of stage). He starts, then motions that he has cut off an arm, no pay ; has drawn a tooth, no pay ; does not want any more Patients. (Knocking repeated still louder than "before.) Sum- mons his Assistant, and sends him to see who knocks. HOSPITAL PRACTICE. 175 ASSISTANT starts to go over light, but is run against and knocked down by Patient (entering over light), clasps his head with both hands as if in great pain, and beckons Doctor to come and examine it. Doctor feels Patient's head all over, finds nothing, and intimates so. Patient insists, and begs the Doctor to look again. Doctor looks more carefully, shakes his head, then puts his ear to Patient's head, and nods, rubs his hands, and asks Patient by signs, if he does not feel a sort of creeping or crawling inside. (Taps head with hand and then holds up Ahe hand and ivories the fingers in every direction, like creeping). Patient repeats the action and nods. That's just the feeling. Doctor directs patient to sit down on the floor, leaves him so, and walks up and down in deep meditation, as if in doubt how to proceed. Patient gets up, touches Doctor on shoulder, and inti- mates that his pain is going on all the time, and begs Doc- tor to do something for him. Doctor, as if struck with an idea, seats the patient on the ground again, goes to table, takes brace and bit, and calls his Assistant to hold Patient's head firmly. Assistant, with alacrity, obeys, and pointing, first at Patient's head and then at the brace and bit, cuts a caper for joy and laughs heartily. Doctor stamps foot with impatience and signs he must be very quiet. Assistant sobers down at once, and takes hold of Pa- tient's head with both hands. Doctor feels round the Patient's head for a soft place ; finds it right on top, and applies the brace, which at first turn, hurts the Patient sq much that he jumps up and knocks both of the operators down. They get up slowly, and Patient apologizes, signs to them that the operation harts dreadfully and he is sorry to have been so hasty. 176 SHADOW ACTS AND PANTOMIMES. The three resume former positions, and Doctor repeats op- eration. After a few turns of the brace, he throws it quickly down and claps his hand on wound ; then, apparently feel- ing inside Patient's head for the cause of all the trouble with great difficulty pulls out the profile lobster {which has during the Last fart of the operation, teen dexterously concealed in shadow a/ 5 Patient's head). Shows it to Patient. Patient {astonished). Asks if that gentle irritant came out of his head. Doctor {standing upright, icith dignity.) Bows assent. Patient shakes his head, does not believe it, snatches lob- ster, throws it over light, kicks Doctor and Assistant, and disappears. {Exit Patient over Light. Doctor, gets up, lifts Assistant on his feet and kicks him off (over light). He then seats himself on chair, but has scarcely done so, when another Patient arrives {jumps over light). Patient goes through a number of contortions illustra- tive of extreme uneasiness in his insides, holds stomach with both hands, and tries to vomit. Doctor, examines him thoroughly, and then, putting his ear against Patient's breast, inquires if he does not feel somethiug crawling from pit of stomach up to throat and back. Patient nods and passes hand up and down himself, only more quickly than the Doctor did. Doctor takes Patient's head with both hands, and holds it back, at the same time the Patient opens his mouth wide. After looking down his throat for a moment, he puts his hand in Patient's mouth, trying to get hold of something, and at last brings out the end of the tape. (The iajje should have been previously arranged by the side of the Patient's neck in such a manner as to allow of its whole length being drawn out and ap- pear to come out of his mouth.) He succeeds in getting the end out a little way, when it sticks fast, and resists all attempts to draw it further, Doctor then runs to table, fetches his chisel (pasteboard of course), and mallet, and, inserting the HOSPITAL PRACTICE. 177 cliisel in Patient's mouth, seenis to drive it down his throat by repeated blows of the mallet. Patient shrinks down under each blow, and evinces ter- ror at the turn the operation is taking. Doctor then, with a great effort, draws chisel out, and finds that he has stretched the inside of Patient's throat enough to allow of the passage of the tape-worm, which now, under the Doctor's skillful manipulation, comes out. (As soon as the end of tape has well reached the floor, the tape need not he actually moved for some time, the Doctor appearing only to draio on the tape, hand over hand; giving the tape a shake each time ; by doing this, the apparent length of the worm will he greatly increased, care only being taken that there is sufficient tape on the floor not to allow of the end being visible any more.) After a mile or two of tape-worm has been drawn out, the Doctor seems to have to pull harder, and with great care, at last bringing out the end of the tape, with the snake's head on it, which he holds up for the Patient to look at. Patient staggers back, and gazes in astonishment at the little joker which has been extracted from his internals. Doctor having put the tape-worm down, asks him if he feels that running up and down sensation in his stomach any more. Patient repeats the action and shakes his head — feels all right. Doctor bows and asks his pay — signs to Patient that a man came to have his arm cut off (shows arm), but didn't pay ; another had a tooth pulled out (shows tooth), and he forgot to pay ; another had lobster on the brain (shows lister), and he did not pay. Signifies that this Patient cannot go until he has paid. Patient (ioIw, during the Doctor's recital, has manifested astonishment at the iconderful objects shown him by the Doctor), makes signs that he has no money. Doctor seizes Patient by the collar and beats him. (The Patient crying out with rain and making a great uoisr, stamping with Ins fcf, etc.) A number of persons, attracted by the 178 SHADOW ACTS AND PANTOMIMES. noise, come jumping one after another, in quick succession over light, and hustle Doctor and Patient off right. {These persons should be dressed, one or two in long night-slur ts and mgar- loaf night-caps, one in tights, with a hoop-skirt only on, and others as grotesquely as circumstances permit.) The Patient enters again {right), running and jumping off {over light), closely followed by the Doctor and the rest of the crowd. When the crowd enters, a cat and a dog may be thrown on stage {over light), with excellent effect. [Exeunt all. CONCLUDING REMARKS. The foregoing Acts and Pantomimes are deemed sufficient to serve as examples of the manner in which the various effects and illusions may be produced on the shadow curtain ; and any one, with a moderate degree of ingenuity, and fer- tility of invention, will be able, from the hints here given, to multiply these effects, and produce an almost endless variety of illusions. As an illustration of this, some of the most effective conjuring tricks may be produced with great suc- cess ; for instance, a number of objects can be cut out of cardboard, such as birds, animals, kettles, tea-pots, hats, •flowers and plants in pet's, etc., at least twenty or more of which can be piled flat on the ground without coming above the level of the lower part of the frame of the shadow curtain. If these are lifted up one by one just behind a profile of a port-folio, apparently standing open, with the edges of one side against the curtain, all the amusing effects can be produced of an inexhaustible port-folio. A bird-cage can be easily imitated by using a thin frame and stout twine instead of wires, and last of all, previously opening the port-folio very wide, a full-sized (real) hoopskirt may be presented to the admiring gaze of the astonished audi- ence. All these objects can be thrown over the light, picked CONCLUDING REMARKS. 