DIE FUR DAS STUDIENJAHR 1892/93 AM 24. OCTOBER 1892. WIEN. ALFRED HOLDER K. UND K. HOF- UNI) UNIVERSITATS-HVCHHANDLEk 1892. C\J m CO vD O Q >- ^ r}^.^iaA/.unh LIBRARY UNIVERSITY OF CALIFORNIA. Received Cr^S- ,189^ Accession No. ,J~/ Al^ ^ . Class No. j "^Oli. 3E,, asro- s. ■TVr.A.'Sr, 1897. METROPOLITAN PAMPHLET SERIES. ISSUED QUARTERLY: Subscription Price, 2s. or 50 Gents. Price per Copy, 6d. or 15 Cents. pANCY Drills ....FOR.... EVENING AND OTHER ENTERTAINMENTS. PUBLISHED BY THE BUTTERICK PUBLISHING CO. (LIMITED), LONDON AND NGW VOI^k. Entered according to Act of Congress, in the year 1897, by The Butterick Publiihing Co. {Limited), in the Of/ice of the Librarian of Congress at Washington. ENTERED AT THE POST OFFICE AT NEW YORK, N. Y., AS SECOND-CLASS MATTER. 16~i ^^ Metropolitan Art Series. XHE ART OF DRAWN' WORK, Standard and Modbrn Methods : The Finest and Most Reli- able Book upon Drawn- Worfe ever Prepared and Issued. The Oomplete Art, from the Drawing of the Fabric Threads to the Most Intricate Knotting of the Strands and Working Threads. Ulnstrations of Every Step of the Work aseiet the porchaser of this Book in Developing its Designs. Price, 2s. {by Post, 2s. 3d.) or 50 Cents . 'J'HE ART OF CROCHETING: A Handsomely Dliastrated and very ?alnable Book of Instructions upon the Fascinatiug Occupation of Crocheting, which is a Guide to the Beginner and a Treasure of New Ideas to the Expert in Crochet- Work. Every Instruction Is Accurate, every Engraving a Faithful Copy of the design it represents. Price, lis. oth hands bring the stool in front of the body (4 beats), raise it to the left shoulder (4 beats), and drop the right hand to the side. 8. Carry Arms. — The same as 3. 9. Right Carry. — With both hands place the stool under the right arm, and drop the left hand to the side (8 beats). 10. Left Carry. — With both hands place the stool under the left arm, and drop the right hand to the side (8 beats). 11. Carry Arms. — Same as 3. 12. Support Arms. — Grasp the stool with both hands (4 beats), and place its top on the head, with the legs pointing upward (8 beats). The stool should be held in position with the right hand, and the left should be dropped to the side. 13. Carry Arms. — Same as 3. 14. Guard Arins. — Take the stool in both hands (4 beats), and place it on the floor at the right side of the body (4 beats). 15. Rest.— Sit on stool (8 beats). 16. Attention. — Same as 1. 17. Without Command. — The fourteen manuals following t are now executed in succession without orders from the captain, four beats being allowed after each manual. After the last manual (15) has been performed the maids remain at "rest" until the captain again commands. 18. Attention. — Same as 1. 19. Salute.— ?>a.me as 2. 20. Carry Arms. — Same as 3. 21. Break Ranks, March. — The first line of maids takes one step forward, and the couple on the right turns to the right and that on the left to the left. All the other fours do the same, and the double files march to D and C and then to B and A. 22. — The files pass each other at F and march once round the stage, meeting at F. 23. — Here the files unite in one double file and pass to the front of the stage at E. 24. — The maids on the right turn to the right, and those on the left to the left, and the two smgle files pass respectively to D and C and then to B and A, where they leave the stage. FANCY DRILLS FOR ENTERTAINMENTS. THG gl^OOA Dl^ILL. TWELVE or sixteen well grown girls, as nearly equal in height as possible, should be chosen for this pretty exercise; but if only eight of about equal size can be secured, it is wiser to present the drill with this small company than to select a larger number of girls who vary considerably in height. The costume should consist of a blouse-waist of white cambric trimmed on the sleeves and collar with bands of Turkey-red; a round skirt of the red material faced at the bottom with a six-inch band of cambric; a belt of Turkey-red striped its entire width with length- wise rows of white cotton braid or tape placed their width apart; a small red cap with a visor; black stockings ; and low ties or slippers. Narrow strips of cambric may be used instead of braid for decorating the belt, but very careful work will be needed to apply them satisfac- torily. The skirt may be fashioned by pattern No. 3967, which is in nine sizes for ladies from twenty to thirty-six inches, waist measure, and costs Is. 6d. or 35 cents; the waist by pattern No. 3982, which is in thirteen sizes for ladies from twenty-eight to forty-six inches, bust measure, and costs Is. 3d. or 30 cents; and the cap by pattern No. 3637, which is in seven sizes from six to seven and a half, hat sizes, and costs 5d. or 10 cents. During the march the broom should be carried nearly vertically at the right side, with the stick resting against the shoulder. The right arm should hang nearly its full length near the body, and the hand should grasp the handle of the broom just above the sweep or brush, the thumb and fore-finger being held "well to the front. The sweep should rest flatly against the side of the skirt, as at 6gure No. 3, page 10. The brooms must, of course, be exactly alike. In purchasing them it is well to choose those that are slight and shapely and have short sweeps, for heavy, clumsy brooms would greatly mar the effect of the exhibition. A variety known as the "lady broom" will be found quite satisfactory for the purpose, as it has a slender stick and a short, compact brush. THE MARCH. — The music for this portion of the exercise should be a spirited march, strongly accented on the first and fourth beats; and it should be played with vigor, but not too rapidly. The diagram of the stage presented on the next page will materially aid the reader to comprehend the instructions, which are based on the supposition that sixteen girls are to take part in both the march and drill. L— The girls enter the stage from the left and right (A. and B), eight on each side, carrying their brooms at the right side, as described above. (See " Carry Arms," figure No. 3, page 10.) 2. — The files march toward the center of the stage, pass each other at C, and continue to B and A, thence to F and D, and across the front of the stage to E. 3. — At E the files unite to form oouples and pass to the back of the stage at C, where the first couple turns to the right, the second to the left, the third to the right, and so on, the two double files passing to A and B. 4. — From A and B the files march to D and F, and cross the front of tlie stage to F and D, passing each other at E ; they then march to B and A, and meet again at C. 5. — At C the couples unite to form fours, and march down the center of the stage to E, where the first four turns to the right, the second to the left, and so on ; the two divisions then march to D and F, and to A and B, and meet once more at C. G. — At C the divisions unite to form a double file, which marches to E, where it separates into two single files, the girl on the right in the first couple turning to the right, and the one on the left to the left; the files then pass to D and F, and to A and B. 7. — At A and B the leaders of the files turn obliquely and pass diagonally across the stage, followed by their soldiers; the file at B thus marches to D, and that at A to F, the two files passing each other at the center of the stage, G. FANCY DRILLS FOR ENTERTAINMENTS. 9 8. — The file at F passe<; acro=s the front of the stage to D, and that at D passes to F; and the two files turn obliquely and march diagonally across the stage to B and A. 9. — From B and A the files pass across the back of the stage to C, where they unite to form couples, and pass to E. Here the first couple turns to the right, the second to the left, and so on ; and the two double files thus formed pass around the stage to C. 10. — Meeting at C, the couples unite to form fours, which pas«; to the front, E, where they turn alternately to the right and left. The two divisions of fours march to D and F, thence to A and B, and meet at C. 11. — At C the fours unite to form two ranks of eight each, which march forward and halt, the first about three feet from the front of the stage, and the second about the same distance back of the first. The company is then in position for the drill proper. It is well for the instructor to remember that a truly military efTect can only be obtained by teaching her recruits to carry themselves with a soldierly bearing. The shoulders should be held erect and square, and botii on the same level ; and the chin should be drawn slightly in, without apparent constraint. The upper part of the body should be inclined slightly forward, with the eyes directed straight to the front. THE DRILL. — This will be much more eGfective if accompanied by a pretty schottische, played rather slowly, although music is not a positive necessity. Unless otherwise stated in the directions, each manual is to be performed during eight beats of the music; and a similar interval should be allowed between the commands, which should be delivered in a clear voice, not too highly pitched. When an order is short, it should be given in time to allow only the eight beats of interval ; but in case of a long order, an extra four beats may be allowed, if the captain so desires. It is difficult always to give the exact in- terval required, so the in- strucior must regulate her time by the alertness and ac- tivity of her company. 1. Salute.— Rahe the left arm smartly in line with the left foot, with the palm of the hand downward and the thumb close to the fore- finger, bringing the arm level with the shoulder (two beats). Carry the hand around until the thumb and the side of the forefinger touch the lower edge of the cap (two beats). iJ ';E^ t* This position must be retain- FRONT. ed until the salute is acknow- ledged, when the hand and arm are brought back to the first position. (See figure No. 1, page 10.) 2. Present Arms. — With the right hand carry the broom in front of the center of the body* grasp it with the left hand, and raise it until the forearm is horizontal and resting against the body> at the same time changing the position of the right hand by placing the thumb at the back of the broom and the fingers forward. (See figure No. 2.) 3. Carry Arms. — With the help of the left hand lower the broom to the side, placing the stick against the right shoulder, and grasping it with the right hand just above tde sweep, which should rest flatly against the skirt as in the march. (See figure No. 3.) 4. Support Arms. — G-.nry the broom in front of the center of the body, grasp it with the left hand, and raise it at the left side until the top of the sweep is at the waist-line. At the same time grasp the broom with the right hand, and pass the left forearm across the top of the sweep, parallel with the waist-line, supporting the broom with this arm, and dropping the right arm to the side. (See figure No. 4.) 5. Carry Arms. — Gra«p the broom with the right hand above the left arm supporting it, and carry it in front of the center of the body ; then place the handle against the right shoulder, as at figure No. 3, and drop the left hand to the side. 6. Order Arms.— G-ra^p the broom handle with the left hand, the forearm being horizontal; loosen the grasp of the right hand, lower the broom quickly with the left, grasp it again with the right, and lower it to witliin three or four inches of the floor, steadying it with the left hand. Then with the right hand lower the broom gently until the bottom of the brush rests on the floor, and 10 FANCY DRILLS FOR ENTERTAINMENTS. drop the left hand to the side. The broom handle should now be standinjr vertically between the riorht arm and the body, and this arm should be hanging its full length and supporting the broom. (See 6gure No. 5.) 7. Parade Rest. — Raise the right hand along the broom handle until the forearm is nearly horizontal at the waist-line, and at the FiGUBE No. 1. Salute. FiGTTRT? No. 2.— Present Arms. Figure No. 3.— Carry Arms. time carry the handle in front of the body to the left. Grasp the handle with the left hand above the right, carry the right foot three inches to the rear, and slightly bend the left knee. The brush thus remains upon the floor, and the handle, held at the top by both hands, one above the other, is in front of the center of the waist-line, as at figure No. 6. 8. Carry .4rms.— Raise the broom vertically with both hands, and resume the position shown at figure No. 3. 