For an indoor production of the pageant if a green woodland set cannot be had, green screens with pine branches fastened to them, a green or brown floor-cloth, and forest-green hanging filling in the background may be used. Pine trees in green stands around which green and brown burlap is banked is another way of having an inexpensive and realistic scene setting. The setting for the whole pageant is the same. It can be given in an assembly hall, gymnasium, or armory.

The costumes for the episodes have already been indicated. The pageant may be given by a cast made up entirely of girls, if it is so wished.

THE MUSE OF HAWTHORNE. Pale-pink cheesecloth draperies. A tall white staff, on which is fastened a cluster of pink hawthorn blossoms. Flowing hair, and a chaplet of laurel leaves. White stockings and sandals.

THE SPIRITS OF THE OLD MANSE. Greek robes in colored cheesecloth or cotton crepe. There are eight of these maidens, and the colors they wear are pale-green, pale-lavender, pale-yellow, and pale-blue. They carry great garlands of moss interwoven with pine—about two yards for each player, so that it can be held gracefully. White stockings and sandals. Hair bound With Greek fillets of white or of silver. Symbolically these spirits represent Joy, Mystery, Peace, Dreams, Hope, Aspiration, Fulfilment, Ecstasy.

MUSIC. The songs of the episodes are already indicated on pages 194 and 203. The music for the chorus of the Spirits of the Old Manse can be found in "Songs of the West," by S. Baring Gould, which is a collection of the Folk Songs of Devon and Cornwall, collected from the mouths of the people. The music of this chorus is set to the seventeenth-century folk song called "The Sweet Nightingale" ("My sweetheart, come along," etc.). The incidental music for the Hawthorne Pageant when it is given indoors should be from Edward MacDowell's "New England Idylls" Op. 62, and from his "Indian Suite." "From an Old Garden," "Midsummer," "An Indian Idyll," and "From Puritan Days" can be played between the episodes and the Dance Interlude. An orchestra or piano can add to the music of Faunch's fiddle in the Merrymount scene. The music for the procession should be very stately, and by a seventeenth-century composer, if possible.

NOTES ON DIRECTING THE PAGEANT. The first verse of the chorus of the Spirits of the Old Manse should be sung off stage in the indoor production. The stage should be darkened: footlights low. With the next verse the spirits enter, four from right, and four from left, mystic, half-seen figures. As they enter the lights gradually begin to come up, until with the middle of the second verse there is full strong daylight. If the eight voices are not enough a hidden augmented chorus can be behind the scenes. If the stage is such that it can be darkened and lighted at will, a fire-glow effect should be given for the Merrymount scene. The light for all the scenes should be that of strong daylight. There should be no curtain. The characters simply appear and disappear. After the Spirits of the Manse have made their exit the Prologue enters. The procession at the end of the play may simply cross the scene to march music, the players not stiffly moving in ones and twos, but in more or less significant groups.

Those who direct the pageant should see to it that the players speak the dialogue in the episodes with the utmost briskness. There should be no waits and pauses. Simon Scarlett especially should enunciate clearly and swiftly, with dash and fire in both voice and gesture. Even if some of the words are lost, it is better to keep up the tempo of the piece. Philippe Beaucoeur should also speak with a rush of energy and determination. The players who are on the scene but not speaking, should develop their pantomimic powers, and form animated groups; their interest should be first with one character who is speaking, and then with another. They should never stand idle, looking blankly at the audience, as so many amateurs are in the habit of doing. In the Salem episode they should surge forward and back, and discuss in pantomimic groups all that is happening.