179 up by an assistant behind, and pushed, one by one, back to the port-folio, by means of a thin slat of wood, kept fiat on the ground, and reproduced as often as may be required. Some very amusing effects may be given by using a magic lantern (instead of a lamp or gas flame), placed down on the ground and tilted upwards so as to throw its light entire on the curtain. This, however, produces a round disc of light, and it is necessary to cover all the rest of the curtain with stout paper, or anything that will darken all of it ex- cept the disc. This arrangement may be made for the per- formance of a single appropriate act with good success, but will not do generally as a substitute for the open light. As already stated, a little ingenuity will accomplish a great deal. Suppose Mr. Cox (in the preceding farce) to put on a profile hat (which can be made of card-board, to fasten on the head with a wire rim on one side of it), and the crown made eighteen inches high ; if about a foot of the upper part be rolled up, the hat will appear about six inches high ; the remainder can be unrolled, while on the wearer's head, by a stout stick (shorter than the width of the hat), fastened at right angles to a couple of feet of stout wire ; this little patent elevator can be concealed at the side of the perform- er until the moment comes for his hat to grow, it must then be carefully pushed upward, so as to unroll the crown of the hat, and will have a ludicrous effect. Of course Mr. Cox would have to take it off before turning round, as the profile view alone would be effective. The farce of Box and Cox has been arranged to suit the requirements, of the shadow curtain, not only with the view of affording a very enter- taining feature in the programme o£ an evening's fun, but also to show the manner in which almost any amusing theatrical piece may be adapted to this kind of entertain- ment. It would be well, incidentally, to remark, that for grown- up performers, the curtains should not be less than t^n feet high. Where the curtain is much less, smaller performers kre requisite. 180 SHADOW ACTS AND PANTOMIMES. In conclusion, let nothing be undertaken in which there is the possibility of failure in any of the arrangements, rather attempt little and do it well, than too much and bungle in it. Always bear in mind that the individual in corpore is nothing ; the shadow everything. Do not be too sure that this little action or that bit of by-play will be all right when the' time comes ; try it once beforehand, and in all probability the trial will show how imperfect the attempt would have been. [Recollect that in rehearsal only can the performer be per- mitted to look at his own shadow ; as during the perform- ance, the profile must be constantly presented to the curtain, a position which will prevent him from witnessing the effect of his actions. It will take much practice to keep the shadows of two or more performers distinct on the curtain ; never allow one shadow to appear to touch another unnecessarily, and avoid, as far as possible, passing one another. If this must happen in the course of the piece, it cannot be done too quickly ; the same remark applies to turning round or reversing the profile. Let everything be done as close to the curtain as possible, but never so near as to touch it, and keep the curtain uniformly wet, by sponging it whenever an opportunity occurs. If these general directions be carefully followed, the per- formers will not fail to elicit their meed of applause at the CLOSE OF THE SHADOW PANTOMIME. Popular Books sent Free of Postage at the Prices annexed. Marline's Letter- writer and Etiquette Combined. For the use of Ladies and Gentlemen. 12mo., cloth, gilt side and back. A great many books have been printed on the subject: of etiquette and correct be- havior in society, but none of them are sufficiently comprehensive and matter-of-fact enough to suit the class of people who may be called new beginners in fashionable life. This book is entirely different from others in that respect. It explains in a plain, common-sense way, precisely how to conduct yourself in every position in society. 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By the author of u Inquire Within," " The Reason Why," etc. Illustrated with over 1200 wood-cuts. 12mo., cloth, gilt side and back. This book is a perfect encyclopedia of universal information upon things common and uncommon, found in na- ture, art and science. The whole visible world is swept within the circuit of its touch, and the subjects are illustrated by wood engravings of an ex- cellent character, done in a high style of that art. It is a library in itself, and to a lad or miss of an inquiring tu^n of mind, it is a perfect Aladdin's palace of useful and interesting information. Price $1 50 The Season Why: Natural History. By the author of " Inquire Within," " The Biblical Reason Why," etc. This volume an- swers about 1,500 questions, giving Reasons for hundreds of curious and interesting facts in connection with Natural History, and throwing a light upon the peculiar habits and instincts of the various orders of the Animal Kingdom. More real knowledge can be obtained from this book than from twenty dry works on the same subject. 12mo., cloth, gilt side and back. Price SI 50 Biblical Iteas:xi Why. A Hand-book for Biblical Stu- dents, and a Guide to Family Scripture Readings. Beautifully illustrated. Large 12mo., cloth, gilt side and back. This work gives 1,494 Reasons, founded upon the Bible, and assigned by the most eminent Divines and Christian Philosophers, for the great and all-absorbing events recorded in the History of the Bible, the Life of our Saviour and the Acts of his Apos- tles. Price . SI 50 The Lady's Manual of Fancy Work. A Complete In- structor in every variety of Ornamental Needle-work, with a list of mate- rials and hints for their selection ; advice on making up and trimming. By Mrs. Pullan, Director of the Work-table of Frank Leslie's Magazine, etc. Illustrated with over 300 engravings, by the best artists, with eight large pattern plates, elegantly printed in colors, on tinted paper. Large octavo, beautifully bound in cloth, with gilt side and back stamp. Price — $2 00 Harp of a Thousand Strings; or, Laughter for a Lifetime. A large book of nearly 400 pages. By the author of Mrs. Partington's Carpet-bag of Pun. Bound in a handsome gilt cover ; ocntaining more than a million laughs, and crowded full of funny stories, besides being illustrated with over 200 comical engravings, by DarWy, McLennan, Beilew, etc. Price $1 50 The Dictionary of Love, Containing a Definition of all the Terms used in Courtship, with rare quotations from Poets of all Na- tions, together with specimens of curious Model Love Letters, and many other interesting matters appertaining to Love, never before published. 12mo. , cloth, gilt side and back. Price Si 50 Popular Books sent Pros of Postage at the Prices annexed. The Courtship and Adventures of Jonathan Homebred ; or, The Scrapes and Escapes of a Live Yankee. Beautifully Illustrated. 12mo., cloth. This book is printed in handsome style, on good paper, and with amusing engravings. Price gl 50 The Wizard of the North's Hand-Book of Natural Magic. Being a series of the Newest Tricks of Deception, arranged for Amateurs and Lovers of the Art. By Professor J. H. Anderson, the great "Wizard of the In orth. Price 25cts. The Encyclopaedia of Popular Songs, Being a compila- tion of all the new and fashionable Patriotic, Sentimental, Ethiopian, Humorous, Comic and Convivial Songs, the whole comprising over 400 songs. 12mo., cloth, gilt. Price <|1 25 Tony Pastor's Book of 600 Comic Songs and Speeches. Being an entire collection of all the Humorous Songs, Stump Speeches, Burlesque Orations, Funny Scenes, Comic Duets, Diverting Dialogues, and Local Lyrics, as sung and given by the unrivaled Comic Vocalist and Stump Orator, Tony Pastok. Bound in boards, cloth back SI 00 Yale College Scrapes ; or, Roto the Boys Go It at Neio Haven. This is a book of 114 pages, containing accounts of all the noted and fa- mous " Scrapes " and " Sprees," of which students at Old Yale have been guilty for the last quarter of a century. Price • 25ct& The Comic English Grammar ; or, A Complete Grammar of our Language, with Ccniic Examples. Illustrated with about fifty engrav- ings. Price ...25 cts. The Comical Adventures of David Dufficks. Illustrated with over one hundred Punny Engravings. Large octavo. Price 25 Cts. Anecdotes of Love. Being a true account of the most re- markable events connected with the History of Love in all Ages and among ail Nations. By Lola Montez, Countess of Landsfeldt. Large 12mo., cloth. Price SI 50 Tony Pastor's Complete Budget of Comic Songs, Con- taining a complete collection of the New and Original Songs, Burlesque Orations, Stump Speeches, Comic Dialogues, Pathetic Ballads, as sung and given by the celebrated Vocalist, Tony Pastor. Cloth, gilt. Price gl 25 The Laughable Adventures of Messrs. Brown, Jones and RohillSOXl. Showing where they went and how they went ; what they did and how they did it. "With nearly two hundred most thrillingly comic engravings. Price 30 Cts. Be Walden's Ball-Eoom Companion; or, Dancing Made Easy. A collection of the Fashionable "Drawing-Room Dances, with full directions for dancing all the figures of " The German/' By Emile DeAVal- den, Professor of Dancing. Bound in boards, cloth back 50 cts. Popular Song Books, seat Free of Postage. Pric3 Ten Cents each. This list of Song Books contains all kinds of Songs, embracing Love, Senti^ mental, Ethiopian, Scotch, Irish, Convivial, Comic, Patriotic, Pathetic, and Dutch Songs, besides a great variety of Stamp Speeches, Burlesque Orations Plantation Scenes, Irish, Dutch, and Yankee Stories, Comic Hecitations Co- nundrums and Toasts. ' HARRY RICHMOND'S MY YOUNG WIFE AND I SONGSTER. 