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 prominence to, the group of actors. The
material of the latter as also the covering of the floor, should be
of woolen or velvet, so as to absorb rather than reflect light. A
lustrous background, as of satin or glazed calico, will completely
destroy the effect of an otherwise effective tableau.

The lighting is a point of very considerable importance--the conditions
appropriate to an ordinary theatrical performance being here reversed.
In an ordinary dramatic performance all shadow is a thing to be avoided,
the point aimed at being to secure a strong bright light, uniformly
distributed over the stage. In a _tableau vivant_, on the contrary,
the skillful manipulation of light and shade is a valuable aid in
producing artistic effect. Footlights should, in this case, either be
dispensed with altogether or at any rate used very sparingly, 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
effective; one or the other set of lights being turned up, as may be
necessary. Where a green or red light is desired, the interposition
of a strip of glass of that color, or of a "medium" of red or green
silk or tammy, will give the necessary tone. Colored fires are supplied
for the same purpose, but are subject to the drawback of being somewhat