Read Ebook: The Life of Jesus Christ for the Young Vol. 4 And His Life Depicted in a Gallery of Eighty Paintings by Newton Richard Hole William Illustrator

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NOTES AND EXPLANATIONS, 259-264

INTRODUCTION.

The Tableaux Vivants may be new to many of our readers, although they have been produced and have been quite popular in Europe, and to some extent in this country. For public or private entertainment, there is nothing which is so interesting and instructive as the tableau. The person most fitted to take charge of a tableau-company is one who is expert at drawing and painting: any one who can paint a fine picture can produce a good tableau.

The following diagram will illustrate the manner in which the manuscript should be arranged:--

In forming up a tableau, lights and shades should be studied; in fact, this is the main secret of producing effects, and by managing the lights about the stage correctly, you can throw parts of your picture in shadow, while other portions are light. Care should also be taken not to have too great a variety of colors in a picture. The showy costumes should be intermingled with those of modest appearance, and the lightest characters, as a general rule, should be placed in the background to relieve the dark ones; those in the background should be placed on platforms. If there are many figures in the piece, it will be necessary to have a number of forms, of various heights, placed in the background--in this manner all of the figures will be seen.

The stage manager should take his position at the front of the stage, and see that each one is in his proper place. He should prohibit laughter or conversation among the performers, unless any one wishes explanations in regard to the piece. He should be strictly obeyed in all matters referring to the tableaux; and when he has properly adjusted every thing on the stage, he should remove to the ante-rooms, and see that the lights, music, &c., are ready. He should then ring a small bell, and the announcer in the hall will have a programme of the tableaux, and will announce the piece; and if there is any accompanying poem to be read, it will be his duty to read it. The manager will then ring the second bell; this will be a signal for the performers on the stage to take their positions, and for the lights to be turned down in the hall. In thirty seconds after the second bell, the manager will ring a third time, which will be a signal for the curtain attendant to draw up the curtain, which should rise slowly to the top of the frame, and be kept up about thirty seconds. Each tableau should be exhibited twice, and in some cases three times. After the last exhibition, the performers should quietly proceed to the ante-rooms, and immediately dress for the next tableau. The manager and assistants will see that the stage is cleared of the scenery, and new scenery adjusted for the next piece. It will be necessary to work with rapidity, as there are many things to perform which in the aggregate will take much time. Large programmes should be placed in each dressing-room, so that the performers will be able to tell in which tableau they are to perform, without inquiring of the manager. Each performer should be furnished with a large trunk to keep his wardrobe in; and when a change of costume is made, care should be taken that each one places his costumes in his own trunk. If this plan is not followed, before the exhibition is through, many articles will be missing, which will retard the performance.

One melodeon, six common chairs, four ditto of better quality, two small tables, two sinks, two sets of pitchers and ewers; two mirrors, combs, hair brushes, pins, tumblers, twine and rope; napkins, nails, tacks, buckets, hammers, brooms, cloth brushes, small bell, large bell, scissors; one large table, one large chair, one set damask curtains, four boxes, four feet long and eighteen inches wide, six ditto eighteen inches square; two pieces black cambric, six feet square; four pieces white cotton cloth, six feet square; two red damask table covers, one circular platform, four feet in diameter, two steel bars, for producing sounds to represent alarm bells; one bass drum, one tenor drum, one flask of powder, one box of material for colored fires, one set of water-colors, one case containing pink saucer, chalk balls, pencil-brushes, and burnt cork.

The Tableau Vivant.

Walk with the Beautiful and with the Grand; Let nothing on the earth thy feet deter; Sorrow may lead thee weeping by the hand, But give not all thy bosom-thoughts to her; Walk with the Beautiful.

I hear thee say, "The Beautiful! what is it?" O, thou art darkly ignorant! Be sure 'Tis no long, weary road its form to visit, For thou canst make it smile beside thy door; Then love the Beautiful.

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

BURRINGTON.

THE WREATH OF BEAUTY.

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

LAIGHTON.

Ten Female Figures.

This elegant design is one of the finest of this series of tableaux, and is composed of ten young and beautiful ladies, grouped so as to represent a magnificent wreath. The bottom of the wreath rests on the front of the stage; the top reaches up to the ceiling, forming a complete circle of beautiful forms and fair faces, among which are entwined festoons of flowers. Inside of this circle is a large wreath six feet in diameter, and five inches in thickness; this rests on a pink ground, and is composed of spruce, ornamented with artificial flowers.

The first work in the construction of this tableau is to erect a circle of seats reaching from the front of the stage to the ceiling, in the background. This can be easily accomplished by using boxes of various sizes. The wreath should be ten feet in diameter; the boxes should be entirely covered with white cloth, the space in the centre with pink cambric.