10 Cta HARRY ROBINSON'S DON'T YOU WISH YOU WAS ME SONGSTER 10 '• * JOHNNY WILD'S WHAT AM I DOING SONGSTER ' 10 - BUELL'S KU-KLUX-KLAN SONGSTER 10 « FRANK KERN'S PRETTY LITTLE DEAR SONGSTER.... in " HARRY RICHMOND'S NOT-FOR-JOSEPH SONGSTER. 10 - DAVE REED'S SALLY-COME-UP SONGSTER l0 *•■ THEROOTLE-TUM TOOTLE-TUM TAY SONGSTER..'.'" "'in •■ SAM SLICK'S YANKEE SONGSTER ' '"in** CHAMPAGNE CHARLEY SONGSTER l0 *» JENNY EN GEL'S DEAR LITTLE SHAMROCK SONGSTER 10 " BILLY EMERSON'S NEW COMIC SONGSTER "l0 " BERRY'S LAUGH AND GROW FAT SONGSTER [.". in " TONY PASTOR'S BOWERY SONGSTER 10 « TONY PASTOR'S WATER- FALL SONGSTER ." in " TONY PASTOR'S 444 COMBINATION SONGSTER '..".'"lO " TONY PASTOR'S OPERA-HOUSE SONGSTER "i0 *• TONY PASTOR'S CARTE DE VISITE SONGSTER . "io " TONY PASTOR'S GREAT SENSATION SONGSTER 10 " TONY PASTOR'S OWN COMIC VOCALIST 10 " TONY PASTOR'S COMIC IRISH SONGSTER 10 " TONY PASTOR'S COMIC SONGSTER 10 " TONY PASTOR'S UNION SONGSTER 10 •• PADDY'S THE BOY SONGSTER 10 " BONNY DUNDEE SONGSTER , io " WILL CARLETON'S DANDY PAT SONGSTER 10 " BILLY EMERSON'S NANCY FAT SONGSTER 10 " HOOLEY'S OPERA HOUSE SONGSTER 10 ' 4 SAM SHARPLEY'S IRON-CLAD SONGSTER , 10 " JOE ENGLISH'S COMIC IRISH SONGSTER 10 kl BODY MAGUIRE'S COMIC VARIETY SONGSTER 10 h * HARRY PELL'S EBONY SONGSTER 10 " FRANK BROWER'S BLACK DIAMOND SONGSTER 10 •» FRANK CONVERSE'S OLD CREMONA SONGSTER 10 " NELSE SEYMOUR'S BIG SHOE SONGSTER ...a0 t4 THE LANIGAN'S BALL SONGSTER. 10 " TOM MOORE'S IRISH MELODIES 10 " BILLY HOLMES' COMIC LOCAL LYRICS.... 10 " FATTIE STEWART'S COMIC SONGSTER 10 " CHRISTY'S BONES AND BANJO SONGSTER 10 " GEORGE CHRISTY'S ESSENCE OF OLD KENTUCKY 10 " CHRISTY'S NEW SONGSTER AND BLACK JOKER 10 M THE CONVIVIAL SONGSTER 10 " HEART AND HOME SONGSTER 10 " BOB HART'S PLANTATION SONGSTER 10 " BILLY BIRCH'S ETHIOPIAN SONGSTER 10 " THE SHAMR^ "K; OR, SONGS OF IRELAND 10 " HARRISON'S COMIC SONGSTER 10 " THE CAMP-FIRE SONG BOOK.... 10 " THE CHARLEY O'MALLEY IRISH SONGSTER 10 " FRED MAY'S COMIC IRISH SONGSTER 10 " THE LOVE AND SENTIMENTAL SONGSTER.... 10 " THE IRISH BOY AND YANKEE GIRL SONGSTER 10 ' 4 THE FRISKY IRISH SONGSTER 10 " GUS SHAW'S COMIC SONGSTER 10 " WOOD'S MINSTREL SONG BOOK 10 " WOOD'S NEW PLANTATION MELODIES 10 " DICK & FITZGERALD, PUBLISHERS, NEW YORK. %* The Publishers, upon receipt of the price, will send any of the following books by mail, postage free, to any part of the United States. In ordering books, the full name, post office, county and State should be plainly written. Wilson's Book of Recitations and Dialogues, 'With In- structions in Elocution and Declamation, Containing a choice selection of Poetical and Prose Recitations and Original Colloquies. Designed as a Heading Book for Classes, and as an Assistant to Teachers and Students m preparing Exhibitions. By Floyd B. Wilson, Professor of Elocution. This collection has been prepared with a special view to the development of the two cardinal principles of true Elocution— Voice and Action, and include a large proportion of Recitations and Dialogues, Which appear for the first time in this form. The Colloquies are entirely original. Paper covers. Price SO cts. Bound in boards, cloth back 50 CtS. [Frost's Dialogues for Young Eolks. A collection of Orig- inal Moral and Humorous Dialogues. Adapted to the use of School and Church Exhibitions, Family Gatherings, and Juvenile Celebrations on all Occasions. By S. A. Frost, author of " Frost's Original Letter Writer," etc. This collection of Dialogues is just what has long been wanted— it contains a variety that will suit every taste ; some^of the subjects are hu- morous, some satirical, hitting at the follies of vice and fashion, while others are pathetic, and all are entertaining. A few of the Dialogues are long enough to form a sort of little drama that will interest more advanced scholars, while short and easy ones abound for the use of quite young chil- dren. Most of the Dialogues introduce two or three characters only, but some require a greater number. The subjects chosen will, it is hoped, be found useful in conveying sound moral instruction as well as giving the op- portunity to display memory and vivacity in rendering them. Paper covers. Price 30 cts, Bound in boards, cloth back, side in colors 50 cts. The Parlor Stage. A Collection of Drawing-Koom Pro- verbs, Charades and Tableaux Vivants. By Miss S. A. Frost. The authoress of this attractive volume has performed her task with skill, talent, and we might say, with genius ; for the Acting Charades and Proverbs are really minor dramas of a high order of merit. There are twenty-four of them, and fourteen Tableaux, all of which are excellent. The character are admirably drawn, well contrasted, and the plots and dialogues much better than those of many popular pieces performed at the public theatres. Any parlor with folding or sliding doors is suitable for their representation (or, if there are no sliding or folding doors, a temporary curtain will answer). The dresses are all those, of modern society, and the scenery and properties can be easily provided from the resources of almost any family residence in town or coun- try. The book is elegantly got up, and we commend it heartily to young gentlemen and ladies who wish to beguile the long winter evenings with a species of amusement at once interesting, instructive and amusing. 368 pages, small Bvo, cloth, gilt side and back, beveled edges. Price. T&1 50, Popular Books sent Free of Postage at the Prices annexed. - — ' m ; ! Brudder Bones' Book of Stump Speeches and Burlesque Orations. Also containing Humorous Lectures, Ethiopian Dialogues, Plan- tation (Scenes, Negro Farces and Burlesques, Laughable Interludes and Com- ic Recitations, interspersed with Dutch, Irish, French and Yankee Stories. Compiled and edited by John F. Scott. This book contains some of the best hits of the leading negro delineators of the present time, as well as mirth-provoking jokes and repartees of the most celebrated End-Men of the day, and specially designed for the introduction of fun in an evening's en- tertainment. Paper covers. Price 30 cts. Bound in boards, illuminated 50 cts. Frost's Original Letter- Writer. A complete collection of Original Letters and Notes, upon every imaginable subject of Every-Day Life, with plain directions about everything connected with writing a letter. Containing Letters of Introduction, Letters on Business, Letters answering Advertisements, Letters of Recommendation, Applications for Employment, Letters of Congratulation, of Condolence, of Friendship and Relationship, Love Letters, Notes of Invitation, Notes Accompanying Gifts, Letters of Favor, of Advice, and Letters of Excuse, together with an appropriate answer to each. The whole embracing three hundred letters and notes. By S. A. Frost, author of " The Parlor Stage,' 1 " Dialogues for Young Folks," etc. To which is added a comprehensive Table of Synonyms alone worth double the price asked for the book. This work is not a rehash of English writers, but is entirely practical and original, and suited to the wants ot the . American public. We assure our dreaders that it is the best collection of letters ever published in this country. Bound in boards, cloth back, with illuminated sides. Price 50 cts. Inquire Within for Anything you Want to Know ; or, Over 3,700 Fads for the People. " Inquire Within " is one of the most valuable and extraordinary volumes ever presented to the American public/and embodies nearly 4,000 facts, in most of which any person will find instruc- tion, aid and entertainment. It contains so many valuable recipes, that an enumeration of them requires seventy-tioo columns of fine type for the index. Illustrated. 436 large pages. Price %\ 50 The Sociable ; or, One Thousand, and One Home Amusements. . Containing Acting Proverbs, Dramatic Charades, Acting Charades, Tableaux Vivants, Parlor Games and Parlor Magic, and a choice collection of Puzzles, etc., illustrated with nearly 300 Engravings and Diagrams, the whole being a fund of never-ending entertainment. By the author of the " Magician's Own Book." Nearly 400 pages, 12 mo. cloth, gilt side stamp. Price. .