-
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 SOUTHERN BRANCn, 
 
 UNIVERSITY OF CALIFORNIA, 
 
 LIBRARY, 
 
 LOS ANGELES, CALIF.
 
 COSTUMES AND SCENERY 
 FOR AMATEURS 
 
 A PRACTICAL WORKING HANDBOOK 
 
 BY 
 CONSTANCE D'ARCY MACKAY 
 
 Author of The Beau of Bath, How to Produce Children's 
 
 Plays, Patriotic Plays and Pageants, The House of 
 
 the Heart and other Plays for Children, etc. 
 
 NEW YORK 
 HENRY HOLT AND COMPANY 
 
 Jfi
 
 Copyright, 1915, 
 
 BY 
 HENRY HOLT AND COMPANY 
 
 Published November, 1915 
 Reprinted February, 1917 
 Reprinted September, 1920 
 Reprinted July, 1922 
 Reprinted .November, j 923 - 
 
 PRINTED IN THE U S A. BY 
 
 THE QUINN a BODEN COMPAN 
 
 RAHWAY. N. J
 
 STACK 
 
 
 * PREFACE 
 
 This book endeavors to set before amateurs who are 
 doing their own producing a series- of costumes and 
 i scene sets that can easily be copied for plays, pageants, 
 1 masques or festivals in which adults and children take 
 part. Costumes for children's plays are specially pic- 
 t*.;red since there is no costume book for children ex- 
 tant. Both children and adults will find costumes and 
 scene designs covering the range of the historical play, 
 the folk play, the fairy play and the play of fantasy. 
 By following the designs in this book any American 
 Historical Pageant may be completely costumed. 
 
 As it is manifestly impossible to give all the costumes 
 of all the countries of Europe in so compressed a space, 
 the costumes and scenes most in use by amateurs have 
 been chosen. With the scenes and costumes full de- 
 scriptions of material, construction and color are given, 
 and each costume and scene is made to serve as many 
 uses as possible. In almost every case perspective has 
 been avoided in the scenes because it is the great 
 stumbling block of amateurs. Butterick patterns 
 may be obtained for many of the costumes, and thanks 
 are due to the Butterick Publishing Company for their 

 
 iv PREFACE 
 
 kindness in allowing their admirable costume plates 
 to be copied. 
 
 Suggestions for an inexpensive outdoor theater are 
 also given. There are chapters on the amateur and 
 the new stage art, on costumes and properties, on 
 scene painting and lighting. The scenes are such as 
 can readily be adapted to little theater, college, high 
 school, grade school and townhall stages. The aim 
 has been to strive for what is practical, simple and 
 appropriate, and to avoid that which is elaborate, 
 difficult and bizarre. 
 
 Thanks are due to The Bellman Magazine for per- 
 mission to reprint the first chapter, and to the Popular 
 Educator for their permission to reprint the third 
 chapter.
 
 CONTENTS 
 
 PAGE 
 
 THE AMATEUR AND THE NEW STAGE ART 3 
 
 COSTUMES 19 
 
 SCENERY 63 
 
 PROPERTIES AND How TO MAKE THEM 93 
 
 COSTUME PLATES 97 
 
 SCENE PLATES 213 
 
 INDEX 255
 
 ILLUSTRATIONS 
 
 COSTUME PLATES 
 
 European Costumes for Adults 
 PLATE PAGE 
 
 1. GREEK OR ROMAN 100 
 
 2. GREEK COSTUME 103 
 
 3. MONK'S COSTUME 108 
 
 4. MAN IN ARMOR in 
 
 5. MEDIEVAL YEOMAN 112 
 
 6. MEDLEVAL PEASANT WOMAN 115 
 
 7. MEDIEVAL PRINCE OK LORD 119 
 
 8. MEDLSVAL LADY OR PRINCESS 120 
 
 9. ELIZABETHAN COURTIER 123 
 
 10. ELIZABETHAN LADY 127 
 
 American and English Costumes for Adults and Children 
 
 n. INDIAN CHIEFTAIN 128 
 
 12. INDIAN GIRL 131 
 
 13. INDIAN BOY 132 
 
 14. PILGRIM OR PURITAN MAN 135 
 
 15. PILGRIM OR PURITAN WOMAN 136 
 
 16. PURITAN OR ELIZABETHAN MAN AT ARMS 139 
 
 17. ROYALIST LADY 143 
 
 18. DUTCH PEASANT GIRL 144 
 
 19. EIGHTEENTH CENTURY PIRATE 147 
 
 20. COLONIAL COSTUME 151 
 
 21. BRITISH OFFICER 155 
 
 22. EIGHTEENTH CENTURY BRITISH SOLDIER 156 
 
 23. EIGHTEENTH CENTURY TRAPPER 159 
 
 24. SAILOR, REVOLUTIONARY, CIVIL WAR, MODERN 160 
 
 25. COLONIAL LADY 163 
 
 26. COLONIAL GIRL 164 
 
 27. GENTLEMAN OF EARLY 19 CENTURY 167 
 
 28. LADY OF EARLY igra CENTURY 168 
 
 29. CIVIL WAR SOLDIEE 171 
 
 vii
 
 viii ILLUSTRATIONS 
 
 PL/ TE PAGE 
 
 30. MAN OF CIVIL WAR TIME 172 
 
 31. LADY OF CIVIL WAR TIME 175 
 
 3?. A MODERN ADMIRAL 176 
 
 Fanciful Costumes for Adults 
 
 3^. PIERRETTE 178 
 
 34. JAPANESE MAN 181 
 
 35. JAPANESE LADY 182 
 
 36. TURKISH LADY 185 
 
 37. SPANISH DANCING GIRL 186 
 
 Costumes for Children 
 
 38. SANTA CLAUS 187 
 
 39. ELF 188 
 
 40. FAIRY 191 
 
 41. FOLLY 196 
 
 42. MEDLEVAL OR FAIRY TALE CHILDREN 199 
 
 43 KATE GREENAWAY CHILDREN 203 
 
 44 WITCH 204 
 
 45 LITTLE PIERRETTE 207 
 
 46 CLOWN 208 
 
 47 DOMINO 211 
 
 SCENE PLATES 
 
 1. GRECIAN OR FAIRY PALACE 216 
 
 2. EARLY SAXON INTERIOR 219 
 
 3. A HEATH OR OPEN SPACE 220 
 
 4. DENSE WOOD OR FOREST 223 
 
 5. KITCHEN SCENE 224 
 
 6. SEA COAST 227 
 
 7. CASTLE WALL. HIGHWAY. DONJON KEEP 228 
 
 8. DUPLICATE OF CASTLE WALL SHOWING How TO DRAW SCENE TO 
 
 SCALE 231 
 
 9. STREET SCENE 232 
 
 10. GARDEN 235 
 
 11. TUDOR ROOM 236 
 
 12. LITTLE HOUSE IN WOOD 239 
 
 13. PIRATE OR MEDLEVAL SHIP 240 
 
 14. MODERN YACHT OR SHIP 243 
 
 FURNITURE PLATE. Roman Chair. Saxon Seat. Roman or Mediaeval 
 
 Throne Chair. Colonial Chair. Colonial Window 247 
 
 OPEN AIR GREEK THEATER 251
 
 THE AMATEUR AND THE NEW STAGE 
 
 ART
 
 THE AMATEUR AND THE NEW STAGE ART 
 
 The object of this book is to set before amateurs who 
 are doing their own producing a series of costumes and 
 scenes which can easily be copied for play, pageant or 
 festival. The volume aims to be what its title in- 
 dicates a practical working handbook. 
 
 The range of costume covers the fairy and fantastic 
 play, the folk play, and the historical play or pageant. 
 The color and material of each costume is fully de- 
 scribed: suggestions are made as to which type of play 
 they will best fit. In many cases patterns of the cos- 
 tumes may be obtained. Almost every costume is 
 made to serve half a dozen different uses by the elimina- 
 tion of a cloak here, or the addition of a shield and 
 crown there. For those who wish a wider variety of 
 costume than that given here there are notes directing 
 them to other costume books. In the present volume 
 costumes for both children and adults are given. All 
 the periods of American costume are portrayed, so 
 that by referring to this book any American historical 
 play or pageant may be completely costumed. 
 
 It is, of course, manifestly impossible to give all the 
 costumes for all the countries of Europe, or all the 
 periods of European history in so compressed a space. 
 
 3
 
 4 THE AMATEUR AND THE NEW STAGE ART 
 
 Therefore the costumes most in use in amateur productions 
 have been selected. Moreover, with the exception of 
 American costumes, only the most salient outlines of 
 historical periods are given. The idea has been to 
 avoid unnecessary fussiness of detail, mere overloading 
 of accuracy. The outline, the spirit of each century is 
 given, and after all, that is what is most necessary. 
 Therefore one may read: Mediaeval costume for Noble- 
 man, Twelfth to Fourteenth Century. This means 
 that the costume in question represents a general 
 type, and not the extreme fashion of the particular 
 period. 
 
 The same thing is true of the designs for scenery. 
 Those who remember Granville Barker's production 
 of Anatole France's droll play, The Man Who Married 
 a Dumb Wife, will recall that the flat scene against 
 which the comedy was played might have been mediae- 
 val France or England or a happy No Man's Land. 
 It gave an atmosphere that was mediaeval, and that 
 was enough. It was something that any amateur 
 might copy, for it had no perspective. And perspec- 
 tive is the great stumbling block of the amateur scene 
 painter. Therefore, in as far as possible, perspective 
 in these scene-designs has been eliminated, and scenery 
 which any amateur will be able to paint has been 
 given. As has been said: manner and spirit are what 
 have been striven for, not excessive detail. For what
 
 THE AMATEUR AND THE NEW STAGE ART 5 
 
 is scenery meant to be but an unobtrusive yet decora- 
 tive background against which a play is played? In 
 this case it has purposely been kept simple and inex- 
 pensive. Directions for its construction, materials, 
 and coloring are given in each instance. Every scene 
 represented may, by slight changes, be made to serve 
 half a dozen different uses. The author realizes that 
 while new, well-equipped Little Theaters are springing 
 up throughout the country representing the finest type 
 of amateur work, there will remain in our midst for 
 many years to come college, high school, grade school, 
 guildhall and townhall "auditorium" stages equipped 
 with the old type of rococo scenery, and the old ar- 
 rangements for lighting. In all probability it will be 
 a long time before these stages are done away with. 
 They must be made the best of as they stand. The 
 one thing that can be quickly remedied about them is 
 the scenery. With hangings or simple decorative back- 
 drops the most hopeless stage can be made more ade- 
 quate than it ever was before. 
 
 One of the first queries that will arise in connection 
 with this is: "Why should so much tune and effort 
 be expended on amateur work? What does it matter 
 if their scenery is inadequate, or their costumes of the 
 deadly average? They are only amateurs, after all." 
 The querist might be reminded that the glory of Greek 
 drama sprang first from the work of amateurs. Pre-
 
 6 THE AMATEUR AND THE NEW STAGE ART 
 
 Elizabethan drama the prologue to a mighty renais- 
 sance was almost wholly in the hands of amateurs. 
 In both these instances a deeper knowledge and love 
 of the drama was the result. In other words, through 
 amateur participation general appreciation increased. 
 With the increase of this appreciation came the demand 
 for a fuller art. Exactly the same thing may come to 
 pass hi our own day through the use of amateur plays, 1 
 masques and pageants if they be of a high order. 
 Amateur drama is no longer a mere stop-gap : in many 
 instances it has come to have a place of its own, to 
 be regarded seriously. Practiced amateurs not only 
 find pleasure hi the exercise of their talent, but bring 
 to the professional theater as appreciators a grade of 
 intelligence that demands a better stage art. If the 
 stage gives the public "What the Public Wants" and 
 if what the public wants is trashy and ephemeral, 
 then let the public become participators, and what 
 the public wants will be worth while. The need for a 
 better stage art in this country is too great to be ques- 
 tioned, and the Power of Demand lies in the hand of 
 amateurs in other words, of the audience. Some of 
 the most significant work of this generation significant 
 in its beautiful sincerity and simplicity the work 
 of the Irish Players, was made possible through ama- 
 
 *It was for Masques in which amateurs participated that the first 
 scenery ever designed came to be painted by a master of the art of the 
 theater, Inigo Jones.
 
 THE AMATEUR AND THE NEW STAGE ART 7 
 
 teur productions recruited from the ranks of young 
 working people who demanded more of an emotional 
 outlet than their everyday lives gave them. They 
 began with a hired hall, and scenery constructed from 
 potato sacks: they ended by setting a standard, creat- 
 ing a movement. 
 
 All over the world the dramatic yeast is seething. 
 Everywhere new experiments are being made. The 
 cluttered and ornate is being swept away: the beautiful 
 and imaginative is taking its place. We are dealing 
 more with symbol and less with fact. We are realizing 
 that a play written in one mood and produced in an- 
 other, music, scenery and costumes in yet another, 
 is chaos and not art. A host of regisseurs Masters 
 of the Art of the Theater have appeared in Europe. 
 England has Gordon Craig, a theorist whose revolu- 
 tionary ideas have been the means of starting this 
 whole movement of the New Art of the Theater. The 
 art of the German theaters is dominated by such men 
 as Max Reinhardt, Ottomar Starke, Adolph Linneback, 
 George Fuchs, and Adolph Appia the greatest au- 
 thority on the new lighting system. Also Schinkel, 
 the designer who discovered the wide use of stage 
 draperies. In Russia, Constantin Stanislavski, of the 
 Art Theater. In Hungary, Alexander Hevesi, in 
 France, Jacques Rouche", and in this country, Livingston 
 Platt and Robert Jones. America has also borrowed
 
 8 THE AMATEUR AND THE NEW STAGE ART 
 
 Joseph Urban, a German who designs imaginative 
 settings for Grand Opera. Of this movement, and yet 
 apart from it, is Leon Baskt, whose crude gorgeous 
 color schemes have a barbarity that arrests attention, 
 but that hardly makes for permanence. His is the bril- 
 liancy of a flaring sky rocket: not the steady shining 
 of a star. It is not the bizarre in art that lives. Last, 
 but not least, there has been established abroad, and 
 in one place in this country, the Fortuny Lighting sys- 
 tem. This is a system which lights the stage indirectly. 
 It envelopes, but does not strike. It is luminous, 
 not glaring. Its bright light thrown against small 
 screens of colored silk, and from these screens reflected 
 onto the stage, makes it possible to flood the stage 
 with whatever tint is desired. This lighting system 
 is used in connection with another great stage inven- 
 tion: the horizont, or dome cyclorama built of white 
 plaster and placed at the back of the stage, as a horizon. 
 When played on by the right lights it gives a wonderful 
 effect of depth. Its power of illusion is incalculable. 
 For the first time in its history the theater is able to 
 give true sky effects. It may be the fleece white sky 
 of morning, or the hot vault of noon, the rose of sun- 
 set, the succeeding violet of dusk, the deep ultra- 
 marine of night one melts into the other impercep- 
 tibly. All this is the work of Germany, and there has 
 been added thereto experiments in the kind of stages
 
 THE AMATEUR AND THE NEW STAGE ART 9 
 
 There are extant in Germany to-day four kinds of 
 stages: the average stage to which we are accustomed, 
 plus the revolving stage, the wagon stage, and the 
 sliding stage. 
 
 With all these experiments, or perhaps because of 
 these experiments, we are having a distinct cleavage 
 in drama. On the one hand the seed sown by Ibsen is 
 flowering in the plays of Brieux, Galsworthy, Shaw, 
 Barker the drama of ideas: while on the other hand 
 we have the drama represented by Gordon Craig, 
 Max Reinhardt, and Leon Baskt the decorative 
 drama, filled with color and romance. Or, to change 
 the simile, we have what Sheldon Chancy has termed: 
 "The drama of sincerity and the aesthetic drama." 
 
 Now all this ferment abroad has led to direct results 
 at home. If the horizont and the Fortuny Lighting 
 system is Germany's contribution to the modern stage, 
 America's contribution is the increasing number of 
 laboratory theaters, some wholly amateur, some partly 
 professional, that are working out their own problems 
 along original lines. They were the first to dare, to 
 experiment. They have not allowed themselves to 
 become hidebound by tradition. American managers 
 will not risk money on experiments that appeal to only 
 a small public : the little theaters have been more cour- 
 ageous. And their courage has been rewarded. Says 
 one of our most far-seeing dramatic critics: "It is in
 
 io THE AMATEUR AND THE NEW STAGE ART 
 
 gradually arousing this public demand that the ex- 
 perimental centers have been doing their most valu- 
 able work. They have been as commercial institutions 
 can never be ... free. The theater managers will 
 presently be only too glad to employ the services of 
 artists rather than those of handymen in their produc- 
 tions. And the experiments of the amateur the- 
 aters . . . will have a goodly share in making this 
 possible." In New York City the Neighborhood Play- 
 house has the new lighting and the horizont. It has 
 been the first to make these innovations. In the same 
 city the Bandbox Theater, a little playhouse of the 
 dimensions its name suggests, houses a group of gifted 
 amateurs 1 who have played to capacity houses under 
 the same roof where, before their advent, professionals 
 had failed. Their programmes consist mostly of one- 
 act plays, alternating the "drama of sincerity" and 
 the "decorative drama." 
 
 Other experimental theaters have taken root in Chi- 
 cago, Boston, Philadelphia, and Milwaukee; colleges 
 have then: dramatic laboratories notably Harvard, 
 Dartmouth, and the Carnegie Institute in Pittsburg. 
 Hull House in Chicago has done work that is genuinely 
 contributive. No work is done in any of these " labora- 
 tories" but what is more or less influenced by two salient 
 aspects of the new movement of theater art, namely, the 
 
 1 The Washington Square Players.
 
 THE AMATEUR AND THE NEW STAGE ART n 
 
 use of simple flat backgrounds for decorative scenes, and 
 the use of one scene for a number of different purposes, 
 made by changing its lighting and accessories. These 
 laboratories are showing how fussy, over-elaborated sets 
 may be replaced by simple backgrounds that suggest 
 the atmosphere of the scene, and throw the actor into 
 high relief. The sheer yellow wall of the oriental 
 palace in Rhinehardt's Sumurun pointed to what the 
 perfectly plain backdrop could do in the matter of 
 heightening decorative effect. Since then the experi- 
 mental theaters have had any number of plain back- 
 drops sometimes a window or a door breaks the sheer 
 wall, which may be gray or brown or green, or black 
 or deep old rose or white according to what is set 
 before it. A pantomime with all the characters dressed 
 in white and shown against a black background was 
 recently given by the Washington Square Players with 
 remarkable decorative effect. At a performance of a 
 Christmas play in one of the German theaters a back- 
 drop formed by a deep blue curtain covered thickly 
 with silvery stars formed the midnight sky against 
 which the gorgeously robed Magii were shown in 
 silhouette. 
 
 The second aspect the use of one scene in a number 
 of different ways was splendidly shown in a perform- 
 ance in the professional theater, where the play was 
 Hauptman's Elga. The play was produced by Emanuel
 
 12 THE AMATEUR AND THE NEW STAGE ART 
 
 Reicher. Its scenery, frankly of the Rhinehardt school, 
 was plain even to austerity. By the substitution of a 
 few pieces of furniture, and the closing and opening of 
 a curtain, one scene was made to represent such widely 
 different places as the living room of a family whose 
 tastes were not austere, and the bare, ascetic sleeping 
 chamber of a monastery. 
 
 By this means, that is, by the use of a simple set 
 with accessories that can easily be moved, there is a 
 tremendous gain in the pace and continuity of a play. 
 What a professional producer has done an amateur 
 producer can at least copy. Everyone knows that one 
 of the many drawbacks of amateur productions is the 
 tiresome waiting between the acts. The interest in 
 the story flags : the grip of the play is lost. If amateurs 
 would be content to stage a play with one or two sets, 
 or even with one set, and use care in the selecting and 
 changing of their properties, they could lift the whole 
 level of their performance. The performance of Elga 
 with only one set showed that variety and contrast 
 could be obtained by the simplest means. Better a 
 swiftly moving and engrossing performance staged 
 against a background of curtains than a dragging 
 production staged against half a dozen different back- 
 grounds. The Gordon Craig production of Hamlet 
 at the Art Theater of Moscow had scenery composed 
 of cream-colored screens nothing more. Craig has
 
 THE AMATEUR AND THE NEW STAGE ART 13 
 
 also designed a production of Macbeth that is to be 
 staged in two colors, the brown of rock, and the gray 
 of sweeping mists. 
 
 All this goes to prove that the non-commercial (un- 
 usual or poetic) drama lies in the hands of the amateur. 
 There is an ever-growing list of plays that should have 
 production, but that will not have it under the present 
 conditions of the commercial theater. Everyone recog- 
 nizes the indulgent boredom that is usually connected 
 with amateur "dramatics." The chief reason for this 
 is that the average amateur likes to appear in a play 
 that has already had professional production, thereby 
 challenging the memory of the audience, which con- 
 sciously or unconsciously, compares the professional 
 and the amateur production almost always to the 
 detriment of the latter. The average amateur produc- 
 tion cannot have the finish, the pace of the professional 
 production. It never will have. Why, then, challenge 
 the audience? Why not arouse a feeling of interest 
 rather than of leniency? Why not produce a play 
 that has never been seen before, that will have a fresh 
 appeal? In other words: why should amateurs be 
 content to repeat, instead of to create? 
 
 All amateurs cannot have a theater to work in. The 
 Irish Players began in a hall. But if all amateurs would 
 consider themselves as part of this great new recrea- 
 tive movement that is expressing itself through play
 
 i 4 THE AMATEUR AND THE NEW STAGE ART 
 
 and masque and pageant, if they would regard their 
 work as worth while, whether it be in college, amateur 
 dramatic club or grade school, we should have a very 
 different type of amateur production. Greater care in 
 play selection, more care as to production, and more 
 time devoted to scenery and costumes will work 
 wonders. If it had not been for amateurs, Gilbert 
 Chesterton's Magic, Maeterlinck's A Miracle of St. 
 Anthony, and Housman's Chinese Lantern might still 
 be unproduced in this country. 
 
 While very experienced amateurs may essay the 
 "drama of sincerity," there is a lift to costume plays 
 for average amateurs that modern plays do not have. 
 The color and poetic atmosphere of a costume play 
 will go far to carry it along. The disguise which the 
 costume affords is an aid to the self-conscious amateur. 
 Not only that, but such a change is wrought in the 
 appearance of the actor that the illusion is greater. 
 The audience can forget the personality which they 
 know, and focus attention on a personality which 
 seems new. 
 
 The one-act play, which is the short story of the 
 drama, has a place in the continental theaters, but 
 none in ours. Here again is a field where the amateur 
 should be producer. As a rule the amateur shines in 
 this form of art, because it makes less demand than 
 the long play. It is less apt to be "patchy." With
 
 THE AMATEUR AND THE NEW STAGE ART 15 
 
 one-act plays and with longer plays, simple scenery 
 will be best. It will obviate the long waits between the 
 acts, and give the play greater coherency. As has been 
 said, one of the greatest drawbacks to amateur produc- 
 tions are these tiresome entr'acts. Why not sacrifice 
 elaborateness of setting and gain continuity? 
 
 Even the Children's and Young People's Community 
 Theaters are feeling the set of the tide. Where chil- 
 dren's plays and their scenery were once chosen at 
 haphazard there is now a genuine desire for the candor 
 and beauty of effect that one gets in the drawings of 
 Boutet de Monvel. Children's plays costumes and 
 scenery have undergone a complete change. Ama- 
 teur producers are realizing that the best is none too 
 good for the impressionable years. 
 
 There is so great a movement toward making every 
 available hall and auditorium into a community theater 
 where actors and audience alike may be art pioneers 
 that even the least prophetic amongst us can see that 
 with the exercise of care and patience, the results will 
 be of no mean order.
 
 COSTUMES
 
 COSTUMES 
 
 As with the scenery, so with the costumes in this 
 book: the ones most in use are the ones given in the 
 illustrations. Those less in use, and not given in the 
 costume plates, will be described in this chapter. Cos- 
 tumes for adults and children will be discussed, and 
 some special directions for costuming the latter will 
 be appended to this chapter. Costume and the his- 
 tory of costume is such a vast subject that only a few 
 of its most salient points can be discussed here. The 
 costumes of the most ancient peoples will be discussed 
 first: then the Greek and Roman: and then the early 
 French (Gauls) and Saxons, and so on up to modern 
 times. Since the material and color of costume in the 
 olden time was often regulated by law as well as by 
 custom, some of the laws and customs must be briefly 
 sketched. 
 
 But a few words first to the amateur producer. In 
 costuming a play a good costume book is an immense 
 help; next to the costume book, standard histories, well 
 illustrated. If the reader of these lines is a producer 
 living in the most out-of-the-way hamlet, or an already 
 over-crowded public school teacher, they will find a 
 large dictionary of the utmost help. Webster's dic- 
 
 19
 
 20 COSTUMES 
 
 tionary is the one referred to in the following para- 
 graphs, but any large dictionary will be sure to have 
 helpful points as to ancient costumes, and properties. 
 In the back of dictionaries, under the heads of Mythol- 
 ogy, Armor, Heraldry, Middle Ages, etc., there are sure 
 to be illuminating pictures. Under the words Armor, 
 Canopy, Broadsword, Coat of Mail, Shield, etc., etc., 
 pictures may be found, and be found more quickly 
 than in looking hi books. 
 
 ORIENTAL COSTUMES 
 
 Costumes for Bible plays, and plays laid in the Holy 
 Land are not given in the costume plates, because 
 plays of this type are not in such general use as the 
 historical or fantastic play. They can easily be made, 
 however. The basis of the men's costume is the tunic, 
 linen or cotton, and it is fashioned after the same lines 
 as the tunic on page 100. It should be very plain and 
 have only a cord for a girdle. Besides this tunic the 
 men wore a mantle, generally striped in one or two 
 colors. This was fastened to one shoulder and drawn 
 about them. The older men wore the tunic coming 
 almost to the ankle, the tunics of the young men came 
 to the knee. All classes wore sandals. The poorer 
 classes such as shepherds and tillers of the soil wore 
 coarse tunics such as can be made from potato sacking. 
 Tunics were either in white or a solid color. They
 
 ARABIAN COSTUMES 21 
 
 were never striped. The mantles were sometimes 
 made of plain material. Scarlet, purple and gold were 
 colors usually confined by custom to men of high rank, 
 kings and high priests. All boys wore the short tunic, 
 whether in white or colors. The women wore long 
 tunics, falling straight from neck to ankle. These 
 tunics were made in plain colors or white. With this 
 was worn a plain or striped mantle, much larger than 
 the mantle worn by the men. It was draped about the 
 head and shoulders and fell to the edge of the tunic. 
 Anklets and bracelets of gold, silver and jewels were 
 worn. The hair floated loose about the shoulders. 
 Girls wore the same costumes as women, but in very 
 little girls the tunic was shorter. The following books 
 will give suggestions for costumes : The Castle of Zion, 
 by Dean Hodges; the " Peeps at Many Lands Series; " 
 the Acting Edition of Joseph and His Brethren, by 
 Louis N. Parker; the illustrated edition of Ben Hur; 
 and, best of all, Tissot's Life of Christ. 
 
 ARABIAN COSTUMES 
 
 For Arabian costumes, with their combination of 
 white and flaring color, made in the same way as the 
 costumes described above for the Holy Land, and 
 for the strange Eastern costumes of the Arabian Nights, 
 including Persia, the following books will give good 
 ideas for costumes to be used in festivals and pan-
 
 22 COSTUMES 
 
 tomimes: Omar Khayyam, illustrated by Elihu Vedder; 
 The Arabian Nights, by Olcott; Princess Baldura, by 
 Lawrence Housman, illustrated by Dulac; The Arabian 
 Nights, by K. D. Wiggin and N. A. Smith, illustrated 
 by Maxfield Parrish. 
 
 EGYPTIAN COSTUMES 
 
 The curious tight swaddled Egyptian costume, mostly 
 made in striped material, can be copied from the follow- 
 ing books for those wishing to give Egyptian dances 
 or pantomimes: Illustrations of Greek, Roman, and 
 Egyptian Costume by Baxter. The Egyptian Head- 
 dress with a band across the forehead, and two strips 
 hanging over the ears, widening as they touch the 
 shoulder, is exceedingly easy to copy. 
 
 CHINESE COSTUMES 
 
 For Chinese costumes of the strange bright loveli- 
 ness seen on old tea chests, and for costumes for Hous- 
 man's Chinese Lantern, Aladdin, the little play of The 
 Willow Ware Plate, etc., etc., the following books: 
 The Punishments of China by George Henry Mason, 
 can be found in most libraries. It has pictures in color. 
 See also the story of Aladdin in The Arabian Nights 
 by Lawrence Housman, and the Arabian Nights by 
 Kate Douglas Wiggin and Nora Archibald Smith, 
 illustrated by Maxfield Parrish.
 
 ANCIENT GRECIAN COSTUME 23 
 
 JAPANESE COSTUMES 
 
 For Japanese plays and operettas, like the Mikado, 
 Japanese costumes are already given here; they can 
 be copied from the following books: Japanese Fairy 
 Tales, Japan in " Peeps at Many Lands " series, and 
 Letters from Japan, by Mrs. Hugh Fraser. 
 
 COSTUMES OF INDIA 
 
 Costumes for plays of India, such as Tagore's, should 
 be copied from books on that country. The long white 
 sleeved tunics, and brilliant turbans of the men, the 
 white costumes of the women, and the splendor of the 
 dancing girls can be copied from books listed here. 
 The sari, or mantle of the women, is cut the length and 
 breadth of a Bagdad couch cover, and is wound about 
 the head and shoulders. It should be remembered that 
 all the different casts of India have different costumes, 
 and it is not as easy to costume a play laid in that 
 country as it appears at first sight. Mowgli by Kip- 
 ling has facinating pictures which can be copied. Also 
 Kipling's complete works have illustrations by John 
 Lockwood Kipling. 
 
 ANCIENT GRECIAN COSTUME 
 
 Ancient Grecian costume for men can be fashioned 
 with the tunic on page 100 as a basis. This was the way 
 Grecian tunics for men were made. The materials
 
 24 COSTUMES 
 
 were woolen or linen. Greek youths wore a cloak 
 called a chalmys. It was four and a half feet long by 
 three feet wide. It was fastened to the right shoulder. 
 Solid colors were used in cloaks and tunics. Ornamen- 
 tation w r as confined to borders on the tunic, and around 
 the edges of the neck and sleeves. The foot gear 
 was sandals low sandals, or high laced sandals as on 
 page 100. Greek men and boys wore their hair short. 
 They never parted it on the side. It was always parted 
 hi the middle. 
 
 Grecian soldiers wore upper body armor, had a 
 curiously shaped helmet, and round shields. They 
 carried long spears. The shield was called an aegis, and 
 a picture of it called by that name can be found in 
 Webster's dictionary. Pictures of the god Mars, given 
 in dictionaries and mythologies, will give a good idea 
 of the helmet and armor. This armor can be simulated 
 by heavy gray carpet paper. Boys wore a tunic coming 
 to the knee; but little boys might not wear the chalmys, 
 the national garment for men and youths. 
 
 The costume for a Greek woman will be found on 
 page 103. It can also be found in pictures of the Greek 
 goddesses. It was made of wool or linen. The costume 
 on page 191 of a Fairy can be adapted for a Greek 
 girl by leaving off the wings. The costumes of Greek 
 women or girls were either white, yellow, crimson, blue 
 or green. They were always in solid colors. They
 
 ANCIENT ROMAN COSTUME 25 
 
 might be ornamented with borders. Women and girls 
 wore their hair high on their heads, or in a Psyche knot. 
 It was bound with Greek bands or a fillet, or chaplet. 
 Very young girls wore their hair "bobbed" much in 
 the fashion of to-day. The hair, save in the case of 
 dryads, water sprites, hamadryads, and other mytho- 
 logical creatures of the woods and fields, was never 
 worn flying. The following books give suggestions for 
 Grecian costumes for men, women and children: 
 Greek Dress, by Ethel Abrahams; The Attic Theater, 
 by Haigh; The Odessy for Boys and Girls, by A. J. 
 Church. For the Isadora Duncan type of costume for 
 children, with excellent color effect, see The Schuman 
 Album of Children's Pieces, with illustrations by Wille- 
 beeck Le Mair. 
 
 ANCIENT ROMAN COSTUME 
 
 The tunic on page 100 is the basis for a Roman cos- 
 tume for boys and men. The tunic was universal in 
 Ancient Rome. Young men and soldiers wore the 
 short tunic, coming to the knee. Older men, nobles 
 and law givers, wore the tunic ankle length. Pic- 
 tures of Julius Caesar will recall this costume. Over 
 this tunic was worn a toga, or cloak, the national 
 garment of the Romans. It was fastened on the left 
 shoulder, and then drawn about the body. It was 
 made of wool white wool for ordinary folk, purple for
 
 26 COSTUMES 
 
 emperors and generals. No one except an emperor or 
 a general was allowed to wear purple. This was a 
 rule rigidly enforced. Purple was the color of the 
 Caesars. 1 
 
 The soldiers wore the short white tunic with upper 
 body armor, a breastplate, a round shield and a hel- 
 met but the helmet was far different in shape from 
 that of the Greeks. Over the skirt of the tunic, hung 
 from the armor at the waist were strips of leather. 
 Pictures of leather body armor can be found under the 
 word corium in Webster's dictionary. The helmets 
 varied, and can best be copied from pictures depicting 
 the reign of the various emperors. The Roman boys 
 and men wore their hair cut close. The costumes for 
 Roman women were something like that of the Greek, 
 enough like it for the Greek Costume Plate 2, to be 
 used as a basis for it without the border. The Fairy on 
 page 191 without the wings can be used for a Roman 
 Girl. Both girls and women wore their hair bound 
 about the head. It was only very little girls who 
 wore it loose. The Roman women wore woolen man- 
 tles for the Winter which were cut in a large square 
 and wrapped them from head to heel. The following 
 books will give illustrations of Roman costumes: 
 Illustrations of Greek Roman and Egyptian Costumes, 
 
 1 The purple of the ancients was a Phoenician dye more like scarlet than 
 like our modern purple.
 
 COSTUMES OF GREAT BRITAIN 27 
 
 by Baxter; The Story of Rome, by MacGreggor, to be 
 found in the children's room of most libraries; Land- 
 marks of British History, by Lucy Dale; The Bankside 
 Costume Book', Meyer's General History, Illustrated; 
 Guizot's History of France, the first three volumes. 
 If the amateur producer is living in a small hamlet or 
 out-of-the-way place where the books mentioned here 
 cannot be had, a glance at the encyclopedia under the 
 names of the various Roman Emperors, Pompey, 
 Caesar, Nero, Caligula will often discover accompany- 
 ing plates. If an encyclopedia cannot be had, let the 
 producer look hi the back of any large dictionary 
 under Mythology and good ideas for costume can be 
 found. 
 