The costume of the ladies consists of a white dress, cut very low in the neck; skirt quite long, and worn with few under skirts; sleeves four inches long, trimmed with white satin ribbon; waist encircled with a white satin sash; feet encased in white slippers; hair arranged to suit the performer's taste, and encircled with a wreath of white artificial flowers. The lady at the top of the wreath should first take her position. She should be the lightest in weight of the group, and should recline in an easy position, resting her head upon her hand, the elbow touching the box, and the body slightly inclined to the right. The second lady will then take her position at the right of the first, on the seat below, her arm resting on the form of the lady above, the right hand supporting her head, the face turned in to the centre of the circle, the eyes raised to those of the figure above. The remaining figures should take similar positions, until one half of the circle is complete. The other side of the circle is arranged in a similar manner,--the figures facing inward.

The wreath of spruce and flowers is to be placed within the circle of ladies. The stage and the back scene should be hung with green bocking, and care must be exercised in the forming of the circle, so that it shall appear perfectly round. The small festoons of flowers should be entwined among the figures, after they have taken their position. The expression of the countenances should be pleasant and animated. The light for this piece should come from the foot of the stage, and should be quite brilliant. Music soft, and of a secular character. The tableau, when finished, at a distance appears like an immense wreath resting against a grassy bank.

THE MARBLE MAIDEN.

WINTER'S TALE.

Three Female and Eleven Male Figures.

This tableau is taken from Shakspeare's drama, "The Winter's Tale." The scene is that wherein Paulina draws away the curtain and discloses the marble statue. She is addressing Leontes, who is seen in the foreground. At the left of the stage, a group of five gentlemen and one lady is seen; on the opposite side of the stage is another group of five gentlemen; all of which are in position, so that a profile view is exhibited.

The scenery of this piece consists of a curtain passing across the stage, three feet from the back end. The curtain described in the tableau of the "Dancing Girl in Repose" will answer for this scene, but should be allowed to hang straight from the top, in place of being looped up at the sides. Arranged in this way, it will leave an open space of five or six feet in the centre. The background is seen through this opening, and is to be festooned with wreaths of evergreens and flowers. Close up to the back wall is placed a platform, made in two pieces, the first being four feet square and one foot high. On this rests a second platform, three feet square and one foot high. At the right side of the upper platform is placed a round pedestal, three feet high and one foot in diameter; this has a cap and base, and can be made of card-board, and covered with white marble paper. The platform is to be covered with black marble paper.

Three more gentlemen, costumed in a similar style, occupy positions on the opposite side of the stage, close to the wings. A profile view is had of their figures, while their faces are turned towards the statue. In front of this group stands a young man, with his arm placed around the waist of a young lady who stands at his side, and in such a position that we have almost a back view of them. The lady is costumed in a white dress, cut low at the top, sleeves very short, skirt long, so as to trail ten inches, ornamented with buff ribbon, which should be placed on the bottom of the skirt, around the waist, on the top of the waist, and on the sleeves. Her hair should hang loosely over the shoulders, the head encircled with a string of feldspar or pearl beads. The hands are clasped in front of her bosom, the body inclined forward slightly, the eyes directed towards the statue. The gentleman at her side stands erect. His costume consists of a dark coat, ornamented around the bottom with silver paper, covered with black lace, the sleeves and collar trimmed in the same mode, with an addition of wide white lace cuffs and collar; the breeches are of black cloth, with a band of silver, and buckle at the knee; white hose, low shoes, with buckles, a wide belt around the waist, from which is suspended a long, slim sword. The lights on each side of the background, where the statue is placed, should be quite brilliant. The foreground should receive the rays of light, which should be of medium quantity, from the side of the stage where Leontes stands. Music soft and plaintive.

VENUS RISING FROM THE SEA.

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

BULWER.

One Female Figure.

This tableau is represented by one beautiful lady, whose costume consists of a flesh-colored dress, fitting tightly to the body, so as to show the form of the person. The hair hangs loosely on the shoulders and breast, and is ornamented with coral necklaces, while the neck is adorned with pearls. To represent the sea, it will be necessary to place, at intervals of two feet, strips of wood, beginning at the floor of the stage, near the front, and rising gradually as they recede in the background, the last strip being two feet from the floor of the stage. After these have been arranged, lay strips of blue cambric across them; cover them entirely, and between the bars of wood let the cambric festoon so as to represent the appearance of waves. It will be necessary to fasten the cambric with small tacks, to keep it in position, while the ridges of the miniature waves should be painted white, to imitate foam. A trap door should be cut in the centre of the stage, and a circle cut in the centre of the cambric, to admit the body of Venus. The waves should come up three inches above the hips, fitting closely around the body. The water about the centre should be made white with foam. A platform can be arranged below the stage for the performer to stand on, and this can be made high or low, according to the height of the lady, by the use of blocks of wood. The right hand of the figure is held above the head. The left hand rests on the water. The countenance is lighted up with smiles. Small particles of isinglass scattered on the waves will make them glisten and sparkle, which will add to the effect, while a green fire, burned for twenty seconds, and then changed to red or bluish white, will give a fine shade to the scene. If the colored fires are not used, the light should come from the front. Music, soft and brilliant.