$1 50 KEartixie's Hand-Book of Etiquette and Guide to True Po- liteness. A complete Manual for all those who desire to understand good breeding, the customs of good society, and to avoid incorrect and vulgar habits. Containing clear and comprehensive directions for correct manners, conversation, dress, introductions, rules for good behavior at Dinner. Parties and the table, with hints on wine and carving at the table ; together with Etiquette of the Ball and Assembly Room, Evening Parties, and the usages to be observed when visiting or receiving calls; deportment in the street and when travelling. To which is added the Etiquette of Courtship and Marriage. Bound in boards, with cloth back. Price 50 cts. Bound in cloth, gilt side 75 cts. Day's American Keady-Keckoner, containing Tables for rapid calculations of Aggregate Values, "Wages, Salaries, Board, Interest Money, &c, &c. Also, Tables of Timber, Plank, Board and Log Measure- ments, with full explanations how to measure them, either by the square foot (board measure), cubic foot (timber measure), &c. Bound in boards. Price .50 cts. Bound in cloth 75 cts- Popular Books sent Free of Postage at the Prices annexed. Spencer's Book of Comic Speeches and Humorous Recita- tions- -A- collection of Comic Speeches and Dialogues, Humorous Prose and Poetical Recitations, Laughable Dramatic Scenes and Burlesques, and Ec- centric Characteristic Soliloquies and Stories. Suitable lor School Exhibi- tions and Evening Entertainments. Edited by Albert J. Spencer. This is the best book of Comic Recitations that has ever been published, and commands a large sale on account of its real merit. It is crammed full of Comic Poetry, Laughable Lectures, Irish and Dutch Stories, Yankee Yarns, Negro Burlesques, Short Dramatic Scenes, Humorous Dialogues, and ail kinds of Funny Speeches. Paper covers. Price 30 cts. Bound in boards, cloth back 50 Cts. Marache's Manual Of Chess- Containing a description of the Board and the Pieces, Chess Notation, Technical Terms with diagrams illustrating them, Relative Value of the Pieces, Laws of the Game, General Observations on the Pieces, Preliminary Games for Beginners, Fifty Open- ings of Gaines, giving all the latest discoveries of Modern Masters, with best games and copious notes. Twenty Endings of Games, showing easiest ways of effecting Checkmate. Thirty-six ingenious Diagram Problems, and Sixteen curious Chess Stratagems. To which is added a Treatise on the Games of Backgammon, Russian Backgammeft and Dominoes, the whole being one of the best Books for Beginners ever published. By N. Marache, Chess Editor of " Wilkes' Spirit of the Times." Bound in boards, cloth back. Price 50 Cts. Cloth, gilt side . : 75 cts. Martinet Sensible Letter Writer ; Being a comprehensive and complete Guide and Assistant for those who desire to carry on Episto- lary Correspondence ; Containing a large collection of model letters, on the simplest matters of life, adapted to all ages and conditions, EMBRACING, Letters of Courtesy, Friendship and Affection ,* Letters of Condolence and Sympathy ; A Choice Collection of Love Letters, for Every Situation in a Courtship ; Notes of Ceremony, Familiar Invita- tions, etc., together with Notes of Ac- ceptance and Regret. Business Letters ,* Applications for Employment, with Letters of Recommendation, and An- > swers to Advertisements : Letters between Parents and Children ; Letters of Friendly Counsel and Re- . monstrance ; Letters soliciting Advice, Assistance and Friendly Favors ; The whole containing 300 Sensible Letters and Notes. This is an invalua- ble book for those persons who have not had sufficient practice to enable them to write letters without great effort. It contains such a variety of letters, that models may be found to suit every subject. Bound in 'boards, with illuminated cover and cloth back, 207 pages. Price 50 cts. Bound in cloth -, 75 qIq\ The Perfect Gentleman. A book of Etiquette and Elo- quence. Containing Information and Instruction for those who desire to "become brilliant or conspicuous in General Society, or at .Parties, Dinners, or Popular Gatherings, etc. It gives directions how to use wine at table, with Rules for judging the quality thereof, Rules for Carving, and a com- plete Etiquette of the Dinner Table, including Dinner Speeches, Toasts and Sentiments, "Wit and Conversation at Table, etc. It has also an American Code of Etiquette and Politeness for all occasions. Model Speeches, with Directions how to deliver them. Duties of the Chairman at Public Meetings. Forms of Preambles and. Resolutions, etc. It is a handsomely bound and gilt volume of 335 pages. **«<*•. : $150 Popular Books sent Frsa of Postage at the Prices annexed. Hillgrove's Ball-room Guide and Complete Dancing-mas- ter* Containing a plain treatise on Etiquette and Deportment at Balls and Parties, with valuable hints on Dress and the Toilet, together v/ith lull explanations of the Rudiments, Terms, Figures and Steps used in Dancing, including clear and precise instructions how to dance all kinds of Quad- rilles, Waltzes, Polkas, Redowas, Reels, Round, Plain and Fancy Dances, so that any person may learn them without the aid of a teacher ; to which is added, easy directions for calling out the Figures of every dance, and the amount of Music required for each. The whole illustrated with 178 de- scriptive engravings and diagrams. By Thomas Hillgrove, Professor of Dancing. Bound in cloth, with gilt side and back. Price gl 00 Bound in boards, cloth back 75 cts. Wright's Book of 8,000 American Eeeeipts ; or, L'.gM- House of Valuable Information. Containing over 3,000 Receipts in all the Useful and Domestic Arts— including Cooking, Confectionery, Distilli&g, Perfumery, Chemicals, Varnishes, Dyeing, Agriculture, etc. Embracing valuable secrets that cannot be obtained from any other source. No exer- tion or expense has been spared to make tliis work as comprehensive and accurate as possible. Many Receipts will be found in it that have never ' before appeared in print in this country. Some idea may be formed of its value in the latter respect, when it is stated that the compiler has been for many years engaged in collecting rare and valuable Receipts from numer- ous languages besides the English. This is by far the most valuable Ameri- can Receipt Book that has ever been published. 12mo., cloth, 359 pages. Price $1 50 The Modem Pocket Hoyle. Containing all the Games of Skill and Chance, as played in this country at the present time ; being an •* authority on all disputed points." By " Thumps." This valuable manual is all original, or thoroughly revised, from the best and latest authorities, and includes the laws and complete directions for playing one hundred and eleven different games, comprising Card games, Chess, Checkers, Dominoes, Backgammon, Dice, Billiards, and all the Field Games. 388 pages. Paper covers. Price. 50 cts. Bound in boards, cloth back.. . • • -75 cts. Bound in cloth, gilt side and back SI 25 Richardson's Monitor of Free-Masonry. A Complete Guide to the various Ceremonies and Routine in Free-Mason's Lodges. Chapters, Encampments, Hierarchies, etc., in all the Degrees, whether Modern, Ancient, Ineffable, Philosophical or Historical. Containing, also, the Signs, Tokens, Grips, Pass-words, Decorations, Drapery, Dress, Regalia and Jewels, in each Degree. Profusely illustrated with Explanatory En- gravings, Plans of the Interior of Lodges, etc. By Jabez Richardson, A. M. A book of 185 pages. Bound in paper covers. Price 50 cts. Bound and gilt SI 00 Earey and Knowlson's Complete Horse-tamer and Far- rier. A Ne w an(i Improved Edition, containing Mr. Rarey's whole Secret of Subduing and Breaking Vicious Horses, together with his Improved Plan of Managing Young Colts, and breaking them to the Saddle, the Harness and the Sulky, with Rules for selecting a good Horse, for Feeding Horses, etc. Also, The Complete Farrier ; or, Horse Doctor ; a Guide for the Treatment of Horses in all Diseases to which that noble animal is liable, being the result of fifty years' extensive practice of the author, John C. Knowlson, during his* life an English Farrier of high popularity, containing the latest discoveries in the Cure of Spavin. Illustrated with descriptive Engravings. Bound in boards, cloth back. Price... ...v-50 ct3- Popular Books sent Free of Postage at the Prices annexed , The American Home Cook Book. Containing several hun- dred excellent Recipes. The whole based on many years' experience of an American Housewife. Illustrated with Engravings. All the Recipes m this book are written from actual experiments in Cooking. There are no copyings from theoretical cooking recipes. Bound in boards, cloth back. Price 50 cts. Bound in paper covers. Price 30 cts. Amateur Theatricals and Fairy-Tale Dramas. A collection of original plays, expressly designed for Drawing-room performance. By S. A. Frost. This work is designed to meet a want, which has been long felt, of