[ {"source_document": "", "creation_year": 1927, "culture": " English\n", "content": "Produced by Roger Frank and the Online Distributed Proofreading Team at\n[Illustration: _\u201cWE\u2019LL ASK HER FOR A DRINK,\u201d RESPONDED SAMMY, NEVER AT A\nLOSS_]\n ETHEL CALVERT PHILLIPS\n _With Illustrations by_\n HOUGHTON MIFFLIN COMPANY\n _The Riverside Press Cambridge_\n COPYRIGHT, 1920, BY ETHEL CALVERT PHILLIPS\nTable of Contents\n CHAPTER I\u2014Christmas Eve\n CHAPTER II\u2014The Real Christmas Present\n CHAPTER III\u2014The New Home\n CHAPTER IV\u2014A Picture and a Party\n CHAPTER V\u2014The Story of Little Gwen\n CHAPTER VI\u2014Daffodils and Daisies\n CHAPTER VII\u2014Dr. Wolfe\n CHAPTER VIII\u2014Maggie Medicine\n CHAPTER IX\u2014Cobbler, Cobbler, Mend My Shoe\n CHAPTER X\u2014Robin Hill\n CHAPTER XI\u2014Who Stole the Brown Betty?\n CHAPTER XII\u2014Roger Comes Home\nIllustrations\n \u201cWe\u2019ll ask her for a drink,\u201d responded Sammy, never at a loss\n \u201cThis is your bedroom, Lydia\u201d\n \u201cIt\u2019s spring, Lucy Locket,\u201d chattered Lydia. \u201cThat\u2019s why you\n have a new hat and a new dress\u201d\n Such a cobbler\u2019s shop had never been seen before\nCHAPTER I\u2014Christmas Eve\nIt was Christmas Eve, and twenty little boys and girls were watching for\nSanta Claus. Ten little boys in blue-striped blouses and dark-blue\nneckties, ten little girls in blue-checked aprons and dark-blue\nhair-ribbons fixed their eyes on the big folding doors and thought the\ntime for them to open would never come.\nAll day long excitement had reigned supreme in the Children\u2019s Home, a\nroomy comfortable house set on the very edge of the big city, and where\nwere gathered the motherless and fatherless children who found love and\ncare under its hospitable roof. Each ring of the doorbell brought\nchattering groups to hang over the banisters, each sound of wheels on\nthe driveway was the signal for excited faces to be pressed against the\nwindow-pane and for round eyes to try in vain to bore through the paper\nwrappings of mysterious bundles whisked out of sight all too soon. Peeks\nthrough the parlor keyhole were forbidden, but passing the door on the\nway to luncheon several children were seen to stop and sniff the air as\nthough they might actually smell out the secret.\n\u201cNurse Norrie called it an \u2018entertainment,\u2019\u201d said big Mary Ellen to a\ngroup gathered round her in the playroom. \u201cI do wonder what \u2019t will be.\nIt will be to-night anyway; she said so.\u201d\n\u201cIt\u2019s cowboys and Indians, that\u2019s what it is,\u201d declared Sammy, an agile\nyouth who all morning had somehow managed to look out of the window and\nover the banisters at the same time when occasion demanded. \u201cIt\u2019s going\nto be a Wild West show to-night, I think.\u201d And Sammy galloped up and\ndown the playroom in imitation of the dashing broncos he hoped to see\nthat night.\n\u201cDo you think Miss Martin would have horses in the parlor?\u201d asked Mary\nEllen scornfully. \u201cI hope it will be tableaux.\u201d And Mary Ellen\nimmediately pictured herself the most beautiful tableau of them all,\nattired as a Red Cross nurse draped in the American flag, with a noble\nexpression on her face, and perhaps supporting a wounded soldier or two.\nLittle Tom took his finger out of his mouth long enough to say, \u201cI hope\nit\u2019s candy\u201d; and at this pleasing thought Luley and Lena, the fat little\ntwins, clapped their hands in agreement. Polly, always a little\nbehindhand, hadn\u2019t made up her mind yet what the surprise was to be. So\nMary Ellen turned to Lydia, a quiet little girl whose brown eyes looked\nout shyly upon the world from under a thatch of yellow curls. Now Lydia\nremembered clearly her Christmas a year ago, so although she felt a\nlittle shy about speaking out before them all, she was sure she had\nguessed the secret.\n\u201cI think it\u2019s Santa Claus,\u201d said Lydia timidly, \u201cand maybe a Christmas\nTree too.\u201d\nMiss Martin, who took good care of these little children and loved them\nevery one, stood in the doorway listening and laughing.\n\u201cI\u2019ll give you just one hint,\u201d said she, \u201cif you promise not to ask me\nanother question. Lydia is the warmest. Sammy is freezing cold, so is\nMary Ellen. Tom is warm, too, but Lydia is hot, red-hot I should say.\u201d\nAnd then Miss Martin closed the door and fled. In the hall she met fat\nNurse Norrie carrying a pile of clean blouses.\n\u201cHark ye to the noise in there,\u201d said Nurse Norrie with a chuckle. \u201cI\u2019m\nthinking if we live through this day we\u2019ll live through anything.\u201d\nBut at last evening came and they were all gathered in the back room\nwith only a few moments more to wait. Patient Miss Martin took pity on\nthem and answered the same questions over and over as she moved about\nthe room straightening twisted neckties and perking up fallen\nhair-ribbons.\n\u201cYes, I\u2019m sure Santa Claus is coming,\u201d said Miss Martin for the tenth\ntime to Luley and Lena, who hand in hand trotted up with the question\nevery few minutes as if asking something new each time. \u201cWhy am I sure,\nPolly? Because he comes every year to the Children\u2019s Home. He has never\nforgotten us yet.\u201d\n\u201cMaybe he\u2019s stuck in the snow,\u201d said Sammy gloomily; \u201cit\u2019s deep, deep.\nMaybe he\u2019s having a fight with the Indians.\u201d\nAt this thought Sammy brightened, but Luley and Lena put out their under\nlips in such pitiful fashion that Miss Martin was glad to hear Mary\nEllen say sturdily:\n\u201cI don\u2019t believe there ever was a snowdrift or an Indian either that\ncould keep Santa Claus away.\u201d\n\u201cGood, Mary Ellen,\u201d said Miss Martin with an approving smile; \u201cI\u2019m sure\nyou are right. Take your finger out of your mouth, Tom. Yes, Lydia, what\nis it?\u201d\nLydia stood on tiptoe and spoke softly. She didn\u2019t want any one else to\nhear her question.\n\u201cMiss Martin,\u201d whispered she, \u201cwill Santa Claus bring you whatever you\nask for\u2014even if it won\u2019t go into your stocking?\u201d\n\u201cOf course he will,\u201d answered Miss Martin with an arm about Lydia.\n\u201cThink of our big swing he brought last year. That wouldn\u2019t go in a\ngiant\u2019s stocking. Think of the big\u2014What\u2019s that sound, children?\u201d\nEvery one listened. Nearer and nearer and nearer came the jingle of\nsleigh-bells, little by little the folding doors slid open, and there\nbefore their very eyes Santa Claus himself came into the room. Sammy\nsaid afterward he knew he saw him come down the chimney and step out of\nthe fireplace, and this in spite of Mary Ellen who declared she saw him\ncome walking through the door. But however he came, there he was,\ncovered with snow and with a big pack on his back fairly bursting with\ntoys. Dolls and drums and horns, jack-in-the-boxes, toy lambs, furry\ndogs, soft white rabbits stuck out in every direction. Luley and Lena\nfixed their round eyes upon two white cats peeping slyly side by side\nover the edge of the pack, and oh, how they hoped that Santa Claus would\nknow that they wanted those pussies more than anything in the world.\nSanta Claus stationed himself beside the big glittering Christmas Tree\ngay with its colored horns, shining balls, red and white cranberry and\npopcorn chains.\n\u201cHere I am, children, at last,\u201d said he, with an engaging smile all\nround. \u201cA little late, but it\u2019s not my fault. You must blame my reindeer\nfor that. Dancer and Prancer were in such a hurry to get here that on a\nroof near by they didn\u2019t look where they were going, and Prancer stubbed\nhis toe quite badly against the chimney. But here we are now, with a\nbagful of toys\u2014something for every one.\u201d\nSanta Claus looked for a moment into the blue eyes, the black eyes, the\ngray and the brown eyes all earnestly fixed on him.\n\u201cFirst of all,\u201d began Santa Claus with a merry nod, \u201chere are twin\npussycats who are looking for two little girls just like these.\u201d And he\nstepped straight over to Luley and Lena and put the pussies into their\noutstretched arms. How did he know that that was what they wanted?\nPerhaps because they had been looking so longingly at them ever since he\ncame into the room. But then how did he know that Mary Ellen wanted a\npaint-box and a Red Cross doll, and Sammy a Noah\u2019s Ark and a drum and a\nhorn? It was really wonderful how Santa Claus could tell exactly what\neach one wanted. There was little Tom who longed to play with dolls, but\nwho couldn\u2019t bear it when the big boys laughed and called him \u201ca girl.\u201d\nAnd what should Santa Claus give to him but a soldier boy in khaki\nuniform, carrying a shining bayonet. Surely no boy would be ashamed to\nplay with that, and yet at night, with the bayonet under Tom\u2019s pillow,\nGeneral Pershing, Jr., would cuddle as well as any baby doll.\nBefore long every one\u2019s arms were full. Even the grown-up visitors,\nenjoying the scene from a distant corner, were not forgotten, but held\nboxes of candy shaped like little doll houses. Polly carried a white\nrabbit and a big picture-book off into her special corner. Sammy,\nskillfully performing on horn and drum simultaneously, woke echoes in\nthe attic. Toy trains ran merrily round and round. Fire engines dashed\nbravely in every direction. It seemed as if Santa Claus\u2019s pack must be\nempty. But no, there he stood holding a baby doll in long white dress\nand little white cap, a baby doll who stretched out her arms as if\nasking some one to come and hold her, please.\n\u201cHere\u2019s a baby looking for a mother,\u201d called out Santa Claus. \u201cPerhaps\nshe will tell me her mother\u2019s name.\u201d And Santa Claus held the baby up to\nhis ear.