9. Trail Arms. — Lower the broom to the floor, steadying it with the left hand. Place the brush a little to the rear, inchne the handle to the front, and drop the left hand to the side. (See figure No. 7.) 10. Curry Arms. — Same as 8. 11. C/(ar^e. — Turn on the left heel, bringing the toe to the front, and carry the right foot three inches to the rear of the left heel. Drop the handle of the broom into the left hand, placing the left elbow against the body, grasping the handle just above the sweep with the right hand, and holding the sweep firmly against the right hip. Incline the body slightly forward, as shown at figure No. 8. 12. Carry ^r?n«.— Same as 8. 13. Right Shoulder Arms. — Raise the broom vertically with the right hand, and carry it in front of the cen- ter of the body. Grasp it with the left hand, and raise it to the right shoul- der, allowing the sweep, clasped by the right hand, to rest against the shoul- der, and the handle to point slightly to the left, touching the back of the head. (See figure No. 9.) 14. Carry Arms. — Incline the sweep slightly to the left, lower the broom with tha right hand, grasp the handle with the left hand also, and place the broom at "Carry Arm*" (See figure No. 3.) 15. Arms Por^— Grasp the middle of the handle with the left hand, and place the broom diaoronally across the body, with the handle resting against the left shoulder and the brush against the right hip, as shown at figure No. 10. 16. Carry Arms.— Same as 8. 17. Secure .4rms.— \dvance the broom slightly with the rigiit hand, and grasp the handle with the left hand, holding the forearm horizontally; turn the handle toward the front, at the same time shifting the right hand above the left; drop the top of the handle to tlie front, so that it points downward and tlie top of the sweep rests under the right arm; and drop the left arm to Figure No. 4 — Support Arms Figure No. 5.- OituKR Armh. Figure No. 6.— Parade Rest. FANCY DRILLS FOR ENTERTAINMENTS. 11 Figure No. 7.— Tkail Arms. FlGl-RE No. 8. Charoe. Figure No. 9.— Right Shoulder Arms. the side. (See figure No. 11.) The soldiers are now ready for the next order, which is as follows: 18. Carry Arms. — Grasp the broom with the left hand, raise the handle, and resume the position shown at figure No, 3. 19. Reverse J.rms.— Raise the broom vertically with the right hand, advancing it slightly; grasp the handle with the left hand, holding the forearm horizontally; reverse the broom bv turning the handle downward, and place it under the right forearm against the body, with the right hand still in position at the top of the sweep, and raised to the height of the shoulder. As soon as the left hand is no longer required in the reversal, carry it behind the back, and grasp the handle, steadying the latter at an angle ot forty- five degrees. This manual may be quici\ly executed; and, if it is properly done, the sweep will come to the front about on a level with the head. (See figure No. 12.) 20. Carry Arms. — Re- move the left hand from the handle and place it below the right at the top of the sweep, at the same time low- ering the broom until the right forearm is horizontal and the handle is vertical, and changing the grasp of the right hand so the thumb points downward. Reverse the broom by passing the sweep between the breast and the right forearm, and resume the position shown at figure No. 3. It is impossible to execute "Reverse Arms" and the "Carry Arms "that follow, if the broom handle is too long for the height of the soldier; and when this is the case the two manuals should be omitted. 21. Rest on Arms. — Advance the broom slightly with the right hand, and grasp it with the left, holding the forearm hori- zontally. Reverse the broom with both hands by turning the handle to the left, and rest the end of the handle on the toe of the left foot. Carry the right foot three inches to the rear, and at the same time place the hands upon the sweept, and incline the chin toward the hands, as at figure No. 13. 22. Carry Arms. — Grasp the handle with the right hand, holding the back of the hand to the right; and carry the broom with this hand opposite the right shoul- der, holding the forearm hori- zontally and the handle verti- cally. Gra.*p the stick with the left hand, holding the back of the hand to the left, with the thumb pointing Reverse the broom with both hands, and Figure No. 10.- Arms Port. Figure No. 11.- Secuue Arms. FiGITKE No. 12.- Revei{se Arms. downward; and bring the right foot beside the left, resume the position seen at figure No. 3. 23. Squad ioad— Advance the left foot slightly, bending the knee a trifle, Grasp the handle 12 FANCY DRILLS FOR ENTERTAINMENTS. with the left hand, holding the lorearm horizontally; and turn the handle downward, with the sweep resting under the right arm. Sr.rike the sweep quickly with the palm of the right hand, and grasp the handle again. CSee figure No. 14.) 24. Carry Arms. — In returning to the position described at 8 face to the front. 25. Squad Ready.— Ssime as 23, except that the sweep is placed against the right hip and the end cf the handle on a line with the chin, as at figure No. 15. 26. J.zm.— Raise the broom with both hands, and support the sweep firmly against the right shoulder, placing the right hand at the top of the sweep and the left at the middle of the handle, holding the left^elbow down and the right as high as the shoulder, and inclining the body slightly Figure ISo. 13. -Rest ON Arms. Figure No. 14.— Squad Load. Figure No. 15 —Squad Ready. forward. Lean the head upon the sweep, and close the left eye. (See figure No. 16.) In aiming, each soldier in the rear rank carries the right foot about eight inches to the right, inclines the upper part of the body forward and bends the right knee slightly. 27. Fire. — All the girls cry " Bang " sharply in unison. 28. Squad Load. — Drop the broom handle downward, with the sweep under the right arm, and strike the sweep quickly with the palm of the right hand. 29. Carry Arms. — Same as 24. 30. Fire Kneeliyifj. Squad Ready. — Bring the left toe squarely to the front, and place the right foot so that the toe is twelve inches to the rear and twelve inches to the left of the left heel, the feet being at right angles with each other. Kneel on the right knee, bending the left. Drop the broom handle in the front, supporting it as at 26. and resting the left elbow on the left knee. (See figure No. 17.) The girls in the rear rank take a side-step to the right before kneeling; and on rising they take a side-step to the left. 31. i^'tVe.— Same as 27. 32. Squad Rise. — All rise, face to the front and " Carry Arms." 33. Salute with Arms. — Raise the left hand and arm horizontally to the front, with the palm of the hand downward; carry the hand around until the forefinger strikes the broom in the hollow of the shoulder; and retain the hand in this position until the salute is acknowledged by the captain. 34. Inspection Arms. — Grasp the broom firmly with the right hand, and toss it quickly to the front of the body, raising it at the same time, and catching it with the left hand six inches above the sweep. The left hand is raised to the height of the chin, and the right hand is at the side, the broom then being vertical and directly in front of the face, with the sweep flat against the body, as shown at figure No. 18. FANCY DRILLS FOR ENTERTAINMENTS. 13 35. Carry Arms. — Lower the broom with the left hand, grasp it with the right above the sweep, and resume the position shown at figure No. 3. 36. By Column Fours, Right and Left. March. — At this command the first rank advances as far as possible to effect a turning; it then divides into two ranks of four each, which turn respect- ively to the left and right and pass to D and P. The second rank of eight advances, separates and turns in the same way, and the resulting two ranks follow the other two to the left and right. 37. — From D and F the fours pass to A and B, and thence to C, where the first four girls of one column unite with the first four of the other, forming a file of couples, which passes to E ; the remaining two fours unite in the same manner and follow. Figure No. 17.— Fire Kneeling. FiauBB No. 18— Inspection Arms. 38. — At E the couples divide, the girl on the right in the first couple turning to the right, and the one on the left turning to the left. The two files then pass to D and P, and thence to A and B, where they leave the stage. 14 FANCY DRILLS FOR ENTERTAINMENTS. Thg hoop Di^ill. FOR this drill select twelve girls of uniform heig-ht. Unlike some of the preceeding exercises, this one is so simple that children eight years of age will make a very effective company. The uniform should consist of a white blouse-waist, a full, plain skirt of yellow cheese-cloth, a small turban matching the skirt, black stockings and low shoes. The hoops should be about twelve inches in diameter, orainary "grace hoops" answering the purpose nicely. They should be covered with the yellow cloth, and this may be securely accomplished in the following manner: Cut the cloth into strips four inches wide, and fold each strip in the middle lengthwise, making the width two inches. Wind each hoop with a folded strip, lapping the fold of the cloth over the rough edges, and sewing the ends firmly to the cloth at the starting point. Any added strip should be sewed securely to the cloth already on the hoop. An accident to the hoop during the drill would spoil the entire performance, for which reason the cloth should be carefully put on and strongly sewed. The hoops are sometimes further decorated with ribbons or paper roses. If ribbons are preferred, a bunchy bow with three flowmg ends may be sewed securely to each hoop, round which the ribbon should be tied. When flowers are used, the wires in the stem ends maj' be left long and wound firmly round the hoops. THE MARCH. — The music for the march should be a spirited | movement, and that for the drill proper a simple schottische played rather slowly. To better understand the march, the diagrams of the stage on the next page should be consulted : I. — The girls enter the stage at the sides, A and B. They carry their hoops at the side, those entering at A grasping them with the right hand and those at B with the left hand. If the stage has but one entrance and that is at the middle of the back, E, the girls should enter in single file, the first girl turning to the right, the second to the left, the third to the right, and so on, until all of them are on the stage. 2. — The girls march down the sides to the front of the stage, C and D, then cross, passing each other at F, and march round the stage until they meet at the center of the back, E. 3. — Here the files unite to form couples, and pass to the front of the stage at F, where the couples separate, the girl on the left in the first couple turning to the left, the one on the right turning to the right, and other couples separating in hke manner. 4. — The files thus formed pass to C and D, and thence to A and B, where they turn and march diagonally across the stage to the front corners, the files crossing each other at the center, Gr. In this movement the file at A marches directly across to D, and that at B to C. 5. — At the front corners the files turn and march toward each other, and, uniting in couples at F, march to the center of the back, E. 6. — Here the couples separate, turning to the right and left; and the resulting files pass to A and B, and then to C and D. When the leading girls reach C and D a halt is made, and the time of the music is kept with the feet. The members of the two files then face about looking toward the center of the stage preparatory to executing a wheel to the front of the stage. Tiie directions and outlines of this movement are illustrated in the diagram. The girls at C and D are what are known in military parlance as the "pivots," and they do not move, except to gradually face toward the audience as their lines wheel. It will sometimes be necessary, in order to keep the lines even, for each girl to place her free arm round the waist of the girl next her. The instructor should see that the girls at A and B take steps of ordinary length, and that those nearer the front shorten their steps more or less to accord with the shorter distances they have to marcli. This movement is the hardest in the march, but is not difficult to teach. Each girl should keep time with her feet even when she is not taking a step. The girls now form one straight line across the front of the stage, with the leaders at C and D. In this position they beat time for eight counts, and on the ninth beat of the music the girls whose leader is at D face to the right, while those whose leader is at C face to the left. FANCY DRILLS FOR ENTERTAINMENTS. 