 COSTUMES OF THE ANCIENT GAULS 
 
 The men of Gaul had white tunics, knee length, 
 breastplates, shield and helmets of armor. The hel- 
 met had small wings like a Viking's helmet. A skin 
 was fastened at their shoulders like a mantle. Their 
 hair was long. Women wore long white tunics, and 
 mantles of skins. Their hair was worn in two long 
 braids. Children wore tunics. See Guizot's France. 
 
 COSTUMES OF GREAT BRITAIN 
 
 More space will be devoted to the costumes of the 
 Britons than to that of any other nation because more
 
 28 COSTUMES 
 
 plays in current use are laid in Britain than in any 
 other ancient country. Moreover, what was worn 
 in Britain was worn with only slight differences in 
 France, Holland, Germany, and Italy. The outlines 
 of the costumes were more or less the same in all these 
 countries. It was in the details that they differed. 
 
 The earliest costumes of the ancient Britons were 
 the skins of wild beasts. These were fastened with 
 thongs at the shoulders, and hung to the knee. They 
 were like rude tunics, but tunics without side seams or 
 sleeves. The arms and legs were bare often stained a 
 bright blue, though this historical detail is too grotesque 
 for amateur plays. The hair was worn long, and the 
 beard also. Both were rough and matted. The women 
 wore the skin tunics also. There was no difference 
 between the dress of men, women and children. All 
 wore the skins of beasts. The hair of the women fell 
 loose about their shoulders, and was perhaps a shade 
 less shaggy than that of the men. Neither men nor 
 women wore any adornment. 
 
 The real tunic came into England with the coming 
 of the Romans, 50 B. C. It was roughly made and 
 was of coarse material almost as coarse as potato 
 sacking. It came in white, and in crude blue and red, 
 and in brown. It was at first very plain, without 
 border or ornamentation. Since the tunic of skins 
 had been abandoned the Britons needed warmth, and
 
 COSTUMES OF GREAT BRITAIN 29 
 
 often wore the skin of a wild beast hanging from their 
 shoulders, much hi the fashion of the ancient Gauls. 
 (See Costumes of the Ancient Gauls.) But the early 
 Britons wore no helmets. The hair fell loose over their 
 shoulders. They either wore beards, or shaved their 
 faces after the fashion of the Romans. The upper 
 classes by degrees discarded the mantle of skins, and 
 adopted a short woolen cloak made of straight lengths 
 of cloth. Women wore tunics coming to the ankle. 
 Peasant women wore skins fastened to the shoulders 
 in cold weather; women of rank, the crude woolen 
 cloak. Gradually both peasants and gentlewomen 
 adopted the cloak as their one means of protection 
 against the cold. Up to the end of the Fourth Century 
 these primitive costumes were worn. The following 
 books will give ideas of them: Strutt's Dress and 
 Habits of the People of England, The Bankside Costume 
 Book; Landmarks of British History, by Lucy Dale. 
 
 By the fifth century 400 costume had made a 
 great advance as to cut, color and material. The 
 dress of the nobles had been greatly enriched, while 
 the dress of the peasants was still very crude. Through- 
 out these early times the dress of the peasants, men, 
 women and children would remain the same for cen- 
 turies, while the dress of the nobles and ladies changed. 
 
 The short tunic was at times worn by all classes, 
 but the long tunic denoted rank. The tunic might
 
 30 COSTUMES 
 
 really be said to be the national garment. The peasants 
 and tradesfolk always wore the short tunic. The long 
 tunic was worn by the nobility, and the Kings. It 
 fell in graceful folds to the ankles. No peasant mig^.t 
 wear it, but the noble might wear the short tunic if he 
 chose. 
 
 The easiest way to call the dress of the fifth and 
 sixth centuries to mind is to say that it was the time 
 of King Arthur and his Knights, and to copy the 
 Copley Prints of King Arthur and his Knights* by Ab- 
 bey. All men of gentle blood now wore mail cover- 
 ing them from head to heel, and over this they wore 
 either the long or short tunic in linen, or in fine silk. 
 Shields were long and bore a coat of arms. For house 
 wear the tunic with sleeves had come in, and these 
 sleeves were usually loose and flowing. Peasants wore 
 tunics coming to the knee, and wound strips of cloth 
 about them for cloaks. 
 
 Women wore a long tunic-like dress falling to the 
 floor, with a long cord about the waist. This cord 
 might be gold or silk. Their sleeves were the type 
 known as angel sleeves. The hair was braided in long 
 braids, sometimes interwoven with pearls. It was 
 covered with a veil, bound about the brows with 
 
 1 Copley Prints can be obtained from Curtis and Cameron, Boston, 
 Mass. Reproductions of some of them may be seen in The Craftsman 
 for Oct. 1911.
 
 COSTUMES OF GREAT BRITAIN 31 
 
 a circlet. The Abbey pictures will show these cos- 
 tumes. Watt's picture of Sir Galahad is another good 
 type to copy. Pictures may also be found in the fol- 
 lowing : Strutt's Dress and Habits of the People of Eng- 
 land; Meyrick's Ancient Armor. 
 
 In the seventh, eighth, ninth, and tenth centuries, 
 that is, from 600 to 800, the tunic was worn, either 
 long or short, belted at the waist. A tunic with sleeves 
 was sometimes called a surcoat. The mantle of the 
 Saxons varied very much, and great liberty may be 
 allowed the producer in designing its shape. It may 
 be square or round, long or short, but it must be of a 
 solid color. It should be wrapped round the wearer 
 when he is out of doors, and should fall about him in 
 loose graceful folds when he is indoors. It should be 
 fastened with a febula or brooch on the right shoulder. 
 Foot gear was composed of low sandal-like shoes, 
 which covered the foot, and were fastened with bands 
 of cloth or linen. These bands, for peasant wear in 
 cold weather, were criscrossed to the knee, and afforded 
 as much protection as a stocking would. Also the 
 tabard came in in these centuries and was worn both 
 by nobles and tradesfolk. It was a garment fastened 
 on the shoulders, open at the sides, and coming to the 
 knee, or to the ankle. Under it was worn a sleeved 
 tunic. 
 
 From the seventh to the tenth centuries women
 
 32 COSTUMES 
 
 wore a kind of tunic dress fitting more closely than in 
 the earlier centuries, and coming to the floor. Also the 
 hair was covered with a long veil or light silk or cloth 
 which fell over the rest of the costume. Besides this 
 they wore a kind of tabard dress, with a sleeved tunic 
 under it. 
 
 Children of high and low, rich and poor, wore short 
 tunics, and the children of nobles wore the tabard made 
 in rich stuffs. Their hair was "bobbed" much as it is 
 to-day, for boys and girls alike. 
 
 Pictures of these centuries may be found in the fol- 
 lowing books: Guizot's Illustrated Histories of France 
 and England; Strutt's Dress and Habits of The People 
 of England; Le Costume Historique, by Racinet; Mey- 
 rick's Ancient Armor. 
 
 With the eleventh century (1066) there are the pic- 
 tures of the Norman Conquest to follow, with William 
 the Conqueror and his Knights. The tunic, long or 
 short, was still worn, and it was still loose and full. 
 Rich bands of gold, silver, embroidery or fur were now 
 used to ornament the tunics of the nobility. Apart 
 from ornamentation, which the peasants never wore, 
 there was not a great difference between the dress of 
 peasants and nobility in line and cut. 
 
 With the twelfth century (noo) there was a greater 
 variety of costume. The long tunic, ankle length, and 
 associated with King John and Macbeth, was now worn
 
 COSTUMES OF GREAT BRITAIN 33 
 
 by the nobles, with cloaks for outdoor wear. Women 
 wore the dress associated with Lady Macbeth, if they 
 were women of rank. Armor was worn by knights, 
 and covered with a long or a short tunic as pleased 
 their fancy. It was the tune of the Crusades, and the 
 tunics of Crusaders, worn over their armor, had a 
 large red cross on the breast. The tunic on page in, 
 with a red cross on it, could be worn by a crusader. 
 
 Peasants wore a short tunic, with a leather girdle, 
 and soft ankle boots. These can be imitated by wear- 
 ing black socks. Tights were now worn by the peas- 
 antry and yeomanry. It was the century of Richard 
 Cceur de Lion, of Blondel, and of Robin Hood. Tunics 
 for the yeomanry might be the regular tunic, or might 
 open down the front over a linen shirt, and become a 
 sort of coat. (See picture on page 112.) Men peasants 
 sometimes wore their heads covered with a covering 
 like that of the peasant woman on page 115. So did 
 yeomen. Or they might wear the head covering given 
 with Robin Hood. 
 
 Peasant women now began to wear tight bodices, 
 and round, somewhat full skirts, like the woman on 
 page 115. A leather girdle and pouch bag were worn 
 with it. The head was covered as in the picture. This 
 costume continued to be worn by peasant women until 
 the middle of the fifteenth century. These costumes 
 were worn by little peasant girls also.
 
 34 COSTUMES 
 
 The children of the twelfth century copied the cos- 
 tumes worn by their elders. Children of noble birth 
 copied the costumes worn by the nobility. Children 
 of peasant birth copied peasants. 
 
 Books from which these costumes may be copied are: 
 Robin Hood, by Henry Gilbert, illustrated by Walter 
 Crane; The Bankside Costume Book; Guizot's History 
 of France; Meyrick's Ancient Armor. 
 
 From the end of the thirteenth to the end of the fif- 
 teenth centuries (1290-1400) the costume for English 
 Kings and noblemen was the tunic (i. e., paltock), either 
 long or short, as best pleased them. It might be short as 
 on page 119, or it might come to the knee or the ankle. 
 The tabard, described on page 31 was also worn. Tights 
 were universally worn by the nobles and by peasant men. 
 Soft low shoes, such as are pictured on page 119, were 
 worn, or high shoes as in the picture on page 112. Tall 
 peaked caps, round caps with a quill on one side, or soft 
 brimmed caps turned up at one side with a quill as 
 on page 112 were most in vogue. The cap on page 112 
 was more often worn by yeomen than by noblemen, 
 however. Besides a long tight undersleeve as on 
 page 119, there was a flowing over sleeve, to be seen on 
 the same page. When this was cut in scallops round 
 the edges it was called a "dagged" sleeve. In England 
 the peasantry might not wear "dagged" or hanging 
 sleeves. They were for the upper classes only. Re-
 
 COSTUMES OF GREAT BRITAIN 35 
 
 member this in costuming plays. Knights wore armor, 
 as on page in, with tunics of richly trimmed silk or 
 velvet. 
 
 Through the thirteenth, fourteenth and fifteenth 
 centuries there was very little change hi the dress of 
 peasants. Men wore the tunic as pictured on page 119, 
 without sword or embroidery. Yeomen wore the cos- 
 tume pictured on page 112. Peasants never wore the 
 long tunic. Strict rules of dress governed the peasant 
 class. 1 From 1330 till 1556 that is, from the reign of 
 Edward Third, until the eighth year of Queen Eliza- 
 beth's reign these rules governed peasant costume. 
 Peasants and servingmen might trim their tunics with 
 "lamb's fur" as it was called, or rabbit's fur. But 
 they might not wear ermine, miniver, sable, silk, or 
 gold embroidery under penalty of punishment. No 
 servant might wear silver or gold either in trimming 
 or by way of ornament. 
 
 Crimson or blue velvet was for the attire of Knights. 
 Only they and the folk of royal blood might wear it. 
 No one except royalty might wear cloth of gold. Scarlet 
 and purple were for royalty also, and were worn on 
 occasions of state. Ermine, silk, velvet, miniver, 
 sable, and rich embroideries were for the nobility. 
 Apart from the nobility, only the clergy were allowed 
 to wear such furs as sable and ermine. 
 
 1 These were called Sumptuary Laws.
 
 3 6 COSTUMES 
 
 The peasants wore coarse materials, and plain colors. 
 Where the nobles wore embroidery the peasants wore 
 leather, leather girdles, leather pouches, etc. 
 
 The dress of ladies of rank during these centuries 
 (1290-1400) is indicated on page 120. They wore 
 long robes bordered with fur or embroidery. Tight 
 sleeves, or tight sleeves with a "dagged" over-sleeve. 
 A girdle of gold or silver, or a cord of gold, or a rope 
 of pearls was worn about the waist. The hennin, or 
 steeple head-dress was worn. It was made of gauze or 
 silk, and lined with some thin stiff material probably 
 canvas. A veil was draped over it, and floated behind 
 it. There was great latitude in the draping of this. A 
 cloak of fur or velvet was worn for the out of doors. 
 Shoes were low and soft, shaped like the man's shoe 
 on page 119. The fur and embroidery edging the robe 
 was an indication of the wearer's rank. No woman, 
 unless noble by birth, might use ermine or miniver. 
 
 The costume of the peasant women varied very 
 little from 1290-1490. It was on the same general 
 Lines as the peasant dress on page 115. In the fifteenth 
 century it might be worn without the head covering if 
 desired. 
 
 There is a great variety of books covering the cos- 
 tumes of these centuries and a full list of them is given 
 here because amateurs play so many dramas laid in 
 mediaeval times. First and foremost there is Jeanne
 
 COSTUMES OF GREAT BRITAIN 37 
 
 D'Arc, by Boutet de Monvel, a book giving most varied 
 pictures of armor, chain and plate, of long and short 
 tunics, of the dress of great ladies and of peasants. It 
 is absolutely invaluable. There are two books on the 
 Canterbury Pilgrims with fine illustrations: The 
 Canterbury Tales, by Percy Mackaye with lovely 
 illustrations in color by Walter Appleton Clark; and 
 even better pictures from the costume point of view 
 may be found in The Modern Reader's Chaucer, by Tat- 
 lolk and Mackaye, with pictures by Warwick Goble. 
 There are other beautiful pictures in Tales from the 
 Pentamarone, illustrated by Warwick Goble, richly 
 imaginative in line and color. The Guild of Play Books, 
 by G. T. Crimmins, give illustrations of the folk-dance 
 costumes that were worn in England from the earliest 
 times. Then Guizot's History of France, with its illus- 
 trations by Alphonse de Neuville must be mentioned 
 again, because it gives not only costume, but mediaeval 
 interiors, and furniture as well as outdoor scenes. 
 Mediaeval head-dresses are given in Chats on Costumes 
 by Wolliscrof t. For ecclesiastical dress see Dictionnaire 
 des Ordres Religeux, by Heylot. 
 
 The costume for men in the sixteenth century (1500) 
 and the costume for women underwent a great change. 
 For the first time since the Romans landed the tunic 
 lost its hold. The doublet came in, and sleeves were 
 full and slashed and puffed. For the nobles simplicity
 
 38 COSTUMES 
 
 of attire gave way to ornamentation. The long cloak 
 for men was abandoned. The short cloak held sway. 
 A new sort of cap with a plume came in. There were 
 ruffs for the neck. The costume for men may be seen 
 on page 123. This is a noble's costume. The same cos- 
 tume in coarse materials, without ornamentation and 
 without the cloak, was worn by peasants. Brocades 
 and silks were worn by royalty and gentry, serge and 
 unbleached linen shirts were worn by the peasantry. 
 Instead of ruffs the peasants wore flat linen collars, or 
 no collars at all. Leather jerkins were worn by the 
 yeoman that is, a kind of leather tunic, worn over 
 a shirt with puffed sleeves. 
 
 For women of rank, and the rich middle class, skirts 
 were bell-shaped, and opened over a petticoat. (See 
 picture on page 127.) There were tight, pointed bodices 
 with long tight sleeves. Sometimes for daytime 
 wear these bodices went high up to the throat and 
 there was a ruff of lace and linen, or they might be 
 cut low, and have a great lace ruff standing out fanlike 
 back of the neck. To say the words Shakespeare, 
 Queen Elizabeth, Sir Walter Raleigh, should recall the 
 costume of the middle and last of the century with 
 its rich brocades and velvets. For state occasions 
 women waved their hair and did it up on their heads. 
 It had strands of pearl and gold bound about it. For 
 the daytime there were caps of velvet, silk, or muslin
 
 COSTUMES OF GREAT BRITAIN 39 
 
 edged with gold, pearls, or fur. All women, rich and 
 poor alike, covered their hair with a cap be it ever 
 so magnificent or humble. 
 
 The costume on page 115 may be used as a basis for 
 the costume of a peasant woman of the sixteenth cen- 
 tury. Take off the head covering, have the bodice 
 come up to the throat, or cut the neck low and round. 
 Take off the leather girdle and pocket, and substitute 
 an apron, and the peasant will be of the sixteenth 
 century. It was in this century that the apron came 
 in. The costume may be worn without the apron, to 
 give variety. 
 
 Children's costumes in the sixteenth century were 
 copied after their elders. The boys wore doublet and 
 hose, sleeves slashed and puffed. There was rich cloth, 
 silk and velvet for the children of nobles and the rich 
 middle classes. Poor boys wore coarse material. The 
 costume for a man on page 123 may be copied for boys, 
 only for children of peasants and tradesmen omit the 
 cloak. It was only worn by sons of nobles and court 
 pages. The costumes for little girls of noble birth 
 may be copied from the picture of a lady on page 127. 
 They wore the under petticoat and the bell skirt, in 
 stiff brocades and satins. Their hair was done on their 
 heads as the hair of the lady is done. They were an 
 exact imitation of older women. But little peasant 
 girls had more choice of costume. They may be
 
 40 COSTUMES 
 
 dressed as the little girl on page 199, without the hanging 
 sleeves. Or they may have their costumes copied 
 after the peasant woman described two paragraphs 
 back. They seldom wore aprons, so that detail may 
 be omitted. The dresses of peasant girls escaped the 
 ankles, and left them free to romp and run a privi- 
 lege not given to little girls of high degree, whose stiff 
 long petticoats impeded them. All little girls wore 
 caps, whatever their rank. But whether the caps of 
 active hardy little peasant girls stayed on is a matter 
 for conjecture. 
 
 While the costumes of the sixteenth century in Eng- 
 land and on the Continent had certain National dif- 
 ferences, it was a difference of detail and not of out- 
 line. Therefore the costumes indicated here were the 
 costumes of France, Italy, Germany, Spain, Flanders, 
 Holland. The following books will give additional 
 pictures of costumes: Strut? s Dress and Habits of the 
 People of England; Bennet's Young Master Skylark, 
 with illustrations by Birch; Historic Dress of the British 
 Soldier, by Luard; also Albrecht Durer, by H. Knack- 
 fuss; The Dance of Death, by Holbein, for costumes on 
 the continent from 1471 to 1543. 
 
 With the sixteenth century America appears on the 
 scene, and therefore the costumes for the next centuries 
 which were alike in America, England and the Con- 
 tinent will be given under the heading: "Costume in
 
 COSTUMES IN AMERICA 41 
 
 America from the Earliest Times to the Civil 
 War." 
 
 EIGHTEENTH CENTURY 
 
 The civilian dress of America and England differed 
 very little. For the Military dress of the English 
 during the American Revolution, see costume Plate 21, 
 where an English Officer and an English soldier will be 
 found. The following books will also be found useful: 
 Historical Dress of the British Soldier, by Luard, and 
 histories of England have pictures; Costumes in Eng- 
 land, by F. W. Fairholt is good. There is also Sardou's 
 Collection of Eighteenth Century Costumes, by A. E. 
 Guillamot. 
 
 COSTUMES IN AMERICA FROM THE EARLIEST TIMES TO 
 THE CIVIL WAR 
 
 The very earliest American costumes were the 
 Indian costumes. These varied with the various 
 tribes, just as the costumes of Europe while more or 
 less alike in their outlines in any given century were 
 still touched with national characteristics. Amateurs 
 cannot hope to cope with all these differences. They 
 must take a composite Indian costume. Men may 
 either wear the Indian costume that prevailed before 
 the coming of the White Man breech cloth, wampum 
 and feathers, or the Indian costume given on page 128. 
 
 With the Indians both sexes wore the same ma-
 
 42 COSTUMES 
 
 terials, though not made in the same manner. Dressed 
 deerskin, and other hides formed the basis of their 
 costumes. These can be simulated by khaki. 
 
 Indian braves and chieftains wore the costume given 
 on page 128; but the Indian braves might not wear so 
 large and impressive a war bonnet. Only the Indian 
 chieftain might wear that. Khaki costume, khaki 
 moccasins, beads for the neck, and a gorgeous head- 
 band filled with feathers will make the costume com- 
 plete. 
 
 The costume for an Indian Princess, for Indian 
 maidens and squaws is given on page 131. It is the 
 costume for an Indian Princess in the picture, because 
 it is so elaborately embroidered. A plain Indian cos- 
 tume on these lines, and a bead headband and beaded 
 moccasins should complete the costume. The squaws 
 may carry a brightly colored blanket, and so may the 
 Indian maidens. These blankets may be made of 
 canton flannel in blue and purple, orange and jade, 
 saffron and scarlet, etc., Indian designs should be ap- 
 pliqued on them by cutting out canton flannel, and 
 stitching it to them. A very great Princess like Poca- 
 hontas wore white doeskin, which should be made on 
 the same lines as that in the picture, and of canton 
 flannel. 
 
 Conventional costumes for Indian children may be 
 made by copying the boy's suit en page 132 and the
 
 COSTUMES IN AMERICA 43 
 
 girl's dress on page 131. They are made of khaki, just 
 as the older Indians' costumes are. No Indian child, 
 boy or girl, should ever wear a headband or feather. 
 
 Other costumes for Indians will be found in the fol- 
 lowing books: The Book of Indian Braves, by Kate 
 Dickinson Sweetser, and The Song of Hiawatha, illus- 
 trated by Frederick Remington; Sinopah, The Indian 
 Boy, by J. W. Shultz, illustrated by E. Boyd Smith. 
 
 The earliest dress of people in America other than 
 the Indians was of course copied from the English. 
 The seventeenth century was a distinct departure in 
 style from the sixteenth. With the seventeenth cen- 
 tury (1600) began the period of Cavalier and Round- 
 head or, in other words, of the followers of King 
 Charles, and of Cromwell. Their costumes differed as 
 much from the Elizabethan costumes as they differed 
 from each other. The restrictions as to peasant's and 
 gentlemen's costumes had vanished; there was now 
 not so much a difference of costume according to rank, 
 as difference according to politics and religious ad- 
 herence. Those who followed King Charles wore the 
 Cavalier costume, those who followed Cromwell, the 
 Puritan costume. All the other countries of Europe 
 wore the Cavalier costume, save Holland, where the 
 Cavalier and Puritan costumes were worn. Thus the 
 Puritan costume is found amongst the early Dutch 
 Settlers in New York, and all down the Mohawk
 
 44 COSTUMES 
 
 valley. In America the Cavalier costume was worn 
 in the South, but was frowned on as the "devil's 
 finery" in the Puritan North. A number of Cavaliers 
 lived at Merrymount, in Massachusetts, and the ab- 
 horrence in which they were held is vividly described 
 in Hawthorne's Maypole of Merrymount. The Quaker 
 costume was like the Puritan costume, save that it 
 was worn in gray. The Pilgrim costume was, of course, 
 like the Puritan. The Huguenot costume was like that 
 of the sixteenth century, and can be copied from those 
 on pages 123 and 127. It should be hi dull colors, and 
 not in the best condition as to wear, for the Huguenots 
 were fugitives. 
 
 The Cavalier costume is not given in this book be- 
 cause few amateur plays require it, and pictures of it can 
 easily be found in the books which will be mentioned 
 later. The dress of the cavalier consisted of a fine 
 shirt of white linen, with a lace collar known as the 
 Van Dyck now-a-days. He wore full breeches with 
 rosettes and hanging ribbons at the knee band. The 
 coat was of fine material, velvet, silk, or satin. Some- 
 tunes its sleeves were plain, as in pictures of King 
 Charles. At other times they were slashed, and showed 
 either a lining of a different color, or the fine white 
 shirt sleeve beneath. This shirt sleeve was cut on the 
 lines of what we to-day call a "bishop sleeve." It 
 was usually finished with a frill of lace. Ribbon love-
 
 COSTUMES IN AMERICA 45 
 
 knots were worn at the shoulders. Sleeveless leather 
 jerkins were also worn, showing the white shirt sleeve 
 coming through the arm hole. Or the leather sleeve 
 might be slashed and show a silken undersleeve. The 
 foot gear consisted of either silk stockings and low shoes 
 with buckles or rosettes, or boots that fitted tightly. 
 
 The hats of the Cavaliers had broad flaring brims. 
 They are imitated to-day in hats for ladies called " Cav- 
 alier hats." The brim was rolled up at one side and 
 fastened by either a buckle or a rosette. It had a 
 sweeping plume. Plainer hats were rolled up at the 
 side without the plume. The hair of the Cavaliers 
 swept over their shoulders in love locks. They had 
 small up-curling mustaches, or no mustaches at all. 
 The colors they wore were bright and gay. The ma- 
 terials composing their costume were fine lawn and 
 lace, silk, velvet, cloth, and leather. For amateurs who 
 wish to copy these costumes, and are restricted from 
 hiring them, or making them of expensive material, 
 canton flannel is a good substitute for velvet, and sateen 
 for satin. Gymnasium bloomers, with bright rosettes 
 and ribbons at the knee band, soft white shirts with 
 bishop sleeves, a sleeveless jerkin of canton flannel, 
 and uprolled Cavalier hat, and the dress is complete. 
 Leather may be copied by having leatherette, or deep 
 buff oilcloth. The long sweeping cloaks of the Cava- 
 liers can be copied for amateurs by having canton
 
 46 COSTUMES 
 
 flannel in gay colors, which will have the look of 
 velvet. 
 
 The women of the Royalist (Cavalier) party wore the 
 type of dress indicated on page 143, the fitted bodice, 
 and the full skirt falling in graceful folds to the floor. 
 The cap, edged with pearls, gold, silver or lace, was 
 much in vogue. 
 
 The children of Cavaliers wore costumes that were a 
 copy of their elders. Boys wore the loose white shirt, 
 and full knee breeches with rosettes. Girls wore dresses 
 coming to the floor as they had in Elizabeth's day, only 
 now the style was different. No little girls wore short 
 dresses. For pictures of Cavaliers, see illustrated edi- 
 tions of Pilgrim's Progress, Richelieu, by Theodore 
 Cahen; The Laughing Cavalier by Franz Hals, and 
 King Charles, by Van Dyck; also The Children of King 
 Charles, by Van Dyck. 
 
 Puritan and Pilgrim dress for men can be found on 
 page 135. The "pork pie" hat was of felt, or beaver. 
 The cloak and suit were of serge or of the plainest cloth, 
 or of woolen homespun. Silk, satin or velvet, were never 
 worn by Puritans, nor fur cloaks, nor trimmings of any 
 kind. The colors were gray, dark blue, brown, black, 
 and dull purple. The collars and cuffs were of white 
 linen or muslin. They never wore lace. Their costumes 
 were in every way a contrast to the Cavalier. The 
 colors were sober, the cut plain. Stout low shoes with
 
 COSTUMES IN AMERICA 47 
 
 or without buckles, and thick stockings were their 
 foot gear. Under their Puritan coat they wore a plain 
 white shirt. 
 
 The costume for a man-at-arms of the Roundhead 
 party can be seen on page 139. This was also the cos- 
 tume for a Captain John Smith, or for a guard of 
 Richelieu of France. It was a costume of armor worn 
 by most of the continent, and by England and later 
 America. The armor and the full knee breeches need 
 little description. They can easily be copied by 
 amateurs. 
 
 Puritan and Pilgrim women wore the costume shown 
 on page 136. With this they wore a cloak similar to the 
 man's on page 135. The materials were woolen home- 
 spun, cloth or serge for the dress, and white lawn or 
 linen for the cuffs and kerchief. The apron may be 
 worn, or on occasion may be left off. It was of white 
 muslin. The hair was hidden by the white cap. 
 
 Puritan boys were costumed like the men, save that 
 they wore a small round cap instead of a pork pie hat. 
 Mostly they went with their heads uncovered. Little 
 Puritan or Pilgrim girls were costumed like the women, 
 with long dresses and the crossed kerchief. Their hair 
 was done up on top of their heads and covered with 
 a white cap that was exactly like what then* mothers 
 wore. 
 
 The following books and pictures will be found use-
 
 48 COSTUMES 
 
 ful for their pictures of Puritans, Pilgrims, Quakers, 
 Early Dutch Settlers and for men at arms, whether 
 English, French, or Spanish: Illustrated editions of 
 Pilgrim's Progress, by Bunyan; illustrated editions of 
 Longfellow's Myles Standish; Eggleston's Illustrated 
 History of the United States, is especially good; also 
 The Man with the Iron Hand, by John C. Parish, with 
 illustrations by B. F. Shambaugh. 
 
 THE EIGHTEENTH CENTURY 
 
 Men in the early part of the eighteenth century wore 
 costumes differing in detail from those of the latter 
 part, though the colors and materials and general 
 outlines were the same. In the reign of Anne, the 
 costume given on page 151 would have a coat that 
 came to the knee, and that instead of being cut away, 
 came down straight from the waistcoat. The cuffs on 
 the coat sleeves should be very wide should in fact 
 come halfway to the elbow. The ruffle and jabot was 
 the same as on page 151. So was the foot gear. But 
 the wig, instead of being tied away from the face, was 
 very large, curled in "sausage curls" and fell about 
 the shoulders. Sometimes the hair was worn in its 
 natural color, being curled and perfumed merely. The 
 Grande Monarch often wore it so. Again, it was snowy 
 with white powder. The upper classes wore the curled 
 wig. Poorer people had to be content with their own
 
 THE EIGHTEENTH CENTURY 49 
 
 hair, drawn back from the face, and plaited into a 
 queue, with the end very curly. Or the hair might fall 
 lank about the face, straight and uncurled, and ending 
 above the shoulders. The pictures of Benjamin Frank- 
 lin to be found on one cent stamps show this type of 
 hair dressing very plainly. It was the mode followed 
 by the Quakers. Men of fashion wore silk and velvet, 
 and the working classes wore the same type in serge 
 and cloth. Where men of fashion wore lace ruffles, 
 servingmen wore ruffles of unbleached linen or coarse 
 white muslin. 
 
 The dress of the second half of the century is shown 
 on page 151. This might be in fine cloth, or even velvet 
 for gentlemen in America, and in cloth and serge for 
 the working classes. The military styles of France, 
 England and the American Minute-men followed these 
 outlines with a likeness to each other that is surprising. 
 A different hat, knapsack, buttons, straps, and epaulets 
 were worn by each of the several countries just men- 
 tioned, but the outlines of the costumes were the same. 
 Study of the military styles of the period will show 
 how the costume may be adapted to a dozen different 
 uses. 
 
 The dress of women hi the eighteenth century was of 
 two orders, the short looped-up skirt called a pannier 
 worn over a plain or a quilted petticoat, with a white 
 fischu and powdered hair, and the longer dress with a
 
 50 COSTUMES 
 
 somewhat full skirt opening over a petticoat as is shown 
 on page 163. The short dress was the one most popular 
 in America before and during the Revolution, and the 
 long dress was worn immediately after the Revolution. 
 It is often called the Martha Washington Costume. 
 
 With the short dress, for state occasions, were woni 
 silk stockings with clocks, and high heeled slippers. 
 Black slippers had red heels. All slippers had buc- 
 kles, whether of silver, paste diamonds, or common 
 pewter. People of means wore silks and satins and 
 fine lawns India lawns they were called. Poorer people 
 wore muslin, and homespun woolen. Those who fol- 
 lowed the fashion wore in winter long coats with long 
 tight sleeves and big cuffs of fur. The coats were full 
 and plain, though sometimes they had a watteau pleat 
 in the back. They fell to the edge of the dress. They 
 might be dark green, bright blue, or scarlet. With them 
 was worn a fur tippet. Muffs were huge; and white 
 fur muffs very fashionable, though only the rich could 
 have ermine muffs. Cloaks were also worn shaped 
 like the Puritan cloak the man is wearing on page 135. 
 These were in gay or dark colors, as pleased the wearer. 
 Dark cloaks were usually lined in gay silk. Hoods were 
 worn with these. Mitts were very fashionable, par- 
 ticularly long ones, made of lace. 
 
 The costumes for children in the eighteenth century 
 followed exactly the lines of the costumes of their
 
 THE NINETEENTH CENTURY 51 
 
 elders. Boys were dressed like the man on page 151 
 and girls like the girl on page 164 after the Revolution, 
 but before the Revolution little girls wore that type of 
 dress with panniers and with the underpetticoat only 
 coming to the ankle. Pictures that will be useful for mil- 
 itary and home dress are to be found in the following 
 books: Historic Dress in America, by Elizabeth Mc- 
 Clellan; The Song of Sixpence Book, illustrated by 
 Walter Crane; Dame Fashion, by James Price (1786- 
 1912); Sardou's Collection of Eighteenth Century Cos- 
 tumes, by A. E. Guillmot; Illustrated editions of Oliver 
 Goldsmith's Vicar of Wakefield; also Romney, by Hum- 
 phry Ward. 
 