\n\u201cShe says she wants Lydia,\u201d announced Santa Claus. \u201cWhere\u2019s Lydia?\u201d\n\u201cYes, where is Lydia?\u201d asked Miss Martin, looking about. \u201cI haven\u2019t seen\nher for a long time.\u201d\nAt this one of the visitors came forward, a visitor all the children\nknew, for she came often to see them. It was Mrs. Morris, a little old\nQuaker lady, who always wore a gray silk dress, a snow-white kerchief,\nand sometimes a little white cap. The children called her \u201cFriend\nMorris\u201d after a fashion she loved, and well might they call her so, for\nshe gave generously of time and thought and money for their happiness\nand welfare. Friend Morris stepped to an open door and peeped behind it.\n\u201cHere is little Friend Lydia,\u201d said she. \u201cCome out, Lydia. Surely thee\nis not afraid of the good Santa Claus.\u201d And she took Lydia gently by the\nhand and drew her out of her corner.\nLydia shook her head.\n\u201cNo, Friend Morris,\u201d said she, \u201cI\u2019m not afraid of Santa Claus. But I\nwant him to give away all his toys, and then I will ask him for my\npresent.\u201d\n\u201cBut see what Santa Claus has for thee, Friend Lydia,\u201d said Mrs. Morris,\nleading her to where Santa Claus stood watching them with a smile on his\nlips. \u201cA beautiful baby doll. Surely that is the present thee wants.\u201d\n\u201cNo, I want to whisper it in his ear,\u201d persisted Lydia.\nShe raised her brown eyes to Santa Claus, who looked down at her a\nmoment in silence and then lifted her in his arms.\n\u201cWhat is it, Lydia?\u201d he said softly. \u201cTell me.\u201d\n\u201cI want,\u201d whispered Lydia with her arm about Santa Claus\u2019s neck, \u201cI want\na father and a mother, a real father and mother of my own. Miss Martin\nsaid you could give a present that wouldn\u2019t go in a stocking. And I will\ngive you back the baby doll.\u201d\nSanta Claus thought for a moment, and then he tightened his hold upon\nthe little girl looking so anxiously into his face.\n\u201cNow, Lydia,\u201d said he, \u201cI\u2019ll tell you just how it is. I don\u2019t carry that\nkind of a present around in my bag with me, but I\u2019ll try to get it for\nyou if you are willing to wait a little while for it. You keep the baby\ndoll. Take good care of her, and I\u2019ll go to work and see what I can do\nfor you. How will that be?\u201d\nSanta Claus had merry blue eyes, and now he looked straight at Lydia as\nif he meant what he said.\n\u201cYou won\u2019t forget?\u201d asked Lydia.\n\u201cI won\u2019t forget,\u201d said Santa Claus. \u201cI promise.\u201d\nHe put Lydia on the ground with a parting pat on her head.\n\u201cAnd now I must be off,\u201d said he. \u201cMy reindeer won\u2019t stand much longer.\nI believe they\u2019re out on the lawn here now. Merry Christmas, children!\n\u2018Merry Christmas to all and to all a good-night!\u2019\u201d\nAnd Santa Claus was out of the window, across the porch, and out of\nsight before you could turn around. The jingle of the sleigh-bells died\naway, the Christmas party was over, and it was time to go to bed.\nLydia slowly climbed the stairs with the new dolly in her arms. Mary\nEllen was beside her, admiring her own Red Cross nurse as she went.\n\u201cWhat shall you name your doll?\u201d asked Mary Ellen. \u201cMine is Florence\nClara Barton Nightingale. See the little ring your doll has. And a gold\nlocket round her neck.\u201d\n\u201cHer name is Lucy Locket,\u201d answered Lydia in a flash. \u201cI\u2019ve thought of\nit just this minute.\u201d\nUpstairs ten little boys popped into bed before you could say Jack\nRobinson. They had no long hair to be brushed and braided. But Miss\nMartin and good-natured Nurse Norrie worked quickly, and before long ten\nlittle girls were tucked snugly into their beds too. Miss Martin lighted\nthe night light and turned to go.\n\u201c\u2018Merry Christmas to all and to all a good-night,\u2019\u201d said Miss Martin\nsoftly, just like Santa Claus.\nLydia was the only little girl wide awake enough to answer.\n\u201cMerry Christmas,\u201d said Lydia sleepily. \u201cLucy Locket, you heard Santa\nClaus promise, didn\u2019t you?\u201d\nAnd then little Friend Lydia fell fast asleep too.\nCHAPTER II\u2014The Real Christmas Present\nChristmas morning, and oh, how early every one woke and jumped out of\nbed! Sammy was the first to look out of the window, and his shouts of\njoy brought everybody pell-mell to look out too.\n\u201cSnow,\u201d he called, \u201cmore snow! Hurry up and get dressed.\u201d\nSure enough the ground was covered with a fresh fall of snow, and at\nthat moment up came the red winter sun making a beautiful sparkling\nChristmas world for the children to look upon.\nBreakfast over, out they all trooped, and up went a snowman only to fall\nunder a hail of snowballs. Mary Ellen and Polly pulled Lydia and the\ntwins about on the sled, refreshing themselves between-times with wild\ntoboggans down the hill. It seemed only a moment before Miss Martin\ncalled them in to make ready for church.\nTwo by two they walked along, past houses with wreaths of holly in the\nwindows, sometimes catching glimpses between curtains of Christmas Trees\nlike their own.\nIn the church it was green and sweet-smelling. From their seats in the\nbalcony the children looked up at a big red star blazing high among the\npine and balsam boughs. They sat quietly, the older ones now and then\nunderstanding a little of what was said, while between-times they\ncounted the organ-pipes or swung their feet softly, the unlucky Sammy\noccasionally coming up against the pew with a thump. Every one\u2014Miss\nMartin, too\u2014was glad when their turn came to sing, and they could\nstretch stiff little legs and open their mouths wide. They sang\u2014\n \u201cAway in a manger,\n No crib for a bed,\n The little Lord Jesus\n Lay down His sweet head.\n The stars in the sky\n Looked down where He lay,\n The little Lord Jesus\n Asleep on the hay.\n \u201cThe cattle are lowing,\n The dear baby wakes.\n The little Lord Jesus\n No crying He makes.\n I love Thee, Lord Jesus,\n Look down from the sky,\n And stay by my cradle\n To watch lullaby.\u201d\nLydia had a clear little voice and she sang out with a will, and all the\nwhile she sang she was thinking of Santa Claus\u2019s promise.\nAfter church came dinner\u2014turkey and plum pudding\u2014and then the children\nsettled down around the Tree to play with their new toys. Lydia was\nrocking Lucy Locket to sleep when Nurse Norrie came into the room.\n\u201cFriend Morris has sent for you, Lydia,\u201d said she. \u201cAlexander is waiting\noutside.\u201d\nNurse Norrie looked carefully at Lydia\u2019s face and hands.\n\u201cYou\u2019re as clean as a pin,\u201d said she. \u201cIt would be well if others were\nmore like you.\u201d And she rapped gently upon Sammy\u2019s head as she passed.\nSammy looked up with a grin.\n\u201cI don\u2019t care,\u201d said he with Christmas daring. \u201cI don\u2019t want to be\nclean. It\u2019s sissy.\u201d\nOn the doorstep Lydia slipped her hand in Alexander\u2019s, and off they\nstarted. Alexander and his wife, Friend Deborah, were Quakers who had\nlived for many years with Mrs. Morris, and the children knew them well.\nFriend Deborah wore a drab stuff dress and a kerchief like Friend\nMorris, and Alexander\u2019s broad-brimmed hat was quite different from that\nworn by other men.\n\u201cNo, Lydia,\u201d Alexander was saying, \u201cthee is not going to Friend Morris\u2019s\nhouse. She is spending the afternoon with friends in the city, and thee\nis to go there. And thee is going to ride on the Elevated cars.\u201d\nAlexander knew that Lydia would like this.\nLydia gave a little skip of happiness. She did like to ride on the\nElevated train high up in the air and look straight into the windows of\nthe houses as they passed. To-day, as she kneeled on the seat and looked\nout, she saw Christmas Trees and family dinner-parties, a baby fastened\nin a high chair drumming on the window with his new rattle, and a little\ngirl holding up her Christmas dolly to look out of the window too. At\nthat moment the train stopped, and Lydia and the little girl smiled and\nwaved and the dolly threw a stiff kiss in Lydia\u2019s direction. Then on\nthey went again, and all too soon Lydia and Alexander left the train,\nclimbed down the steep flights of steps, and turned into a narrow little\nstreet with small, old-fashioned brick houses on either side of the way.\nBefore one of them Alexander stopped and rang the bell, and in a moment\nthe door was opened by a pretty lady with pink cheeks and soft brown\nhair who said, \u201cMerry Christmas, Alexander. And this must be little\nFriend Lydia. Come in, Lydia. Friend Morris is upstairs waiting for\nyou.\u201d\nAnd the pretty lady, whose name was Mrs. Blake, led Lydia into a bedroom\nto leave her hat and coat, and then upstairs where first of all Lydia\nspied a little kitchen and then a big room where Friend Morris sat\nbefore a blazing open fire.\nIt sounds topsy-turvy, doesn\u2019t it? the bedrooms downstairs and the\nkitchen upstairs? But this is how it happened. Mr. Blake was an artist.\nHe painted the most beautiful pictures in the world, Lydia thought, when\nshe saw them, and his workroom or studio was the whole top floor of the\nhouse, except for a tiny little kitchen tucked away in a corner at the\nhead of the stairs. So you see for yourself why the bedrooms were\ndownstairs, and as Lydia afterward came to think it the nicest house\nthat could ever be, it must have been a good arrangement after all.\nLydia felt at home at once, Friend Morris was so smiling, and Mrs. Blake\nso friendly, and Mr. Blake so full of fun. He stood before the fire\nlooking down at the little girl, and something in the tall figure with\nthe merry smile made her thoughts fly back to Santa Claus and her\nconversation with him the night before.