15 7. — The files pass to B and A, thence across the back of the stage, passing each other at E, and down the sides to C and D, where they turn and march diagonally across the stage to B and A, the file at marching to B, that at D to A, and the two files passing each other at G-. This movement is the reverse of 4. 8.— At A and B the files turn toward E, at which point they unite to form couples, and pass to the front of the stage at F. 9.— At F the leaders again halt, and the girls on the right in the various couples face to the right of the stage and those on the left to the left. Two lines are thus formed stanindg back to back. With the leaders at F as "pivots," these lines wheel to the front of the stage, the girls nearest E passing to C and D. This movement is the reverse of 6, but it brings the girls once more into a single line across the frontof the stage. cA "jR B In this position they keep time for four beats, and then all take foursteps backward. 10. —On the ninth count after forming the line (four beats having been allowed at the front and four to stepback- ward) the leader on the right of F turns toward D, she on the left toward C, and both lead their files to D and C and to B and A respectively, and meet at E. In this movement the •C] V T\ files do not pass each other, but ^ ' ir turn as shown by the dotted FRONT. lines in the following diagram: 11. — Meeting at E, the two leaders halt, raise their hoops, and touch them at the top, thus forming an arch. Each girl should hold her hoop with both hands and should raise it high enough to permit the tallest girl in the company to pass under. The second couple pass under this arch, halt beside the first pair, and raise their hoops to form another arch. The third couple pass through both arches, halt beside the second couple and form a third arch; and so the movement proceeds until six arches are formed. The girls should all keep time with their feet, even when they are not moving. 12— The first or leading couple are now at the back of the stage. After the last arch is formed four counts are allowed, and then the leading couple lower their hoops and pass through the five remaining arches to F, where the two girls turn toward C ;A JT TQ and D respectively. The ^ ^ x second couple lower their hoops, pass through the four remaining arches and follow their leaders toward C and D. The remaining couples follow in the same manner, the last pair simply lowering their hoops and marching after the girls before them. This movement cannot not be gracefully performed if the girls forming the arches stand too closely together. 13.— From C and D the files march to A and B, and thence to E. Here each girl raises her hoop with both hands to make a frame for her face. The files unite to form couples, and pass to F, where the first couple turns to the right, the second to the left, the third to the right and so on. The columns thus formed pass respectively to C and D and to A and B and meet at E, the hoops still framing the faces. 14. — At E the couples unite to form fours, which march to the front of the stage and take position for the drill, standing sufficiently far apart to allow freedom of movement. Each girl low- ers her hoop to the riglit side and her left hand to the left side. THE DRILL — Each manual of the drill requires eight beats of the music, and eight beats are allowed between the manuals unless otherwise stated. JTbrX^ OP THK TJNIVERSITY 16 FANCY DRILLS FOR ENTERTAINMENTS. 1. Salute. — Firmly grasping the hoop in the right hand, raise it, touch the forehead with iti and bow the head shghtly as the hoop is lowered. 2. Right Face. — Take one step obliquely to the right, at the same time raising the hoop before the face. Raise the left foot until only the toe touches the floor to maintain the balance. 3. Carry Arms — Return to position, with the hoop at the right side. Between 2 and 3 no interval is allowed, the command "Carry Arms" following immediately upon the eight counts of 2. 4. Left Face. — Take one step obliquely to the left, framing the face with the hoop. 5. Carry Arms. — Same as 3, no interval being allowed between 4 and the order of 5. 6. Right Shoulder Arms. — Raise the hoop to the right shoulder, and let it rest on the shoulder during eight counts of the music. 7. Carry Arras. — Return the hoop to position at the right side. 8. Left Shoulder Arms. — Grasp the hoop with the left hand, raise it to the left shoulder, and support it with the left hand, the right being at the side. 9. Carry Arms. — Lower the hoop with the left hand, grasp it with the right, and return it to position at the right side. 10. Present Arms. — Raise the hoop with the right hand, grasp it with the left, and place it with both hands, directly in front of the waist-line parallel with the floor or perpendicular to the body. 11. Carry Arms. — Same as 7. 12. Support Arms. — Raise the hoop to the top of the head, supporting it with the right hand. 13. Carry Arms. — Same as 7. 14. Trail Arms. — With the right hand place the hoop behind the body, and grasp it with the left hand also, holding the hands back of the waist-line. 15. Carry Arms. — Same as 7. 16. Arms Port. — Raise the hoop with the right hand, and grasp it with the left, holding it directly in front of and parallel with the body. 17. Carry Arms. — Same as 7. 18. Ground Arms. — Raise the hoop with the right hand, and with it touch the forehead, the right shoulder, the right hip and the floor in front, allowing two beats to each touch. The hoop should be held in the hand during the eight beats preceding the next command. The body should lean gracefully forward while the hoop is poised on the floor in front. 19. Lay Down Arms. — Lay the hoop on the floor, and stand erect, with arms akimbo. 20. Take Arms. — With both hands raise the hoop, and hold it against the breast. 21 Carry Arms. — Same as 7. 22. Inspection. — The two girls in each couple turn so as to nearly face each other, each holding her hoop raised in her right hand and looking approvingly at it. 23. Consultation. — Raise the hoop to the right side of the face, retaining the position of 22. Touch the partner on the left by placing the left hand upon her shoulder. The girls should lean well toward each other in a confiding attitude. 24. Carry Arms. — The girls face about and place their hoops at the right side. 25. Attention. — Raise the hoop with the right hand, grasp it with the left, and frame the face with it. Drop the right hand to the side, holding the hoop with the left. 26. Fire. — Raise the right hand, and with the finger tips throw an audible kiss to the audi- ence through the enframing hoop. 27. Carry Arms.— Same as 7. 28. Forward March.— The couple on the right of the front line turns to the right and that on left to the left, the two couples passing respectively toward D and C. The second line marches to the front, and the couple on the right turns to the right and that on the left to the left, following the first two couples. The third rank falls into line in hke manner, and the columns pass to D and C and to B and A respectively. 29. — The columns pass each other at E, and march once round the stage, meeting at E. 30. — Here the columns unite to form one double column, the girl on the right in the first couple of the right column joining the corresponding girl in the left column, the girl on the left of the first . couple in the right column joining the corresponding girl in the left column, and so on. The double column passes to the front of the stage at F. 31. — Here the couples separate, the girl on the left of the first couple turning toward 0, the one on the right turning toward D, and the other girls following in single file. The two single files pass to C and D and to A and B respectively, and then leave the stage. FANCY DRILLS FOR ENTERTAINMENTS. 17 Thg Doll Di^ill. 4.— At for the drill THIS drill is obviously for very little girls, and Is accordingly arranged with great simplicity. Twelve girls from six to seven years old will make a very pretty exhibition. Their dresses should imitate those now worn by nurse-maids, and should be made of gray or bla?;k paper cambric, cut suffi- ciently long to barely escape the floor; and each girl should wear a long white muslin apron having strings wide enough to form a bouffant bow at the back, a cap of white Swiss muslin, and black shoes or low ties. The dolls should be about eignteen inches long and should have white dresses reaching six inches below the feet. THE MARCH. — The music for the march should be a spirited | movement. The girls chosen to lead should be those least likely to become frightened or confused. The girls enter the stage from the right and left, six on each side, each holding the doll upon the left arm, and carrying the right arm at the side. The doll should be held well against the nurse's body, and the instructor must see that the position is a comfortable one and that the dresses hang gracefully. An elaborate or complicated march cannot be expected of such little people. The diagram on the next page will assist the teacher to understand the directions: 1. — Having entered at A and B, the two files of six march across the stagre at the hack, passing each other at E, and make a complete circuit of the stage, meeting at E. 2.— At E the files unite and pass down the middle of the stage to F, where they separate, the girls on the left turning to the left side of the stage, and those on the right turning to the right side ; and the resulting files pass around the stage until they meet at E. 3. — At E they again unite to form couples, and pass to F, where the first couple turns to the right, the second to the left, the third to the right, and so on. The two columns thus formed pass around the stage and meet at E. E the couples unite to form fours, which pass to the front of the stage and take position There will thus be three ranks of four girls each. THE DRILL. — For this a bright schottische should be played, and eight beats of the music should be allow^ed for each movement. 1. Present. — Each girl clasps her doll by the waist and holds it in front of her with both hands her arms being bent at the elbows. 2. Salute.— '^tiW holding the dolls with both hands, the girls extend their arms as far as possi- ble (four beats), and then bring the dolls back and kiss them (four beats). 3. Devotion. — Raise the doll to the left shoulder, clasp it tightly and incline the head affection- ately against the doll's head. 4. i?es^.— Return the doll to the position on the left arm assumed during the march. 5. Play. — Place the doll in a sitting position on the left hand, clasp its waist with the right hand, and toss it gracefully up and down, the nurse smilingly plea.santly the while. 6. Rest. — Same as 4. 7. Rock-a-hye. — Lay the doll on its back on the left hand, clasp its waist -with the right hand, and sway it to and fro sideways. 8. Rest. — Same as 4. 2 18 FANCY DRILLS FOR ENTERTAINMENTS. 9. Reprimand.— Clasp the doll about the waist with the left hand, and hold it at arm's length in front (two beats). Incline the head slightly, and with a serious expression upon the face; raise the right hand, with the forefinger extended in a reproving way ; and keep time with the music by rais- ing and lowering the finger reproachfully. 10. Reconciliation. — Place the doll against the right shoulder, with its face looking over the shoulder toward the back, and lovingly clasp it with both hands. 11. Rest. — Same as 4. 12. Toss. — Place the doll on its back upon both hands, raise the hands as high as possible and bring them to a level with the body ; toss again, and agam bring to a level with the body ; and so continue until the eight counts are finished. 13. Rest. — Same as 4. 14. Inspection. — The girl on the left in each pair holds her doll with her left hand, and the one on the right holds hers vv^ith the right hand. Each girl extends the arm holding the doll, at which she looks with admiration (eight counts). Each pair of nurses bring their dolls slowly toward each other until they are close together (eight beats). Each girl then looks at the doll held by her part- ner, and shakes her head to signify that her own doll is decidedly the finer (eight counts). The dolls are then separated, and each nurse looks once more at her little charge and clasps it with smiles of satisfaction to her left breast. This is a very pretty movement and may be made very effective, 15. Good-niqht. — Laying the doll upon both hands, the nurse bends over and kisses it affection- ately, raising it slightly. This is done three times, the nurse's eyes being kept on her doll all the time. 16. Drowsiness. — Lay the doll upon the left hand, and pat it lovingly with the right hand. 17. Roch. — Place the right hand again beneath the doll, and gently rock it back and forth. 