 THE NINETEENTH CENTURY 
 
 Men in the early nineteenth century, from 1800 to 
 1825 wore the dress we associate with two famous 
 characters, Napoleon and Beau Brummell. Napoleon 
 adopted Roman costume with nineteenth century dif- 
 ferences, imposed it on Europe, and the English, and 
 Americans copied it. It had very few traces of Rome 
 as far as men's costumes were concerned, but women 
 with their scarfs, and straight high-waisted dresses had 
 more of a semblance to Rome than the men. Men 
 wore either very tight fitting knee breeches, and stock- 
 ings without the hint of a wrinkle, or long tight breeches 
 almost like tights, that came down to the ankle, and
 
 52 COSTUMES 
 
 fastened with an elastic under the instep. There was 
 a stock, for the neck, with or without a frill of lace, 
 a waistcoat, and a cutaway coat with tails. The 
 hats were tall "beavers." In France they wore the 
 Chapeau Bras l just after the Revolution, and then 
 the Napoleonic hat. The waistcoats might be plain or 
 flowered. The "great coats" worn in cold weather 
 were like the great coats of Napoleon. America copied 
 the styles of Europe; but in a conservative manner. 
 
 The women in the early half of the nineteenth cen- 
 tury, or up to 1830, wore what is called Empire style, 
 copied after the robes worn by the Empress Josephine. 
 High-waisted dresses, in satin, thin silk, or silk muslin 
 were worn for " finery." Everyday muslin was worn for 
 everyday clothes. Slippers were of kid or satin, had 
 no buckles for women, and were laced over the instep 
 with straps such as we associate with the sandals of 
 the Greeks and Romans. Jewels were worn sparingly. 
 A necklace and earrings were considered enough. Airy 
 scarfs were in vogue; also shawls of soft materials and 
 colors. 
 
 Children of the early nineteenth century were dressed 
 as those on page 203. They wore Kate Greenaway 
 costumes. 
 
 Costumes of the nineteenth century can be found in 
 the following books: Beau Brummel, by Clyde Fitch, 
 
 1 See Webster's Dictionary.
 
 SYMBOLIC COSTUMES 53 
 
 with photographs of Richard Mansfield; The Life of 
 Napoleon, by Ida M. Tarbell; Marigold Garden, by 
 Kate Greenaway; Under the Window, by Kate Green- 
 away; The Young Minute Man of 1812, by Tomlinson, 
 has fine military costumes. 
 
 MILITARY COSTUMES OF THE CIVIL WAR 
 
 Military costumes of the Civil War can be found in 
 the following books: History of Costume in America, by 
 Elizabeth McClellan; Civil War editions of Harper's 
 Weekly, on file in many libraries; also on file in libra- 
 ries, Godey's Lady Book, of that period. Fine costume 
 ideas can be had from Ida Tarbell's Life of Lincoln. 
 Also from the following: The True Story of U. S. Grant, 
 by Elbridge S. Brooks; The American Soldier, by El- 
 bridge S. Brooks (1492-1900); Hero Tales from Amer- 
 ican History, by Theodore Roosevelt, and Henry Cabot 
 Lodge; A Child's Guide to American History, by Henry 
 W. Elson. 
 
 SYMBOLIC COSTUMES 
 
 The symbolic costumes for symbolic figures used in 
 pageants and festivals should be designed along lines 
 that will readily convey to the eye of the onlooker just 
 what the character is meant to personify. The cos- 
 tume should be salient yet simple. As a rule symbolic 
 costume should be made like Grecian costumes. The
 
 54 COSTUMES 
 
 long lines and simple folds of drapery lend themselves 
 admirably to such costumes. 
 
 Symbolic costumes may be used in a great number 
 of ways. In pageants and city festivals the geographical 
 attributes of a city may be shown as well as its arts and 
 industries. A harbor city might have its sea and ship- 
 ping personified. Neptune in a pale sea green tunic 
 with bands of irridescent scales as a border for it, 
 an irridescent Viking helmet, a Triton's three-pronged 
 staff, and slung from a silver girdle a Triton's "wreathed 
 horn." Shipping might be in a sailor blue robe, 
 with a robe of fishnetting caught at each shoulder 
 with a silver anchor. She might carry a small fully 
 rigged ship in one hand. Instead of a crown of stars 
 she might wear a crown made of small silver anchors. 
 
 If a city is a place of iron foundries, then a stern 
 male figure clad in iron gray, with breastplate, helmet, 
 and shield of iron would typify the industry. 
 
 Agricultural pursuits are easy to symbolize. Farm- 
 ing might be a Hebe-like figure with a horn of plenty. 
 A youth in a white tunic leading blooded horses can 
 symbolize stock raising. A shepherd with a tunic of 
 white wool, and a sheepskin cloak can typify sheep 
 raising. 
 
 The states, wearing costumes that symbolize them, 
 are figures often used in pageants and festivals. Maine, 
 with its pine green, or Kansas with grain yellow, are
 
 COSTUMES FOR CHILDREN'S PLAYS 55 
 
 examples of what can be done in this way. The figures 
 of countries England, America, France can also 
 be easily symbolized. 
 
 Father Time, the Hours, the Seasons, Famine, 
 Fever, War, Peace, Prosperity, Joy, Hope, Fire, De- 
 struction are all figures that can wear symbolic dress. 
 Suppose a village wishes to typify its destruction by 
 fire and its rebuilding. Fire hi a dress of flame, red 
 and yellow, cut in leaping tongues so that it swirls 
 and dances as she dances, can leave the scene to De- 
 struction in ash gray, and in turn Destruction can be 
 driven out by Hope in pale green, who leads the settlers 
 on to begin rebuilding. 
 
 There is nothing that cannot be symbolized and 
 brought clearly before an audience by the means of 
 costume, color and line. 
 
 COSTUMES FOR CHILDREN'S PLAYS 
 
 Correct and artistic costuming for children's plays 
 involves a knowledge of historical accuracy, color and 
 material. 
 
 Study the best costume books, and histories and 
 fairy tales illustrated by well-known artists. See if 
 the author of the play has not given directions which you 
 can follow. 
 
 Historical accuracy is a rock on which many amateur 
 directors come to grief; they are not sure of their cen-
 
 56 COSTUMES 
 
 turies. Headgear and footwear are apt to be of one 
 century and costumes of another. 
 
 Select your costumes with reference to your back- 
 ground, so there will be no color clash. Use scarlet 
 and pink very sparingly. They put other colors out 
 of countenance. Do not costume all your characters 
 in bright shades. It makes the scene confusing to the 
 eye. And unless you are producing an operetta, do not 
 costume your peasants all alike, and all in the same colors. 
 Take common sense as your guide. Do not put little 
 peasant girls into red velvet skirts or woodcutters into 
 satin jackets. Let them wear the plain rough ma- 
 terials that they would naturally have. Strive to have 
 your costumes appropriate. Twenty years ago fairies 
 were dressed in short stiff white skirts, and tight star- 
 spangled bodices, but to-day we know that there is 
 nothing stiff or starchy about a fairy. They are cos- 
 tumed in soft clinging materials suggesting the twilight 
 of deep woods, the glamour of mist and moonshine. 
 Do not put weary travelers, explorers, or pioneers 
 into spick-and-span raiment. Their garments should 
 show the dust and soil of travel. See that the foot gear 
 of all the players in one scene belongs to the same 
 period. See that your fairies and spirits wear sandals, 
 not white high-heeled slippers or high-heeled slippers 
 of any sort. 
 
 One well-known English pageant master posted this
 
 COSTUMES FOR CHILDREN'S PLAYS 57 
 
 sign where it could be read by all groups of children 
 taking part in the pageant: "Keep up your stockings. 
 Have your foot gear all alike" This might also be 
 posted by the directors of children's plays. 
 
 Discuss the costumes with the child players who 
 are to wear them. It is perfectly possible for a cos- 
 tume to have historical value, to be in harmony with 
 its background, and yet have emotional value as well. 
 A sinister figure might be all in black, with touches of 
 scarlet; innocency in white; while a pale tender green, 
 like the first touch of Spring, would be something 
 meant to suggest youth and hope. Woodsy creatures 
 should wear wood colors, and so forth. Fairies of the 
 dawn would be in dawn color; twilight elves would 
 be in gray, the color of the twilight. A morality play 
 recently produced by a cast of amateur players had a 
 background of deep cream color; the play was laid in 
 the latter half of the seventeenth century. The cen- 
 tury in which the play was laid naturally decided the 
 lines of the costumes; but to the youthful players them- 
 selves was left the deciding of the color scheme, aided 
 always by suggestions from the director. "Love," 
 said one child, " should wear white, because the thoughts 
 of Love are always pure and fair." This decided that 
 all the colors must be symbolical. Wisdom, by com- 
 mon consent, was attired in deep purple, a royal color, 
 while another character, Grumble, must be all in black,
 
 58 COSTUMES 
 
 since grumbling suggested darkness. "And Envy 
 should wear green," cried another, "because people 
 are said to be green with envy." What color should 
 Vanity wear? This was a difficult question to decide. 
 Pink, blue and yellow were all discarded. "I think," 
 said one dark-eyed girl, "that Vanity should wear a 
 little of every color." Thus an imitation brocade was 
 decided on for Vanity. This shows how symbolic cos- 
 tumes can be designed. 
 
 See that the players wear their hair in a mode that 
 corresponds to their costumes. Do not put modern 
 head-dressing and ancient costumes together. Study 
 authentic pictures. The Greek women or girls wore 
 their hair bound in a chaplet. In Saxon times they 
 wore it in two long heavy braids. In the Middle Ages 
 girls and women wore their hair tucked beneath a cap 
 or coif. In the eighteenth century it was pompadoured 
 and powdered. Peasants and Indian maidens would 
 naturally wear their hair in two braids. Woodland 
 spirits and little dryads would naturally wear their 
 hair flying. Unless the play is laid in the present time 
 or in the days of the Civil War, never put hair ribbons 
 on the children. Above all, never, never put them on 
 spirits, fairies, court ladies, Greek maidens, Puritans, 
 Indians or Colonials. 
 
 Do not mix the costumes of two centuries. Unless 
 otherwise indicated, keep the lines of the costumes soft
 
 COSTUMES FOR CHILDREN'S PLAYS 59 
 
 and flowing. Do not bunch the costumes of fairies and 
 spirits with too many petticoats. 
 
 Make the simple costumes yourself. They will 
 have better material, lines, and color than those ob- 
 tainable from costumers. If you wish to, dye them the 
 desired shades, although the color range of what you 
 can buy is now much larger than formerly. 
 
 For materials the simplest weaves will do as well as 
 the most ornate. Use cheesecloth for thin materials 
 such as fairy dresses and Greek robes. Use cambric 
 and silesia to simulate satin, cotton crepon or silk 
 crepon, where a softer and heavier material than cheese- 
 cloth is needed. Use silkoline for flowered silk. Use 
 burlap for rough peasant suits or tunics, hop sacking 
 for others. White cotton batting with black tails 
 basted on it makes ermine. For mediaeval costumes the 
 pictures in illustrated editions of Guizot's Histories of 
 France and England will be found invaluable. Also 
 Boutet de Monvel's Jeanne D'Arc, and good illustrated 
 editions of Pilgrim's Progress contain pictures of cos- 
 tumes that can be easily copied. For Grecian, mytho- 
 logical, and neo-grecian costumes, The Wonder Book, 
 by Hawthorne, with illustrations by Walter Crane, 
 has some very charming examples. For different 
 periods of American costume try Eggleston's Illustrated 
 History of the United States, and Costume in America, 
 by Elizabeth McClelland. All the books of fairy
 
 60 COSTUMES 
 
 tales edited by Andrew Lang have delightful fairy 
 costumes in them. For costumes of the Holy Land, 
 see The Castle of Zion, by George Hodges, with illus- 
 trations. The Copley Prints of the Holy Grail, by 
 Abbey, will suggest the costumes for the Court of 
 Arthur and his Knights. The Arabian Nights, illus- 
 trated by Maxfield Parrish has imaginative ideas for 
 Arabian costumes.
 
 SCENERY
 
 SCENERY 
 
 There are three kinds of scenery. Painted scenery, 
 with a backdrop (back curtain) and wings (side pieces). 
 Screen scenery, which may be either painted or draped 
 with a neutral tinted fabric. Curtain scenery, or 
 scenery composed wholly of draperies. These three 
 kinds of scenery will be discussed in their order in the 
 present chapter. By choosing any one of them there 
 is absolutely no reason why the most meager or the 
 most badly shaped stage cannot be remedied. The 
 most obscure townhall, or the most cramped public 
 school auditorium need not go without scenery any 
 more than the college or the city dramatic club need 
 go without it. Moreover, the scenery discussed here 
 can be made to suit all purse strings. For those with a 
 little money to equip then- stage there is the painted 
 scene. For those with less money, or with a stage 
 which scenery will not fit, there is curtain scenery. 
 And for those with very little money there is screen 
 scenery. For the school or settlement that must fairly 
 count its pennies there are the draped screens the 
 very cheapest scenery that can be had anywhere, and 
 yet perfectly adequate. 
 
 63
 
 64 SCENERY 
 
 Before a committee chooses its scenery it is well to 
 look at its stage, and see which kind will suit its angles 
 best. To choose the materials and the color for it is 
 the next step. 
 
 PAINTED SCENERY 
 
 In dealing with painted scenery it must be kept in 
 mind that the huge stumbling block in the way of 
 amateurs is perspective and again perspective. Few 
 and far between are the amateur scene painters who 
 can cope with it. Because of this difficulty most of 
 the scenes given in this book have no perspective at all. 
 With this stumbling block removed the amateur may 
 go ahead, and paint Sherwood Forest, or a Fairy Palace. 
 The great simplicity that is the hall-mark of the new 
 stage art is easily within his reach. Scenery needs 
 only a few decorative details to convey its meaning. 
 People can readily be shown that it is not necessary 
 to clutter a scene in order to convey the effect of a 
 palace. Simple lines and draperies will do it quite as 
 well. It is perfectly possible for amateurs to fashion 
 their own scenery if it is simple. 
 
 Since the technical word cyclorama will occur a 
 number of times in the present volume, it might be as 
 well to explain what the cyclorama is, before going 
 further. It is meant to serve the same purpose as the 
 horizont described on pages 8, 9. A backdrop is flat.
 
 PAINTED SCENERY 65 
 
 A cyclorama is curved. It is a semi-circle inclosing 
 the stage, and generally made of cloth. It gives the 
 effect of a real horizon. For that reason followers of 
 the new stage art prefer it to the backdrop, for it has 
 a greater power of illusion, if skillfully managed. It 
 can be made by hanging scantily gathered curtains of 
 cloth from a semicircular iron shaft. These curtains 
 should reach from the floor of the stage to a point well 
 above the audience's line of vision. The top of the 
 cyclorama must not be seen. The cloth may be delicate 
 blue to suggest the sky, or it may be white flooded with 
 varying lights. It is only practicable for outdoor scenes, 
 and can be used as a background for houses, towers, 
 trees, temples, etc. It is not feasible for a deep forest, 
 however. For mysterious, fairy-like scenes wonderful 
 effects may be gained by having a semi-transparent 
 cyclorama. In this case the cyclorama is hung with 
 semi-transparent curtains three deep. For these cur- 
 tains yeddo, a thin cream colored bunting, can be 
 bought by the piece for four cents a yard. (It should be 
 creped before it is used by wringing it out of cold water, 
 twisting it, and letting it dry.) Back of this cyclorama 
 may be castles set on hills, vistas of trees, fairy portals, 
 and the like, cut out of compo board. The spot light 
 is placed behind them so that they are reflected into 
 the curtains in silhouette. There are no footlights used 
 with these effects. All the light comes from the back
 
 66 SCENERY 
 
 of the stage, and things must not be too distinctly 
 seen. As to how much light, and where it is to be 
 placed : there is no royal road to lighting for the amateur 
 save through experiment, for no two stages have the 
 same proportions and the color of scenery is seldom 
 duplicated. The unpracticed amateur will find the 
 backdrop the easiest to make, while the more prac- 
 ticed amateur stage technician will find that for the 
 cramped stage the cyclorama will give an amazing 
 effect of ^distance. Colored transparencies (frames of 
 tinted isinglass) can give all the color required when 
 used with spotlights. Spotlight and transparencies can 
 be obtained from any store carrying theater supplies. 
 Painted scenery should be made on frames, one 
 frame for the back, and one for each side, unless other- 
 wise indicated. In some cases the backdrop, as it is 
 called, may be a painted curtain which can easily be 
 rolled up and down. The side pieces or wings may also 
 be curtains that can be rolled up and down. There are 
 stages where this mechanism is not possible. Under 
 these circumstances the frames must be made as a 
 sign standing in a meadow is made with strong 
 wooden stanchions behind it. This is a more or less 
 clumsy way of making scenery, but many a high school 
 or townhall stage is so constructed that it is the only 
 kind of scenery possible. The wings may be straight, 
 like the walls of a room on each side of the stage, or
 
 PAINTED SCENERY 67 
 
 they may jut out as a forest tree would. These wings 
 must be made of the same materials as the background, 
 but in the case of a forest or what is called a "cut 
 scene" (named so because the leaves of the trees are 
 all cut out at the edges) the trees may be made of 
 a substance called compo board, used by architects, 
 and sold wherever architects' supplies are carried. It 
 is heavy yet supple, of a pale golden color, and comes 
 in such length and width that it is fine for tree trunks 
 or for leaves and branches. It can easily be painted 
 the desired shades. It is also good for making a little 
 house, such as the one for Hansel and Gretel. Tall 
 white pillars for a palace may be constructed from it. 
 A log cabin that can easily be moved can be fashioned 
 from it. It lends itself to all sorts of uses for amateur 
 stage work. 
 
 The first thing to do in constructing scenery is to 
 get the materials necessary either for the backdrop, 
 or for the screens. For the screens, first make the 
 wooden frame the desired height and length. Across 
 this frame the material on which the scene is to be 
 painted is firmly tacked. 
 
 There is a prepared textile called Fabrikona that can 
 be had at interior decorators. It makes an excellent 
 surface for the use of pigments, and is not expensive. 
 Its value lies in the fact that it is already prepared for 
 use.
 
 68 SCENERY 
 
 Common unbleached cotton is the next best fabric. 
 This should be thoroughly wet before using, and then 
 allowed to dry. This will keep it from stretching or 
 sagging when it is tacked to the frame. It should be 
 stretched across the frame as tightly as possible. // 
 must be taut. It is now ready for the priming a coat 
 of white paint, rather thin, and laid on evenly over 
 the whole surface, preferably with a whitewash brush. 
 The canvas must be primed if the paint is to stick. 
 A material called flax canvas may also be used as a 
 medium for painted scenery. This fabric must be 
 treated in exactly the same way as unbleached cotton. 
 It is much heavier, and it is also more expensive. 
 Another kind of priming can be made by dissolving 
 whiting in water and adding size. Any house painter 
 can advise as to the right quantity to use. Size can 
 be purchased at any paint shop. 
 
 For painting scenery the dry powdered colors are 
 best. They should be mixed with water and enough 
 glue or mucilage to give adhesiveness. Here again a 
 house painter or sign painter will be useful in suggesting 
 the right proportions. These paints are better than 
 the average house paints because they come in softer 
 colors. They can be purchased by the pound, or by a 
 fraction of the pound from any color dealer. Put in a 
 covered earthenware crock, or even in a covered tin 
 pail, they will keep quite a long while without drying.
 
 PAINTED SCENERY 
 
 69 
 
 It is best to keep them in a cool dark place, however. 
 And it is advisable to use them when they are freshly 
 mixed, if possible. They are apt to mildew. 
 
 Before the scene is actually painted there are many 
 things to be done. In the first place, the scene must be 
 drawn to scale on the frame. First make a drawing or 
 tracing of the scene on a square of paper, allowing inches 
 for feet. Then mark it off, thus: l 
 
 Each square represents a certain number of inches, 
 just as the squares faintly indicated on maps represent 
 the scale of miles. The actual scene frame may then 
 be blocked off in squares with charcoal lightly put on. 
 Then the scene can be drawn in, and afterwards painted. 
 This is where the services of a sign painter will be of 
 help to the amateur who has not had much experience, 
 as signs are very often marked off in this same way with 
 a huge pencil. 
 
 Suppose the scale is decided, and the design drawn 
 in. The next thing to consider is the color, which the 
 amateur scene painter will have already selected. 
 
 1 See page 231.
 
 7 o SCENERY 
 
 But in selecting it has he remembered that the color 
 will greatly depend on the lighting of the stage? Arti- 
 ficial light has a way of changing the colors it is turned 
 on. It can turn yellow into pink and purple into black, 
 and pale blue into pale green. To avoid this, make a 
 small screen of whatever material you are going to 
 use, and try your colors on it by artificial lighting. If 
 they do not seem right, then mix them by artificial 
 light until they are right. This will often take some 
 time to do, but it is well worth the trouble bestowed 
 on it. The professional scene painter always makes a 
 model (i. e., small scene) set to scale on a miniature 
 stage, lighted and painted exactly as it is going to be. 
 Average amateurs may not be able to do this, but 
 they can make a miniature scene, or even a small screen, 
 with some of the effects they expect to have in the 
 larger scene, and use it to copy from. In judging the 
 color scheme by artificial light the amateur regisseur 
 must keep in mind the costumes that are to be used 
 against the background he is painting. 
 
 There is not just one lighting scheme to be con- 
 sidered, there are several, each one of them influencing 
 the color of your scene. Since indirect lighting will not 
 be established for a decade in most amateur audi- 
 toriums, it is well to see what can be done with foot- 
 lights of different colors, or abolishing the footlights; 
 try lighting the scene from the back and sides.
 
 PAINTED SCENERY 71 
 
 If you use the red footlights to convey dawn or sun- 
 set or firelight upon your stage, it will affect the color 
 of your scenery. If you use blue footlights for a twi- 
 light scene it will affect the color of your scenery. If 
 you combine red and blue for grotesque witch scene 
 effects, there is still your scenery to be reckoned with, 
 and you should try all these colors upon it. Certain 
 scenes, such as the Saxon interior given in this book, 
 can be lit from the back, with the footlights quenched. 
 Strong sunlight or rosy dawn light can be thrown from 
 the back through the windows, or pale moonlight can 
 flood the scene. A church or chapel can be lighted 
 from the back through stained glass windows, throwing 
 gorgeous color on all present. 
 
 For distance or for mist, white gauze, or netting 
 dropped between the back curtain and the audience. 
 It should be hung close to the back curtain. 
 
 For the sides of a scene where painted wings cannot 
 be had, drape curtains of the same color as your general 
 scene, green for a wood, brown for rocks, etc., etc. 
 
 A shallow stage and a flat background accentuate 
 the decorative value of the costumes shown against 
 them. The background thus remains in the back- 
 ground as it should. But it puts the players into high 
 relief. From this effect the shallow stage and the 
 flat backdrop have come to be known as "the relief 
 theater." Max Reinhardt and George Fuchs have
 
 72 SCENERY 
 
 had the most to do with its development abroad. It 
 is still a comparative novelty hi this country. It is 
 admirably suited to the amateur stage, for nothing 
 is easier to do. 
 
 In choosing the color for a scene it must be remem- 
 bered that the costumes are usually chosen with refer- 
 ence to their background. The scene color and the 
 costume color must harmonize. It is well to have the 
 scene color of an inobtrusive tint so that it will not 
 clash with the color of the costumes, and will allow 
 greater scope in choosing them. There are occasions, 
 of course, when scenery may be of a bright solid color. 
 A pale orange or deep yellow wall rising straight up 
 the back of the stage as if it towered into the limitless 
 blue above it has been used effectively as a background 
 for white and deep blue and jade green costumes. 
 But it is very startling for anything except a play laid 
 in India, Persia, or some of the Arabian Night's coun- 
 tries. Except for scenes of a startlingly picturesque 
 kind, do not use flaring colors. Avoid backgrounds of 
 pink or scarlet for ordinary scenes. 
 
 If you are giving an historical play, try to have your 
 scenery historically correct. Remember that a scene 
 antedating your play by a hundred years is better a 
 thousand times than a scene which could not have 
 existed until after your play. To be more explicit : If 
 your scene is laid in the seventeenth century, it is
 
 PAINTED SCENERY 73 
 
 better to play it in a sixteenth-century room than in an 
 eighteenth-century room. The older house might have 
 existed in the time of your play, but the eighteenth- 
 century house never could. A little study of the types 
 of scenery given in this book will show you what is 
 meant. Every period had its own style of architec- 
 ture, and as good an imitation of that style of archi- 
 tecture as possible must be given. 
 
 If you can afford only a few scenes, be exceedingly 
 careful in your selection. Think well of the kinds of 
 plays you are likely to give, not only at the moment, 
 but in future productions. If you adhere to modern 
 plays, choose modern scenery. If you wish to give 
 romantic costume plays, choose the type of scenery 
 necessary for them. If you wish to give fairy plays 
 for children choose two or three scenes most in use 
 in the fairy tales. Suppose you wish to give all three 
 types of plays, and can only have a limited number of 
 scenes, say four at the most. Then take a wood, a 
 kitchen, a garden, and an interior set such as is given 
 on page 236 that may be either drawing-room, dining- 
 room, or throne-room, according to the way its acces- 
 sories are arranged. 
 
 While as wide a range as possible of the indoor and 
 outdoor scenes in general use are pictured in this book 
 there are a number of others not in such general use 
 that can be copied from the following descriptions:
 
 74 SCENERY 
 
 ORIENTAL SCENERY 
 
 An OUTDOOR STREET SCENE FOR A BIBLE PLAY, OR 
 PLAY FOUNDED ON THE ARABIAN NIGHTS. A shallow 
 stage, a backdrop representing a plain brown wall 
 with the smooth surface of cement. This wall should 
 be darker brown in patches, and have seams as if 
 weatherworn. The top of the wall may have a plain 
 coping, and beyond this should be a sky strip of intense 
 blue. A door in center of the wall, or a doorway, 
 giving on a paler brown background that suggests 
 other buildings without. Against such a brown wall, 
 gorgeous costumes of the East will show up effectively. 
 Scenes from Judith, Rahab, etc., can be given with this 
 setting. The same wall with a brown strip instead 
 of a sky strip, may suggest an interior. The brown 
 strip should be of the same texture and color as the 
 wall. A rug or two on the floor, earthen water jars 
 standing against the wall, and the scene may be Alad- 
 din's home before he found the lamp, or AH Baba's 
 home. With changing of accessories it can be the inn 
 or the stable for The Star of Bethlehem. It will fit any 
 Christmas play along these lines. This same interior 
 decked with handsome hanging would make a palace 
 which could be used for a play on the subject of Joseph. 
 
 A HOUSETOP. A dark brown coping three feet high, 
 running across the back of the stage, with a plain blue 
 sky drop behind it will give the effect of a housetop if
 
 ORIENTAL SCENERY 75 
 
 the people entering look down, as if looking down on 
 the roofs of the city. Cushions, rugs, etc., should be 
 the accessories. This scene is especially useful for plays 
 of Arabia and Palestine. 
 
 FOR A DESERT AND OASIS. A plain sand-colored floor 
 cloth. A backdrop or cyclorama of sky blue against 
 which very low sand mounds appear as if at great dis- 
 tance, with palm trees also made small by distance. 
 These mounds and palm trees should be painted low on 
 the backdrop, since a vast stretch of level sand is what is 
 to be suggested. It would even be possible to use a plain 
 blue sky drop, and run some sand-colored cambric into 
 mounds across the back of the stage, so as to break the 
 sky line. Cactus plants and palms (real ones) in pots 
 may be placed about the sides of the stage, with sand- 
 colored material heaped about them as if sand had 
 blown in mounds against their roots. A large pool- 
 shaped mirror sunk near these, and a few trailing vines 
 will give all the effect of an oasis. The jingling of 
 camel bells can be heard off stage to give the effect of 
 a caravan. 
 
 A BACKGROUND FOR FANTASTIC EASTERN PANTO- 
 MIMES, DANCES, etc. The effect of flat walls rising 
 straight up the back of the shallow stage and throwing 
 the actors into high relief has already been noted. 
 The wall gives the effect of towering into the limitless 
 blue. For fantastic Eastern pantomimes this wall
 
 76 SCENERY 
 
 may be brilliant yellow, as in Sumurun, or white with 
 two intense blue windows (cobalt blue) or parrot green 
 with golden windows, or black, without any relief save 
 that afforded by the brilliant costumes. 
 
 FOR A FOREST OR JUNGLE. Norman Wilkinson's 
 design for the forest hi A Midsummer Night's Dream, 
 will do well for either forest or jungle and has fine 
 suggestions for amateurs. Mr. Wilkinson portrayed 
 the jungle by having a shallow stage and a great back- 
 curtain of yellowish-green strips of cloth which hung 
 loosely from ceiling to floor, and which were backed 
 by still other greenish-yellow strips. The strips were 
 about a foot wide, and were used on a large stage. 
 For a small stage the strips should be half that width. 
 On these strips strange vines and flowers were painted, 
 dusky orange here, a bit of sharp crimson there, a 
 black vine with dark flowers circling in and out of the 
 yellowish-green tangle. It gave a remarkable effect 
 of tropic growth, of exotic vines and flowers. It was 
 frankly a "poster" jungle, but it was none the less 
 effective on that account. A jungle like this might be 
 made for the amateur stage by having yards of yellow 
 and green cambric, cut in strips, the unglazed side 
 toward the audience. Stitch the lengths of cambric 
 together as you would for a curtain, and lay it on the 
 floor. Before the strips are cut, all over the surface of 
 the cambric stitch strange black vines and tropic
 
 ORIENTAL SCENERY 77 
 
 flowers as described above. The flowers and vines 
 should be average size, and the yellowish-green note 
 should be the dominant one, flecked with the color 
 of the vines and flowers. Never mind if in cutting you 
 cut a flower in two, or lop off half a vine. When the 
 whole mass sways together after cutting you will get 
 the effect of a whole vine winding in and out. The 
 strips should be placed three deep that is, three cur- 
 tains of strips should be hung one behind the other. 
 Only the front curtain need have tropic decoration. 
 The other two can be yellow and green. With this 
 use a sand-colored floor cloth. The jungle can be 
 painted on fabrikona, but the cambric is very much 
 cheaper, and will prove quite as effective. 
 
 MIDNIGHT SKY ARCHED OVER THE DESERT OR THE 
 HILLS OF JUDEA. A scene given in one of the German 
 theaters is full of suggestion for amateurs. The scene 
 in question had a shallow stage, and for a backdrop 
 a deep blue curtain of a softness to suggest depth, with 
 silver-white stars strewn across it. The original cur- 
 tain was velvet, but for amateurs who cannot afford 
 velvet canton flannel will do. Against this midnight 
 sky curtain the gorgeously robed figures of the Magii, 
 or the simply clad figures of the shepherds will stand 
 out in sharp silhouette. Blue and white light should 
 be used, as the scene must not be too bright. This 
 curtain will be splendid for Christmas plays.
 
 78 SCENERY 
 
 For books giving pictures of the Holy Land, of 
 Arabia, of the Desert that can be copied for back- 
 grounds, and properties, see Tissot's Life of Christ. 
 
 EGYPTIAN SCENES. Sheer walls of brown or putty color, 
 such as described under " A Background for Fantastic 
 Eastern Pantomimes ' ' will do for Egyptian scenes. Very 
 few amateur plays are laid in Egypt, but there may be 
 occasional need for backgrounds for dance-pantomimes. 
 
 A CHINESE SCENE. Few amateur plays are laid hi 
 China, save Aladdin and Laurence Housman's Chinese 
 Lantern. For Aladdin's home the brown wall described 
 in " Outdoor Street Scene for A Bible Play " will do. 
 For a Chinese palace the effect of a lacquered wall 
 may be obtained by using background and side walls of 
 the kind described under " Backgrounds for Fantastic 
 Eastern Pantomimes." With these lacquered walls use 
 painted satin panels hung at intervals, and a few huge 
 Chinese vases if possible. These can be obtained at 
 any store selling Chinese art objects. The stage for any 
 Chinese play, pantomime, or festival should be as bare as 
 possible. The Chinese do not clutter their houses with 
 ornamentation. Chinese scenes and properties may be 
 copied from some of the following books. It should be 
 remembered that flat-tinted backgrounds without per- 
 spective are best for Chinese scenes. See China the 
 Long-Lived Empire, by E. R. Scidmore, and Letters from 
 China by Sarah Pike Conger.
 
 ORIENTAL SCENERY 79 
 
 JAPANESE SCENES, INDOORS. The paper houses of 
 Japan, with their sliding screens, can easily be copied 
 by amateurs. The back and side walls (interior) of a 
 Japanese house can be made by covering the frame of 
 the room with stout wrapping paper. There should 
 be bare floors, with Japanese cushions to sit on. A 
 few Japanese prints on the wall, a vase on the floor 
 filled with cherry blossoms and a Japanese home is 
 fully furnished. Japanese screens may be used, al- 
 though they are mostly manufactured for sending to 
 other countries. The Japanese themselves do not 
 make much use of them. For The Mikado and for one 
 act Japanese operettas these interiors of wrapping 
 paper will prove useful. Excellent ideas of the interior 
 of Japanese homes can be had from Letters from Japan 
 by Mrs. Hugh Fraser. 
 