\n\u201cThey wouldn\u2019t let me have anything to eat, Lydia,\u201d said he, taking\nLydia\u2019s hand in his, \u201cand I\u2019m as hungry as a bear. But now that you\u2019ve\ncome perhaps they will give me a cake.\u201d\nLydia saw the cakes on a little table in the corner, and hoped that she\nmight have one too. But before she could answer some one jumped down\nfrom the window-sill and walked slowly toward her. It was a big Angora\ncat gray all over save for four white boots and a white necktie.\n\u201cThis is Miss Puss Whitetoes,\u201d said Mr. Blake. \u201cMiss Puss, will you\nshake hands with Lydia?\u201d\nSure enough, Miss Puss held out her paw and shook hands most politely.\nThen as Lydia sat on the floor beside her, she jumped into the little\ngirl\u2019s lap and in no time they were the best of friends.\n\u201cLydia!\u201d said a voice from far away, \u201cLydia!\u201d\nLydia looked up from gently scratching Miss Puss\u2019s head and saw that\nMrs. Blake, busy at the tea-table, was calling her. Every one was\nsmiling, so she smiled back.\n\u201cMr. Blake can\u2019t wait any longer for his cakes, Lydia,\u201d said Mrs. Blake.\n\u201cWill you help me pass the tea?\u201d\nLydia very carefully carried a cup of tea to Friend Morris, and one to\nMr. Blake, and then in her own cup of milk she dipped the silver\ntea-ball one, two, three times. It really almost tasted of tea after\nthat. And as for the cakes\u2014Lydia never before ate anything quite so good\nas those little cakes.\n\u201cAnd now, Friend Lydia, will thee sing a song for us?\u201d asked Mrs.\nMorris.\nSo Lydia sang:\n \u201cI saw three ships go sailing by\n On New Year\u2019s Day in the morning.\u201d\nThen Mr. Blake and Lydia recited \u201cThe Night Before Christmas,\u201d and were\nloudly applauded by Friend Morris and Mrs. Blake.\nNow the room began to grow dark. Miss Puss settled herself for a nap in\nfront of the fire, and Mr. Blake took Lydia on his lap. He was glad to\nhold a little girl in his arms again, for once he had had a little\ndaughter of his own and had lost her.\n\u201cDid you have a nice Christmas, Lydia?\u201d he asked. \u201cWhat did Santa Claus\nbring you?\u201d\n\u201cHe brought me a doll,\u201d answered Lydia, settling down on his lap with a\nsigh of content, \u201cand she has a ring and a locket and so I named her\nLucy Locket. But that\u2019s not my real present. I must wait for that; and\nSanta Claus will try to bring it to me by-and-by. He promised.\u201d\n\u201cA real present?\u201d said Mr. Blake. \u201cAnd what kind of a present is that?\u201d\n\u201cIt\u2019s a father and a mother,\u201d whispered Lydia in his ear, \u201ca real father\nand mother of my own. Do you think he\u2019ll bring it to me?\u201d\n\u201cI do,\u201d said Mr. Blake, \u201cI do, indeed. I\u2019m almost sure he will.\u201d\nHe looked straight at Lydia as he spoke, and something in his blue eyes\nmade her say, \u201cYou look just like Santa Claus\u2014the way he did last\nnight.\u201d\n\u201cDo I?\u201d said Mr. Blake with a laugh. \u201cWell, I don\u2019t know a better person\nto look like than Santa Claus.\u201d\nLydia put up her hand and patted his face.\n\u201cI\u2019m going to give you something,\u201d said she. \u201cI was saving it for Mary\nEllen. It\u2019s mine, I didn\u2019t eat it myself, but I want to give it to you.\nIt\u2019s one of those good little cakes.\u201d And she drew it from her crummy\npocket and put it in Mr. Blake\u2019s hand.\n\u201cThank you, Lydia,\u201d said he, \u201cthank you. But I wouldn\u2019t be surprised if\nMrs. Blake could make up a little box for you to take home to Mary\nEllen. Mother!\u201d he called, \u201cMother!\u201d\nMrs. Blake came into the room, and then, instead of saying anything\nabout little cakes for Mary Ellen, \u201cYou tell her, Mother,\u201d said Mr.\nBlake. \u201cYou tell her.\u201d\n\u201cOh, Friend Morris,\u201d said Mrs. Blake, \u201cyou tell Lydia, won\u2019t you?\u201d\nSo Friend Morris came forward, and she was smiling as she had smiled all\nafternoon.\n\u201cFriend Lydia,\u201d said she, \u201clast night thee asked a present of Santa\nClaus, and to-day the present is given thee. Here are a good father and\na good mother who will love thee well, and in turn they will have the\nlove of a good little daughter. Does thee not understand what I am\nsaying to thee, Friend Lydia?\u201d\nFor Lydia was staring at Friend Morris with wide-open eyes. She could\nscarcely believe her ears. Friend Morris was still smiling, but tears\nwere in her eyes. Then Lydia threw her arms about Mr. Blake\u2019s neck. \u201cA\nreal father,\u201d said Lydia. She turned to Mrs. Blake and held her as if\nshe would never let her go. \u201cAnd my own mother,\u201d said Lydia, \u201cmy own\nmother.\u201d\nAnd there they were just so when Alexander\u2019s knock came at the door.\n\u201cThis is the nicest Christmas we\u2019ve ever had, isn\u2019t it, Lydia?\u201d said Mr.\nBlake, his voice a trifle husky. Lydia smiled up into his face and\nsoftly patted the big hand laid upon her shoulder.\n\u201cAnd you\u2019ll come back day after to-morrow, Lydia, to stay,\u201d said Mrs.\nBlake, her arm still round the little girl, \u201cand never go away again.\u201d\nLydia nodded happily. She wasn\u2019t able to talk about it yet. It seemed\ntoo good to be true. But she gave every one a parting hug all round.\nThen she whispered something in Mr. Blake\u2019s ear.\n\u201cPlease don\u2019t forget the little cakes for Mary Ellen,\u201d said little\nFriend Lydia.\nCHAPTER III\u2014The New Home\nThe next two days were the most exciting days Lydia had ever known.\nFirst of all she told the good news over and over to Miss Martin, and\nMary Ellen, and Nurse Norrie, and Sammy, and all the rest of them. Miss\nMartin wasn\u2019t a bit surprised. She almost acted as if she had known it\nall along.\n\u201cThe saints bless us! It\u2019s no trouble you\u2019ll be making any one, the way\nyou keep yourself clean,\u201d was all Nurse Norrie said.\nBut Mary Ellen and Polly and Sammy were as excited and interested as\nLydia could wish. Their tongues flew and their heads wagged up and down,\nand if Lydia couldn\u2019t answer all the questions they asked her, they\nanswered them themselves.\n\u201cDo you think you will have ice cream every day for dinner, Lydia?\u201d\nasked Polly.\nLydia didn\u2019t know what to think, but Mary Ellen answered for her.\n\u201cOf course,\u201d said Mary Ellen emphatically, \u201cand perhaps pie, too. And\nalways griddle cakes for breakfast.\u201d\n\u201cOh, I wish some one would take me,\u201d said Polly longingly. \u201cIf I was\nprettier maybe they would.\u201d And Polly sighed as she wistfully felt of\nher little snub nose.\n\u201cPooh!\u201d said Sammy with a defiant air, \u201cI don\u2019t care! I\u2019m going to live\nwith a cowboy out West and ride three horses at once, I am. Maybe I\u2019ll\nshoot Indians, too. I don\u2019t care!\u201d\nBut they all looked at Lydia as if they thought her a fortunate little\ngirl, and indeed Lydia herself thought so, too.\n\u201cPerhaps you will come and see me sometimes,\u201d said she, giving what\ncomfort she could, \u201cand we will have more of those good little cakes.\u201d\nThis happy suggestion made them all feel better. And when Mrs. Blake\ncame to take Lydia away, there were only smiling faces and cheerful\ngood-byes; for the last thing Mrs. Blake said was:\n\u201cLydia is going to have a party some day very soon and she wants you all\nto come. Don\u2019t you, Lydia?\u201d\nLydia, smiling, nodded. \u201cI told you so,\u201d to her friends, and held tight\nto Mrs. Blake\u2019s hand as they went down the street. Every now and then\nshe gave a skip, but only a very little one, for she carried Lucy Locket\nin her arms. Mrs. Blake was as happy as Lydia, and you had only to look\nat the smile on her lips and in her eyes to know it.\n\u201cDid I tell you there is a doll carriage at home for Lucy Locket?\u201d said\nshe, looking down at the little figure hopping at her side.\nLydia\u2019s eyes sparkled.\n\u201cI never had a carriage before,\u201d was her answer. Her heart seemed full\nto overflowing with happiness and love. Then Lydia stood still on the\nstreet.\n\u201cPlease, do I call you Mother right away?\u201d said she, looking up into the\nkind face that already wore a look like that of the mother Lydia did not\nremember.\n\u201cOh, yes, indeed, Lydia,\u201d answered Mrs. Blake, \u201cthis very minute if you\nlike.\u201d\n\u201cAnd Father, too?\u201d\n\u201cAnd Father, too, as soon as he comes home to-night.\u201d\n\u201cDo you hear, Lucy Locket?\u201d whispered Lydia. \u201cMy Mother and Father, my\nMother and Father, my Father and Mother, my Father and Mother.\u201d\nIt made a nice little song, and Lydia was singing it to herself as they\nwent up the steps of the little brick house that was to be her home.\nOnce inside, Mrs. Blake led the way down the hall and opened the door.\n[Illustration: _\u201cTHIS IS YOUR BEDROOM, LYDIA\u201d_]\n\u201cThis is your bedroom, Lydia,\u201d said she, watching the brown eyes grow\nbigger and bigger as they gazed. Lydia looked round the room, and then\nshe looked up at her new mother, and then she looked round the room\nagain. It was hard to believe that this was all for her. For she saw a\nlittle white bed, and beside it a white cradle just big enough for Lucy\nLocket. There was a little bureau and a book-case full of picture-books.\nOn a low table stood a work-basket, and near by a little rocking-chair\nheld out its arms as if saying, \u201cCome and sit in me.\u201d And over in the\ncorner was the doll carriage, only waiting to give Lucy Locket a ride.\nBut Lydia was walking slowly around the room, for halfway up the wall\nthere were pictures, pictures of people Lydia knew very well.\n\u201cThere\u2019s Red Riding Hood,\u201d said she, \u201cand her mother with the basket.