18. Asleep. — Nestle the doll closely in the left arm, pressing it to the body. Ail pat their dolls gent'y with the right hand, and sing very softly the following song: zh:. ^^^^^P m^^ Bye - - bye, ba - Vjy, Bye - o - byu, ba Lui - la - bv, dear cue, Lul - la - by, ^ b ^-^ ^=^ -^^m j^ s ^ SliSl ^ dar ling, Lul - la by, O my ba - by dear, Bye - o bye. This little song is given by permission of Air. G. Schirmer. If it is impossible to teach it to the children, it may, of course, be omitted. It should be sung through twice. The first time the girls are standing as described in 18, look- ing at their sleeping dolls. As the song is commenced the second time, the couple on the left in the first rank turns to the left, and that on the right to the right, in .'>ingle file. The second and third ranks divide in the same way and fellow the first, and all paps oil" the stage at A and B, singing as they march. The music should grow fainter and fainter to the audience until the last note is played. FANCY DRILLS FOR ENTERTAINMENTS. 1& Thg fan Df^ill. SIXTEEN girls were here chosen for this drill, but the number should always be suited to the amount of space at command, since an over-crowded stage would spoil both the march and the drill proper. Twelve maids would make an effective company, but if this number were decided upon, some of the evolutions of the march could not be performed. The costume consists of the Japanese kimono and obi (sash), which may be made up at very little cost. The pattern of a Ladies' kimono is No. 4237, which is in 4 sizes from 28 to 40 inches, bust measure, and costs Is. 8d. or 40 cents. The pattern of a Misses' kimono is No. 3536, which is in 6 sizes from 5 to 15 years of age, and costs Is. 6d. or 35 cents. If ordinary dress is decided on, a blouse-waist and a plain, full skirt may be worn. All the costumes may be of the same color, al- though a very pretty eflfect may be obtained by dressing half the girls in blue and half in pink, or by choosing a different color for each couple, as, for instance, white for the first, pale-blue for the second," red for the third, gray for the fourth, orange for the fifth., pale green for the sixth, terra- cotta" for the seventh and lavender for the eighth. The company would also present a very striking, appearance if all the waists were made of white India linen and all the skirts were of one color, with neck-scarfs and belts of the skirting fabric. If the costumes are to be of ditierent colors, it is well to select the shortest two maids for the first couple and grade the others upward according to size, having the tallest two for the eighth couple. If a fancy Japanese costume is worn for this drill, the hair should be arranged on the top of the head and ornamented with tiny fans thrust through in all directions. These httle fans may be ob- tained at any Japanese shop and are about an inch long, with long black handles. The fans carried by the company should be at least fifteen inches long. During the march they are closed and held with the left hand against the right shoulder, as at figure No. 1, on page 22. THE MARCH. — The girls enter the stage at A and B on diagram I. (See next page.) A lively march should be played as the files are entering the stage. 1. — The files cross the stage from A and B, passing each other at G, and march round the stage to H and thence to B and A. 2. — At these points both files turn and march diagonally to the opposite front corners. Thus, the file at A proceeds to E, and that at B to F, the two files passing each other at the center, C. At E and F the files turn toward the center of the front and pass each other at H; and on reaching F and E they again turn and pass diagonally across the stage, the line at F marching to B and that at E to A. 3.— From these points a triangle is formed as follows: The file at A turns as if to again cross diagonally to E, but No. 1 of this file stops at the center, C, and behind her are Nos. 2, 3, 4, 5 and 6, who stand close together, each keeping time to the music with her left foot. The remaining two maids of this file turn as if to cross the back of the stage, and halt beside No. 6. While this part of the triangle is being formed the file on the other side of tne stage performs a similar manoeuvre. 2C FANCY DRILLS FOR ENTERTAINMENTS. Kimono for Fan Drtll. ^ ^ 7 8 8 7 6 5 • • • • • • • G 5 . . 4 ^ s 4 3 2 i i 2 3 p This file turns from B toward the center, C, and the leader halts diagonally back of No. 1 of the left-hand file, on a line with No. 2 of the same file. The next four maids halt back of No. 1, and the remaining three turn toward Gr and halt in a line with Nos. 7 and 8 of the left hand file, thus completing the triangle. The position of the company at this point is shown by the following diagram: After the figure is complete the girls mark time during eight counts. 4. — The leader of the left-hand file, now at the center, C, leads her line diagonally across to E, while the right-hand file crosses tl;e other at C and inarches to F. At E and F the files turn toward the center, pass each other at H, and continue to F and E and to A and B respectively. No. 5. — From A and B the lines again proceed to form a triangle, as described in 3. 6. — In breaking the triangle a second time the files pass dia- gonally to E and F, as in 4, turn toward the center, pass each other at H, and march to F and E, and thence toward the back of the stage. The file on the left halts when it reaches A, and the first four girls station themselves at equal distances apart from A nearly to F, while the second four similarly cover the distance from F to H. In the same manner the file on the right halts when No. 1 reaches B, four girls being distributed from B nearly to E, and four from E to H. The positions at this point are clearly indicated at diagram III. 7.— After the files halt the girls mark time during two measures (eight beats), and then all face toward the center of the stage and mark time for two measures inore. Four wheels are 4 . .3 W now executed toward the center, C, with No*. ^ 3 . . 2 o 1 and 5 of each file for pivots. Each pivot turns where she stands, while the other three in her line wheel toward the center. Eight beats are allowed for this movement. The positions of the girls in the resulting cross are shown in the following diagram : Eight beats of the music are allowed after T t^ ^ the cross is formed. FRONT. 8. — Nos. 1, 2. 3 and 4 of the two files are Diauram n. now facing practically toward each other, all looking, as they do, toward G; while the maids numbered 5, 6, 7 and 8 stand facing the backs of those numbered 1, 2, 3 and 4. In order that all may face m the same direction preparatory to the next movement, all the girls in the right-hand file must turn about. The ranks forming the cross then rotate around the central pomt, C. This movement needs careful practice, so that the girls nearest the center may know exactly the length of step required to keep them in line with iho^e at the ends of the ranks, who, of course, must lake much longer strides. 9. — When the ranks have marched once round, thus regaining the |)Ositions indicated in diagram IV, the members of the right-hand file face about to their original positions, and the ranks wheel back to form the straight lines shown in diagram III. 10. — The files now march across the back of the stage, passing each other at G, and pro- ceed once around the stage, meeting at G. 11. — At G the girls open their fans, those in the left-hand file holding the fans in their left hands and those in the light-hand file holding FANCY DRILLS FOR ENTERTAINMENTS. 21 ? 1 2 •2 1 3 4 8 f 4 8 3 7 • • 7 6 • • 6 5 • • 5 • • FRONT. Diagram rv. them in their right hauds. The two leaders unite to form a couple and place their fans parallel between them, with their arms sufficiently raised to hold the fans comfortably. All the rest of the girls unite in pairs in the same way. and the i-esulting column passes to the front of the stage. 12. — At H the first couple turns to the left, the second to the right, the third to the left, and so on ; and the two columns pass down the sides and meet at G. 13. — Here the couples unite to form fours, which pass toward the front of the stage. The ^ first four halt aboui two feet from the front, « M the second two feet back of the first, the third '-' 8 8 ^ iwo feet back of the second, and ihe fourth two feet back of the third; and at a signal from the instructor all fans are shut and lowered to the right side. This brings the girls to the positions shown at diagram V. The company is now in readiness to execute what may be called ''The Knights' Move." Eight beats are counted after all are in place, and this move is performed as follows: 14. — No. 1 (on diagram V), closely followed by Nos. 6, 9 and 14, turns to the right and marches half-way round No. 5, half-way round No. 10 and half-way round No. 13; then back of No. 15, half-way round No. 12, half-way round No. 7 and half-way round No. 4 ; and then back of No. 2 to her original position. As No. 14, fol- lowing No. 1, reaches the front, Nos. 3, 8, II and 16 fall in closely behind her, and all follow the leader in her winding course, each halting in her own place when she reaches it. It will be seen that Nos. 2, 4, 5, 7, 10, 12, ]3 and 15 do not leave their positions during this very pretty manoeuvre. After No. 16 reaches her place eight beats are counted, the movement is again executed, and eight more beats are counted, after which the company is ready for the drill. THE DRILL For this a bright schottische is played, and eight beats are allowed for each manual, except when otherwise stated. 1. Salute. — Raise the closed fan with the right hand, touch the hps with its end, bow the head slightly to the audience, and return the fan to position. (See figure No. 2, page 22.) 2. Rest. — Open the fan, and hold it by the top corners in front of the body with both hands, the arms being at full length and the top of the fan toward the feet. (See figure No. 3.) 3. Right Shovlder.— Grasp the fully opened fan with both hands, as in 2, and raise it to the right shoulder. (See figure No. 4.) The left hand is held at the side of the head for this manual, and the fan shades the side of the face the head being bent forward shghtly. 4. Re.'it. — Same as 2. 5. Left Shoulder.— UoUinc;: the top of the fan with both hands, place it on the left shoul- der, as at figure No. 5. 6. Rest.— Same as 2. 7. Flutter. — Grasp the handle of the fan with the right hand, and, raising the elbow un- til the fan is perpendicular to the face, give short, quick fanning movements during the eight beats. (Refer to figure No. 6.) ^ en • <\ • 00 t^' . o o * .^ to* 1 2 17 3 4 .. fi p 15. 16 11. 12 7. 8 3. 4 each square crossing each other. This is not a comphcated movement. Nos. 2 and 13 and Nos. 5 and 9 of the left-hand square join right hands, one pair over the other; and Nos. 4 and 15 and Nos. 7 and 11 of the right-hand square do the same. The four girls thus united in each square walk or circle round to the left, until each reaches the place of the opposite girl. Hands are then unclasped, and each girl gives her right hand to the maid standing at this side, who approaches to meet her with her right hand extended. The two thus joined walk round each other, and then the first maid gives her right hand to the one with whom she described the half- W circle; the four walk once more half o round, each girl joins right hands with ^ her partner, and the two walk round each other to places. Eight bars are required for this manual. 13. Left-Hand Maids Forivard and Join Hands. — The left-hand maids now perform the manual just describ- ed, Nos. 14 and 1 joining hands across Diagram VI. Nos. 6 and 10, and Nos. 16 and 3 across Nos. 12 and 8. 14. First Couples Face Outward. — Nos. 1, 2, 3 and 4 turn about to face the captam, and the other couples fall in, the positions being as follows: 13. 14 9 10 Left-Hand Square. p" ^ Right-Hand Square. 1.' 2 Four bars of the music are required to execute this movement. 15. March Across. — The maids on the left of each column march four steps to the right and back, and those on the right march four steps to the left and back. This is performed twice (eight bars). 