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DIE

FUR DAS

STUDIENJAHR 1892/93

AM 24. OCTOBER 1892.

WIEN.

ALFRED HOLDER

K. UND K. HOF- UNI) UNIVERSITATS-HVCHHANDLEk
1892.

C\J

CO
vD
O

r}^.^iaA/.unh

LIBRARY
UNIVERSITY OF CALIFORNIA.

Received Cr^S- ,189^

Accession No. ,J~/ Al^ ^ . Class No.

j "^Oli. 3E,, asro- s.

■TVr.A.'Sr, 1897.

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pANCY Drills

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EVENING AND OTHER

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fTANCY n^^ILLS FOR

prVENING and Other

PNTER TAINMENTS.

FANCY DRILLS

EVENING AND OTHER ENTERTAINMENTS.

TO THE civilian there is an undefinable charm
about everything that savors of military life
and, there are few people who will not stop to
watch a company of soldiers on parade or
when practising their manoeuvres. The manu-
als used in the drilling of soldiers have been
variously applied in the arrangement of the broom, fan, hoop and other
drills which have lately been so popular as features of school exercises,
church fairs and private entertainments.

A drill with school children is generally more pleasing than one
in which older persons take part. The effect is much prettier when
short costumes are worn, which would, of course, be impossible if the
"soldiers" were misses or young women. Cliildren delight in any
form of entertainment that requires '' dre.'jsing up," and they can therefore, be rehed upon to
practise the drills as many times as the leader may demand. Then, too, children are not nearly so
self-conscious before an audience as their grown-up sisters, and the average child is much more
graceful than the average miss. In some drills, however, tall figures are much more effective
than short ones, and for such occasions persons who have attained at least the average height should
always be chosen. This is especially the case with the broom drill, the brooms being too long to be
conveniently handled by little folks.

As the time for a school entertainment draws near, a drill suitable for children will be eagerly
discussed. In such a case, much if not all will depend on the person upon whom the task of drilling
the children devolves. They should be required to be exact in the performance of their movements,
and the drilling should be very thorough. Careless, indifferent imitations of the motions should
never be allowed. The costumes should be uniform in material, color and style of making, and
particularly in the length of the skirts.

In deciding what costumes will be appropriate and pretty it is well to consult books of Iiistory,
legend, tradition and nur.sery lore. In them will be found many pretty ideas for quaint and
attractive costumes. A book which contains hundreds of illustrations of fancy costumes taken from
the volumes named is published by us under the title of " Masquerade and Carnival," and costs 25 or
50 cents. In it are shown the costumes of all nations, floral costumes, and fancy dress costumes for
both little and grown people, with full descriptions of suitable fabrics and appropriate colors.

Black stockings and black slippers or lov\- ties should be worn, as the average mother, in pre-
paring a fancy costume for her child, will most heartily approve of any plan that leaves very little
waste material on her hands.

Explicit directions will be given for each drill, but the size of the stage, the position of the
entrances, etc., will sometimes prevent their being exactly followed; and it is in such cases that the
cleverness and ingenuity of the director are called into play. Care should be taken that the com-
pany is not too large for the stage, as it is almost impossible to execute certain figures correctly (as
No. 7 in the tambourine drill) if the line of players is too deep for the stage. Each drill is
preceded by a more or less complicated march, the company beiui.' finally evolved into two or more
lines ready for the drill. The terms right side and left side of the stage mean the right and left side
from the spectator's point of view, except when it is expressly stated that the right or left side of
the maids is meant.

Tr/yt/

FANCY DRILLS FOR ENTERTAINMENTS.

THe TAAFiOaRING Dl^ILL.

THIS drill requires eight, twelve or sixteen girls of about the same
size, the last number being the most effective if the stage is large
enough to allow freedom of motion m the drill and march. The
costume should consist of a very full skirt of bright-blue checked
cloth finished with a six-inch hem, and a blouse-waist of thin white
material having full elbow sleeves. The skirt should be of the
same length in every instance, and the blouse should be short
and should fall about two inches over the top of the skirt. Blue
ribbon hows secured on the shoulders will add much to the effect of
the costume. Black stockings and slippers may be worn, and the
hair may be loose and wavy. The tambourines should be trimmed
with eight-inch streamers of narrow blue-and-vvhite ribbon.

THE MARCH. — This is always accompanied by music, which
should be well acct^nted on the first and third beats and should be
played steadily and not too rapidly. For leaders in the march
quick, intelhgent girls should be chosen, who can be depended on
to retain their presence of mind.

1. — The girls enter from the right and left of the stage at the
back, eight on each side, those entering from the right carrying
their tambourines in their left hands at the side of the body, and
those from the left carrying theirs in their right hands. The diagram
on the next page will assist the reader in understanding the
directions given for the march :

The line on the left enters the stage at A, and that on the right
enter* at B. Keeping strict time, they march respectively to D
and C, turn the corners at right angles and cross the stage to-
wards the center, F. When the Hnes meet at F the two leaders turn toward the back ot the stage
and, followed by their respective lines, march side by side to E, where the lines separate, that
on the left turning to the left and that on the right to the right.

2. — Reaching A and B, the lines again march to C and D and then across the stage, passing
each other at F ; they turn at the front corners, pass back on the sides, turn at A and B and
meet at E, the center of the back.

3. — The tAvo leaders then form a pair, and each raises the hand carrying the tambourine, lifting
the lower arm as far as the elbow, and holding the upper arm close to the body. The tambourines
ar« bent slightly outward, touch each other at the top, and thus form a pointed arch. This couple
march to the front of the stage at F, followed by the others in pairs, with their tambourines held
in like manner.

4. — On reaching F, the first couple turn to the right, the second to the left, the third to the
right, and soon. When D and C are reached, curves instead of angles are turned, and the couples
pass to the back of the stage at A and B, turn, and meet at E.

5. — After meeting at E the couples unite to form fours, the tambourines are lowered, and the
arms of each girl are crossed or folded, the left hand being placed outside the right upper arm, and
the tambourine being held firmly against the left arm as high as possible. The fours then march
to the front at F.

6. — Reaching F, the fours separate into pairs, which turn alternately to the right and left.
The tambourine is now held in the riglit hand against the front of the chest, with the top touching
the chm ; and the left arm hangs gracefully at the side. The couples march to D and C, thence
back to A and B and then to E, the leading couples raising their tambourines as they meet.

7.— The leading couples halt as the}' meet, and each girl grasps her tambourine with both
hands, raises ii upward and, tipping it forward, helps to form a pointed arch. As the second couple
meet they pa?s under this arch and take their stand beside the first, with upraised and extended
tambourines. The third pair do likewise, and so do all the others.

8. — The leading pair are now at the back of the line. They lower their tambourines, pass
through all the arches iu single file toward the front of the stage, and are followed by the rest of the

FANCY DRILLS FOR ENTERTAINMENTS.

company. Reaching F, the first girl turns to the right, the second to the left, and so on, passing to
D and C and then to the back of the stage, and meeting again at the center-back, E.

9. — At E they form couples and march to the center-front, F, where the first couple turns to
the right, the second to the left, and so on, passing again to D and C, and down the sides to A and
B, and meeting at E.

10. — The couples now unite to form fours, march to the front of the stage and take theic
position for the drill, the tambourines being held at the right side.

This march is very eflective when well executed, but care should be taken that the lines do not
march too close to the sides or back of the stage, and that when they pass each other there is no
suspicion of crowding. The girls should not march too closely together. In the seventh figure of
the march, when the first couple take their position to form an arch with their tambourines, they
should be far enough from the back of the stage to permit the others to pass easily between thena»
and the back.

THE DRILL. — The music for the drill should be a simple schottische or polka played with'
moderate rapidity ; and each figure should occupy four measures or sixteen beats of the music.
The leader in drilling should give the orders in a clear, distinct voice, uttering the words shortly and
sharply to give the whole a truly military air. The position of the lines is of great importance in
producing a good effect. The heel? should all be on the same hne, the feet turned out to form an
angle of about sixty degrees, the elbows placed close to the body and the head held erect and square
to the front, with the chin well back and the eyes straight ahead. If the captain appears on the
stage, she should wear a costume similar to those of her company ; but if she stands below the stage in

front of the audience, a fancy costume is not absolutely necessary, though it would be verv attractive.
The drill is particularly etfective when executed without commands, but this requires a weari-
some amount of practise, and even then the success of the undertaking, especially when youno-
children are the performers, is by no means certain. The children should be instructed to count for
themselves all through the drill, but perfectly inaudibiy and without moving the lips.

1. Rest. — The tambourine is held in the right hand at the side, and the cymbals are slio-hly
jingled while the music plays four measures. "^ "

2. Sahde. — Raise the tambourine in the right hand, touch the forehead with its upper edo-e
lower it, and rest it on the left shoulder front. ° '

3. Rest. — Same as I.

4. Right Facp.—T!ske one step obliquely to the right, with the tambourine held in front of the
forehead, and quite perpendicular to it. The body should be bent forward with the motion and the
left foot gracefully raised until the toe touches the floor.

5. Rest. — Return to position by a backward step, and hold the tambourine by the ri<'-ht side
jinghng it slightly. "^ '

6. Left i^ace.— Take one step with the right foot oliquelv to the left, holding the tambourine
back of the right ear.

7. Rest.—^zme as 5.

8. Attention. — Raise the tambourine above the head, holding it with both hands.

4 FANCY DRILLS FOR ENTERTAINMENTS.

9. Charge. — Drop the clenched left hand, strike the tambourine against it, and stamp the right
foot once simultaneously with the stroke of the tambourine,

10. Rest. — Same as 1.

IL Left Reverse. — Extend and jingle the tambourine while four beats of the music are
counted, and place it under the left arm on the fifth count.

12. Rest. — Same as 1.

13. Rest on Arms. — Kneel upon the right knee, holding the tambourine in the right hand.
Place the tambourme on the bended left knee perpendicular to it, rest the left elbow on the top of
the instrument, and support the chin with the left hand.

14. Guard. — One of each pair rises, grasps her tambourine in her right hand, leans toward her
partner, bends slightly over her and raises the tambourine in a semi-defiant posture, casting her eyes
upward at an imaginary foe. The kneeling girl raises her eyes to her partner with an appreciative
look. The girls who rise thus on <_'uard should be every other one from the extreme left of the
stage in the first and third lines, and every other one from the right of the stage in the second and
fourth lines. By this arrangement the entire figure is seen by the audience.

15. Rest. — Same as 1.

16. Lay Down Arms.— L?iy the tambourine at the feet and rise quickly, with the body erect
and the hands on the hips.

17. Take Arms. — Take up the tambourine and rest it on the right hip, with the arms akimbo.

18. Rest. — Same as 1.

19. Trail Arms. — Touch the head, right shoulder, right hip and ground with the tambourine,
making a distinct clash with each touch, and allowing four beats for each. The grasp on the tam-
bourine should not be loosened while the instrument is on the floor.

20. Rest. — Same as 1.

21. Support Arms. — Hold the tambourine erect at arm's length over the head, and shake it
continually.

22. Rest.— Same as 1.

23. Load. — Clench the left hand and raise it to the level of the eyes. Grasp the tambouiine
with the right hand, and raise it to the heiglit of the head, well to the front. Allow two beats tor
taking the position, and on each succeeding beat bring down the tambourine with a clash upon the
left hand. This represents the loading very well, but the clashing should not be too loud, else the
sound will too closely resemble that made in the next figure.

24. Fire. — Make one clash as loud as possible by striking the tambourine against the lower left
arm, the arm being brought quickly backward from the position held in 23. This occupies but one
beat of the music, and the position should be held while the remaining beats are counted,

25. Forward March. — The front couple on the left of F turn toward D and the couple on the
right toward C, and the couples in the rear march toward the front in single file, turn a right angle
at Fand leave the stage at A and B,

When it is impossible to have the two entrances required by the above arrangement of the
drill, a single entrance at E may easily be made to answer. On entering the stage^ the first girl
turns to the right, the second to the left, the third to the right, and so on ; they then pass to A and
B and follow the directions as given. It is well to remember in preparing a drill of any kind that
the various figures really form tableaux, and that the grouping shall be made as efiective as possible.
This point should be especially regarded in arranging 13, 14 and 24 of this drill.

FANCY DRILLS FOR ENTERTAINMENTS.

THG Dai^VaaiD^' Df^ill.

quarters will be required,
stores, but they look just i

FOR this exhibition eight, sixteen or twenty-four gii'ls may be
eliosen, the largest number being most imposing if the stage
IS roomy enough to permit of perfect freedom of movement.
The costume should consist of a blouse-waif^t and a full, plain
skirt, the waist being worn beneath the skirt, and a girdle that
fits the figure snugly being arranged to conceal the belt of the
skirt. The waist should be of white material, with a tucked
or finely plaited yoke, and elbow sleeves finished with frills of
lace. The skirt may be made of chambray, gingham or calico,
and the goods may be either plain, colored or in a Dolly Var-
den pattern, the latter producing the more showy skirt. A
black velvet girdle will prove very effective. The feet should
be clad in low shoes and black stockings, and the hat should
be a broad-brimmed straw trimmed with ribbon arranged in
a bow and long streamers at the back, the ribbon being chosen
to match the skirt.

Each dairymaid carries a milking-stool consisting of three
wooden legs and a circular wooden seat. The legs should be
ten inches long and an inch and a-half in diameter, and the seat
should be nine inches in diameter and about the same thick-
ness as the legs. Stools for this purpose are sometimes quite
elaborately decorated, the seats being upholstered and dainty
ribbons tied about the legs. Whatever ornamentation is ap-
plied to the stools, it should be uniform on all; and if ribbons
are used, they should match those on the dairymaids' hats.
A simple decoration for a milking-stool may be arranged in
the following manner: Gild the entire stool with gold paint,
and let it dry thoroughly. Then tie one end of a piece of
ribbon in a compact bow on one of the legs ab'^nt six inches
from the lower end. Do not cut the ribbon, but carry it grace-
fully up to the leg at the left of the one already decorated, and
tie it at the top in a bow having but one loop. The ribbon
should be at least two inches wide, and fully a yard and three-
Decorated milking-stools may be [)urchased at many large fancy-goods
well when made by a carpenter and trimmed at home, and cost very little.

THE MARCH. — The use of music is optional, but a good, stirring, instrumental march cer-
tainly leiids dash and spirit to the performance.

1. — The girls enter in couples at the right and left of the stage, six couples on each side. The
milking-stool is carried at the right side, the top being held against the hip, and the leg which has a
bow about its middle being grasped with the right hand. By consulting the diagram on the next
page, the reader will more readily comprehend the various movements of march:

The two divisions enter the stage at A and B, pass each other at F, march up the sides to C
and D, and cross the front, passing each other again at E; they then pass down the sides to the back
of the stage and meet at F.

2. — As the couples meet at F they join, making one file of doubles, No. 1 of the first division
joining No. 1 of the second. No. 2 of "the first joining No. 2 of the second, and so on. In this order
they march to the front of the stage. At E the file on the left turns to the left of the stage and
passes to C, while that on the right turns to the right and passes to D ; the files then march to A
and B.

3. — From A and B the files march according to the dotted lines in the diagram. Care should
be taken in turning the corners to descril)e perfect right angles. Round turnings are very unmili-
tary and would detract much from the elFect of the march.

4. — Meeting at E, the files pass each other, march once more round the stage and meet at F.

5. — Here the files unite to form couples, and march to E, where the file, still in couples, turns
to D and thence to B, A, C, D and B, to F.

FANCY DRILLS FOR ENTERTAINMENTS.

6. — From F the file marches toward? E, the first, third and fifth couples slackening their pace
slightly, while the second, fourth and sixth move to the left diagonally into line, forming fours.
This movement is technically called "Left front into line" and is not difficult for the amateur cap-
tain to perfect. The first couple having shortened the length of their step (" slackened pace "), the
second couple turn to the left and join the first in a straight line, making four abreast. In the same
way the ihn-d couple slacken their pace and are joined by the fourth. Those couples that join the
ones in front of them mcrease the length of their step, but keep perfect time with the music. To
give this manoeuvre a truly military eflfect, the fours should march the length of a four apart.

7. — At this point the nature of the march depends upon the size of the stage. If the latter is
large, the fours will pass from E to C, A, B, D, E and F. At F the couple on the right in the first four
turns' to the right, while that on the left goes to the left; all the fours divide in the same way, and
the resulting files march respectively to B and D and to A and C, pass each other at E, and march
round the sl;age until they meet at F. If, however, the stage is not sufiiciently large, the line of
march will be different. When the first four reaches E the couple on the right turns to the right,
and that on the left turns to the left ; the other fours divide in the same way, and the files march
respectively to D and B and to C and A, then cross the back of the stage and pass once entirely
round the stage, meeting at F.

8. — The files here unite to form a single file of couples and march to E.

9. — At E the maids on the right turn to the right and those on the left to the left, and all march
in single file until A and B are reached.

10. — At A and B the files turn snarply and march diagonally across the stage, the file at A pass-
ing to D, that at B passing to C, and each maid passing another at the center of the stage. G.

II. — From C and D the files cross the stage respectively to D and C, where a similar manoeuvre
to the preceding is performed ; the file at D turning sharply and passing diagonally across the stage
to A, and that at C passing to B. From A and B the files cross the stage and meet at F.

12.— At F the files again unite in couples and pass to C, where the first couple turns to the
right, the second to the left, the third to the right, and so on. The two double files thus formed
pass down the sides of the stage to the back and meet at F.

13. — litre the couples unite to form fours. The first four marches toward the front of the
stage and halts two feet from the front edge ; the second four halts two feet behind the first, the
third two feet behind the second, and so on.

14. — At a motion from the captain when all are in position, each maid grasps her stool with
both hands and holds it in front of her body during eight counts of the music; she then places the
stool on the floor in front of her (eight counts), steps to the right of the stool (eight counts), and
seats herself.

THE DRILL The movements of the drill are executed with music, which must be suiBciently

subdued lo permit the voice of the captain to be heard, although at the same time it must be clearly
played and the time well marked. Any ordinary ^ schottische music will answer. The orders
should be given, and, as far as possible, obeyed in true military style. After all the numbers of the

UNIVERSITY
FANCY DRILLS FOR ENTERTAlNME^^|fc^i^RH\K

drill have been given, the "manual without command" is performed. This consists of a repetition
of all the movements without the commands of the captain. This is really the most effective part of
the drill, but it should never be atiemped with an unrehable company. For this reason it is well to
choose girls at least twelve years of age.

It vvill be remembed that the maids are seated on the stools at the close of the march. The
number of beats which are allowed to elapse before the first drill command is given is. of course,
optional with the captain, bnt the wait should not be too long, The number of beats required for
each movement is given, and the wait between the commands may be either four or eights beats in
length, as desired.

1. Attention. — Each maid rises gracefully from her stool and stands erect at its left, with arms
akimbo and the hands placed on the hips. Four beats are allowed for the command and for rising
from the stool, and one for stepping to the left ; and seven more are permitted to elapse before the
second order is given, the whole thus taking up three bars of the music, or twelve beats.

2. Salute. — ("No. 1.) Raise the right arm smartly in the same direction as that taken by tlie
right foot, the palm of the hand being held downward, with the thumb close to the forefinger, and
the arm extended horizontally. (No. 2.) Bring the hand around until the thumb and side of the
forefinger, touch the forehead, and at the same time turn the head a little to the left, looking toward
the captain, who returns the salute. (No. 3.) Carry back the hand to the first position, casting the
eyes to the front. (No. 4.) Drop the arm quickly by the side. Each number of this movement
should occupy two beats of the music.

3. Carry Arms. — Raise the stool with the left hand (4 beats) ; with the help of the right hand
place it under the right arm, with the top flat against the hip (4 beats), and drop the left hand to the
side (4 beats).

4. Present Arras. — Place the left hand on one of the legs of the stool, then grasp it with both
hands (4 beats), and raise the stool in front of the body above the waist-line, holding it at arm's
length (4 beats).

5. Carry Arms. — Same as 3.

6. Right Shoulder A^-ms. — Place the left hand on one of the legs of the stool (4 beats), raise
the stool with both hands to the right shoulder (4 beats), and drop the left hand to the side.

7. Left Shovlder Arms. — With l>oth hands bring the stool in front of the body (4 beats), raise
it to the left shoulder (4 beats), and drop the right hand to the side.

8. Carry Arms. — The same as 3.

9. Right Carry. — With both hands place the stool under the right arm, and drop the left hand
to the side (8 beats).

10. Left Carry. — With both hands place the stool under the left arm, and drop the right hand
to the side (8 beats).

11. Carry Arms. — Same as 3.

12. Support Arms. — Grasp the stool with both hands (4 beats), and place its top on the head,
with the legs pointing upward (8 beats). The stool should be held in position with the right hand,
and the left should be dropped to the side.

13. Carry Arms. — Same as 3.

14. Guard Arins. — Take the stool in both hands (4 beats), and place it on the floor at the right
side of the body (4 beats).

15. Rest.— Sit on stool (8 beats).

16. Attention. — Same as 1.

17. Without Command. — The fourteen manuals following t are now executed in succession
without orders from the captain, four beats being allowed after each manual. After the last manual
(15) has been performed the maids remain at "rest" until the captain again commands.

18. Attention. — Same as 1.

19. Salute.— ?>a.me as 2.

20. Carry Arms. — Same as 3.

21. Break Ranks, March. — The first line of maids takes one step forward, and the couple on
the right turns to the right and that on the left to the left. All the other fours do the same, and the
double files march to D and C and then to B and A.

22. — The files pass each other at F and march once round the stage, meeting at F.
23. — Here the files unite in one double file and pass to the front of the stage at E.
24. — The maids on the right turn to the right, and those on the left to the left, and the two
smgle files pass respectively to D and C and then to B and A, where they leave the stage.

FANCY DRILLS FOR ENTERTAINMENTS.

THG gl^OOA Dl^ILL.

