The New Orleans crescent. [volume] (New Orleans, La.) 1866-1869, 1869-02-10

A each party came up the stairs, IL was divided
BY the ruthless decree If the Krewe, the ladies
seeking seats 10 the first and second tiers, the
gentlemen being allowed Q choice between the
galleries and the space Immediately around the
boxes. There was no cessation in the arrivals
until the Krewe, having finished their procession,
entered The Opera House, when, as the doors were
closed, those coming afterwards could only knock
and bewal their own lack of punctuaity.
As TO the scene within the Opera House just
before the curtain rose. what shall we say of Il!
The dress circle and second tier were filed with
ladies, not black spot in the shape Of msscu.
line being visible to mar the splendor Of the
picture. Dresses many colored, faces many
phased in their beauty, gaslights repeated every.
where by the jewels numberIess, q sea of fans
moving, not in the breeze. but to make breeze,
formed q sight alone in its peculiar gorgeousness,
aud never to be seen but at the entertainments of
the Mistick Krewe of Comus. a-e
Before we 90 further, though. we should notice
some of the arrangements of the house which
were well calculated for the comfort and con.
venience Of the Krewe's guests. The former
method of descending from the premisres had
been done away with and the orchestra was
placed immediately in front of the first row Of the
open boxes. The fourteen boxes on either size of
and on level with the parquette and orchestra
instead of being concealed as formerly, were to.
gether with the parquette, open for the accom-
mediation of several hundred persons, who other
wise might have been deprived of even stand
ing position. Additional chairs were also placsd
In the alleys between all the boxes. The ball.
room was reached through tho cou,otrs or the
parquette by o pair Of stairs on either side.
Every face was lighted with anticipation, and
every eye was constantly turned to the stage, as
though fearing the curtain should suddenly rise
without the observers noting the fact. But why
dwell upon the audience? We have told of them
as well as we could, pages could give no fuller
idea, for it would take volumes to enumerate
each beauty Of each lady, which made the beauty
of the whole, and that would be the only manner
in which we could better describe the scene.
Turn we, therefore, now to the tsbleaux. to be-
hold which 30 many of the fsirest Of the New
Orleans fair had sssembled-the tableaux which
have been 30 eagerly looked forward to, and from
which so much enjoyment had been expected.
The Tabieaux.
At last, while the hearts of the fair almost stood
still with expectation, the great and consummate
hour having at last arrived, the heavy curtain
slowly rose and revealed, grouped upon the i'm
mense stage, the figures comprising the
PRELUDE.
This was an immense woman face, the five or.
gans, eyes, ears, mouth, nose and hands being SO
arranged as to compose q mans countensnce.
This, however, was but an indication of what was
to come which was also expressed in these lines,
which were upon the programme:
al . = . L.
" And only five the Senses organs be-
o Yet In those five all things their forms express
"Sse." 49, =
FIRST rABLEAU.
This Represented typicany 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 Pbebus, god Of the morning,
deity of light, to whom the sncients gave divided
reverence with Aurora, until Aurora's glories
were faded in the fires Of the midday sun, when
he claimed sole worship. He was standing In q
chariot drawn by the four winged |
horses Of the Sun. whose prancing forms and fire.
striking hoofs, whose glazing eyeballs and names
dripping light, might well fit them to represent |
rash. Immediately to the front of the stage, and
In the center. were l---,Anss ny.s, and
female, which, as Phebus had represented the |
poetry OF vision, impersonsted the material |
means Of it. Between Phebus and the |
Eyes stood three maidens. arms locked in
arms, representing severally the Emerald,
he Topaz and the Ruby, each bearing
,ome distinctive mark on her dress to indicate the
ewel; near them on one side was Sapphire, q
warrior with gittering sword, and on the other
Diamond, an eastern king. whose garments and
,rown and jewels gttered with the radiance of a |
IRRITABLE Koh-fnoor. Near him to the right was
Rainbow, Iris, the fair goddess, who brought
Town with her from heaven that for which she
aimed honor to be paid to the left of Sapphire
TODD Chandelier. lighting bis part of the stage.
n the front OF the stage, to the right of the two
Eyes, were Jason, be of the golden fleece, who
the most precious of metals, and
lasping around the waist, Pearl; to the left of
be Eyes were Silver, bearing ss his crest on his
Eomsch-a curious place. specie half dollar.
he sight Of which alone was worth the trip to the
pera House-and by his side Pride, decked in |
eacock feathers, as she ever seeks to be seer.
wo figures to the extreme right and left OF the
tage represented respectively Clock and OpticsI
lsiruments. Add to these four butterflies imper.
mating Europe. Asia, Africa and America. |
hich lowered around the car of Pnebus, and
e list of figures In the tsbleau Is complete. As
the taste and consummste art displayed in their
'ouping, that we can only praise, We cannot re- I
'oduce it upon paper.
THE sEcoNLD rABLEAU
Was the sense of Hearing and its ministers.
yer this, on raised dais, as In the first tabesu,
esided Orpheus, the man-god, "whose heart.
rings were lutte, !" whose voice charmed all
rthly creatures, and even lulled into pity the
rec passions Of Hades' king, when he besought
r the release of Eurydice, his beloved, but
hose tender heart brooking no delay, lost the .
int Of bis life by haste t, feast his eyes upon .
T face. He had his Tyre in his hand, while near .
n crouched mighty Lion, the king of the
asts, who, subdued by bis wondrous strains, be. v
me submissive to his will, and followed his beck Q
cali as very dog. To the right aud left Of
} stage were two immense Ears, the material
Of the sense. Grouped about
re the Cricket, sweet symbol of the music Of J!
nestle affection. which fila so MANI baart. | u