16. Forward and March. — The maids on the left side of each column turn to the left and those on the right to the right, and the two files march to the back of the stage, and then to the front, and face each other (eight bars). A pleasing addition can be made to these two movements by drawing a handkerchief or fan from the reticule dependent from the arm and carrying it as illustrated. 17. Forward and Unite. — Each maid walks four steps toward her partner, and they join hands and walk round each other to places (four bars.) 18. Again Face About. — Repeat 14. 19. March Across. — Same as 15. 20. Forward and March. — The girls on the left of each column turn to the left and thosp on the right turn to the right, as in 16. The two pairs of files meet respectively mid- way between A and E and between E and B, and they pass to the middle of F and of F D. The columns then turn toward C and D, march to A and B and meet at E. No time can be given for this movement. The girls simply keep time with tlie music until the fin- ish. When the first couple on each side reaches E, the captain gives the following order: 21. Forward and Salute.— At E the two double columns unite to form one, each couple dividing, and its members uniting with the corresponding girls of the other column. The new column then marches toward the captain at F, where the couples divide, marching to the right and left. Just before reaching F each maid salutes the captain by raising her right hand to her forehead. The two single files march respectively to and D, and then to A and B. where they leave the stage. When the last couple has saluted the captain, slie marches from F to E, where she halts and faces to the front; and as soon as all the maids have left the stage, she salutes the audience in her most gracious Empire manner, and also makes her exit. ^ ^ ) 6 13 14 9 8 15 16 11 t <^ 5 1 2 10 1 3 4 12 * ' * * * * V DlBGRAM Vn. FANCY DRILLS FOR ENTERTAINMENTS. 31 NeW (OLQAgiAN Dl^ILL. SIXTEEN prirls of uniform height are needed for this pretty drill. They should be from twelve to fourteen years of age, as smaller girls are apt to be unreliable. The costume consists of a white waist, a red skirt and a blue zouave jacket. The waist is shaped according to pattern No. 4596, which is in nine sizes for misses from eight to sixteen years of age, and costs Is. or 25 cents; and a coarse quahty of India linen may be chosen for its con- struction. The skirt may be cut from red cheese- cloth or from Turkey-red. It reaches nearly to the shoe-tops, and the lower edge is finished with a deep hem. The top is gathered to a band, and over it is worn a two-inch Empire belt formed of overlapping folds of red, white and blue material sewed to a stiff foundation. The zouave jacket is fashioned by pattern No. 4988, which costs 7d. or 15 cents, and is in thirteen sizes for girls and misses from four to sixteen years of age ; and blue paper cambric made up with the dull side outward would be suitable for it. A jaunty cap or 1 urban made by twisting the three materials together is worn, and the hair is allowed to hang loosely down the back. Black stockings and low shoes or slippers complete a very becoming uniform. If preferred, a costume made to represent the American flag could be adopted, the bodice being blue studded with stars, and the skirt red and white in stripes. Each maid carries in her right hand a United States flag about two feet and a half lonp, which should be made of some soft, yielding texture that will hang gracefully. A very satis- factory flag may be inexpensively made at. home of soft red, white and blue cloih. The bottom of the flag should be gathered up loosely in the hand holding the staff, and the arm should be allowed to hang easily at the side. The music should be a march, preferably a national air. Diagram I, page 32, represents the stage and is referred to in the followinof directions. It must be remembered that the terms right side and left side mean the right and left sides of the stage as viewed by the spectators, not the right and left sides of the maids. Thus, A D is the left side of the stage, and B C the right. 1. — The girls enter in single file at A and B and march toward E, where the. two files turn at right angles, unite to form couples and pass to the center of the front, F. At F the couples separate, the file on the left turning toward D and thai on the right toward C. The files then march respectively to A and B and meet at E. 2. — Here the files again* unite to form couples, and pass to F, where the first couple turns toward D, the second toward C, the third tow-ard D, and so on. In this way two columns of cou- ples are formed, which pass respectively to D and A and to C and B, and meet at E. 3. — The girls in the left-hand column raise their flags to form an archway, through which the right-hand column passes; and both columns march once more about the stage, meeting at E. 4. — Here the couples unite to form fours, which march to the front of the stage, where the first four turns to the left, the second to the right, the third to the left and the fourth to the right. The fours march to the back of the stage and meet at E. 32 FANCY DRILLS FOR ENTERTAINMENTS. T] 5. — On reaching E the fours unite to form couples, which march to F. Here the maids of the first couple turn respectively to the right and left, and each leads the file behind her to describe a spiral. This -movement, which may at first seem quite complicated, is in reality very simple. The left-hand maid in the first cou- ple leads her file toward the left side of the stage, and the right-hand maid leads her file to the right. The two files describe large circles, the centers of which are at G- and H, diagram I. Th s forms the outside thread of each spiral, and each succeeding thread or line follows a smaller curve until the central point is reached, where the first maid reverses and leads her company out in curves parallel to those made in forming the coil. When the files reach F on the return they pass each other, march respectively to D and A and to p" V^ C and B, and meet at E. Diagram II shows . the manner in which the files execute this apparently quite complicated yet simple movement, the heavy lines denoting the winding, and the dotted lines the unwinding, of the spiral. 6. — At E the maids in the right-hand file transfer the flags to their left hands, and form couples with the maids in the left-hand file, each giving her right hand to her partner. The couples pass to F, where the first couple turns to the left, the second to the right, the third to the left, and so on, thus forming two columns of couples. The head couples pass to the centers of the sides (M and N, diagram III), turn a right angle and lead their columns toward K, the center of the stage. Meet- ing at K, the columns pass each other by what is known as the "over-and-under" movement. To make this evolution perfectly clear, we will designate the column approaching from the left as No. 1, and that from the right as No. 2, and will follow the first couple of No. 1 through the moveraenl; this will indicate the action of trie other cou- ples. The first couple of No. 1 pass under the raised hands of the first couple of No. 2, then raise their hand X 0-5- X 0. H- X 0- J X 0-.J. X 0- / T f 34 FANCY DRILLS FOR ENTERTAINMENTS. froat of the stage, where the first four halt, with the others in position behind. All mark time daring eight counts, and then the first and third lines right about face— that is, face toward the back of the stage. Each maid transfers her A flag to her left hand and is ready for the next p" rf "^ movement. The positions are as indicated by diagram VI, lines and M facing respec- tively lines N and L. 12. — The company being now arranged in four imaginary groups of lour, each maid joins right hands with the maid who is dia- gonally opposite her in the same group ; in this way four crosses of clasped hands are formed. Thus Nos. 2 and 5 join hands across or under Nos. I and 6 ; Nos. 3 and 8 across or under Nos. 7 and 4; Nos. 9 and 14 across or under Nos. 13 and 10; and Nos. 11 and 16 across or under Nos. 12 and 15. The hands must be held moderately high, with finger tips daintily touching. Each group then marches round to the left in a circle, the flags being waved with the left hands. When one revolution has been made, right hands are quickly unclasped, each maid transfers her flag to her right hand, left hands are joined across, and each group marches round to the right, the flags being waved as before. When the maids reach their original positions, partners join hands. No. 1 with No. 2, No. 3 with No. 4, and so on ; the couples in lines M and raise their hands, and the couples in lines L and N pass under. This leaves line N facing the back of the stage and hne M facing the front, as in diagram VII. The lines that face each other (0 and L) now execute the same movement, the two groups crossing right hands and marching round to the left and then changmg hands and marching back. For this movement Nos. 13 and 2 join hands over or under Nos. 1 and 14, and Nos. 15 and 4 over or under Nos. 16 and 3. During this evolution lines M and N are at rest, partners standing with their A I) flagstaffs touching at the top, and with their heads slightly inclined toward each other. The resulting tableau is very attractive. After finishing the movement, partners in line O raise their clasped hands, and the couples in line L pass under. At the same time lines M and N face about ready to repeat the evolution, at the end of which the company is located as shown by diagram VIII. 13. — All face to the rear of the stage; and, waving their flags, the first couple (1 and 2) turn toward A, the second couple (3 and 4) turn toward B, 5 and 6 follow 1 and 2, 7 and 8 follow 3 and 4, and so on; and the two columns of couples pass to C and D re- spectively and meet at F. 14. — Here the columns execute the " over-and-under " movement described in 6, and pass resopectively to B, and meet at E. 15.— Here the couples separate to form a single column of couples, which passes to F, where the couples divide, the maids on the left turning to the left, and those on the right turnmg to the right. Waving their flags, the two files march respectively to A and B, where they leave the stage. /f ^' 5' ^- / i". 6 • /• r* yh^ ?. 10 • II* IX' n /3. If^ /r- /^. T3 r e Diagram VIIl. D and A and to C and FANCY DRILLS FOR ENTERTAINMENTS. 85 THe FLOWeP( Dl^ILL. THIS unique thill will require sixteen girls, who should be at least fourteen years of age, the movements being rather too in- tricate to be performed with accuracy by young children. The dress, which may be made of cheap white tarlatan, has a very full skirt, and a shirred waist with graceful, voluminous sleeves. Artificial flowers are sewed to the shoulder seaujs, and also to the skirt, at least five clusters being used. Single large blossoms may be chosen instead of the clusters, which may be formed of roses, forget-me-nots, daisies or bluebells. On the head is worn a thick wreath of natural flowers made on a founda- tion of wire, which is wound with dark-green paper and th€,_ heavily twined with myrtle or simlax. The flowers are added as the myrtle is put on, each spray of green and each flower being firmly secured to the foundation with fine wire. A rope or garland of flowers is passed once about the waist and knotted, the ends being long enough to reach well down upon the dress front. This garland is made on a soft cotton rope twisted wnth green paper, and the flowers and myrtle are added the same as for the wreath. If firm, strong natural flowers cannot be obtained, artificial ones will be found more serviceable, as the garland is used in one of the movements and there must be no chance of its coming to grief during the performance. Black _. stockings, and slippers or low shoes are worn. During the drill, ~ unless otherwise directed, the hands should hang easily beside the body. The terms riijht side and left side of the stage mean the right and left side from the spectator's point of view, ex- cept when it is expressly stated, as before explained, that the rght or left side of the maids is meant. 1. — The girls enter the stage at both sides in two equal companies, keeping time to a spirited march or gallop. Meeting at the center of the back, the two files pass each other and march once about the stage, meeiing again at the middle of the back, where they jom hands to form couples. The joining should be daintily and gracefully performed, the hands being held above the line of the shoulder. The maids forming each couple should not march too closely together. 