TWELVE or sixteen well grown girls, as nearly equal in height as
possible, should be chosen for this pretty exercise; but if only eight of
about equal size can be secured, it is wiser to present the drill with
this small company than to select a larger number of girls who vary
considerably in height.

The costume should consist of a blouse-waist of white cambric
trimmed on the sleeves and collar with bands of Turkey-red; a round
skirt of the red material faced at the bottom with a six-inch band of
cambric; a belt of Turkey-red striped its entire width with length-
wise rows of white cotton braid or tape placed their width apart; a
small red cap with a visor; black stockings ; and low ties or slippers.
Narrow strips of cambric may be used instead of braid for decorating
the belt, but very careful work will be needed to apply them satisfac-
torily. The skirt may be fashioned by pattern No. 3967, which is in
nine sizes for ladies from twenty to thirty-six inches, waist measure,
and costs Is. 6d. or 35 cents; the waist by pattern No. 3982, which
is in thirteen sizes for ladies from twenty-eight to forty-six inches,
bust measure, and costs Is. 3d. or 30 cents; and the cap by pattern
No. 3637, which is in seven sizes from six to seven and a half, hat
sizes, and costs 5d. or 10 cents.

During the march the broom should be carried nearly vertically at

the right side, with the stick resting against the shoulder. The right

arm should hang nearly its full length near the body, and the hand

should grasp the handle of the broom just above the sweep or brush,

the thumb and fore-finger being held "well to the front. The sweep

should rest flatly against the side of the skirt, as at 6gure No. 3, page 10.

The brooms must, of course, be exactly alike. In purchasing them

it is well to choose those that are slight and shapely and have short

sweeps, for heavy, clumsy brooms would greatly mar the effect of the exhibition. A variety

known as the "lady broom" will be found quite satisfactory for the purpose, as it has a slender

stick and a short, compact brush.

THE MARCH. — The music for this portion of the exercise should be a spirited march, strongly
accented on the first and fourth beats; and it should be played with vigor, but not too rapidly.
The diagram of the stage presented on the next page will materially aid the reader to comprehend the
instructions, which are based on the supposition that sixteen girls are to take part in both the march
and drill.

L— The girls enter the stage from the left and right (A. and B), eight on each side, carrying
their brooms at the right side, as described above. (See " Carry Arms," figure No. 3, page 10.)

2. — The files march toward the center of the stage, pass each other at C, and continue to B and
A, thence to F and D, and across the front of the stage to E.

3. — At E the files unite to form oouples and pass to the back of the stage at C, where the first
couple turns to the right, the second to the left, the third to the right, and so on, the two double
files passing to A and B.

4. — From A and B the files march to D and F, and cross the front of tlie stage to F and D,
passing each other at E ; they then march to B and A, and meet again at C.

5. — At C the couples unite to form fours, and march down the center of the stage to E, where
the first four turns to the right, the second to the left, and so on ; the two divisions then march to D
and F, and to A and B, and meet once more at C.

G. — At C the divisions unite to form a double file, which marches to E, where it separates into
two single files, the girl on the right in the first couple turning to the right, and the one on the left
to the left; the files then pass to D and F, and to A and B.

7. — At A and B the leaders of the files turn obliquely and pass diagonally across the stage,
followed by their soldiers; the file at B thus marches to D, and that at A to F, the two files passing
each other at the center of the stage, G.

FANCY DRILLS FOR ENTERTAINMENTS. 9

8. — The file at F passe<; acro=s the front of the stage to D, and that at D passes to F; and the
two files turn obliquely and march diagonally across the stage to B and A.

9. — From B and A the files pass across the back of the stage to C, where they unite to form
couples, and pass to E. Here the first couple turns to the right, the second to the left, and so on ;
and the two double files thus formed pass around the stage to C.

10. — Meeting at C, the couples unite to form fours, which pas«; to the front, E, where they turn
alternately to the right and left. The two divisions of fours march to D and F, thence to A and B,
and meet at C.

11. — At C the fours unite to form two ranks of eight each, which march forward and halt, the
first about three feet from the front of the stage, and the second about the same distance back of
the first. The company is then in position for the drill proper.

It is well for the instructor to remember that a truly military efTect can only be obtained by
teaching her recruits to carry themselves with a soldierly bearing. The shoulders should be held
erect and square, and botii on the same level ; and the chin should be drawn slightly in, without
apparent constraint. The upper part of the body should be inclined slightly forward, with the eyes
directed straight to the front.

THE DRILL. — This will be much more eGfective if accompanied by a pretty schottische, played
rather slowly, although music is not a positive necessity. Unless otherwise stated in the directions,
each manual is to be performed during eight beats of the music; and a similar interval should be
allowed between the commands, which should be delivered in a clear voice, not too highly pitched.
When an order is short, it should be given in time to allow only the eight beats of interval ; but in
case of a long order, an extra four beats may be allowed, if the captain so desires. It is difficult
always to give the exact in-
terval required, so the in-
strucior must regulate her
time by the alertness and ac-
tivity of her company.

1. Salute.— Rahe the left
arm smartly in line with
the left foot, with the palm
of the hand downward and
the thumb close to the fore-
finger, bringing the arm level
with the shoulder (two beats).
Carry the hand around until
the thumb and the side of
the forefinger touch the lower
edge of the cap (two beats). iJ ';E^ t*
This position must be retain- FRONT.

ed until the salute is acknow-
ledged, when the hand and arm are brought back to the first position. (See figure No. 1, page 10.)

2. Present Arms. — With the right hand carry the broom in front of the center of the body*
grasp it with the left hand, and raise it until the forearm is horizontal and resting against the body>
at the same time changing the position of the right hand by placing the thumb at the back of the
broom and the fingers forward. (See figure No. 2.)

3. Carry Arms. — With the help of the left hand lower the broom to the side, placing the stick
against the right shoulder, and grasping it with the right hand just above tde sweep, which should
rest flatly against the skirt as in the march. (See figure No. 3.)

4. Support Arms. — G-.nry the broom in front of the center of the body, grasp it with the left
hand, and raise it at the left side until the top of the sweep is at the waist-line. At the same time
grasp the broom with the right hand, and pass the left forearm across the top of the sweep, parallel
with the waist-line, supporting the broom with this arm, and dropping the right arm to the side.
(See figure No. 4.)

5. Carry Arms. — Gra«p the broom with the right hand above the left arm supporting it, and
carry it in front of the center of the body ; then place the handle against the right shoulder, as at
figure No. 3, and drop the left hand to the side.

6. Order Arms.— G-ra^p the broom handle with the left hand, the forearm being horizontal;
loosen the grasp of the right hand, lower the broom quickly with the left, grasp it again with the
right, and lower it to witliin three or four inches of the floor, steadying it with the left hand. Then
with the right hand lower the broom gently until the bottom of the brush rests on the floor, and

FANCY DRILLS FOR ENTERTAINMENTS.

drop the left hand to the side. The broom handle should now be standinjr vertically between the
riorht arm and the body, and this arm should be hanging its full length and supporting the broom.
(See 6gure No. 5.)

7. Parade Rest. — Raise the right hand along the broom handle until the forearm is nearly

horizontal at the waist-line, and at the

FiGUBE No. 1.

Salute.

FiGTTRT? No. 2.—

Present Arms.

Figure No. 3.—
Carry Arms.

time carry the handle in front of
the body to the left. Grasp the handle
with the left hand above the right,
carry the right foot three inches to the
rear, and slightly bend the left knee.
The brush thus remains upon the floor,
and the handle, held at the top by both
hands, one above the other, is in front
of the center of the waist-line, as at
figure No. 6.

8. Carry .4rms.— Raise the broom
vertically with both hands, and resume
the position shown at figure No. 3.

9. Trail Arms. — Lower the broom
to the floor, steadying it with the
left hand. Place the brush a little
to the rear, inchne the handle to the
front, and drop the left hand to the
side. (See figure No. 7.)

10. Curry Arms. — Same as 8.

11. C/(ar^e. — Turn on the left
heel, bringing the toe to the front,
and carry the right foot three inches
to the rear of the left heel. Drop

the handle of the broom into the left hand, placing the left elbow against the body, grasping the
handle just above the sweep with the right hand, and holding the sweep firmly against the right
hip. Incline the body slightly forward, as shown at figure No. 8.

12. Carry ^r?n«.— Same as 8.

13. Right Shoulder Arms. — Raise
the broom vertically with the right
hand, and carry it in front of the cen-
ter of the body. Grasp it with the left
hand, and raise it to the right shoul-
der, allowing the sweep, clasped by the
right hand, to rest against the shoul-
der, and the handle to point slightly to
the left, touching the back of the head.
(See figure No. 9.)

14. Carry Arms. — Incline the
sweep slightly to the left, lower the
broom with tha right hand, grasp the
handle with the left hand also, and
place the broom at "Carry Arm*"
(See figure No. 3.)

15. Arms Por^— Grasp the middle
of the handle with the left hand, and
place the broom diaoronally across the
body, with the handle resting against
the left shoulder and the brush
against the right hip, as shown at
figure No. 10.

16. Carry Arms.— Same as 8.

17. Secure .4rms.— \dvance the broom slightly with the rigiit hand, and grasp the handle
with the left hand, holding the forearm horizontally; turn the handle toward the front, at the
same time shifting the right hand above the left; drop the top of the handle to tlie front, so that it
points downward and tlie top of the sweep rests under the right arm; and drop the left arm to

Figure No. 4 —
Support Arms

Figure No. 5.-
OituKR Armh.

Figure No. 6.—
Parade Rest.

FANCY DRILLS FOR ENTERTAINMENTS.

Figure No. 7.—
Tkail Arms.

FlGl-RE No. 8.

Charoe.

Figure No. 9.— Right
Shoulder Arms.

the side. (See figure No. 11.) The soldiers are now ready for the next order, which is as follows:

18. Carry Arms. — Grasp the broom with the left hand, raise the handle, and resume the
position shown at figure No, 3.

19. Reverse J.rms.— Raise the broom vertically with the right hand, advancing it slightly; grasp
the handle with the left hand, holding the forearm horizontally; reverse the
broom bv turning the handle downward, and place it under the right forearm
against the body, with the right hand still in position at the top of the sweep,
and raised to the height of the shoulder. As soon as the left hand is no longer
required in the reversal, carry
it behind the back, and grasp
the handle, steadying the
latter at an angle ot forty-
five degrees. This manual
may be quici\ly executed;
and, if it is properly done,
the sweep will come to the
front about on a level with
the head. (See figure No. 12.)

20. Carry Arms. — Re-
move the left hand from the
handle and place it below
the right at the top of the
sweep, at the same time low-
ering the broom until the
right forearm is horizontal
and the handle is vertical, and
changing the grasp of the
right hand so the thumb
points downward. Reverse
the broom by passing the
sweep between the breast

and the right forearm, and resume the position shown at figure No. 3. It is impossible to execute
"Reverse Arms" and the "Carry Arms "that follow, if the broom handle is too long for the
height of the soldier; and when this is the case the two manuals should be omitted.

21. Rest on Arms. — Advance the broom slightly with the right hand, and grasp it with the

left, holding the forearm hori-
zontally. Reverse the broom
with both hands by turning
the handle to the left, and
rest the end of the handle
on the toe of the left foot.
Carry the right foot three
inches to the rear, and at the
same time place the hands
upon the sweept, and incline
the chin toward the hands,
as at figure No. 13.

22. Carry Arms. — Grasp
the handle with the right
hand, holding the back of
the hand to the right; and
carry the broom with this
hand opposite the right shoul-
der, holding the forearm hori-
zontally and the handle verti-
cally. Gra.*p the stick with
the left hand, holding the
back of the hand to the left,
with the thumb pointing
Reverse the broom with both hands, and

Figure No. 10.-
Arms Port.

Figure No. 11.-
Secuue Arms.

FiGITKE No. 12.-
Revei{se Arms.

downward; and bring the right foot beside the left,
resume the position seen at figure No. 3.

23. Squad ioad— Advance the left foot slightly, bending the knee a trifle,

Grasp the handle

FANCY DRILLS FOR ENTERTAINMENTS.

with the left hand, holding the lorearm horizontally; and turn the handle downward, with the
sweep resting under the right arm. Sr.rike the sweep quickly with the palm of the right hand, and
grasp the handle again. CSee figure No. 14.)

24. Carry Arms. — In returning to the position described at 8 face to the front.

25. Squad Ready.— Ssime as 23, except that the sweep is placed against the right hip and the
end cf the handle on a line with the chin, as at figure No. 15.

26. J.zm.— Raise the broom with both hands, and support the sweep firmly against the right
shoulder, placing the right hand at the top of the sweep and the left at the middle of the handle,
holding the left^elbow down and the right as high as the shoulder, and inclining the body slightly

Figure ISo. 13. -Rest
ON Arms.

Figure No. 14.— Squad Load.

Figure No. 15 —Squad Ready.

forward. Lean the head upon the sweep, and close the left eye. (See figure No. 16.) In aiming,
each soldier in the rear rank carries the right foot about eight inches to the right, inclines the
upper part of the body forward and bends the right knee slightly.

27. Fire. — All the girls cry " Bang " sharply in unison.

28. Squad Load. — Drop the broom handle downward, with the sweep under the right arm,
and strike the sweep quickly with the palm of the right hand.

29. Carry Arms. — Same as 24.

30. Fire Kneeliyifj. Squad Ready. — Bring the left toe squarely to the front, and place the
right foot so that the toe is twelve inches to the rear and twelve inches to the left of the left heel,
the feet being at right angles with each other. Kneel on the right knee, bending the left. Drop
the broom handle in the front, supporting it as at 26. and resting the left elbow on the left knee.
(See figure No. 17.) The girls in the rear rank take a side-step to the right before kneeling;
and on rising they take a side-step to the left.

31. i^'tVe.— Same as 27.

32. Squad Rise. — All rise, face to the front and " Carry Arms."

33. Salute with Arms. — Raise the left hand and arm horizontally to the front, with the palm of
the hand downward; carry the hand around until the forefinger strikes the broom in the hollow of
the shoulder; and retain the hand in this position until the salute is acknowledged by the captain.

34. Inspection Arms. — Grasp the broom firmly with the right hand, and toss it quickly to the
front of the body, raising it at the same time, and catching it with the left hand six inches above
the sweep. The left hand is raised to the height of the chin, and the right hand is at the side, the
broom then being vertical and directly in front of the face, with the sweep flat against the body, as
shown at figure No. 18.

FANCY DRILLS FOR ENTERTAINMENTS.

35. Carry Arms. — Lower the broom with the left hand, grasp it with the right above the
sweep, and resume the position shown at figure No. 3.

36. By Column Fours, Right and Left. March. — At this command the first rank advances as
far as possible to effect a turning; it then divides into two ranks of four each, which turn respect-
ively to the left and right and pass to D and P. The second rank of eight advances, separates and
turns in the same way, and the resulting two ranks follow the other two to the left and right.

37. — From D and F the fours pass to A and B, and thence to C, where the first four girls of
one column unite with the first four of the other, forming a file of couples, which passes to E ; the
remaining two fours unite in the same manner and follow.

Figure No. 17.— Fire Kneeling.

FiauBB No. 18— Inspection Arms.

38. — At E the couples divide, the girl on the right in the first couple turning to the right, and
the one on the left turning to the left. The two files then pass to D and P, and thence to A and B,
where they leave the stage.

FANCY DRILLS FOR ENTERTAINMENTS.

Thg hoop Di^ill.

FOR this drill select twelve girls of uniform heig-ht. Unlike some of
the preceeding exercises, this one is so simple that children eight
years of age will make a very effective company.

The uniform should consist of a white blouse-waist, a full, plain
skirt of yellow cheese-cloth, a small turban matching the skirt,
black stockings and low shoes. The hoops should be about twelve
inches in diameter, orainary "grace hoops" answering the purpose
nicely. They should be covered with the yellow cloth, and this
may be securely accomplished in the following manner: Cut the
cloth into strips four inches wide, and fold each strip in the middle
lengthwise, making the width two inches. Wind each hoop with a
folded strip, lapping the fold of the cloth over the rough edges, and
sewing the ends firmly to the cloth at the starting point. Any
added strip should be sewed securely to the cloth already on the
hoop. An accident to the hoop during the drill would spoil the
entire performance, for which reason the cloth should be carefully
put on and strongly sewed. The hoops are sometimes further
decorated with ribbons or paper roses. If ribbons are preferred,
a bunchy bow with three flowmg ends may be sewed securely to
each hoop, round which the ribbon should be tied. When flowers
are used, the wires in the stem ends maj' be left long and wound
firmly round the hoops.

THE MARCH. — The music for the march should be a spirited |
movement, and that for the drill proper a simple schottische played
rather slowly. To better understand the march, the diagrams of
the stage on the next page should be consulted :

I. — The girls enter the stage at the sides, A and B. They carry their hoops at the side, those
entering at A grasping them with the right hand and those at B with the left hand. If the stage
has but one entrance and that is at the middle of the back, E, the girls should enter in single file, the
first girl turning to the right, the second to the left, the third to the right, and so on, until all of
them are on the stage.

2. — The girls march down the sides to the front of the stage, C and D, then cross, passing each
other at F, and march round the stage until they meet at the center of the back, E.

3. — Here the files unite to form couples, and pass to the front of the stage at F, where the couples
separate, the girl on the left in the first couple turning to the left, the one on the right turning to
the right, and other couples separating in hke manner.

4. — The files thus formed pass to C and D, and thence to A and B, where they turn and march
diagonally across the stage to the front corners, the files crossing each other at the center, Gr. In
this movement the file at A marches directly across to D, and that at B to C.

5. — At the front corners the files turn and march toward each other, and, uniting in couples
at F, march to the center of the back, E.

6. — Here the couples separate, turning to the right and left; and the resulting files pass to A
and B, and then to C and D. When the leading girls reach C and D a halt is made, and the time of
the music is kept with the feet. The members of the two files then face about looking toward the
center of the stage preparatory to executing a wheel to the front of the stage. Tiie directions and
outlines of this movement are illustrated in the diagram. The girls at C and D are what are known
in military parlance as the "pivots," and they do not move, except to gradually face toward the
audience as their lines wheel. It will sometimes be necessary, in order to keep the lines even, for
each girl to place her free arm round the waist of the girl next her. The instructor should see that
the girls at A and B take steps of ordinary length, and that those nearer the front shorten their steps
more or less to accord with the shorter distances they have to marcli. This movement is the hardest
in the march, but is not difficult to teach. Each girl should keep time with her feet even when she
is not taking a step. The girls now form one straight line across the front of the stage, with the
leaders at C and D. In this position they beat time for eight counts, and on the ninth beat of the
music the girls whose leader is at D face to the right, while those whose leader is at C face to the left.

FANCY DRILLS FOR ENTERTAINMENTS.

7. — The files pass to B and A, thence across the back of the stage, passing each other at E, and
down the sides to C and D, where they turn and march diagonally across the stage to B and A, the
file at 0 marching to B, that at D to A, and the two files passing each other at G-. This movement
is the reverse of 4.

8.— At A and B the files turn toward E, at which point they unite to form couples, and pass to
the front of the stage at F.

9.— At F the leaders again halt, and the girls on the right in the various couples face to the right
of the stage and those on the left to the left. Two lines are thus formed stanindg back to back. With
the leaders at F as "pivots," these lines wheel to the front of the stage, the girls nearest E passing
to C and D. This movement is the reverse of 6, but it brings the girls once more into a single line

across the frontof the stage.
cA "jR B In this position they keep

time for four beats, and then

all take foursteps backward.

10. —On the ninth count

after forming the line (four

beats having been allowed at

the front and four to stepback-

ward) the leader on the right

of F turns toward D, she on the

left toward C, and both lead

their files to D and C and to B

and A respectively, and meet

at E. In this movement the

•C] V T\ files do not pass each other, but

^ ' ir turn as shown by the dotted

FRONT. lines in the following diagram:

11. — Meeting at E, the two leaders halt, raise their hoops, and touch them at the top, thus

forming an arch. Each girl should hold her hoop with both hands and should raise it high enough

to permit the tallest girl in the company to pass under. The second couple pass under this arch, halt

beside the first pair, and raise their hoops to form another arch. The third couple pass through both

arches, halt beside the second couple and form a third arch; and so the movement proceeds until six

arches are formed. The girls should all keep time with their feet, even when they are not moving.

12— The first or leading couple are now at the back of the stage. After the last arch is formed

four counts are allowed, and then the leading couple lower their hoops and pass through the five

remaining arches to F, where

the two girls turn toward C ;A JT TQ

and D respectively. The ^ ^ x

second couple lower their
hoops, pass through the four
remaining arches and follow
their leaders toward C and D.
The remaining couples follow
in the same manner, the last
pair simply lowering their
hoops and marching after
the girls before them. This
movement cannot not be
gracefully performed if the
girls forming the arches stand
too closely together.

13.— From C and D the
files march to A and B, and
thence to E. Here each girl raises her hoop with both hands to make a frame for her face. The
files unite to form couples, and pass to F, where the first couple turns to the right, the second to
the left, the third to the right and so on. The columns thus formed pass respectively to C and
D and to A and B and meet at E, the hoops still framing the faces.

14. — At E the couples unite to form fours, which march to the front of the stage and take
position for the drill, standing sufficiently far apart to allow freedom of movement. Each girl low-
ers her hoop to the riglit side and her left hand to the left side.

THE DRILL — Each manual of the drill requires eight beats of the music, and eight beats are
allowed between the manuals unless otherwise stated.

JTbrX^

OP THK

TJNIVERSITY

16 FANCY DRILLS FOR ENTERTAINMENTS.

1. Salute. — Firmly grasping the hoop in the right hand, raise it, touch the forehead with iti
and bow the head shghtly as the hoop is lowered.

2. Right Face. — Take one step obliquely to the right, at the same time raising the hoop before
the face. Raise the left foot until only the toe touches the floor to maintain the balance.