 JAPANESE SCENES, OUTDOOR. There are a number 
 of Japanese outdoor scenes possible for amateurs. The 
 same backdrop may be used throughout and the ob- 
 jects in the foreground changed if four or five different 
 scenes are wished. A backdrop of Fujiyama done 
 like a Japanese poster a white mountain outlined in 
 black against a pale blue sky. At left, two Japanese 
 houses made large enough for the characters on the 
 stage to enter them if desired. These houses may be 
 built of wrapping paper, and have roofs of thatched 
 straw. The straw that is bound with string and put
 
 8o SCENERY 
 
 round bottles in quarter yard pieces would be excellent 
 for this. If this straw cannot be had, take hop sacking 
 which can be had from wholesale tea and coffee houses. 
 Japanese lanterns might swing from a short bamboo 
 pole placed over the doors of the houses. At the right 
 of the stage have some stunted Japanese pines in pots, 
 and a large Japanese stone lantern. These can be 
 rented for the occasion from a Japanese store. Still 
 another scene can be made by using the Fujiyama 
 backdrop, and having trellises at right and left of stage 
 from which hang a profusion of wistaria vines. These 
 are made of tissue paper, and can be bought from the 
 Dennison Tissue Paper Co., New York, Chicago, or 
 Boston. Local dry goods stores often use these vines 
 for interior decoration. Inquirers at the stores can 
 probably find where the wistaria vines can be bought. 
 A cherry garden in Japan is another thing amateurs 
 can have. The Fujiyama backdrop with cherry-trees 
 at each side makes a pretty stage picture. Trees 
 stripped of their leaves so that the branches are quite 
 bare. On these branches pink cherry blossoms are 
 fastened. These are made of tissue paper, and easy to 
 do. Stand the trees in tubs filled with moist sand, 
 and cover the tubs with hop sacking and green cam- 
 bric arranged so that it will look as if the trees stood in 
 mounds. Some ordinary field stones will keep the 
 material in place. The trees will give the effect of a
 
 ORIENTAL SCENERY 81 
 
 cherry orchard in bloom. All these scenes are day- 
 light scenes. For a night scene use the set first de- 
 scribed, backdrop, houses, stunted trees, stone lantern. 
 Darken the stage. Put a rosy light in the stone lan- 
 tern and have light hi the paper house which will shine 
 through the semi-transparent walls, and throw quaint 
 shadows on them. The lanterns swung before the 
 door red, green, and orange should be lighted with 
 little electric bulbs. These scenes will serve for produc- 
 tions of The Mikado , for dramatizations of Japanese 
 fairy tales, and for all Japanese festivals. For scenery 
 see Letters from Japan, by Mrs. Hugh Fraser. 
 
 SCENES OF INDIA. Flat backgrounds of solid color 
 can be used for plays of India such as those by Rabin- 
 dranath Tagore. The Jungle and The Midnight Sky 
 scenes previously described will also do for such plays. 
 See The Jungle Book, by Rudyard Kipling, illustrated. 
 
 SCENES OF ANCIENT GREECE AND ROME. The 
 Odessy for Boys and Girls, by A. J. Church, and The 
 Story of Rome, by MacGreggor give an idea of Roman 
 scenery, and the pillars given in the scene plates of 
 this book will also be a help. 
 
 European scenes such as are used in fairy and fan- 
 tastic plays can be found hi the scene plates of the 
 present volume. These may be augmented by the pic- 
 tures in the " Peeps at Many Lands " Series. 
 
 AMERICAN SCENES most in use and suggestions for
 
 82 SCENERY 
 
 their construction will be found in the notes accom- 
 panying the scene plates in this book, but a few not 
 included there are added here. 
 
 A STOCKADE. A shallow stage, some ten feet deep, 
 and across the back of it a wall of logs, the logs placed 
 in an upright position. These logs may be painted on 
 compo board or canvas. They should be eight feet 
 high. A blue sky drop behind the wall. Holes for 
 musket fire and observation about as big as a knot 
 hole. The wall of logs may either be round like a block 
 house, curving down to the footlights, or it may be 
 square, like the half of a fort. The square stockade will 
 necessitate a wall at back, and at each side. A door 
 formed of logs may be in center background or at one 
 side. A brown floor cloth should be used with this scene. 
 
 VILLAGE STOCKS. The backdrop representing houses, 
 given in scene plate on page 181, and trees on page 173 
 for wings. In the center of this village square wooden 
 stocks or pillory. Under the word pillory or stocks 
 these properties may be found in any large dictionary, 
 and copied therefrom. 
 
 STREET SCENE IN EARLY AMERICAN TOWN. The 
 backdrop on page 181. The exterior of inns, views of 
 old streets, etc., etc., can be found in the following 
 books: Life in America One Hundred Years Ago, by 
 Gaillard Hunt; Old New England Inns, by M. C. 
 Crawford.
 
 SCREEN SCENERY 83 
 
 SCREEN SCENERY 
 
 In making screen scenery there are two kinds of 
 screens to be kept in mind: the draped screen and the 
 cardboard screen. The cardboard screen is made like 
 a Japanese screen, with hinges, and the draped screen 
 likewise. There should be two screens across the back 
 of the stage and two on each side, slightly parted 
 so that entrances are possible. Behind each of these 
 openings there should be yet another screen, so that 
 there will be no "gaps" to annoy the eye. 
 
 Screens of compo board can be made in many colors, 
 and painted as desired. Of course, for the average 
 amateur a screen will always be more or less a screen, 
 but in the hands of a great regisseur like Gordon Craig 
 it may convey marvelous effects. The Craig produc- 
 tion of Hamlet at the Moscow Art Theater was ac- 
 complished with no other background than a series of 
 cream colored screens placed in different geometrical 
 combinations and flooded with varying lights. Panelled 
 wood wall paper pasted on a compo board screen will 
 give the effect of a Tudor room, and there are all man- 
 ner of effects to be gained from pale yellow, jade green, 
 deep cream, and black screens. They are inexpensive 
 to experiment with. 
 
 Draped screens may be covered with canton flannel 
 dyed in different colors. For pantomimes given on a
 
 84 SCENERY 
 
 shallow stage these screens make very passable back- 
 grounds. 
 
 CURTAIN SCENERY 
 
 A stage with the background and sides hung with 
 curtains is what is meant by draped scenery. These 
 curtains, unless a special effect is desired, should be all 
 one color, cream, or blue, or rose whatever it is to be. 
 These curtains, when parted, should show a wall draped 
 in the same color, so that when characters enter there 
 will be no ugly gaps. The material, too, should be 
 the same. There should as a rule be an entrance at 
 the back, and one at each side of the stage. The color 
 of curtain scenery, like the color of painted scenery, 
 should be chosen by artificial light, and with reference 
 to the costumes that are to be used against it. For 
 instance, a stage hung with forest green curtains may 
 suggest a wood, and the dark green will be an excellent 
 foil for the costumes. 
 
 Dark forest green hangings are absolutely invalu- 
 able. If only one set of hangings can be afforded, have 
 them of this color. And denim is a good serviceable 
 material. They can be a wood hi one scene, and with 
 a flat brown border basted to the other side they can 
 suggest a Puritan interior. With a rose-flower cretonne 
 border basted to them they can become a Colonial 
 room. With a pale blue border they are a palace.
 
 CURTAIN SCENERY 85 
 
 With a white Grecian border they represent a room in 
 a Grecian home. To have them suggest the interior 
 of a peasant home is, naturally, the most difficult of 
 all, because the scene of a rude interior with a hearth 
 is usually meant to be conveyed. For this sort of a 
 scene have the furniture low, a bench or two, and a 
 somewhat squat table. Have as little furniture as 
 possible. You wish merely to suggest the scene. Have 
 a tallow dip for a light, and for a hearth not a hearth 
 at all. Have a brazier with charcoal burning, as is 
 often customary hi some of the European peasant 
 homes. This can be made by painting a tripod wash- 
 stand black, and setting a candle deep in it, or burn- 
 ing a little red powder to give a glow. One has always 
 to be careful of fire, but to burn a candle or powder 
 in a bowl is generally safe. Stand the tripod where it 
 is least likely to upset. The characters who enter can 
 warm their hands at it as at a hearth. Of course, if it 
 can be had, a red spot-light turned on is the best of 
 all. 
 
 FOR A PALACE. Hangings of pale blue, or deep vivid 
 blue. A throne chair of white and gold, set on a raised 
 dais. But suppose a throne chair cannot be had? 
 Then a box dais, and set on it firmly an armchair. 
 Drape or cover this with pale blue cambric, glazed 
 side outward, to represent satin. Place over the back 
 of it cloth of gold, that is made by gilding burlap with
 
 86 SCENERY 
 
 radiator bronze, or a spangled scarf placed straight 
 across the back will make a fine glitter. 
 
 A GARDEN. The same method of arrangement as 
 for a wood or forest, with vines and paper flowers that 
 can be bought very cheaply by the yard from the 
 Dennison Tissue Paper Co. These vines are fastened 
 to the curtains as if to a little trellis. A little confetti 
 laid beneath them gives them the effect of fallen 
 blossoms. 
 
 A DUNGEON. Black hangings, and black or pine 
 furniture. A black or gray floor cloth. 
 
 A STREET SCENE. This is the most difficult to con- 
 vey by the means of curtains, but it can be done. Re- 
 member that you are to suggest a street scene only. 
 Have gray unglazed cambric hangings, with the out- 
 line of doors and quaintly shaped windows put on life- 
 size by stitching outlines of black cambric to the gray 
 curtains. It is better to stitch them than to paint them, 
 for cloth that shows up paint is really rather expensive. 
 The effect is to suggest a street, and as this kind of 
 scenery belongs to no particular period it can be used 
 from the tenth to the seventeenth century. It can also 
 be used to suggest modern scenes in quaint European 
 villages such as little out-of-the-way French, German, 
 Scandinavian or Russian towns. For a modern street 
 scene it is, of course, quite inappropriate. 
 
 A PEASANT'S HOME. As has been suggested, bra-
 
 CURTAIN SCENERY 87 
 
 ziers, benches and a table. Brown hangings and a 
 brown floor cloth if possible. If not, green will do. 
 
 An EASTERN PALACE. Yellow curtains, with a throne 
 covered either in scarlet or orange. 
 
 THE DROP CURTAIN. For a drop curtain, dark 
 green is to be preferred above all other colors. Next to 
 this dark brown. It must be of thick material, denim 
 or felt. Take dark blue or dark red if you cannot get 
 green or brown. Green is best because it can be used 
 to advantage in forest scenes after it is worn out as a 
 curtain. Or brown curtains can be used when half 
 worn for a floor cloth, for forest scenes. 
 
 The laws of certain cities prohibit the use of curtains 
 in schools, on account of the fear of fire. Other schools 
 cannot have a curtain large enough for their audi- 
 torium. This makes things awkward for a play de- 
 manding change of scene. Of course the lights can be 
 turned off in some schools, and the scenery changed in 
 semi-darkness; but there are schools where even this 
 advantage cannot be had. For those who find them- 
 selves in a curtain predicament the following is sug- 
 gested. Have six scenery pages, boys or girls as nearly 
 of a height as possible. Let them wear a dark color 
 or colors, and be sure their shoes and stockings are 
 black. Have couch covers, portieres or strips of cloth 
 fastened to curtain rods. Let the pages pass quickly 
 to the front of the stage as soon as the scene closes,
 
 88 SCENERY 
 
 holding these improvised screens between changing 
 scene and audience till the scenery is moved. 
 
 For a church scene have colored dark hangings. An 
 offertory table with a long straight centerpiece of 
 white, candles at either end and in the center. 
 
 Be careful of your stage furnishing. It can do much 
 to make or mar a play. See that your chairs and tables 
 are of the period described in the text. If your play is 
 Greek, study the lines of Greek benches or seats. You 
 can have them made very inexpensively, and painted 
 white. Never under any circumstances use modern fur- 
 niture in Greek plays. 
 
 For your interior scenes, if your play is laid in early 
 Saxon times, in the days of Robin Hood, or the Pilgrim 
 Fathers, in fact in any century up to the eighteenth, 
 you are safe in using heavy black mission furniture 
 with upright chairs and plain tables. The mission 
 furniture may not fit the period in detail, but it is 
 unobtrusive, has simple lines and the massiveness of 
 the early furniture. Never use bright colored furni- 
 ture unless so directed in the text of the play. 
 
 Use ornaments very sparingly unless called for. 
 They clutter your scene. Remember that tablecloths, 
 white or silken, were not in general use till the eighteenth 
 century. Even then they were used for meals, and 
 not for tables in drawing rooms or libraries. These were 
 polished and bare. Do not use "tidies" or "throws"
 
 CURTAIN SCENERY 89 
 
 unless your scene is laid in America at the time of the 
 Civil War, or unless you wish to suggest an old- 
 fashioned farmhouse interior. Do not use cushions of 
 varigated colors unless your scene is Japanese. Too 
 many bright and varied colors distract the eye. Use 
 dim, quiet colors. In fact, have the same taste in your 
 scenes that you would in household decoration. Choose 
 your accessories with reference to the color of your 
 background. Try to work out your scene setting in 
 one or two quiet colors. It is the actors, not the scene, 
 that you wish to bring before the eye of the audience. 
 
 Have as little furniture on the stage as possible. Use 
 a floor cloth, or if this is not obtainable, a bare floor 
 with or without a fur rug. Do not put a lepoard skin 
 in the home of a Danish peasant, as one amateur pro- 
 ducer did. Beware how you use Persian rugs. Few 
 amateur plays are laid in Persia. Above all, beware of 
 brightly colored strips of carpet, unless you wish your 
 scene to be comic or grotesque. 
 
 An eighteenth-century interior may be light in color. 
 Have spindle-legged furniture, cretonne hangings, 
 and soft-colored cushions. With this century came in 
 lacquered tables and trays. 
 
 Never, unless your scene setting actually requires it, 
 set a scene in a pink or red room. It will kill the color 
 of most of your costumes. "Ah," cries some unfor- 
 tunate producer, "what if you are in a little town
 
 90 SCENERY 
 
 where the only interior scene is red? What are you 
 going to do?" In this case use black or dark furniture 
 and try to offset it. If you are in a place where you 
 must choose between a red dining-room set, or a 
 "parlor" set ornate with gilt and bright wallpaper, 
 when what you need is the interior of a peasant's 
 home, turn your scenery inside out. The white back and 
 the wooden props will look like a crude whitewashed 
 home. If the back is only a little yellowish or dirty, 
 you are saved. If you are allowed to tack brown wall- 
 paper (plain) to the back of the set, you can make an 
 excellent peasant hut out of it, or an interior that will 
 do for a Puritan living room, or an eighteenth-century 
 kitchen.
 
 PROPERTIES
 
 PROPERTIES AND HOW TO MAKE THEM 
 
 Use care in the selection of your properties. Study 
 your text. Avoid anachronisms. Do not use muskets 
 and pipes in a scene that is laid before muskets were 
 invented and tobacco discovered. Do not use modern 
 lamps to light a mediaeval scene. Do not use modern 
 musical instruments in a scene that is laid in Grecian 
 or mediaeval times. These are some of the average 
 mistakes. Remember that penholders and pens are 
 a modern invention. Use quill pens and sand for 
 plays whose scenes are laid before the early nineteenth 
 century. Do not use clocks in Greek or early Saxon 
 scenes. If your characters are writing or sending 
 letters in the time when parchment was used, have the 
 paper yellowed to look like parchment. Do not have 
 a modern fireplace in a peasant's home where the 
 hearth would naturally be built of stone. Do not use 
 modern dishes in mediaeval scenes. Buy paper plates 
 and cover them with colored tissue paper, or paint them 
 till they resemble the kind of platters you need. Brown 
 will represent earthenware. Gold and silver for fairy 
 palaces can be made by gilding them over or covering 
 them with gold paper. Remember that forks and 
 spoons were not in popular use in the days of Robin 
 
 93
 
 94 PROPERTIES 
 
 Hood. Fingers and knives did the required work. The 
 hearth was used for cooking. Beware of modern cook- 
 ing utensils in fairy, Puritan or Colonial scenes. " Gad- 
 zooks" and modern coffee pots do not go together. 
 Beware of modern frying pans for hearthstone scenes. 
 Use iron skillets instead. A kettle for these scenes is 
 always permissible, but if it is a peasant scene, see that 
 it is not the too shining brass of the tea kettle of the 
 afternoon tea table. Remember that coal fires are 
 modern. If you are having a fairy peasant scene use 
 wood instead. Use braziers where the scenes require 
 it. They are always effective; and can be made by 
 blacking a tripod washbowl, and lighting a little red 
 fire powder in it, or some joss sticks which will give 
 a thin blue smoke. Or a red electric bulb can be used 
 in it if there is no spot light. 
 
 Be careful of your lighting. The Greeks had torches 
 when they wanted a bright light, and small, bowl- 
 shaped lamps with a wick and oil for smaller illumina- 
 tions. Gold cardboard torches from which stream 
 slashed strips of flame-colored tissue paper are safe 
 substitutes. The Saxons and early English had rush- 
 lights and bowl lamps. A bowl that looks like earthen- 
 ware, with the stub of a candle in it, will do. In mediae- 
 val times swinging lamps and candles were for the 
 rich: while the humble were content with tallow dips 
 only.
 
 PROPERTIES 95 
 
 Don't use the spinning wheel before the spinning 
 wheel was invented, just because it is decorative. 
 Don't use a modern glass "tumbler" for your doublet 
 and hose hero to drink from. A cheap glass goblet 
 covered with gold paper will look like a gold goblet. 
 
 If possible have your youthful players make their 
 own properties. Take, for instance, a fallen tree trunk, 
 or a log for a forest scene. It can be made by fastening 
 together two small vinegar barrels, and covering them 
 with green and brown burlap to represent bark and 
 moss. Or it can be covered with brown burlap and 
 gray lichen real lichen fastened to it with strong glue. 
 Such a stage property as this can be used again and 
 again. And the boy who went to the outlying fields 
 or suburbs to get the moss may he not know some- 
 thing of nature's secrets that he had not known before? 
 And may not the eager quest bring him hours of 
 entire happiness? A seventeenth-century broom can be 
 made by tying an armful of hazel or willow switches 
 to an old broom handle. The browner and sturdier 
 these twigs are the better. This broom material can 
 be gathered at the same time as the moss. 
 
 Stimulate initiative and invention wherever pos- 
 sible. A round collar box is only a collar box until 
 you' use it for an earthen bowl. A white cardboard 
 shoe box is cut down a little, covered with black tissue 
 paper, has a little yellow pane inserted in each side,
 
 96 PROPERTIES 
 
 and a curtain ring for a handle. Behold a lantern 
 for a Yankee minute-man, or Paul Revere, or anyone 
 else who wants to use it. 
 
 Remarkable stage furniture can be made from wooden 
 boxes of all sizes. A packing case makes a dais. Several 
 boxes nailed together and stained brown will make a 
 peasant's cupboard. 1 
 
 Three boxes nailed together like this |~1 will make a 
 hearth. If it is to be a mediaeval or fairy tale hearth, 
 cover it with cheap gray cambric, bulked to look like 
 stone, and marked with splotches of white and brown 
 chalk. Be sure you turn the unglazed side of the cam- 
 bric outward. Use chalk because paint will not show 
 up well on cambric. A brick fireplace for a modern 
 scene can be made in the same way, covering the boxes 
 with brick chimney paper that can be bought at Den- 
 nison's Tissue Paper Co., Boston, Chicago, or New 
 York. One of then- catalogues will prove invaluable 
 to directors living in the country. A narrow box on 
 rockers, stained brown, becomes a Puritan or eight- 
 eenth century cradle. Gilded and hooded it is the 
 cradle of a royal Princess. Couch seats can be made 
 from boxes, only be sure that they are secure. 
 
 1 See Box Furniture, by Louise Brigham.
 
 COSTUME PLATES
 
 COSTUME PLATE i 
 
 GREEK OR ROMAN
 
 EUROPEAN COSTUMES FOR ADULTS 
 
 COSTUME PLATE i 
 
 (For historical or mythological play, or pageant) 
 
 GRECIAN COSTUME for man that by slight changes can 
 become ROMAN, SAXON, or BIBLICAL. 
 
 GRECIAN COSTUME. Use this costume as a basis. Put a 
 Grecian border round neck, sleeves, and hem. With this 
 use a chalmys described on page 24 under "Ancient Greek 
 Costume." For a Greek soldier, body armor, an aegis, i. e. 
 goatskin shield, the beautifully shaped Greek helmet, a 
 cloak and a long spear. An excellent picture of Greek 
 warrior's costume can be found under the picture of Mars 
 in most large dictionaries. 
 
 Materials. Linen and wool, which can be imitated in 
 muslin and woolen batiste. 
 
 Colors. White was used more generally than colors, 
 particularly for soldiers. In colors ox-blood red, yellow, 
 blue, and cream. For details see "Ancient Greek Cos- 
 tume," page 23. 
 
 ROMAN COSTUME. This can form the basis for a Roman 
 costume for men and boys. For men past their first youth 
 it should fall to the ankles, and for young nobles it should 
 be the same length. See pictures of Julius Caesar. Over 
 it should be draped the toga. For making toga see "An- 
 cient Roman Costume" on page 35. A Roman soldier 
 may wear this as an under tunic, and over it body armor, 
 either metal or leather, but leather can be easily imitated 
 by leatherette. This leather armor was called Corium, 
 
 101
 
 102 COSTUME PLATES 
 
 and pictures of it can be found in Webster's dictionary 
 under that word. There should be a helmet, a round 
 shield, a spear. Read page 25 for greater detail. 
 
 SAXON COSTUME. This tunic can be worn as it stands 
 for a Saxon costume, with a cord about the waist. From 
 first to fifth centuries by nobles and peasants, and from 
 fifth to tenth centuries by peasants only. See "Costumes 
 of the Britons," under the early centuries in the chapter 
 on Costumes. Materials and colors will be suggested there. 
 
 BIBLICAL COSTUME. This tunic will do for youths and 
 boys in Biblical plays, for old men the tunic should come to 
 the ankle. It should have no border. For detail see 
 "Oriental Costumes," in chapter on Costumes. 
 
 COSTUME PLATE 2 
 (For plays, pageants and processions) 
 
 GRECIAN COSTUME. With changes, BIBLICAL COSTUME. 
 ROMAN COSTUME. EARLY SAXON COSTUME. May also be 
 a costume for a GODDESS, and for MYTHOLOGICAL and 
 SYMBOLIC characters, such as INDUSTRIES and STATES and 
 COUNTRIES, etc. 
 
 GREEK COSTUME. This is not a purely Grecian costume 
 as it is given in the plate; it is more fanciful and symbolic. 
 For a Grecian costume have short semi-fitted sleeves, com- 
 ing to the elbow. The rest of the costume is correct. There 
 may be a Grecian border round the hem of the dress if 
 desired. The colors may be bright blue, ox-blood red, 
 corn-yellow and white. The Greeks had no pastel colors. 
 The materials are linen or wool, that can be copied in 
 cashmere, woolen batiste, cheesecloth and cotton crepe. 
 The border may be in blue or yellow, or black on white. 
 Or it may be a gold or silver border, for state occasions.
 
 COSTUME PLATE 2 
 
 GREEK COSTUME 
 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 6591 Greek Gown, with Short Train or in Round Length and with Sleeve in 
 Either of Two Outlines. (Ladies, Misses, Girls.) 5 Sizes: 26 to 42 inches Bust Measure. 
 Price, 15 Cents. As shown on figure, the medium size requires 7 j yards of material 36 inches 
 wide, with 2| yards of banding for trimming-bands.
 
 COSTUME PLATES 105 
 
 For further description of what may be worn, see chapter 
 on Costumes, under "Grecian Costume." For Grecian 
 costume for young girl or very little girl, see "Fairy Cos- 
 tume," page 191, a costume which must be used without 
 the fairy wings. 
 
 BIBLICAL COSTUME. Omit the flowing sleeves, and have 
 short semi-fitted sleeves coming to a line a little above the 
 elbow. The tunic should come to the ankles. The Grecian 
 bands crossed at the breast should be omitted. Wind a 
 striped mantle about the size and length of an ordinary 
 couch cover about the head and shoulders, letting it fall 
 to the ankles. The hair must flow loose about the shoul- 
 ders. For further description of color and material, look 
 under "Oriental Costumes," page 20. 
 
 ROMAN COSTUME. For a Roman matron omit the 
 Grecian bands. The robe may either have plain bands 
 crossed on the breast, or no bands at all. The sleeves 
 should be semi-fitted and come to the elbow. This robe 
 may form an under tunic, if desired, and over it may be 
 placed another tunic, coming to the knee. Both under 
 tunic and over tunic must be of the softest, most pliable 
 material, and they should be scant, so as to avoid bunchi- 
 ness. A plain border may be worn with the Roman cos- 
 tume, but never a Grecian border. For a young Roman 
 girl or little girl, see "Fairy Costume," page 191, without 
 the wings. For further instructions on Roman costume 
 see "Ancient Roman Costume," page 25. 
 
 SAXON COSTUME. This costume, with certain changes, 
 may be made to do for an early Saxon costume. It should 
 be made into a tunic, coming to the ankles, and the sleeves 
 should be semi-fitted elbow sleeves. There should be no 
 border and no Grecian band crossed on the breast, but a 
 white cord may be crossed, if desired, or the dress may be
 
 106 COSTUME PLATES 
 
 a tunic falling straight from neck to hem. A mantle in 
 some solid color, made the length and breadth of a couch 
 cover, may be draped about the body for outdoor wear. 
 This may be worn from the first to the fourth century. See 
 Costumes of Great Britain on page 27. 
 
 GODDESS COSTUME. This costume as it stands, changed 
 according to pictures of mythology, a helmet and shield 
 for Athena, and so forth. See notes on symbolic costumes, 
 page 53. It should be made in the same colors and ma- 
 terials as those given under Grecian Woman, if it is a 
 Grecian Goddess. If it is a Roman Goddess, copy Roman 
 pictures. 
 
 MYTHOLOGIC and SYMBOLIC characters will be costumed 
 in this robe exactly as it stands, though greater latitude 
 may be allowed as to color and material. If used for Ger- 
 man Mythology the costumes should be copied after illus- 
 trated editions of the Wagnerian Ring. For Scandinavian 
 and Norse Mythology copy the pictures of the Norse God- 
 desses. For symbolic figures of states and cities, have 
 the robe white, and an over-robe of the city or state color 
 attached to the shoulders, and falling to the ground. In 
 the case of countries, do not use the flag to drape the 
 symbolic figure, or even use it as a cloak. This is forbidden 
 by law. A flag of the country carried in the hand, and 
 perhaps a robe flowered with the country's flower may fall 
 from the shoulder. For England a robe with red roses, for 
 France golden lilies, or white lilies on royal blue, for Ger- 
 many the cornflower, for Ireland, Irish green and gold 
 shamrocks, etc., etc. 
 
 COLUMBIA. White robe, exactly as it is here, the Greek 
 border changed to a border of red, white and blue, or a 
 border of stars. A crown of stars. A robe made of three 
 broad stripes of red, white and blue fastened at the shoulders
 
 COSTUME PLATE 3 
 
 MONK'S COSTUME
 
 COSTUME PLATES 109 
 
 with buckles in the shape of eagles. Carries the Stars and 
 Stripes on a staff in her hand. 
 
 LIBERTY. The white robe given in the picture, with a 
 white cord crossing where the Greek border now is. A red 
 liberty cap such as is seen on the head of Liberty on a 
 dollar. A robe of red, white, and blue as described for 
 COLUMBIA, or a deep blue robe covered with white stars. 
 Either robe should fall from the shoulders to the edge of the 
 dress. Liberty should carry a gold torch, with red and 
 yellow tissue paper flames. 
 
 COSTUME PLATE 3 
 
 (Costume that can be used for plays, pageants and tableaux) 
 
 MONK'S COSTUME OF NO PARTICULAR ORDER. 
 
 Can be used from the earliest times A. D. to the present, 
 in England, France, Ireland, Germany, Italy, Spain. If a 
 monk of a particular order is desired, then look up monk's 
 dress or ecclesiastical dress in illustrated books, and put 
 the necessary changes. 
 
 Materials. Serge. 
 
 Color. Black, gray, brown, white, according to the 
 monk's order. 
 
 A FRIAR'S COSTUME for Robin Hood, and such plays, 
 would have the head bare, and tonsured, and the hood 
 hanging down the back, not over the face. A "jolly friar" 
 would be plumper than this grave monk. 
 
 COSTUME PLATE 4 
 (For plays and pageants of mediaeval history) 
 
 MAN IN ARMOR. ARTHURIAN KNIGHT. CRUSADER, ETC. 
 (This picture is taken from the statue of James Van 
 Artveld, 1300-1345.)
 
 no COSTUME PLATES 
 
 Period. This type of armor was worn from the fifth to 
 the fifteenth century, and as armor is very difficult for 
 amateurs to manage, this chain armor may be substi- 
 tuted for the heavier armor, so that it will include Arthur 
 and his Knights, and the Crusaders. 
 
 Countries. Can be used for England (Cornwall), Wales, 
 Ireland, France, Germany, Holland, Flanders. 
 
 Color. This armor is silver gray. The tunic is white. 
 The belt may be of colored leather, russet, scarlet, blue. 
 Or it may be of metal, or silver or gold. The border may 
 be black, or match the leather belt in color. 
 
 ARTHURIAN KNIGHT. For an Arthurian Knight of the 
 Fifth and Sixth Centuries have chain armor, with blue 
 and gold or scarlet and gold belt and sword strap. Or have 
 a tunic of rich color, and no belt, and the sword carried. 
 With the white tunic the cloak may be green, or scarlet, 
 or blue any appropriate color, but no pastel shade. He 
 should wear a casque see picture in any large dictionary, 
 and he should have a long oval shield with a coat of arms 
 on it. 
 
 CRUSADER. The white tunic should come to the knee 
 and should be sleeveless. On the breast should be a large 
 red cross. He should not wear the cloak except when 
 wrapped around him for cold weather. The cloak can be 
 carried by his squire, a lad dressed in a tabard. See 
 page 31. 
 
 MEDLEVAL MAN IN ARMOR. The costume for a mediae- 
 val man in armor is exactly right as it stands from the 
 eighth to the fifteenth century. 
 
 For further detail, and list of books showing both chain 
 and iron armor, see Chapter on Costumes under "Costumes 
 of Great Britian." 
 
 Materials. The armor was metal, the tunic linen, the
 
 COSTUME PLATE 4 
 
 MAN IN ARMOR
 
 COSTUME PLATE 5 
 
 MEDLEVAL YEOMAN
 
 COSTUME PLATES 113 
 
 belt metal covered, or leather, or cloth of gold. The mantle 
 of wool, in the early centuries, and in the twelfth, thir- 
 teenth and fourteenth, it might be silk or velvet, if desired. 
 The armor can be made by stitching tin disks, or silver paper 
 disks, or disks made of silver-gilt canvas to a union suit. 
 The undersleeve and the armor for the instep may be 
 made of the gray heavy paper used for putting under 
 carpets. 
 
 The tunic may be made of white linen. It must be 
 thick. The cloak can be made of canton flannel which 
 now comes in good shades, or of woolen batiste. 
 
 The belt may be made of leatherette to simulate leather. 
 Or of silver gray cloth for metal. Or of cloth of silver or 
 gold. This can be cheaply made by gilding burlap with 
 radiator bronze. 
 
 COSTUME PLATE 5 
 (For mediaeval play, pageant or festival) 
 
 ROBIN HOOD COSTUME. YEOMAN COSTUME. With 
 changes, A MEDLEVAL PEASANT COSTUME. COSTUME FOR 
 FAIRY PRINCE OR FOLK TALE HERO. 
 
 Period. From the Twelfth to the Fourteenth Century. 
 
 Countries. England, France, Italy, and Germany. 
 
 Color. It may be used in greens, browns, blues, or scar- 
 lets, according to which is appropriate. Plum color, and ox- 
 blood red also worn. 
 
 Materials. For suit and cloak, canton flannel, or woolen 
 batiste, or cloth. The tights may be silk, or a dyed union 
 suit. The tall soft shoes with rolled over tops can be made 
 from men's socks, either black or dyed to match the suit. 
 The hat is felt. The girdle and pouch are of leather, and 
 can be imitated in leatherette.
 
 H4 COSTUME PLATES 
 
 ROBIN HOOD. A suit of forest green, with shoes and 
 tights to match. A forest green hat and cloak. Belt and 
 pouch of brown leather. The same for his Merry Men. The 
 tunic was still greatly worn, and this coat may be made like 
 a tunic, if desired, and the hat can be a green cap with a 
 quill in it. 
 
 YEOMAN COSTUME. Drop the leather pouch and cloak, 
 and the horn, and place on his head a round cap with or 
 without a quill, or a round peaked cap. Have the costume 
 in deep blue or leaf brown, or black. Instead of a coat, a 
 tunic the same length may be worn. 
 
 MEDLEVAL PEASANT. The belt and pouch, cap and 
 cloak and horn would be omitted, and the costume would be 
 serge, dark blue or brown. 
 
 FATJRY PRINCE. The colors could be purple or scarlet, or 
 vivid blue with a green cloak and black shoes. The pouch 
 would be omitted, and the belt would be cloth of gold 
 studded with jewels. See Chapter on Costumes. 
 
 Children's Costume of this period can be found in Cos- 
 tume Plate 42. 
 
 COSTUME PLATE 6 
 
 (For mediaeval play, pageant or festival, or for folk dance. 
 For operettas such as amateur versions of Robin Hood, 
 etc. For old English May day festivals) 
 
 WOMAN'S PEASANT or MATD MARION COSTUME. JEAN 
 D'ARC PEASANT. 
 
 Period. From the Twelfth to the Sixteenth Century. 
 May be the basis for costumes of other centuries if the head 
 covering is removed. 
 
