All are religious woodcuts, and probably German in origin,An Introduction to a History of Woodcut, Arthur M. Hind, pp171-2, Houghton Mifflin Co. 1935 (in USA), reprinted Dover Publications, 1963 ; Grove perhaps from Augsburg.Areford They intended to imitate fabric, which was also the intention of the related "flock prints", printed in glue on paper that had been impressed on fabrics, and then sprinkled with chopped wool.Grove; Areford The second type are popular prints, mainly British, produced in the early or mid-19th century, normally showing actors in their roles, though Napoleon I in his study was another subject. These were sold in plain or hand-coloured and tinselled versions, and the plain versions were often tinselled at home.
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People mounted on the elephants hold tinselled silk parasols ("muttukuda") up high, swaying white tufts ("vencamaram") and peacock feather fans ("alavattam") to the rhythm of the orchestra.South India. Rough Guides, 2003. . p. 305 Seventeen elephants are engaged for the daily ceremonial rounds to the accomplishment of Pancari Melam in Kudalmanikyam temple.
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"Grove" Many prints also used fabric pieces and other additions (such as the plume of Mr Haines' helmet above). Prints with fabric are called "dressed prints"; this seems to have begun in 18th-century France as a hobby, mainly on devotional images. The same technique became popular for the smaller cut-out figures used in toy theatres, a craze of the period. A wide range of supplies for home-tinselling were available, or pre- tinselled figures could be bought.
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Another typical production was by the pageant master Louis N Parker, "The Quest", first produced at the Albert Hall in 1925, in which a girl has to choose between the "tinselled" low way or the high way. By 1878, the GFS had a presence in 19 dioceses in the United Kingdom and Gibraltar, as well as the first branches of the Girls' Friendly Society in America and Ireland. It had 10,678 members and 4,442 associates. As the GFS expanded so did their concerns and the scope of their work.
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From 1821 until 1840 Simpson was working-manager to Stephen Price, the lessee of the theatre, but on the death of Price he assumed the sole management. During his career he went through several trials of adversity, and finally retired, 6 June 1848, under discouragement and in reduced circumstances. Under Simpson's direction the old Park Theatre, or "The Theatre," as the show-bills named it, was noted for its well-drilled and efficient stock company. The scenery of this noted resort was made up of flats and drops of the simplest construction, the properties were cheap, worn, and few in number, the costumes flimsy and tinselled, and the auditorium, before the rising of the curtain, usually filled with the stifling leakage of gas.
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The original toy theatres were mass-produced replicas of popular plays, sold as kits that people assembled at home, including stage, scenery, characters and costumes. They were printed on paperboard, available at English playhouses and commercial libraries for "a penny plain or two pence coloured." Hobbyists often went to great pains to not only hand-colour their stages but to embellish their toy theatre personae with bits of cloth and tinsel; tinsel print characters could be bought pre-tinselled, or a wide range of supplies for home tinselling could be bought. Just as the toy-sized stages diminished a play’s scale, their corresponding scripts tended to abridge the text, paring it down to key characters and lines for a shorter, less complicated presentation. In the first half of the 19th century, more than 300 of London’s most popular plays saw the issue as toy theatres.
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