2. — On reaching the front of the stage the first couple turns to the left, the second to the right, the third to the left, and so on. Two columns of couples are thus formed, and they pass to the front corners of the stage and thence to the back, meeting at the center. 3 — The girls in the column advancing from the left of the stage (No. 1) unclasp hands, and the members of each couple separate enough to allow the column from the right side (No. 2) to pass through. The girls of No. 1 join hands as soon as No. 2 has passed, and both columns march down the sides of the stage, meeting at the center of the front, where the maids of No. 2 unclasp hands and allow No. 1 to pass through. The columns then march up the sides and meet at the center of the back. 4. — Here the couples unite to form fours, which pass to the front of the stage, the girls in each rank joining hands. At the center of the front the first four turns to the left, the second to the right, the third to the left and the fourth to the rigtit ; and the two columns pass up the sides and across the back to the center, where the fours unite to form two ranks of eight each. These ranks advance toward the front and halt four feet apart, the maids being then located as shown by dia- gram I. 5. — The ranks remain stationary durinjr four bars of the music, the maids of each rank joining hands. At the end of the sixteen counts Nos. 3, 6, 11 and 14 unclasp the hands of the middle four girls (Nos. 4, 5, 12 and 13), and each line then executes the following evolution : Nos. 4, 5, 12 and 13 form two arches, Nos. 4 and 5 joining hands for the purpose, and Nos. 12 and 13 doing the same. No.s. 8 and 1 now become leaders in the forward line and lead their files toward each other through the arch formed by Nos. 4 and 5, between the lines and back to their original positions in the front line. When Nos. 3 and G have passed through, Nos. 4 and 5 pass under their own arch without 36 FANCY DRILLS FOR ENTERTAINMENTS. unclasping their hands. They then face toward the back of the stage, with crossed arms. While the first rank is performing this movement the second rank is doing the same. Nos. 9 and 16 be- come leaders, and they carry their files toward each other, through the arch made by Nos. 12 and 13 and back to their original positions. When Nos. 11 and 14 have passed through, Nos. 12 and 13 pass under their own arch, >j-, ..pj which faces them toward the back of the yK y p stage with arms crossed. At the comple- tion of this entire evolution the maids occupy the same positions in the two ranks as at the start, but the two center couples face backward, while the other girls lace toward the front. i6. 15- 14. 13- 12. II. 10. 9. - -• 3. 4- 5' 6. 7. 8. p Diagram I. 6. — Nos. 3 and 6 now unite to form an arch, taking position back to back with Nos. 4 and 5. Nos. 8 and 1 witli their followers again pass toward each other, then under the two arches made in their rank and take their places in line as before. Nos. 3 and 6 lastly pass through their own arch and thus face the back of the stage in line with and back of Nos. 4 and 5. In the second rank Nos. 14 and 1] unite to form an archway with their backs to Nos. 12 and 13. Nos. 9 and 16 lead their flies through both arches in their rank and back to place,' and Nos. 14 and 11 pass through their own arch' and face the back of the stage with arms crossed. The positions of the girls are now as indicated by diagram II, the dotted lines showing the course taken by the sides in passing through the arches. 7. Nos. 2 and 7 unite to form an arch back fo back with Nos. 3 and 6. Nos. 1 and 8 pass through the three arches and back to place, and Nos. 2 and 7 pass through their own arch, thus facing about with crossed arms. Nos. 15 and 10 form an arch back to back with Nos. 14 and 11 and Nos. 9 and 16 pass through this and the first two arches made in their rank, and back to place. Lastly Nos. 15 and 10 pass through their arch and face the back of the stage behind Nos. 14 and 11. Nos. 9 and 16 then form an arch behind Nos. 15 and 10, facing the front, and pass through it, thus turning to the back with crossed arms; and at the same time Nos. 1 and 8 form an arch back to back with Nos. 2 and 7 and pass through it position as shown by diagram III, all facing toward F. In beginning this movement the ranks, arranged as in diagram I, togetner or the couples will be crowded when the final arches are made, with crossed arms, forming a pretty chain ; The maids are now in must not be too close The couples now stand A f and after four beats are counted, hands unclasped and dropped beside the body, and the company again marches. 8. — At F the first couple turns to the left, the second I0 the right, the third to the left, and so on ; and the two columns pass around the stage until they meet at the center of the front. Here the girls in the column from the left join and raise their hands, makini,' an aichway; and then the column from the right passes through in couples, the hands forming the arch being unclasped as soon as the column has passed through. The columns march to C and D, and at G- and H they turn right angles and advance toward each other to the center of the stage. 9. — Meeting at the center, the maids facing each other unite to form couples and turn right angles, one column marching to the front of the stage and the other indicated by diagram IV. 10. — Reaching F, file No. 1 turns toward A and No. 2 toward B, and at the /3 IZ lb - l5 - li- II - 10 - 9 J 1 - ^-^ J- 7-g ^^^ c , ^ :0 -C P t c Diagram II. to the back, as Nos. 3 and 4, having reached E, pass toward D and C respectively. ame time files The company then march until FANCY DRILLS FOR ENTERTAINMENTS. A in D i -^^ T X^0 6 X Ndv- J o< X / CV^X € f> c: Diagram IV. there are four girls on each side and at the back and front of the stage. Thus, the first two girls of tile No. 1 occupy the space A H (see diagram IV), while the otiier two halt on A F; the first two maids of file No. 2 pass to B G-, while tlie last two halt on F B; and so on. The company is now stationed as in diagram V, all the girls facing the center of the stage. The couples are numbered in this diagram for use in the next move- ment, and this numbermg has no connec- tion with that in diagram IV. II. — The maids on each side of the parallelogram unite to form couples, and the members of each couple join hands. Each couple turns to face the couple on the nearest side of the hollow figure. Thus, Nos. I and 8 face each other, atid so do Nos. 7 and 6, Nos. 5 and 4 and Nos. 2 and 3. The couples in each group ad- vance toward each other and retreat four steps. Each maid then unclasps her part- ner's hand, and gives her right hand to the maid diagonally opposite her. This pro- duces a cross of four right hands in each group. In this position all walk to th'j left, making a complete circle; they then unclasp right hands, join left hands in' the same way, and circle half round to the right. This causes all the couples to change places. No. 8 is now in No. I's former position, No. 2 in°No. 3's former position, and so on ; and No. 1 faces No. 6, No. 8 faces No. 3 and so on. Each pair of facing couples now advance toward each other and retire four steps, advance again, and join right hands across as before; they make a complete circle to the left, unclasp right hands, join left hands across and make a half-circle to the right. This brings each couple into a different position; and the movement is repeated until all the couples have made a complete circuit of the stage and regained their original positions, as in diagram V. 12.— The couples on the left of the stage now face respectively toward 1), A and F, the couple nearest F being the leader of that column. In the same way the maids on the right face respectively toward C, B and F, the couple nearest F being the leader of the right-hand column. These two columns pass each other at F and march wholly about the stage, meeting at F. The maids in the first couple of the left-hand column unite with the corresponding maids in the right-hand column to form two couples; and all the other maids do the same, thus forming one column of couples, which passes toward the front. The column halts when the first couple reaches E, and the two files face each other standing three or four feet apart. The first maid in the left-hand row gives her left hand to the maid diagonally opposite (No. 2 of the right-hand row); the latter gives her left hand to No. 1 and her right hand to the maid diagonally opposite (No. 3 of the left-hand row); No. 3 gives her right to No. 2 and her left to No. 4; and so on down the line, eight of the sjirls being joined as shown by diagram VI. The hands should be raised quite high. The remaining maids, marked X on the diagram, now join hands under the hands of the others, and, with X 1 leading, they pass zigzag through the line. X 1 passing outside to the back of the stage and enter- ing the line at the back. Thus X 8 has to piis-! zigzag through the entire line to reach the front. When these maids reach their original places, they join hands over those of the O maids, and the latter, led by 1, file zigzag through the line in the manner just described. When the maids reach their places, all unclasp hands, and the rows face each other. 13.— The first two couples join hands in a circle and, with hands well raised, pass round to the left, making one entire circle and a quarter of another. The two maids of the left-hand column, 1 'A ? \v 12 14. II 15- 10 16. 9 4- 5 3- 6 2. 1. 7 '^ p Diagram III. 38 FANCY DRILLS FOR ENTERTAINMENTS. andX go to the 2, pass under the raised hands of the two maids of the ri^ v^^ sO v^^ v^^ 3: ■Gi ■D t C Diagram VIII. ing them gracefully across her outstretched arms or about her nock. The maids belonging to X 6 decorate her in the same way. Both files turn at F and march to E, whore they turn to their right and left respectively, and pass off at A and B ; and X 6 and X 7, bearing their burden of blossoms, follow after their companies, each droping a graceful courtesy as she reaches the place of exit. OF THK "CTNIVERSITY 40 FANCY DRILLS FOR ENTERTAINMENTS. THe laWn TgnniS Drill. SIXTEEN girls were chosen for this drill. The costume consists of a red-and-white striped skirt and a white box-plaited blouse. The skirt was cut by pattern No. 6113, which costs Is. 3d. or 30 cents, and the blouse was shaped according to pattern No. 6347, price Is. or 25 cents. On the head is a cap of the skirt material fashioned by pattern No. 3166, which costs 5d. or 10 cents. The blouse and skirt patterns are each in seven sizes for njisses from ten to sixteen years of age. The cap pattern is in six sizes from G^ to 7+ cap sizes. Tennis shoes or low russet tics are worn. A white canvas belt and a red four-in-hand scarf are worn. Each maid carries a tennis racket, the handle of which is decorated with a red ribbon bow. The ribbon, which is two yards long, is tied about the handle in an ordinary knot, and the long ends are then tied together and bowed, thus forming a loop, through which the arm is passed when the hand holding the racket is needed in the drill. During the march the racket is placed under the right arm, the strung end resting against the hip, and the right hand grasping the handle in front of the body. THE MARCH.— The music for the march should be a spirited | movement, played with vigor and marked emphasis. 1. — The girls enter the stage at A and B (diagram I), eisht at each point. The two Gles pass each other at E and march about the stage, meeting at the center of the front, F. 2. — At F the files unite to form couples and march to the back at E, where they separate, turn- ing to the right and left and marching respectively to C and D. 3. — At these points the files turn acute angles toward the center of the stage, L, as shown in diagram II, page 41. The files meet at L, unite to form couples, pass to E, again separate and march respectively to B and A, where they turn acute angles toward L. 4. — Meeting at L, the files unite and pass to F, where they separate and march respectively to C and D. There they again turn acute angles and march to L, where they pass each other, the line from C continuing to B and that from D pass- ing to A. At these points they turn toward E. 5. — Meeting at E, the files unite to form couples and pass to F, where the first coaple turns to (he right, the second to the left, the third to the right, and so on ; and the result- ing columns pass about the stage and meet at the center of the back, E. 6. — There the maids forming the coup- les in the column from the left, separate sufficiently to allow the column from the right to pass through, and the two columns march about the stage and meet again at F. There the maids in the couples of the column from the left separate, and the column trom the right passes through. The columns then march about the stage until they meet at E. 7. — At E the columns unite to form fours, which march toward the front and halt when the first four nearly reaches the front of the stage, the other fours stopping at intervals behind. Eight beats are then allowed, and the first two ranks face about. The company will (hen be located as shown at diagram III, page 41, lines a and b facing the back of the stage, and c and d the front. FANCY DRILLS FOR ENTERTAINMENTS. 