The New Orleans crescent. [volume] (New Orleans, La.) 1866-1869, 1869-02-14

menDe stage, the DRureb couPfmiuB INC
This vas an immense human face, the Eve or
gans, eyes, ears, mouth, nose and hands being 30
arranged % to compose mans countenAnce.
This, however, was but an indication Of what was
to come which was also expressed in these lines
which were upon the programme:
as though things sensible be numberless,
" And only FIVE the Senses organs be;
"Yet in those five all things their forms express
(Which we can Taste, Feel, Smell or Hear and
"Sse."
FIRST rABLKAU.
This represented typicsly the Sense of Sight
and its Objects, the great receiver OF the sensa-
ton and the things which create the sensation.
On raised platform in the center OF the stage
and to the rear, above the others and forming the
central figure was Phebus, god of the morning,
deity of light, to whom the ancients gave divided
reverence with Aurora, until Aurors's gIories
were faded in the fires of the midday sun, when
he claimed sole worship. He was standing in
triumphsl chariot drawn by the four winged
horses of the Sun. whose prancing forms and fire.
striking hoofs whose glaring eyeballs and names
dripping light, might we'll fit them to represent
the steeds who cured the audscity Of Pheton, the
rash. Immediately to the front Of the stage, and
In the center, were two immense Eyes. male and
female, which, as Phebus had represented the
poetry Of vision, impersonsted the material
means of it. Between Phebus and the
Eyes stood three maidsns, arms locked In
arms, representing severalIy the Emerald,
the Topaz ana the Ruby, each bearing
some distinctive mark on her dress to indicate the
jewel; near them on one side was Sapphire,
warrior with glittering sword, and on the other
Diamond, an eastern king, whose garments and
crown and jewels glittered with the radiance Of
veritable Kohinoor. Near him to the right was
Rainbow, Iris, the fair goddess, who brought
down with her from heaven that for which she
claimed honor to be paid to the left of Sapphire
stood Chandelier, lighting his part of the stage.
In the front Of the stage, to the right of the two
Eyes, were Jason, he of the golden fleece, who
the most precious Of metals, and
clasping around the waist, Pearl; to the left Of
the Eyes were Silver, bearing as his crest on his
curious place. specie half dollar,
the sight Of which alone was worth the trip to the
Opera House-snd by his side Pride, decked in
peacock feathers. as she ever seeks to be seen.
Two figures to the extreme right and left of the
stsge represented respectively Clock and Optical
Add to these four butterflies imper-
sonsting Europe. Asia, Africa and America,
which lowered around the car of Pheous, and
the list Of figures in the tableau is complete. As
to the taste and consummate art displayed in their
grouping, that we oan only praise, we cannot re-
produce it upon paper.
THE SECOND TABLEAu
Was the sense of Hearing and its ministers.
Over this, on a rsised das, as in the first tableau,
presided Orpheus, the man-god. ".whose heart
strings were q lute," whose voice charmed all
earthly creatures, and even lulled into pity the
fierce passions of Hades' king, when he besought
for the release of Eurydice, his beloved. but
whose tender heart, brooking no delay, lost the
light of his life by haste t. feast his eyes upon
her face. He had his Tyre in his hand, while near
him crouched q mighty Lion, the king Of the
beasts, who, subdued by his wondrous strains. be.
came submissive to his will, and followed his beck
and call as a very dog. To the right and left of
the stage were two immense Ears, the material
representatives of the sense. Grouped about
we're the Cricket, sweet symbol of the music of
domestic affection, which fills 80 many hearts
and homes with melody, less only in degree than
he strains of adoring love with which Heavens
court is filed. Musical instruments OF various
kinds the Drum, the Fife the Horn, the Clarionet.
There was also, King David, the sweet singer of
rsael, who. as Orpheus, represented love, mortal
md human, swell impersonsted love, devotional
Ind adoriDg. There, too, were COW bells (Ihis. it
8 to be supposed, is in compliment to the Cow.
,ellions, of Mobile,) scots's bagpipes, Chinese
BELLS rung bys veritabls Chinese juggler, SPANS
,uitar, emblems of romance and suggestive Of
: music and moonlight and flowers" Nor was
here lacking representative from the humber
walks Of the divine art. for 9 genuine monkey was
here with the traditional hsnd-orgsn. Directly in
ront OF the figure of Orpheus was q mighty bell,
whose handle was four headed even as the church
,ell has q fourfold Office to fnlfll-the joyous
Baptism anthem. the merry wedding peals. the
Wild, fierce alarm of fire, and the solemn, sombre
unereal toll.
TIE THIRD TABLEAU
pleasures of Smell. The central figure was of
course Flora, goddess Of flowers, to whom we owe
Almost sll that agreeable of our perfumes. She
occupied the same elevated position that had been
'ssgned to her neurological predecessors. and
rom her cap, which was full of earth's most
beautiful productions, she showered down upon
he heads of her subjects hsndfuls of Gods
srthly jewels. Around her were grouped repre- |
entatives of the flower kingdom, seeming together
very flower garden got mp to order to ft the |
tage Of the Opera House. There were Tulip, |
Dahlis, Fushis. the staring Sun- |
lower, and the less pretending Morning Glory, |
sose the Queen and Violet worthy to share her |
hrone; Poppy, the sleep producer, and Hearts
ase, the dear to lovers. In the front center was
gigantic Nose-great Heavens what q nose |
hat was II was such nose as we have read |
bout in fairy tales when Prince Nosey, the i'm. |
Mortal, lived and lourished, but such a nose as |
will never more exist, unless the Mistick Krewe
ct to work to create bigger one, when doubt.
sse it will be forthcoming. The Nose was stand
1g-ft pedestal for such a monarch-on box of
fragrant Hsvanss, and seemed to derive ineffable
from the presence of an object so
ratifying to his peculiar tastes. Standing near
i'm was Tobacco, who. with courty grace,
resented him with q snuff box, out of which he
egaled that Nose.
THE FOURTH TABLEAU
represented Taste, its pleasures. Ceres, goddess
Agriculture, with the boy god, Bacchus (more
otent his sway, and more extended, boy though
Q be. than many other divinities) at her sids