\nAnd here she meets the wolf, and here is grandmother\u2019s house with the\nwolf in bed. And here are the Three Bears and Goldilocks, and there she\ngoes running home to her mother. And here is Chicken Little, and Henny\nPenny, and all of them. Mean Foxy Loxy!\u201d said Lydia.\nLydia\u2019s pleasure in the room was so keen that Mrs. Blake felt well\nrepaid for her effort in making it ready for the little girl. She smiled\nat Lydia\u2019s raptures, and opened the little closet door.\n\u201cYou might put your hat and coat away,\u201d said she, \u201cand then perhaps Lucy\nLocket wants to go riding or to sleep in the cradle.\u201d\n\u201cI think she wants a ride,\u201d said Lydia.\nBut when she peeped under the blue-and-white cover, there was some one\nalready taking a nap in Lucy Locket\u2019s carriage. Who but Miss Puss\nWhitetoes who opened her eyes sleepily at Lydia and shut them tight\nagain. Then she wiggled her little pink nose. That meant, \u201cI\u2019m sleepy.\u201d\nShe winked one ear. That meant, \u201cGo away.\u201d So Lydia tucked the cover\nabout her, and put Lucy Locket to bed in the new cradle. Lucy was a good\nchild and soon fell fast asleep, and then Lydia rode the sleeping Miss\nPuss up and down the hall until she woke, and, springing out of the\ncarriage, whisked upstairs like a flash.\nLydia followed, and found Mother at work in the kitchen, briskly beating\neggs in a big yellow bowl and taking peeps now and then into the oven\nwhich gave out savory smells whenever the door was opened.\n\u201cWill it be pie and ice cream to-night, Mother?\u201d asked Lydia,\nremembering the words of Mary Ellen.\n\u201cNo,\u201d said Mrs. Blake with a laugh; \u201cIndian pudding to-night.\u201d\n\u201cThat\u2019s what Sammy would like,\u201d said Lydia, sniffing hungrily. \u201cHe\u2019s\ngoing to shoot Indians or be an Indian chief when he grows up. He\ndoesn\u2019t know which.\u201d\nIn the studio a fire was blazing and crackling, and Lydia lay down on\nthe rug to watch it and wait for Father to come home. Her head was\nwhirling with all the pleasant happenings of the day. Even the flames\nseemed to have merry faces that smiled and nodded to her as they rose\nand fell.\n\u201cRed and orange and yellow fairies, and little blue ones too,\u201d thought\nLydia. \u201cAnd they dance and they dance and they never stop. I wonder if\nthey ever go to bed?\u201d And with that Lydia shut her eyes and sailed off\nto sleep herself.\nMiss Puss jumped down from the window-sill and sat before the fire to\nwash her face. But though she was busy she kept her eyes wide open, and\nevery now and then she changed her place, because the fire was crackling\nharder than ever, and little yellow sparks were flying about. Suddenly\nan extra big spark lighted on the rug close beside Lydia. The little\nyellow light grew larger and larger, and soon it began to creep closer\nand closer to the sleeping little girl.\nAnd what did wise Miss Puss do then?\nOut into the kitchen she ran where Mother was making the Indian pudding.\n\u201cMeow! Meow!\u201d said Miss Puss, pulling at Mrs. Blake\u2019s apron with her\npaw. \u201cMe-o-ow!\u201d\n\u201cWhat is it, Miss Puss?\u201d said Mother. \u201cI never heard you cry like that\nbefore.\u201d\n\u201cMeow!\u201d answered Miss Puss, and back she ran into the studio. Mrs. Blake\nfollowed, and just in time, for the corner of the rug was blazing\nmerrily, and Lydia was still sound, sound asleep.\nIt took only a moment to lift Lydia out of danger and to stamp down the\nflame, and luckily Mr. Blake came home in time to help. Lydia was\nneither frightened nor hurt, and indeed rather enjoyed the excitement,\nwhile every one was so proud of Miss Puss that they couldn\u2019t praise and\npet her too much.\nAfter dinner, Mother, and Father, with Lydia on his lap, sat watching\nMiss Puss enjoy, as a reward, a saucer of cream for her supper.\n\u201cWe must give her some fish to-morrow,\u201d said Mr. Blake. \u201cThat\u2019s what\npussies like to eat, eh, Lydia?\u201d\n\u201cEvery time I see that hole in the rug I shall remember what Miss Puss\ndid the very first night Lydia came to us,\u201d said Mother, leaning forward\nto give Lydia\u2019s hair an affectionate smooth.\n\u201cWe\u2019ll write a poem about it,\u201d said Mr. Blake.\n \u201cThis hole is to remind the Blakes\n That for their own and Lydia\u2019s sakes,\n Miss Puss must dine on richest cream\n And little silver canned sardine.\u201d\n\u201cThat\u2019s lovely!\u201d interrupted Lydia, clapping her hands, \u201cand here\u2019s some\nmore:\n \u201cBecause she saved me from burning up,\n She is better than any doggy pup.\u201d\n\u201cWell,\u201d said Mr. Blake, holding the satisfied Lydia off at arm\u2019s length\nto look at her, \u201cwhy didn\u2019t you tell me before that you were a poetess?\nYou\u2019ve given me a shock.\u201d And to her delight he fanned himself as if\nquite overcome.\n\u201cI didn\u2019t know it myself until just this minute,\u201d said Lydia, trying to\nbe modest under this praise. She settled back in his arms and reached\nout for Mrs. Blake\u2019s hand.\n\u201cIsn\u2019t it nice?\u201d said she happily, looking from one face to the other.\n\u201cAren\u2019t we going to have good times? I am. I know I am. They\u2019ve begun\nnow.\u201d\n\u201cI feel sure you are right, Lydia,\u201d answered Mrs. Blake promptly. \u201cNow\nthat you\u2019ve come, I know we shall all have the very best times we\u2019ve\never had in our lives. Just wait and see.\u201d\nCHAPTER IV\u2014A Picture and a Party\nLydia\u2019s good times began every morning when she opened her eyes and\nleaned over the edge of the bed to see how Lucy Locket had spent the\nnight in her new white cradle.\nAnd all day long Lydia was so busy that at night she had been known to\nfall asleep on Father\u2019s lap upstairs, and not remember a single thing\nabout going to bed at all. After breakfast she dried the dishes for her\nmother, and no one could dust a room any better than could Lydia Blake.\nThen out to market with Mother, and home again to wheel the doll\ncarriage up and down the sunshiny street.\nAnd who do you think rode in the carriage? It really belonged to Lucy\nLocket. But when day after day Miss Puss Whitetoes snuggled down on the\ncushions and held up her paws so that Lydia could fasten the carriage\nstrap, Lydia couldn\u2019t resist giving sly Miss Puss a ride. And Lucy\nLocket didn\u2019t mind at all. She was a great sleepy-head, and liked\nnothing better than to lie in her cradle. Sometimes, too, Lydia would\nprop her up in the front window and wave to the smiling Lucy every time\nshe wheeled the carriage past the house. At first Miss Puss would sit up\nstraight like a baby, with her paws folded in front of her, but little\nby little her eyes would close and she would slip down until all you\ncould see was one gray ear. And by that time Lydia herself was ready to\ngo into the house.\nAnd her afternoons were busy too. For one day Mr. Blake said,\n\u201cLydia, would you like to give a present to Friend Morris?\u201d\nYes, indeed, Lydia would.\n\u201cI can make nice horse-reins on a spool, Father,\u201d said she, proud of her\naccomplishment.\n\u201cI know you can,\u201d said Mr. Blake. \u201cBut I was wondering if Friend Morris\nwouldn\u2019t like a picture of you dressed like a little Quaker girl. Mother\nwill make the dress, just like the one Friend Morris wore when she was a\nlittle girl. I will paint the picture, and you shall give it to her. I\nbelieve Friend Morris would like that present.\u201d\n\u201cI think she would too,\u201d said Lydia, who herself liked the idea of\ndressing up. \u201cIt\u2019s much nicer than horse-reins.\u201d\nSo Mother made a little gray dress, with a white kerchief, and a white\ncap. And over the cap Lydia wore a little gray Quaker bonnet.\nThen every afternoon, she stood very still while Mr. Blake painted the\npicture, looking from Lydia to the canvas and back again at Lydia.\n\u201cCouldn\u2019t Miss Puss be in the picture, too?\u201d asked Lydia. \u201cShe is all\ngray and white, just like me.\u201d\nSo Miss Puss was put in the picture, sitting as still as could be at\nLydia\u2019s feet. Mr. Blake worked quickly, and so the picture was soon\nfinished, and it happened that the very next day Lydia had a party. Mary\nEllen and Sammy and Polly and little Tom were coming with Miss Martin to\nspend the afternoon.\nWhen Lydia saw the children walking up the street, their friendly faces\nshining with soap and water and happy smiles, she hopped up and down in\nthe window and waved both hands in greeting. If she had been a boy she\nwould have turned a somersault, I know.\n\u201cIs this our quiet little Lydia?\u201d Miss Martin asked Mrs. Blake, with a\nlaugh. \u201cWhat have you done to her?\u201d\nFor Lydia was dragging the children into her bedroom, and telling them\nof Mother and Father and Miss Puss, and bidding them look at Lucy\nLocket\u2019s cradle, and the doll carriage, and the picture-books, all in\none breath, and before they even had time to take off their hats and\ncoats. From the noise, and the confusion, and the rushing about, and the\nsound of many voices all talking at once, as Lydia took them from one\nend to the other of that little house, you might have thought that all\ntwenty children from the Children\u2019s Home had come visiting instead of\nfour!\nBut after a little they quieted down, and when Mrs. Blake and Miss\nMartin peeped in at them, this peaceful scene met their eyes. Sammy was\nlying flat on the floor, lost in a picture-book of cowboys and Indians\ngalloping madly over the Western plains. Polly was wheeling lazy Miss\nPuss up and down the hall. Over in a corner, sure that no one was\nlooking at him, little Tom had turned his back upon the world, and was\ncomfortably rocking Lucy Locket to sleep as he swayed to and fro in the\nlittle rocking-chair. In the closet, Lydia was proudly showing her\nQuaker dress to the admiring Mary Ellen. When she spied her mother\u2014\n\u201cMay I put it on?