41 8. — After the two forward lines face about four counts are allowed, and then the following moveaaent is executed: Nos. 12 and 5 turn, march toward G- and halt; and Nos. 13 and 4 follow them, marchinnj toward each other and tdking ihe places vacated by Nos. 12 and .5. Nos. 9 and 8 turn toward H and halt, and Nos. 16 and 1 follow, taking the places previously occupied by Nos. 9 and 8. Nos. 10 and 15 and Nos. 11 and 14 march toward F and halt near the front of the stage. and at the same time Nos. 7 and 2 and Nos. 6 and 3 march toward E and halt near the back of the stage. The maids will then be stationed in the form of a cross, as shown by diagram IV, all standing with their backs to the center of the stage. Eight counts are required to execute this movement, and a halt of four counts is made before commencing the next. 9. — The maids form couples as they stand, and then march forward and turn right angles to their right on reaching the center of the front, side or back, as the case may be. Thus Nos. 10 and 11 turn a right angle at F toward C, Nos. 15 and 14 following them; Nos. 5 and 12, followed by Nos. 4 and 13, turn at G toward D; and so on. The couples march until opposite the points at which they turned, and then the maids forming the couples separate and fall in line one behind another, thus forming a single file about the stage. When Nos. 10 and 11, for example, reach E, opposite their turning point. No. 11 falls behind No. 10 and No. 15 behind No. 14. No. 10 may now be considered the leader, and she leads the line to F. 10. — From F she leads the way to her right round and round, making each successive round inside the one before it. The company thus describes a spiral to the center of the stage, at which point the leader turns sharp round ro her left and retraces her steps between the coils, thus unwind- mg the spiral. (See diagram V in the Columbian Drill on page 33.) 11. — On reaching F the file passes about the stage, and at E every other girl steps back and joins the maid behind her. The double column marches from E to F, and here the first couple turns ^ ^ ./.— 1 6. 15- 14. 13- ^-_ 9- lo. II. 12. H - /'.— 8. 7- 6. 5- (7. I. 3- 4- p -<\ V Diagram III. to the left, the second to the right, the third to the left, and so on. The resulting columns pass respectively to D and B and to C and A. 12. — Meeting at E, the couples unite to form fours, which pass to the front of the stage, where the first four turns to the right, the second to the left, the third to the right, and the fourth to the left. The fours meet at E and there unite to form eights, which march toward the front and take 42 FANCY DRILLS FOR ENTERTAINMENTS. positions for the drill The maids should not stand too closely in the ranks, and the ranks should be three or four feet apart if the size of the stage will permit. THE DRILL.— For this the music should change to a spirited schottische, to provide the needed rhjlhm for the exercises. Every movement requires eight counts, except where otherwise stated. ^A IH- f 7- 6. 2. 3- 9- ■ 8. i6. I. 15- lO. 14. II. 13. 4. 12. 5- ^ i J F S Diagram IV. 1. Present. — Grasp the handle of the racket with the left hand, turn the racket upside down in front of the body, with the strung end level with the face, and at the same time change the position of the right hand on the handle. 2. Salute. — Raise the racket with the right hand until the large end touches the visor of the cap, and at the same tmie gracefully bend the body forward. 3. Right Face. — Take one step obliquely to the right with the right foot, and raise the left foot gracefully on the toe without changing its location. The racket is held before the face, the maid looking through the strung end. 4. Return. — Step back to position, and place the hand holding the racket against the waist- line, thus bringing the handle across the right hip. 5. Left Face. — Raise the racket with the right hand, quickly change it to the left and take one step obliquely to the left, poising the right foot on the toe without changing its location. The racket should be raised before the face so the maid can look through the strung end. G. Return. — Same as 4. 7. High Prime. — Raise the racket with the riirht hand, gra

•■ '«.... o lUAGRAM IV. ward, as denoted by the row of circles marked I in diagram III, and then outward, as indicated by the row marked J, the scarfs being still held at arms' length. A charming tableau representing the Graces may now be formed, the maids who are constantly tripping to the measures of the music, grouping themselves as follows : One takes the positiou 52 FANCY DRILLS FOR ENTERTAINMENTS. shown at figure No. 4, standing near the back of the stage at the center (K diagram IV). Three maids having knotted their scarfs about their hips, form a ring in front (L) ; all face the audience. poise themselves upon their toes and join hands in a circle, the hands being held well backward, At M another group of three is formed, one maid being in the center and one at each side. The center maid places her right arm about the neck of the maid on her right; the latter's left hand clasps the right hand of the maid on the left, who leans her head upon the center maid's shoulder and places her left hand in that of the center maid ; and the maid at the right places her right hand on her right hip. In this group, also, each maid knots her scarf about her hips. The curtain should be lowered for a few moments after this tableau, and should then rise to display the maids in the posture represented at figure No. 5 (which is a back view), all facing the audience. Each maid throws her scarf upward in bow fashion, the pose suggesting the picture of Ins, the goddess of the rainbow ; and the com- pany form a curved rank, as in diagram III, their bodies swaying slightly to the music. The artistic effect of this figure would be greatly enhanced if scarfs of chiflfon in the prismatic colors were used. Diagram Y, Diagram YI. ? o,« o ; P' () 1 ; A/ O Diagram YII. Diagram YIII. Diagram IX. Rainbow -tinted chiflFon may be purchased by the yard in many shops; but if it cannot be con- veniently obtained, the rainbow effect may be pro- duced with chiffon scarfs in the separate primary colors— red, orange, yellow, green, blue, indigo and violet. The company now change the curved rank into a V-shaped one, as shown by diagram V, and then form a complete circle, as in diagram VI. The scarf is lowered, as at figure No. 6, the arms being held out at full length and the scarf gracefully sup- ported near each end. The step being kept up without cessation, the maids form a line diagonally across the stage, as shown by the row of circles marked N, diagram VII, and then march in the winding course indi- cat(!d by the dotted line 0. They then range themselves once more in a curved rank ; and each maid, taking backward and forward steps, holds her scarf in her right hand and waves it to pro- duce the serpentine effect pictured at figure No. 7. All the maids face the audience, except the one at each end. The maid at the right-hand end turns and waves her scarf toward her neighbor, curving her left arm gracefully. The next maid returns the compliment by waving her scarf toward Diagram X. FANCY DRILLS FOR ENTERTAINMENTS. 53 the end maid, her left hand being held out as her left hand on her hip, the fourth raises hers the fifth and sixth maids ailow their left arms to hang easily. The maid at the left- hand end turns her body to- wards her neighbor and her head over her right shoulder toward the audience, curving her left arm. The move- ments of the company give the scarfs the undulating mo- tion which is such a charm- ing feature of this figure. The maids now trip al- ternately backward and for- ward, as indicated by the dotted lines in diagram VIII, Avaving the scarfs all the time ; and they then fall into the postures portrayed at figure No. 8. The center maid quickly adjusts the scarf about her hips, steps back- Avard to the point marked P, diagram IX, and then forward to Q, and falls upon her right knee, advancing the left foot. As she steps out of the group, she gathers ^ up the ends of the scarfs held g by the other maids, who g stand as shown by the two « groups of circles marked R fei and S, each holding the end of her scarf in benight hand, ^ and placing her left hand on her left hip. The kneehng maid, grasping three scarfs in each hand, holds them over her head, and the other maids dance gracefully, swinging the scarfs in unison with their motions. The six maids now circle about the kneeling one, as indicated by diagram X, forming a sort of canopy over her with their scarfs. If preferred, they could stand and kneel alternately in a whole or half circle about her, or the two lines could curve outward and inward about the kneeling maid. Lastly, the seven maids assume the attitudes shown at figure No. 9, which will form the concluding tableau. The center maid rises with the six scarfs still in her TipHfted hands; the two maids at each side kneel upon one if to clasp her neighbor's left. The third maid rests to the embroidered band encircling the bodice, and 54: FANCY DRILLS FOR ENTERTAINMENTS. 3^' S. f OF THB TJNIVERSITY FANCY DRILLS FOR ENTERTAINMENTS^^^^^iSS^^^ 55 kaee, with their left hands resting hands raised to support the scarfs ing the scarfs in' their ex- tended right hands, and aUow- iag their left arms to fall gracefully. The curtain de- scends upon this charming tableau. Considerable practice is necessary, not only to quick- ly assume the proper at- titudes, but also to merge one movement into the next without losing the time or breaking the continuity of the drill. The entire per- formance must be accurately executed, for the slightest move in the wrong direc- tion would create a most disastrous result. The drill is, however, of such an in- teresting and artistic nature that those who take part will gladly concentrate their at- tention upon the director's instructions and endeavor to exactly express the poetic ideas designed to be con- veyed by the various move- ments. It is not necessary to adopt only the G-reek garb for this drill. The national costume of any country, especially if it be loose, flowing or pictur- esque, can be substituted for the one illustrated. Eibbons or garlands of flowers may take the place of the scarfs, although the latter gives the drill its name. A May-day drill or dance, with flowers as decorations and forming the scarfs, would provide a pretty entertain- ment, which could be given on the stage of a theatre or public hall, or on a smoothly shaven lawn. An Oriental scarf drill could be arranged by costuming the girls in Turkish trowsers and jaunty jackets and decking them with strings of pearls, sequins, coins or other ornaments be- longing to the costume of the Orient. At the back of this book many costumes are illustrated which would be appropriate in a scarf drill. upon : and the raised knees or at the side, and with their the maids at the ends stand facing each other, right hold- 56 FANCV DRILLS FOR ENTERTAINMENTS. THE "GOOD-NIGHT" DI^ILL. TO happy children pretty airs and graces are as natural and spon- taneous as breathing or laughing, and for this reason drills and kindred performances in which little folks are the actors are easy to arrange, and are sure to be artistic if reasonable attention is given to practice and detail. No sculptured conception of the Graces can exceed in charm a group of daintily attired little maidens en- gaged in some simple but pleasing movement for the entertain- ment of an admiring audience. Sweetly unconscious of themselves and of the spectators, they enter with enthusiasm into every figure, their bright faces showing the real pleasure they feel, and