One Female and Thirty Male Figures.
This historical tableau contains thirty-one figures. A less number
will make a picture; but to give proper effect to the scene, there
should be thirty-one. Joan of Arc, the heroine of this piece, at the
age of nineteen was a simple and uneducated shepherdess, and by her
enthusiastic courage and patriotism was the immediate cause of that
sudden revolution in the affairs of France which terminated in the
establishment of Charles VII. on the throne of his ancestors, and the
final expulsion of the English from that kingdom. The town of Orleans
was the only place in France which remained in the possession of the
dauphin at the time when this heroine made her appearance, and that
was closely besieged by the English, while Charles had not the
smallest hope of being able to procure an army to raise the siege.
Benevolent in her disposition, gentle and inoffensive in her manners,
and above all, dutiful to her parents, Joan had, from her earliest
infancy, been ardently attached to her country. Her piety, her
enthusiasm being thus united in her young and romantic mind with an
all-absorbing feeling of patriotism, she was led to believe herself
the humble instrument, in the hands of Heaven, by whom the interest
and glory of France were to be redeemed. Under this impression, the
maiden left her native village, and appeared before Charles dressed as
a warrior, and informed him that she had two things to accomplish on
the part of the King of heaven; first, to cause the siege of Orleans
to be raised; and secondly, to conduct the King to Rheims, there to be
anointed. The enterprise so courageously proposed was considered, and
her services publicly accepted. On the 29th of April, 1429, Joan of
Arc appeared before Orleans, with twelve thousand men. She made an
attack upon Fort St. Loup, which she carried, sword in hand, as well
as the bulwarks of St. John. She had a banner made after her own
device; her sword was taken from the tomb of a knight, where it had
lain more than a century; her helmet was surmounted with feathers. She
remained at the head of the army until 1430, when she was taken
prisoner by the English, at the siege of Campaigne. From the moment
she was a prisoner, the heroine was forgotten. Joan was condemned at
Rouen, by Cauchon, Bishop of Beauvais, and five other French bishops,
to be burned alive for magic and heresy, and her cruel sentence was
put in execution on the 24th of May, 1431. Thus was the admirable
heroine cruelly delivered over in her youth to the flames, and
expiated by the punishment of the fire the signal services which she
had rendered to her prince and native country. The scene for the
tableau is taken at the moment when Joan of Arc, sword in hand, is
leading on the storming party over the bulwarks of St. John. She is
seen on the top of the ramparts, near one of the cannon which has just
been fired. Her soldiers are charging over the bulwarks around her. In
the background are to be seen the troops of the various armies,
engaged in hostile combat. The battlements should be three or four
feet in height, two feet wide, running across the front of the stage,
with an embrasure in the centre. Boxes covered with imitation-stone
paper are to be used for its formation. If a small cannon cannot be
procured, a mock one may be constructed of wood. Platforms rising
gradually from the ramparts to the back scene must be used for the
figures in the background to stand on. Joan of Arc should be tall in
stature, of good figure, and fine looking, with large black eyes, and
long black hair. Costume consists of a crimson skirt, coat of mail
buttoned up to the throat, helmet with flowing plumes, riding gloves,
crimson sash across the breast, belt and side arms. The banner is made
of white cloth, trimmed with crimson, with a gold cross in the centre,
and a gilt spear, and tassels on the end of the staff. Sword of rich
design, and quite long. Her position is, near the cannon, the right
foot on the top of the ramparts or cannon, the left a few inches
lower, on a box placed behind the ramparts; the body bent forward;
right hand grasping a sword and stretched out at arm's length towards
the ceiling, the left holding the banner, which is held at the side of
the body; the head slightly turned to the troops at the right; eyes
directed partially to them; countenance animated. Three soldiers in
uniform--the prominent colors scarlet--are lying on the ground in
front of the battlements. Wounds should be imitated on the head; one
soldier is lying across the cannon, holding a rammer in his hand; two
others are stretched out on the battlements. The costume of Joan's
soldiers should be blue and buff, and each wearing a large moustache.
Two platoons, each containing five soldiers, are in the act of
charging over the ramparts at each side of Joan; they stand two feet
from the breastwork, and look straight forward. One soldier on each
side is in the act of piercing with his bayonet the soldiers on the
breastwork. The background is filled up with troops of both nations,
who are in the act of fencing and firing their muskets at the enemy in
the distance; a variety of positions should be taken, to make the
scene as attractive and life-like as possible. The booming of cannon
and rattle of musketry may be imitated in the ante-rooms; a slight
quantity of smoke can be made to hover over the combatants by burning
a small quantity of the whitish blue fire on the stage before the
curtain rises. Care must be taken not to burn too much, as a great
quantity of smoke will hide the figures from view. The scene most be
illuminated by a brilliant red fire burned on the side of the stage
that will most reflect on Joan's face. The piece may be exhibited
double the usual length of time of other tableaux, and should be used
as a grand finale.