 Countries. England, Flanders, Germany, France, Italy, 
 Holland.
 
 COSTUME PLATE 6 
 
 MEDLEVAL PEASANT WOMAN
 
 COSTUME PLATES 117 
 
 Color. May be brown, blue, black, red, plum, gray. 
 Head covering may match dress or be of contrasting color. 
 Bodice and skirt should be of the same color. Soft shoes 
 should be gray or brown. 
 
 Materials. The dress of mediaeval peasants was serge. If 
 this is too heavy for festivals or pageants, or too inexpensive, 
 have cambric, with the unglazed side worn outward, or 
 plain challie. Do not put peasants into pastel shades or 
 light blue and pale green. They did not wear such colors. 
 Shoes of oilcloth, or cloth. 
 
 MAID MARION. Leaf brown costume, with green head 
 covering, and green leather belt and pouch bag. Leaf 
 brown must be worn by Marion for the same reason that 
 Robin Hood and his Merry Men wore green so that their 
 enemies might not see them flitting through the green- 
 wood. 
 
 PEASANT WOMAN. The average peasant woman may 
 wear the hues described under Color, in a previous para- 
 graph. Where there is a crowd of peasants on the stage the 
 producer should try to have as great a variety of plain dark 
 colors as possible, with here and there a flash of orange or 
 scarlet. 
 
 JEANNE D'Anc PEASANT DRESS. Jeanne should be with- 
 out the head covering and the dress should be gray or 
 brown. 
 
 This dress without the head covering and with a white 
 apron may be worn by peasant women in the latter part 
 of the fifteenth and all of the sixteenth centuries. See 
 chapter on Costumes. 
 
 Is good for peasants hi The Pied Piper. 
 
 Children Costumes. For children's costumes see Costume 
 Plate 42.
 
 n8 COSTUME PLATES 
 
 COSTUME PLATE 7 
 
 (For historical or fanciful plays, fairy plays, pageants and 
 
 festivals) 
 
 MEDLEVAL PRINCE or PEASANT. FAIRY PRINCE. ME- 
 DLEVAL COURTIER. 
 
 Period . Twelfth to Fifteenth Century. 
 
 Countries. England, France, Ireland, Flanders, Holland, 
 Italy, Germany. 
 
 Colors. In any solid color save light or pastel shades. 
 May be brocade for nobles. 
 
 Materials. For nobles, silk tights, silk, satin, or velvet 
 tunic. Belt of leather, gilded, or cloth of silver with jewels. 
 Soft leather or brocade shoes. For peasants the material 
 would be serge, but no peasant might wear the long "dagged" 
 oversleeve. The shoes, tights and belt of a peasant would be 
 coarse, and he would have no sword. 
 
 MEDLEVAL PRINCE. Purple tunic. Gold belt. Cloth of 
 gold under sleeves, and dagged sleeve lined in yellow. 
 Purple tights and shoes. To make brocade shoes for prince 
 or nobles, use furniture tapestry. Soft leather shoes may be 
 simulated by cutting off the tops of old shoes, if they have 
 no "patent tips." 
 
 MEDLEVAL PEASANT. Blue, dark green or brown serge. 
 Leather belt. No trimming on tunic. No dagged "over- 
 sleeve." The sleeve of a white unbleached linen shirt 
 should come through the armhole, or the tunic would simply 
 have a tight sleeve of its own material. Brown soft shoes for 
 the peasant might be made of oilcloth. 
 
 A KING OR COURTIER might wear a long tunic, coming to 
 the ankle and open down the front over a short under tunic. 
 The costume would have the same sleeves, belt, tights and 
 shoes as in the picture. The long tunic would be the one
 
 COSTUME PLATE 7 
 
 MEDLEVAL PRINCE OR LORD
 
 COSTUME PLATE 8 
 
 MEDLEVAL LADY OR PRINCESS
 
 COSTUME PLATES 121 
 
 thing different. This would give variety to the scene. 
 The long tunic might be edged with fur, or if the long tunic 
 were a plain color it might have a handsome brocade border. 
 It is variety in cut that gives interest to a scene, but the 
 variety must be authentic. 
 Children's Costume of this period. See Costume Plate 42. 
 
 COSTUME PLATE 8 
 
 (For plays, either historic, f airy or fanciful, and for pageants 
 and festivals, and antique masques) 
 
 COURT LADY OR QUEEN COSTUME. FAIRY PLAY COS- 
 TUME. SLEEPING BEAUTY. COURT OF JEANNE D'ARC 
 COSTUME. 
 
 Period. Thirteenth to Fifteenth Century with the 
 hennin, or peaked hat. Without the peaked hat, and with a 
 veil bound about the head with a circlet, Tenth to Thir- 
 teenth Century. 
 
 Color. Any rich color, saffron, deep blue, royal purple, 
 white, crimson, and rich brocade for court costume. For 
 fairy tales lighter colors may be used. The trimming may 
 be ermine, sable, gold, silver or pearls. See Chapter on 
 Costumes. 
 
 Materials. Silk, satin, brocade, velvet. Can be imitated 
 by silkoline, glazed cambric, heavy cretonnes or cotton 
 tapestry, and deep colored canton flannel for velvet. The 
 hat should be made of white stiff cambric, and covered with 
 silk, or gold or silver tissue. The veil may be chiffon, or an 
 automobile veil will do. The hennin need not match the 
 dress, but it must harmonize with it. A gold hennin with a 
 purple dress, a silver hennin with a green dress. White 
 hennins went with all colors and were much worn. See 
 Jeanne d'Arc, by Boutet de Monvel.
 
 122 COSTUME PLATES 
 
 COURT LADIES. Court ladies wore rich colors, but not 
 pastel shades. 
 
 QUEEN. A queen would wear white, or purple, or scarlet 
 and gold. No one but those of royal blood might wear 
 purple in England. See Chapter on Costumes. 
 
 FAIRY PLAYS, SLEEPING BEAUTY, etc. Have soft pastel 
 colors for these. The Sleeping Beauty might wear pale rose 
 pink satin and silver. 
 
 For Children's Costumes of this period, see Costume 
 Plate 42. 
 
 COSTUME PLATE 9 
 (For historical plays, pageants, festivals, masques) 
 
 SHAKESPEARE. COLUMBUS. SIR WALTER RALEIGH. 
 HENRY EIGHTH OF ENGLAND. FRANCIS FIRST OF FRANCE. 
 FAIRY TALE KING. THE PRINCE IN CINDERELLA. 
 
 Period. The Sixteenth Century, or more strictly speak- 
 ing, 1490 to 1600. 
 
 Color. For historical plays, plain, rich colors, rather dark, 
 with the cloak lined in gay silk or satin. For Fairy plays, 
 pastel colors may be used. The cloak suit and foot gear are 
 generally of the same color, the cloak is lined with a con- 
 trasting color. Thus the suit might be royal blue, and the 
 cloak lined in orange, or white. The doublet may be 
 slashed with a contrasting color, if desired. The suit here is 
 given without the slashing, as it is easier for amateurs to 
 copy. 
 
 Materials. The doublet and cloak were made of brocade 
 or velvet. The cloak was lined in satin. The hose and 
 shoes were of fine material, the shoes velvet or soft leather, 
 the hose silk. The hat was velvet, and had a curled plume 
 a short plume. The ruff was sheer lawn. The scabbard of
 
 COSTUME PLATE 9 
 
 ELIZABETHAN COURTIER
 
 COSTUME PLATES 125 
 
 the sword was often gold, encrusted with gems if the wearer 
 was a king. 
 
 SHAKESPEARE. Brown velvet suit, and hose. The cloak 
 lined in corn yellow. 
 
 COLUMBUS. Plum colored velvet suit, the cloak lined in 
 saffron, and the doublet slashed with the same. 
 
 SIR WALTER RALEIGH. Bright blue velvet suit, the 
 cloak lined in white satin. 
 
 HENRY EIGHTH. Traditional costume of black velvet, the 
 cloak lined in brilliant scarlet. 
 
 FRANCIS FIRST OF FRANCE. Purple brocade, the cloak 
 lined in white. 
 
 FAIRY TALE KING. Gray brocade, the cloak lined in 
 ermine. 
 
 FAIRY TALE PRINCE. Green brocade, the cloak lined in 
 pale pink satin. 
 
 Children's Costumes. The costumes for children of the 
 court of this period were like those of then* elders. Boys of 
 the court wore a costume like this, without the cloak. Royal 
 pages wore the cloak or a tabard. See page 39. 
 
 COSTUME PLATE 10 
 
 (For historical and fantastic plays, and for pageants and 
 
 festivals) 
 
 COURT LADY. QUEEN ELIZABETH. CINDERELLA AT 
 THE BALL, ETC. 
 
 Period. The Sixteenth Century (1490-1600). 
 
 Countries. England, Ireland, Scotland, France, Germany, 
 Italy, Spain, Holland, Flanders. 
 
 Color. The dress was almost always of a different color 
 from the under petticoat. Very often the dress was brocade,
 
 126 COSTUME PLATES 
 
 and the petticoat plain. Or both petticoat and dress might 
 be the same color if desired. A black brocade dress, opening 
 on a petticoat of pale pink, with a border of black and gold. 
 Or a blue and gold brocade, opening on a petticoat of the 
 same, without a border. The sleeves were slashed with a 
 different color from the dress. That is, if the dress was 
 moss-green, the sleeves would be slashed with pink satin, or 
 silver brocade or white. The ruff was always white. 
 
 Materials. Silks, satins and brocades were in vogue, with 
 a ruffle of gauze at the wrist, and point lace ruffs. See 
 chapter on Costuming. Glazed cambric, cotton tapestry, 
 will imitate these. 
 
 COURT LADY. Might wear any of the colors suggested 
 under the caption Color. 
 
 QUEEN ELIZABETH. Purple brocade, trimmed with 
 yellow and gold embroidery. Sleeves slashed with yellow 
 satin. The bodice outlined in ermine. Pearls bound about 
 her hair. A striking white lace collar. 
 
 CINDERELLA AT THE BALL. Pale pink brocade, with under 
 petticoat of pale blue satin, embroidered with silver and 
 pearls. Sleeves slashed with white. Silver gauze at wrists. 
 
 This is a court costume; for a house dress of the same 
 period, bring the tight bodice up to the neck, and finish with 
 a ruff of white gauze going all the way round the neck. 
 
 CHILDREN. Little girls of the nobility wore dresses exactly 
 like this, but their ruff might be lower. See Chapter on Cos- 
 tuming. 
 
 PEASANTS. For peasants of this period, see page 39.
 
 COSTUME PLATE 10 
 
 ELIZABETHAN LADY
 
 COSTUME PLATE n 
 
 INDIAN CHIEFTAIN
 
 AMERICAN AND ENGLISH COSTUMES 
 FOR ADULTS AND CHILDREN 
 
 COSTUME PLATE n 
 
 (For Indian plays, Indian pageants, and for American 
 historical pageants. For a festival of nations) 
 
 INDIAN CHIEF. HIAWATHA, if changes are made. IN- 
 DIAN BRAVE. 
 
 Period. Early Seventeenth Century to the present. 
 
 Colors. Khaki-tan. Fringe of the same. Red, green, 
 yellow beadwork on tunic and moccasins. 
 
 Material. The material is dressed deerskin in reality, but 
 it can be copied by having khaki instead, with beads in a 
 design. The moccasins may be khaki, beaded and painted, 
 or tan tennis shoes beaded with fringe. The real moccasins 
 are best if they can be had. The headdress must be of 
 eagle's feathers, which can be imitated by long hen's 
 feathers, or quills. 
 
 INDIAN CHIEF. The same as in picture. 
 
 HIAWATHA. The same as in picture, if so desired, but in 
 reality Hiawatha wore a loin cloth, and great chains of 
 bear's teeth and wampum. 
 
 INDIAN BRAVE. Indian brave would not wear the same 
 head dress as the chieftain. He would wear a bead band 
 bound across his brows, and a single quill or two or three 
 quills standing up in the back. 
 
 For full description of Indian costumes, beadwork, 
 blankets, wigwams and all Indian properties, see chapter on 
 Costumes in play of Pocahontas in Patriotic Plays and 
 
 129
 
 i 3 o COSTUME PLATES 
 
 Pageants, by C. D. Mackay. For other books giving pic- 
 tures of costumes, see Chapter on Costumes in this volume. 
 
 COSTUME PLATE 12 
 (For plays, pageants, festivals of the nations) 
 
 INDIAN PRINCESS. INDIAN GIRL. SQUAW. POCAHON- 
 TAS. 
 
 This dress is primarily for an Indian Princess, and as 
 given here it shows its most fantastic aspect an aspect 
 only to be used in fantastic festivals. The actual Indian 
 Maiden or Princess never wore feathers or quills of any 
 sort only an Indian headband, beaded. 
 
 INDIAN PRINCESS. This costume in khaki, as the tan 
 shade looks like dressed deerskin. The tunic must be made 
 without buttons, and slip on over the head. The feathered 
 headband must not be worn. Instead a beaded headband. 
 The rest of the costume is accurate for a Princess. Have 
 the stockings tan colored to match the moccasins. Or 
 better yet, let the girl have her ankles bare and stain 
 them brown. The costume for a Princess may be heavily 
 beaded. 
 
 INDIAN GIRL. This costume, made tunic fashion, no 
 headdress, of the same material as described for Princess, 
 but without beading. 
 
 SQUAW. The same as for Indian Maiden. The Squaw 
 would have a bright colored blanket. This may be made 
 of canton flannel, in gay strips. (See descriptions for 
 Princess Pocahontas in Patriotic Plays and Pageants, by 
 C. D. Mackay.) 
 
 POCAHONTAS. The traditional dress of Pocahontas was 
 white deer skin which can be imitated by white canton 
 flannel, heavy beading on costume of blue and scarlet.
 
 COSTUME PLATE 12 
 
 INDIAN GIRL 
 Copyright by The Butterick Co., New York City 
 
 Pattern 7299 Indian Costume for Ladies, Misses and Girls. 9 Sizes: 26 to 42 inches Bust 
 Measure. Price, 15 Cents. As shown on figure, 36 inches bust requires 3} yards of material 
 50 inches wide, with 11 yard of crinoline or canvas 25 inches wide to line collar, head-dress, 
 cuffs, tabs and belt. A Deautiful and realistic Indian costume is given in this design. Suitable 
 materials are imitation leather, khaki, broadcloth, sateen or doeskin. The fringes that are 
 used to trim the costume are simply strips of the material which have been slashed and a bead 
 trimming is used. An Indian head-dress decorated with bright feathers and Indian moccasins 
 of buckskin will make effective additions to the costume.
 
 COSTUME PLATE 13 
 
 INDIAN BOY 
 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 2839 Boys' Play Suit. 5 Sizes: 4 to 12 Years. Price, 15 Cents. As shown on 
 figure, 8 years requires 3J yards of material 27 inches wide, with I yard of material 27 inches 
 wide for fringe and 8J yards of tape. Khaki was the material used to develop the suit as 
 shown in the illustration. The fringe also is of khaki, but may be of red cotton cloth or of 
 leatherette. For a fancy-dress costume, the whole suit may be of leather. The head-dress of 
 eagle feathers any kind of feathers with black tips will, of course, answer and the moccasins, 
 which may be elaborately beaded if desired, are required to complete the costume. This play 
 suit is a great favorite with all the little boys.
 
 COSTUME PLATES 133 
 
 Indian hair can be made by cutting black cheesecloth 
 into strips, and braiding it. It should be fastened to a skull- 
 cap of black cheesecloth, and hang from it. A beaded 
 headband worn with this covers up any deficiencies. This 
 will solve the problem for blonde girls who need black 
 Indian hair. 
 
 See that the faces, arms, necks and ankles of the Indian 
 girls are stained brown. There is nothing more ridiculous 
 than a "white" Indian. 
 
 COSTUME PLATE 13 
 
 (For plays, pageants, festivals and in especial for American 
 
 pageants) 
 
 INDIAN BOY. 
 
 Period. The Seventeenth Century to the present. 
 
 Color. Khaki. 
 
 Material. Khaki or tan colored cambric, or denim. 
 
 INDIAN BOY. This is a fantastic costume as it stands, 
 and may only be used for children's festivals. The actual 
 Indian boy for plays or pageants, would wear a tunic that 
 was made in the same shape as this costume, but it is not 
 buttoned down the front. It slips over the head. Other- 
 wise the costume may be made the same as the one in the 
 costume plate. But no Indian boy, except in play, would 
 wear a head dress. This is the conventionalized Indian. 
 Real Indian boys never wore so much clothing, but where 
 masses of Indians are used in outdoor plays and pageants 
 the conventionalized attire has been found the most satis- 
 factory in the end.
 
 i 3 4 COSTUME PLATES 
 
 COSTUME PLATE 14 
 
 (For historical plays and pageants, in especial American 
 historical pageants) 
 
 PURITAN. PILGRIM. ROUNDHEAD. With certain changes, 
 DUTCH SETTLER IN NEW AMSTERDAM, or QUAKER. 
 
 Period. The seventeenth century. 
 
 Countries. England, America, Holland. 
 
 Color. Gray, brown, black, dark blue, very dark plum, 
 dark brown. 
 
 Material. Serge or woolen cloth. Never silk or satin. 
 See chapter on Costumes. 
 
 PURITAN. Dark blue, brown, plum, or black suit and 
 cloak, made of serge. Black hat. White collar and cuffs. 
 Black shoes and stockings. If gloves are worn they are 
 brown gauntlets. See chapter on Costumes. 
 
 PILGRIM. The same as Puritan. 
 
 ROUNDHEAD, or follower of Cromwell in England. The 
 same dress as for PURITAN. 
 
 DUTCH SETTLER. The Dutch settlers in New Amster- 
 dam, and up and down the Mohawk valley wore the same 
 dress as the Pilgrim, save that it might be in brighter colors, 
 and velvet and silk might be worn, though as the Dutch 
 were thrifty, it was only worn for best. The Dutch wore 
 the "pork pie" hat, but its brim was straighter than the 
 Puritan. 
 
 QUAKER. This costume in Quaker gray, with a "William 
 Perm" hat. (See pictures of William Perm.) 
 
 CHILDREN. The attire of children was similar to that of 
 their elders, though they wore no long cloaks. Boys did 
 not wear the pork pie hat, they had of tener a small entirely 
 round black cap. Usually they went bareheaded. 
 
 CAVALIER. The Cavalier was the exact opposite of the
 
 COSTUME PLATE 14 
 
 PILGRIM OR PURITAN MAN
 
 COSTUME PLATE 15 
 
 PILGRIM OR PURITAN WOMAN
 
 COSTUME PLATES 137 
 
 Puritan, and Cavalier costumes are fully described on 
 page 44. But in imagination this Puritan costume may 
 be made the model for a Cavalier costume by the following 
 changes: Have a Cavalier wide-brimmed hat turned up 
 at the side with a buckle. Have a sweeping plume. Have 
 long love locks or ringlets sweeping over the shoulders 
 instead of the short hair in the picture. Have the coat 
 sleeveless and of leather, and the cuffs and collar of pointed 
 lace. Have the shirt of the finest linen with bishop sleeves. 
 Have the breeches of gay velvet, with huge rosettes and 
 hanging ribbons at the knee band. Have the stockings of 
 silk and the shoes of fine leather, or else have high leather 
 boots. Have a velvet cloak, and line it in violet or green, 
 or scarlet silk. Then you will have a full-fledged Cavalier. 
 See pages 44 and 45. 
 
 CHILDREN OF CAVALIERS (ROYALISTS). Boys wore the 
 same as the Cavaliers only in miniature. See pages 44 
 and 45. 
 
 COSTUME PLATE 15 
 
 (For play, pageant in especial an American historical 
 pageant or a festival) 
 
 PILGRIM. PURITAN. PRISCILLA. ROSE OF PLYMOUTH 
 TOWN. 
 
 Materials. Serge. Homespun woolen. Imitated in 
 canton flannel for winter or cambric for summer. 
 
 Colors. White lawn kerchief and cuffs (never lace). 
 White lawn cap. Dress may be black, brown, gray, blue, 
 deep red, deep plum, or tan.
 
 i 3 8 COSTUME PLATES 
 
 COSTUME PLATE 16 
 
 (For historical play or pageant, in especial for American 
 historical pageants or festivals) 
 
 MYLES STANDISH. PILGRIM SOLDIER. PURITAN SOL- 
 DIER. A ROUNDHEAD SOLDIER. CARDINAL RICHELIEU'S 
 GUARD. With certain changes can be CAPTAIN JOHN 
 SMITH or ELIZABETHAN SOLDIER. 
 
 Period. 1590-1700. 
 
 Countries. America, England, France, Italy, Holland, 
 Flanders, Spain. 
 
 Color . The color of the coat and breeches worn under the 
 armor would be determined by the country of the wearer. 
 The armor would be black or steel gray. The ruff white. 
 The gauntlets brown. 
 
 Material. Coat and breeches worn under the armor would 
 be serge or cloth. In some instances the coat would be 
 leather and the breeches serge. The shoes leather and the 
 stockings stout woolen ones woven or knitted. The 
 gauntlets are leather. The ruff is lawn. 
 
 MYLES STANDISH. Brown serge breeches. Brown 
 leather coat. Brown shoes and stockings. Brown gaunt- 
 lets. He wears a white Pilgrim collar, made of lawn, but 
 never a rujf. Armor the same as any armor. 
 
 PILGRIM SOLDIER. Same as Myles Standish. 
 
 PURITAN MAN AT ARMS. Brown or blue serge. Much 
 the same as Myles Standish. 
 
 A ROUNDHEAD SOLDIER. The same as Myles Standish. 
 
 CARDINAL RICHELIEU'S GUARD. Dull crimson cloth. 
 Dark brown shoes and stockings. Everything the same as 
 in the accompanying costume plate except the brown 
 leather gauntlets which are fringed. 
 
 CAPTAIN JOHN SMITH. Exactly the same type of armor,
 
 COSTUME PLATE 16 
 
 PURITAN OR ELIZABETHAN MAN AT ARMS
 
 COSTUME PLATES 141 
 
 but instead of low shoes and woolen stockings, he wears 
 boots that come to the knee. Plum colored suit. 
 
 ELIZABETHAN SOLDIER. The same as in costume plate, 
 save that the breeches may be slashed with a different 
 color red slashed with white. 
 
 COSTUME PLATE 17 
 
 (For historical play, or pageant. Especially American 
 historical pageant) 
 
 COURT LADY. ROYALIST. AMERICAN COLONIST. ANNE 
 OF AUSTRIA. 
 
 Countries. America, in the South, and in New York, not 
 in New England. In England, France, Holland, Flanders, 
 Spain, Italy. 
 
 Period. The Seventeenth Century (1600-1690). 
 
 Colors. Any solid color in any shade except pastel shades. 
 Crimson, tawny brown, blue, green, gray, black. The 
 collar and cuffs were always white. 
 
 Materials. For court ladies, velvet, satin and silk. Bro- 
 cade was not now so much worn. For everyday wear, woolen 
 cloth and serge. The bodice might or might not have 
 a border, as desired. The collar and cuffs would be plain 
 lawn for a serge dress but it must be sheer lawn. For a 
 silk or satin drss they should be of the finest lace. With 
 a court dress the cap might be velvet, or satin. Or it might 
 be cloth of silver or gold, trimmed with pearls, or edged with 
 a narrow rim of ermine. For royal persons the border on 
 the bodice might be ermine or miniver. See Chapter on 
 Costumes. 
 
 COURT LADY. For dress of any court lady, see preceding 
 paragraphs. 
 
 ROYALIST. The followers of King Charles in England
 
 142 COSTUME PLATES 
 
 were called Royalists, and this is the dress of a Royalist 
 lady. 
 
 AMERICAN COLONIST. For English women who came to 
 America, and who were not Pilgrims or Puritans, this dress 
 in cloth or serge, in quiet colors, with lawn cuffs and sleeves. 
 For great occasions satin or velvet. 
 
 ANNE OF AUSTRIA. This costume in rich materials, was 
 that worn at the court of Louis XIII of France. For Anne 
 of Austria, or her ladies, it should be as gorgeous as 
 possible. 
 
 CHILDREN. Children of any court wore what their elders 
 wore. Little girls would wear a costume like this, with just 
 as long a skirt, and their hair tucked under a cap. See 
 page 46. 
 
 COSTUME PLATE 18 
 
 (American historical pageant, American history play. 
 Dutch pantomime or festival. Also, after changes 
 have been made, fairy or folk play) 
 
 DUTCH SETTLER. GIRL OF HOLLAND. With certain 
 changes PEASANT IN FOLK or FAIRY PLAY for CHILDREN. 
 
 DUTCH SETTLER. This was the everyday attire worn by 
 the wives and daughters of settlers in New Amsterdam and 
 the Mohawk valley. The costume may be worn from 1600 
 to the present. 
 
 Color. Black bodice. White guimp. Skirt of the 
 most brilliant hues, either striped or plain. White apron 
 with colored patches. White cap embroidered in bright 
 hues. This was everyday attire, and in Holland is still 
 everyday attire. For best a velvet bodice, a finer skirt, and 
 a lace cap and apron. 
 
 Materials. The skirt may be homespun, or coarse muslin
 
 COSTUME PLATE 17 
 
 ROYALIST LADY 
 For description, see page 141
 
 COSTUME PLATE 18 
 
 DUTCH PEASANT GIRL 
 
 For description, see page 142 
 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 6352 Dutch Peasant Dress and Bonnet for Ladies, Misses or Girls. 7 Sizes: 26 
 to 38 inches Bust Measure. Price, IS Cents. As shown on figure, the medium size requires 
 I yard of material 36 inches wide, with J yard of lace 18 inches wide for crown and revers 
 I yard of banding for bonnet, 1 yard of material 27 inches wide, with 21 yards of banding, 
 for bodice, 2| yards of material 32 inches wide for blouse, 3J yards of material 44 inches 
 wide for skirt and 2| yards of material 36 inches wide, with i yard of material 32 inches 
 wide for apron. The blouse is of dotted muslin, the bodice of silk and the skirt and apron of 
 gingham. This costume may be very quickly put together.
 
 COSTUME PLATES 145 
 
 for everyday, and the bodice of homespun or serge. The 
 guimpe of unbleached muslin. The cap of white muslin 
 embroidered. The apron white muslin patched with gay 
 muslin. Or it may not be patched at all. No well brought up 
 Dutch girl would wear a patched apron to market. This 
 would only be worn in her own dooryard, or in a hasty 
 moment when she ran to watch a man being put in the 
 stocks. For best the bodice is velvet, the guimpe fine lawn, 
 the skirt bright blue, red, tulip yellow, green, startling 
 violet, or purple. The apron is lace, and can be made 
 from an old-fashioned lace window curtain with a sprawling 
 pattern on it. The cap was also white lace on these occa- 
 sions. The stockings are bright wool. The shoes wooden. 
 Discarded shoes covered with cream colored oilcloth can 
 be made to do. 
 
 PEASANT m FAIRY OR FOLK PLAY. Do not use the lawn 
 cap or the wooden shoes. Have the hair in two braids, and 
 have low plain black shoes. Have the bodice as it is, and the 
 guimpe, and have the skirt in plain material. This will do 
 for any folk or fairy play, where the daughter of wood- 
 cutter, or a charcoal burner, or a farmer is to be personified. 
 
 For Dutch Man, see Costume Plate 14. 
 
 COSTUME PLATE 19 
 
 (For historical, romantic, fanciful plays or operettas, and 
 for occasional use in American historical pageants.) 
 
 EIGHTEENTH CENTURY PIRATE. With changes, CAPTAIN 
 KTDD, A PIRATE OF PENZANCE, or a TREASURE ISLAND 
 PIRATE. With other changes, an ELIZABETHAN PIRATE, 
 or a LATE EIGHTEENTH CENTURY OR EARLY NINETEENTH 
 CENTURY PIRATE. Also with changes, an EIGHTEENTH 
 CENTURY HIGHWAYMAN. (BEAU BROCADE.) With still
 
 146 COSTUME PLATES 
 
 other changes a GENTLEMAN OF THE EARLY EIGHTEENTH 
 CENTURY, or a TRADESMAN OR SERVTNGMAN of the EARLY 
 EIGHTEENTH CENTURY. 
 
 Period. With various changes, Elizabethan to the early 
 nineteenth century, but most strongly suited to the early 
 eighteenth century. 
 
 Countries. England, France, America, Spain. The 
 High Seas. The Spanish Main. (The Great North Road 
 for the Highwayman.) 
 
 Color. According to use of costume. There was always 
 a touch of flaring color about a pirate costume, while this 
 costume, adapted for civilian use, would be in quiet colors. 
 
 Materials. According to the period of costume desired. 
 
 EIGHTEENTH CENTURY PIRATE. Same costume as in 
 the illustration. White shirt. Dark green coat and knee 
 breeches. Rolled back cuff of brilliant scarlet. Red stock- 
 ings. Black shoes. Black hat. Tan leather belt. Front 
 locks of hair caught with wisps of scarlet. 
 
 CAPTAIN KIDD. His costume would differ from that in 
 this picture. A white shirt. Full scarlet breeches. A 
 black Zouave jacket, without sleeves. A bright blue sash, 
 with a dirk and a brace of pistols stuck in it. Long black 
 boots coming to the knee. No belt or straps on suit as in 
 this picture. Hair worn lank and wild, and bound about 
 the brows with a red strip. Huge round gold earrings in 
 ears. He may wear a black cloak, if desired, but no coat. 
 He would wear this rather than the one in the costume plate, 
 since he was executed in 1701, before these coats were in 
 fashion. A round cutlass can be made out of small scythe. 
 
 PIRATES OF PENZANCE. Same as Captain Kidd. 
 
 TREASURE ISLAND PIRATES. Same as Captain Kidd, 
 though differing in color. See any illustrated edition of 
 Treasure Island. Pirates did not always wear beards. More
 
 COSTUME PLATE 19 
 
 EIGHTEENTH CENTURY PIRATE 
 
 For description, see page 145
 
 COSTUME PLATES 149 
 
 often they wore fierce up-curling mustaches, or were smooth 
 shaven. 
 
 ELIZABETHAN, LATE EIGHTEENTH CENTURY, and EARLY 
 NINETEENTH CENTURY. Same as Captain Kidd. 
 
 HIGHWAYMAN OF THE EIGHTEENTH CENTURY. He should 
 look less of a brigand, and more debonair than this accom- 
 panying plate. He should be smooth shaven, and his hair, 
 in its natural color, should be worn in a queue. Knee 
 boots of black leather. The coat in the picture, with the 
 belt worn under it, instead of outside it. A brace of pistols 
 stuck in this belt. White linen stock, and small jabot. 
 This same hat in silk or velvet. A rapier instead of sword. 
 His suit may be black velvet or doth, with scarlet satin 
 cuffs. A full black riding cloak may envelope him. There 
 should be a touch of the dandy about him. See Baroness 
 Orszy's Beau Brocade. 
 
 GENTLEMAN OF THE EARLY EIGHTEENTH CENTURY. 
 This coat in fine cloth or velvet, in gray, old rose, brown, 
 blue or black, usually a quiet color. It must have fine 
 buttons. Satin cuffs of a contrasting shade to the coat. 
 The pockets embroidered in gold or silver braid. A white 
 linen stock and jabot of lace. Shirt of white linen, the 
 sleeve ending in a lace ruffle. He should have a silk or 
 satin waistcoat, plain or brocaded. He should wear no 
 belt or shoulder straps. Fine silk stockings. Low shoes, 
 with diamond or silver buckles. A white curled wig. (See 
 page 48.) A hat like the one in the costume plate, either 
 of black velvet or fine black felt. He should be smooth 
 shaven. The costume should be worked out in two colors, 
 like gray and old rose, or black and old gold. 
 
 TRADESMAN OR SERVTNGMAN OF THE EARLY EIGHTEENTH 
 CENTURY. The coat in the costume plate in plain cloth, 
 and in dull colors. The cuffs in this case may be the same
 
 150 COSTUME PLATES 
 
 color as the coat, or contrasting. They must be of cloth, 
 not silk or satin. No belt or shoulder strap. A very plain 
 waistcoat may or may not be worn. There should be no 
 lace jabot, only a plain white stock, with perhaps the hint 
 of a linen ruffle. No lace ruffles at wrist, though a linen 
 ruffle may be worn for a state occasion. Low black shoes 
 without buckles. Woolen stockings. Hair in a queue, 
 unpowdered. Hat of felt, like one in costume plate. Both 
 the tradesman and servingman should be smooth shaven. 
 
 COSTUME PLATE 20 
 
 (For historical plays, historical pageants, and in especial for 
 American pageants and fourth of July celebrations) 
 
 COLONIAL COSTUME. ALSO ENGLISH AND FRENCH COS- 
 TUME. With changes AN AMERICAN MINUTE-MAN COS- 
 TUME. Also GEORGE WASHINGTON COSTUME. AMERICAN 
 SOLDIER UNDER WASHINGTON. 
 
 Period. 1700-1800. 
 
 Countries. England, America, France. 
 
 Colors. The colors are solid colors, except where state 
 coats of brocade are used. The colors vary with the use of 
 the costume, and the country it belongs to. 
 
 Materials. The materials vary according to what the 
 costume is used for. Everyday Colonial costume and 
 Minute-men Costumes are made of cloth. Costumes for 
 minuets, and for balls and state occasions are made of silk 
 and satin and velvet. Particularly is this true of English 
 costume comedy of the type of The Adventures of Lady 
 Urusala, by Anthony Hope. Naturally the colors and 
 materials of the French Revolution, for which this costume 
 is appropriate, must vary very greatly, for some will be the 
 costumes of the aristocrats and some of the Revolutionists.
 