short and amusing pieces suitable to the limited stage of the private parlor. The old friends of fairy-land will be recognized among the Fairy- Tale Dramas, newly clothed and arranged. Paper covers. Price SO cts. Bound in boards, with cloth back 50 cts. Parlor Trieks With Cards. Containing explanations of Tricks and Deceptions with Playing Cards, embracing Tricks with Cards performed by Sleight-of-hand, by the aid of Memory, Mental Calculation and Arrangement of the Cards, by the aid of Confederacy ; and Tricks performed by the aid of Prepared Cards. The whole illustrated and made plain and easy, with 70 engravings. This book is an abridgment of our large work, entitled " The Secret Out." Paper covers. Price 30ctS« Bound in boards, with cloth back 50 etS« Chesterfield's Letter-writer and Complete Book of Eti- quette J or > Concise, Systematic Directions for Arranging and Writing Letters. Also, Model Correspondence in Friendship and Business, and a great variety of Model Love Letters. This work is also a Complete Book of Etiquette. There is more real information in this book than in half a dozen volumes of the most expensive ones. Bound in boards, with cloth back. Price 35 Cts. Frank Converse's Complete Banjo Instructor. Without a Master. Containing a choice collection of Banjo Solos, Hornpipes, Reels, Jigs, Walk Arounds, Songs, and Banjo Stories, progressively arranged and plainly explained. Bound in boards, with cloth back. Price 50 cts. The Magician's Own Book, Containing several hundred amusing Sleight-of-hand and Card Tricks, Perplexing Puzzles, Entertain- ing Tricks and Secret Writing Explained. Illustrated with over 500 wood engravings. 12mo., cloth, gilt side and back stamp. Price SI 50 North's Book of Love Letters, With Directions how to write and when to use them, and 120 specimen Letters, suitable for Lovers of any age and condition, and under ail circumstances. Interspersed with the author's comments thereon. The whole forming a convenient hand- book of valuable information and counsel for the use of those who need friendly guidance and advice in matters of Love, Courtship and Marriage. By Ingoldsby North. This book is recommended to all who are from any cause in doubt as to the manner in which they should write or reply to let- ters upon love and courtship. The reader will be aided in his thoughts— he will see where he is likely to please and where to displease, how to begin and how to end his letter, and how to judge of those nice shades of expres- sion and feeling concerning which a few mistaken expressions may create misunderstanding. All who wish not only to copy a love letter, but to learn the art of writing them, will find North's book a very pleasant, sensible and friendly companion. It is an additional recommendation that the variety offered is very large. Cloth. Price 75 cts. Bound in boards 50 cts. Popular Books sent Free of Postage at the Prices annexed. The Parlor Magician ; or, One Hundred Tricks for the Draw- ing-Room, containing an Extensive and Miscellaneous Collection of Conjur- ing and Legerdemain ; Sleights with Dice, Dominoes, Cards, Ribbons, Rings, Fruit, Coin, Balls, Handkerchiefs, etc., all of which may be per- formed in the Parlor or Drawing- Room, without the aid of any apparatus ; also embracing a choice variety of Curious Deceptions, which may be per- formed with the aid of simple apparatus ; the whole illustrated and clearly explained with 121 engravings. Paper Covers. Price 30 cts, Bound in boards, with cloth back 50 cts. Book of Riddles and Five Hundred Home Amusements. Containing a Choice and Curious Collection of Riddles, Charades, Enigmas, Rebuses, Anagrams, Transpositions, Conundrums, Amusing Puzzles, Queer Sleights, Recreations in Arithmetic, Fireside Games and Natural Magic, embracing Entertaining Amusements in Magnetism, Chemistry, Second Sight and Simple Recreations in Science for Family and Social Pastime, il- lustrated with sixty Engravings. Paper covers. Price 30 cts. Bound in boards, with cloth back 50 cts. Book Of Fireside Games. Containing an Explanation of the most Entertaining 1 Games suited to the Family Circle as a Recreation, such as Games of Action, Games which merely require- attention, Games which require memory, Catch Games, which have for their objects Tricks or Mysti- fication, Games in which an opportunity is afforded to display Gallantry, Wit, or some slight knowledge of certain Sciences, Amusing Forfeits, Fire- side Games for Winter Evening Amusement, etc. Paper covers. Price. 30 cts- Bound in boards, with cloth back 50 cts. Parlor Theatricals ; or, Winter Evenings' Entertainment. Con- taining Acting Proverbs, Dramatic Charades, Acting Charades, or Draw- ing-Room Pantomimes, Musical Burlesques, Tableaux Vivants, etc.; with Instructions for Amateurs ; how to Construct a Stage and Curtain ; how to get up Costumes and Properties ; on the " Making up " of Characters ; Exits and Entrances; how to arrange Tableaux, etc. Illustrated with Engravings. Paper covers. Price 30 cts. Bound in boards, cloth back... 50 cts. The Book of 599 Curious Puzzles. Containing a large col- lection of entertaining Paradoxes, Perplexing Deceptions in numbers, and Amusing Tricks in Geometry. By the author ot " The Sociable," " The Se- cret Out," " The Magician's Own Book.". Illustrated with a great variety of Engravings. T/his book commands a large sale. It will furnish fun and amusement for a whole winter. Paper covers. Price 30 cts. Bound in boards, with cloth back 50 cts. The above five books are compiled from the " Sociable " and " Magician's Own." The American Boys' Book of Sports and Games, A Eeposi- t or y of In and Out-Door Amusements for Boys and Youth. Illustrated with nearly 700 engravings, designed by White, Herrick, Weir and Harvey, and engraved by N. Orr. This is, unquestionably, the most attractive and valuable book of its kind ever issued in this or any'other country. It has- been three years in preparation, and embraces all the sports and games that tend to develop the physical constitution, improve the mind and heart, and relieve the tedium of leisure "hours, both in the parlor and the field. The Engravings are all in the finest style of art, and embrace eight full-page ornamental titles, illustrating the several departments of the work, beauti- fully printed on tinted paper. The book is issued in the best style, being printed on fine sized paper, and handsomely bound.. Extra cloth, gilt side and back, extra gold. Price $3 50 Extra cloth, full gilt edges, back and side 4 §0 Popular Books sent Free of Postage at the Prices annexed. Book of Household Pets. Containing valuable instructions about the Diseases, Breeding, Training and Management of the Canary, Mocking Bird, Brown Thrush, or Thrasher, and other birds, and the rearing and management of all kinds of Pigeons and Fancy Poultry, Rabbits, Squir- rels, Guinea Pig«, White Mice, and Dogs ; together with a Comprehensive Treatise on the Principle and Management of the Salt and Fresh Water Aquarium. Illustrated with 123 fine wood-cuts. Bound in boards. Price 50 cts- Bound in cloth, gilt side 75 cts- Athletic Sports for Boys. A Kepository of Graceful Ee- creations for Youth, containing clear and complete instructions in Gymnas- tics, Limb Exercises Jumping, Pole Leaping, Dumb Bells, Indian Clubs, Parallel Cars, the Horizontal Bar, the Trapeze, the Suspended Popes, Skat- ing, Swimming, Bowing, Sailing, Horsemanship, Biding, Driving, Angling, Fencing and Broadsword. The whole splendidly illustrated with 194 fine wood-cuts and diagrams. Bound in boards, with cloth back. Price 75 Cts- Bound in cloth, gilt side SI 00 The Flay-Eoom; or, In-Boor Games for Boys and Girls ; in- cluding Bound Games and Forfeits, Slate and Board Games ; also numerous Table and Toy Games, together with a large collection of Evening Amuse- ments, Comprehending Comic Diversions, Parlor Magic, Tricks with Cards, Scientific Recreations and Puzzles. Profusely illustrated with 197 fine wood cuts. Bound in boards, with cloth back. Price 50 cts Bound in cloth, gilt side 75 Cts The Play-Ground ; or, Out-Door Games for Boys. A Book of Healthy Recreations for Youth, containing over a hundred Amusements, including Games of Activity and Speed ; Games with Toys, Marbles, Tops, Hoops, Kites. Archery, Balls ; with Cricket, Croquet and Base-Ball. Illus- trated with 124 wood-cuts. Bound in boards. Price 50 cts- Bound iri cloth, gilt side 75 Cts, The above four books are abridged from the "American Boy's Book of Sports and Games." The Young Exporter ; or, How to Write Short-Hand. A com- . plete Phonographic Teacher, intended to afford thorough instruction to those who have not the assistance of an Oral Teacher. By the aid of this work, any person of the most ordinary intelligence may learn to write Short- Hand, and Report Speeches and Sermons in a short time. Bound in boards, with cloth back. Price 50 cts. Barton's Comic Excitations and Humorous Dialogues, Containiug a variety of Comic Recitations in Prose and Poetry, Amusing Dialogues, Burlesque Scenes, Eccentric Orations and Stump Speeches, Hu-. morons Interludes and Laughable Farces. Designed for School Commence-i ments and Amatevr Theatricals. Edited by Jekome Barton. This is the best collection of Humorous pieces, especially adapted to the parlor stage, that has ever been published. Illuminated paper cover. Price 30 cts- Bound in boards, with cloth back 50 cts The Secret Out ; or, One Thousand Tricks with Cards, and other Recreations. Illustrated with over Three Hundred Engravings. A book which explains all the Tricks and Deceptions with Playing Cards cvei' known, and gives, besides, a great many new ones— the whole being de- scribed so carefully, with engravings to illustrate them, that anybody can easily learn how to perform them. " This work also contains 240 of the best Tricks in Legerdemain, in addition to the card tricks. 