Nine Male and Five Female Figures.
This fine tableau represents the Spirit or personification of
Chivalry, surrounded by men of various pursuits, religious, military,
and civil, who represent, as by an upper court or house, the final
acquisition of her honors and rewards. Beneath, as not having
obtained, though within reach of, the crown, is a young knight who
vows chivalric services, and is attended by his page and his young
bride. Around him, in various attitudes, other figures are introduced,
to connect the abstract representation of Chivalry with its general
recognition of intellectual influences; among them, the Painter, the
Sculptor, and Man of Science; the Palmer from the Holy Land, and the
Poet-Historian, from whom future ages must derive their knowledge of
the spirit and deeds of chivalry. The lady who personates the Spirit
of Chivalry should be of good figure and features. Her costume
consists of a loose white robe, cut high in the neck; a mantle of
white tarleton muslin is draped about the shoulders, and fastened in
front with a gilt cross; the hair is arranged in bands, falling low in
the neck, and encircled with a small wreath of silver leaves or white
flowers. In her left hand she holds a small wreath of evergreen, which
she extends towards the young knight, who kneels at the foot of the
pedestal on which she stands. Her position is, on a pedestal, three
feet high by two feet square, which should be placed in the centre of
the stage. Her body should be inclined slightly forward, and attention
directed to the knight in the foreground; her countenance should
express dignity and pleasure. At the back of the pedestal there should
be a representation of an altar, consisting of a shaft two and one
half feet wide by three feet in height, with a capital on the top one
foot wide by three and one half feet long. This can be made of boards,
showing a smooth surface, and nailed to the top of the pedestal. It
can be papered or painted to represent panels and scrolls. Fourteen
other figures are grouped around the pedestal, and as the arrangement
of the piece is a trifle complicated, we will designate them in
rotation, beginning at the foot of the pedestal. The figures, as they
recede in the background, should be placed on small platforms, rising
from one to three feet in height. By arranging the figures in this
manner, a perfect view of each will be had by the audience. Figure one
is a young lady; she kneels at the foot of the pedestal on which the
Spirit stands. Costume is, a white dress, cut low at the waist,
encircled with a satin sash; hair arranged in curls. Position is,
sitting, the body facing the audience, head resting on the hand, and
thrown back so as to touch the pedestal, and eyes directed to the face
of a harper, who kneels in front of her; the countenance expresses
surprise and admiration. Kneeling on the floor, nearly in front of
figure one, is a young knight--we have almost a back view of him, the
head turned just enough to get a partial profile view of the face; one
hand clasps a sword, which he raises in front of the body; the other
is lifted above the head, which is thrown back, with the eyes fixed on
the Spirit. The armor can be conveniently composed by fastening strips
and plates of bright tin to a suit of clothes made of black cambric.
The belt, gloves, and boots can be gotten up in the same manner. This
suit will cost but a trifle, and in the glare of the footlights will
look finely. Figure three is the palmer. He kneels behind figure one.
Costume consists of a dark robe, cowl made of black cloth, and face
covered with a heavy beard. In his hands he holds a shepherd's crook.
His eyes are directed to the harper. Figure four is a small girl, who
stands behind figure three, and holds in both hands the helmet of the
knight. Her costume consists of a white dress, with a pink sash; hair
done up to suit the taste of the performer. Her position is, facing
the audience, eyes fixed on the knight, expression of the face
denoting pleasure. Two other ladies stand on a small platform, outside
of the lady holding the helmet. Their costume consists of a white
dress, black velvet waist, hair arranged in wide braids at the side of
the face; one clasps her hands in front of her breast, and looks with
earnestness at the knight; the other places an arm on the shoulder of
her friend, and looks up into her face, her countenance beaming with
smiles. Behind these three females, and standing on a platform two
feet high, are two peasants. They are dressed in blue frocks, fastened
around the waist with black belts, knee breeches of colored cloth,
white hose, low shoes, knee and shoe buckles, white Kossuth hats,
encircled with a gilt band; the face covered with long, light beards.
Each holds a long staff, with a gilt crook at the top. Their position
should be behind the altar, arms folded on the breast, head inclined
forward, eyes cast down, and the expression of the face melancholy and
sober. Opposite to the two figures last described, and standing on a
platform at the other side of the altar, is a knight in full armor. He
holds a large sword in front of his body, and is looking straight
forward. His costume can be made in the same manner as that of the one
described at the beginning of the tableau. On a low platform, at the
side of the Spirit, stand a Sculptor and a Painter. Their position is,
facing the knight, who is kneeling in the foreground. Their costume
consists of white jackets, dark pants, and flat, white caps, worn
jantily on the side of the head. The Painter holds his pallet and
brushes, the Sculptor his mallet and chisel; their attention is
directed to the figure of the kneeling knight. Standing on the floor,
below the two figures just described, is the Poet-Historian. He faces
the audience, and looks at the Harper in the foreground. He is dressed
in dark clothes; a heavy white mantle is thrown over his shoulders,
the ends trailing to the floor; on his head is placed a garland of
green leaves. He holds in both hands a large book, which should be
bound richly and opened in the centre. Kneeling on the floor at his
feet, and facing the young knight, is the Harper. He holds in his left
hand a harp, and touches the strings with his right. His costume
consists of a coat made of Turkey cloth, trimmed with black binding
four inches wide; black knee breeches, white hose, knee and shoe
buckles, and red shoes. Over the left shoulder is carelessly thrown a
short velvet cloak, and on the head is a black velvet cap, with a gold
band and plume. His head is thrown back, eyes directed to the Spirit,
while the countenance should appear to be inspired. Kneeling at the
foot of the pedestal, between the first figure and the Harper, is the
Troubadour, playing on a guitar; he faces the audience; his head is
thrown back, and his eyes cast upward. Costume consists of a purple
coat, trimmed with black binding, blue breeches, white hose, low
shoes, knee and shoe buckles, belt containing a small dagger, about
the waist. The harp can be made of wood, covered with gold paper, and
strung with buff cord. The light for this piece should be produced at
either side of the stage, and a small quantity at the front. The side
light must be very powerful. The accompanying music should be of a
brilliant order.