RECEPTION OF QUEEN VICTORIA AT CHERBOURG.

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

ANON.

Ten Female and Twenty Male Figures.

It was in the fall of the year 1858, when the great naval arsenals, magazines, and docks, at Cherbourg, were to be inaugurated; and notwithstanding the admonition of the English press, which represented the establishment of these works as a direct menace against Great Britain, and, taken in connection with the constant increase of the French navy, a proof of ultimate hostile designs on the part of the emperor, Queen Victoria had accepted an invitation to be present on this occasion. The day appropriated for the reception of the queen had arrived. The weather was superb; the skies were blue, and the waters of the channel were calm and placid. The shores and buildings, as far as the eye could reach, were covered with cavalry, infantry, artillery, and citizens. Every bosom in this mighty throng was glowing with enthusiasm. The glittering eagles, the waving banners, the gleam of polished helmets and cuirasses, the clash of arms, the soul-stirring music from the martial bands, and the incessant bustle and activity, presented a spectacle of military splendor which has seldom been equalled. It was war's most brilliant pageant, without any aspect of horror. The frigate La Bretagne, on which the banquet was to take place, was decorated with s He did good to the master, and to every scholar in the school.

And there is no way in which we can do so much real good to all about us as by trying to catch the spirit and follow the example of our blessed Saviour.

And, as we leave this solemn subject, we may each of us say, in the words of the hymn:

"Can I Gethsemane forget? Or there thy conflict see, Thine agony and bloody sweat, And not remember thee?

"Remember thee, and all thy pains, And all thy love to me; Yes, while a breath, a pulse remains, Will I remember thee.

"And when these failing lips grow dumb, And mind, and memory flee, When thou shalt in thy kingdom come, Jesus, remember me."

THE BETRAYAL AND DESERTION

One of the darkest chapters in the history of our Saviour's life is this now before us. Here we see him betrayed into the hands of his enemies by one of his disciples and deserted by all the rest.

In studying this subject, we may look at the history of the betrayal and desertion, and then consider some of the lessons that it teaches.

The first time that we see anything wrong in Judas is at the supper given to our Lord at Bethany. We read about this in St. John 12: 1-9. On this occasion, Mary, the sister of Lazarus, brought a very precious box of ointment, and anointed the feet of Jesus with it. Judas thought this ointment was wasted, and asked why it had not been sold for three hundred pence, and given to the poor. This would be about forty-five or fifty dollars of our money. It is added--"This he said, not because he cared for the poor; but because he was a thief, and had the bag, and bore what was put therein." None of his disciples suspected Judas of being a thief at this time. These words were added, long after the death of Judas, when his true character was well known.

But, when Jesus rebuked Judas for finding fault with Mary, and praised her highly for what she had done, he was greatly offended. And then, it seems, he first made up his mind to do that terrible deed which has left so deep and dreadful a stain upon his memory. For we read--St. Matt. xxvi: 14-16--"Then one of the twelve, called Judas Iscariot, went unto the chief priests and said unto them, What will ye give me, and I will deliver him unto you? And they covenanted with him for thirty pieces of silver. And from that time he sought opportunity to betray him." The paltry sum for which Judas agreed to betray his Master was about fifteen dollars of our money--the price of a common slave.

Very soon after this Jesus met his disciples in that upper chamber of Jerusalem, to eat the Passover together for the last time. And Judas came with them. How could the wretched man venture into the presence of Jesus, when he had already agreed to betray him?

But Jesus knew all about it. How startled Judas must have been when he heard Jesus say before them all--"One of you shall betray me." It is probable that Jesus said this to drive Judas out from his presence, for it must have been very painful to him to have him there. And, after Jesus had given the sop to Judas, to show by this that he knew who the traitor was, we read that--"Satan entered into him. Then Jesus said unto him, That thou doest do quickly." Then he "went immediately out;" and hastened to the chief priests to make arrangements for delivering Jesus unto them.

It is clear, I think, from this that Judas was not present while Jesus was instituting the Lord's Supper. It must have been a wonderful relief to Jesus when Judas left their little company. And we are not surprised to find it written--"When he was gone out Jesus said, Now is the Son of man glorified, and God is glorified in him," St. John xiii: 31. Then followed the Lord's Supper; and the glorious things spoken of in the 14th, 15th, and 16th chapters of St. John, and the great prayer in the 17th chapter. After this came the agony in the garden of Gethsemane.

Nothing is said about Judas during the time of the trial of Jesus. Some suppose that he expected our Lord would deliver himself out of the hands of his enemies. We have no authority for thinking so. But, when he found, at last, that Jesus was condemned and was really to be put to death, his conscience smote him for what he had done. He brought back the thirty pieces of silver--the beggarly price he had received for betraying his Master--and threw them down at the feet of the chief priests, saying--"I have sinned, in that I have betrayed the innocent blood. And they said--What is that to us? See thou to that. And he went and hanged himself."

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