12mo., 400 pages, bound in cloth, with gilt side and back. Price $1 50 Popular Books sont Free of Postage at the Prices annexed. — «g < Duncan's Masonic BAtual and Monitor; or, Guide to the Three Symbolic Degrees of the Ancient York Rite, Entered Apprentice, Fellow Craft, and Master Mason. And to the Degrees of Mark Master, Past Mas- ter,' Most Excellent Master, and the Royal Arch. By Mal.com C. Duncan. Explained and Interpreted by copious Notes and numerous Engravings. It is not so much the design of the author to gratify the curiosity of the uninitiated, as to furnish a Guide to the Younger Members of the Order, by means of which their progress from grade to grade may be facilitated. It is a well-known fact that comparatively few of the fraternity are " Bright Masons," but with the aid of this invaluable Masonic Companion any Ma- son can, in a short time, become qualified to take the Chair as Master of a . Lodge. Nothing is omitted in it that may tend to impart a full under- standing of the, principles of Masonry. This is a valuable book for the Fraternity, containing, as it does, the Modern " WoitK " of the order. No Mason should be without it. It is entirely different from any other Ma- sonic book heretofore published. Bound in cloth. Price .*. . .%2 50 Leather tucks (Pocket-book Style), with gilt edges. Price 3 00 ** Trumps' " American Hoyle ; or, Gentleman's Hand-booh of Games. Containing clear and complete descriptions of all the Games played in the United States, with the American Rules for playing them ; including Whist, Euchre, Bezique, Cribbage, All-Fours, Loo, Poker, Brag, Piquet, Ecarte, Boston, Cassino, Chess, Checkers, Backgammon, Dominoes, Bil- liards, and a hundred other Games. This work is designed to be an Ameri- can authority in all games of skill and chance, and will settle any disputed point. It has been prepared with great care by the editor, with the assist- ance of a number of gentlemen players of skill and ability, and is not a re-hash of English Games, but a live American book, expressly prepared for American readers. The American Hoyle contains 525 pages, is printed on fine white paper, bound in cloth, with beveled boards, and is profusely illustrated with engravings explaining the different Games. Price g2 00 Brisbane's Golden Beady Reckoner. Calculated in Dollars and Cents, being a useful Assistant to Traders in buying and, selling vari- ous commodities, either wholesale or retail, showing at once the amount or value of any number of articles, or quantity of goods, or any merchandise, either by the gallon, quart, pint, ounce, pound, quarter, hundred, yard, loot, inch, bushel, etc., in an easy and plain manner. To which are added Interest Tables, calculated in dollars and cents, for days and for months, at six per cent, and at seven per cent, per annum, alternately ; and a great number of other Tables and Pules for calculation never before in print. 1'y "William D. Brisbane, A. M., Accountant, Book-keeper, etc. Bound in boards, cloth back. Price. . . . V* 35 Cts. The Indian Club Exercise. "With explanatory figures and positions, photographed from life ; also, general remarks on Physical Cul- ture. Illustrated with portraitures of celebrated athletes, exhibiting great muscular development from the Club Exercise, engraved from photographs, expressly for this work. By Sim. D. Kehoe. « Quarto, cloth. Price $2 50 Live and Learn. A Guide for all who wish to Speak and Write correctly. Containing examples of one thousand mistakes of daily occurrence, in speaking, writing and pronunciation. 216 pages, cloth, small octayo. Price 75 Cts* Mrs. Crowen's American Lady's Cookery Book. Contain- ing over 1,200 original receipts for preparing and cooking all kinds of dishes. The most popular Cook Book ever published. 12mo. ? cloth, 474 pages $2 00 Popular Books sent Free of Postage at tlie Prices annexed. Spayth's Draughts or Checkers for Beginners. Being a comprehensive Guide for those who desire to learn the Game. This treatise ■was written by Henry Spayth, the celebrated player, and is by far the most complete and instructive elementary work on Draughts ever published. It is profusely illustrated with diagrams of ingenious stratagems, curious positions, and perplexing problems, and contains a great variety of inter- esting and instructive Games, progressively arranged and clearly explained with notes, so that the learner may easily comprehend them. "With the aid of this valuable Manual, a beginner may soon master the theory of Checkers, and will only require a little practice to become proficient in the Game. Cloth, gilt side. Price 75 cts. The Eeason Why of General Science, A careful collec- tion of gome thousands of Eeasons for things, which, though generally known, are imperfectly understood. Being a book of Condensed Sci- entific Knowledge. It is a complete Encyclopedia of Science; and per- sons who have never had the advantage of a liberal education may, by the aid of this volume, acquire knowledge which the study of years only would impart in the ordinary course. It explains everything in Science that can be thought of, and the whole is arranged with a full index. A large vol- ume of 346 pages, bound in muslin, gilt, and illustrated with numerous wood-cuts. Price » . . ,,.... -SI 50 De Walden's Ball-room Companion ; or, Dancing Made Easy. A Complete Practical Instructor in the art of Dancing, containing all the fashionable and approved Dances, directions for calling the Figures, etc. By Emils De Walden, Teacher of Dancing. This book gives in- struction in Deportment, Rudiments and Positions, Bows and Courtesies, Fancy Daucing, Quadrilles, Waltzes, Minuets, Jigs, Spanish Dances, Pol- lea, Schottische, Galop, Deux Temps, Danish, Eedowa, Varsovienne, Hop, etc., together with all the newest Waltzes and Quadrilles in vogue. It also contains complete directions for all the figures of the celebrated "German " or Cotillion. Bound in boards, cloth back. Price 50 cts* The Game of Draughts, or Checkers, Simplified and Ex- plained. With practical Diagrams and Illustrations, together with a Checker-Board, numbered and printed in red. Containing the Eighteen Standard Games, with over 200 of the best variations, selected from the various authors, together with many original ones never beiore published. By D. SCATTEKGOOD. Bound in cloth, with flexible covers. Price. 50 CtSo Courteney's Dictionary of Abbreviations ; Literary, Scien- tific, Commercial, Ecclesiastical. "*filitary, Naval, Legal and Medical. A book of reference — 3,000 abbrevia. .jns— for the solution of all literary mys- teries. By Edward S. C. Courteney, Esq. This is a very useful book. Everybody should get a copy. Price * * . .12 cts« How to Detect Adulteration in Our Daily Tood and Brink. A complete analysis of the frauds and deceptions practised upon articles of consumption, by storekeepers and manufacturers ; with full directions to detect genuine from spurious, by simple and inexpensive means. Price 12 cts. Blunders in Behavior Corrected. A Concise Code of De- portment for both sexes. Price 12 cts« "It will polish and refine either sex, and is Chesterfield* superseded." — Home Companion. Five Hundred French Phrases. Adapted for those who aspire to speak and write French correctly. Price , 12 cts. Popular Books ssnt Free of Postage at the Prices annexed. The Sociable ; or, One Thousand and One Home Amusements. Containing Acting Proverbs, Charades, Musical Burlesques, Tableaux Vivants, Parlor Games, Forfeits, Parlor Magic, and a choice collection of curious mental and mechanical puzzles, etc. Illustrated with engravings and diagrams. 