then rises, and steps back to his appointed place to the left or right of the altar, coming to a standstill just as the music ends. As the next verse begins, the next person enters the chancel. The movements should be made with deliberation and dignity and so thoroughly rehearsed that keeping time to the music becomes instinctive, that the actor's mind may be on the expressing of the emotions of assurances that his gift will ring the chimes, and later disappointment that the chimes do not ring.

When it comes Holger's turn to offer the pennies, the music begins again as with the others and accompanies the action through to the moment when the priest holds the pennies high above his head,—here the organ and singing break off abruptly, the chimes ring out and keep pealing for a moment, without other music.

On the first note of the chimes the priest wheels swiftly and with a commanding gesture signals the people grouped about the altar to their knees. He kneels also. The organ begins again, softly playing the final Alleluia. The angel enters from the right side, stands on the step of the altar, the central figure,—all about still kneeling awestruck. As the music continues the angel half sings, half chants the speeches, and underneath her voice, which should be as lovely as possible, come in the voices of the other singers very softly at first, like an echo from afar. As the angel's voice stops, those of the other singers grow into the great triumphant crescendo of the finale. Do not be afraid of holding this tableau while the music finishes.—Indeed none of the chancel scene should be hurried. Take it with great deliberation and give whatever element is holding the scene at the moment, (whether the action or the music) plenty of time to make its effect. The Alleluia is played through twice, once softly during the angel's singing the second time in the triumphant climax. As this second singing ends, the lights on the chancel are blotted out, the back wall of the hut is replaced, the old woman disappears, the lights in the hut go up again revealing Holger standing spellbound staring at the wall where the vision had been. As he turns to speak to the woman and during his final speeches, the organ plays softly as though from a great distance and the chimes ring again but not so loudly as before. This music continues till the front screens are brought together and the play is over.

COSTUMES

COSTUMES.

The costumes of this play are mediaeval, picturesque and easily constructed.—The accompanying plates will give the best idea of their general appearance. The amounts of goods required for each are noted below.

First of all, in planning the costuming for a play a definite color scheme should be decided on with due regard for the scenery against which the colors are to stand out and for the lights which will greatly affect all values. Here is an opportunity for delightful study and the exercise of the highest artistic ability. Skilful lighting and a well chosen background will make cheesecloth as effective as cloth of gold. Taste and careful experimentation not money secure the best results.

Family ragbags will often yield excellent material for theatrical costumes, and of much better quality than would be bought new for the purpose. But if the stuff is to be purchased, two materials will be found especially suitable and inexpensive. For the peasants' costumes canton flannel is recommended as it has body and comes in beautiful dark reds, browns and other shades which light up well. For the dresses of the richer group in the chancel, sateen is best. It, too, comes in lovely colors and has a very rich glossy finish, though to give variety an occasional piece of cheap velvet or upholstery brocade is very effective. For trimming these richer garments, bits of fur or passementerie can be used, or the material may be stencilled or even painted freehand. Large gold beads sewed on in a simple design gives the appearance of rich embroidery, as do also flowers cut out of chintz and carefully pasted on.

All of the men's jerkins or tunics are made on the simple lines of a man's shirt, opened a little at the neck and belted in at the waist.

The most inexpensive tights for amateurs are well-fitting cotton underwear, dyed the desired color. The children and Bertel can wear their own plain soft low-heeled slippers. The rich folk in the chancel wear their own slippers and draw on over them, socks dyed to match the tights; these socks if rolled down at the top make a very passable substitute for the Romeo shoe of the period desired.

The following notes refer to the costumes of "Why the Chimes Rang" as shown in the plates, the numbers corresponding to those given the figures therein. The estimates of the amount of goods required are all calculated on the basis of yard wide goods for an adult of average size, except in the case of the two children, the costume of the older being planned for a fourteen year old boy that of the younger for a child of ten.

1. The old Woman: underrobe, cut in straight simple lines, gracefully belted, 5½ yards, cloak and hood, 6 yards. If this cloak is black or nearly so it will help to conceal her entrance and exit, as black against black is practically invisible on the stage.

2. Bertel: jerkin, gaiters and cap (all of same material), 3 yards; shirt, (under jerkin) 2½ yards; cloak, 2½ yards. If preferred Bertel's jerkin can be made with sleeves of the same goods instead of the white shirt showing as in the picture.

3. Holger: jerkin and cap, 1½ yards; cape, 2 yards.

4. Steen: jerkin and cap, 1½ yards; cape, 2 yards.

It may be easier to lengthen the skirts of the boys' jerkins almost to the knee and let them wear regular stockings and bloomers instead of tights. If long sleeves are preferred for them, a pair of stockings cut off at the ankle are easily attached at the arm hole and make very good sleeves.

5. The Angel: outer robe, 7 yards; under robe, 5 yards.

This costume is best made of creamy cheesecloth over an under robe of the same, as cheesecloth is faintly luminous in an intense light. It should be long enough to lie on the floor two or three inches all round as a trailing effect is desirable.

6. Rich Woman: dress, 6 yards.

Her head dress is easily made of stiff white paper rolled up in cornucopia shape and sewed securely, over this a long white veil or scarf is draped.

7. The Rich Man: tunic, 2 yards; shirt, 2½ yards; or 1½ yards if the sleeves and neckpiece can be sewed right into the tunic, doing away with the under garment. If the costumes are to have repeated wear, it will be better to have the shirts made separate and of a washable material, they can then be cleansed more frequently than will be necessary for the tunics. The Rich Man's chain can be made of the heavy brass chain that comes for draping back curtains.

8. The Priest: under robe, 4½ yards; outer robe 6½ yards. This costume will of course be greatly modified by the custom of the church of which he is supposed to be a representative.

9. The King: tunic, 2 yards; shirt, 2½ yards; robe of office, 4½ yards. The King's