Twelve Female and Twelve Male Figures.
This interesting and imposing tableau is taken from a legend, which
has been handed down from generation to generation among the villagers
living in the neighborhood of Glenburne Castle, England. The story,
probably as authentic as many which are often heard of in those
districts, is as follows:--
Many years ago, that portion of the country where Glenburne Castle now
stands was owned and governed by an intriguing and overbearing lord.
He had a beautiful companion for a wife, who loved him too well; but
his affections wandered from her. He looked into a brighter eye, and
on a fairer brow. His wife pined away, lived miserably for years, and
died at last broken-hearted. Six months had passed, and great
preparations were being made in the old castle for a magnificent
wedding. The lords and nobles, within a circuit of five hundred miles,
were invited to participate in the festivities of the day. The halls
were hung with beautiful tapestry and garlands of flowers, and the
castle resounded with strains of sweet music, "and all went merry as a
marriage bell." But this finely-arranged entertainment did not end in
so pleasant a manner as was intended. The hour had arrived when the
lord of the castle was about to lead to the hymeneal altar the
bright-eyed lady he so long loved. The spacious and magnificent
drawing rooms were thronged with the wealthy and the beautiful; all
were attired in robes of silk and satin, and costumes of velvet, which
glistened with pearls and precious stones. A temporary platform was
placed at one end of the hall, on which was raised a crimson and gold
canopy. On the platform were to be seated the bride and bridegroom,
and the grand cardinal who was to perform the service. It was seven
o'clock in the evening; the guests had all arrived, and were seated
around the room awaiting the entrance of the lord and his intended
bride. Soon the castle resounded with the sound of trumpets. The
massive doors opened wide, and the grand cardinal, followed by the
bride and bridegroom, entered the apartment, and took their position
beneath the canopy. The marriage ceremony had been partly completed,
when all were suddenly petrified with horror. A bluish flame is seen
rising from the centre of the floor, and within this cloud of flame
the spirit form of the bridegroom's first wife slowly rises up through
the floor, and points her bony fingers to the horror-stricken husband.
The guests and attendants rush from the castle, and hasten to their
homes. The intended bride remained insensible for many hours, and when
she revived she was no more herself. The fearful scene had crushed out
forever the last spark of reason. She was a maniac. The lord of the
castle was left alone with his spectre bride, but not long. Forsaken
by every one, he cared not for life, and when death came, which was
not long after this occurrence, he welcomed him as his best friend.
Years have passed, but the mysterious story still hangs over the spot;
and at certain times of the year, it is said the apparition,
surrounded by a cloud of fire, keeps its midnight vigils among the
time-worn ruins.
The number of figures required to represent this tableau is
twenty-four. The stage scenery is arranged in the following manner: In
one corner of the background erect a platform two feet high by four
feet square; over this place a canopy of crimson cloth, ornamented
with gold paper. The platform should be decorated in the same manner.
Red shawls or table covers will answer all purposes. Extending from
each side of the stage to the platform, there should be two rows of
seats and a platform behind; the first row of seats is to be eighteen
inches high; the second three feet high, with a platform behind two
feet wide; the platform can be left out at the sides, which will give
more space in the centre of the stage. The seats and platforms can be
formed of boxes and boards and covered with white cloth. Ten ladies,
and the same number of gentlemen are to occupy the seats, while the
platform is reserved for the bridal party. A trap door, two and a half
feet square, should be cut out of the floor four feet from the front,
and at equal distances from each side of the stage. This must be made
secure, when not in use, by the means of bolts. The machinery for
raising the spectre is arranged in the following manner: Strong
blocks, such as are used on board of ships, should be securely
fastened beneath the stage, at the four corners of the square; ropes,
three quarters of an inch in diameter, should be passed through them,
and one end of each fastened to fifty-six pound weights; the other
ends of the ropes are to be fastened to rings attached to a platform
two and a half feet square. A piece of four inch joist should be
fastened near the centre of the platform, which should be three and a
half feet high; small handles, two feet long, should also be fastened
securely at the sides of the platform, on which the person who
personates the spectre will stand. When the time has arrived for the
spectre to appear in the tableau, two persons can easily guide the
platform from the floor to the stage above. All the gentlemen are
required to do, is to guide the platform; the heavy weights attached
to the ropes will draw it up. The post fastened in the centre is
intended for the lady to take hold of to keep her position; it should
be covered with white cloth, and hid from view by the drapery of the
costume of the spectre. The lady personating the spectre should take
her position on the platform in the same manner that she will appear
on the stage, which is such that a side view can be had of the figure,
the right hand pointing to the platform where the bridal party are
standing. The costume consists of a long white dress, worn without
many skirts, over which is draped a robe of white muslin; a long,
white gauze veil should be loosely tied around the head; the hair is
allowed to hang loosely over the shoulders. The face, and arms, and
neck must be made as white as possible by the use of pearl-powder. The
features should express sternness.
The bridegroom should be dressed in a velvet coat trimmed with gold
lace, velvet breeches, white vest, white hose, low shoes, knee and
shoe buckles, ruffled bosom, white lace collar. The bride should be
adorned in a showy dress of rich brocade or satin, decorated with
jewels; mantle of ermine worn over the shoulders; the hair arranged to
suit the taste of the performer, and encircled with a wreath of
silver leaves, while a heavy white veil is fastened to the back of the
head. The cardinal should have on a long black silk surplice, white
cravat, and a mitre hat on the head. The couple face the audience, the
cardinal standing directly behind them in the same position, with his
hands raised over their heads. The ladies, who occupy seats at each
side of the platform, should be costumed in as great a variety and as
richly appearing dresses as can be procured; bands of gold, ornamented
with colored plumes, are worn on the head.
Jewelry of all kinds should be worn in profusion. The gentlemen may be
costumed in embroidered and military suits of various colors; white
hose, knee and shoe buckles, breeches and side arms; each being
disguised with wigs and false beards. The ladies and gentlemen should
be intermingled, those in the foreground seated, while a portion of
the others are in a standing position. At each side of the platform
there should be a page, holding the chapeau and side arms of the
bridegroom. Their costume consists of short velvet coat trimmed with
gold, pink breeches, white hose, white shoes, silver shoe and knee
buckles, white silk scarf, lace collar and cuffs. The attention of the
guests and attendants should be directed to the group on the platform,
the expression of their countenances denoting pleasure and interest.
This constitutes the first scene, and ought to be exhibited three
times; after which, the performers will take positions for the second
scene.
The bride should be reclining insensible on the arm of the bridegroom;
the cardinal is about seeking safety in flight; the lord looks with
horror on the spectre, and throws out his arm as if he thought the
spectre was about to grasp him; portions of the guests have risen, and
are about to take flight; others are stupefied with affright; hands
and arms are thrown up in fear; consternation is depicted on every
face. When all is ready for representation, the stage manager must
give the signal to those in charge of the curtain, machinery below the
stage, and colored fires at the same moment, so that all will work in
unison. The whitish-blue fire should be burned in small quantities
near the trap door and larger quantities of the same in the
ante-rooms, which will reflect on the forms of the performers. The
curtain should be drawn up quite fast, while the spectre, starting at
the same time, should rise very slowly.
The lights for this piece should be opposite the platform, where the
bridal party stand; they must be very brilliant, and as many as can be
procured. The music in the first scene should be of a lively nature;
in the second scene, of a mournful style.