12mo., cloth, gilt side stamp. Price $1 50 Frank Converse's Complete Banjo Instructor, without a Master. Containing a choice collection of Banjo Solos, Hornpipes, Keels, Jigs, Walk-Arounds, Songs and Banjo Stories, progressively arranged and plainly explained, enabling the learner to become a proficient ban joist with- out the aid of a teacher. Illustrated with diagrams and explanatory sym- bols. 100 pages. Bound in boards, cloth back. Price 50 cts. The Magician's Own Book. Containing several hundred amusing Sleight-of-hand and Card Tricks, Perplexing Puzzles, Entertain- ing Tricks and Secret Writing Explained. Illustrated with over 500 wood engravings. 12mo., cloth, gilt side and back stamp. Price $1 50 The Secret Ollt ; or, One Thousand Tricks with Cards. A book which explains all the Tricks and Deceptions with Playing Cards ever known or invented. Illustrated with over 360 engravings. 398 pages, 12mo., cloth, gilt side. Price SI 50 Book of Riddles and 500 Home Amusements- Containing all kind j of Curious Piddles, Amusing Puzzles, Queer Sleights and Enter- taming Recreations in Science, for Family and Social Pastime. Illustrated with 60 engravings. Paper covers. Price. . . , 30 cts. Bound in boards, cloth back 50 cts- Parlor Tricks With Cards. Containing explanations of all the Deceptions with Playing Cards ever invented. The whole illustrated and made easy with 70 engravings. Paper covers. Price 30 cts* Bound in boards, cloth back 50 cts. The Book Of Fireside Games. Containing a description of the most Entertaining Games suited to the Family Circle as a Pecrea- tion. Paper covers. Price 30 cts- Bound in boards, cloth back 50 cts- The Play-Room \ or, In-Door Games for Boys and Girls. Small octavo, profusely illustrated with 197 fine wood-cuts. Bound in boards, cloth back. Price 50 cts. Bound in cloth, gilt side 75 cts. The Play-Ground; or, Out- Door Games for Boys. A book of healthy recreations for youth. Containing over 100 Amusements. Illus- trated with 124 fine wood-cuts. Bound in boards, cloth back. Price 59 cts. Bound in cloth, gilt side 75 cts. The Parlor Magician ; or, One Hundred Tricks for the Draw- ing-Room. Illustrated and clearly explained, with 121 engravings. Paper covers. Price §0 cts. Boards, cloth back 50 Cts- The Book of 590 Curious Puzzles. Containing; all kinds of entertaining Paradoxes, Deceptions in Numbers, etc. Ulustraterl with numerous engravings. Paper covers. Price 30 cts. Bound in boards, cloth back 50 CIS. Popular Books sent Free of Postage at the Prices annexed. Barton's Comic Eecitations and Humorous Dialogues. Containing a variety of Comic Recitations in Prose and Poetry, Amusing Dialogues, Burlesque Scenes, Eccentric Orations and Stump Speeches, Hu- morous Interludes and Laughable Farces, designed for School Commence- ments and Amateur Theatricals. Edited by Jerome Barton. 180 pages, paper. Price 30 Ct3- Boards • 50 cts. Brudder Bones' Book of Stump Speeches and Burlesque Orations. Also containing Humorous Lectures, Ethiopian Dialogues, Plan- tation Scenes, Negro Farces and Burlesques, Laughable Interludes and Com- ic Recitations, interspersed with Dutch, Irish, French and Yankee Stories. Edited by John F. Scott. Paper covers. Price 30 Cts. Bound in boards, illuminated e 50 ets. Wilson's Book of Eecitations and Dialogues. With In- structions in Elocution and Declamation. Containing a choice selection of Poetical and Prose Recitations and Original Colloquies. Designed as a Beading Book for Classes, and as an Assistant to Teachers and Students in preparing Exhibitions. By Floyd B. Wilson, Professor of Elocution. 186 pages", 16mo., paper covers. Price 30 cts. Bound in boards, cloth back 50 cts. Spencer's Book of Comic Speeches and Humorous Eeci- tiOHS- -A- collection of Comic Speeches and Dialogues, Humorous Prose and Poetical Becitations, Laughable Dramatic Scenes and Burlesques, and Ec- centric Characteristic Soliloquies and Stories. Suitable for School Exhibi- tions and Evening Entertainments. Edited by Albert J. Spencer. 192 pages, 18mo.. paper covers. Price SO cts. Bound in boards, cloth back 50 cts. Frost's Dialogues for Young Folks. A collection of Orig- inal Moral and Humorous Dialogues. Adapted to the use of School and Church Exhibitions, Family Gatherings, and Juvenile Celebrations. By ►S. A. Frost, author of " The Parlor Stage." Paper covers. Price... 30 cts. Bound in boards, cloth back, side in colors 50.cts« Amateur Theatricals, and Fairy-Tale Dramas, A collec- tion of Original Plays, expressly designed for Drawing-room performance. By S. A. Frost. This work is designed to meet a want, which has been long felt, of short and amusing pieces suitable to the limited stage of the private parlor. 16mo., 188 pages, paper covers. Price SO cts. Boards, cloth back . c , 50 cts* Parlor Theatricals ; or, Winter Evening Entertainment. A collection of Dramatic Amusements and Comic Plays. Illustrated with cuts and diagrams. Paper covers. Price 30 cts« Bound in boards, cloth back 50 cts- The Parlor Stage. A collection of Drawing-Hoom Pro- verbs, Charades and Tableaux Vivants. By Miss S. A. Frost. These playg are intended solely for performance by a small party of friends, in private parlors, and require but little trouble or expense to render them effective. 368 pages, small octavo, cloth, gilt side and back. Price SI 50 Frost's Book Of Tableaux. Containing 160 Tableaux Vivants, with directions for arranging the stage, costuming the characters, and forming appropriate groups. By S. Annie Frost, author of " The Parlor Stage, "Amateur Theatricals, " etc. To those who desire to get up an evening's entertainment, this book will prove an invaluable assistant. " Paper covers. Price . . , ,q() c f s . Bound in boards, cloth back 50 ets- Popular Books sent Free of Postage at the Prices annexed. Bay's American Ready-Reckoner. Containing Tables for rapid calculation of aggregate values, wages, salaries, board, interest money, etc. Also, tables of timber, piank, board and log measurements, with full explanations how to measure them, either by the square loot, (board measure), or cubic foot, (timber measure.) All the tables are origi- nal and reliable. Bound in boards. Price 50 cts. Bound in cloth, gilt side and back 75 C fa Bound in leather tucks (pocket-book style) gl CO Brisbane's Golden Ready-Reckoner ; or, Lightning Calcula- tor. A valuable assistant to Farmers, Traders and Housekeepers, in buy- ing or selling- all kinds of commodities. Bound in boards, cloth back. Price 35 cts. Frost's Original Letter- Writer. A complete collection of Original Letters and Notes, upon every imaginable subject of Every-Day Life, embracing 300 Letters and Notes. To which is added a Comprehensive Table of Synonyms. By S. A. Fhost, author of " The Parlor Stage." 202 pages, boards, cloth back, side in colors. Price 50 Cts. North's Book of Love Letters. With directions how to write and when to use them, and 120 specimen Letters, suitable for Lovers of any age and condition, and under all circumstances. ,By Ingoldsby North. Bound in cloth. Price 75 Cts. Bound in boards , 50 Cts. Hillgrove's Ball-Rooin Guide and Complete Dancing Mas- ter- With easy directions for calling out the figures of any dance. Illus- trated with 17G descriptive engravings and diagrams. By Thos. Hillgrove, Professor of Dancing. Bound in boards, cloth back. Price 75 cts. Bound in cloth, gilt sides SI 00 The Young Reporter; or, How to Write Short-Hand. A Complete Phonographic Teacher, intended as a School-Book, to afford thor- ough instructions to those who have not the assistance of an Oral Teacher. By the aid of this work, any person of most ordinary intelligence may learn to write Short-Hand, and report Speeches and Sermons, in a short time. Bound in boards, with cloth back. Price -50 cts* Martine's Sensible Letter-Writer. Containing 300 Sensi- ble Letters and Notes on the simplest matters of life, adapted to all ages and conditions. Model Letters on any subject may be found in this book. By Arthur Martine. 207 pages. Bound in boards, cloth back. Price 50 cts. Cloth, gilt side and back ; 75 CtS. Martine's Hand-Book of Etiquette and Guide to True Politeness. A complete Manual for all those who desire to understand good breeding, the customs of good society, and to avoid incorrect and vul- gar habits. By Arthur Martine. Bound in beards, cloth back. Price 50 cts. Cloth, gilt side and back 75 CtS. Martine' s Letter- Writer and Book of Etiquette Combined. Being both of the above books printed on fine paper and bound in one vol- ume. Cloth, gilt. Price....