 COSTUME PLATE 20 
 
 COLONIAL COSTUME 
 Copyright by The Butterick Co., New York City 
 
 Pattern 6235 Continental Suit for Men and Boys: consisting of a Hat, Coat, Vest and 
 Knee-Breeches. 10 Sizes: 26 to 44 inches Breast Measure, being in 5 Sizes for Boys from 26 
 to 34 inches Breast Measure (8 to 17 Years), and in 6 Sizes for Men from 34 to 44 inches 
 Breast Measure. Price of pattern, IS Cents. As shown on figure, 36 inches breast measure 
 will require 4f yards of material 20 inches wide, with 6} yards of braid and 1 J yard of 
 edging 4 inches wide for frills for coat; 2J yards of material 27 inches wide for vest and 
 breeches; for hat, $ yard of material 20 inches wide, with { yard of material 27 inches wide, 
 and { yard of canvas 25; 1 yard of edging 4 inches wide for jabot.
 
 COSTUME PLATES 153 
 
 COLONIAL COSTUME. For everyday wear, brown, blue, 
 black, or green cloth. Also gray and plum cloth. Do not 
 use red it instantly suggests the redcoats. For state 
 occasions these same colors in satin, velvet and silk. Also 
 in pink and white and blue and white and yellow and purple 
 brocades. 
 
 ENGLISH COSTUME. In plays like Beaucaire this costume 
 should be made to look as magnificent as possible, the 
 ruffles and jabot even more exaggerated. Clerks and inn 
 boys and tradesmen may wear a white shirt, linen, not lace 
 ruffles, the vest and trousers, but not the coat. Only gentle- 
 men wore powdered hair. 
 
 FRENCH COSTUME. This costume may be worn by the 
 aristocrats in fine materials and color, and by the Revolu- 
 tionists in sober rough cloth. No Revolutionists would wear 
 a powdered wig. But the aristocrats always wore them 
 even to the last moment at the guillotine. They can be 
 made by stitching white cotton batting to a skullcap of 
 white cambric. 
 
 AMERICAN MINUTE-MAN. Take off the velvet coat, and 
 the waistcoat, and have the white shirt for the upper part 
 of the costume. Roll up the sleeves to the elbow. Have the 
 knee breeches the same as in the picture. The three cor- 
 nered hat is also the same, but the Minute-man's wig is 
 unpowdered. His natural hair is worn in a queue. A 
 powder horn is slung about his shoulders by a leather 
 strap. To vary this costume, the vest, unbuttoned, as if 
 just slung on, breaks the monotony of a number of Minute- 
 men coming hurriedly to the call to arms in a pageant. The 
 Minute-men may also wear gaiters, tan colored. As the 
 Minute-men change into American soldiers this costume 
 may still do for a basis. See George Washington Cos- 
 tume.
 
 i 5 4 COSTUME PLATES 
 
 GEORGE WASHINGTON COSTUME. This costume may be 
 used in two ways for the Father of his Country. As it 
 stands, in buff, gray, or plum, it may be the costume for 
 Washington before the Revolution, or after the Revolution, 
 Washington in civilian dress, the country gentleman at 
 Mt. Vernon. Any of the shades suggested will do for this. 
 For a military costume this same costume may be used as a 
 basis. Use this coat in blue. Have a white vest and white 
 knee breeches. Have white cuffs with gold braid and mil- 
 itary buttons on the coat, and no ruffles at the wrist. The 
 coat should be trimmed with white broadcloth and gold 
 braid. (See any picture of George Washington in Military 
 dress.) There should be gold fringed epaulets, and gold mil- 
 itary buttons on the coat. The hat and wig of the costume 
 plate are excellent for the costume of Washington. There 
 should be high boots, and a long blue military coat lined in 
 red. See the following books for pictures: On the Trail of 
 Washington, by Frederick Trevor Hill; The American 
 Soldier, by Elbridge S. Brooks; American Hero Tales, 
 by Theodore Roosevelt. See also page 49. 
 
 AMERICAN SOLDIER UNDER WASHINGTON. Infantry 
 coats were blue, lined in white, with white buttons. New 
 England troops had white facings. New York and New 
 Jersey, buff facings. Pennsylvania, Delaware, Maryland 
 and Virginia, facings of red. Troops of the Carolinas in 
 blue, with white buttonholes. All artillery coats were 
 lined and faced in scarlet, their buttons and hat bands 
 were yellow. Light dragoons or cavalry had blue coats, 
 white facings, linings and buttons.
 
 COSTUME PLATE 21 
 
 BRITISH OFFICER 
 For description, see page 157
 
 COSTUME PLATE 22 
 
 EIGHTEENTH CENTURY BRITISH SOLDIER
 
 COSTUME PLATES 157 
 
 COSTUME PLATE 21 
 
 (For historical plays, historical pageants, and in especial 
 for American historical pageants) 
 
 BRITISH OFFICER OF THE AMERICAN REVOLUTION. 
 
 Period. 1768-1780. 
 
 Countries. England, America. 
 
 Colors. Scarlet coat. White waistcoat. White breeches. 
 Black boots with spurs. Gold buttons and epaulets. Red 
 hat with white and gold rosette. White ruffles at wrist. 
 
 Materials. Coat, broadcloth. Waistcoat and breeches 
 of broadcloth. Braid made of gold. Ruffles of linen or 
 lace, or fine net. Hat of felt. 
 
 COSTUME PLATE 22 
 
 (For historical plays and pageants, in especial for American 
 historical pageants) 
 
 BRITISH SOLDIER OF THE AMERICAN REVOLUTION. 
 HESSIAN. 
 
 Period. 1768-1780. 
 
 Countries. England, America. 
 
 Colors. Scarlet coat, and breeches. White waistcoat. 
 White cuffs. Gold epaulets. Black fur hat. White band 
 crossing breast. White stockings. 
 
 Materials. Suit and vest of broadcloth, or cloth. Cuffs 
 of white broadcloth. No ruffles. Gold braid on suit. Hat 
 of fur. Band crossing breast of broadcloth. White woolen 
 stockings, and black shoes. For scenes in action substitute 
 black knee ''Hessian" boots, on occasion.
 
 158 COSTUME PLATES 
 
 COSTUME PLATE 23 
 
 TRAPPER. DANIEL BOONE. YOUNG GEORGE WASH- 
 INGTON. 
 
 Period. 1750 to 1800 in the East. 1750 to 1820 in far 
 West. 
 
 Color. Khaki. 
 
 Materials. In reality the material was dressed deerskin, 
 but it can be simulated by khaki or tan-colored canton 
 flannel. Leather gaiters. Coonskin cap for Boone. Deer- 
 skin cap for George Washington. 
 
 COSTUME PLATE 24 
 
 AMERICAN SAILOR. 1770 to the present. 
 
 The caps worn by the sailors of 1770 to 1800 were 
 peculiar and exceedingly difficult for amateurs to copy, so 
 perhaps the slight anachronism of this cap may be per- 
 mitted. The trousers did not flare as much as these do now. 
 They should be made wider at the top, and the same width 
 around the edge for a sailor of Revolutionary days. 
 
 COSTUME PLATE 25 
 
 COLONIAL LADY. FRENCH ARISTOCRAT. ENGLISH LADY 
 OF THE EIGHTEENTH CENTURY. MARIE ANTOINETTE. 
 MARTHA WASHINGTON. 
 
 Period. 1778-1800. After the American Revolution. 
 
 Countries. America, England, France. 
 
 Color. Plain, solid-colored petticoat, in soft shade. Over- 
 dress of different color, flowered, or striped. Colors were 
 now soft, pastel tinted, save where bright yellow or red 
 petticoats were worn with a yellow or red-sprigged dress. 
 Fichu white.
 
 COSTUME PLATE 23 
 
 EIGHTEENTH CENTURY TRAPPER
 
 COSTUME PLATE 24 
 
 SAILOR, REVOLUTIONARY, CIVIL WAR, MODERN
 
 COSTUME PLATES 161 
 
 Material. Muslin, lawn, silk, satin. See chapter on 
 Costumes. 
 
 COLONIAL LADY. For morning wear white silk petti- 
 coat. Dress of pale blue muslin flowered in pink. White 
 muslin fichu. Black slippers with silver buckles. White 
 stockings. Evening wear, and for state occasions: Pink 
 petticoat, made of satin. Brocaded overdress of cobalt 
 blue brocade, flowered with silver roses, or rose pink roses. 
 Lace fichu and wrist ruffles. 
 
 FRENCH ARISTOCRAT. The same type of costume as for 
 COLONIAL LADY. The colors may vary as desired. For a 
 matron, black satin flowered in gold and worn over a yellow 
 petticoat would make a striking costume. Cretonne may 
 simulate brocade. 
 
 ENGLISH LADY OF THE EIGHTEENTH CENTURY. The 
 same as for COLONIAL LADY. 
 
 MARIE ANTOINETTE. This costume in rich brocades in 
 her days of good fortune, with a wide lace fichu, her hair 
 dressed high, with many powdered curls, and with pearls 
 and roses as a head dress. Slippers to match her dress. 
 Diamond buckles on them. Scarf of hand painted gauze, 
 or of jeweled gauze. For her last days, a muslin dress of 
 white, sprigged in gray, opening over a white petticoat. 
 Or a gray muslin sprigged in faint blue, opening over a 
 gray petticoat. Muslin fichu and ruffles. The dress to be 
 devoid of coquetry. 
 
 MARTHA WASHINGTON. This costume in lavender, white 
 and purple, or cobalt blue and white. Lawns for morning 
 wear, with a silk petticoat, silk and satin and brocade for 
 dress occasions. 
 
 For this period a shorter dress was worn. Cut off this 
 under petticoat at the ankles. Cut off the overdress to 
 the ankles, and then loop it up, fastening it with gathers
 
 162 COSTUME PLATES 
 
 at the hips. The bodice may be exactly the same, save that 
 the sleeves come to the elbow. The materials and colors 
 are the same. For further detail, and for suggestions for 
 cloaks, muffs, etc., for winter wear, see chapter on Cos- 
 tumes. 
 
 CHILDREN'S DRESS. Little girls wore the short petti- 
 coat, coming to the ankles, and the pannier. See Costume 
 Plate of Colonial Girl. 
 
 For further detail of how to make these dresses out of 
 cheesecloth and cambric, see descriptions for "Marie An- 
 toinette Fte," in Patriotic Plays and Pageants, by C. D. 
 Mackay, entitled Benjamin Franklin Episode. 
 
 COSTUME PLATE 26 
 
 COLONIAL GIRL. ENGLISH GIRL OR CHILD or EIGHT- 
 EENTH CENTURY. LITTLE DAUGHTER OF FRENCH ARIS- 
 TOCRAT, etc., etc. 
 
 Period. 1778-1800. 
 
 Countries. America, England, France. 
 
 Color. The softest colors, pink, blue, pale green, pale 
 yellow. 
 
 Materials. Lawn, muslin, satin, silk, brocade. 
 
 COLONIAL GIRL. Pale green petticoat. Over dress of 
 white sprigged with apple-blossom pink. The petticoat 
 may be glazed cambric, the overdress cotton cretonne. 
 This will be a good imitation of brocade and satin. Re- 
 member that in the morning lawn and silk or muslin were 
 worn; fine lace brocade and satin was for the late afternoon 
 and evening. 
 
 ENGLISH GIRL OR CHILD OF THE EIGHTEENTH CENTURY. 
 The same as for COLONIAL GIRL. 
 
 FRENCH ARISTOCRAT. The same as for COLONIAL GIRL,
 
 COSTUME PLATE 25 
 
 COLONIAL LADY 
 
 For description, see page 158 
 
 Copyright by The Butterick Publishing Co. 
 
 Pattern 6169 Ladies', Misses', or Girls' Martha Washington Costume. 9 Sizes: 26 to 42 
 inches Bust Measure. Price, IS Cents. As shown on figure, 36 inches bust measure requires 
 6| yards of material 36 inches wide for upper skirt and body, with 7 yards of material 36 
 inches wide for underskirt, fichu, sleeve frills and frills to trim. As shown in the illustration, 
 figured silk was used for the dress, with batiste for the fichu and underskirt and frills. Lawns 
 and silkolines may also be used. The underskirt is usually in a plain color or white.
 
 COSTUME PLATE 26 
 
 COLONIAL GIRL 
 
 For description, see page 162 
 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 6169 Girls', Misses' or Ladies' Martha Washington Costume. 9 Sizes: 26 to 42 
 inches Bust Measure. Price, 15 Cents. As shown on figure, 30 inches bust measure or 12 
 years requires 5| yards of material 36 inches wide for upper skirt and body, with 4 j yards of 
 material 36 inches wide for underskirt, 1 yard of material 36 inches wide for fichu and frills to 
 trim and 1| yard of edging 7 inches wide for frills. Figured silkoline was used for the costume 
 as illustrated, with the underskirt of plain silkoline harmonizing in color with the dress, and 
 with the fichu of white. The sleeve frills are of lace edging. A white wig may be worn or 
 one's own hair may be powdered.
 
 COSTUME PLATES 165 
 
 though with all these the shades of the costume may vary. 
 See chapter on Costumes for cloaks, muffs, etc., etc. 
 
 PREVIOUS TO AND DURING THE AMERICAN REVOLUTION 
 
 From 1760-1778, this costume may be used as a basis. 
 Cut off the petticoat to the ankles. Cut off the over dress 
 to the ankles, and loop it up at each side, with panniers. 
 Very often little girls wore no fichu just the Colonial 
 dress. And often for very little girls the dress on page 153, 
 without the hanging sleeve, and made in flowered muslin 
 would be perfectly appropriate. 
 
 COSTUME PLATE 27 
 
 (For play, pageant, or one of the gentry looking on at a 
 folk festival) 
 
 Period. 1800-1830. Worn in England, America, Ire- 
 land and France. 
 
 With certain changes may be worn by AMERICAN GENTLE- 
 MAN, ENGLISH GENTLEMAN, LAFAYETTE, BEAU BRUMMEL, 
 NAPOLEON, JAMES MADISON. 
 
 Materials. Cloth for general wear, with silk waistcoat. 
 Silk and velvet for court wear. Fine linen shirt, and black 
 satin stock. 
 
 Colors. A quiet solid color; no brocade, or bright color 
 was worn. 
 
 GENTLEMAN'S COSTUME. Blue brown or black doth. 
 Silk stockings. Leather slippers. Silk or satin waistcoat. 
 Fine linen shirt. Black satin stock a black satin ribbon 
 wound round a white lawn high-standing collar will do. 
 A tall beaver hat. 
 
 LAFAYETTE. If Lafayette did not wear his uniform, his 
 civilian dress would be like this, probably in French blue,
 
 166 COSTUME PLATES 
 
 with a buff silk waistcoat, white shirt, black stock or cravat 
 as it was often called. Black shoes and stockings. For 
 daytime the material would be cloth, for evening and 
 affairs of state, satin or velvet. 
 
 BEAU BRUMMEL. The pictures in Clyde Fitch's Beau 
 Brummel will show how this costume may be made the 
 basis of a costume for Beau Brummel. Brummel affected 
 tights, rather than knee breeches, and usually wore brown. 
 With a tall beaver hat and tights this costume will do 
 admirably. The suit will otherwise be the same. 
 
 NAPOLEON. Look at a picture of Napoleon, and see 
 how readily this coat can be given the Napoleon cut. With 
 epaulettes, and a ribbon bright with orders, the coat blue, 
 and the stockings and knee breeches white, Napoleon's 
 costume for formal affairs can be easily copied. 
 
 JAMES MADISON. For James Madison, this suit in quiet 
 solid colors is excellent as it stands. It needs no changes. 
 
 CHILDREN. For boy's dress of this period, see Plate 43, 
 and the books of Kate Greenaway. 
 
 For amateurs who cannot afford to hire this suit, or 
 make it, an old black evening suit can be made to do. 
 Make the trousers into knee breeches. Put colored but- 
 tons, collar and cuffs on the suit. (They should be made 
 of velvet.) This will be found to do very well indeed. 
 
 COSTUME PLATE 28 
 
 (For historical plays romantic plays, semi-historical plays, 
 and in especial for American historical pageants) 
 
 MORNING OR AFTERNOON DRESS FOR LADY. 
 Countries. England, France, America, Austria, Italy. 
 Period. 1800-1830. 
 Color. White, any pastel shade, no crude colors.
 
 COSTUME PLATE 27 
 
 GENTLEMAN OF EARLY igth CENTURY 
 For description, see page 165
 
 COSTUME PLATE 28 
 
 LADY OF EARLY igth CENTURY 
 For description, see page 166
 
 COSTUME PLATES 169 
 
 Sprigged muslin was very popular the sprigs must be 
 tiny and dainty. Also plain light colors might have a 
 border of flowers around the edge of the dress. A pale blue 
 muslin might have a border of roses the border wide. 
 
 Materials. All stiff formal materials had gone out. 
 Brocades and velvets had vanished. The materials used 
 were soft silks, like china silk, silk muslin, muslin, or- 
 gandie, mull, soft woolen material. The scarfs were of 
 muslin or chiffon, generally in a plain color. Hats were of 
 straw, trimmed with silk muslin. Poke bonnets were worn, 
 particularly in winter. The costumes belonged to the time 
 of Jane Austin's Pride and Prejudice, Beau Brummel, and 
 it was in such attire that American ladies welcomed La- 
 fayette on his visit to America. See page 52. 
 
 As has been said, this is a morning or afternoon dress, but 
 it is not an evening dress. For an evening dress of that 
 period, take off the hat. Wind the hair high on the head, 
 and have little curls on the side. Have the dress as it is 
 now, with short sleeves added. Have the same low slippers 
 and necklace, and the dress is complete. See Chapter on 
 Costuming. 
 
 For winter wear, a short-waisted longcloth coat, with 
 a big muff and a poke bonnet. Huge buttons on the coat. 
 Sleeves and neck are edged with fur. See pictures in Kate 
 Greenaway's books. 
 
 CHILDREN. For dress for little girl of this period, see 
 Costume Plate 42. 
 
 COSTUME PLATE 29 
 
 (For American historical plays, pageants, and tableaux, in 
 especial for American historical pageants, and plays 
 like Secret Serwce)
 
 170 COSTUME PLATES 
 
 CIVIL WAR SOLDIER. 
 
 Period. The Civil War. 
 
 Countries. America. 
 
 Color. Blue for the Northern soldiers. Gray for Southern 
 soldiers. 
 
 Materials. Cloth. Leather bag and straps of leather for 
 knapsack. 
 
 For fuller description of these costumes, see page 53. 
 
 The costume as it is given here can very easily be copied, 
 or it can be "faked" by clever amateurs. To a blue or 
 gray Summer suit add brass buttons, and baste stripes 
 down the trousers: also put the right insignia on the arm. 
 These can be copied from list of books given on page 53. 
 A cap shaped like a messenger's should be used with these 
 suits. Blue messenger's caps are easily obtainable. A 
 blue cap can be covered with gray cloth for the South. 
 From any true picture of the Civil War one can copy the 
 effect of reality, thus: The Confederates were very ragged, 
 and for battle scenes shirt sleeves and gray trousers would 
 do very well. Also in such scenes the Union soldiers might 
 wear blue trousers and blue flannel shirts. 
 
 As a rule it is better to hire these costumes for pageants, if 
 the committee can do so, especially as most scenes show the 
 soldiers marching away or returning, rather than at actual 
 war, and in these cases the costume worn would be in 
 better shape. 
 
 COSTUME PLATE 30 
 (For plays and pageants) 
 
 MAN IN CIVIL WAR EPISODE OF AMERICAN HISTORICAL 
 PAGEANT. MAN IN LITTLE WOMEN, in any LINCOLN
 
 COSTUME PLATE 29 
 
 CIVIL WAR SOLDIER
 
 COSTUME PLATE 30 
 
 MAN OF CIVIL WAR TIME
 
 COSTUME PLATES 173 
 
 PLAY, in such plays as TRELAWNY OF THE WELLS, MILE- 
 STONES, CAPTAIN JINKS, SECRET SERVICE. 
 
 Countries. America, England, France, Ireland. 
 
 Period. 1860-1870. 
 
 Color. Black, navy blue, or gray. The waistcoat plain in 
 sober scenes or in comedy scenes very gaily striped or 
 flowered. 
 
 Material. Serge or broadcloth. An old overcoat can 
 often be re-cut and made to do service for this costume. 
 The face of the wearer may be smooth shaven or have a 
 mustache or immense and (comic) side whiskers all ac- 
 cording to the type of play desired. 
 
 Children's Costumes. Little boys wore the same kind of 
 jacket as the little girl in Plate 31. They also had the 
 same kind of undersleeve as their soft white linen shirts 
 showed beneath the sleeves of their jackets. Their trousers 
 should be long and loose. 
 
 COSTUME PLATE 31 
 
 (For old-fashioned plays, plays of the Civil War, and in 
 especial for American pageants) 
 
 LADY WITH LITTLE GIRL. CIVIL WAR MATRON. BAR- 
 BARA FRIETCHIE. For characters in amateur production of 
 TRELAWNY OF THE WELLS; also for most of DICKENS PLAYS. 
 For any LINCOLN PLAY. For LITTLE WOMEN. 
 
 Period. 1858-1870. (It should be noted here that if 
 amateurs desire to produce plays from the period of 1830- 
 1858 for which no costume plates are given, they can use 
 this dress with a round full skirt, without the hoops, and 
 with a plain waist with a linen turn over collar.) 
 
 Colors. Any solid color. No pastel colors. Small plaids 
 and checks may be used if desired.
 
 174 COSTUME PLATES 
 
 Materials. Silk, poplin, satin, muslin. This is an after- 
 noon dress, or a dress for the morning. For an evening dress 
 the same type of skirt, with clusters of flowers on it. A 
 tight fitting bodice, low necked, and with the shortest possi- 
 ble sleeve. In evening dress the materials would be silk, 
 silk muslin, satin, or tarlatan. It is the kind of costume 
 worn in certain Dickens's plays where for comic effect, the 
 colors may be very bright, like bright green or cerise. In 
 Trelawny of the Wells, bright and sober colors may both be 
 worn. For balls and evening parties, gay light colors. 
 For amateur productions of Captain Jinks have silk and 
 tarletan. 
 
 CIVIL WAR MATRON should wear subdued colors, nothing 
 gay. Or sprigged muslin. The same is true for any LIN- 
 COLN play, and for amateur productions of Little Women. 
 
 BARBARA .FRTETCHIE should wear white, and light colors. 
 These costumes may also be worn for amateur productions 
 of Secret Service. 
 
 COSTUME PLATE 32 
 (For plays, and naval festivals) 
 
 MODERN ADMIRAL. 
 Country. United States. 
 Colors. Blue with gold braid. 
 Material. Broadcloth.
 
 COSTUME PLATE 31 
 
 LADY OF CIVIL WAR TIME
 
 COSTUME PLATE 32 
 
 A MODERN ADMIRAL
 
 COSTUME PLATE 33 
 
 PIERRETTE 
 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 6027 Pierrette Costume for Ladies, Misses or Girls. 7 Sizes: 26 to 38 inches Bust 
 Measure. Price, IS Cents. As shown on figure, the medium size requires 6} yards of ma- 
 terial 27_ inches wide, with 3 yard of crinoline or canvas 25 inches wide, and $ yard of buck- 
 ram 25 inches wide to line brim. The design as shown here is developed in paper cambric, 
 with hearts of the same material in a contrasting color. Other materials which may be used 
 with excellent effect are sateen, taffeta, satin and silk mull. The skirt and ruff may be of 
 fluffy chiffon; in that case the long sleeves would probably be omitted. Large dots, or in fact 
 figures of any shape, may be used instead of the hearts, and when the costume is of silk they 
 may be of velvet. A white costume with black or red hearts is very effective.
 
 FANCIFUL COSTUMES FOR ADULTS 
 
 COSTUME PLATE 33 
 (For fantastic plays, pantomimes, mimic carnivals) 
 
 PIERRETTE COSTUME. With certain changes, QUEEN OF 
 HEARTS. 
 
 Period. From mediaeval times to the eighteenth century 
 and onward in Italy. From the eighteenth century onward 
 in England and France. 
 
 Countries. Italy, England, France, Fantastic No-Man's- 
 Land. 
 
 Color. White, with black hearts on the costume. A 
 white ruff. A white cap with black hearts on it. Or large 
 black polka dots may be used instead of hearts. Or the 
 hearts may be red. 
 
 Materials. Either white silk muslin, with an under 
 petticoat of silk, and a stiff white muslin ruff, or white 
 tarlatan or chiffon, with the red or black hearts very del- 
 icately fastened to it. Pierrette is an airy creature. She 
 should be fairylike in appearance. The shoes and stockings 
 may be black as in the plate, or they may be white to match 
 the dress. 
 
 PIERRETTE. Pierrette's costume has been described 
 under Color and Material. 
 
 QUEEN OF HEARTS. This same dress made long enough 
 to touch the floor, with the border of hearts round the edge, 
 and then coming up the middle of the skirt as described in 
 this picture. Instead of the ruff let the dress be cut a little 
 low, and edged with scarlet. The hearts must be red for a 
 
 179
 
 i8o COSTUME PLATES 
 
 Queen of Hearts. She may have a long white train fastened 
 to her shoulders, lined in red, and with either a border of 
 hearts around it, or a huge red heart in the center of it. 
 Instead of this cap she should wear a crown, made like a 
 coronet, and it should have a row of gold hearts on it. Her 
 scepter should be gold with a red heart tipping it. For the 
 KING OF HEARTS take the costume on Plate 7, make it of 
 white and red, with heart decorations. For the KNAVE OF 
 HEARTS the costume plate, in white, with red hearts on it. 
 These will do for Mother Goose plays and festivals, and for 
 Alice in Wonderland, etc. 
 For PIERROT see Costume Plate 46. 
 
 COSTUME PLATE 34 
 (For plays, festivals, and operettas) 
 
 JAPANESE MAN. 
 
 Period. 1700 to the present. 
 
 Colors. Under-dress of rose, with black design. Sash 
 of rose. Over-dress or kimono of rose, with gray border. 
 
 Materials. Crepe, cretonne, or silk. Wooden sandals 
 are worn, fastened over the bare feet with leather thongs. 
 Bare feet may be simulated by tan stockings. The sandals 
 can be made of two small wooden boxes, of the same size, 
 or pieces of wood with ordinary wooden spools to raise 
 them from the ground. 
 
 COSTUME PLATE 35 
 
 (For Japanese play or operetta, or for festival of nations or 
 Japanese pantomime) 
 
 JAPANESE GIRL OR WOMAN. 
 
 Period. Any imaginary period up to the present. 
 
 Color. Softly flowered greens or blues or reds or purples.
 
 COSTUME PLATE 34 
 
 JAPANESE MAN
 
 COSTUME PLATE 35 
 
 JAPANESE LADY 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 5873 Ladies', Misses' and Girls' Japanese Kimono or Dress. 7 Sizes: 24 to 40 
 inches Bust Measure. Price, IS Cents. As shown on figure, the medium size requires 6J 
 yards of material 36 inches wide, with 1| yard of material 27 inches wide for bands and to 
 trim sleeves. As shown on the figure above, the design is developed in figured crfipe, with 
 trimming-bands of satin. Other materials are silk crepe and China silk. The sash may be 
 tied in a butterfly bow or in the native fashion. In the latter case very heavy silk is needed.
 
 COSTUME PLATES 183 
 
 Material. Japanese crepe, or silk. Can be imitated by 
 wearing Japanese furniture cretonne, or adapting any 
 pretty kimona that is in the wardrobe of the amateur. 
 
 For this particular costume the parasol might be rose 
 color, the dress gray blue with a deep blue border, and a 
 rose-colored obi, or sash, tied in a huge butterfly bow be- 
 hind. 
 
 COSTUME PLATE 36 
 
 (For plays and festivals of the Far East. For plays of the 
 Arabian Nights or Arabian night's pantomimes or for 
 an Omar Masque) 
 
 TURKISH LADY. ARABIAN LADY. PERSIAN LADY. 
 
 Color. According to the country represented, and the 
 rank of the lady. As a rule, brilliant colors. 
 
 Material. Silk and velvet can be imitated by silkoline 
 and canton flannel, though only settlements or schools who 
 cannot afford silk and velvet should use this device. 
 
 TURKISH LADY. This dress in pale blue, white and pink, 
 or in pale gold, white and black. 
 
 ARABIAN LADY. Cover the dress with a long white veil 
 that falls almost to the feet and shows only the eyes. 
 
 PERSIAN LADY. This costume with trousers of blue and 
 gold brocade, a blue sash, gold jacket, and long veil showing 
 only the eyes. This veil may be drawn about the face, and 
 lifted or glanced through with sly coquetry. 
 
 A TURKISH MAN would wear exactly these same trousers, 
 and a sash, without the long ends. A shirt with loose 
 sleeves, and a Turkish jacket as in this picture. He would 
 wear a red fez, with a black tassel. This costume can thus 
 easily become the basis for a man's costume.
 
 184 COSTUME PLATES 
 
 COSTUME PLATE 37 
 (For play, pageant, and in especial for festival of nations) 
 
 SPANISH DANCER'S COSTUME. CARMEN, ETC. 
 
 Period. 1492 to the present. 
 
 Countries. Spain, South America, Portugal. 
 
 Colors. The costume may be worked out in orange and 
 black, red and black, or purple and orange, or yellow and 
 black. The colors must be in strong contrast. 
 
 Materials. Silk skirt. Silk sash. Velvet bolero. Lawn 
 waist. Silk cap. Instead of a silk cap a black lace mantilla 
 may be worn, and the hair done high on the head with a 
 huge white shell comb, or a tortoiseshell comb. The earrings 
 should be gold or coral of the reddest.
 
 COSTUME PLATE 36 
 
 TURKISH LADY 
 
 For description, see page 183 
 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 7234 Turkish Dress for Ladies, Misses or Girls. 9 Sizes: 26 to 42 inches Bust 
 Measure. Price, 15 Cents. As shown on figure, the medium size requires 1 yard of material 
 27 inches wide for crown and side for cap and front and back for jacket, with S^ yards 36 
 inches wide for scarf, scarf end, front and back for tunic and sleeves for jacket. 5 j yards 27 
 inches wide for trousers, 3J yards 25 or more inches wide for ash, 1 J yard of fringe. J yard 
 27 or more inches wide to line cap, and | yard 25 inches wide to interline cap. The Turkish 
 dress is ideal as a masquerade costume, for it is universally becoming, and it offers such a 
 splendid opportunity for the use of beautiful color combinations. The original of the costume 
 illustrated here shows a jacket and cap of bright blue velvet prettily trimmed with gold braid, 
 tunic, sleeves and scarf of white China silk, pink -satin bloomers and a sash of light blue-silk 
 mull. Bead banding and fringe are used.
 
 COSTUME PLATE 37 
 
 SPANISH DANCING GIRL 
 
 For description, see page 184 
 
 Copyright by The Butterick Publishing Co., New York City 
 
 Pattern 6301 Spanish Dancers' Costume for Ladies, Misses and Girls. 7 Sizes: 26 to 38 
 inches Bust Measure. Price, 15 Cents. As shown on figure, 32 inches bust measure requires 
 5J yards of material 36 inches wide for one skirt, with 3| yards of material 36 inches wide 
 for niching to trim one skirt, J yard material 36 inches wide for yoke, 31 yards of material 
 27 inches wide for bolero and sash, 5J yards of braid, 2 yards of ball fringe for bolero, 2j 
 yards of material 36 inches wide for hat and blouse, and l| yard of braid for hat.
 
 COSTUME PLATE 38 
 
 SANTA CLAUS 
 Copyright by The Butterick Publishing Co. 
 
 Pattern 6525 Santa Claus Suit: consisting of a Cap, Coat, Breeches or Knickerbockers and 
 Leggings. 4 Sizes: 34 to 46 inches Breast. Price, 15 Cents. As shown on figure, 38 inches 
 breast measure requires 5} yards of material 36 inches wide, with J yard of canvas 27 inches 
 wide for belt, 2J yards of oraid to trim belt, 4 yards of narrow fur banding to trim coat, 5J 
 yards of wide fur banding to trim coat, } yard of fur banding to trim cap, 3^ yards of bind- 
 ing for breeches and leggings, and 1 J yard of leatherette 30 inches wide for leggings. A Sant* 
 Claus costume is always very easily put together, because one only needs bright red flannel, 
 some imitation white fur trimming, a few brass bells and a wide belt and leggings of imitation 
 leather. With the addition of false face and long white hair and beard, the Santa CLaus cos- 
 tume is complete. If the jolly Saint appears carrying a pack of toys and accompanied by 
 jingle of sleigh-bells, the children will surely appreciate these touches of realism.
 
 COSTUME PLATE 39 
 
 ELF
 
 COSTUMES FOR CHILDREN 
 
 COSTUME PLATE 38 
 
 (For play or festival) 
 
 SANTA CLAUS. MEDLEVAL FATHER CHRISTMAS. ST. 
 NICHOLAS, ETC. 
 
 Period. From mediaeval times to the present. 
 
 Color. Red suit and cap trimmed with white fur, and 
 gold bells. Has black boots. 
 
 Materials. Red canton flannel and white batting for fur, 
 or white flannelette may be used as a border. Boots of 
 black oilcloth. For a mediaeval FATHER CHRISTMAS, or 
 ST. NICHOLAS have a gold crown instead of a cap, but have 
 the same ruddy smiling face and long white beard. Have 
 red tights and soft red shoes, edged with white fur. These 
 same tight sleeves should be worn, and over them a flowing 
 angel sleeve of red edged with white fur. The hands bare, 
 no pack of toys or bells, but instead a tall white staff wound 
 with holly. 
 
 COSTUME PLATE 39 
 
 (For play, pageant or festival) 
 
 ELF. PUCK. ROBIN GOODFELLOW. BROWNIE. ONE OF 
 THE LITTLE PEOPLE. BUMBLE BEE. DWARF. 
 