3. Carry Arms — Return to position, with the hoop at the right side. Between 2 and 3 no
interval is allowed, the command "Carry Arms" following immediately upon the eight counts of 2.

4. Left Face. — Take one step obliquely to the left, framing the face with the hoop.

5. Carry Arms. — Same as 3, no interval being allowed between 4 and the order of 5.

6. Right Shoulder Arms. — Raise the hoop to the right shoulder, and let it rest on the shoulder
during eight counts of the music.

7. Carry Arras. — Return the hoop to position at the right side.

8. Left Shoulder Arms. — Grasp the hoop with the left hand, raise it to the left shoulder, and
support it with the left hand, the right being at the side.

9. Carry Arms. — Lower the hoop with the left hand, grasp it with the right, and return it to
position at the right side.

10. Present Arms. — Raise the hoop with the right hand, grasp it with the left, and place it with
both hands, directly in front of the waist-line parallel with the floor or perpendicular to the body.

11. Carry Arms. — Same as 7.

12. Support Arms. — Raise the hoop to the top of the head, supporting it with the right hand.

13. Carry Arms. — Same as 7.

14. Trail Arms. — With the right hand place the hoop behind the body, and grasp it with the
left hand also, holding the hands back of the waist-line.

15. Carry Arms. — Same as 7.

16. Arms Port. — Raise the hoop with the right hand, and grasp it with the left, holding it
directly in front of and parallel with the body.

17. Carry Arms. — Same as 7.

18. Ground Arms. — Raise the hoop with the right hand, and with it touch the forehead, the
right shoulder, the right hip and the floor in front, allowing two beats to each touch. The hoop
should be held in the hand during the eight beats preceding the next command. The body should
lean gracefully forward while the hoop is poised on the floor in front.

19. Lay Down Arms. — Lay the hoop on the floor, and stand erect, with arms akimbo.

20. Take Arms. — With both hands raise the hoop, and hold it against the breast.
21 Carry Arms. — Same as 7.

22. Inspection. — The two girls in each couple turn so as to nearly face each other, each holding
her hoop raised in her right hand and looking approvingly at it.

23. Consultation. — Raise the hoop to the right side of the face, retaining the position of 22.
Touch the partner on the left by placing the left hand upon her shoulder. The girls should lean
well toward each other in a confiding attitude.

24. Carry Arms. — The girls face about and place their hoops at the right side.

25. Attention. — Raise the hoop with the right hand, grasp it with the left, and frame the face
with it. Drop the right hand to the side, holding the hoop with the left.

26. Fire. — Raise the right hand, and with the finger tips throw an audible kiss to the audi-
ence through the enframing hoop.

27. Carry Arms.— Same as 7.

28. Forward March.— The couple on the right of the front line turns to the right and that on
left to the left, the two couples passing respectively toward D and C. The second line marches to
the front, and the couple on the right turns to the right and that on the left to the left, following
the first two couples. The third rank falls into line in hke manner, and the columns pass to D and
C and to B and A respectively.

29. — The columns pass each other at E, and march once round the stage, meeting at E.

30. — Here the columns unite to form one double column, the girl on the right in the first couple
of the right column joining the corresponding girl in the left column, the girl on the left of the first .
couple in the right column joining the corresponding girl in the left column, and so on. The double
column passes to the front of the stage at F.

31. — Here the couples separate, the girl on the left of the first couple turning toward 0, the
one on the right turning toward D, and the other girls following in single file. The two single files
pass to C and D and to A and B respectively, and then leave the stage.

FANCY DRILLS FOR ENTERTAINMENTS.

Thg Doll Di^ill.

4.— At
for the drill

THIS drill is obviously for very little girls, and Is accordingly
arranged with great simplicity. Twelve girls from six to
seven years old will make a very pretty exhibition. Their
dresses should imitate those now worn by nurse-maids, and
should be made of gray or bla?;k paper cambric, cut suffi-
ciently long to barely escape the floor; and each girl should
wear a long white muslin apron having strings wide enough
to form a bouffant bow at the back, a cap of white Swiss
muslin, and black shoes or low ties. The dolls should be
about eignteen inches long and should have white dresses
reaching six inches below the feet.

THE MARCH. — The music for the march should be a
spirited | movement. The girls chosen to lead should be those
least likely to become frightened or confused.

The girls enter the stage from the right and left, six
on each side, each holding the doll upon the left arm, and
carrying the right arm at the side. The doll should be
held well against the nurse's body, and the instructor must
see that the position is a comfortable one and that the dresses
hang gracefully.

An elaborate or complicated march cannot be expected
of such little people. The diagram on the next page will
assist the teacher to understand the directions:

1. — Having entered at A and B, the two files of six
march across the stagre at the hack, passing each other at E,
and make a complete circuit of the stage, meeting at E.

2.— At E the files unite and pass down the middle of the
stage to F, where they separate, the girls on the left turning
to the left side of the stage, and those on the right turning to
the right side ; and the resulting files pass around the stage
until they meet at E.

3. — At E they again unite to form couples, and pass to

F, where the first couple turns to the right, the second to the

left, the third to the right, and so on. The two columns

thus formed pass around the stage and meet at E.

E the couples unite to form fours, which pass to the front of the stage and take position

There will thus be three ranks of four girls each.

THE DRILL. — For this a bright schottische should be played, and eight beats of the music should
be allow^ed for each movement.

1. Present. — Each girl clasps her doll by the waist and holds it in front of her with both hands
her arms being bent at the elbows.

2. Salute.— '^tiW holding the dolls with both hands, the girls extend their arms as far as possi-
ble (four beats), and then bring the dolls back and kiss them (four beats).

3. Devotion. — Raise the doll to the left shoulder, clasp it tightly and incline the head affection-
ately against the doll's head.

4. i?es^.— Return the doll to the position on the left arm assumed during the march.

5. Play. — Place the doll in a sitting position on the left hand, clasp its waist with the right
hand, and toss it gracefully up and down, the nurse smilingly plea.santly the while.

6. Rest. — Same as 4.

7. Rock-a-hye. — Lay the doll on its back on the left hand, clasp its waist -with the right hand,
and sway it to and fro sideways.

8. Rest. — Same as 4.

FANCY DRILLS FOR ENTERTAINMENTS.

9. Reprimand.— Clasp the doll about the waist with the left hand, and hold it at arm's length in
front (two beats). Incline the head slightly, and with a serious expression upon the face; raise the
right hand, with the forefinger extended in a reproving way ; and keep time with the music by rais-
ing and lowering the finger reproachfully.

10. Reconciliation. — Place the doll against the right shoulder, with its face looking over the
shoulder toward the back, and lovingly clasp it with both hands.

11. Rest. — Same as 4.

12. Toss. — Place the doll on its back upon both hands, raise the hands as high as possible and
bring them to a level with the body ; toss again, and agam bring to a level with the body ; and so
continue until the eight counts are finished.

13. Rest. — Same as 4.

14. Inspection. — The girl on the left in each pair holds her doll with her left hand, and the one
on the right holds hers vv^ith the right hand. Each girl extends the arm holding the doll, at which

she looks with admiration (eight counts). Each pair of nurses bring their dolls slowly toward each
other until they are close together (eight beats). Each girl then looks at the doll held by her part-
ner, and shakes her head to signify that her own doll is decidedly the finer (eight counts). The
dolls are then separated, and each nurse looks once more at her little charge and clasps it with smiles
of satisfaction to her left breast. This is a very pretty movement and may be made very effective,

15. Good-niqht. — Laying the doll upon both hands, the nurse bends over and kisses it affection-
ately, raising it slightly. This is done three times, the nurse's eyes being kept on her doll all the time.

16. Drowsiness. — Lay the doll upon the left hand, and pat it lovingly with the right hand.

17. Roch. — Place the right hand again beneath the doll, and gently rock it back and forth.

18. Asleep. — Nestle the doll closely in the left arm, pressing it to the body. Ail pat their dolls
gent'y with the right hand, and sing very softly the following song:

zh:.

^^^^^P

m^^

Bye - 0 - bye, ba - Vjy, Bye - o - byu, ba

Lui - la - bv, dear cue, Lul - la - by,

^b ^-^

^=^

-^^m

SliSl

dar

ling, Lul - la by, O my ba - by dear, Bye - o

bye.

This little song is given by permission of Air. G. Schirmer. If it is impossible to teach it to the
children, it may, of course, be omitted.

It should be sung through twice. The first time the girls are standing as described in 18, look-
ing at their sleeping dolls. As the song is commenced the second time, the couple on the left in the
first rank turns to the left, and that on the right to the right, in .'>ingle file. The second and third
ranks divide in the same way and fellow the first, and all paps oil" the stage at A and B, singing as
they march. The music should grow fainter and fainter to the audience until the last note is played.

FANCY DRILLS FOR ENTERTAINMENTS.

Thg fan Df^ill.

SIXTEEN girls were here chosen for this drill, but
the number should always be suited to the amount
of space at command, since an over-crowded stage
would spoil both the march and the drill proper.
Twelve maids would make an effective company,
but if this number were decided upon, some of the
evolutions of the march could not be performed.

The costume consists of the Japanese kimono
and obi (sash), which may be made up at very
little cost. The pattern of a Ladies' kimono is No.
4237, which is in 4 sizes from 28 to 40 inches,
bust measure, and costs Is. 8d. or 40 cents. The
pattern of a Misses' kimono is No. 3536, which is
in 6 sizes from 5 to 15 years of age, and costs Is.
6d. or 35 cents. If ordinary dress is decided on,
a blouse-waist and a plain, full skirt may be worn.
All the costumes may be of the same color, al-
though a very pretty eflfect may be obtained by
dressing half the girls in blue and half in pink, or
by choosing a different color for each couple, as,
for instance, white for the first, pale-blue for the
second," red for the third, gray for the fourth,
orange for the fifth., pale green for the sixth, terra-
cotta" for the seventh and lavender for the eighth.
The company would also present a very striking,
appearance if all the waists were made of white
India linen and all the skirts were of one color,
with neck-scarfs and belts of the skirting fabric.
If the costumes are to be of ditierent colors, it is
well to select the shortest two maids for the first
couple and grade the others upward according to
size, having the tallest two for the eighth couple.

If a fancy Japanese costume is worn for this
drill, the hair should be arranged on the top of the
head and ornamented with tiny fans thrust through
in all directions. These httle fans may be ob-
tained at any Japanese shop and are about an inch long, with long black handles.

The fans carried by the company should be at least fifteen inches long. During the march they
are closed and held with the left hand against the right shoulder, as at figure No. 1, on page 22.

THE MARCH. — The girls enter the stage at A and B on diagram I. (See next page.)

A lively march should be played as the files are entering the stage.

1. — The files cross the stage from A and B, passing each other at G, and march round the stage
to H and thence to B and A.

2. — At these points both files turn and march diagonally to the opposite front corners. Thus,
the file at A proceeds to E, and that at B to F, the two files passing each other at the center, C. At
E and F the files turn toward the center of the front and pass each other at H; and on reaching F
and E they again turn and pass diagonally across the stage, the line at F marching to B and that at
E to A.

3.— From these points a triangle is formed as follows: The file at A turns as if to again cross
diagonally to E, but No. 1 of this file stops at the center, C, and behind her are Nos. 2, 3, 4, 5 and
6, who stand close together, each keeping time to the music with her left foot. The remaining two
maids of this file turn as if to cross the back of the stage, and halt beside No. 6. While this part
of the triangle is being formed the file on the other side of tne stage performs a similar manoeuvre.

FANCY DRILLS FOR ENTERTAINMENTS.

Kimono for Fan Drtll.

•

5 .

. 4

^
s

This file turns from B toward the center, C, and the leader halts diagonally back of No. 1 of the

left-hand file, on a line with No. 2 of the same file. The next four maids halt back of No. 1, and
the remaining three turn toward Gr and halt in a line with Nos.
7 and 8 of the left hand file, thus completing the triangle. The
position of the company at this point is shown by the following
diagram:

After the figure is complete the girls mark time during eight
counts.

4. — The leader of the left-hand file, now at the center, C, leads
her line diagonally across to E, while the right-hand file crosses tl;e
other at C and inarches to F. At E and F the files turn toward the
center, pass each other at H, and continue to F and E and to A
and B respectively.

No. 5. — From A and B the lines again proceed to form a
triangle, as described in 3.

6. — In breaking the triangle a second time the files pass dia-
gonally to E and F, as in 4, turn toward the center, pass each
other at H, and march to F and E, and thence toward the back of
the stage. The file on the left halts when it reaches A, and the

first four girls station themselves at equal distances apart from A nearly to F, while the second

four similarly cover the distance from F to H. In the same manner the file on the right halts when

No. 1 reaches B, four girls being distributed from

B nearly to E, and four from E to H. The

positions at this point are clearly indicated at

diagram III.

7.— After the files halt the girls mark time

during two measures (eight beats), and then all

face toward the center of the stage and mark

time for two measures inore. Four wheels are 4 . .3 W

now executed toward the center, C, with No*. ^ 3 . . 2 o

1 and 5 of each file for pivots. Each pivot

turns where she stands, while the other three in

her line wheel toward the center. Eight beats

are allowed for this movement. The positions

of the girls in the resulting cross are shown in

the following diagram :

Eight beats of the music are allowed after T t^ ^

the cross is formed. FRONT.

8. — Nos. 1, 2. 3 and 4 of the two files are Diauram n.

now facing practically toward each other, all

looking, as they do, toward G; while the maids numbered 5, 6, 7 and 8 stand facing the backs of
those numbered 1, 2, 3 and 4. In order that all may face m the same direction preparatory to the
next movement, all the girls in the right-hand file must turn about. The ranks forming the cross

then rotate around the central pomt, C. This
movement needs careful practice, so that the
girls nearest the center may know exactly the
length of step required to keep them in line with
iho^e at the ends of the ranks, who, of course,
must lake much longer strides.

9. — When the ranks have marched once
round, thus regaining the |)Ositions indicated in
diagram IV, the members of the right-hand file
face about to their original positions, and the
ranks wheel back to form the straight lines
shown in diagram III.

10. — The files now march across the back
of the stage, passing each other at G, and pro-
ceed once around the stage, meeting at G.

11. — At G the girls open their fans, those
in the left-hand file holding the fans in their
left hands and those in the light-hand file holding

FANCY DRILLS FOR ENTERTAINMENTS.

•2

4
8

•

FRONT.
Diagram rv.

them in their right hauds. The two leaders unite to form a couple and place their fans parallel

between them, with their arms sufficiently raised to hold the fans comfortably. All the rest of the

girls unite in pairs in the same way. and the

i-esulting column passes to the front of the stage.
12. — At H the first couple turns to the left,

the second to the right, the third to the left, and

so on ; and the two columns pass down the sides

and meet at G.

13. — Here the couples unite to form fours,

which pass toward the front of the stage. The ^

first four halt aboui two feet from the front, « M

the second two feet back of the first, the third '-' 8 8 ^

iwo feet back of the second, and ihe fourth two

feet back of the third; and at a signal from the

instructor all fans are shut and lowered to the

right side. This brings the girls to the positions

shown at diagram V. The company is now in

readiness to execute what may be called ''The

Knights' Move." Eight beats are counted after

all are in place, and this move is performed as

follows:

14. — No. 1 (on diagram V), closely followed by Nos. 6, 9 and 14, turns to the right and marches

half-way round No. 5, half-way round No. 10 and half-way round No. 13; then back of No. 15,

half-way round No. 12, half-way round No. 7
and half-way round No. 4 ; and then back of
No. 2 to her original position. As No. 14, fol-
lowing No. 1, reaches the front, Nos. 3, 8, II
and 16 fall in closely behind her, and all follow
the leader in her winding course, each halting
in her own place when she reaches it. It will
be seen that Nos. 2, 4, 5, 7, 10, 12, ]3 and 15 do
not leave their positions during this very pretty
manoeuvre. After No. 16 reaches her place
eight beats are counted, the movement is again
executed, and eight more beats are counted,
after which the company is ready for the drill.

THE DRILL For this a bright schottische

is played, and eight beats are allowed for each
manual, except when otherwise stated.

1. Salute. — Raise the closed fan with the
right hand, touch the hps with its end, bow
the head slightly to the audience, and return the fan to position. (See figure No. 2, page 22.)

2. Rest. — Open the fan, and hold it by the top corners in front of the body with both hands,
the arms being at full length and the top of the
fan toward the feet. (See figure No. 3.)

3. Right Shovlder.— Grasp the fully opened
fan with both hands, as in 2, and raise it to
the right shoulder. (See figure No. 4.) The
left hand is held at the side of the head for this
manual, and the fan shades the side of the face
the head being bent forward shghtly.

4. Re.'it. — Same as 2.

5. Left Shoulder.— UoUinc;: the top of the
fan with both hands, place it on the left shoul-
der, as at figure No. 5.

6. Rest.— Same as 2.

7. Flutter. — Grasp the handle of the fan
with the right hand, and, raising the elbow un-
til the fan is perpendicular to the face, give
short, quick fanning movements during the eight
beats. (Refer to figure No. 6.)

. 1

1 .

. 2

2 .

. 3
.4

5 6 7

8.8 7 65

FRONT.
Diagram III.

. 16

.1.-.

. M

. 13

^
s

. 12

. 11

. 10

. 9

. 7

. 6

. 3

. 2

. 1

FRONT.
Diagram V.

FANCY DRILLS FOR ENTERTAINMENTS.

8. Rest. — Same as 2.

9. Reverse. — Eahe the open fan to the back of the head, and grasp each of the upper corners
with one hand. The handle should rest at the nape of the neck, the head being inclined forward.
(See figure No. 7.) This is a very pretty position, as the fan forms a background for the face; and

Figure No. 1.

Figure No. 2.

Figure No. 3.

if each girl assumes an expression of coyness, the piquancy of the tableau will be greatly increased.

10. Rest. — Same as 2.

11. Gossip. — The right-hand girl in each couple holds her fan in her right hand, and the left-
hand girl holds hers in her left. The two then place their heads together as if chatting, the girl on
the right fluttering her fan. (This is illustrated at figure No. 8.)

Figure No. 4.

Figure No. 5.

Figure No. 7.

12. Anger. — The two girls face half about away from each other, holding their closed fans in
their right hands, and remain standing in scornful attitudes during the eight counts. (See
figure No. 9.)

13. Reconciliaiioii.— The partners lean toward each other, as in 11, and flutter their fans^
plainly showing that peace has returned. (See figure No. 10.) To be effective, this moverr.cnt

FANCY DRILLS FOR ENTERTAINMENTS.

should not be too suddenly executed. Reconciliation should be a trifle slow, hence sixteen beats
are allowed for the manual.

14. Down. — Close the fan and carry it in the right hand to the right side, as shown at
figure No. 11.

Figure No. 8.

Figure No. 9.

15. Charge. — Raise the closed fan (two beats); open it violently, making as loud a snapping
noise as possible (two beats); and return it to the right side (four beats). (See figure No. 12.)

16. Wave. — Open the fan, and wave it slowly at arm's length above the head. (See
figure No. 13.)

17. Play. — Lean toward the audience, and coquettishly flutter the fan at the right side of the
face, as seen at figure No. 14.

Figure No. 10.

Figure No. 11.

Figure No. 12.

18. Invite. — Still leaning tovvard the audience, beckon or "invite" by moving the fan with
long sweeps tovvard the body. (See figure No. 15.)

19. Down. — Same as 14.

20. Fence. — Partners turn half toward each other, raise their closed fans, cross them, and strike
them together several times until eight beats are counted. The fans are then lowered (four beats),

FANCY DRILLS FOR ENTERTAINMENTS.

the movement is repeated (eight beats), and the fans are retnrned to the right side. (Refer to
figure No. 16.)

2L Protect. — The left-hand girl in each couple kneels upon her right knee, and her partner,
placing her left hand upon her shoulder, looks down upon her in a protecting manner, gently fanning

Figure No. 13.

FlGUEE No. 14.

Figure No. 15.

her meanwhile (eight beats). Tiie kneeling maid raises her eyes gratefully to her partner's face.
(Refer to figure No. 17.)

22. Rest. — The kneeling girl then rises, and both the girls place their fans in position, as in 2.

23. Forward March. — The maids in the front rank take one step forward, and the couple on
the left turns to the left, while that on the right turns to the right. The other ranks divide in the
same way, and the two columns march round the stage until they meet each other at G.

Figure No. 16.

Figure No. IT

24.— Here No. 1 of the left-hand file joins No. 1 of the right-hand file, and all the others do
likewise, thus forming a file of couples, which march to the front of the stage, H. The couples
then divide, the maids on the left turning to the left, and those on the right to the right. The
resulting single files pass to F and E, and thence to A and B. where they leave the stage.

FANCY DRILLS FOR ENTERTAINMENT!

TQ-NlVERSIT-^j

THE EAPII^E Dl^ILL.

SEVENTEEN young ladies are chosen for this drill, sixteen formino: the company, and one acting
as captain ; but a greater number would be even more effective it the stage is large enough.

Poetic Empire gowns are worn. Four of the maids are clad in pink, four in blue, four in
lavender and four in corn-color, while the captain's dress is white. The costumes are made of
cheese-cloth, and each maid wears a ribbon belt matching her gown, the long ends of the belt being
tied in front. The pink and blue gowns are fashioned by pattern No. 4^»71. price Is. 8d. or 40
cents; and the lavender and corn-color gowns by pattern No. 4944, price Is. 8d. or 40 cents. The
captam's attire is, somewhat contrary to the usual custom, distinguished by great simplicity, and is
made by pattern No. 4912, price Is. 6d. or 35 cents. Wholly practical substitutes for the ordinary
long-waisted corsets, which cannot be worn with Empire gowns, are the Empire short stays, that
are shaped according to pattern No. 4936. which costs lOd. or 20 cents. All (if these patterns are in
thirteen sizes for ladies, from twenty-eight to forty-six inches bust, measure, except No. 4944, which
is in eleven sizes for ladies from twenty-eight to forty-two inches, bust measure.