\u201d she asked. \u201cMary Ellen thinks it\u2019s almost as good as\na Red Cross nurse.\u201d\n\u201cWould you like to dress up as a nurse yourself this afternoon, Mary\nEllen?\u201d asked Mrs. Blake, who read a longing in Mary Ellen\u2019s eye.\nAnd in a twinkling you wouldn\u2019t have known happy Mary Ellen. For a big\ncooking-apron covered her from neck to heels, and, with a Red Cross cap\non her head, you couldn\u2019t have found a better nurse if you had searched\nthe whole world over. Polly was turned into a fine lady, in a silk\ndress, a lace cap, and three strings of beads about her neck. Such\nflauntings and preenings, such bowing and curtsying as the three little\npeacocks indulged in, what time they weren\u2019t admiring themselves in the\nmirror! They looked up to see Mr. Blake laughing at them in the doorway.\nHe made a low bow and shook them by the hand as if they had been real\ngrown-up people.\n\u201cAren\u2019t you going to do anything for the boys?\u201d he asked, for Sammy and\nTom were looking on with envious eyes. \u201cCome upstairs with me, boys.\nI\u2019ve a trunkful of things to wear.\u201d And so he had, to use when he was\npainting pictures.\nSuch shouting and laughing as now floated down from the studio! The\nlittle girls sat at the foot of the stairs, and every now and then they\nwould creep a step higher. At last the door opened and they started up\nwith a rush, but it was only Father speaking to Miss Martin.\n\u201cDo you mind if I put paint on their faces?\u201d he asked.\n\u201cNot a bit,\u201d said Miss Martin, who was used to all kinds of antics on\nthe part of her brood, and who never said \u201cno\u201d when she could possibly\nanswer \u201cyes.\u201d\n\u201cBut not on their mouths, Father,\u201d called Mother. \u201cWe haven\u2019t had the\nreal party yet.\u201d\nThen the door closed again, for hours and hours it seemed to Lydia and\nPolly and Mary Ellen, though Mother said it was only ten minutes by the\nclock.\nBut when Mr. Blake called \u201cAll aboard!\u201d and they trooped up into the\nstudio, they forgot their long wait in admiration at what they saw. For\nthere stood an Indian, wearing a real deerskin over his shoulders, and\nwith real deerskin leggings that ended in gay beaded moccasins. On his\nhead was a gorgeous feather head-dress, and in his hands he carried a\nbow and arrow. His face was ornamented with spots and stripes and\nsplashes of red and yellow and blue paint. He was not a very\nfierce-looking warrior, for he was grinning from ear to ear, and when\nthe girls saw that smile, they knew.\n\u201cSammy!\u201d said Lydia and Polly and Mary Ellen in a breath.\nAs for Tom, there he stood in a black velvet cloak, and a big black hat,\nwith green plumes drooping off the edge. He had a big black curling\nmustache that almost covered his face, but the pride of his heart was a\npair of high, shiny, black boots, so big for him that he couldn\u2019t take a\nstep without holding on to them with both hands for fear of losing them\noff. He wore a short wooden sword thrust in his belt, and I really don\u2019t\nknow what the fine lady and the Quakeress would have done without that\nsword. For they immediately set sail down Studio River in a boat made of\ntwo chairs and a stool. Tom\u2019s sword kept the alligators and crocodiles\nfrom climbing into the boat after them. But alas! they were attacked by\nan Indian brave, skulking in the woods. They were all but killed by him,\nbut were speedily brought back to health by a Red Cross nurse, who\nhappened to be taking a stroll that afternoon in those selfsame woods.\nThis was such a good game that they played it over and over again, until\nMrs. Blake called them to come to the \u201creal party,\u201d and that they were\nquite ready to do. Sandwiches, little cakes, cups of milk disappeared\nlike magic. They ate and ate and ate until even Sammy could eat no more.\nThen there came a knock at the door, and who should it be but Friend\nMorris! She stared in surprise at all of them, but at Lydia most of all.\nAnd when Mr. Blake whispered in Lydia\u2019s ear, and she led Friend Morris\nover to the picture Father had painted for her, it was a long time\nbefore Friend Morris had a word to say. She looked and looked at the\npicture, and she looked and looked at Lydia. Lydia couldn\u2019t tell whether\nFriend Morris was going to laugh or cry.\n\u201cDon\u2019t you like the present?\u201d asked Lydia. \u201cI wanted to make you\nhorse-reins, but Father said you would like this better.\u201d\n\u201cLike it, Friend Lydia?\u201d said Mrs. Morris at last. \u201cThere isn\u2019t another\npresent in the whole world that I would like so well as this.\u201d\nLydia and Father and Mother nodded and smiled at one another. They were\nso glad that Friend Morris was pleased, and that their present was a\nsuccess.\nThen, cozily, they all gathered round the open fire, and each of the\nchildren hung up an apple on a string to roast before the blaze. They\nturned and turned the string to cook the apples through and through, and\nwhen at last they were done, a grown person might have thought them\nburned in spots and raw in others, but the children ate them with the\ngreatest relish.\nAnd while they watched the apples twist and turn, and the flames rise\nand fall\u2014\n\u201cWould thee like me to tell a story?\u201d asked Friend Morris, with a hand\non Lydia\u2019s Quaker cap,\u2014\u201ca story my grandmother used to tell me, of a\nlittle Quaker girl who lived a long time ago?\u201d\n\u201cAre there Indians in it?\u201d demanded Sammy, admiring, with head on one\nside, his deerskin leggings stretched before him.\nFriend Morris nodded, and every one settled back comfortably to hear the\nstory she had to tell.\nCHAPTER V\u2014The Story of Little Gwen\n\u201cIt was a long time ago,\u201d began Friend Morris, \u201cwhen a little Welsh girl\nnamed Gwen set sail from England, with her father and mother and a\ncompany of Friends, to cross the Atlantic Ocean and make a new home for\nthemselves in America. When they were perhaps halfway across, Gwen had a\nnew little brother, and as he was born on the ocean he was given the\nname \u2018Seaborn.\u2019\n\u201cTravel was slow in those days, and it seemed a long time to little Gwen\nbefore the ship reached land, and she could run and jump as much as she\npleased on the solid ground, as she could not do on the crowded ship\u2019s\ndeck. But even then their travels were not over, for Gwen\u2019s father, with\na few other men and their families, pushed on into the woods where they\nmeant to settle and build their homes.\u201d\n\u201cWere there Indians in the woods?\u201d asked Sammy eagerly.\n\u201cYes, plenty of them, but all friendly to the Quakers,\u201d answered Friend\nMorris. \u201cI\u2019m sorry for thee, Sammy, but there won\u2019t be a single fight in\nthis story.\u201d\n\u201cNever mind,\u201d said Sammy generously, \u201cI\u2019ll like to hear it just the\nsame.\u201d\n\u201cWhat kind of a house did Gwen have in the woods?\u201d asked Mary Ellen,\nanxious to hear the story.\n\u201cNo house at all, for a time,\u201d said Friend Morris. \u201cAt first, each\nfamily chose its own tree, and under it they lived, glad of any shelter\nthat would protect them from sun and rain.\u201d\n\u201cLike the squirrels and rabbits,\u201d murmured Lydia.\n\u201cThen, as the weather grew colder, they dug caves in the bank of the\nriver, where with a roof of boughs and comfortable beds of leaves, they\nlived until they were able to build real houses of logs or stone.\u201d\n\u201cThat was nice,\u201d said little Tom. \u201cI\u2019d like to live in a cave. I\u2019d keep\nthe bears out with my sword.\u201d\n\u201cGwen liked it, too, though I don\u2019t know that she saw any bears,\u201d\nanswered Friend Morris. \u201cBut oh, how glad her mother was when their log\nhouse was finished. It had a ladder on the outside that led to the upper\nroom, and Gwen learned to run up and down this ladder as quickly as a\nsquirrel runs up a tree. Gwen\u2019s father had built the house on the\nriver-bank far away from his friends, for some day he meant to clear the\nland and have a large farm.\n\u201cThere was little time for visiting in those busy days, and Gwen might\nhave been lonely if it had not been for Seaborn. He was a fat roly-poly,\na year old now, creeping and crawling into all kinds of mischief, and\nGwen spent her spare moments trotting around after him. He was a\ngood-natured baby, but now he was cutting his teeth, and this made him\ncross and fractious. And he cried. Oh! how he cried. His mother rubbed\nhis gums with her thimble to help his teeth through, and he cried harder\nthan ever. Gwen danced up and down and shook his home-made rattle, a\ngourd filled with dried peas, but he only pushed her away. And just then\ncame the time for the big Friends\u2019 Meeting to be held across the river\nin the town of Philadelphia.\n\u201c\u2018Father will go, but we must stay at home, Gwen,\u2019 said her mother. \u2018We\nmeant to take thee, and Seaborn, too, but thee couldn\u2019t ask me to take\nthis crying baby anywhere.\u2019\n\u201c\u2018How long would thee be gone, Mother? Two days and a night?\u2019 asked\nGwen. \u2018Wouldn\u2019t thee trust me to stay at home and take care of Seaborn?\u2019\n\u201cAnd Gwen coaxed and wheedled, and wheedled and coaxed, until the next\nmorning, feeling very important and grown-up, she saw her father and\nmother start across the river in their little boat, bound for the great\nQuarterly Meeting.