 Period. Any period since fairies first were known. 
 
 Countries. All the happy countries that have fairies, and 
 all the countries in the Fairy Tales. 
 
 Color. According to the colors wanted. 
 
 Materials. Velvet, canton flannel, cambric. 
 
 189
 
 COSTUME PLATES 
 
 Brown is the color for an elf and for Puck. Scarlet for 
 Robin Goodfellow, or brown. Brown also for a Brownie. 
 Green for one of the Little People. For the Little Men in 
 Snow White, a black or gray suit, and a long beard of white. 
 Instead of this cap, a peaked cap of black, showing the 
 hair. For a Bumble Bee this suit with a round cap, made of 
 yellow and black striped material, or canton flannel stitched 
 together. The stripes should be four inches wide. Gray 
 gauze wings made on wire frames should be stitched to the 
 shoulders. A woolen union suit dyed the desired color at a 
 dyeing establishment, or at home with Diamond Dyes will 
 solve the problem of the costume. If it is wanted for a 
 summer play, and a woolen suit will be found too heavy, 
 then use a cotton suit one size too large to allow for shrink- 
 age, and dye it with Diamond Dyes especially manufac- 
 tured for cotton goods. For a very little elf and crowds 
 of very tiny elves are sometimes used in Fairy plays use 
 women's long green silk stockings, taking them in until they 
 fit the elf. Their length will make them possible for a small 
 pair of tights. Then a green jacket and head covering can 
 be easily made to go with them. The feet of the stockings 
 may be cut off, and green shoes substituted. The toes may 
 turn up or not, as desired. These turned up shoes should be 
 made of canvas covered with green. 
 
 See costumes for Children's Plays, page 55. 
 
 COSTUME PLATE 40 
 (For play, pageant, festival, pantomime) 
 
 FAIRY. BUTTERFLY. MOTH. DRYAD. HAMADRYAD. 
 SPIRIT OF FOREST MEADOW, or STREAM. GREEK GIRL. 
 ROMAN GIRL. With changes, SAXON PEASANT GIRL. 
 
 FAIRY. Dress of chiffon, silkoline or cheesecloth. It
 
 COSTUME PLATE 40 
 
 FAIRY
 
 COSTUME PLATES 193 
 
 should be white and not too full. Avoid bunchiness. 
 Wings of white muslin, made on a wire frame, and painted 
 with orange and turquoise blue eyes. Or with gold and 
 silver. Or the Fairy may have no wings at all. Just the 
 white dress and the wand. Wings of compo board, painted 
 white, and then decorated with "eyes" are also possible. 
 Compo board can be bought wherever architects' supplies 
 are carried. White stockings. Gold wand. 
 
 BUTTERFLY. A dark brown silkoline or cambric (un- 
 glazed) dress. Wings of brown with blue "eyes" or of 
 sheer yellow whatever color is most desired. See any 
 good butterfly book, and copy the wings from that. Brown 
 stockings and shoes. 
 
 MOTH. The same as Butterfly, save that the wings are 
 dark and match the body. The eyes on the wings should 
 be of dusky gorgeousness. See any good book on Moths. 
 
 DRYAD. A dress of tree trunk brown silkoline made over 
 an underslip of forest green silkoline that will glint through 
 when she dances. Leaf brown stockings. The dress should 
 be all in one piece and made very simply. No wings. The 
 hair flying. 
 
 HAMADRYAD. Brown as for Dryad, with green underslip 
 which faintly shows through as she dances. A green cord 
 about the breast, and stitched to the dress where this cord 
 crosses artificial twigs and green leaves. Fastened on each 
 shoulder artificial twigs and green leaves. A crown of 
 brown buds and green leaves. 
 
 SPIRIT OF FOREST, MEADOW, or STREAM. A Forest 
 Spirit would wear forest green dress, with brown cord about 
 the breast. Brown stockings. No wings. Should carry a 
 branch in her hand. A Meadow Spirit should wear a pale 
 green dress made over a pale yellow underslip. She should 
 be crowned with daisies and buttercups, and a band of
 
 i 9 4 COSTUME PLATES 
 
 daisies should be worn about her breast. She should carry a 
 staff twined with daisies. A SPIRIT OF RIVER or STREAM 
 should wear river blue, and have a silver cord crossing her 
 breast. She should carry a white chiffon scarf which waves 
 and flutters when she dances. No wings for any of these 
 spirits. 
 
 GREEK GIRL. This costume without the wings and with 
 the hair bound about the head, or gathered in a knot at the 
 back would be correct absolutely for a Greek girl. It might 
 be in white linen or wool, or bright blue, pompeian red, or 
 pale yellow. 
 
 ROMAN GIRL. The wings omitted, the hair wound about 
 the head, and a linen or woolen dress of blue, or blood red, 
 white or yellow. See Roman Costumes, page 25. 
 
 SAXON PEASANT GIRL. With the hair flying, with no 
 wings, with the bands crossing the breast removed, the 
 costume is good for a Saxon peasant girl. It should be of 
 white wool or coarse unbleached muslin or linen. It may 
 be brown, dark blue, or white. She should wear sandals 
 laced with white or leather straps. See Chapter on Cos- 
 tumes, under Costumes of Great Britain. 
 
 For all save the Greek or Roman girls this garment is 
 made in one piece. For symbolic characters the hem should 
 never be stitched, nor turned up. It should be cut not too 
 evenly. It hangs better unstitched. Experience has 
 proved that this gives it lighter and better lines for dancing. 
 The hem makes it stiff, whether for Fairy or Dryad. 
 
 See Costumes for Children's Plays, page 55.
 
 COSTUME PLATE 41 
 
 FOLLY 
 
 Copyright by The Butterick Publishing Co. 
 
 _ Pattern 6403 Folly Costume for Ladies, Misses and Girls. At the lower edge in the medium 
 sizes the foundation skirt measures about 2$ yards; flounce measures about 4 yards. 7 Sizes: 
 28 to 40 inches Bust Measure. Price, 15 Cents. As shown on figure, the medium size requires 
 i yard 27 inches wide for hat, with i yard of canvas 25 inches wide for interlining, j yard 
 of braid, 1 yard of ribbon for hat, 6} yards of material 27 inches wide for outside upper 
 tunic, upper sleeves and full-length flounce, 1 yard of braid, | yard of banding, 2 yards of 
 material 27 inches wide for middle tunic, shorter shoulder-piece and lower sleeves, 3 yards of 
 material 27 inches wide for lower tunic, girdle and longer snoulder-piece and 3J yards of ma- 
 terial 27 inches wide for foundation skirt. This is an excellent masquerade costume for a 
 young girl.
 
 COSTUME PLATES 197 
 
 COSTUME PLATE 41 
 
 (For plays, and in especial morality plays, fairy plays. Also 
 for festivals and for symbolic figures in pageants) 
 
 FOLLY. With changes, FLOWER FAIRY. SEASON FAIRY. 
 
 SPRING. SUMMER. AUTUMN. WINTER. 
 
 Period. Any imaginary period. 
 
 Country. Any imaginary country. 
 
 Color. The color will depend absolutely on the kind of 
 costume desired. 
 
 Materials. The materials will depend absolutely on the 
 kind of costume desired. 
 
 FOLLY. For the figure of Folly in a Morality Play, or for 
 symbolic figures in pageants and festivals such as Folly 
 driving out Industry or welcoming Sloth or Ignorance, 
 the costume may be in black or scarlet silk, which can be 
 imitated by glazed cambric. Or black and red cheesecloth 
 can be worn. Or the costume may be all in red. The bells 
 and trimming on the bodice are gold. 
 
 FLOWER FAIRY. This same dress, with no bells on the 
 scallops. If the flower is to be a ROSE have the skirt pale 
 green. The dark scallop should be dark green, and the 
 light scallops above it rose color. The shoes and stockings 
 should be green. For a POPPY this same dress in scarlet and 
 green. For a daffodil, green and yellow. For MIGNONETTE 
 have the dress all one shade of green, and have little stars of 
 red hung at the end of each petal. For a LILY the dress 
 should be white and green, with a gold girdle. For a 
 TULIP the dress would be entirely orange. For LARKSPUR, 
 bright blue petals over a green skirt. The hats of the 
 costumes should be broad, and made of the petals of the 
 flower rose for roses, red for poppies. In the case of 
 Mignonette and Larkspur, have little caps of green or blue.
 
 198 COSTUME PLATES 
 
 SPRING FAIRY. Costume in two shades of green, very 
 pale tender green for the skirt, dark green for the first 
 scallop, and pale green for the rest of the dress. At the 
 edge of each scallop a white daisy might be fastened if 
 desired. 
 
 SUMMER FAERY OR SPRITE. This costume in rose-red and 
 green. The petticoat rose-red, the first scallop green. The 
 rest of the dress rose-red. A hat made of rose leaves, or a 
 wreath of roses. 
 
 AUTUMN FAIRY. Skirt of yellow. Dark scallop of brown, 
 or russet. The upper scallops of yellow. The belt of purple 
 and gold. May wear wreath of purple grapes. 
 
 WINTER FAIRY. This same costume made entirely in 
 white canton flannel. A large crystal bead at the end of 
 each scallop, to glitter like frost-work. White shoes and 
 stockings, the slippers edged with white fur. Silver cap. 
 High neck for bodice. 
 
 CHRISTMAS FAIRY. This costume as described for Winter, 
 made of the same materials, but with a silver girdle, and a 
 white staff wound with holly and tipped with a silver star. 
 
 COSTUME PLATE 42 
 
 (Fairy plays, historical plays, folk plays, festivals, 
 pageants) 
 
 CHILDREN OF NOBLES. PEASANT CHILDREN. 
 
 Period, icoo to 1490. 
 
 Countries. England, Ireland, France, Flanders, Holland, 
 Germany, Italy. Also all Fairy Tale countries, whether 
 Andersen's or Grimm's tales. But not the countries of any 
 Russian or Eastern Fairy Tale. 
 
 Materials. Silk and satin for the nobility. Serge and 
 cambric for peasants.
 
 COSTUME PLATE 42 
 
 MEDLEVAL OR FAIRY TALE CHILDREN
 
 COSTUME PLATES 201 
 
 CHILDREN OF NOBLES. These costumes, exactly as they 
 stand, can be worn by children of noble birth up to the 
 eighteenth century, and from the eleventh. There must, of 
 course, be slight changes. From the eleventh to the end of 
 the fifteenth centuries they stand exactly as they are. In 
 the sixteenth century the hanging sleeve is dropped, and 
 the bodice is longer and pointed. This is true of the seven- 
 teenth century, save that the bodice is longer and not 
 pointed. The boy's costume may be worn till the end 
 of the fifteenth century; then doublet and hose came in. 
 (See Plate 9.) The little girl, if a Princess, might wear 
 rose-red velvet or satin, the sleeves lined in white satin. 
 They might have a border of gold, and a white satin cap 
 edged with gold might be upon her head. The boy, if he 
 were a Prince, would not wear cloth about his shoulders. 
 He would simply wear a tunic. This might be purple cloth 
 trimmed with bands of ermine. These will do for both his- 
 torical and fairy plays. If the little girl needs something 
 simpler than a princess's dress she might wear pale blue 
 silkoline, the sleeves lined in pale rose, and with silver 
 bobbins at the edge. A pale blue cap with a little white 
 lace border. The boy's simpler costume might be white 
 cloth with a gold belt. His cap would always be a round 
 cap with a peak. 
 
 CHILDREN OF PEASANTS. If the little girl is a peasant 
 in an historical play she may not wear the hanging sleeve. 
 If it is only in a fairy play, it will not matter so much. But 
 the amateur producer must remember that a hanging 
 sleeve was in mediaeval times permitted only to the gentry 
 and nobility. See Chapter on Costuming. 
 
 A little peasant girl, whether in a fairy or historical 
 play, might wear a blue serge dress, and a cap with white 
 embroidery edging. Or a brown dress. If she is in a fairy
 
 202 COSTUME PLATES 
 
 tale she might wear dark crimson. The boy may wear 
 green or brown serge. If serge is not to be used, then use 
 cambric. His tunic may come to the knee if desired. If 
 he was an historical peasant his legs would be bare if the 
 play was historically correct. His shoes are laced with 
 leather straps about his ankles. Oilcloth may be used for 
 this, and in dark brown gives a passable imitation of leather. 
 
 COSTUME PLATE 43 
 
 (For plays, pageants in especial American pageants and 
 for festivals. For MOTHER GOOSE and KATE GREEN- 
 AWAY FESTIVALS) 
 
 Period. 1810-1830. 
 
 Countries. England, France, America. 
 
 Color. The softest colors should be used for these cos- 
 tumes. Pale blue, pink, white, pale green. See Kate 
 Greenaway's Books. 
 
 Materials. Silk, silk muslin, and plain muslin for the 
 little girl. Cloth or satin for the little boy. 
 
 These costumes are appropriate for Kate Greenaway 
 Festivals, and for Mother Goose. LITTLE BOY BLUE. 
 TOM, TOM THE PIPER'S SON. MISTRESS MARY. Miss 
 MUFFET may be costumed like this. For plays of the 
 period of Miss Austin's novels these are correct. For 
 AMERICAN PAGEANTS where children welcome LAFAYETTE 
 these are correct, and appropriate. Little girls dressed 
 like this used to present LAFAYETTE with large frilled 
 bouquets of flowers, as he passed from one city to another 
 on his American visits.
 
 COSTUME PLATE 43 
 
 KATE GREENAWAY CHILDREN
 
 COSTUME PLATE 44 
 
 WITCH 
 
 Copyright by The Butterick Publishing Co. 
 
 Pattern 6464 Witch Costume. At the lower edge in the medium sizes the skirt measures 
 bout 
 figure, 
 
 about 24 yards. 5 Sizes: 32 to 40 inches Bust Measure. Price, 15 Cents. As shown on 
 figure, the medium size requires 2J yards of material 36 inches wide, with 24, yards of edging 
 for blouse, | yard of material 36 inches wide, with 2 yards of braid for bodice, 2| yards of 
 
 material 36 inches wide for skirt; 2J yards of material 36 inches wide for pannier; 2J yards 
 of material 36 inches wide for cape; and J yard of material 36 inches wide, with j yard of 
 buckram 25 inches wide for hat. This makes an excellent masquerade costume for Hallowe'en 
 parties. It may be made of inexpensive materials such as lawn or sateen, with a girdle of 
 black sateen or velveteen. The pointed hat and the cape that go with the costume are very 
 easily made. Colonial buckles on the shoes give a realistic touch. The besom is easily made 
 by tying a bundle of twigs to the end of a long stick.
 
 COSTUME PLATES 205 
 
 COSTUME PLATE 44 
 
 (For fairy and fantastic plays, and for Mother Goose 
 pageants, etc., etc.) 
 
 FAIRY GODMOTHER. WITCH. MOTHER GOOSE. MOTHER 
 HUBBARD. WICKED FAIRY. OLD WOMAN WHO LIVED IN 
 A SHOE. 
 
 Period. Any Fairy Period. 
 
 Countries. For fairy tale character in England, Ireland, 
 Sweden, Norway, Denmark, Germany, France, America. 
 
 Color. The colors vary according to the costume desired. 
 
 Materials. Cambric is a good material for the costume, 
 or serge, or woolen batiste. Hat of canvas covered with 
 black cambric. 
 
 FAIRY GODMOTHER. Scarlet petticoat, and panniers. 
 Very dark green velvet bodice laced over a white guimpe. 
 Very dark green cloak lined in scarlet. Scarlet steeple 
 hat, with a black rim. Carries a wand. 
 
 WITCH. Black skirt and panniers. Black velvet bodice. 
 White guimpe. Black cloak. Black steeple hat. Carries 
 a broom. 
 
 MOTHER GOOSE. Red quilted petticoat. Red panniers. 
 Black velvet bodice. White guimpe. Black cloak lined in 
 scarlet. Black steeple hat. Flying hair omitted. Wears a 
 white wig made of a white muslin skullcap to which white 
 cotton batting is stitched so that it gives the effect of short 
 white curls. Wears large round spectacles with bone rims. 
 Carries knitting in her hand, and is attended by her famous 
 goose. This may be a large cotton batting goose mounted 
 on a strip of green board that has small castors, like any 
 child's toy. To this toy a string should be fastened, so that 
 the goose will follow Mother Goose wherever she goes. 
 
 MOTHER HUBBARD. A cretonne petticoat of white,
 
 206 COSTUME PLATES 
 
 flowered with large red roses. Panniers of plain red. A 
 black bodice and white guimpe. A forest green cloak. 
 Her hair should be tucked neatly beneath a large white 
 mobcap with a scarlet bow at one side. She would wear 
 long black silk mits, and carry a basket on her arm. 
 
 WICKED FAIRY. The same costume as WITCH. 
 
 OLD WOMAN WHO LIVED IN A SHOE. Dark green quilted 
 petticoat. Buff colored panniers. Buff bodice and white 
 guimpe. A black cloak, and her hair tucked beneath a sort 
 of mobcap tied under her chin. 
 
 This costume at once suggests itself as appropriate for 
 CINDERELLA'S GODMOTHER. The WICKED FAIRY in The 
 Sleeping Beauty. The WITCH in Hansel and Gretel, etc. 
 
 COSTUME PLATE 45 
 
 (For use in children's plays, fantastic or fairy, and in fes- 
 tivals and pantomimes) 
 
 LITTLE PIERRETTE. QUEEN OF HEARTS, etc., etc. 
 For description of how to adapt this to varying needs see 
 adult Pierrette, Costume Plate 33. 
 
 COSTUME PLATE 46 
 (For plays, festivals, pantomimes) 
 
 PIERROT. CLOWN. FANCIFUL FIGURE. 
 
 Period. From the Eighteenth Century in England, 
 France and America. From the sixteenth in Italy, where 
 he has a figure in the Commedia dell' Arte. 
 
 Colors. According to costume. 
 
 Materials. Cambric is the best. 
 
 PIERROT. For Pierrot there should be no patches on the 
 face, his cap should be set straight, with pompons at side,
 
 COSTUME PLATE 45 
 
 LITTLE PIERRETTE 
 
 Copyright by The Butterick Publishing Co. 
 
 Pattern 6027 Pierrette Costume for Girts, Misses or Ladies. 7 Sires: 26 to 38 inches Bust 
 Measure. Price, 15 Cents. As shown on figure, 28 inches bust measure or 10 years requires 
 5) yards of material 27 inches wide, with | yard of crinoline or canvas 25 inches wide and 
 i yard of buckram 25 inches wide to line brim.
 
 COSTUME PLATE 46 
 
 CLOWN 
 
 Copyright by The Butterick Publishing Co. 
 
 Pattern 5226 Clown's Suit and Cap. 6 Sizes: 24 to 44 inches Breast Measure. Being in 
 3 Sizes for Boys from 24 to 32 inches Breast Measure (6 to 16 years), and in 3 sizes for Men 
 from 36 to 44 inches Breast Measure. Price, 15 Cents. As shown on figure, 36 inches breast 
 requires 12J yards of material 27 inches wide, with j yard of cape-net or crinoline 20 or 
 more inches wide to interline cap.
 
 COSTUME PLATES 209 
 
 his ruff should be white, not dotted. His dress should be 
 white with black dots sewn to it. Never are the dots any 
 other color than black on white. This is an excellent cos- 
 tume for such charming trifles as Edmond Rostand's 
 Pierrot qui Rit. 
 
 CLOWN. The clown costume is in every way coarser than 
 the Pierrot costume. It does not suggest such lightness and 
 grace. It should be exactly as in the picture, white muslin 
 with red dots sewn on it. Black patches on a whitened face. 
 His mouth deep carmine. 
 
 FANCIFUL FIGURE. This may be a fanciful figure for 
 Seasonal or Symbolic Festivals. In bright green with 
 lighter green dots he might be Master Peapod, or in white, 
 Master Milkweed, and so forth. 
 
 COSTUME PLATE 47 
 
 (For plays in especial fantastic plays, for pantomimes, 
 pageants, and festivals) 
 
 DOMINO. DISGUISE. FOLLOWER OF PIERROT AND 
 PIERRETTE. BUD. PUSSY WILLOW. SUGAR IN "THE 
 BLUEBIRD." FIGURE IN ARABIAN NIGHTS CROWD. CHRYS- 
 ALIS. 
 
 Period. Any period from mediaeval days down to the 
 present. Any fairy period. 
 
 Countries. America, France, England. 
 
 Color. According to the needs of the wearer. 
 
 Material. According to what is most appropriate. 
 
 DOMINO. For a Domino black is the prevailing color, 
 though at fancy costume balls like the ball in VAiglon, 
 or at Mardi Gras, any bright plain color or any soft color 
 may be used, pink, blue, green, gray. Silk or silkoline or 
 cambric should be the material.
 
 210 COSTUME PLATES 
 
 FOLLOWER OF PIERROT AND PIERRETTE. Where there is a 
 pantomime that needs a crowd of supers in a Pierrot pan- 
 tomime, the supers may wear dominos in gray, brown, 
 black. 
 
 BUD. For a spring festival this costume in brown may 
 symbolize a bud. Under it a leaf green costume may be 
 worn. At the touch of Spring's wand the brown costume 
 is tossed off, and the green dress worn underneath is seen. 
 Cambric may be used for this effect. 
 
 PUSSYWILLOW. This costume in gray cotton batting, or 
 any gray furry stuff will make a pussywillow costume for a 
 Spring festival. 
 
 SUGAR. For Sugar in The Blue Bird and for kindred plays 
 this is a useful costume. For Sugar it should be of blue- 
 white muslin. 
 
 FIGURE IN ARABIAN NIGHTS CROWD. For a pantomime 
 of the Arabian Nights a number of supers can quickly and 
 easily be costumed by having this costume in unobtrusive 
 colors, and by wearing a long beard with it. It helps a 
 scene shift, as it can easily be used to disguise principals 
 who can be supers for a while, and in an instant principals 
 again. 
 
 CHRYSALIS. This costume in white cotton batting may be 
 used in Spring festivals. At the touch of Spring it opens and 
 reveals the Butterfly in gorgeous yellow, or yellow and 
 brown.
 
 COSTUME PLATE 4? 
 
 DOMINO 
 
 Copyright by The Butterick Publishing Co. 
 
 Pattern 5914 Domino and Mask for Women, Men and Children. In the medium sizes the 
 lower edge measures about 2f yards. 6 Sizes: 28 to 48 inches Bust Measure or Breast Meas- 
 ure. Price, 15 Cents. As shown on figure, the medium size requires 6J yards of material 
 36 inches wide. Sateen or lining materials or rich silks and velvets may be used for this 
 costume as desired.
 
 SCENE PLATES
 
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 SCENE PLATES 
 
 SCENE PLATE i 
 
 Scene. A GREEK OR ROMAN OR FAIRY PALACE. 
 
 Period. Ancient Greek, Roman, and all Fairy periods. 
 
 Countries. Greece, Rome, and Fairy Tale countries. 
 
 Colors. White pillars. Back of these are curtains of 
 whatever color best suits the kind of play, its costumes and 
 period. The best background would be white, turquoise 
 or deep blue, very dark rose, or dark purple. For a midnight 
 scene the curtains might be purplish, and when parted give a 
 glimpse of the midnight sky without. Dark blue curtains, 
 flecked with constellations of silver white stars will give a 
 fantastic effect of a midnight sky. 
 
 Materials. The pillars may be made of wood and canvas, 
 or of compo board painted white. The curtains may be silk 
 or velvet, or in imitation of these crepe, or canton flannel. 
 The material backing the pillars must not be transparent. 
 
 Construction. The pillars may be a back drop for a very 
 shallow stage, and then the sides may be masked with 
 scant curtains, or if a deep square stage is wished, then 
 duplicate these pillars and curtains for the sides of the stage, 
 a thing very easy to do. See Scenery, page 61. 
 
 Lighting. Can be used with footlights for a daylight 
 scene. With stage moonlight and blue footlights can be a 
 night scene. It can even give the effect of a tent hi a Greek 
 or Roman camp at night, if a shield is hung where the cur- 
 tains part at the top. In this case have white curtains, and 
 let the lights of moving torches, and campfires appear from 
 the back, glowing through the curtains. 
 
 217
 
 218 SCENE PLATES 
 
 Plays. Can be used for a Fairy Palace, for the Palace in 
 Snow White, for the setting of a Morality Play, or Midsum- 
 mer's Night's Dream. For Orsino's Palace in Twelfth Night 
 with purple curtains, for Olivia's house in the same play 
 with deep rose curtains. Can be used for the Masque of 
 Pandora, for Julius Ccesar, and for amateur presentations 
 of The Trojan Women. Can be used for the palace in The 
 Sleeping Beauty, and in Cinderella. Can be used as setting 
 for The House of the Heart. 
 
 SCENE PLATE 2 
 
 Scene. EARLY SAXON INTERIOR. 
 
 Period. The Saxon period, and the centuries just follow- 
 ing. 
 
 Countries. France, England, Ireland. 
 
 Colors. The walls should be cement gray that is, stone 
 gray, or cream color. But preferably stone gray. The doors 
 are oak brown, with wrought iron latches, and hinges. The 
 bench is of oak. The window has iron bars, and the glass is 
 made of paraffin paper, light enough in quality for light to 
 stream through from behind the scene. The brazier is sup- 
 posed to be of iron. In reality it is made of a camp wash- 
 stand painted black. 
 
 Materials. Painted canvas or unbleached cotton. Or the 
 whole scene can be composed of cartridge wallpaper in 
 stone gray, if the painted scenery cannot be had. See Chap- 
 ter on Scenery. 
 
 Construction. See Scenery, page 61. 
 
 Lighting. This scene can be lit from the back. Quench 
 the footlights, and for a daylight scene have golden sunlight 
 streaming through the window. For a mysterious night 
 scene it can be lit by moonlight streaming through the
 
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 w
 
 SCENE PLATES 221 
 
 window. The brazier may be lit by keeping a red spotlight 
 on it, or by having a quantity of red fire powder sunk in a 
 saucer in the middle of the basin. The room, being gray, 
 needs this spark of color. Unless it is summer, do not omit 
 it. A stone hearth may be used if desired, such as is given in 
 Scene Plate 5. 
 
 Plays. Malvolio's prison in Twelfth Night. The Friar's 
 cell in Romeo and Juliet. Joan of Arc's prison. A room 
 in the time of Robin Hood. A room in Fairy Tale plays 
 or Folk plays. Could be used for the room where the 
 Sleeping Beauty pricked her finger and fell asleep. Is good 
 for plays of very early Celtic History, such as the plays of 
 William Butler Yeats, that deal with Celtic history, and 
 Lady Gregory's Celtic History Plays. 
 
 SCENE PLATE 3 
 
 A HEATH OR OPEN SPACE. 
 
 Materials. Canvas or unbleached muslin. 
 
 Colors. The sky, blue (light). The grass, dim misty 
 green. The trees, dim brown and green. 
 
 This may be used as a backdrop with a shallow stage, or 
 with the trees on page 173 cut as wings it may be used as a 
 backdrop with a deep stage. If a wider scene is wished than 
 these Forest of Arden trees portray as side pieces, then have 
 stark, leafless or nearly leafless trees as wings, with dark, 
 twisted sinister branches. This scene may also be used as 
 a Cyclorama. See page 64. 
 
 SCENE PLATE 4 
 
 A DENSE WOOD OR FOREST. A MORE OPEN WOOD. 
 Period. Any period from the earliest times to the present. 
 Countries. America, England, France, Germany, cer-
 
 222 SCENE PLATES 
 
 tain parts of Italy, fantastic mythologic countries, and 
 fairyland. 
 
 Colors. For a dense wood or forest the scene is in three 
 colors. Dark green foliage, dark brown tree trunks, and a 
 background of paler green to suggest the depths of the 
 forest. The trees are made alike so that amateurs can 
 stencil them. It suggests a wood, rather than gives a wood 
 in actuality. For a more open wood, giving a glimpse of 
 sky, use the trees, cut out, and silhouetted against Plate 3, 
 which can be used as a background. For Fairyland use 
 the dense wood. The scene may be used as a backdrop 
 for a shallow stage, or if a deep stage is used, this can be the 
 backdrop. Wings cut exactly like the trees can be set up, 
 at right and left, the edges scalloped a little to give the 
 effect of foliage, and a few holes cut as in the picture. This 
 is called a cut scene. 
 
 Materials. Canvas, or unbleached muslin. Or it may 
 be made of compo board. See Chapter on Scenery. Can 
 also be used as a Cyclorama. See page 64. 
 
 Construction. See page 61. 
 
 Lighting. Can be used as a daylight scene, or flooded 
 with moonlight can be a moonlit scene, or can be dark and 
 mysterious. 
 
 Plays. Can be used for any fair play, for any folk play 
 requiring a wood. For Midsummer's Night's Dream, for 
 As You Like It, for A Rose of Plymouth Town. For the 
 last scene of Nathan Hale. For Jeanne D' Arc's wood of 
 Domremy. For the Forest of Sherwood. For the scene of 
 The Dream Lady. 
 
 For Curtain Scenery. Make the backdrop of green 
 denim. Cut out the trees from darker green (unglazed) 
 cambric, and have brown cambric tree trunks. Stitch to 
 denim, and hang round the sides of stage; leaving openings
 
 g 
 
 a
 
 SCENE PLATES 225 
 
 between the trees for entrances. It will look like a tapestry 
 forest. 
 
 SCENE PLATE 5 
 
 KITCHEN SCENE. 
 
 Period. Anglo-Saxon period to the present. 
 
 Countries. American, English, French, Flemish, Danish, 
 Swedish, Norwegian. The Germans and Dutch used 
 stoves, but it could be used for a Dutch or German peasant 
 scene in a poor hut where they could not afford stoves. It 
 may be used for Hans Andersen's and Grimm's Fairy 
 Tales. 
 
 Colors. The walls are brown, as if stained with smoke. 
 The door and windows are a richer brown, that is, a darker 
 brown. The stone of the hearth shelf is grayish brown, or 
 entirely gray. The stool is made of pine, and is unpainted. 
 
 Materials. Scene painted on canvas or unbleached 
 cotton. Door may be of compo board tacked to wood, and 
 painted. Wallpaper in dark brown, absolutely plain, or 
 wallpaper made like wood, can be used for both walls and 
 door at a pinch. But paint is best. See page 61. 
 
 Construction. See page 61. Plain brown walls will do 
 for the side of the stage. There may be a door like the 
 outer door leading into another room of the house. It 
 should be constructed of the same material. Window may 
 be made of paper, or paraffin paper. It should be on a 
 hinge so it can open. If it is a Saxon window, it should 
 be made like window in Scene Plate 2. 
 
 Plays. This is a most useful scene. It can be used for 
 all Fairy plays and almost all Folk plays. It may be 
 Cinderella's Kitchen, or the Kitchen in the Silver Thread. 
 At this hearth King Alfred may burn the cakes, or Jeanne 
 D'Arc see her visions. It may be a Puritan or Pilgrim
 
 226 SCENE PLATES 
 
 interior. Priscilla Mullins may sit here spinning. It may 
 be the kitchen in Olivia's house in Twelfth Night. It 
 may be used for an amateur production of The Blue Bird 
 by Maeterlinck, and be the first scene. It may be an 
 Elizabethan inn. With the window on page 247 it may be 
 a Colonial room for American history plays, or the school 
 house for Nathan Hale. The number of ways it can be 
 used is simply endless. It may be Snow White's Home with 
 the Little Men. With a stove it may be the kitchen of the 
 Ruggles family in The Bird's Christmas Carol. 
 
 SCENE PLATE 6 
 
 Scene. THE SEASHORE. 
 
 Countries. Any country that has a rocky sea coast. 
 
 Period. Any period. 
 
 Colors. Sky, light blue. Sea strip, darker blue. Rocks 
 in two shades of brown, with dark purplish shadows. 
 
 Materials. Flax canvas or unbleached cotton, painted. 
 Silk for the sea if possible. See page 66. 
 
 Construction. The sea and sky painted on the backdrop, 
 if the separate sea strip is not used. The rocks of canvas, 
 painted. Underneath this canvas, which is bulked to look 
 like rock, there should be a firm wooden frame. A lot of 
 dry goods boxes nailed' together will not be a bad scheme. 
 The rock in left foreground is made to come down in a 
 point, and leaves a place for amateurs to enter. This 
 scene can be used for a shallow backdrop. The sides can 
 be masked with rock brown curtains. If one wishes to 
 have a deeper stage, then run canvas rocks up the right 
 and left sides, as far as the eye can reach, as if this were a 
 cove. These rock wings will jut out, and give two more 
 entrances.
 
 SCENE PLATE 6 
 
 SEA COAST
 
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 w 
 
 
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 W 
 
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 3 
 
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 w
 
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 w 
 

 
 SCENE PLATES . 237 
 
 Color. Brown oak panelled walls. Windows plain, or 
 with rich armorial bearings on them. Over the hearth there 
 should be either a portrait of someone in rich brocades and a 
 ruff, or a bit of handsome tapestry. The latter is easiest to 
 procure for amateurs. It should have a hint of gold and 
 vivid blue or scarlet in it. The floor brown. 
 
 Materials. The scene may be painted on canvas, or, much 
 easier, panelled wallpaper may be bought by the roll, and 
 tacked to the wooden scene frame. It would be best to 
 cover the frame with compo board first, as the wallpaper is 
 perishable. The windows, which should swing inward, 
 should be made of black paper for lead and paraffin paper 
 for glass. Or paraffin paper with the leaded panes indi- 
 cated with crayon or strips of black tissue paper will do. 
 There should be logs and a ruddy fire. 
 
 Construction. See page 61. If this is to be a shallow 
 backdrop it is all right as it stands. But most likely it 
 will need sides, right and left. These should have panelled 
 doors, and should be made of the same material as is shown 
 in the picture and described above. 
 