Shepherd's crooks four feet long are carried, and each is decorated with a ribbon bow match-
ing the owner's belt. The hats are large shapes in straw, trimmed with a huge bow of cheese-cloth.

THE MARCH. — The music for the march should be a spirited |- movement, but for the drill a
bright schottische should be played, the change of music being very effective.

For a better understanding of the directions for the various evolutions of the march, the dia-
gram of the stage, seen on the following page-;, should be consulted.

Three bars of the music should be played before the young ladies enter the stage, and the time
should be well marked by them, right, left, right, left, that they may present a truly soldierly appear-
ance when the entry is made. At the close of the three Oars the captain appears alone upon the
stage and marches to the center of the back, E. and thence to F. where she faces about to greet the
company. She carries her crook under her right arm, with its top well to the front, the right hand

FANCY DRILLS FOR ENTERTAINMENTS.

4936

grasping the stick as high as the shoulder, and the crook held comfortably against the body. When in

position at F, she rests the end of the stick on the floor, with the hand stiU grasping it well toward

the lop.

The girls should stand very erect
while marching, without, however, appear-
ing stiff, and with the eyes straight ahead
in genuine military fashion. Unless other-
wise directed the crooks are carried as
described for the captain. It is well
to remember that everything depends
on the 6rst impression made upon the
audience in this class of entertainments,
which are almost wholly spectacular. Care
should be taken, therefore, that the first
appearance of the maids is effective.

1. — The girls enter in single file at A
and B, eight at each side. Each file is made
up of two girls in blue, two in yellow, two
in lavender and two in pink. The files
march toward each other across the back
of the stage, that from A passing to B and
then to D and F, and that from B passing
to A and then to C and F. Meeting at
F, the file's pass once more around the
stage and meet at the center of the back, E.
2. — At E the files unite to form couples, which pass to F. Here the couples separate to form

files, which turn to the right and left, passing to C and D and thence around the stage until they

meet at E.

3. — The files again come together in couples and pass to the front of the stage, where they again

separate and march respectively to the

corners, C and D. At these points the

files halt, turn, and cross the stage dia-
gonally, the one at D passing to A, and

that at C passing to B and crossing the

other line at G.

4. — From A and B the files march to-
ward each other, again unite at E and

pass to F. When the first couple reaches

F the column halts, and all mark time.

Then, with the girls of the first couple as

pivots, the two files composing the column

wheel to the front of the stage. This is

not a difficult ev'olulion ; the girl at the

left of E passes directly to C, the one at

the right of E passes to D, and the other

girls regulate the length of their steps to

keep them in line with the ends of the

ranks. This brings the sixteen girls into

one line across the front of the stage.

5. — After the line is formed, one bar

of the music (four beats) is played, and

then the girls on the right side of the

stage turn to the right toward D, while

those on the left side tnrn toward C; and

the files pass to A and B. When the files

reach A and B a second halt of four beats

is made, and all face toward the center of

the stage. With the girls at C and D as

pivots, the ranks wheel to' the front, the

girls at A and B passing to F. Then the

company is once more formed into a

single rank across the stage. 4944

FANCY DRILLS FOR ENTERTAINMENTS.

6. — The two girls at F now turn about toward B, and all the others face toward F preparatory

to following. On reaching E, the couples separate and pass to the left and right, and the files march

around the stage, passing

each other at F, and continu-
ing to D, B and E and to 0,

A and E.

7.— The leaders of the

two columns halt about three

feet from each other and

from the back of the stage,

and raise their crooks until

they touch and form a point

at the top. When the next

couple meet they pass be-
tween the first under the

archway of crooks and take

their position.s beside the

other two girls, raising their

erooks in the same way.

The other couples follow

until a row of eight arches is

completed, all the pirls mark-
ing time throughout the en-
tire evolution. In order to

perform this movement with

grace, the couples should not

stand too closely together.'

After the eight couples have

formed their arch, two bars

of the music are played, all continuing to mark time.
8. — The first couple now lower their crooks to the origins

position and pass under the seven arches toward F; and

the other couples follow. Reaching F, the couples separate,

and the files pass to C and D and thence to A and B, and

meet at E, where they unite to form couples and pass to F.

9. — At F the files separate and pass to C and D and thence to A and B. The steps should be

so regulated for this evolution (the forming of a hollow square), that there will be but four girls

from A to C and four from B to D, while the remainintr eight will forma line across the front.

The positions are shown by diagram II. Having completed this movement, the maids mark time

during two bars of the music, all facing to-
ward G. They then form a Greek cross in
the following manner ;

10. — With Nos. 1 and 5 on each side as
pivots, four wheels are made to the center,
G, Nos. 4 and 8 of each file passing to G,
and Nos. 5 and 1 of each file remaining re-
spectively at A and C, and at B and D.
When the cross is forined the girls are placed
as in diagram III, page 28.

Two bars of the music are now played,
and then the same four wheels back to the
positions indicated in diagram II.

11. — The files pass to E, and march once

again around the stage until they reach A

and B respectively. The two leaders then

march about three feet along the back of the

toward each other, turn a right angle, march to the front, cross the front about three

gain turn a right angle, march to the back, cross the back about three feet, and again pass

to the front, thus following a serpentine course.

12.— On reaching F the couples do not unite, but each maid of the left-hand file follows her

partner. Thus, No. 1 follows No. 1, No. 2 follows No. 2, and so on. This forms the company into

one continuous line, and they march twice entirely around the stage in a large circle. Then every

Diagram I.

Stage
feet, ;

FANCY DRILLS FOR ENTERTAINMENTS.

other girl takes three steps sideways toward the center without turning. In this way all the mem-
bers of one file are formed into a second circle inside the first.

13. — The two circles now march twice around the stage, and then the inner circle reverses, and
the two march twice around the stage in opposite directions. Again the inner circle reverses, and
both march once around.

14. — The outer circle then halts slightly, the girls of the inner circle Call into their places in the
outer one, and once more the sixteen girls circle around the stage. Then every aUernate girl joins
the one in front of her, thus forming the original couples, which pass to E.

Diagram II.

15. — The couples advance to G, where they separate, turning to the right and left and forming
two circles, one on each .*ide of the sta^e, as represented at diagram IV, which shows the positions
of the girls after havmg marched once around.

After passrag around twice, the maids unite at G- to form couples, and pass to F.

16. — Here the first couple turns to the left, the second to the right, and so on; and the two
columns pass around the stage to E, where the couples unite to form fours, which march toward the
front of the stage. The company is now divided into four rows of four girls each, with the captain
facinj; them, ready to "five the orders for the drill.

THE DRILL — As the company takes position for the drill, each girl lowers her crook until one
end rests upon the floor about eighteen inches to the right and in front of the right toe, with the
right hand grasping the stick near the top. The girls should not stand too closely together, as the
effect will be most pleasing if there is ample room for handling the crooks. Two feet and a half will

€,

2
3
4

8
7
6

Diagram III,

be none too much space to allow between one girl and another. Unless otherwise stated, each man-
ual of the drill requires eight counts, and the same number of counts is allowed between each and
its successor.

1. Present Arms. — Raise the crook, touch the forehead with it, and then gently bow the head
as the crook is lowered to place.

2. Shonlder Arms. — The same position as during the march.

3. Ahoid Foce.— The girls are now standing as in diagram V.

FANCY DRILLS FOR ENTERTAINMENTS.

Nos. 15 and 16 unite and stand together half-way between E and B; Nos. 11 and 12 unite and
stand two feet out from H; Nos. 7 and 8 take positions near G, facing H; Nos. 3 and 4 face Nos.
15 and 16 half-way between F and D; Nos. 13 and 14 stand half-way between A and E; Nos. 5
and 6 unite at L half-way between A and C; Nos. 9 and 10 place themselves opposite to and facing
Nos. 5 and 6; and Nos. 1 and 2 face Nos. 13 and 14 at the front of the stage. The positions of the
couples are displayed at diagram VI.

4. Rest Arms. — Each girl rests her crook upon the floor as described,

5. Left Shoulder Arras. — The crook is placed under the left arm, the reverse of the position in

4 .

1 .

. 1

5 .

. 8

Diagram IV.

which it was held in the march. The right hand and arm are thus left free for the prettiest part of
the drill. No time is allowed between the following movements, the captain giving the order for
each at the close of the preceding one. Eight bars of music are allowed for each movement unless
otherwise directed.

6. Salutation. — Each maid bows, first to herpartnerand then to the nearest girl on the rightor left.

7. All Forward. — The eight maids of each square take four steps forward (toward each other)
and then four steps backward. Four bars are allowed for this movement.

8. Forivard and Face. — All march four steps forward, as in 7, and the right-hand maid in each
couple turns to face her partner, salutes her, and remains in the center of the square. The backs of
four girls in each square are thus together (four bars).

9. Circle Around. — The four remaining maids march to the left around those in the center

-A

.13

.14

.15

.16

.9
.5

. 10
.6

^.:

.12
.8

.17

Diagram V.

until they reach their positions, when they give their right hands to their partners and return them
to their places (eisiht bars).

10. Forward in Lines.— l^o<i. 5, 6, 7, 8, 9, 10, 11 and 12 separate from their partners and join
the maids nearest them on the right or left. This places the sixteen girls in four lines as shown in
diagram VII. The lines thereupon take four steps forward and four backward.

11. Take Partners. — Each girl gives her partner her right hand, and they march round each
other to place (four bars).

12. Right- Hand Maids Forward and Join Hands.— The right-hand maid in each couple walks
to the center of the square and joins right hands with the opposite maid, the two pairs of hands io

■60

FANCY DRILLS FOR ENTERTAINMENTS.

• <r>

en •

• 00

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o *

to*

.. fi

15. 16

11. 12

7. 8

3. 4

each square crossing each other. This is not a comphcated movement. Nos. 2 and 13 and Nos. 5
and 9 of the left-hand square join right hands, one pair over the other; and Nos. 4 and 15 and Nos.
7 and 11 of the right-hand square do the same. The four girls thus united in each square walk or
circle round to the left, until each reaches the place of the opposite girl. Hands are then unclasped,

and each girl gives her right hand to

the maid standing at this side, who

approaches to meet her with her right

hand extended. The two thus joined

walk round each other, and then the

first maid gives her right hand to the

one with whom she described the half-

W circle; the four walk once more half

o round, each girl joins right hands with

^ her partner, and the two walk round

each other to places. Eight bars are

required for this manual.

13. Left-Hand Maids Forivard
and Join Hands. — The left-hand maids
now perform the manual just describ-
ed, Nos. 14 and 1 joining hands across
Diagram VI. Nos. 6 and 10, and Nos. 16 and 3

across Nos. 12 and 8.

14. First Couples Face Outward. — Nos. 1, 2, 3 and 4 turn about to face the captam, and the
other couples fall in, the positions being as follows:

13. 14

9 10
Left-Hand Square. p" ^ Right-Hand Square.

1.' 2
Four bars of the music are required to execute this movement.

15. March Across. — The maids on the left of each column march four steps to the right and back,
and those on the right march four steps to the left and back. This is performed twice (eight bars).

16. Forward and March. — The maids on the left side of each column turn to the left and
those on the right to the right, and the two files march to the back of the stage, and then to the
front, and face each other (eight bars).

A pleasing addition can be made to these two movements by drawing a handkerchief or fan
from the reticule dependent from the arm and carrying it as illustrated.

17. Forward and Unite. — Each maid walks four steps toward her partner, and they join hands
and walk round each other to places (four bars.)

18. Again Face About. — Repeat 14.

19. March Across. — Same as 15.

20. Forward and March. — The girls on
the left of each column turn to the left and
thosp on the right turn to the right, as in 16.
The two pairs of files meet respectively mid-
way between A and E and between E and B,
and they pass to the middle of 0 F and of
F D. The columns then turn toward C and

D, march to A and B and meet at E. No time
can be given for this movement. The girls
simply keep time with tlie music until the fin-
ish. When the first couple on each side reaches

E, the captain gives the following order:

21. Forward and Salute.— At E the two
double columns unite to form one, each couple

dividing, and its members uniting with the corresponding girls of the other column. The new column
then marches toward the captain at F, where the couples divide, marching to the right and left.
Just before reaching F each maid salutes the captain by raising her right hand to her forehead. The
two single files march respectively to 0 and D, and then to A and B. where they leave the stage.
When the last couple has saluted the captain, slie marches from F to E, where she halts and faces to
the front; and as soon as all the maids have left the stage, she salutes the audience in her most
gracious Empire manner, and also makes her exit.

)

DlBGRAM Vn.

FANCY DRILLS FOR ENTERTAINMENTS.

NeW (OLQAgiAN Dl^ILL.

SIXTEEN prirls of uniform height are needed for
this pretty drill. They should be from twelve to
fourteen years of age, as smaller girls are apt to be
unreliable. The costume consists of a white waist,
a red skirt and a blue zouave jacket. The waist
is shaped according to pattern No. 4596, which is
in nine sizes for misses from eight to sixteen years
of age, and costs Is. or 25 cents; and a coarse
quahty of India linen may be chosen for its con-
struction. The skirt may be cut from red cheese-
cloth or from Turkey-red. It reaches nearly to the
shoe-tops, and the lower edge is finished with a
deep hem. The top is gathered to a band, and
over it is worn a two-inch Empire belt formed of
overlapping folds of red, white and blue material
sewed to a stiff foundation. The zouave jacket is
fashioned by pattern No. 4988, which costs 7d. or
15 cents, and is in thirteen sizes for girls and misses
from four to sixteen years of age ; and blue paper
cambric made up with the dull side outward would
be suitable for it. A jaunty cap or 1 urban made
by twisting the three materials together is worn,
and the hair is allowed to hang loosely down the
back. Black stockings and low shoes or slippers
complete a very becoming uniform.

If preferred, a costume made to represent the American flag
could be adopted, the bodice being blue studded with stars, and
the skirt red and white in stripes.

Each maid carries in her right hand a United States flag
about two feet and a half lonp, which should be made of some
soft, yielding texture that will hang gracefully. A very satis-
factory flag may be inexpensively made at. home of soft red,
white and blue cloih. The bottom of the flag should be
gathered up loosely in the hand holding the staff, and the arm
should be allowed to hang easily at the side.

The music should be a march, preferably a national air.
Diagram I, page 32, represents the stage and is referred
to in the followinof directions. It must be remembered that
the terms right side and left side mean the right and left sides
of the stage as viewed by the spectators, not the right and left
sides of the maids. Thus, A D is the left side of the stage, and
B C the right.

1. — The girls enter in single file at A and B and march

toward E, where the. two files turn at right angles, unite to form

couples and pass to the center of the front, F. At F the

couples separate, the file on the left turning toward D and thai on the right toward C. The

files then march respectively to A and B and meet at E.

2. — Here the files again* unite to form couples, and pass to F, where the first couple turns
toward D, the second toward C, the third tow-ard D, and so on. In this way two columns of cou-
ples are formed, which pass respectively to D and A and to C and B, and meet at E.

3. — The girls in the left-hand column raise their flags to form an archway, through which the
right-hand column passes; and both columns march once more about the stage, meeting at E.

4. — Here the couples unite to form fours, which march to the front of the stage, where the first
four turns to the left, the second to the right, the third to the left and the fourth to the right. The
fours march to the back of the stage and meet at E.

FANCY DRILLS FOR ENTERTAINMENTS.

5. — On reaching E the fours unite to form couples, which march to F. Here the maids of the
first couple turn respectively to the right and left, and each leads the file behind her to describe a

spiral. This -movement, which may at first
seem quite complicated, is in reality very
simple. The left-hand maid in the first cou-
ple leads her file toward the left side of the
stage, and the right-hand maid leads her file
to the right. The two files describe large
circles, the centers of which are at G- and H,
diagram I. Th s forms the outside thread of
each spiral, and each succeeding thread or line
follows a smaller curve until the central point
is reached, where the first maid reverses and
leads her company out in curves parallel to
those made in forming the coil. When the
files reach F on the return they pass each
other, march respectively to D and A and to
p" V^ C and B, and meet at E. Diagram II shows

. the manner in which the files execute this

apparently quite complicated yet simple
movement, the heavy lines denoting the winding, and the dotted lines the unwinding, of the spiral.
6. — At E the maids in the right-hand file transfer the flags to their left hands, and form couples
with the maids in the left-hand file, each giving her right hand to her partner. The couples pass to
F, where the first couple turns to the left, the second to the right, the third to the left, and so on,
thus forming two columns of couples. The head couples pass to the centers of the sides (M and N,
diagram III), turn a right angle and lead their columns toward K, the center of the stage. Meet-
ing at K, the columns pass each other by what is known as the "over-and-under" movement. To
make this evolution perfectly clear, we will designate the column approaching from the left as No.
1, and that from the right as No. 2, and will follow the first couple of No. 1 through the moveraenl;
this will indicate the action of trie other cou-
ples. The first couple of No. 1 pass under
the raised hands of the first couple of No. 2,
then raise their hand<! and allow the second
couple of No. 2 to pass under, then pass un-
der the raised hands of the thitd couple, and
lastly raise their hands for the fourth couple
to pa=s under. The movement is always over
and under, the action of the head couples re-
gulating that of ail the others. It is obvious
that, if this evolution is to be executed grace-
fully, the girls must not stand too closely to-
gether in the couples, and therQ must be suffi-
cient space between the couples. The couples
should not be so far apart, however, as to
cause a break in the "over and under"; and
the hands must always be liehl high enough
to allow the girls to pass under gracefully.
The stage must be sufficiently wide to permit
the girls to complete the movement before
turning at M and N.

7. — From M and N the columns pass re-
spectively to A and B, and meet at E. The
maids in the left-hand column unclasp their
hands and raise the flags to form an archway,
and the right-hand column passes under.
Wlien the last couple has passed, the flags are
lowered, partners clasp hands, and the cohimns
pass respectively to M and N, where they
turn a right angle and march toward K. The
"over and under" is again executed, and the
columns pass to N and M, and thence to B
and A, and meet at B.

8. — At E the columns unite to form a Diaijuam III.

FANCY DRILLS FOR ENTERTAINMENTS.

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Diagram VI.

single column of couples, clasp hands and March to F. • Here the girls of the first couple halt, sepa-
rate and face each other, and all the other couples do the same. This brings the company into two
lines, each girl facing her partner. The lines
should be at least four feet apart. To follow
the ensuing movement, refer to diagram IV,
where the couples are numbered as they stand
in the two hues. The flag must always be
held in the left hand when it is necessary to
use the right in joining hands with another
maid.

9. — Maids X 1 and 0 8 advance toward
each other between the lines, with the flags
held in their right hand«; on meeting they
bring the tops of the flags together, bow
slightly and return to place. Maids X 8 and
O 1 do the same thing. Maids X 1 and 0 8
again advance, join left hands, march round
each other in a circle between the Imes and re-
turn to place. Maids X 8 and 0 1 do the same
thing. X 1 then joins left hands with her
partner, and they walk round each other at the head of the line; then maids X 1 and 0 2 join left
hands and describe a circle. While X 1 and 0 2 are turning, O 1 joins left hands with X 2
and describes a circle with her. Then X 1 and 0 1 describe another circle and pass to the third
couple. It is obvious that two circles cannot be executed wholly between the lines, hence each
must be performed half inside and half outside the lines. When the first couple reach the
third, X 1 joins hands with O 3 and 0 1 with X 3 ; the two couples turn, and then X 1 and O 1
turn in the center. Thus the first couple continue to turn opposites and each other in alternation
until the end of the hne is reached. After the last couple have been turned, the first couple meet at
E, bow slightly to each other, join hands and pass to F between the hues, the other maids having

meantime formed an archway with their
A ^ "D flags. At F the leaders turn and march to

' -L-' E out.side the lines, X 1 turning to the left

and 0 1 to the right; and the two lines follow
their respective leaders. Meeting at E, part-
ners join hands and pass forward, the leaders
halting at F. Partners then separate and
face one another, and all raise their flags to
form an archway, and remain at rest, mark-
ing time with their feet while eight counts
or two bars of the music are being played.
Then the first couple lower their flags, join
hands, and march to the rear of the stage,
passing under the archway of flags; and all
the other couples do the same in their turn.

10. — On reaching E all the maids turn
toward B, the couples at the same time
separating to form a single file. Thus X 1
follows O 1, X 2 follows 0 2, and so on.
The leader passes to the front of the stage,
and then the file describes one large spiral,
with the middle of the stage for a center, as
indicted in diagram V. After winding and
unwinding the spiral, the leader passes from
F to C and then to B and E, and every other
girl shortens her steps to allow the girl be-
hind her to step forward and form a couple
with her. The couples then pass toward F.
11. — At F the first couple turns to the
left, the second to the right, the third to
the left, and so on; and tiie two columns
march respectively to D and A and to C
and B, and meet at E. Here the columns
DiAGKAM V. unite to form fours, and march toward the

X 0- r

X 0- 7

X 0 - i>

X 0-5-
X 0. H-
X 0- J
X 0-.J.

X 0- /

FANCY DRILLS FOR ENTERTAINMENTS.

froat of the stage, where the first four halt, with the others in position behind. All mark time
daring eight counts, and then the first and third lines right about face— that is, face toward the

back of the stage. Each maid transfers her

A flag to her left hand and is ready for the next

p" rf "^ movement. The positions are as indicated

by diagram VI, lines 0 and M facing respec-
tively lines N and L.