\n\u201cThat very afternoon Seaborn\u2019s nap was so quiet and peaceful that Gwen\nwasn\u2019t the least surprised, on peeping into his mouth when he woke, to\nsee a big new tooth shining in that pink cavern. What if it was raining\nand they couldn\u2019t go out of doors? It was easy enough to amuse Seaborn\nnow.\n\u201cAll day and all night it rained, and the next morning the sky was as\ngray and the rain came down as hard as ever. Gwen saw that the river was\nrising, and had overflowed its banks, and she hoped nothing would\nprevent Mother and Father from coming home that night. She was a little\nlonely, but not one bit frightened until, late in the afternoon, a\nnarrow stream of water came under the door, and trickled slowly across\nthe floor. Gwen ran to the window. There was water several inches deep\nall around the house, and she could see that it was rising every\nmoment.\u201d\n\u201cOh dear,\u201d said Polly, \u201cwhat did she do?\u201d\n\u201cThis is what she did,\u201d said Friend Morris. \u201cThe only way to go upstairs\nwas by the ladder on the outside of the house. Gwen wrapped Seaborn in a\nshawl, and splashing through the water, she carried him upstairs. Then\ndown she ran for milk and a bowl of cold porridge, and by that time the\nwater was so deep she was afraid to go downstairs again.\u201d\n\u201cI think she was a clever little girl to think and act so quickly,\u201d said\nMrs. Blake, who was enjoying the story quite as well as the children.\n\u201cShe was a brave little girl, too,\u201d went on Friend Morris. \u201cShe wrapped\nup warmly, and, lighting a candle, sat down in the doorway of the upper\nroom to watch and wait. It grew darker and darker, and still the rain\nfell steadily. Seaborn was sound asleep, and Gwen was nodding, when\nsuddenly she sat up with a jerk. A little boat was moving toward them\nover the water that covered the ground in front of the house, and to\nGwen\u2019s delight it stopped at the foot of the stairway ladder.\n\u201c\u2018Father,\u2019 called Gwen, \u2018Mother, has thee come home? Here we are,\nupstairs in the doorway.\u2019\n\u201cBut it was neither father nor mother who answered. A deep voice said,\n\u2018Ugh! Missy come, I take.\u2019 And Gwen looked down into the brown face of\nan Indian.\u201d\n\u201cIn his war paint, with a tomahawk?\u201d asked Sammy, his own feathers\nstanding out with interest.\n\u201cNo, indeed,\u201d said Mrs. Morris, \u201cin peaceful attire. He had often traded\nwith Gwen\u2019s father, and he knew the Quakers were having a Meeting over\nthe river. So when he saw the light in the house, he came as a friend to\nhelp. He was called Lame Wolf, because he limped a little, and Gwen was\nvery glad indeed to see him.\n\u201c\u2018I take,\u2019 said Lame Wolf again, and held up his arm to beckon Gwen.\n\u201cDown the ladder she scrambled, with Seaborn in her arms, and off the\ncanoe glided through the darkness. And that is the last sleepy little\nGwen remembered until she woke the next morning with the sun shining in\nher face.\n\u201cShe was lying in an Indian wigwam, with a fire burning in the middle of\nthe floor, and beside it, crouching over the blaze, an old Indian squaw.\n\u201c\u2018My brother!\u2019 cried Gwen, springing up; \u2018where is Seaborn?\u2019\n\u201cThe old woman seemed to understand, for she grunted and pointed\noutside. And there, hanging from the low branch of a big tree, in\ncompany with several Indian babies, swung Seaborn.\u201d\n\u201cOh, didn\u2019t it hurt?\u201d asked Lydia, with a little shudder. \u201cDid they hang\nhim by the neck?\u201d\n\u201cNo, Lydia, no,\u201d said Friend Morris, with a smile. \u201cHe was strapped in\nan Indian cradle, a flat board covered with skins and moss. And he\nseemed to like it, for he smiled and chuckled when he saw his sister.\n\u201cGwen knew they must be in an Indian camp, for she saw many wigwams, and\nhorses tethered about them. Already, groups of Indian squaws were at\nwork, scraping animal skins and trimming leggings and moccasins with\nbright-colored beads. Little girls were going to and fro, carrying wood\nand water. Little brown boys ran past, with bows and arrows in their\nhands, off for a day\u2019s play. Gwen was glad to see her friend, Lame Wolf,\nlimping toward her. He said, \u2018Eat! Come!\u2019 and led the way back into the\nwigwam where the old squaw gave Gwen a bowl of soup.\n\u201cThen Lame Wolf lifted Seaborn down from the tree, and took them before\nthe chief Big Bear. Big Bear listened to Lame Wolf\u2019s story. He looked\nkindly at Gwen, motioned Lame Wolf to hang Seaborn on a near-by tree,\nwhere his own papoose swung in the shade, and then called to his little\ngirl, Winonah, peeping shyly round the wigwam. She took Gwen by the hand\nand led her off to see her dolls.\u201d\n\u201cDolls?\u201d said Polly and Lydia together. \u201cDo little Indian girls have\ndolls?\u201d\n\u201cCertainly they do. These dolls were made of deerskin, with painted\nface, beads for eyes, and one had a fine crop of horsehair and another\none of feathers. Each doll had its cradle, too, and Gwen and the chief\u2019s\nlittle daughter played happily together.\n\u201cIn the afternoon, Seaborn and Papoose, all the name the chief\u2019s little\nboy owned as yet, were taken from their cradles and put upon the ground\nto roll and tumble to their hearts\u2019 content. Gwen and Winonah were near\nby watching them. Suddenly little Papoose began to choke and cough. His\neyes grew big and round and he gasped for breath. Winonah ran for her\nmother and left Gwen alone. And then in a flash, Gwen knew what she must\ndo. Once Seaborn had swallowed a button and it had lodged in his throat.\nLittle Papoose must have put something in his mouth that was choking him\nnow. So Gwen did as she had seen her mother do for Seaborn. She bravely\nput her fingers down poor little Papoose\u2019s throat, grasped something,\nand drew it out. It was a smooth white pebble big enough to choke a\ndozen little Papooses!\u201d\n\u201cShe was as good as a Red Cross nurse,\u201d said Mary Ellen excitedly, her\neyes shining. \u201cDidn\u2019t Big Bear and little Papoose\u2019s mother praise her\nfor saving his life?\u201d\n\u201cYes, indeed, Mary Ellen,\u201d answered Friend Morris. \u201cThey praised her,\nand they gave her presents when she went home the next day, and all her\nlife they were her good friends. And that was really best of all.\u201d\n\u201cWhat were the presents?\u201d asked the children in chorus.\n\u201cAn Indian dress for herself, a cradle for Seaborn, a doll in its little\ncradle, and beautiful skins as a present for her mother. And that is all\nmy story,\u201d ended Friend Morris, smiling down into the flushed faces\ngathered about her knee.\n\u201cThank you, Friend Morris,\u201d said Lydia, giving her apple a last twirl.\n\u201cGwen was a nice girl.\u201d\n\u201cIt was a good story,\u201d said Sammy, with a nod of his feathered head,\n\u201ceven if there wasn\u2019t any fighting in it.\u201d\n\u201cNow, eat your apples, children,\u201d said Miss Martin. \u201cHere\u2019s Alexander\ncome to take us home, and somehow you must be turned back into boys and\ngirls again before you can go out into the street.\u201d\nIt was hard to go back to checked aprons and blouses after ribbons and\nfeathers and war paint, but at last it was done. And Mary Ellen said\n\u201cThank you\u201d for all of them when she put her arms round Mrs. Blake\u2019s\nneck.\n\u201cGood-night,\u201d said Mary Ellen. \u201cAnd please do ask us soon again.\u201d\nCHAPTER VI\u2014Daffodils and Daisies\n \u201cDaffydowndilly has come up to town,\n In a yellow petticoat and a green gown,\u201d\nsang little Friend Lydia, as she pushed the doll carriage up and down in\nthe warm spring sunshine. From the window of each little house in\nLydia\u2019s street, bowls of bright daffodils or tulips nodded to her as she\npassed, and the flower-beds in the near-by park were masses of scarlet\nand yellow bloom.\n\u201cIt\u2019s spring, Lucy Locket,\u201d chattered Lydia. \u201cThat\u2019s why you have a new\nhat and a new dress. Sit up straight and don\u2019t crush your flowers.\u201d And\nLydia sat Lucy up and straightened her gay rose-covered straw bonnet.\n\u201cThere\u2019s Father coming,\u201d went on Lydia. \u201cHold on tight, and we\u2019ll go\nmeet him.\u201d And Lydia ran the carriage over the stones so fast that poor\nLucy slipped down under the blanket quite out of sight, hat and all.\n[Illustration: _\u201cIT\u2019S SPRING, LUCY LOCKET,\u201d CHATTERED LYDIA. \u201cTHAT\u2019S WHY\nYOU HAVE A NEW HAT AND A NEW DRESS\u201d_]\n\u201cFather!\u201d called Lydia. \u201cThere\u2019s something the matter with Miss Puss.\nShe wouldn\u2019t come riding to-day, and she ran away from me down cellar.\nShe\u2019s hiding behind a barrel and she won\u2019t come out.\u201d\n\u201cShe probably doesn\u2019t feel well,\u201d said Mr. Blake, waiting for Lydia at\nthe foot of their own steps. \u201cI should leave her alone, if I were you,\nuntil she is better. You know when a cat is sick she goes off by\nherself, and I shouldn\u2019t be surprised if that is why Miss Puss hides\ndown cellar. Perhaps she has spring fever.\u201d And Mr. Blake smiled down\ninto Lydia\u2019s anxious face.\n\u201cCan\u2019t you give her some medicine?\u201d she asked. \u201cYou made me well when I\nhad a pain.\u201d\n\u201cShe may need a change of air,\u201d answered Father seriously. \u201cSuppose we\ntake her to the country?\u201d\n\u201cFor a whole day, with lunch?\u201d\u2014and Lydia beamed at the thought.\n\u201cNo, for the whole summer,\u201d said Father, pinching Lydia\u2019s cheek. \u201cLock\nthe front door here and go.\u201d\n\u201cWhen?\u201d demanded Lydia, her eyes shining\u2014\u201cto-morrow? I\u2019m ready. I have a\nnew hat, and so has Lucy. Come up here, you poor child, and we\u2019ll go in\nand tell Mother.\u201d And Lydia dragged the long-suffering Lucy, still\nsmiling, from under her blanket, and darted into the house, leaving\nFather to follow with the carriage.