so enliven- ing the pretty pictures that the most ordinary accessories will be sufficient to complete them satisfactorily. The "Good-Night" Drill will be found admirably adapted to the ability of small children, and will provide a most delightful and appropriate closing feature for an evening entertainment Eight little girls are required for it, and they should be uni- formly clad in white night-gowns and caps, stockings of some pretty shade and black or tinted slippers. The gowns may be of French percale, which is a very soft cotton fabric, and the caps of mull. A very graceful night-gown pattern is No. 6352, price lOd. or 20 cents, which is in the pretty Mother-Hubbard style, with a little rolling collar and shirt sleeves; and the gowns may be trimmed with frills of narrow lace. A dainty and very generally becoming cap for this purpose was cut from mull by pattern Na 2989, price 5d. or 10 cents. It fits closely like the Puritan head-dress and has broad ties that are bowed under the chin, and the Httle wearer's curls escape from beneath it all round. Each maiden must hold in her left arm a doll dressed just like herself, and in her right hand she must carry a candlestick containing a lighted candle, which will be suggestive o£ bed-time and of the poet's Avords : — " How far that little candle throws its beam ! So shines a good deed in a naughty world." The girls should be chosen with regard to their height, so that when they are in their proper places in line upon the stage, they will graduate smaller from the center toward the ends. The music for the march should be an animated movement in | time, and it would be a good idea to select some familiar air that the children could easily keep time with. The accom- panying diagram will enable the instructor to readily understand, the directions for the march that are given below. Left Right THE MARCH The stage entrances are indicated by A and B on the diagram. The maidens march upon the stage, four from each entrance, and ^ F ^ proceed across at the back, the two files passing each other at E. The files then make a complete circuit of the stage and meet again at E. The tallest girls should enter first and the shortest last. 2. — At E the files unite to form couples and pass down the middle of the stage to F, where- they separate, the girls on the left turning to the left side of the stage, and those on the right turn- ing to the right side ; and the resulting files pass around the stage until they meet at E. 3. — At E the files again unite to form couples, and pass to F, where the first couple turns to the riprht, the second to the left, the third to the right, and the fourth to the left. The two columns thus formed pass around the stage and meet at E. FANCY DRILLS FOR ENTERTAINMENTS. 57 4. — At E the two columns unite to form one column, the couples fallinf? in from both sides in alternation and marching toward F, where the girls separate into two single files. These files turn respectively to the right and left and pass to A aijd B, where they turn and march diagonally toward the front. When the first girl in each file reaches the front, all halt facing the audience, k each of the last three stand- ^- ing a little to one side of the ) girl in front of her, a? illus- trated at figure No. 1. Tlie little company is then ready for the drill. THE DRILL. — After the girls have taken the places indicated at figure No. 1, the march music is con- tinued, and all keep time with their feet during two measures; then the four girls at each side turn and march to the right or left, as the case may be, according to the dotted lines in diagram A. On reaching the positions in- dicated by the small circles in the diagram, the girls halt in a single rank across the stage, with their smihng faces ^ bending toward the audience, c as illustrated at figure No. 2. S The march music is now ^ discontinued at the end of a bar, and after a short pre- ^ hide the air of "Pussy Cat, Pussy Cat," given in Elliott's Mother Goose Melodies, is played, and to it the girls slowly sing the following lines: Eight little cherubs with candles briglit, Two become sleepy and say " Good-night." As the last words of the second line are sung, the two maidens at the center yawn sleopily, incline their heads to the audience and pass back of the others and off the stage, one at A and the other at B; and the remaing six close up their rank to fill the space thus left. After the song is finish- ed, the march music is re- sumed, and the girls trip briskly round as indicated z^ 58 FANCY DRILLS FOR ENTERTAINMENTS. by the dotted lines in diagram B, three to the right and three to the left, and finally form in line according to the small circles. They stand in rank for a few moments, keeping time to the music with their feet ; and then they march accord- ing to the dotted lines at diagram C, the girl at each end passing diagonally forward to the other side of the center, the next girl following and taking a position further front and to one side, and the third girl doing the same as the second. The result will be a V-shaped rank with the point of the V toward the back. When the rank is .' b G o O 6 6 o ? Djagrasi a. O O O O O Q DiAGKAM B. DiAGRAJI C. formed, the graceful little performers courtesy to one another in a quaint, old-fashioned way, as represented at tigure No. 3, a pause being made in the music for the courtesy; and then the march music is stopped at the end of a bar, the melody is played after a prelude, and the girls sing these lines : Six little darlin they meet. For instance, in the ring formed on "the left side of the stage Nos. 2 and 1 join right hands, and No. 1 then walks to the left, giving her left hand to No. 6, her right to No. 14, her left to No. 10, and so on until she reaches her original position; while No.. 2, after relinquishing his partner's right hand, passes to the' right, giving his left hand to No. 9, his right to No. 13, his left to No. 5, and so on until he also reaches his original position. 11 Forward and Salute.— The eight children on each side unite to form a circle, and each child takes four steps toward the center of the circle, four steps back and four steps forward again, f % ' ■£i ■fl ■Si •91 e H ^ K> r4 00 2. ■r. 4- 3- J F ^ FANCY DRILLS FOR ENTERTAINMENTS. and then makes a deep courtesy or bow. carried out. This is a very graceful movement when it is carefully 12. Right About. — The sixteen children form four ranks, as indicated by diagram III, all facing to the front, and each girl being on her partner's right. 13. March.— Bo- Peep and Boij Blue are the leaders on the left side, being Nos. 1 and 2. They march as far forward as possible, turn to the right and then pass to C and thence to B, followed by 5-6, 9-10 and 1.3- U. At the same time Nos. 3 and 4, followed by 7-8, 11-12 and 15-16, march to the front of the stage and proceed to D and A, passing between the couples of the other column at F. The King, Quke.v and Knave of IIkarts. 14. — Reaching A and B, the columns turn toward each other and meet at E. where the two columns unite to form a single column of couples, as in 7 of the march. The column marches to P, where the couples separate, the girls turning to the left and the boys to the right, and the two tiles passing to the back of the stage. 15. — At A and B the files pass the chairs on which the various accessories were placed, and the children select their respective belongings. The files pass each other at E and march to C and D where the leaders halt. Bo-Peep is now at C and her partner at D, and the company have so regulated their steps that four of the girls occupy the space from E to B and four that from B to C, FANCY DRILLS FOR ENTERTAINMENTS. while four boys are distributed between A and E and the other four from A to D, as seen in dia- gram VIII. 16. — With Nos. 1 and 5 at each side as pivots, the four hnes now wheel to form a cross, Nos. 8 and 4 at each side passing to the center of the stage, as shown in diagram IX. After the cross is formed a count of eight beats is allowed. If the stage is provided with a curtain, it is well to let this cross end the drill, to be followed by two or more tableaux. If, however, there is no curtain, this pretty finale will not be possible, and the exit must then be made as follows. 17. — No. 1 at each side turns toward F, followed by the children on that half of the stage, who march along the lines of the cross. At F the cliildren form couples, join- ing hands gracefully at a good height, and pass to E, where the two files separate, and leave the stage respectively at A and B. If the drill is to close with tableaux, the curtain should fall while the cross is formed, and the members of the company should remain in posi- tion. The lights should then be quickly lowered, and the curtains raised to show lio-Peep looking down with an anxious expression as though search- ing for her sheep, Boy Blue holding his trumpet to his mouth as if about to blow a long blast, and all the other children portraying by equally sugges- tive postures the characters they are dressed to represent. It greatly improves a fancy-dress tab- leau to burn colored hghts at the moment of ex- hibition. These lights are not at ail expensive and may be obtained at most drug shops. Other tableaux will suggest themselves to the instructor. A second Mother Goose tableau may be easily arranged by bringing out the ideas of the characters by means of different postures and groupings. This could be made very efffctive by adding** The Fiddlers Three" who played for AT/igr fo^e, a cupboard into which Mother Hubbard is vainly looking, and other appropriate characters and accessories. Our present series of drills ends with the one just given. While some of those presented are rather elaborate, others are quite simple and may be learned with but little practice. This form of Jack IloiiNEu. ^ U NIVERSITY j FANCY DRILLS FOR ENTERTAINMENTS. 69 entertainment is always well received, and a pretty drill will often satisfactorily solve the problem of what to pive as an extra attraction at a fair or to lend variety to the school entertainment which, in many villages and small towns, invariably crowns the year of work. When any of these drills is to be given, except, perhaps, the Broom Drill, which is quite military, tlie company should be so thoroughly instructed that it will be unnecessary for the leader to call the orders, which are, generally speaking, given as mere aids to the beginner. In the drill just described, for instance, all the parts should be so well learned that not a word need be spoken from the time the children pnter the stage until they leave it. This silence, taken in conjunction with pretty co.^tumes, bright music and brilliant lights will render the exhibition wonderfully striking and artistic. The Old 'Woman who Lived in a Shoe. Fool. Upon the following pages are given a number of illustrations of fancy-dross costumes which may be used by either young ladies or by misses, girls, boj^s and children in general. Among these illustrations will be seen costumes quite suitable for other than Fancy-Dress Drills, as they ma}' be adapted to other drills also given in this book. The Fan Drill could be given in fancy-dress, tiie Flower Drill in costumes representing flowers (see frontispiece), the Tambourine Drill in Spanish costume and so on through the list. The illustrations have been taken from our Alasquerade and Carnival pamphlet, in which there are also hundreds of other fancy co.^tuines, each with its descrip- tion of material and colors. This pamphlet would be of invaluable assistance in planning a Drill Entertainment, in case the managers preferred fancy-dress costumes to those herein described. 70 FANCY DRILLS FOR ENTERTAINMENTS. '^%«i»:4|^ Sun-Flower and Lily op the \' alley. OF THK UNIVERSITY =a8f FANCY DRILLS FOR ENTERTAINMENTS. 71 Tambourixe Girl. Rosalind. Fkexcu Cook. 73 FANCY DRILLS FOR ENTERTAINMENTS. 73 FANCY DRILLS FOR ENTERTAINMENTS. FANCY DRILLS FOR ENTERTAINMENTS. FiGHTixG Cock. Watte A u Costume. 76 FANCY DRILLS FOR ENTERTAINMENTS. i \MliOUUINF (!TRL Moorish Dancing Gmu FANCY DRILLS FOR ENTERTAINMENTS. 77 EliriRE COSTUILE. Fairy. Josephine Costume. 78 FANCY DRILLS FOR ENTERTAINMENTS. Turkish Costumes. FANCY DRILLS FOR ENTERTAINMENTS. 7a Fancy Costumes. 80 FANCY DRILLS FOR ENTERTAINMENTS. Tambdukixk Girl. Polish Costume. METROPOLITAN BOOK SERIES. ^OOD MANNERS : This book explains in interesting fashion the most approved methods of deportment in every circumstance of Polite Society. 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