12. — The company being now arranged
in four imaginary groups of lour, each maid
joins right hands with the maid who is dia-
gonally opposite her in the same group ; in
this way four crosses of clasped hands are
formed. Thus Nos. 2 and 5 join hands across
or under Nos. I and 6 ; Nos. 3 and 8 across
or under Nos. 7 and 4; Nos. 9 and 14 across
or under Nos. 13 and 10; and Nos. 11 and
16 across or under Nos. 12 and 15. The
hands must be held moderately high, with
finger tips daintily touching. Each group
then marches round to the left in a circle, the
flags being waved with the left hands.
When one revolution has been made, right hands are quickly unclasped, each maid transfers her
flag to her right hand, left hands are joined across, and each group marches round to the right,
the flags being waved as before. When the maids reach their original positions, partners join hands.
No. 1 with No. 2, No. 3 with No. 4, and so on ; the couples in lines M and 0 raise their hands, and
the couples in lines L and N pass under. This leaves line N facing the back of the stage and hne M
facing the front, as in diagram VII. The lines that face each other (0 and L) now execute the
same movement, the two groups crossing right hands and marching round to the left and then
changmg hands and marching back. For this movement Nos. 13 and 2 join hands over or under
Nos. 1 and 14, and Nos. 15 and 4 over or under Nos. 16 and 3. During this evolution lines M and
N are at rest, partners standing with their

flagstaffs touching at the top, and with their
heads slightly inclined toward each other.
The resulting tableau is very attractive. After
finishing the movement, partners in line O
raise their clasped hands, and the couples in
line L pass under. At the same time lines
M and N face about ready to repeat the
evolution, at the end of which the company
is located as shown by diagram VIII.

13. — All face to the rear of the stage;
and, waving their flags, the first couple (1
and 2) turn toward A, the second couple (3
and 4) turn toward B, 5 and 6 follow 1 and
2, 7 and 8 follow 3 and 4, and so on; and the
two columns of couples pass to C and D re-
spectively and meet at F.

14. — Here the columns execute the
" over-and-under " movement described in 6, and pass resopectively to
B, and meet at E.

15.— Here the couples separate to form a single column of couples, which passes to F, where
the couples divide, the maids on the left turning to the left, and those on the right turnmg to the
right. Waving their flags, the two files march respectively to A and B, where they leave the stage.

^- /

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Diagram VIIl.

D and A and to C and

FANCY DRILLS FOR ENTERTAINMENTS.

THe FLOWeP( Dl^ILL.

THIS unique thill will require sixteen girls, who should be at
least fourteen years of age, the movements being rather too in-
tricate to be performed with accuracy by young children.

The dress, which may be made of cheap white tarlatan, has
a very full skirt, and a shirred waist with graceful, voluminous
sleeves. Artificial flowers are sewed to the shoulder seaujs, and
also to the skirt, at least five clusters being used. Single large
blossoms may be chosen instead of the clusters, which may be
formed of roses, forget-me-nots, daisies or bluebells. On the
head is worn a thick wreath of natural flowers made on a founda-
tion of wire, which is wound with dark-green paper and th€,_
heavily twined with myrtle or simlax. The flowers are added
as the myrtle is put on, each spray of green and each flower
being firmly secured to the foundation with fine wire. A rope
or garland of flowers is passed once about the waist and knotted,
the ends being long enough to reach well down upon the dress
front. This garland is made on a soft cotton rope twisted wnth
green paper, and the flowers and myrtle are added the same
as for the wreath. If firm, strong natural flowers cannot be
obtained, artificial ones will be found more serviceable, as the
garland is used in one of the movements and there must be no
chance of its coming to grief during the performance. Black
_. stockings, and slippers or low shoes are worn. During the drill,
~ unless otherwise directed, the hands should hang easily beside
the body. The terms riijht side and left side of the stage mean
the right and left side from the spectator's point of view, ex-
cept when it is expressly stated, as before explained, that the
rght or left side of the maids is meant.
1. — The girls enter the stage at both sides in two equal companies, keeping time to a spirited
march or gallop. Meeting at the center of the back, the two files pass each other and march once
about the stage, meeiing again at the middle of the back, where they jom hands to form couples.
The joining should be daintily and gracefully performed, the hands being held above the line of the
shoulder. The maids forming each couple should not march too closely together.

2. — On reaching the front of the stage the first couple turns to the left, the second to the right,
the third to the left, and so on. Two columns of couples are thus formed, and they pass to the
front corners of the stage and thence to the back, meeting at the center.

3 — The girls in the column advancing from the left of the stage (No. 1) unclasp hands, and the
members of each couple separate enough to allow the column from the right side (No. 2) to pass
through. The girls of No. 1 join hands as soon as No. 2 has passed, and both columns march down
the sides of the stage, meeting at the center of the front, where the maids of No. 2 unclasp hands
and allow No. 1 to pass through. The columns then march up the sides and meet at the center of
the back.

4. — Here the couples unite to form fours, which pass to the front of the stage, the girls in each
rank joining hands. At the center of the front the first four turns to the left, the second to the
right, the third to the left and the fourth to the rigtit ; and the two columns pass up the sides and
across the back to the center, where the fours unite to form two ranks of eight each. These ranks
advance toward the front and halt four feet apart, the maids being then located as shown by dia-
gram I.

5. — The ranks remain stationary durinjr four bars of the music, the maids of each rank joining
hands. At the end of the sixteen counts Nos. 3, 6, 11 and 14 unclasp the hands of the middle four
girls (Nos. 4, 5, 12 and 13), and each line then executes the following evolution : Nos. 4, 5, 12 and
13 form two arches, Nos. 4 and 5 joining hands for the purpose, and Nos. 12 and 13 doing the same.
No.s. 8 and 1 now become leaders in the forward line and lead their files toward each other through
the arch formed by Nos. 4 and 5, between the lines and back to their original positions in the front
line. When Nos. 3 and G have passed through, Nos. 4 and 5 pass under their own arch without

FANCY DRILLS FOR ENTERTAINMENTS.

unclasping their hands. They then face toward the back of the stage, with crossed arms. While
the first rank is performing this movement the second rank is doing the same. Nos. 9 and 16 be-
come leaders, and they carry their files toward each other, through the arch made by Nos. 12 and 13
and back to their original positions. When Nos. 11 and 14 have passed through, Nos.

12 and 13 pass under their own arch,
>j-, ..pj which faces them toward the back of the

yK y p stage with arms crossed. At the comple-

tion of this entire evolution the maids
occupy the same positions in the two ranks
as at the start, but the two center couples
face backward, while the other girls lace
toward the front.

i6.

15-

14.

13-

12.

II.

10. 9.

-•

7. 8.

Diagram I.

6. — Nos. 3 and 6 now unite to form
an arch, taking position back to back
with Nos. 4 and 5. Nos. 8 and 1 witli
their followers again pass toward each
other, then under the two arches made in
their rank and take their places in line as
before. Nos. 3 and 6 lastly pass through
their own arch and thus face the back of
the stage in line with and back of Nos. 4
and 5. In the second rank Nos. 14 and
1] unite to form an archway with their
backs to Nos. 12 and 13. Nos. 9 and 16 lead their flies through both arches in their rank and
back to place,' and Nos. 14 and 11 pass through their own arch' and face the back of the stage
with arms crossed. The positions of the girls are now as indicated by diagram II, the dotted
lines showing the course taken by the sides in passing through the arches.

7. Nos. 2 and 7 unite to form an arch back fo back with Nos. 3 and 6. Nos. 1 and 8

pass through the three arches and back to place, and Nos. 2 and 7 pass through their own arch,
thus facing about with crossed arms. Nos. 15 and 10 form an arch back to back with Nos. 14 and
11 and Nos. 9 and 16 pass through this and the first two arches made in their rank, and back
to place. Lastly Nos. 15 and 10 pass through their arch and face the back of the stage behind
Nos. 14 and 11. Nos. 9 and 16 then form an arch behind Nos. 15 and 10, facing the front,
and pass through it, thus turning to the back with crossed arms; and at the same time Nos. 1 and
8 form an arch back to back with Nos. 2 and 7 and pass through it
position as shown by diagram III, all facing toward F.

In beginning this movement the ranks, arranged as in diagram I,
togetner or the couples will be crowded when the final arches are made,
with crossed arms, forming a pretty chain ;

The maids are now in

must not be too close
The couples now stand

and after four beats are counted, hands
unclasped and dropped beside the body,
and the company again marches.

8. — At F the first couple turns to the
left, the second I0 the right, the third to
the left, and so on ; and the two columns
pass around the stage until they meet at
the center of the front. Here the girls in
the column from the left join and raise
their hands, makini,' an aichway; and
then the column from the right passes
through in couples, the hands forming the
arch being unclasped as soon as the
column has passed through. The columns
march to C and D, and at G- and H they
turn right angles and advance toward
each other to the center of the stage.

9. — Meeting at the center, the maids
facing each other unite to form couples

and turn right angles, one column marching to the front of the stage and the other
indicated by diagram IV.

10. — Reaching F, file No. 1 turns toward A and No. 2 toward B, and at the

/3 IZ

lb - l5 - li- II - 10 - 9 J

1 - ^-^ J- 7-g ^^^

c , ^

-C

Diagram II.

to the back, as

Nos. 3 and 4, having reached E, pass toward D and C respectively.

ame time files
The company then march until

FANCY DRILLS FOR ENTERTAINMENTS.

-^^ T

X^0 6

X Ndv-
J o< X

/ CV^X

€

Diagram IV.

there are four girls on each side and at the back and front of the stage. Thus, the first two girls of
tile No. 1 occupy the space A H (see diagram IV), while the otiier two halt on A F; the first two
maids of file No. 2 pass to B G-, while tlie last two halt on F B; and so on. The company is now
stationed as in diagram V, all the girls facing the center of the stage. The couples are numbered in
this diagram for use in the next move-
ment, and this numbermg has no connec-
tion with that in diagram IV.

II. — The maids on each side of the
parallelogram unite to form couples, and
the members of each couple join hands.
Each couple turns to face the couple on
the nearest side of the hollow figure.
Thus, Nos. I and 8 face each other, atid so
do Nos. 7 and 6, Nos. 5 and 4 and Nos. 2
and 3. The couples in each group ad-
vance toward each other and retreat four
steps. Each maid then unclasps her part-
ner's hand, and gives her right hand to the
maid diagonally opposite her. This pro-
duces a cross of four right hands in each
group. In this position all walk to th'j
left, making a complete circle; they then
unclasp right hands, join left hands in' the
same way, and circle half round to the
right. This causes all the couples to change places. No. 8 is now in No. I's former position, No. 2
in°No. 3's former position, and so on ; and No. 1 faces No. 6, No. 8 faces No. 3 and so on. Each
pair of facing couples now advance toward each other and retire four steps, advance again,
and join right hands across as before; they make a complete circle to the left, unclasp right
hands, join left hands across and make a half-circle to the right. This brings each couple into a
different position; and the movement is repeated until all the couples have made a complete circuit
of the stage and regained their original positions, as in diagram V.

12.— The couples on the left of the stage now face respectively toward 1), A and F, the couple
nearest F being the leader of that column. In the same way the maids on the right face respectively
toward C, B and F, the couple nearest F being the leader of the right-hand column. These two
columns pass each other at F and march wholly about the stage, meeting at F. The maids in the
first couple of the left-hand column unite with the corresponding maids in the right-hand column to
form two couples; and all the other maids do the same, thus forming one column of couples, which
passes toward the front. The column halts when the first couple reaches E, and the two files face
each other standing three or four feet apart. The first maid in the left-hand row gives her left hand

to the maid diagonally opposite (No. 2 of
the right-hand row); the latter gives her
left hand to No. 1 and her right hand to
the maid diagonally opposite (No. 3 of the
left-hand row); No. 3 gives her right to
No. 2 and her left to No. 4; and so on
down the line, eight of the sjirls being
joined as shown by diagram VI.

The hands should be raised quite high.
The remaining maids, marked X on the
diagram, now join hands under the hands
of the others, and, with X 1 leading, they
pass zigzag through the line. X 1 passing
outside to the back of the stage and enter-
ing the line at the back. Thus X 8 has
to piis-! zigzag through the entire line to
reach the front. When these maids reach
their original places, they join hands over
those of the O maids, and the latter,

led by 0 1, file zigzag through the line in the manner just described. When the maids reach their

places, all unclasp hands, and the rows face each other.

13.— The first two couples join hands in a circle and, with hands well raised, pass round to the
left, making one entire circle and a quarter of another. The two maids of the left-hand column, 0 1

14.

15-

16.

2.
1.

Diagram III.

FANCY DRILLS FOR ENTERTAINMENTS.

andX
go to the

2, pass under the raised hands of the two maids of the ri<rht-hand column, X 1 and 0 2, and
the ri^ht side of the stagp, where they face about; and X 1 and 0 2 pass to the left side of

the staofe and turn to face 0 1 and X 2.
the same way, and the two maids of tht

The next two couples join hands and circle to the left in
left-hand column pass under the raised hands of the two
belonging to the right-hand column. They
pass to the right side of the stage and
take their places on each side of the cou-
ple already there, while the maids of the
right-hand column go to the left of the
stage and place themselves one on each
side of the couple there. This is continu-
ed until the company is formed in two
ranks at the sides of the stage; and all
the maids then face forward and march
to E, where the files pass each other
and march about the stage until they
meet at F.

14. — When the two leaders meet at
F they halt, take the wreaths from their
heads and form a pointed arch with
them, standing well apart. When the
second maids meet they pass together
Diagram V. under the arch, take places in front of

the first couple and form a similar arch
with their wreaths. The otner maids do the same until eight arches are formed. The effect of
this floral bower is very pretty. When the last couple have passed througli and taken position,
four counts are allowed, and tlien the first couple, lowering their wreaths and retaming them in
their hands, join hands and pass through the seven remaining arches, followed in order by the
second, third, fourth, fifth, sixih and seventh. On reaching E the maids separate, those on the left
of the couples turning to the left, and those on the right to the right. The files pass to F, and the
arches are again made; but on passing through the second time each maid adjusts her wreath upon
her head. Reaching E, the files again separate and pass about the stage, meeting at F. Here they
unite to form couples, and repeat movements 2 and 3.

15. — The two double columns unite to form one column of couples, the first two maids of one
column uniting with the first two maids of the other, and so on. The first two couples march to E,
tlie second two turn a right angle at the center of the stage and march to H (see diagram Vll), the
third two turn a right angle at the center and march to G, and the fourth two halt when the first
couple has nearly reached the center. As soon as the couples reach the positions indicated in dia-
gram VII, all right about to face the center of the stage.

16. — When the last couples are in
place, fours bars of music are played ;
then X 2 and X 7 advance and join right
hands, and X 4 and X 6 do the same
across the joined hands of the first pair.
At the same time each gives her left hand
to her partner, thus forming a star. In
this position the eight maids march once
about tlie stage to the left, the X maids
taking short steps to allow for the larger
circle described by the 0 maids. While
the inside maids are preparing to perform
this evolution, each outside maid unfastens
the garland from about her waist. X 1
holds one end of her garland and passes
the other end to 0 5; and 0 1 joins
similarly with X 1, X 3 with O 1, 0 3
with X'3, X 8 with O 3, 0 8 with X 8,
X 5 with 0 8, and 0 5 with X 5. A
rope of flowers is thus made about the

revolving star of maids. This is a very beautiful movement. It is obvious that the garlands must
be quickly adjusted, although the effect should not be marred by hurry. The garlands should be
licld rather high. If there is likely to be trouble in unfastening them from about the waist (the
difficulty will be developed, if at all, during practice), it will be wise to give up the waist adjustment

X X X

% A.

0 0 o

O 0 .0
X X "x

DiAORAM VI.

FANCY DRILLS FOR ENTERTAINMENTS.

and simply twine the garlands once about the neck. This movement is not hard to explain, as it
will be seen that each maid retains one end of her garland and gives the other end to the maid on
her right. After one complete revolution, the maids forming the star reverse, giving their left hands
across and right hands to partners, and revolving once around to the right. Next comes the finale.

Diagram VII.

X 0 (8)

(3) (4)

X 0 (7)

(6)

(5)

- 0 0

X -

X X

(.) 0 X
(i) 0 X

17. — X 2 and 0 6 join hands and pass under the garland held by X 1 and O 5, goiuf toward
C; and X 1 and O 5 fall in line behind this pair, X 1 quickly throwing her garland about her neck
and joining hands with 0 5. X 4 and 0 2 joins hands and pass under the garland held by X 3 and
0 1, going toward D; and X 3 quickly throws her garland about her neck and follows with O L
The other maids pa«s out in the same way, the positions at the end of the movement being as .shown
at diagram VIII. It will be seen that the garlands between 0 1 and X 1, and 0 3 and X 3, 0 5
and X 5, and 0 8 and X 8 are not used in the final movement. As soon as this commences, the
maids to whom these garlands belong quickly hang them about their necks,' the maids on their right
assisting.

The couples X 4 and 0 2, X 3 and 0 1 and 0 4 and X 7 turn to their right, and the remaining
couples turn to their left, each 0 maid falling in line behind her partner. This produces two files,
X 7 leading one and X 6 the other. The files meet at F, where the two leaders clasp hands, step
backward two steps and face the front of the stage, while their files pass on toward A and B
respectively. While the two leaders are stationary at F, the files pass about the stage until they
again meet at F. The maids belonging to X 7 entwine her with their garlands as they pass, throw-

tf-

-v^

v^^

■Gi

■D

Diagram VIII.

ing them gracefully across her outstretched arms or about her nock. The maids belonging to X 6
decorate her in the same way. Both files turn at F and march to E, whore they turn to their right
and left respectively, and pass off at A and B ; and X 6 and X 7, bearing their burden of blossoms,
follow after their companies, each droping a graceful courtesy as she reaches the place of exit.

OF THK

"CTNIVERSITY

FANCY DRILLS FOR ENTERTAINMENTS.

THe laWn TgnniS Drill.

SIXTEEN girls were chosen for this drill. The costume consists
of a red-and-white striped skirt and a white box-plaited blouse.
The skirt was cut by pattern No. 6113, which costs Is. 3d. or
30 cents, and the blouse was shaped according to pattern
No. 6347, price Is. or 25 cents. On the head is a cap of the
skirt material fashioned by pattern No. 3166, which costs 5d. or
10 cents. The blouse and skirt patterns are each in seven sizes
for njisses from ten to sixteen years of age. The cap pattern is
in six sizes from G^ to 7+ cap sizes. Tennis shoes or low russet
tics are worn. A white canvas belt and a red four-in-hand
scarf are worn.

Each maid carries a tennis racket, the handle of which is
decorated with a red ribbon bow. The ribbon, which is two
yards long, is tied about the handle in an ordinary knot, and the
long ends are then tied together and bowed, thus forming a loop,
through which the arm is passed when the hand holding the
racket is needed in the drill. During the march the racket is
placed under the right arm, the strung end resting against the
hip, and the right hand grasping the handle in front of the body.

THE MARCH.— The music for the march should be a

spirited | movement, played with vigor and marked emphasis.

1. — The girls enter the stage at A and B (diagram I), eisht

at each point. The two Gles pass each other at E and march about the stage, meeting at the

center of the front, F.

2. — At F the files unite to form couples and march to the back at E, where they separate, turn-
ing to the right and left and marching respectively to C and D.

3. — At these points the files turn acute angles toward the center of the stage, L, as shown in
diagram II, page 41. The files meet at L, unite to form couples, pass to E, again separate and
march respectively to B and A, where they turn acute angles toward L.

4. — Meeting at L, the files unite and pass to F, where they separate and march respectively to
C and D. There they again turn acute angles and march to L, where they pass each other, the line
from C continuing to B and that from D pass-
ing to A. At these points they turn toward E.

5. — Meeting at E, the files unite to form
couples and pass to F, where the first coaple
turns to (he right, the second to the left, the
third to the right, and so on ; and the result-
ing columns pass about the stage and meet
at the center of the back, E.

6. — There the maids forming the coup-
les in the column from the left, separate
sufficiently to allow the column from the
right to pass through, and the two columns
march about the stage and meet again at F.
There the maids in the couples of the column
from the left separate, and the column trom
the right passes through. The columns then
march about the stage until they meet at E.

7. — At E the columns unite to form
fours, which march toward the front and halt when the first four nearly reaches the front of
the stage, the other fours stopping at intervals behind. Eight beats are then allowed, and the
first two ranks face about. The company will (hen be located as shown at diagram III, page 41,
lines a and b facing the back of the stage, and c and d the front.

FANCY DRILLS FOR ENTERTAINMENTS.

8. — After the two forward lines face about four counts are allowed, and then the following
moveaaent is executed: Nos. 12 and 5 turn, march toward G- and halt; and Nos. 13 and 4 follow
them, marchinnj toward each other and tdking ihe places vacated by Nos. 12 and .5. Nos. 9 and 8
turn toward H and halt, and Nos. 16 and 1 follow, taking the places previously occupied by Nos. 9
and 8. Nos. 10 and 15 and Nos. 11 and 14 march toward F and halt near the front of the stage.

and at the same time Nos. 7 and 2 and Nos. 6 and 3 march toward E and halt near the back of the
stage. The maids will then be stationed in the form of a cross, as shown by diagram IV, all standing
with their backs to the center of the stage. Eight counts are required to execute this movement,
and a halt of four counts is made before commencing the next.

9. — The maids form couples as they stand, and then march forward and turn right angles to their
right on reaching the center of the front, side or back, as the case may be. Thus Nos. 10 and 11
turn a right angle at F toward C, Nos. 15 and 14 following them; Nos. 5 and 12, followed by Nos.
4 and 13, turn at G toward D; and so on. The couples march until opposite the points at which
they turned, and then the maids forming the couples separate and fall in line one behind another,
thus forming a single file about the stage. When Nos. 10 and 11, for example, reach E, opposite
their turning point. No. 11 falls behind No. 10 and No. 15 behind No. 14. No. 10 may now be
considered the leader, and she leads the line to F.

10. — From F she leads the way to her right round and round, making each successive round
inside the one before it. The company thus describes a spiral to the center of the stage, at which
point the leader turns sharp round ro her left and retraces her steps between the coils, thus unwind-
mg the spiral. (See diagram V in the Columbian Drill on page 33.)