BY CARROLL WATSON RANKIN
STORIES FOR GIRLS
THE CINDER POND
Illustrated by ADA C. WILLIAMSON. $1.35 net. Years ago, a manufacturer built a great dock, jutting out from and then turning parallel to the shore of a northern Michigan town. The factory was abandoned, and following the habits of small towns, the space between the dock and the shore became "The Cinder Pond." Jean started life in the colony of squatters that came to live in the shanties on the dock, but fortune, heroism, and a mystery combine to change her fortunes and those of her friends near the Cinder Pond. THE CASTAWAYS OF PETE'S PATCH
Illustrated by ADA C. WILLIAMSON. $1.35 net. A tale of five girls and two youthful grown-ups who enjoyed unpremeditated camping. DANDELION COTTAGE
Illustrated by Mmes. SHINN and FINLEY. $1.35 net. Four young girls secure the use of a tumbledown cottage. They set up housekeeping under numerous disadvantages, and have many amusements and queer experiences. "A capital story. It is refreshing to come upon an author who can tell us about real little girls, with sensible ordinary parents, girls who are neither phenomenal nor silly."—Outlook. THE ADOPTING OF ROSA MARIE
A sequel to "Dandelion Cottage." Illustrated by Mrs. SHINN. $1.35 net. The little girls who played at keeping house in the earlier book, enlarge their activities to the extent of playing mother to a little Indian girl. "Those who have read 'Dandelion Cottage' will need no urging to follow further...A lovable group of four real children, happily not perfect, but full of girlish plans and pranks...A delightful sense of humor."—Boston Transcript. THE GIRLS OF GARDENVILLE
Illustrated by MARY WELLMAN. 12mo. $1.35 net. Interesting, amusing, and natural stories of a girls' club. "Will captivate as many adults as if it were written for them...The secret of Mrs. Rankin's charm is her naturalness...real girls...not young ladies with 'pigtails,' but girls of sixteen who are not twenty-five...as original as amusing."—Boston Transcript.
HENRY HOLT AND COMPANY
PUBLISHERS NEW YORK
BY ALFRED BISHOP MASON
TOM STRONG, WASHINGTON'S SCOUT
Illustrated. $1.25 net. A story of adventure. The principal characters, a boy and a trapper, are in the Revolutionary army from the defeat at Brooklyn to the victory at Yorktown. "The most important events of the Revolution and much general historical information are woven into this interesting and very well constructed story of Tom and a trapper, who serve their country bravely and well. Historical details are correctly given."—American Library Association Booklet. TOM STRONG, BOY-CAPTAIN
Illustrated. $1.25 net. Tom Strong and a sturdy old trapper take part in such stirring events following the Revolution as the Indian raid with Crawford and a flat-boat voyage from Pittsburgh to New Orleans, etc. TOM STRONG, JUNIOR
Illustrated. $1.25 net. The story of the son of Tom Strong in the young United States. Tom sees the duel between Alexander Hamilton and Aaron Burr; is in Washington during the presidency of Jefferson; is on board of the "Clermont" on its first trip, and serves in the United States Navy during the War of 1812. TOM STRONG, THIRD
Illustrated. $1.30 net. Tom Strong, Junior's son helps his father build the first railroad in the United States and then goes with Kit Carson on the Lewis and Clarke Expedition.
HENRY HOLT AND COMPANY
PUBLISHERS NEW YORK
THE HOME BOOK FOR YOUNG FOLKS Compiled by BURTON E. STEVENSON, Editor of "The Home Book of Verse" With cover, and illustrations in color and black and white by WILLY POGANY. Over 500 pages, large 12mo. $2.00 net.
Not a rambling, hap-hazard collection but a vade-mecum for youth from the ages of six or seven to sixteen or seventeen. It opens with Nursery Rhymes and lullabies, progresses through child rhymes and jingles to more mature nonsense verse; then come fairy verses and Christmas poems; then nature verse and favorite rhymed stories; then through the trumpet and drum period (where an attempt is made to teach true patriotism,) to the final appeal of "Life Lessons" and "A Garland of Gold" (the great poems for all ages). This arrangement secures sequence of sentiment and a sort of cumulative appeal. Nearly all the children's classics are included, and along with them a body of verse not so well known but almost equally deserving. There are many real "finds," most of which have never before appeared in any anthology. Mr. Stevenson has banished doleful and pessimistic verse, and has dwelt on hope, courage, cheerfulness and helpfulness. The book should serve, too, as an introduction to the greater poems, informing taste for them and appreciation of them, against the time when the boy or girl, grown into youth and maiden, is ready to swim out into the full current of English poetry.
HENRY HOLT AND COMPANY
PUBLISHERS NEW YORK