\n\u201cMother, we\u2019re all going to the country!\u201d cried Lydia, running into the\nstudio, where Mother was setting the table for lunch. \u201cMaybe we\u2019ll go\nto-morrow. Shall I pack my bag right away?\u201d\nMrs. Blake sat down to laugh.\n\u201cWell, now that Father has told you, the sooner we go the better, I\u2019m\nsure,\u201d said she. \u201cPack your bag, if you like, but I don\u2019t think we can\nbe ready to go before ten days at least.\u201d\n\u201cTen days?\u201d And Lydia looked as disappointed as if Mother had said ten\nyears.\n\u201cThat isn\u2019t long,\u201d said Father encouragingly. \u201cCome here, and I\u2019ll show\nyou how short it is.\u201d\nMr. Blake was busy with paper and scissors. Snip, snip, snip, and ten\nlittle paper dolls holding hands in a row were unfolded before Lydia\u2019s\ncurious eyes.\n\u201cHere\u2019s a doll for every day,\u201d said Mr. Blake. \u201cTear off one each\nmorning until there is only one left, and that is the day we go to the\ncountry.\u201d And Father set Lydia on his shoulder and wheeled gayly about\nthe room.\n\u201cCome to lunch, you ridiculous pair,\u201d said Mother, laughing at them.\n\u201cLydia, you haven\u2019t asked yet where you are going, and so I\u2019ll tell you.\nYou are going up to Hyatt, where the children have their summer home,\nand our little house is just over the way from Friend Morris\u2019s big\nhouse. And you can see Mary Ellen and Sammy and all of them every day if\nyou like, and Father\u2019s going to paint his masterpiece, and we\u2019ll have\nthe nicest summer we\u2019ve ever had in all our lives.\u201d\nAnd Mother, out of breath, with cheeks as pink as Lucy Locket\u2019s rosy\nhat, joined her \u201cridiculous pair\u201d in a second dance of joy down the room\nand back to the luncheon table again.\nFor the next ten days Lydia was as busy as a bumble-bee. She packed and\nunpacked her new little traveling-bag no less than a dozen times. She\ntrotted about on errands until Father took to calling her \u201cLittle\nFetch-and-Carry.\u201d She spent a great deal of time instructing Lucy Locket\nhow to behave on the train, and she tenderly cared for the invalid Miss\nPuss, who was slowly recovering her former high spirits.\nDay after day she tore off the paper dolls and put them away in a box\nfor \u201cLucy to play with on the train,\u201d and when at last there was only\none doll left, Lydia placed a kiss upon her tiny paper cheek.\n\u201cYou are the nicest one of all,\u201d she whispered, \u201cbecause to-day we go.\u201d\nAnd go they did, Father carrying a heavy suitcase and Lydia\u2019s little\nbag, Mother with Miss Puss in a wicker basket, and Lydia bearing the\nproud Lucy Locket, decked in her finest and on her very best behavior.\nLydia waved good-bye to Tony, the iceman, and stopped to tell Joe, the\none-legged newsboy, who had a paper-stand on the corner under the\nElevated Road, that she would be away all summer. Then after a short\nride underground she found herself on the train, really bound for the\ncountry.\nIt is to be hoped that Lucy Locket and Miss Puss behaved on that train\nride as well as they ought, for Lydia, with her nose pressed against the\nwindow-pane, was so interested in all she saw that she quite forgot her\ncharges, and could scarcely believe it when Father said, \u201cThere\u2019s the\nriver, Lydia. We get off station after next.\u201d\nBut sure enough, at station after next there stood Alexander ready to\nlift her down the high steps of the train, and to drive them all home\nalong the River Road behind Friend Morris\u2019s fine gray horses, Owen and\nGriff. Friend Morris was already settled for the summer, and she was\nwatching for them on the steps of her broad veranda, overlooking the\nriver, as Alexander swung round the drive and up to the door in fine\nstyle.\nLydia leaned from the carriage for a peep at her own house just across\nthe road. She saw a low, white cottage, whose tiny porch, with a bench\nat either end, she decided at once would make a good place to play\ndolls. The vines over the porch fluttered a welcome to her, the trees\nwaved and beckoned her to come, and Lydia could scarcely wait to eat her\nsupper at Friend Morris\u2019s before running over and visiting every nook\nand corner of the little house. It was not very large inside, but what\nof that when two big porches, one upstairs and one down, ran across the\nback of the house that overlooked the river.\n\u201cThe downstairs porch is where we spend our days,\u201d said Mother, \u201cand the\nupstairs porch is where we spend our nights.\u201d\n\u201cMe, too?\u201d asked Lydia, all excitement at the prospect.\n\u201cYou, too, Lyddy Ann,\u201d answered Father, \u201cand Lucy Locket and Miss Puss\nlikewise, unless she chooses to spend her nights in the catnip bed.\u201d\nFor Miss Puss had scented the bed of catnip round the corner of the\nhouse, and was rolling and tumbling in it to her heart\u2019s content. Mr.\nBlake and Lydia stood enjoying the sight, and Father pointed out a\nlittle garden bed that was to be Lydia\u2019s very own.\n\u201cWill you plant flowers or vegetables?\u201d asked he.\n\u201cFlowers, please,\u201d said Lydia, her face aglow with pleasure. \u201cPink and\nred and blue and yellow ones I\u2019d like.\u201d\n\u201cTo-morrow, then, we\u2019ll spade it up,\u201d said Father. \u201cAnd now we had\nbetter be off to bed if we are going to do gardening in the morning.\u201d\nOut on the upper porch stood the three beds in a row. Lydia, in her long\nnightgown, hopped about, so excited it was hard to think of going to\nsleep.\nBut Mother tucked her under the warm blankets, and soon the\nsleeping-porch was as quiet as the soft, dark night all about it.\nBut Lydia was not asleep. She lay watching the twinkling stars and\nwaving tree-tops, and suddenly the thought of Lucy Locket popped into\nher head. Lydia remembered just where she had left her, lying on the\ntable in the hall below. Poor Lucy, missing her own white cradle, no\ndoubt, to say nothing of her little mother\u2019s care.\nSoftly Lydia crept out of bed and pattered across the sleeping-porch.\nShe groped her way through the bedroom and started downstairs. And then,\nsomehow, she tripped over her long nightgown, and down the stairs she\ncrashed head first.\nIt seemed as if Father reached the foot of the stairs almost as soon as\nLydia did. He picked her up carefully, and felt all over for broken\nbones, and then he carried the sobbing Lydia upstairs, and tenderly\nplaced her in Mother\u2019s arms.\n\u201cMy head! My foot! Lucy Locket!\u201d sobbed Lydia.\nThere was a big lump on her head, and out came the bottle of witch hazel\nto be used with soothing effect. The bruised ankle was gently rubbed\nwith something that smelled like furniture polish.\nAnd then Lydia was tucked in bed again, this time with Lucy Locket\nbeside her.\nBut instead of going to sleep, Lydia began to cry. She was tired, and\nexcited, and frightened by her fall. At first she cried so softly that\nonly Lucy Locket knew it, but the sobs grew so loud that in a moment\nFather said, \u201cLydia, crying?\u201d\nA sniff was all Lydia\u2019s answer, but it said, \u201cYes, Father, I\u2019m crying,\u201d\nas plainly as could be.\nMr. Blake put out his strong right arm and pulled Lydia\u2019s little bed\nclose beside his own.\n\u201cWhat\u2019s the trouble, Lydia?\u201d said he gently.\n\u201cI\u2019m afraid,\u201d said Lydia, with another sniff. \u201cI\u2019m afraid a big fish\nwill come out of the river and get me.\u201d And she really thought that was\nthe reason she was crying.\nMr. Blake hunted for Lydia\u2019s hand and found it.\n\u201cIn the first place,\u201d said he, \u201cthere isn\u2019t any such fish. And in the\nsecond place, if he comes I won\u2019t let him hurt you. Now will you try to\ngo to sleep?\u201d\n\u201cYes,\u201d said Lydia, \u201cI will.\u201d\nSo holding fast to Father with one hand, and to Lucy Locket with the\nother, Lydia at last fell asleep.\nCHAPTER VII\u2014Dr. Wolfe\nThe next morning when Lydia woke, the bump on her head felt as big as a\nhen\u2019s egg. She lay feeling it proudly, and wishing that Mary Ellen could\nsee it. Mary Ellen was always so interested in bumps, and cuts, and\nbruises, but the children\u2019s summer home, Robin Hill, would not open\nuntil next week, and Lydia could only hope the bump was a lasting one.\nShe hoped, too, it would be bright red or purple, but when she climbed\nout of bed in search of a mirror, poor little Lydia fell on the floor in\na heap and screamed with pain.\n\u201cMy ankle! My ankle!\u201d was all she could say.\nAnd when Father saw the badly swollen ankle, he said:\n\u201cThis won\u2019t do. I\u2019ll have to send for Dr. Wolfe.\u201d\nBut at these words, Lydia clung to Mother and began to scream again.\n\u201cNo, no!\u201d she cried, \u201cI won\u2019t, I won\u2019t, I won\u2019t have Dr. Wolfe!\u201d\n\u201cWhy not?\u201d asked Father in astonishment. \u201cWhat\u2019s the matter with Dr.\nWolfe?\u201d\n\u201cI\u2019m afraid!\u201d sobbed Lydia. \u201cIt\u2019s Red Riding Hood\u2019s wolf. I\u2019m afraid!\u201d\n\u201cLydia,\u201d said Father impatiently, \u201cyou are talking nonsense. Dr. Wolfe\nis an old friend of Friend Morris. He is as kind as he can be, and very\nfond of little girls.\u201d\n\u201cYes, fond of eating them,\u201d thought Lydia.\nShe didn\u2019t say this aloud, but she buried her head in her pillow and\nrefused to listen to any pleasant things about Dr. Wolfe. He was Red\nRiding Hood\u2019s wolf, and she wouldn\u2019t see him, and her ankle hurt, and\nshe was the most miserable little girl in the world.