11. — On reaching F the file passes about the stage, and at E every other girl steps back and
joins the maid behind her. The double column marches from E to F, and here the first couple turns

./.—

1 6.

15-

14.

13-

^-_

lo.

II.

12.

/'.—

(7.

-<\

Diagram III.

to the left, the second to the right, the third to the left, and so on. The resulting columns pass
respectively to D and B and to C and A.

12. — Meeting at E, the couples unite to form fours, which pass to the front of the stage, where
the first four turns to the right, the second to the left, the third to the right, and the fourth to the
left. The fours meet at E and there unite to form eights, which march toward the front and take

FANCY DRILLS FOR ENTERTAINMENTS.

positions for the drill The maids should not stand too closely in the ranks, and the ranks should be
three or four feet apart if the size of the stage will permit.

THE DRILL.— For this the music should change to a spirited schottische, to provide the needed
rhjlhm for the exercises. Every movement requires eight counts, except where otherwise stated.

IH-

■ 8.

i6.
I.

15-

lO.

14.
II.

13.

12.

Diagram IV.

1. Present. — Grasp the handle of the racket with the left hand, turn the racket upside down in
front of the body, with the strung end level with the face, and at the same time change the position
of the right hand on the handle.

2. Salute. — Raise the racket with the right hand until the large end touches the visor of the
cap, and at the same tmie gracefully bend the body forward.

3. Right Face. — Take one step obliquely to the right with the right foot, and raise the left foot
gracefully on the toe without changing its location. The racket is held before the face, the maid
looking through the strung end.

4. Return. — Step back to position, and place the hand holding the racket against the waist-
line, thus bringing the handle across the right hip.

5. Left Face. — Raise the racket with the right hand, quickly change it to the left and take one
step obliquely to the left, poising the right foot on the toe without changing its location. The
racket should be raised before the face so the maid can look through the strung end.

G. Return. — Same as 4.

7. High Prime. — Raise the racket with the riirht hand, gra<p tlie end of the strung end with
the left, and at the same time slide the right hand along the handle nearly to the end. Hold the

•A

16.

15.

14.

13. 12.

II.

10.

if^

4. 5.

racket about two inches in front of the forehead, and bend the body slightly forward, looking under
the racket, which should be hold with the wide part parallel with the floor.

8. Carry. — Place the racket flatly against the right shoulder, with the top about an inch above
the shoulder, grasping the handle comfortably at the end with the right hand. The left hand should
assist by placing the top of the racket against (he shoulder, and should then be dropped at the side.

FANCY DRILLS FOR ENTERTAINMENTS. 43

9. Rear Rest. — Grasp the top of the racket with the fingers of the left hand, and then, holding
tae end of the handle with the right hand, raise the racket over the head and rest the handle across
the back of the neck, holding the flat surface parallel with the back of the head.

10. Carry. — Same as 8.

11. Kneel. — Carry the right foot about twenty inches to the rear, and kneel on the right knee,
with the front of the knee on a line with the back of the left heel. In taking this position place the
larger end of the racket on the floor and flatly against the left leg, grasping the handle at the top
with both hands.

12. Carry. — Same as 8.

13. Front Rank About Face. — The maids of the front rank face about to the left without
change of location, and at the same time the maids of the rear rank step back as far as possible.
The ranks now face each other.

14. Transfer and Unite. — Each maid passes her right arm through the ribbon loop on the han-
dle of her racket, which is thus suspended from the arm; and all join hands in line.

15. Forward and Back. — The hands being still joined, the two ranks advance and retreat four
steps. The hands should be held rather high, and the motions should be gracefully made.

16. Forward and Join.— Fia.c\\ maid takes four steps forward, unclasps hands with the maid at
each side, joins hands with the opposite maid, passes through the other rank, takes four steps more,
and faces about. This movement reverses the positions of the ranks. Opposite maids join hands
only for a moment in passing.

17. Return. — The maids in each rank join hands, forv/ard four steps, unclasp hand?, join
hands with opposites, pass through, forward four steps more, and face about. The maids are now
in their original positions, as shown by diagram V.

18. First of Column March.— ^os. 9 and 8 are considered the heads of the files. No. 8 gives
her right hand to No. 9, and the couple march between the files toward H, the fi:es at the same time
moving toward G. Eeaching H, the couples separate and take the positions of Nos. 16 and 1. As
soon as Nos. 8 and 9 pass the second couple below them (Nos. 11 and 6) the second couple (Nos.
10 and 7) join hands, follow the first couple down the center, and take their places beside Nos. 9
and 8. In this manner the two t^les make a continuous round, those on the outside moving toward
G, and those at the center marching toward H. When 9 and 8 arrive at their original positions the
movement is repeated, and at its termination a halt of four counts is made.

19. Circle Right. — The eight maids on each side of the center of the stage join hands and circle
about to the right. The right-hand circle will include Nos. 5, 6, 7, 8, 9, 10, 11 and 12, w'hile the
left-hand circle will be composed of Nos. 1, 2, l\ 4, 13, 14, 15 and 16.

20. Circle Left. — The same maids, still clasping hands, circle about to the left until they reach
their original places. A halt of four beats is allowed before the next movement.

21. Hands All. — Every other maid in each eight faces to the right, and the others face to the
left. Each maid then passes forward as she faces, giving her right hand to the first maid she meets,
her left to the second, her right to the third, and so on. When all have reached their original posi-
iions, the two circles form two ranks as before, and halt during four beats. For this movement, as
.;or some others, it is impossible to state exactly how many bars of iimsic are required. The captain
must see that her company is not hurried, as haste is certain to mar the efl"ect.

22. Carry. Forward March. — The maids are now placed as in diagram V, and all face toward
G, place their rackets as in 8 and march forward. At G No. 8, followed by her file, turns toward
D, while No. 9 leads her file toward B. The files march about the stage and meet at II.

23. — Here the files unite to form couples, which pass to the center of the stage and there turn
a right angle toward F. At F the members of each couple separate, and the resulting files pass
about the stage and meet at E.

24. — At E the leading maids halt, raise their rackets and form an arch. The second maids in
the lines meet at E, turn toward the front, pass through the arch and staiid in front of the first
couple, also forming an arch with their rackets. The remaining maids unite, pass through and form
arches in the same way, the last arch being at the front of the stage. A halt of eight counts is made
after the last arch is formed, and then the two maids at E lower their rackets to the former position
and pass through the seven arches to F, where one turns to the right and the other to the left. The
other maids follow in turn, and the two files pass about the stage and meet at E. To perform this
movement with ease, the maids forming t.he arches should stand well apart, to allow ample space
for two maids to pass through abreast.

25. — As each maid reaches E she turns toward F, raising her racket to (he position described in
7. At F all change to the position described in 9, and the two files pass respectively to C and D,
and then to A and B, where they pass off.

dJ:

FANCY DRILLS FOR ENTERTAINMENTS.

THE Da^g-gELL Di^ill.

TWELVE young ladies of uniform size are sufficient for this drill. The
costume is especially adapted for all forms of recreation, as perfect
freedom, is allowed. The pattern is No. 6506, which is in thirteen sizes
for ladies from twenty-eight to forty-six inches bust measure, and costs
Is. 8d. or 40 cents; and white cheese-cloth is used for the skirt and
blouse, and blue cheese-cloth for the jacket. The blouse is arranged
with pretty fulness at the front and back, the full sleeves are gathered
to cuffs, and tap)es confine it at the waist-line. The skirt flares toward
the bottom, and is trimmed with one row of wide and three rows of
narrow blue cotton braid. The jacket has a ripple collar of while
cheese-cloth. The belt of the skirt is formed of wide blue ribbon, and
a large rosette of similar ribbon is arranged at the center of the back.
The hair is arranged in a coil at the back of the head. The feet are
clad in black Lisle-thread stockings and black shoes or low ties.

Each maid carries two one-pound dumb-bells, one in each hand,
the arms being allowed to hang easily at the sides during the march.

THE MARCH. — For the march a spirited f movement should be
played. The following diagram represents a plan of the stage, and is
referred to in the directions:

L — The maids enter the stage in single file at A, the middle of the
back. The first maid turns to the left, the second to the right, the
third to the left, the fourth to the right, and so on. The company is
thus formed into two files, which march about the stage, pass each
other at F, the center of the front, and continue until they meet at
A. As has been stated in previous drills, the terms right and left
signify the right and left sides of the audience, not of the maids.

2. — At A the maids unite to form couples, which march down the center toward F. Reaching
F the file on the light of the double column turns an acute angle toward C, and that on the left
of the column turns a similar angle toward B. (See dotted lines, diagram I.)

3. — Reaching B and C respectively, the files turn toward A, pass each other at that point,
and then march about the stage until they meet at F.

4. — Here the maids unite to form couples,
which inarch toward A. Reaching A, the
maids on the right of the column turn an acuie
angle toward D, while those on the left turn
toward E.

5. — P'rom E and D the files march toward
each other, pass at F, and march about the
stage to A.

6. — At A the files again unite to form
couples, each maid entwining one arm about
her partner; and the resulting column inarches
to F, where the first couple turns toward E,
the second toward D, the third toward E,
and so on. The resulting two columns
march about the stage and meet at the cen-
ter of the back.

7. — At A the maids in one column unite
with the corresponding maids in the other

column to form a single column of couples which marches toward F, where the maids on the
left side of the column turn toward E, and those on the right toward D. When the leaders reach
B and C, the two files halt, and the maids are then located as indicated by diagram IL

8. — Here each column, with No. G as a pivot, wheels to the front of the stage according

FANCY DRILLS FOR ENTERTAINMENTS.

Diagram III.

tc the dotted lines in diagram II. The positions of the maids are now as in diagram III.

9. — Four beats are allowed after the last movement. The two maids numbered 6 are now the
leaders of their respective files, which march to C and B, and then to A.

10. — When the leaders reach A the files halt and mark time during four beats of the music.
(See diagram IV".)

11. — With No. 1 as a pivot, each file "g iA

wheels toward ihe front according to the 't *

dotted Unes in diagram IV. All then face
the center of the stage, and after counting
four, the two files lace respectively toward
C and B, and march to A, No. 1 being the
leader in each file.

12. — At A the files unite to form a double
column and march to F, where the first cou-
ple turns to the left, the second to the righr,
the third to the letl and so on ; and the two
double columns pass about the stage until
they meet at A.

13. — Here the couples unite to form fours,
which march toward F and halt when the
first four reaches the front of the stage. The
left-hand couples in the first two ranks move

two paces to the left, and the right-hand couples move two paces to the right. The com-
pany is now located as shown by diagram Y. Spaces are thus left in the first two ranks, and these
are filled by the maids of the rear rank moving forward, the two maids at the center of this rank
filling the space in the first rank, and the two end maids falling in behind them in the second rank.
The company is now arranged in two ranks of six, as shown by diagram VI, and is ready for the drill.

THE DRILL. — In a drill of this kind the effect depends largely on the music. This should be
frequently changed and should be played slowly, with the left hand generally staccato, to mark the
time more strongly and keep the music and movements exactly together. During the drill the
accompanist should follow with her eye every movement of the maids, and should vary the music
during the different exercises. Each exercise should commence on the first note of the music, unless
otherwise stated ; and between the exercises two measures should be played. The drill is made up
of different exercises and the instructor should call out '' One," " Two," " Three," etc., while the
company is practising, but not, of course, during the exhibition of the drill.

First Exercise — Arms. — The music should be a |^ movement, and two beats should be allowed
to each movement. The maids should remain motionless during the first four heats, with

their arms hanging easily at the sides.
Tj 1. — Raise the dumb-bells until the arms

are at full length above the head, the hands
being the width of the shoulders apart.

2. — Force the arms down until the el-
bows are close to the sides and the dumb-bells
rest in the hollows in front of the shoulders.
3. — Extend the arms straight out in front,
with the bells level with the shoulders and
the hands the width of tne chest apart.

4. — Place the bells in a line with the
chest, resting against the upper arms, with
the elbows close to the sides.

Repeat the exercise, and then place the
bells at the sides, as in the march, and rest
during eight counts before the next exercise.
Second Exercise — Shcidder.
1. — Place both bells on the shoulders, with the elbows forced back and well raised (one beat).
2. — Straighten the right arm by moving it only from the elbow, thus extending the dumb-bell
the full length of the arm (one beat).

3. — Replace the right-hand bell upon the shoulder, and at the same time straighten the left arm
from the elbow (one beat).

?.. "-^

,•'"

. ,c

3... ^ . \

.% 5

4. ^% ^ \

: '' ''

..4

5. '\ \ '\ \

t ! •'

\ t « \ »

•

^^ \\\ \ \

.'. \ \ •

;

Diagram II.

FANCY DRILLS FOR ENTERTAINMENTS.

4. — Replace the bell on the left shoulder (one beat). Then proceed as directed below:
5. — Straighten both arms together from the elbows, holding the bells out from the body the
length of the arms (two beats).

6. — Replace the bells on the shoulders (two beats).

Repeat the exercise, and then rest with the bells at the sides during eight beats.

Third Exercise — Bending. — This exercise
requires a change of music to a waltz tempo.
Allow three beats to each movement, unless
otherwise ordered.

1. — Extend the arms above the head
(three beats), and strike the bells together
once (three beats).

2. — Cwing the arms and body down-
ward, laying the bells on the floor.

3. — Raise the body to an erect position,
placing the arms akimbo.

4. — Bend forward and take the bells
from the floor.

5. — Same as I.

6. — Place the arms at the sides, as in the
march.

Diagram IV 7.— Raise the right bell high above the

head, allowing the left to hang at the side,
and at the same time bend the body to the right, with the left side well curved (six beats).
8. — Arms at the sides again (six beats).

9. — Raise the left bell high above the head, allowing the rigl.t to hang at the side, and at the
same time bend the body to the left, with the right side curved (six beats).
10. — Arms at the sides (six beats).

Repeat the exercise. The music should then change to a f tempo, and four bars should be
played before the next exercise.

Fourth Exercise — Independent Movements. — Allow two beats for each movement, save when
otherwise directed.

1. — Raise the bells until they rest in the hollows of the shoulders.

2.— Extend the left bell directly to the left and the right to the front, thus bringing the arms
to a right angle.
3. — Same as 1.

4. — Extf.nd the right bell directly to the right and tl.e left to the front, once more forming a
right angle.

5.— Same as L B <)\ jj

6.— Extend the left bell directly to the
left and the right above the head, again
forming a right angle.
7. — Same as \.

8. — Extend the right bell directly to the
right and the left bell above the head.
9. — Same as 1.

10. — Place the bells at the sides, with the
arms at full length (four beats).

During this exercise the body must not
be allowed to twist about with the arm move-
ments, but must be kept perfectly erect and
steady; and the eyes must be continually
directed to the front.

Fifth Exercise — Rotation. — Allow four beats to each movement, unless otherwise directed.
1. — Hold the bells just far enough outward to clear the dress, and rotate them four times, turn-
ing them first outward and then inward as far possible and allowing one turn or rotation for each
boat of the music.

■^

lO.

II.

12.

■ 5-

Diagram V.

FANCY DRILLS FOR ENTERTAINMENTS.

2. — Bend the arms at the elbows until the forearms are extended siraight forward; then rotate
the bells four times, as described at 1.

3. — Extend the arms at full length in front of the body, and rotate the bells four times.

4. — Same as 2.

5. — Extend the arms at full length cut from the shoulders, aud rotate the bells four times

the head, and rotate them four times.

Diagram VI.

6. — Same as 2.

7. — Extend the bells aboA

8. — Same as 2.

9. — Place the bells at the sides as in the march (eight beats).

Sixth Exercise. — Allow two beats to each movement, unless otherwise directed.

1. — Place the left bell in the hollow of the right shoulder and the right bell in the hollow of the
left shoulder, thus crossing the arms on the chest.

2. — Place the elbows against the body at the waist-hne, with the forearms extended in front of
the body.

3. — Extend the bells in front of the body the full length of the arms.

4. — Same as 1.

5. — Extend the bells above the head, the arms at full length.

6. — Strike the bells together twice above the head, making one stroke for each beat of the
music.

7. — Place the bells in the hollows in front of the shoulders (four beats).

8. — Place the bells at the sides as in the march (eight beats), and then repeat the exercise.

Seventh Exercise. — Allow four beats for each movement. The music must be a slow, steady
march.

1. — Place the bells in the hollows of the shoulders.

2. — Drop the right arm to its full length at the side, as in the march, raise the bell to the hollow
of the shoulder, and repeat the movement, thus filling the four beats.

3. — Drop and raise the left bell as just directed for the right.

4. — Drop and raise the right bell once, then repeat with the left bell.

5. — Perform 2 and 3 simultaneously.

6. — Extend the right arm straight out at full length level with the shoulder, return the bell to
the shoulder, and repeat.

7. — Perform a corresponding movement with the left bell.

8. — Extend and return the right bell once, then repeat with the left bell.

9. — Execute 6 and 7 together.

10. — Raise the right bell aDove the head at arm's length, then return it to the shoulder, and
repeat.

11. — Raise and lower the left bell in the same way.

12. — Raise and lower the right bell once, then the left bell once.

13. — Perform 10 and 11 together.

48 FANCY DRILLS FOR ENTERTAINR1ENTS.

14.— Carry the right bell forward at arm's length, then back to the hollow of the shoulder, and
repeat.

15. — Perform the same movement with the left bell.

16. — Carry the right bell forward and back once, then the left bell once.

17. — Execute movements 14 and 15 simultaneously.

18. — Same as 1 (eight beats).

Eighth Exercine. — Allow two beats to each movement, unless otherwise directed.

1. — Extend the arms at full length in front of the body.

2. — Strike the ends of the bells together twice, with the backs of the hands upward.

3. — Strike the ends of the bells together twice, with the backs of the hands downward.

4 — Place the bells in front of theshoulders (four beats).

5. — Raise the bells above the head with the arms at full length.

6. — Strike the ends of the bells together twice, with the palms of the hands to the front.

7. — Strike the ends of the bells together twice, with the backs of the hands to the front.

8. — Same as 4.

Repeat the exercise, allowing eight beats for 8 the second time.

Ninth Exercise. — Allow two beats for each movement, except when otherwise directed.

1. — Place the arms at the sides, as in the march (four beats).

2. — Extend the arms in front of the body and strike the bells together twice.

Repeat movements 1 and 2, allowing the former only two beats in the repeat.

3. — Same as 1 (four beats).

4. — Place the bells back of the body, strike them together twice, and drop the arms at the sides
(two beats) ; then repeat the movement.

o. — Same as 1. (It will be seen that in 3 and 5 the arms are at the sides six beats, two for the
repeat and four for the start of the new movement).

G. — Extend the arms in front and strike the bells together once (one beat), place them at the
sides (one beat), strike them together once behind (one beat), and drop them at the sides (one beat);
then repeat these four movements.

7. — Place the bells in the hollows of the shoulders (four beats), and then drop them, as in the
march (four beats), preparatory to leaving the stage.

8. — All the maids face toward the center of the stage (four beats), and then with Nos. 10 and
11 as leaders (see diagram VI), they form couples and march to F, the maids joining at the center as
follows: No. 10 with No. 11, No." 2 with No. 3, No. 1 with No. 4, No. 9 with No. 12, No. 6 with
No. 7, and No. 5 with No. 8.

9. — At P the first couple turns to the left, the second to the right, the third to the left, and so
on; and the two columns march about the stage until they meet at A. Here the columns unite to
form one column of couples, which marches to F, where the maids on the left of the column turn to
the left and those on the right to the right. The two single files pass respectively to E and D and
to B and C. and then to A, where they pass off as they entered, first No. 1 of the left-hand file, then
No. 1 of the right-hand file, next No. 2 of the left-hand file, and so on.

This drill will provide an admirable exercise in gymnastics for school or home practice. If it
i« not convenient to have dumb-bells, the movements may lie made without them, the hands being
clapped where the dumb-bells are to be struck in the exhibition.

■^-

FANCY DRILLS FOR ENTERTAINMENTS.

THE SGAI^F DF^ILL.

THE iMxtique pose in a drill is an innovation. The word drill
suggests something studied and regular, and the present adapta-
tion is, therefore, somewhat paradoxical, since there is a charming
abandon about the figure and a lightness and airiness in the move-
ments that bring before the mental vision a picture of ''L'Allegro"
and the lines,

" Come! and trip it as you go,
On the hglit fantastic toe."

This swaying, tripping motion is, m fact, a distinct departure
from the usual form of drill. The lithe and supple figures of the
youthful company may assume any statuesque pose, and will, when
clothed in classic, flowing draperies, be a perfect embodiment of
poetic harmony expressed by the graceful movements and attitudes
that give this drill to a certain extent tlie nature of a dance.
Seven maidens of a uniform height take part in the drill, and the costume is a simple but

artistic G-reek gown that yields to every motion of the wearer, thus adding greatly to the beauty of

the various figures and individual postures. The style used in shaping the gown is knowH as the

"Hermione." a name significant

of harraon}' and, therefore,

singularly appropriate to the oc-
casion. A soft, clinging textile

should, of course, be chosen for

its development, such as crepon,

nun's - vailing, wool bastiste,

cashmere or cheese-cloth ; and

it may be either cream-white

or of some dainty hue, green,

mauve, heliotrope, blue, yellow

and pink being well adapted

for display by either natural or

artificial light.

The gown consists of a loose

bodice and a flowing skirt. The

bodice has an upper portion that

opens in V-shape both back and

front, the fulness being caught

in gathers on the shoulders

under jeweled brooches; and an

eneirchng band embroidered in

a Greek design separates this

portion from the blouse -hke

lower-portion. The sleeves are

very full puffs that reach to the

elbows. The skirt hangs from

the bodice, and a scarf of Liberty

or China silk or of some diaphan-
ous material, such as chiffon or

silk mull, accompanies the gown,

which is shaped by pattern No.

709, price Is. 6d. or 35 cents.