 Use upright mission furniture with this scene. It is the 
 nearest thing to the correct heavy carved furniture that 
 amateurs will be likely to get. If the windows are to 
 be open see that there is a good backdrop behind 
 them. 
 
 This room, with hearth and windows exactly where they 
 are, can be changed to a Colonial room very easily. Have 
 no panels, but a cream-colored wall with a white baseboard. 
 Take out the inner frame of the hearth, leaving it absolutely 
 square. Put in the Colonial window on page 247. Have the 
 doors plain, if side walls are used. For decorations have 
 candles on the shelf, and some silhouettes in black frames. 
 The bit of tapestry can still be used.
 
 238 SCENE PLATES 
 
 SCENE PLATE 12 
 
 Scene. WOODCUTTER'S, PEASANT'S, or WITCH'S HOUSE 
 IN THE WOOD. 
 
 Period. From Elizabethan times to the present. For all 
 fairy tales. 
 
 Colors. There are two ways of doing the backdrop. An 
 effect of a cheerful wood, or a more or less cheerful wood, 
 may be given by having a pale blue sky, dark brown tree 
 trunks, and very dark almost black pine green boughs. 
 But the effect of the wood is meant to be more or less sinister. 
 For a truly sinister effect have sunset light deepening from 
 rose to crimson, and against this have the trees stand in 
 black silhouette. The floor cloth should be dark brown. 
 
 The little house should be gray, with a red roof, and a red 
 or a brown door. 
 
 Construction. The backdrop of trees and sky should be 
 painted on flax canvas, or unbleached muslin. See page 61. 
 The little house should be large enough for children and 
 small adults to enter, and should be separate, not 
 painted on the backdrop, unless this is specially desired. 
 It can be made constructed on a wooden frame, and then 
 covered with compo board, and painted. See Chapter 
 on Scenery. The window may be made of paraffin 
 paper. 
 
 Lighting. For the sunset scene, no footlights, or only a 
 very few footlights, white and red, should be used. But if 
 possible it is better to quench the footlights, and have a few 
 red and white lights along the proscenium border. The 
 sunset effect can be managed from the back, if one is very 
 skillful. Less skilled amateurs had better have the rosy 
 light thrown from the spot light box. It should fade to 
 the violet of dusk very gradually. The blue sky scene can
 
 SCENE PLATES 241 
 
 be lit in the usual way. There are no difficulties about 
 that. 
 
 Plays. For Hansel and Gretel, for Snow White. For 
 Golden Hair and the Three Bears. For The Land of Memory 
 in an amateur production of The Blue Bird. 
 
 SCENE PLATE 13 
 
 A PIRATE SHIP, or an OLD-FASHIONED or MEDLEVAL 
 SHIP. 
 
 Period. From the time of Queen Elizabeth down. 
 
 Countries. American, English, French, German, Flemish, 
 Spanish. 
 
 Colors. The sky light blue, the sea darker blue. The 
 ship brown oak. 
 
 Materials. The scene is painted on canvas or unbleached 
 cotton. The rails and cabin may be made of the same 
 material. The ropes are real. 
 
 Construction. The sky and water are on the backdrop. 
 The cabin and railing are of painted canvas, made on 
 wooden frames, or of compo board painted brown and 
 tacked to wooden frames. The cabin should be built 
 separately, like a small house, and made very firmly, as 
 exits can be made up and down the ladder and through the 
 doors. The cabin may be twelve or fourteen feet wide, the 
 sides of the boat according to the stage they end at the 
 side footlights. The bare floor of the stage may be used for 
 the deck of the ship. For mixing paints, etc., see chapter 
 on Scenery. 
 
 Lighting. Can be a daylight scene, or with the stage 
 darkened, and lights coming from the doors, and lanterns 
 hung in the rigging, can be a night scene. In this case a spot 
 light will have to be used with old-fashioned stages.
 
 242 SCENE PLATES 
 
 Plays. For Pinafore, without the pirate trappings. With 
 the pirate trappings, the Pirates of Penzance. For Drake, 
 by Louis N. Parker. 
 
 SCENE PLATE 14 
 
 MODERN YACHT, or SHIP, according to play. 
 
 Period. From 1850 to the present. 
 
 Countries. America, England, and the Continent. 
 
 Colors. The sky pale blue, the water deep blue, the boat 
 white. 
 
 Materials. Painted canvas. The railing may be made of 
 actual wire, with wooden posts, or a tennis net could be 
 used. 
 
 Construction. Sky and water are on backdrop. The 
 ventilator and hatchway are wings.
 
 PL. 
 
 s 
 
 CO 
 
 g 
 5 
 
 w 
 

 
 FURNITURE PLATES 
 
 1. ROMAN CHAIR. A chair of state for a Roman em- 
 peror or general. It was used in Rome, and from the ninth 
 to the thirteenth century in England, Denmark, France, 
 Scotland, Ireland, where it was a chair of state, seen hi the 
 houses of Kings and nobles, but never in the houses of 
 peasants. It is the type of chair always used in productions 
 of Hamlet. It was extensively used in the Napoleonic Era, 
 and then, as in Rome, it was a chair of state. It should be 
 made of dark wood. 
 
 2. SAXON SEAT. Used from the first to the twelfth cen- 
 turies in the houses of nobles and peasants alike, and after 
 that used in monasteries, inns, and peasant's houses up to 
 the eighteenth century. It was used in England, Ireland, 
 Scotland, Holland and France. Is made of dark wood, or 
 plain pine. Plain pine for peasants, and dark wood for the 
 houses of nobles and for monasteries. It is a most useful 
 piece of furniture for Miracle and Morality plays, and for 
 folk and fairy as well as historical plays. 
 
 3. MEDIEVAL THRONE CHAIR or CHAIR OF STATE. Used 
 from the tenth to the seventeenth century in England, 
 Scotland, Ireland, France and Flanders. Is useful as an 
 ecclesiastic chair for dignitaries in cathedrals and Bishop's 
 palaces for such dramas as Becket and for such plays as 
 Henry V. In the latter it is used as a throne chair. It is 
 made of solid wood, with a wooden seat. For highly decora- 
 tive purposes the two ovals of the back may be covered with 
 purple or scarlet leather (leatherette), and the strip up the 
 back gilded. A cushion of the same color as the ovals should 
 be put hi to the seat of the chair. 
 
 245
 
 246 FURNITURE PLATES 
 
 4. SIMPLE CHAIR WHICH CAN BE USED FROM 1650 TO THE 
 PRESENT. Is made of wood with a rush seat. Is excellent 
 for Colonial scenes. For scenes earlier than Colonial it 
 should be dark; for Colonial scenes it should be painted 
 white. 
 
 5. COLONIAL WINDOW, which will change the room in 
 Scene Plate n into a Colonial room if the walls of the room 
 are painted a light color.
 
 w 
 
 H 
 
 
 is 
 
 g 
 
 gg 
 
 "- 
 
 is 
 
 
 o
 
 OPEN AIR GREEK THEATER 
 
 The words open air Greek Theater have an ornate and 
 for some ears an expensive sound. But if people only 
 realized how little ingenuity and money it takes to have a 
 really servicable Greek Theater, there would be hundreds of 
 them springing up throughout the country as a means of 
 permanent delight. Many people associate the word Greek 
 Theater with the idea of a huge Stadium such as the one in 
 California, or the Adolph Lewisohn Stadium in New York 
 City, but as a matter of fact a small stadium is not only 
 perfectly feasible but well adapted to small communities or 
 even to the school yard. The ideal small Greek Theater 
 might be copied after the Brookside Theater at Mount 
 Kisko, New York. 
 
 Select a stage that will be, if possible, one hundred feet 
 long and fifty feet deep. Have it as level as possible, and 
 have it of turf that will have springiness and give beneath 
 the feet for dancing. This stage should have as a back- 
 ground or permanent backdrop either a lovely vista as in 
 Mount Kisko, where rolling hills and placid intervales melt 
 into blue distance, or there should be trees and shrubbery so 
 cunningly placed all across the back that they give the 
 effect of solid green, and yet allow the characters to enter 
 and exit. In a place where the background is lovely, yet 
 where there are no trees, a wire lattice overrun with vines 
 can be used as a background for the pillars, and it will 
 give a glimpse of the vista at each side. The posts support- 
 ing this wire lattice should be painted a very dark green so 
 that they will not intrude upon the eye. 
 
 249
 
 250 OPEN AIR GREEK THEATER 
 
 Across the back of this greensward stage the white pillars 
 are placed in a semicircle. There is space enough between 
 each pillar for a character or group of characters to enter 
 upon the scene. 
 
 Across from the stage is the place for the audience. It 
 should seat from one hundred to three hundred. A sloping 
 hillside is ideal, for people can bring rugs and cushions and 
 have a fine view. Or a permanent grandstand may be con- 
 structed. This may be of wood, left to weather until it is 
 lichen gray. Or if the hillside is of shale, it may be cut into 
 the rock. Or a ridge of stone seats may be erected. These, 
 like the seats at the theater of the Outdoor Players at 
 Peterborough, New Hampshire, may be built of field stones, 
 as a stone wall is built, and than overlaid with four inches of 
 cement on top, which gives a smooth, bench-like effect. This 
 is a very pretty way to arrange seats for an outdoor theater. 
 
 For the theater itself, all that is needed are six pillars, 
 placed in a semicircle. It does not matter whether they are 
 Grecian or Roman, fluted or plain. They should have a 
 coping along the top, to connect them. As a background, 
 they can be varied by draperies and accessories. Great 
 earthen or copper jars such as are seen in Maxfield Parrish's 
 pictures may be placed against the pillars in the foreground. 
 These jars may be jade green, copper colored, Pompeiian 
 red, or dull blue. The veriest tyro can fashion them out of 
 sculptor's clay and color them with pigments. The pillars 
 can also be backed on occasion by colored curtains, looped 
 in the center. These may be turquoise blue, pale yellow, 
 Tyrian purple, or for a color scheme of very dark costumes, 
 Pompeiian red. 
 
 For a temple of Flora in which a masque of Spring is to be 
 given these pillars may be wound with great garlands of 
 roses real roses, or artificial ones.
 
 OPEN AIR GREEK THEATER 253 
 
 A Greek table and bench made of wood rather than of 
 stone so that they can be moved, are essential properties. 
 
 There may be a shrine placed at the back of, or between 
 the two center pillars. In this shrine, which can be made of 
 plaster of pans, is a sunken bowl in which incense may be 
 burned, and here offerings may be made, as vestal dances 
 are given. 
 
 The plays given in this theater must of necessity be either 
 Greek, Roman, or plays of fantasy. It may be used for 
 Midsummer's Night's Dream the foreground for a wood 
 near Athens, the pillars for the court scenes. For Pandora or 
 Persephone or for a masque of Pomona this theater may also 
 be used. Julius Ccesar may be also given in it. The 
 mythical plays by Lord Dunsany are also possible, and with 
 this background The Sleeping Beauty and King Rene's 
 Daughter. 
 
 All these plays may be given in the daytime. The same 
 plays may be given at night with footlights carefully 
 screened by very low plants. Electric lights may also be 
 inverted in the coping of the pillars. 
 
 The pillars may always be bought or ordered from a firm 
 of contractors, or they may be obtained from the Hartwell 
 Sanders Co., 2155 Elston Avenue, Chicago, 111., for $2.75 
 a piece, making the whole theater total, with its coping 
 included, $20.00, if a hillside is used for a grandstand. 
 These pillars are eight feet high, made of white pine or 
 cypress. The Hartman-Sanders catalogue gives excellent 
 ideas along these lines. Greek furniture for the outdoor 
 theater may be obtained from the North Shore Ferneries 
 Co., Beverly, Mass. Their catalogue will prove invaluable 
 to anyone contemplating such a theater.
 
 INDEX 
 
 Admiral, 174, 176. 
 
 Aladdin, 74, 78. 
 
 America, 9, 40, 69. 
 
 American scenes, 81 . 
 
 Appia, Adolph, 7. 
 
 Armor, 20, 34; Greek, 24; man in, 
 no, in; mediaeval, 32, 33; pre- 
 mediaeval, 29; Roman, 26. 
 
 Barker, Granville, 4, 9. 
 Baskt, Leon, 8, 9. 
 Brazier, 94, 218, 219. 
 Brieux, Eugene, 9. 
 
 Carnegie Institute, 10. 
 
 Castle, 228, 229, 230, 231. 
 
 Chancy, Sheldon, 9. 
 
 Cherry Garden, 80. 
 
 Chesterton, Gilbert, 14. 
 
 Coat of mail, 20, in. 
 
 Coif, 58. 
 
 Colonial room, 84, 237. 
 
 Columbia, costume for, 106. 
 
 Compo board, uses of, 65, 67, 83. 
 
 Costumes, 19-60, 97-213; American, 
 41, 129-176; Arabian, 183; bib- 
 lical, 102-105; British, ancient, 27, 
 28; Cavalier, 43, 44, 134, 135, 137; 
 children's, 15, 55-60; Chinese, 22; 
 Civil War, 89, 70-73; Colonial, 
 150-165; Dutch, 43, 134, 135, 
 144, 145; Egyptian, 22; Eliza- 
 bethan, 122-127; fairy, 26, 56, 57, 
 58, 190-194; fanciful, 186-189; of 
 ancient Gaul, 27; of Great Britain, 
 27-41; Greek, 23, 24, 199-203; 
 
 Huguenot, 44; of India, 23; of 
 Indians (American), 41, 42, 128- 
 133; Japanese, 23, 180-183; me- 
 diaeval, 112-122; Mother Goose, 
 178, 179, 204-206; mythologic, 
 2 4> 53-55, 106; oriental, 20; Per- 
 sian, 183; Pilgrim, 44, 47, 134- 
 139; Puritan, 43, 44, 47, 134-13?; 
 Quaker, 44; Roman, 25, 26, 51, 
 100-105; Royalist, 141, 143; 
 Saxon, 31, 102-105; Spanish, 184, 
 186; symbolic, 53-55, 106; Turk- 
 ish, 183, 185; military, American 
 Revolution, 150-159; Civil War, 
 53, 170, 171; eighteenth century, 
 150-159; English, 41; Greek, 101- 
 192; Roman, 101-102. 
 
 Craig, Gordon, 7, 9, 12, 83. 
 
 Crusader, no, in. 
 
 Cydorama, 8, 64, 65, 66, 75. 
 
 Dartmouth, 10. 
 
 Dennison Tissue Paper Co., 80, 86. 
 
 Desert, 77. 
 
 Domino, 209, 210, 211. 
 
 Drama, decorative, 9, 10; Greek, 5; 
 
 of ideas, 9; non-commercial, 13; 
 
 pre-Elizabethan, 6. 
 
 Eastern Pantomime, 75. 
 
 Elf, 188-189. 
 
 Elga, Hauptman, 8, n. 
 
 Elizabeth, Queen, costume for, 127. 
 
 Elves, 57. 
 
 Entrances, how to mask, 83-84. 
 
 Envy, costume for, 58. 
 
 255
 
 256 
 
 INDEX 
 
 Fabrikona, 67, 77. 
 
 Fairy, 190-194; adapted, 24; flower, 
 
 197; palace, 64, 91, 216, 217; 
 
 season, 197-198. 
 Folly, costume for, 196-197. 
 Forest, 76, 221, 223. 
 Fortuny Lighting System, The, 8, 9. 
 France, Anatole, 4. 
 Fuchs, George, 7. 
 Fujiyama, 79, 80. 
 Furniture, box, 96; Colonial, 246- 
 
 247; mediaeval, 245-247; Roman, 
 
 245, 247; Saxon, 245, 247. 
 
 Galsworthy, John, 9. 
 Garden, 86, 233-235. 
 Germany, work of, 8; contribution 
 
 to modern stage, 9; Christmas 
 
 play in theater of, u. 
 Goose, Mother, 202, 203, 205. 
 Greek Palace, 216, 217. 
 Greek Theater, 249, 251. 
 Greenaway, Kate, 166, 169, 202. 
 
 Hamlet, 83. 
 
 Hansel and Gretel, 67. 
 
 Harvard, 10. 
 
 Hauptmann, u. 
 
 Head-dress, Egyptian, 22; steeple, 
 36. 
 
 Heath, 220-221. 
 
 Helmet, of ancient Gaul, 27; Gre- 
 cian, 24; Roman, 26; Viking, 27, 
 54- 
 
 Hennin, 36, 120, 121. 
 
 Hevesi, Alexander, 7. 
 
 Hood, Robin, 33, 88, 94, 112, 113. 
 
 Horizont, 8, 9, 10. 
 
 Housman, Lawrence, 78. 
 
 Hull House Theater, 10. 
 
 Ibsen, Hendrick, 9. 
 Indians, 58. 
 Irish Players, 6. 
 
 Jones, Inigo, 6. 
 Jones, Robert, 7. 
 Judea, hills of, 76. 
 Judith, play of, 74. 
 Jungle, how to paint a, 76. 
 
 Kitchen Scene, 224, 225. 
 Knight, Arthurian, HI. 
 
 Lighting, 65, 70, 94; indirect, 70; 
 
 scheme of, 70. 
 Linneback, Adolph, 7. 
 
 Macbeth, 13. 
 
 Maeterlinck, 14. 
 
 Mantle, 20, 21; of Saxons, 31. 
 
 Masques, 6, 14. 
 
 Mikado, The, 79. 
 
 Minute-men, American, 49, 150- 
 
 154- 
 
 Monvel, Boutet de, 15, 121. 
 Morality play, 57. 
 Moscow Art Theater, 83. 
 Mother Goose, 202, 203, 205. 
 
 Napoleon, 52. 
 Neighborhood Playhouse, 10. 
 
 Oasis, 75. 
 
 Offertory table, 88. 
 Operettas, Japanese, 23. 
 Outdoor Theater, 249, 251. 
 
 Pageants, 53, 54. 
 
 Palace, Eastern, 87; fairy, 91; hang- 
 ings for a, 85; how to make a, 216, 
 217. 
 
 Pannier, 49, 51, 158-165. 
 
 Peasant home, 224. 
 
 Peasant woman, 115. 
 
 Perspective, of scenery, 4, 64. 
 
 Pierrette, 178-180. 
 
 Pierrette, little, 206-207.
 
 INDEX 
 
 257 
 
 Pierrot, 206, 208. 
 
 Pilgrim Fathers, 88. 
 
 Pirate, 145, 150. 
 
 Pirate ship, 240, 241. 
 
 Platt, Livingston, 7. 
 
 Plays, children's, 15; Christmas, 77; 
 
 bible, 20, 74; fantastic, 87; of 
 
 India, 23; one act, 14, 15. 
 Players, Irish, 13; Washington 
 
 Square, 10, n. 
 Priming, process of, 68. 
 Properties, how to make, 91. 
 Puritan interior, 84; living room, 
 
 90. 
 Puritans, 58. 
 
 Quakers, 49. 
 
 Rahab, 74. 
 
 Regisseurs, European, 7. 
 Reicher, Emanuel, 12. 
 Reinhardt, Dr. Max, 7, 9, 71. 
 Relief Theater, 71. 
 Romans, in England, 28. 
 Rouche, Jacques, 7. 
 Royalists, 141-145. 
 
 Sandals, 20, 52, 56; Greek, 24. 
 
 Santa Claus, 187, 189. 
 
 Sari, 23. 
 
 Scale, drawing to, 69. 
 
 Scenery, 63-95; children's, 15; color 
 of, 71; curtain, 84-90; how to 
 paint, 68-73; screen, 83-84; solid 
 colored, 72; pages, 87; painted, 
 64; what it is meant to be, 5. 
 
 Scenes, American, 81-82; Arabian, 
 75; Chinese, 78; Church, 88; 
 Colonial, 94; Egyptian, 78; Euro- 
 pean, 81; of Holy Land, 21; of 
 India, 81; interior, 234, 236, 237; 
 Japanese, 79-81; Oriental, 74; 
 Puritan, 94; Roman, 81; Saxon, 
 
 71, 218, 219; selection of, 73; 
 street, 86, 230, 232. 
 
 Scene Plates, 216-153. 
 
 Schinkel, 7. 
 
 Sea coast, 226, 227. 
 
 Shaw, Bernard, 9. 
 
 Sherwood Forest, 64. 
 
 Shield, 20; of English Knights, 30; 
 of ancient Gaul, 27; of the Greeks, 
 24; of the Romans, 26. 
 
 Sky, midnight, 77. 
 
 Sleeve, "dagged," 36, 119. 
 
 Spinning wheel, 95. 
 
 Spot light, 66. 
 
 Stage, badly shaped, 63; High 
 School, 66; miniature, 70; revolv- 
 ing, 9; sliding, 9; wagon, 9. 
 
 Stanislavski, Constantin, 7. 
 
 Starke, Ottomar, 7. 
 
 Stockade, A, 82. 
 
 Sumptuary laws, 35. 
 
 Sumurun, n, 76. 
 
 Tabard, 31, 34; dress, 32. 
 
 Tagore, 23. 
 
 Theater, Art, 7, 10, 83; Bandbox, 10; 
 Brookside, 249; Children's, 15; 
 Community, 15; Experimental, 
 ID, ii ; German, 7; Greek, 247, 
 251; Little, 5; New Art of the, 
 7; outdoor, 249-251; relief, 71; 
 Young People's, 15. 
 
 Tunic, 20, 37; of ancient Britons, 
 28; of Britons, 29; of ancient Gaul, 
 27; of India, 23; long, 30; me- 
 diaeval, 35; Roman, 25, 26; 
 sleeved, 31, 32; short, 30; of yeo- 
 manry, 33. 
 
 Toga, 25. 
 
 Transparencies, 66. 
 
 Tudor room, 83. 
 
 Turban, 23. 
 
 Urban, Joseph, 8.
 
 258 INDEX 
 
 Viking helmet, 54. Window, Colonial, 246, 247; me- 
 
 diaeval, 236; Saxon, 219. 
 Washington, George, 154; Martha, Witch, 204-206. 
 
 50, 159, 161, 163. 
 
 Washington Square Players, 10, n. Yacht, 242, 243. 
 Wilkinson, Norman, 76. Yeddo, uses of, 65.
 
 The following pages contain advertisements 
 of some 
 
 BOOKS ON THE DRAMA 
 
 and 
 
 PLAYS 
 
 A descriptive circular 
 of all their books in 
 this field 
 will be sent on application by 
 
 HENRY HOLT AND COMPANY 
 
 19 W. 44th St. New York
 
 Producing in Little Theaters 
 
 by CLARENCE STRATTON 
 
 Author of "Public Speaking" 
 
 258 pages 70 illustrations 11 chapters 
 
 Annotated list of 200 plays for amateurs 
 
 $2.90 
 
 A model manual, sane and sensible, helpful and practical 
 . . . A word of praise must be given to the many illustra- 
 tions. . . . selected to adorn this book. . . . Immediately 
 helpful. Brander Matthews in New York Times. 
 
 The most important book for the small stage and one of 
 the most practical additions to theatrical literature for some 
 time past. New York Literary Review. 
 
 The amateur producer is bound to appreciate these pages 
 particularly. St. Louis Star. 
 
 It is impossible to over-estimate the value of this book as 
 a practical and stimulating help. Hartford Courant. 
 
 A record of interesting experiments in stagecraft with well 
 selected list of 200 plays suitable for amateurs. St. Louis 
 Post-Dispatch. 
 
 A varied and unusual collection of facts and data. . . . 
 Sanely and soundly acquainted with things theatrical. Phila- 
 delphia Ledger. 
 
 For the thousands of teachers who take on dramatics as 
 extra duty, the work is invaluable. Drama. 
 
 The book is extremely well done. ... To its public it will 
 be indispensable. Chicago Evening Post. 
 
 The first book which has come forth which treats all the 
 important phases of a little theater. Brooklyn Eagle. 
 
 An excellent book. . . . Knows his subject well. Boston 
 Herald. 
 
 HENRY HOLT AND COMPANY
 
 BY CONSTANCE D'ARCY MACKAY 
 
 THE LITTLE THEATRE IN THE UNITED STATES 
 
 Illustrated. With index. Large 12mo. 
 
 COSTUMES AND SCENERY FOR AMATEURS 
 
 With numerous illustrations and index. Large 12mo. 
 
 HOW TO PRODUCE CHILDREN'S PLAYS $1.35 
 
 PLAYS 
 THE BEAU OF BATH and Other One- Act Plays 
 
 The Silver Lining, Ashes of Roses, Gretna Green, Counsel 
 Retained, The Prince of Court Painters. Plays for amateurs 
 and for Little Theatres. With illustrations after Reynolds, 
 Humphrey and Romney. 
 
 THE FOREST PRINCESS and Other Masques 
 
 The Gift of Time (a Christmas Masque), A Masque of Con- 
 servation, The Masque of Pomona, A Christmas Masque, The 
 Sun Goddess, A Masque of Old Japan, The Revival of the 
 Masque, supplemented by_papers on Costumes for Masques and 
 Music for Masques. 
 
 PATRIOTIC PLAYS AND OTHER PAGEANTS 
 
 The Pageant of Patriotism and The Hawthorne Pageant. 
 Both are given in versions for outdoor and for indoor per- 
 formance, and arranged so that they can be split up into short 
 plays. 
 
 THE HOUSE OF THE HEART 
 
 Short plays in verse for children of fourteen or younger: 
 The House of the Heart (Morality Play), The Enchanted Gar- 
 den (Flower Play), A Little Pilgrim's Progress (Morality 
 Play), A Pageant of Hours (to be given put of doors), On 
 Christmas Ere, The Princess and. the Pixies, The Christmas 
 Guest (Miracle Play), etc. 
 
 THE SILVER THREAD and Other Folk Plays 
 
 The Silver Thread (Cornish), The Forest Spring (Italian), 
 The Foam Maiden (Celtic), Troll Magic (Norwegian), The 
 Three Wishes (French), A Brewing of Brains (.English )j 
 Siegfried (German), The Snow Witch (Russian). 
 
 HENRY HOLT AND COMPANY 
 
 PUBLISHERS NEW YORK 

 
 2d Printing of 
 
 CAROLINA FOLK-PLAYS 
 
 Edited by FREDERICK H. KOCH, founder of The Dakota Playmakers 
 and of The Carolina Playmakers. 
 
 Five one-act plays by various authors. When Witches Ride 
 Peggy Dod Cast Ye Both! Off Nag's Head or The Bell Buoy 
 The Last of the Lowries. With illustrations from their pro- 
 ductions. $i-75 
 
 Plays full of atmosphere and flavor, with outlaws, Moonshiners, 
 "revenoors," witches and land-pirates. 
 
 WALTER PRICHARD EATON, in Judge: "Ah! Something American! 
 . . . . and well-made, too. Here is a true amateur theatre, 
 created to bring a richer, fuller life to a community far from 
 Broadway, and even farther from Moscow. With, or without 
 George Nathan's permission, we toss up our hat and cry, Hoorah!" 
 
 LLOYD MORRIS, in The International Book Review: "Verhable 
 folk-plays, as native and indigenous to American soil as are the 
 plays of Colum or Synge to Ireland. The volume reveals quite 
 clearly the art and the versatility of the playmakers, the authen- 
 ticity of their inspiration, the verisimilitude and beauty with which 
 they portray the life and the dreams of the folk about whom they 
 write." 
 
 ROSCOE W. BRINK, in The New York Tribune: "Good stuff for 
 the people's platform. They read as if they were much nearer to 
 the folk than do 'The Three Wonder Plays' by Lady Gregory." 
 
 MAXWELL ANDERSON, in The New York World: "Likely to 
 be of more moment in the history of the drama in the United 
 States than the work of all the manufacturers and importers of 
 theatrical novelties who are famous as producers in this city." 
 
 AUGUSTUS THOMAS, in The New York Review: "I consider 
 them fully equal to any of the Irish folklore plays produced by 
 the Abbey Company under Lady Gregory's direction." 
 
 FRANCES L. BAER, in The Washington Post: "They are unique 
 bits of dramaturgy, dynamic in their dramatic sweep, filled with 
 the spirit and primitive clash of the Carolina hills and coasts, 
 touched with beauty and so unlike the artificial clap-trap that we 
 are accustomed to see in the professional playhouse." 
 
 GORDON WHYTE, in The Billboard: "Splendid examples of what 
 people, seeking dramatic expression for their feelings, can do in a 
 section of the country far from the lights of Broadway." 
 
 The Literary Review of The New York Evening Post: "One 
 gets to these plays a straight intelligible response, which is more 
 than can be said for certain Broadway successes." 
 
 NINA H. COVINGTON, in Raleigh, N, C., News and Observer: 
 "These plays possess exceptional dramatic and poetic merit and 
 above all make a great epoch in our literature." 
 
 HENRY HOLT AND COMPANY 
 
 PUBLISHERS NEW YORK
 
 Rostand's CYRANO DE BERGERAC 
 
 The translation by BRIAN HOOKER, which is played by WALTER 
 HAMPDEN. With a "prefatory gesture" by CLAYTON HAMILTON. 
 
 $i-75- 
 
 A generation of theatre-goers has passed since Coquelin and 
 Mansfield played "Cyrano" here, and in that time the play has 
 not been given excepting for an occasional special matinee. 
 
 Walter Hampden tried the several existing translations, but 
 did not find one which he felt he could enjoy acting. He feels 
 this play fairly inspired our noted poet, Mr. Hooker. Mr. 
 Hooker not only gives us fine poetry, but a version of Rostand's 
 entire play, that both faithfully retains his thought and is emi- 
 nently suited to stage production. 
 
 Clayton Hamilton in the Introduction: "The English text 
 has turned alive under his hands and kindled itself into a 
 veritable poem. It conveys from one language to another the 
 briskness, the brilliance, the eloquence, the spontaneity, the 
 rapture of the original." 
 
 Constance D'Arcy Mackay's FRANKLIN 
 A play in four acts. By the author of The Beau of Bath and 
 other XVIIIth Century Playlets, which is in its third American 
 edition and is to be published in England. She shows us 
 Franklin from his "Poor Richard" days through the signing of 
 the treaty with France. $1.75- 
 
 Boston Herald: "We see Franklin as the wag, the dreamer, 
 the lover, the scientist, the author, the diplomat, the patriot. 
 It is a fascinating play to read." 
 
 Theatre Magazine: "The character of Franklin himself is 
 delightfully drawn, a splendid part for some real actor to bite 
 into . . . the other parts each stand out in a life-like manner, 
 with freshness and charm. . . . Franklin only needs his proper 
 interpreter to become a second 'Disraeli.' " 
 
 George Middleton's and Guy Bolton's 
 POLLY WITH A PAST AND ADAM AND EVA 
 
 Two three-act comedies of America today in one volume. 
 Both have had long runs on the professional stage and are 
 eminently suitable for Little Theatres. 
 
 Bookman: "Much gdbd dialog and a deal of amusement." 
 
 Providence Journal: "They have a marked strain of wit 
 running through them." 
 
 Clayton Hamilton in Ne<w York Herald: "The characters 
 are adequately true to our contemporary American life, and 
 the dialog is fluent, brisk and very often brilliant." 
 
 HENRY HOLT AND COMPANY 
 
 19 WEST 44TH STREET (viii '23) NEW YORK
 
 BY CLAYTON HAMILTON 
 
 Each book fully indexed, izmo. $2.25 net. 
 
 Brander Mathews in New fork Times: "His four volumes 
 of collected dramatic criticisms are not unworthy to be set on 
 the shelf by the side of Lemaitre and Faguet. ... He has 
 insight and sympathy and disinterestedness. These plays are 
 vital and vivid in Mr. Hamilton's pages. 
 
 PROBLEMS OF THE PLAYWRIGHT 
 
 Building a Play Backward ; Surprise in the Drama ; High 
 Comedy in America; The George M. Cohan School of Play- 
 rights; Middle Class Opinion; Dramatic Talent and Theatrical 
 Talent; The Plays of Lord Dunsany; Romance and Realism in 
 the Drama; Scenic Settings in America; The Non-Commercial 
 Drama; A Democratic Insurrection in the Theatre; A Scheme 
 for a Stock Company; What's Wrong with the American 
 Drama, etc., etc. 
 
 STUDIES IN STAGECRAFT 
 
 The New Art of Making Plays, The Pictorial Stage, The 
 Modern Art of Stage Direction, A Plea for a New Type of 
 Play, The Undramatic Drama, The Supernatural Drama, The 
 Irish National Theatre, Where to Begin a Play, A New De- 
 fense of Melodrama, The Art of the Moving-Picture Play, 
 The One-Act Play in America, Organizing an Audience, etc., 
 etc. 
 
 THE THEORY OF THE THEATRE 
 
 What is a Play? The Actor and the Dramatist. Stage 
 Conventions in Modern Times. The Four Leading Types of 
 Drama. The Modern Social Drama. The Public and the 
 Dramatist. Dramatic Art and the Theatre Business. Dramatic 
 Literature and Theatric Journalism. The Function of Imagin- 
 ation, etc., etc. 
 
 SEEN ON THE STAGE 
 
 This book covers a wide range of plays, authors, etc., includ- 
 ing O'Neill, Dunsany, Ervine, Drinkwater, Shaw and Tolstoi. 
 
 BY LOUIS CALVERT 
 PROBLEMS OF THE ACTOR 
 
 With an Introduction by CLAYTON HAMILTON. 
 John Corbin in The New York Times: "The best book 
 on acting in English . . . teems with happy anecdotes." 
 
 $2.25. 
 
 HENRY HOLT AND COMPANY 
 
 PUBLISHERS (10*23) NEW YORK
 
 d>. .01 1 Y OF C JI ORNIA LIBRARY 
 
 Los Angeles 
 ^" "" the ' st date ' '
 
 3 1158 00010 6293 
 
 O^SIKSON* LIBRARY FAOUTY 
 
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