- SI 50 The Perfect Gentleman. A Book of American Etiquette. Containing Model Speeches for all occasions, with directions how to deliver them, Table Wit and Conversation, etc. 12mo., cloth. Price SI 50 Popular Books sent Free of Postage at the Prices annexed. The Modern Pocket Eoyle. Containing all the Games of Skill and Chance, as played in this country at the present time ; being "An authority on all disputed points." By " Trumps." This valuable manual is all original, or thoroughly revised from the best and latest authorities, and includes the laws and complete directions for playing one hundred and eleven different Games — comprising Card Games, Chess, Checkers, Domi- noes, Backgammon, Dice, Billiards, and all the Field Games. 16mo., 388 pages, paper covers. Price 50 cts. Boards 75 Cts. Cloth, gilt sides gl 25 Earey and Knowlson's Complete Horse-Tamer and Farrier. A new and improved edition, containing Mr. Rarey's whole Secret of Sub- duing and Breaking Vicious Horses, together with his Improved Plan of Managing Young Colts, and breaking them to the Saddle, the Harness and the Sulkey. Also, The Complete Parkier ; or, Horse Doctor ; a Guide for the Treatment of Horses m all Diseases to which that noble animal is liable, being the result of fifty years' extensive practice of the author, John C. Knowlson. Illustrated with descriptive Engravings. Bound in boards, cloth back. Price 50 Cts. 11 Trumps' " American Hoyle ; or, Gendemarfs Hand-Booh of Gamts. Containing clear and complete descriptions of all the Games played in the Unites States, with the American Rules for playing them. The whole contains 525 pages, is printed on fine white paper, bound in cloth, with beveled edges, and is profusely illustrated with engravings explaining the different Games. Price S3 00 Half calf, marble edges , 4 00 Spayth's Draughts or Checkers for Beginners, Being a comprehensive Guide for those who desire to learn the Game. This treatise was written by Henry Spayth, the celebrated player, and is by far the most complete and instructive elementary work on Draughts ever published. Small octavo, cloth. Price 75 cts, The Game of Draughts or Checkers, Simplified and Ex- plained. "With Practical Diagrams and Illustrations, together with a Checker-board, numbered and printed in red. Containing the eighteen standard games, with over 200 of the best variations. By D. Scattergood. Bound in cloth, with flexible cover. Price. , 50 CtS. Marache's Manual Of Chess. Containing Preliminary Games for Beginners, fifty Openings of Games, giving all the latest discov- eries of modern masters, with best Games and Copious Notes, Endings of Games, Problems, Diagrams, etc. By N. Mar ache. •Cloth, gilt side. Price 75 c tg. Bound in boards, cloth back 50 cts« Duncan's Masonic Ritual and Monitor; or, Guide to the Three Symbolic Degrees of the Ancient York Rite. And to the Degrees of Mark Master, Past Master, Most Excellent Master, and the Royal Arch. Containing all the Lectures, etc. By Malcolm C. Duncan. Bound in cloth. Price <£2 50 Leather tucks (pocket-book style) with colored edges 3 00 Richardson's Monitor of Freemasonry. A Complete Guide to the various Ceremonies and Routine in Freemasons' Lodges, Chapters, Encampments, Hierarchies, etc. Paper covers. Price 50 cts Cloth, gilt , SI 00 Popular Books sent Free of Postage at the Prices annexed. Walker's Ehyming, Spelling and Pronouncing Diction- ary of the English Language. Containing IV. Many of the most difficult Words rendered easy to be pronounced, by being classed according to their end- ings. I. The whole Language arranged ac- cording to its termination. II. Every Word explained and di- vided into Syllables, exactly as pro- nounced. III. Multitudes of Words liable to a double pronunciation, fixed in their true sound by a Rhyme. V. Numerous classes of Words as- certained in their pronunciation, by distinguishing them into perfect, nearly perfect, and allowable Rhymes. To which is added critical and practical Observations on Orthography Syllabication, Pronunciation, an Index of Allowable Rhymes, with Author- ities for their usage, etc. Royal 12mo., 700 pages. Price S3 CO Every Woman Her Own Lawyer. A Private Guide to all matters of Law, of essential interest to Women, and by the aid of which every Female may, in whatever situation, understand her legal course and redress, and be her own Legal Adviser. By George Bishop. Large 12mo., nearly 400 pages, bound in half leather. This book should be in the hands of every woman, young or old, married or single, in the United States. Price &1 50 Laughing Gas. An Encyclopaedia of Wit, Wisdom and Wind. By Sam Slick, Jr. Comically illustrated with 100 original and laughable Engravings, and nearly 500 side-extending Jokes, and other things to get fat on ; and the best of it is, that everything about the book is new and fresh — all new — new designs, new stories, new type — no comic almanac stuff. It will be found a complete antidote to " hard times." P ric e 25ctS. 10,000 Wonderful Things. Comprising the Marvellous and Rare, Odd, Curious, Quaint, Eccentric and Extraordinary, in all Ages and Nations, in Art, Nature and Science, including many Wonders of the World, enriched with hundreds of Authentic Illustrations. 12mo., cloth, gilt side and back. Price SI 50 William H. Lingard's On the Beach at Long Branch Song Book. Containing all his Original Songs, and a complete collection of the Songs sung by the great and inimitable Impersonator, William Horace Lingard, including the Music of his principal Songs. Illuminated cover, 128 pages. Price 25 CtS. The Game Of Whist. Eules, Directions and Maxims to be observed in playing it. Containing, also, Primary Rules for Beginners, Explanations and Directions for Old Players, and the Laws of the Game. Compiled from Hoyle and Matthews. Price 12 CtS. /The Corner Cupboard ; or, Facts for Everybody. By the Author of "Inquire Within." Large 12mo., 400 pages, cloth, gilt side and back. Illustrated with over one thousand Engravings. Price SI 50 Book of 1,000 Tales and Amusing Adventures, Contain- ing over 300 Engravings, and 450 pages. This is a magnificent hook, and is crammed full of narratives and adventures. Price SI 50 — AvJtO A- r. WEWYORK: 1 W'teX^itxgeraVi/^uUisl^ft .j-: I *0 • >»c- ^T" — -*S« .^'£ /?2\ H.OWV..CB \*> m Popular Books sent Free of Postage at the Prices annexed. DO NOT FORGET That on receipt of the price, either in cash or stamps, copies of any Books in this List will be sent to any part of the United States or Canadas, either by mail or ex- press, securely and neatly packed, postpaid. Eecollect ! any book you want you can have at the advertised pr 'ice, and your order will be dispatched the same day it is received. No charge for catalogues or information. TALES OF NEW YORK LIFE. Caroline Tracy, the Milliner's Apprentice; or, Life in New York among the Lofty and Lowly. Being the Komantic Adventures of a Young Girl in New York during 1847 and 1848. This is a spirited romance of New York Lite, and exposes some of the mysteries of this great city, in a way which will make the uninitiated stare. It is a book of near 100 dosely-prj^-^— J%^^ i<%^%,<%.<^%^<%>^.<%,<%,<%^%(ji ■ ' -25 CtS. *££# LIBRARY OF CONGRESS, tlu^t Tis. This A of a mys- terious en a i & / A) o all sorts of queer j J ^/^A. I J . / 8 » fo J per, to the smart law W / ' W Price.... | ^ AJ , #...25cte. The Bell ^ f j J L> £>roflife in and arc J ^afafUyM ^M. <-(~Or> Lf Tlohomea get along, # /S ;...25ctS. Ellen Gi* UNITED STATES OF AMERICA. J » exdt- ing novel T. W_ ppolis. Ifc vividly dc B^^^^^^^^^^^^^^^^^^^jlfim f vice, and greenhorns the prey of sharpers. The novel embraces 117 pages of closely printed matter. Price &5 ctS. The Orphan Seamstress. A Narrative of Innocence, Guilt, Mystery and Crime. By the author of " Caroline Tracy." This narrative of events m New York is especially interesting, as it alludes to incidents which every newspaper reader must remember. Price 25 CtS. Clarence Bolton. A New York story, with city life in all its phases. This is one of those fascinating tales of city life that gives an insight into every class of society. Price 25 CtS* Grace Weldoil ; or, Tiie Pretty Milliner. This is a story about the Sewing Girls of Boston. Full of fun and adventure. Any person who desires to read a lively story should not fail to g»t this work. Price 25cts. Chips from Uncle Sam's Jack-knife. Illustrated with over 100 Comical Engravings, and comprising a collection of over 500 Laughable Stories, Funny Adventures, Comic Poetry, Queer Conundrums, Terrific Puns, "Witty Sayings, Sublime Jokes and Sentimental Sentences. The whole being a most perfect portfolio for those who love to laugh. Large octavo. Pries 25 CtS. Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Dec. 2007 PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111 LIBRARY OF CONGRESS 011 279 252 1$ ^■g Bfi H nusB