A rainbow effect may be produced by selecting gauzy scarfs in the primary hues, giving every

maid a different color; or, if preferred, the scarfs may match the costumes in tint.

Either sandals or slippers may be worn, and they, as well as the hose, should match the gown.

The hair is softly waved and is bound with a Greek fillet, which may be of gold, silver or shell.

Figure No. 1.

Figure Xo. 2.

FANCY DRILLS FOR ENTERTAINMENTS.

Each wrist is encircled by a ribbon bracelet, to wiaich a metal clapper, like those seen on a tam-
bourine, is fastened on the underside of the arm.

A pretty tableau would make an effective prelude for the drill proper. The curtain should be
raised to display it, and then, after a few moments,
should be lowered to allow the stage to be cleared
for the drill. A simple but pleasing tableau is arranged
thus: A couch or divan is placed at the center of tlie
stage near the back, as at A, diagram I; and over it

r^^~w^.

FiGURK No. 3.

the attitude shown at figure No. 4 ; and further
forward at the center the two remaining maids
(F and G) half rechne upon rugs, which are chosen
as being in conformity with the character of the
tableau. Appropriate ideas for tableaux may be

o o o o o e 0

A 1

f G

0 0

Diagram I.

is thrown a drapery of some delicately
tinted fabric. One of the maids re-
clines upon the couch in a graceful
attitude, and behind it stand two maids
(B and C, diagram I), who hold feather
or punco fans as though about to
wave them over their reclining com-
panion. Near the ends of the couch
in front are two maids (D and E) in

Diagram II.

FiGrKE No. 4.

gained from pictures of classical or oriental subjects, and nunuTous sutrgestioiis as to costumes
and modes of arrangement are offered in "Tableaux, Charades and Oonuinh-ums," a pamphlet
published by us at 6d. or 15 cents.

The accessories used in the tableau having been removed, the curtain should rise on a clear

FANCY DRILLS FOR ENTERTAINMENTS.

stage, and at the same time the music for the drill should begin, a slow, dreamy movement, such as
" Love's Dream After the Ball," being required. After the first few bars have been played, the
maids enter the stage at the center of the back (H, diagram II), advance in single file and with a

tripping or dancing step, and take the position as shown

in figure No. 1, the maids standing one behind another

at the center, as indicated by the vertical dotted line
in diagram II. The scarf is passed about the hips and
carelessly knotted in front near the top of the skirt.

0 ° !

0
0

° o I

Diagram III.

The arms are raised and the wrists held
close to the head, with the palms of the
hands forward. The maids execute the
skipping movement in perfect unison dur-
ing several bars (the number will have
been decided upon, of course, beforehand),
and the column then turns to the left and
then to the right until the maids reach
the positions indicated by the circles in
diagram II, all facing the audience. Figure
No. 2 is a back view of the maid shown
at figure No. 1.

A change of position is now made. Each maid
lowers her hands, unties the scarf and holds it out al-
most at arms' length behind the body, as pictured at
figure No. 3. The maids dance side by side with a
swinging, pendulous motion, and the line curves Id-

Figure No. 5.

••(>•■

'«.... o

lUAGRAM IV.

ward, as denoted by the row of circles marked I in diagram III, and then outward, as indicated
by the row marked J, the scarfs being still held at arms' length.

A charming tableau representing the Graces may now be formed, the maids who are constantly
tripping to the measures of the music, grouping themselves as follows : One takes the positiou

FANCY DRILLS FOR ENTERTAINMENTS.

shown at figure No. 4, standing near the back of the stage at the center (K diagram IV). Three
maids having knotted their scarfs about their hips, form a ring in front (L) ; all face the audience.

poise themselves upon their toes and join hands
in a circle, the hands being held well backward,
At M another group of three is formed, one
maid being in the center and one at each side. The
center maid places her right arm about the neck
of the maid on her right; the latter's left hand
clasps the right hand of the maid on the left, who
leans her head upon the center maid's shoulder
and places her left hand in that of the center
maid ; and the maid at the right places her right
hand on her right hip. In this group, also, each
maid knots her scarf about her hips.

The curtain should be lowered for a few
moments after this tableau, and should then rise to
display the maids in the posture represented at
figure No. 5 (which is a back view), all facing
the audience. Each maid throws her scarf upward
in bow fashion, the pose suggesting the picture of
Ins, the goddess of the rainbow ; and the com-
pany form a curved rank, as in diagram III, their
bodies swaying slightly to the music. The artistic
effect of this figure would be greatly enhanced if
scarfs of chiflfon in the prismatic colors were used.

Diagram Y,

Diagram YI.

? 0

o,«

;

()

0 ;
A/ O

Diagram YII.

Diagram YIII.

Diagram IX.

Rainbow -tinted chiflFon may be purchased by
the yard in many shops; but if it cannot be con-
veniently obtained, the rainbow effect may be pro-
duced with chiffon scarfs in the separate primary
colors— red, orange, yellow, green, blue, indigo and
violet.

The company now change the curved rank into
a V-shaped one, as shown by diagram V, and then
form a complete circle, as in diagram VI. The
scarf is lowered, as at figure No. 6, the arms being
held out at full length and the scarf gracefully sup-
ported near each end.

The step being kept up without cessation, the
maids form a line diagonally across the stage, as
shown by the row of circles marked N, diagram
VII, and then march in the winding course indi-
cat(!d by the dotted line 0. They then range
themselves once more in a curved rank ; and each
maid, taking backward and forward steps, holds
her scarf in her right hand and waves it to pro-
duce the serpentine effect pictured at figure No.
7. All the maids face the audience, except the

one at each end. The maid at the right-hand end turns and waves her scarf toward her neighbor,
curving her left arm gracefully. The next maid returns the compliment by waving her scarf toward

Diagram X.

FANCY DRILLS FOR ENTERTAINMENTS.

the end maid, her left hand being held out as
her left hand on her hip, the fourth raises hers
the fifth and sixth maids
ailow their left arms to hang
easily. The maid at the left-
hand end turns her body to-
wards her neighbor and her
head over her right shoulder
toward the audience, curving
her left arm. The move-
ments of the company give
the scarfs the undulating mo-
tion which is such a charm-
ing feature of this figure.

The maids now trip al-
ternately backward and for-
ward, as indicated by the
dotted lines in diagram VIII,
Avaving the scarfs all the time ;
and they then fall into the
postures portrayed at figure
No. 8. The center maid
quickly adjusts the scarf
about her hips, steps back-
Avard to the point marked
P, diagram IX, and then
forward to Q, and falls upon
her right knee, advancing
the left foot. As she steps
out of the group, she gathers ^

up the ends of the scarfs held g

by the other maids, who g

stand as shown by the two «

groups of circles marked R fei

and S, each holding the end
of her scarf in benight hand, ^

and placing her left hand on
her left hip. The kneehng
maid, grasping three scarfs
in each hand, holds them
over her head, and the other
maids dance gracefully,
swinging the scarfs in unison
with their motions.

The six maids now circle
about the kneeling one, as
indicated by diagram X,
forming a sort of canopy
over her with their scarfs.
If preferred, they could stand
and kneel alternately in a
whole or half circle about
her, or the two lines could
curve outward and inward
about the kneeling maid.

Lastly, the seven maids
assume the attitudes shown
at figure No. 9, which will
form the concluding tableau.
The center maid rises with
the six scarfs still in her
TipHfted hands; the two maids
at each side kneel upon one

if to clasp her neighbor's left. The third maid rests
to the embroidered band encircling the bodice, and

54:

FANCY DRILLS FOR ENTERTAINMENTS.

3^' S.

f OF THB

TJNIVERSITY

FANCY DRILLS FOR ENTERTAINMENTS^^^^^iSS^^^ 55

kaee, with their left hands resting
hands raised to support the scarfs
ing the scarfs in' their ex-
tended right hands, and aUow-
iag their left arms to fall
gracefully. The curtain de-
scends upon this charming
tableau.

Considerable practice is
necessary, not only to quick-
ly assume the proper at-
titudes, but also to merge
one movement into the next
without losing the time or
breaking the continuity of
the drill. The entire per-
formance must be accurately
executed, for the slightest
move in the wrong direc-
tion would create a most
disastrous result. The drill
is, however, of such an in-
teresting and artistic nature
that those who take part will
gladly concentrate their at-
tention upon the director's
instructions and endeavor to
exactly express the poetic
ideas designed to be con-
veyed by the various move-
ments.

It is not necessary to adopt
only the G-reek garb for this
drill. The national costume
of any country, especially if it
be loose, flowing or pictur-
esque, can be substituted for
the one illustrated. Eibbons
or garlands of flowers may
take the place of the scarfs,
although the latter gives the
drill its name.

A May-day drill or dance,
with flowers as decorations
and forming the scarfs, would
provide a pretty entertain-
ment, which could be given
on the stage of a theatre or
public hall, or on a smoothly
shaven lawn. An Oriental
scarf drill could be arranged
by costuming the girls in
Turkish trowsers and jaunty
jackets and decking them with
strings of pearls, sequins,
coins or other ornaments be-
longing to the costume of
the Orient.

At the back of this book
many costumes are illustrated
which would be appropriate
in a scarf drill.

upon
: and

the raised knees or at the side, and with their
the maids at the ends stand facing each other,

right
hold-

56 FANCV DRILLS FOR ENTERTAINMENTS.

THE "GOOD-NIGHT" DI^ILL.

TO happy children pretty airs and graces are as natural and spon-
taneous as breathing or laughing, and for this reason drills and
kindred performances in which little folks are the actors are easy to
arrange, and are sure to be artistic if reasonable attention is given
to practice and detail. No sculptured conception of the Graces
can exceed in charm a group of daintily attired little maidens en-
gaged in some simple but pleasing movement for the entertain-
ment of an admiring audience. Sweetly unconscious of themselves
and of the spectators, they enter with enthusiasm into every figure,
their bright faces showing the real pleasure they feel, and so enliven-
ing the pretty pictures that the most ordinary accessories will be
sufficient to complete them satisfactorily.

The "Good-Night" Drill will be found admirably adapted to
the ability of small children, and will provide a most delightful
and appropriate closing feature for an evening entertainment
Eight little girls are required for it, and they should be uni-
formly clad in white night-gowns and caps, stockings of some
pretty shade and black or tinted slippers. The gowns may be of French percale, which
is a very soft cotton fabric, and the caps of mull. A very graceful night-gown pattern is No.
6352, price lOd. or 20 cents, which is in the pretty Mother-Hubbard style, with a little
rolling collar and shirt sleeves; and the gowns may be trimmed with frills of narrow lace.
A dainty and very generally becoming cap for this purpose was cut from mull by pattern Na
2989, price 5d. or 10 cents. It fits closely like the Puritan head-dress and has broad ties that are
bowed under the chin, and the Httle wearer's curls escape from beneath it all round.

Each maiden must hold in her left arm a doll dressed just like herself, and in her right hand
she must carry a candlestick containing a lighted candle, which will be suggestive o£ bed-time and of
the poet's Avords : —

" How far that little candle throws its beam !
So shines a good deed in a naughty world."

The girls should be chosen with regard to their height, so that when they are in their proper places
in line upon the stage, they will graduate smaller from the center toward the ends.

The music for the march should be an animated movement in | time, and it would be a good
idea to select some familiar air
that the children could easily
keep time with. The accom-
panying diagram will enable the
instructor to readily understand,
the directions for the march
that are given below.

Left

Right

THE MARCH The stage

entrances are indicated by A

and B on the diagram. The

maidens march upon the stage,

four from each entrance, and ^ F ^

proceed across at the back, the

two files passing each other at

E. The files then make a complete circuit of the stage and meet again at E. The tallest girls

should enter first and the shortest last.

2. — At E the files unite to form couples and pass down the middle of the stage to F, where-
they separate, the girls on the left turning to the left side of the stage, and those on the right turn-
ing to the right side ; and the resulting files pass around the stage until they meet at E.

3. — At E the files again unite to form couples, and pass to F, where the first couple turns to
the riprht, the second to the left, the third to the right, and the fourth to the left. The two columns
thus formed pass around the stage and meet at E.

FANCY DRILLS FOR ENTERTAINMENTS.

4. — At E the two columns unite to form one column, the couples fallinf? in from both sides
in alternation and marching toward F, where the girls separate into two single files. These files
turn respectively to the right
and left and pass to A aijd
B, where they turn and
march diagonally toward the
front. When the first girl
in each file reaches the front,

all halt facing the audience, k

each of the last three stand- ^-

ing a little to one side of the )

girl in front of her, a? illus-
trated at figure No. 1. Tlie
little company is then ready
for the drill.

THE DRILL. — After
the girls have taken the
places indicated at figure No.
1, the march music is con-
tinued, and all keep time
with their feet during two
measures; then the four girls
at each side turn and march
to the right or left, as the
case may be, according to the
dotted lines in diagram A.
On reaching the positions in-
dicated by the small circles
in the diagram, the girls halt
in a single rank across the
stage, with their smihng faces ^

bending toward the audience, c

as illustrated at figure No. 2. S

The march music is now ^

discontinued at the end of a
bar, and after a short pre- ^

hide the air of "Pussy Cat,
Pussy Cat," given in Elliott's
Mother Goose Melodies, is
played, and to it the girls
slowly sing the following
lines:

Eight little cherubs with

candles briglit,
Two become sleepy and say

" Good-night."

As the last words of the
second line are sung, the two
maidens at the center yawn
sleopily, incline their heads
to the audience and pass
back of the others and off
the stage, one at A and the
other at B; and the remaing
six close up their rank to fill
the space thus left.

After the song is finish-
ed, the march music is re-
sumed, and the girls trip
briskly round as indicated

FANCY DRILLS FOR ENTERTAINMENTS.

by the dotted lines in diagram B, three to the right and three to the left, and finally form in

line according to the small circles.

They stand in rank for a few moments, keeping time to the
music with their feet ; and then they march accord-
ing to the dotted lines at diagram C, the girl at
each end passing diagonally forward to the other
side of the center, the next girl following and
taking a position further front and to one side,
and the third girl doing the same as the second.
The result will be a V-shaped rank with the point
of the V toward the back. When the rank is

.' b G o 0 O 6 6 o

Djagrasi a.

O O O O O Q

DiAGKAM B.

DiAGRAJI C.

formed, the graceful little performers courtesy to
one another in a quaint, old-fashioned way, as
represented at tigure No. 3, a pause being made in
the music for the courtesy; and then the march
music is stopped at the end of a bar, the melody is
played after a prelude, and the girls sing these
lines :

Six little darlin<i:s bowinp; low,

Two smile sweetly and away they go.

The girl at each end passes off at the end of the
second line, as before described, and the remaining
four close the rank and form straight across the stage.

FANCY DRILLS FOR ENTERTAINMENTS.

After the melody is finished, the march is resumed, and the two pairs of girls march round
several times, and finally form a single rank across the stage, facing the audience, and nod their
heads drowsily (see figure No.
4). Then, after the usual pre-
lude, they sing the two follow- r-
ing lines to the music of the ''
melody :

Four little nodding ones hug-
ging baby tight,

Two caper ofE with their
candles alight.

To accord with the words, the
two girls at the ends run light-
ly off back of their companions,
who are the smallest two of
the eight.

The two little creatures
then march about several times,
the music being again taken
up; and then they face about
and greet each other by bow-
ing, as illustrated at figure No.
5. The march music is now
broken off at the end of a bar,
and the melody resumed for
these lines to be sung:

Two dainty tots with sleepy

eyes, 15

One leaves her mate, who §

deeply sighs. g

tZ
The two little girls sing this 9

couplet very sleepily, and at .w

the end one leaves the stage,
while the other looks after her
and eighs.

The stage is now left to
the last wee toddler, whose
stanza, which is sung in a very
sleepy voice, is as follows :

One liny maid with curh' head,
Blows out her candle and
toddles off to bed.

The tired little maiden gives
evidence of her weariness by
allowing dolly to slip from her
arm during the progress of the
song (.see figure No. 6) ; and
she blows out her candle just
as the song is ended, and " tod-
dles " off the stage, the melody
being continued until the cur-
tain falls.

All the figures in this drill
are simple, yet the moves are
significant of the meaning they
are intended to convey. Chil-

FANCY DRILLS FOR ENTERTAINMENTS.

(lien are by nature close imitators and require little teaching or practice to become perfect in a
drill of this character ; and, besides, the little ones lend themselves so eagerly to such perform-

ances that they cannot but excel m them. The 'Good-Night" Drill could be executed at a
church or school entertamment or at a private party, as the stage space required is not large,

FANCY DRILLS FOR ENTERTAINMENTS.

and the necessary training and rehearsals would give the children who participate pleasant occupa-
tion for many hours previous to the evening of the exhibition, and more than repay their instructors
for the slight expenditure of time and trouble necessary to a successful production of the drill.

It should be remembered that the more rlaintily clad the little ones are, the prettier will be the
general effect of the drill and its tableaux. Mull or fine lawn are pretty materials for the costumes.

FiatTRE No. 6.

It is possible that an objection may be made to the lighted candles, especially if the children
participating in the drill are quite young. In this event yellow tinsel paper could be attached to
the wicks to imitate the flame of the candle. The suggestion, in view of the inflammable character
of the gowns, of floating hair, and the general carelessness of little ones in handling household
lights, is merely precautionary. The parents must decide the question which is certainly of gi-ave
importance.

FANCY DRILLS FOR ENTERTAINMENTS.

FAN(V-Dl^e^^ Q^lLL.

THIS very prelty drill is more elaborate than any of those pre-
viously given, as it necessitates an especial costume for each
person taking part in it. To the mother whose means are
limited and whose every moment is occupied, the making of
a costume that is to be worn but once may seem to require
effort and expense entirely out of proportion to the result
to be attained ; and yet the exquisite joy that a child ex-
periences in any sort of "dressing up "will more than com-
pensate the loving mother for the labor involved. To appear
for a time in a fictitious character is invariably an unmixed
delight to the childish heart, and for that rea'^on the fancy-
dress drill always finds particular favor with the little folks
who take part in it.

A few words as to materials may be of assistance to
those who have never made a fancy dress. It is always wise
to avoid unnecessary expense in preparing costumes for this
purpose. Paper cambric, which costs but a trifle a yard and
may be obtained in a great variety of dainty colors, makes
up very satisfactorily, and so do tarlatan and cheese-cloth,
which are prettier and nearly as cheap. Pasteboard crowns
covered with gilt paper make admirable head-coverings for
imaginary royalties, and the tiny bells that are sold by the
dozen at trifling cost may be effectively used for trimming
the ends of sash ribbons and bows. Wings for fairies may
be made of coarse white netting wired in shape and covered
with tarlatan. Spangles and silver or gold paper will pro-
vide the necessary glitter for the fairies' dresses, and the
scepter carried by their queen may be a smooth, round stick
covered with gilt paper. Raw cotton makes a realistic imita-
tion of ermine for enriching the robes of a king.

A drill of this kind should never be given by daylight.
The ciiaritable influence of artificial light is required to bring
out the fnil brilliance of spangles and tinsel and to hide the
cheapness of the materials used. Thus illuminated, the spec-
tacle is certain to be a success if the costumes are only
prettily colored and plenty of glitter is provided ; but the strong, searching liglit of day would
dispel every illusion and plainly reveal the tawdry nature of the ornaments.

Sixteen children about fourteen years of age are needed for this drill, eight boys and eight girls;
and each should be costumed to represent a certain character. A picturesque group may be formed
of the following characters, most of which are taken from Mother Goose's merry band: Little Bo-
Peep, Little Boy Blue, The Old Woman Who Lived in a Shoe, Little Jack Horner, Jack arid Jill, The
Fool, Mother liuhhard, Tommy Tucker, Little Red Riding- Hood, The Queen of Hearts, Old King Cole,
Mother Goose, llie King of Hearts, Tom the Pijjer's Son and Mistress Mary. Appropriate costumes
for all these characters are fully described, and most of them are illustrated, in " Masquerade and
Carnival," a pamphlet published by us at 2s. or 50 cents. Bo-Peep carries a shepherd's crook, Boy
Blue a brass horn suspended from his neck, and each of the other children something that is appro-
priate to the character assumed.

Bo-Peep.

THE MARCH — The girls enter the stage at A and the boys at B (diagram I), the order being as
follows: (Jr\vh—Bo-/'eep, The Old Woman Who Lived in a Shoe, Jill, Mother Hubbard, Little Red
Riding-Hood, The Queen of Hearts, Mother Ooose and Mistre<<s Mary; and boys — Boy Blue, JacV
Horner, Jack, the Fool, Tommy Tucker, King Cole, The King of Hearts and Tom the Piper's Son.

The music should be a spirited J movement. The terms, right and left relate to the stage as
viewed by the audience. Diagram I is referred to in the following directions.

FANCY DRILLS FOR ENTERTAINMENTS.

1. — From A and B the company march to the front of the stage, the file entering at A turning
to^\ard D and that at B toward C. Beaching D and C, the files turn right angles, meet at F, pass
each other and continue around the stage until they meet at E.

2. — Here the files unite to form couples and
pass to the front of the stage at F, where they
again separate, Bo-Peep's file turning toward C
and Boy Blue's toward D. The files then pass
respectively to B and A.

3 — At B and A acute angles are turned, Bo-
Peep marching diagonally toward D, and Boy Blue
marching toward C. The files meet at the center
of the stage, unite to form couples, pass to F,
again divide, and pass to C and D. These movements
are indicated by the dotted fines in diagram II.

4. — Reaching D and C, the files once more turn
acute angles, the file at C turning toward A and that
at D toward B. They pass each other at the cen-
ter of the stage and continue to A and B, where
each file turns toward E.

5. — Meeting at E, the files unite to form cou-
ples and pass to F, each girl being now at her
partner's right side. At F the first couple turns
toward D, the second toward C, the third toward
D, the fourth toward C, and so on ; and the two

-A

•5

==- S

EoY Blue.

columns pass around the stage, meeting at E.

