TY AND IMPUDENCE-SAILOR'S FAREW

G PIC

formance, and scarcely less careful rehearsal. The first element of success is a competent stage manager. His artistic taste should be beyond all question, and his will should be law among the members of his corps. The essentials of a "living picture" are very much the same as

stances admit, the directions we give elsewhere as to the construction of a stage and proscenium for private theatricals may be followed with advantage. In any case, a piece of fine gauze should be carefully stretched over the whole length and depth of the opening. This is found, by producing softer outlines, materially to enhance the picto

d or pole, and opening in the middle, will serve as a makeshift; but where a really artistic series

otherwise, without reference to any particular plot or story. For the former, an appropriate scene is required, varying with each tableau represented; for the latter, all that is necessary is a simple background of drapery, of such a tone of color as to harmonize with, and yet to give full p

the stronger light coming from one or the other side. A good deal of experiment and some little artistic taste will be necessary to attain the right balance in this particular. Where gas is available it will afford the readiest means of illumination. What is called a "string light," viz., a piece of gaspipe with fishtail burners at frequent intervals, connected with the permanent gas arrangements of the house by a piece of india rubber tube, and fixed in a vertical position behind each side of the temporary proscenium, will be found very e

lden, the royal robe need only be trimmed with ermine-on the side toward the spectators; indeed, the proudest of sovereigns, from the audience point of view, may, as seen from the rear, be the humblest of citizens. Even on the side toward the spectators a great deal of "make believe" is admissible. Seen through the intervening gauze, the cheapest cotton velvet is equal to the richest silk; glazed calico takes the place of satin; and even the royal er

of a magic lantern; the other lights of the tableau being lowe

the curtain being lowered for a moment in order to enable the characters to assum

ants, we append, for the reader's assistance, a selection

TY AND I

f plain drapery, r

side by side with a very small and saucy "boy in buttons," upon whom he looks down superciliously. Boy wit

FORTUN

t, while her own right hand holds a coin with which she is apparently tracing the lines of the young lady's palm, at the same time gazing with an arch expression into her face, as though to note the effect of her prediction

. F

plinth is formed of two or three successive platforms or steps of the same material. At the foot a woman kneels, clasping her arms around the cross, as though she had just thrown herself into that pos

.

procurable, a single star should be visible, and should be the object of her gaze.) Her right elbow rests upon her right knee, and her

CHA

. His arms are folded and rest on his knees, and his head is bent down upon them, so as to hide his face

INGLE

der a side table, boots, hats and walking-sticks lying about in various directions. On one corner of the table some one has apparently breakfasted in rather higgled

SAILOR'

-personated by a young lady in short black or blue skirt, red or white blouse, and white mob-cap-who sits with her apron up to her eyes in an apparent agony of grief. Three children are present, the two elder cry

HOME

scene, slightly more tanned, and with a fuller "made-up" beard, has apparently just entered. The wife has both arms round his neck, her face being hidden in his bosom. Of the children, the el

US TA

arrangement to the taste and intelligence of the reader. It w

own." A charming scene

of Wake

ning the Treaty w

"Signing the Pledge,"

good illu

Scots and the

ff Dismissin

g of the

Red Ridi

m the 'Corsic

e in He

the Apple From His Son'