6. — Here the members of each couple in
the column from the left separate to allow
the column from the right to pass through;
and the columns march once more about the
stage until they meet at F. At this point
the members of the left-hand column (which
passed through before) separate and allow
the right-hand column to march between the
files thus formed. The columns pass about
the stage and meet at E.

7. — Here the two columns unite to form
one column, led by Bo-Peep and Boy Blue.
This change is effected by each pair of cou-
ples in Bo-Peep's column widening the space
between them and allowing a couple from
the other column to step in. Thus, immediately behind Bo-Peep and Boy Blue is the first couple
of the other column, then the second couple of Bo-Peep's column, then the second couple of the
other column, and so on. The column thus formed passes to F.

' " ' 1

Diagram II.

FANCY DRILLS FOR ENTERTAINMENTS.

9. — Here the files unite to form couples and pass to F, where the first couple turns to the left,
the second to the right, the third to the left, and so on ; and the columns pass around the stage
meeting at E.

8. — Here Bo-Peep turns to the left and, with her file
behind her, winds and unwinds a spiral on the left side of
the stage, and at the same time Boy Blue and his file exe-
cute a similar movement on the right side. This figure is
illustrated by diagram V of the drill on page 33. After
the spirals have been unwound, the two files meet at F
and pass respectively to C and D, where they turn acute
angles as in 4. This brings Bo-Peep to A and Boy Blue
to B. A chair is placed at A and another at B, and as iLe
files pass them the members lay aside their accessories —
Bo-Peep her crook, Boy Blue his horn, etc. The two files
thep march toward each other, meeting at E.

10, — There the couples unite to form fours, which
pass toward the front of the stage. The first four halt
two feet from the front, the second three feet behind the
first, the third three feet behind the second, and the fourth
three feet behind the third. The company is now ready
for the drill.

THE DRILL. — Tiie music should be changed for the

^2,-

14-

16.

lO.

II.

12.

drill ; any |- movement played rather slowly
at first will be satisfactory. Each maid drills
with the partner upon whose right she stands.
The members of the lines should stand well
apart. Eight beats of the music should be
allowed before the first figure of the drill.

1. Salute, — Partners gracefully join right
hands, holding them very high, and then,
turning toward each other, make a deep
.'salutation (eight beats).

2. Change to Circle. — Partners still join-
ing hands, the boys of the first and third
lines lead their partners to gracefully describe
a Iialf-circle, each couple in these lines thus
lacing about, and partners changing places;
and the eight couples arrange themselves to
form a circle. Diagram III shows the posi-
tions of the children before the two lines face
about, diagram IV their positions after this
change, and diagram V their positions after
forming the circle. In these diagrams the odd
numbers denote girls and the even numbers
boys. It will be seen that the couples 2-1 and

5-6 forming a quarter of the circle, face each other; and so do the couples 13-14 and 10-9, and the other
I wo pairs of couples. The instructor will have little difticiilty in teaching the children to quickly assume
their positions in this figure. It must be remembered that the couples facing each other drill together.

13-

14-

^5-

16. •

10.

12.

II.

Diagram IV.

FANCY DRILLS FOR ENTERTAINMENTS.

^^^

Mother Goose.

Mistress Mary.

FANCY DRILLS FOR ENTERTAINMENTS

f; ;

\3-

^<7

4-
3-

Diagram V.

3. Forward and Back Twice. — Each boy gives bis right hand to his partner, and each couple

advances four steps toward the couple opposite, retreats four steps, and then repeats the movement,

4. — Cross Bight Hands. — The boys in each pair of couples join right hands, the girls join right

hands over those of their partners, and the
P children walk to the left in a circle, keeping
' within their quarter of the stage, until each

couple regains its former position.

5. Cross Left Hands. — The boys and girls
join left hands in the same way and circle
to the right until original positions are reached.
G. Forward and Back Twice. — Same as 3.
7. Forward and Under. — Opposing cou-
ples take four steps toward each other and
four steps back, and then couples 5-6, 13-14,
15-16 and 7-8 raise their joined hands high
enough to allow the couples facing them to
pass under. All the couples then forward four
steps, and the four opposing couples pass
under the raised arms of the other four cou-
ples. Each couple is thus brought face to
face with a different couple, the positions being as indicated by diagram VI. Thus, couple 2-1 faces
couple 13-14, 10-9 faces 12-11, "15-16 faces 4-3, and 7-8 faces 5-6. The movements from 3 to 7
inclusive are now repeated without pause,

until each couple reaches its original position, ^ Xj -P

as shown by diagram V. In the second For-
ward and Under the couples that raised their
hands before now pass under; the third time
they raise their hands again; and so on.
Thus, each couple alternately passes over and
under as this figure is repeated. When the
couples have reached their original positions,
a wait of four bars is allowed before the next
movement.

8. Change to Square. — Couples 2-1 and
4-3, formingthe first line, take position across

the front, facing the back ; couples 5-6 and „ ^

7-8 place themselves respectively at the cen- x) i '^

ter of the sides, facing the center of the stage ; Diaokam VII.

couples 13-14 and 15-16 fall in line at the

back of the stage, facing the front ; and couples 10-9 and 12-11 stand near the center of the stage, back

to back. Each girl is on her partner's right, and the company is located as shown by diagram \ II.

9. Circle Around. — The boys and girls
on the left half of the stage join hands in a
circle, and those on the right half do the same;
and the two rings circle gaily to the left un-
til all are back in place.

10. Bight and Zf/?.— Partners half face
each other, joining right hands; and then the
boys pass to the right (the direction in which
they face), and the girls pass to the left, all
presenting their hands in alternation to thos<>
they meet. For instance, in the ring formed
on "the left side of the stage Nos. 2 and 1
join right hands, and No. 1 then walks to the
left, giving her left hand to No. 6, her right
to No. 14, her left to No. 10, and so on until
she reaches her original position; while No..
2, after relinquishing his partner's right hand,
passes to the' right, giving his left hand to

No. 9, his right to No. 13, his left to No. 5, and so on until he also reaches his original position.

11 Forward and Salute.— The eight children on each side unite to form a circle, and each

child takes four steps toward the center of the circle, four steps back and four steps forward again,

■£i

■fl

■Si

•91

H
^

■r.

FANCY DRILLS FOR ENTERTAINMENTS.

and then makes a deep courtesy or bow.
carried out.

This is a very graceful movement when it is carefully

12. Right About. — The sixteen children form four ranks, as indicated by diagram III, all facing
to the front, and each girl being on her partner's right.

13. March.— Bo- Peep and Boij Blue are the leaders on the left side, being Nos. 1 and 2. They
march as far forward as possible, turn to the right and then pass to C and thence to B, followed by
5-6, 9-10 and 1.3- U. At the same time Nos. 3 and 4, followed by 7-8, 11-12 and 15-16, march to
the front of the stage and proceed to D and A, passing between the couples of the other column
at F.

The King, Quke.v and Knave of IIkarts.

14. — Reaching A and B, the columns turn toward each other and meet at E. where the two
columns unite to form a single column of couples, as in 7 of the march. The column marches to P,
where the couples separate, the girls turning to the left and the boys to the right, and the two tiles
passing to the back of the stage.

15. — At A and B the files pass the chairs on which the various accessories were placed, and the
children select their respective belongings. The files pass each other at E and march to C and D
where the leaders halt. Bo-Peep is now at C and her partner at D, and the company have so
regulated their steps that four of the girls occupy the space from E to B and four that from B to C,

FANCY DRILLS FOR ENTERTAINMENTS.

while four boys are distributed between A and E and the other four from A to D, as seen in dia-
gram VIII.

16. — With Nos. 1 and 5 at each side as pivots, the four hnes now wheel to form a cross, Nos. 8

and 4 at each side passing to the center of
the stage, as shown in diagram IX. After
the cross is formed a count of eight beats is
allowed. If the stage is provided with a
curtain, it is well to let this cross end the
drill, to be followed by two or more tableaux.
If, however, there is no curtain, this pretty
finale will not be possible, and the exit must
then be made as follows.

17. — No. 1 at each side turns toward F,
followed by the children on that half of the
stage, who march along the lines of the
cross. At F the cliildren form couples, join-
ing hands gracefully at a good height, and
pass to E, where the two files separate, and
leave the stage respectively at A and B.

If the drill is to close with tableaux, the

curtain should fall while the cross is formed, and
the members of the company should remain in posi-
tion. The lights should then be quickly lowered,
and the curtains raised to show lio-Peep looking
down with an anxious expression as though search-
ing for her sheep, Boy Blue holding his trumpet to
his mouth as if about to blow a long blast, and all
the other children portraying by equally sugges-
tive postures the characters they are dressed to
represent. It greatly improves a fancy-dress tab-
leau to burn colored hghts at the moment of ex-
hibition. These lights are not at ail expensive and
may be obtained at most drug shops.

Other tableaux will suggest themselves to the
instructor. A second Mother Goose tableau may
be easily arranged by bringing out the ideas of the
characters by means of different postures and
groupings. This could be made very efffctive by

adding** The Fiddlers Three" who played for AT/igr fo^e, a cupboard into which Mother Hubbard

is vainly looking, and other appropriate characters and accessories.

Our present series of drills ends with the one just given. While some of those presented are

rather elaborate, others are quite simple and may be learned with but little practice. This form of

Jack IloiiNEu.

^ U NIVERSITY j

FANCY DRILLS FOR ENTERTAINMENTS.

entertainment is always well received, and a pretty drill will often satisfactorily solve the problem
of what to pive as an extra attraction at a fair or to lend variety to the school entertainment which,
in many villages and small towns, invariably crowns the year of work. When any of these drills is
to be given, except, perhaps, the Broom Drill, which is quite military, tlie company should be so
thoroughly instructed that it will be unnecessary for the leader to call the orders, which are, generally
speaking, given as mere aids to the beginner. In the drill just described, for instance, all the parts
should be so well learned that not a word need be spoken from the time the children pnter the stage
until they leave it. This silence, taken in conjunction with pretty co.^tumes, bright music and
brilliant lights will render the exhibition wonderfully striking and artistic.

The Old 'Woman who Lived in a Shoe.

Fool.

Upon the following pages are given a number of illustrations of fancy-dross costumes which
may be used by either young ladies or by misses, girls, boj^s and children in general. Among these
illustrations will be seen costumes quite suitable for other than Fancy-Dress Drills, as they ma}' be
adapted to other drills also given in this book. The Fan Drill could be given in fancy-dress, tiie
Flower Drill in costumes representing flowers (see frontispiece), the Tambourine Drill in Spanish
costume and so on through the list. The illustrations have been taken from our Alasquerade and
Carnival pamphlet, in which there are also hundreds of other fancy co.^tuines, each with its descrip-
tion of material and colors. This pamphlet would be of invaluable assistance in planning a Drill
Entertainment, in case the managers preferred fancy-dress costumes to those herein described.

FANCY DRILLS FOR ENTERTAINMENTS.

'^%«i»:4|^

Sun-Flower and Lily op the \' alley.

OF THK

UNIVERSITY
=a8f

FANCY DRILLS FOR ENTERTAINMENTS.

Tambourixe Girl.

Rosalind.

Fkexcu Cook.

FANCY DRILLS FOR ENTERTAINMENTS.

FiGHTixG Cock.

Watte A u Costume.

FANCY DRILLS FOR ENTERTAINMENTS.

i \MliOUUINF (!TRL

Moorish Dancing Gmu

FANCY DRILLS FOR ENTERTAINMENTS.

EliriRE COSTUILE.

Fairy.

Josephine Costume.

FANCY DRILLS FOR ENTERTAINMENTS.

Turkish Costumes.

FANCY DRILLS FOR ENTERTAINMENTS.

Fancy Costumes.

FANCY DRILLS FOR ENTERTAINMENTS.

Tambdukixk Girl.

Polish Costume.

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"^ENETIAN IRON WORK: The information, instruction and Designs contained in this handsomely
illustrated Manual will be of the utmost value to every one interested in Venetian Iron Work, The details are
minute and the Implements fully described. I'rice, Is. (by post, Is. Sid.) or 8S Cents.

pARLOR PLANTS AND WINDOW GARDENING: The Amateur Florist cannot faU to
comprehend the contents of this pamphlet or become expert in the raising of House Plants. It tells all about
Necessary Temperatures, Suitable Rooms, the Extermination of Insect Pests, and the General and Special Care of
Hundreds of Plants. I'rice, Is. {by post. Is. 2d.) or 25 Cents,

QOCIAL EVENING ENTERTAINMENTS: a Pamphlet treating of Entertainments that are
Novel, Original, Amusing and Instnictive, and not of the Purely Conventional Types requiring Full Dress,
Dancing and Luxurious Jiejreghments. I'rice, Is. (by post, Is. 2d.) or 25 Cents.

J? ECITATIONS AND HOW TO RECITE : The Pamphlet consists of a large collection of
famous and favorite recitations both for adults and children, and also includes some novelties in the way of
poems and monologues sure to meet with the approval of everyone interested in elocutionary entertainments.
I'rice, Is. {by post, ts. 2d.) or 25 Cents.

THE DINING-ROOM AND ITS APPOINTMENTS: This Pamphlet is issued in the In.
tere?t of the Home, and is of special value to Wives and Daughters. It contains Illustrated Suggestions for
Furnishing a Dining-Room ; Instructions for its Care and that of its General Belongings ; The Laying of the Table
for Special and Ordinary Occasions, etc., etc. Price, Is. {by post. Is. 2d.) or 25 Cents.

THE HOME: An attractive Pamphlet containing experienced advice upon the selection of a Residence,
Sanitation, Renovation, Furnishing, Upholstering, Table Service, Carving, House Cleaning, The Repairing 01
China, Preservation of Furs, etc., etc. I'rice, Is. (by post. Is. 2d.) or 25 Cents.

DAY ENTERTAINMENTS AND OTHER FUNCTIONS: A Pamphlet descriptive of

various Day and Other Entertainments, such as Teas, Luncheons, Fetes, Dinners and Modern Entertainments
in General. A Special Feature is a Department devoted to Church Entertainments, such as Fairs, Bazaars, Sociables,
Concerts, Suppers, Banquets, etc., etc. I'rice, Is. {by post, Is. 2d.) or 25 Cents.

EMPLOYMENTS AND PROFESSIONS FOR WOMEN: This Pamphlet is a collection

of Essays and Advice Upon and Concerning Vocations for Women, written by tho.--e of the sex Prominent in

the Occupations meniionid: Journalism. Stenography, Telegraphy, Medicine, Teachine, Music. Pharmacy, The Stage,

I'oul try-Keeping, Art, Typewriting, Needlework and many others. I'rice, Is. (by post. Is. 2d.) or 25 Cents.

PLEASE NOTE.— We will send any of the above Books to any Address on receipt of Price.
THE BUTTERICK PUBLISHING CO. (Limited),

171 to 175, Regent Street, London, W.; or 7 to 17 West 13th Street, New York.

METROPOLITAN PAMPHLET SERIES.

3MOCKING, FANCY STITCHES, AND CROSS-STITCH AND DARNED NET
DESIGNS ; a Pampljlet, which includes all the Varieties of Needlework mentioned. One of the most
important sabjects is that of Finishing Seam Ends, Pockets, Pocket-Laps, Collars, Caffs, etc., by the TaiJors'
Method. Price, 6d. (hy post. 7]^d.) or 16 Cents.

lyr OTHER AND BABE : Devoted to the Comfort and Care of Mother and Babe, containing full infor-
mation concerning the Proper Care of Infants and the preparation of their Wardrobes. Also Treating of the
Health, Comfort and Care of the Expectant Mother, and the Proper Clothing for Ladies in Delicate Health.
Price, 6d. {by post, 7J^d.) or 15 Cents.

XHE PERFECT ART OF CANNING AND PRESERVING: Explanatory of Canning
and Preserving, and containing full instructions regarding Jams, Marmalades, Jellies, Preserves, Canning (in-
cluding Corn, Peas, Beans, Tomatoes, Asparagus, etc.), Pickhng, Catsups, Keliehes, etc. Price, 6d. (by post,
7i4d.) or 15 Cents.

'THE CORRECT ART OF CANDY-MAKING: Filled with instructions for French and
Domestic Candy-Making, and divided into Departments, which include Cream Candies, Bonbons, Nut and Fruit
Candies, Pastes, Drops, Medicated Lozenges, and Candied Fruits, Flowers and Nuts. Price, 6d. (by post, 7}4,d.)
or 15 Cents.

J)AINTY DESSERTS : in this Pamphlet are directions for the preparation of Dainties adapted to the
palate of tht epicure or the laborer, with numberless recipes for Puddings, Sauces. Pies, Creams, Custards, and
Prencn, Fancy and Frozen Desserts, etc. Price, 6d. {by post, T^d.) or 15 Cents.

pXTRACTS AND BEVERAGES: The Preparation of Syrups, Refreshing Beverages, Colognes,
Perfumes, and Various Toilette Accessories, inva;aable alike to the Belle and the Housekeeper. Price, 6d.
(by post, 7^,d.) or 15 Cents.

TJURSING AND NOURISHMENT FOR INVALIDS: a Pamphlet which places within
the reach of everyone interested in Caring for Invalids, Explicit Instructions and Valuable Advice regarding
the Best Methods and Necessary .AdjvuGtSiin the Sick Room. Price, bd. (by post, 7^d.) or 15 Cents.

RIRDS AND BIRD-KEEPING: illustrated with Cage-Birds, Cages and Modem Appliances for
Cages ; accompanied by full instructions for the Care, Food, Management, Breeding, and Treatmeni of diseases
of Songsters and other Feathered Pets. Price, 6d. {by post, ?^d.) or 15 Cents.

REES AND BEE-KEEPING : This Pamphlet is profusely Illustrated, and Treats of the Details nec-
essary to successful Bee-Keeping, whether condacted by the Amateur or advanced Apiarist. Price, 6d. {by
post, 7}4d.) or 15 Cents.

TABLEAUX, CHARADES AND CONUNDRUMS is a Pamphlet upon this class of Enter-
tainments and Amusements. Charades in all their different varieties, and Tableaux are Freely Describe'^ and
Discussed. The Department devoted to Conundrums is Overflowing with Wit and Merriment. Price, 6d. ^*>p
post, 7^d.) or 15 Cents.

FANCY DRILLS FOR EVENING ENTERTAINMENTS: A Pamphlet containing Di-
rections and illustrations for the Arrangement and Prodnction of Twelve New Fancy Drills, suitable for
School, Church, Club and Society Entertainments. Price, 6d. {by post, 7}^d.) or 15 Cents.

THE PERFECT ART OF MODERN DANCING : This Pamphlet contains Dlnstrated In-
structions for those who wish tc Learn to Dance by the Methods Employed by the Best Dancing Masters of
the Metropolis. Price, 6d. (by post, 7\^d.) or 15 Cents.

■\X7EDDINGS AND WEDDING ANNIVERSARIES: a Pamphlet which is invaluable to

Maids and Matrons, Bachelors and Benedicts, and the Bride and Groom Elect. It contains full information

concerning the Etiquette of Weddings, and describes all the Anniversaries. Price, fid. (by post, 7i4d.) or IS Cts.

A MANUAL OF LAWN TENNIS: This Pamphlet is adapted to the requirements of /mateur and

Professional Players of Tennis. It is fully Illustrated and contains a History of Tennis, the Rules, Details

Concerning the Development of Play, Descriptions of the Court, etc. Price, 6d. (by post, 7^d.) or 15 Cents.

TTSES OF CREPE AND TISSUE PAPER: This Pamphlet is Hlnstrated with Designs and
Diagrams for Making Paper Flowers and various Fancy Articles. Christmas, Easter and General Gifts,
Novelties for Fairs, etc. A child can follow the directions given. Price, 6d. (by post, 7^d.) or 15 Cents.

QHILD LIFE : This Pamphlet discusses Influences on Prenatal Life; Bathing and Clothing for Infants; Pood

for Infants ; Weaning and Feeding Children after the First Year; Diseases of Infants and Young Children;

Eruptive and Other Fevers; Care of Children's Eyes, Ears and Teeth. Price, 6d. (by post, 7%d.) or 15 Cents.

DOGS, CATS AND OTHER PETS: A Pamphlet alibut pet animals and combines both practical
information about their habits, accom illshments and needs,'8nd the eeritiniertal and anecdotical side of the
enbject. It tells all about the various breeds of dogs. Then these chapters on pet monkeys, squirrels , rabbits, rats,
mice, pigeons, crows, frogs, chameleons, tortoises, etc. Price, 6d. (b>/ post, 7}4d.) or 15 Cents.

HEALTH: HOW TO BE WELL AND LIVE; LONG : The Special Mission of this Pamph-
let is fully indicated by its sub-title. Rational Personal Care of One's Natural Physical Condition, without the
Aid of Drugs and Medicines, except when the latter are absolutely necessary, ^e-two of the many strong points of
the subject matter of the Pamphlet. Price, 6d. (by post 7^4..).V^ JS- Cents.

gURNT WORK : Pull instructions for the popular art of Burnt Work, together with fflnstratlons of Im-
plements, Methods and Designs appear in this pamphlet, rendering it a most v2nabl» manual among the many
oth'^Ts devoted to art. Ita details can ne applied to various Useful and Decorative purposes, from Portraits to
Farniture, from Dainty Toflette Articles to Panels. No artist or lover of art, amateur or professional, should fail to
send for a copy of the pamphlet. Price, Gd. (by post, 7%'^0 or 16 Cents.

PLEASE NOTE.— We will send any of the above Pamphlets to any Address on receipt of Price.
TflE BUTTERICK PUBLISHING CO. (Limited).

171 to 175, Recrent Street, London, W.; or 7 to 17 West 13th Street, New York.

OF TH«

CTNIVERSITY

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14 DAY USE

RETUIW TO DESK FROM WHICH BORROWED

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General Library

University of CaJifornia

Berkeley

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