\nSo Mr. Blake, shaking his head, went away, and that was really the best\nthing he could do. For when Lydia was left alone she stopped crying, and\nby the time Mother appeared with a breakfast tray, she was able to sit\nup and eat a whole bowl of oatmeal without stopping. Her ankle did not\nhurt unless she moved it, so, propped up with pillows, and looking at a\npicture-book, she felt quite like herself again.\n\u201cHello the house!\u201d said a voice, and Lydia, peering through the piazza\nrailing, saw a man on the grass below looking up at her. He was short\nand plump, with a little white beard and glittering gold-bowed\nspectacles. He smiled up at Lydia and called:\n\u201cGood-morning! Is anybody home?\u201d\n\u201cYes, I am,\u201d answered Lydia. \u201cI don\u2019t know where Mother and Father are.\nI haven\u2019t seen them for a long time.\u201d\n\u201cIsn\u2019t it rather late to be in bed?\u201d asked the little old gentleman.\n\u201cI\u2019ve been up a long time myself, and had a walk by the river too.\u201d\n\u201cBut I\u2019m sick,\u201d said Lydia importantly; \u201cI\u2019ve hurt my head and my ankle.\nI can\u2019t get up.\u201d\n\u201cYou don\u2019t say so,\u201d said the old gentleman, interested at once. \u201cWell,\nin that case, I\u2019d better come up.\u201d\nAnd in a twinkling he was up the steps and sitting at the side of\nLydia\u2019s bed.\n\u201cHow did you get such a bump on your head?\u201d said he. \u201cIt\u2019s as handsome a\none as ever I saw, and I\u2019ve seen a good many.\u201d\n\u201cI fell downstairs last night,\u201d answered Lydia, feeling her \u201chandsome\nbump\u201d with fresh pleasure, and glad to tell her story. \u201cI hurt my head\nand my ankle. I can\u2019t walk.\u201d\n\u201cThen I\u2019m the very man for you,\u201d returned the old gentleman cheerfully,\n\u201cfor I\u2019m a tinker. I tinker people\u2014their heads, and their arms, and\ntheir legs. It\u2019s well I happened along this morning. And now that I\u2019ve\nseen the bump on your head, if you\u2019re willing I\u2019ll have a look at your\nankle, too.\u201d\nLydia sat very still while the jolly tinker carefully felt of the\ninjured ankle, and asked her a question or two. She screwed up her face\nwith pain now and then, but she didn\u2019t shed a single tear. At last the\ntinker nodded as if satisfied, and sat down again on the side of the\nbed.\n\u201cIn tinker talk,\u201d said he, \u201cit\u2019s a strain. But the truth is that\novernight you\u2019ve been bewitched. Yes,\u201d said the tinker gravely, \u201cyou\u2019ve\nbeen turned into the Princess-Without-Legs. And I have a pretty good\nidea who did the mischief. But my magic is stronger than his magic, and\nthe first thing you know, you will be as well as ever again.\u201d\nLydia was listening to all this with eyes and mouth wide open.\n\u201cWho did it?\u201d said she in a whisper. She felt as if she had stepped\ninside a fairy book, and that if she spoke aloud she would step outside\nagain.\n\u201cMy cousin,\u201d answered the old gentleman in a low voice, \u201cmy wicked\ncousin. Did you ever hear the story of Red Riding Hood?\u201d\nLydia nodded and leaned farther forward.\n\u201cThe wolf in that story is my wicked cousin,\u201d said the old gentleman\nsadly. He felt in his pocket for his handkerchief and blew his nose\nviolently.\n\u201cA wolf,\u201d thought Lydia, \u201cfor a cousin. Why, I know who he is.\u2014You are\nDr. Wolfe!\u201d cried she, her voice loud with surprise. \u201cAre you Dr.\nWolfe?\u201d\n\u201cThat\u2019s what they call me,\u201d admitted the tinker, \u201cbut if you don\u2019t care\nfor the name you may call me anything you like. I can\u2019t help what my\ncousin does, you know. It\u2019s very hard to have him in the family. And I\u2019m\nnot one single bit like him. Can\u2019t you see that?\u201d\n\u201cYes, I can,\u201d said Lydia pityingly, the tinker seemed so downcast. \u201cYou\ncan\u2019t help it, and I don\u2019t mind calling you Dr. Wolfe one bit. I\u2019m sorry\nfor you.\u201d And she reached out and took his hand in hers.\n\u201cThen you forgive me for having such a cousin?\u201d asked the anxious Dr.\nWolfe.\n\u201cYes, I do,\u201d returned Lydia earnestly. \u201cI do.\u201d\n\u201cGood,\u201d said the Doctor, shaking her hand. \u201cAnd now we must set our\nmagic to work and cure that ankle. First of all, the\nPrincess-Without-Legs must have a slave.\u201d And he clapped his hands\ntogether one, two, three times.\nLydia\u2019s eyes sparkled in anticipation. A slave! She fixed her eyes on\nthe doorway, and was very much disappointed at the appearance of her own\nmother in answer to the summons.\n\u201cNot you, not you, Mrs. Blake,\u201d said Dr. Wolfe, laughing. \u201cThat was\nmeant to call the slave of the Princess-Without-Legs.\u201d\n\u201cWho?\u201d asked Mrs. Blake, opening her eyes as wide as Lydia\u2019s. \u201cPrincess\nwho?\u201d\n\u201cIt\u2019s me, Mother, it\u2019s me,\u201d Lydia called out. \u201cI\u2019m the\nPrincess-Without-Legs, and this is Dr. Wolfe, and I\u2019m going to have a\nslave.\u201d\n\u201cWell,\u201d said Mrs. Blake, smiling at the Princess, \u201cyou are? And where is\nthe slave?\u201d\n\u201cI\u2019ll fetch him,\u201d said Dr. Wolfe briskly, disappearing into the bedroom,\nwhere Lydia could hear him talking in a low voice.\nPresently he reappeared followed by Mr. Blake, and in his arms Dr. Wolfe\ncarried a big brown furry rabbit with glittering yellow glass eyes.\n\u201cYour slave, Princess,\u201d said Dr. Wolfe, putting him on the bed beside\nLydia, who fell to stroking the soft fur. \u201cHe will take his head off for\nyou if needs be, he\u2019s that faithful. Try and see.\u201d\nLydia gently lifted off the rabbit\u2019s head and peeped inside. He was\nfilled with red and green and white candies.\n\u201cYou may think these are candies, Princess,\u201d said Dr. Wolfe with a\ntwinkle in his eye, \u201cbut they are far more than that. They are magic\npellets, an offering of your devoted slave. The red pellets will make\nyou brave if your ankle gives you pain. The white ones will keep you\nhappy and cheerful so long as you have to lie still. And the green ones\nare for good luck. They must be taken three times a day, one of each\nkind after each meal, and you must take your after-breakfast dose now.\u201d\nLydia picked out a red and a green and a white pellet, and putting\nbunny\u2019s head on again, popped the red one into her mouth. She saw Dr.\nWolfe unrolling a wide white bandage, and she thought just then she\nneeded the red one most of all. But with Father\u2019s arm about her, and\nMother\u2019s hand in both of hers, Lydia bore the pain without crying, and\nsmiled bravely at the slave, whose yellow eyes gleamed sympathetically\nat her ankle nicely bound in its white bandage.\nAnd in the week that followed, a week that might have been long and\ntiresome for a little girl who was not used to keeping still, the slave\nof the Princess-Without-Legs did his work well. As a soft, comfortable\nbedfellow, he was second only to Lucy Locket. He listened patiently to\nthe long stories Lydia spun for him. And his manners with Miss Puss\nWhitetoes were truly remarkable, and should have put that rude cat to\nshame. For though Miss Puss in the country was much more independent\nthan Miss Puss in the city, and not only declined to be cuddled, but\noften refused to keep company with Lydia when she was all alone, still\nMiss Puss was jealous of the slave, and could scarcely bear to see him\nin his place of favor at Lydia\u2019s side. She growled and hissed and arched\nher back at the sight, and many a good laugh Lydia had at her silly\nbehavior.\nAnd Lydia had great comfort in the slave\u2019s magic pellets. With a red\ncandy in her mouth, she took pride in not crying or wincing when her\nankle was bandaged. She tried to remember that the white candies meant,\n\u201cNo grumbling, no complaining, Lydia. Squeeze out a smile, Lydia. Don\u2019t\nbe a snarley-yow, Lydia.\u201d And they helped her over many moments when she\nwanted to be cross and disagreeable.\nBut the green candies that brought good luck! Lydia often counted over\non her fingers what they had done for her.\n\u201cThere\u2019s the three picture-puzzles that Friend Morris gave me, that\u2019s\none,\u201d she would say. \u201cAnd the little boy and girl cookies that Friend\nDeborah makes for me, that\u2019s two. And the boat with the wooden sailor\nthat Alexander whittled, that\u2019s three. Then there\u2019s the afghan for Lucy\nLocket that Mother showed me how to knit. And Father\u2019s postcard game. Is\nthat number five or six?\u201d\nAnd Lydia would begin all over again counting on her fingers.\nOf all these pastimes, Lydia liked best the afghan, and the postcard\ngame. The afghan was a gay striped affair\u2014Roman, Mother called it\u2014pink\nand blue and yellow and white and black. Before you were tired of\nworking on pink it was time to begin on blue, and so it was always\ninteresting. To be sure, at first, Mother had to be near at hand to pick\nup dropped stitches, but after a little practice Lydia could knit nicely\nby herself, with a mishap only now and then.\nMr. Blake\u2019s postcard game was the most fun. One day, in he came with a\npackage of picture postcards, showing the river, the church, the bridge,\nthe schoolhouse, Crook Mountain where the river turned\u2014all the pretty\nspots in the town of Hyatt. On every one of these he wrote Lydia\u2019s name\nand address, and put them into an empty box, with a little book of\nstamps.\n\u201cEvery day you must choose a card to send to yourself,\u201d said he, \u201cand I\nwill mail it for you.\u201d\nSo at once, Lydia chose a picture of Friend Morris\u2019s house, and the next\nmorning she was listening for the postman\u2019s whistle, when round the\nhouse he came on his bicycle and handed in the postcard. But what do you\nthink sly Father had done? On the back of the card he had drawn a\npicture, a picture that made Lydia, and the friendly postman, and\nMother, and every one who saw it laugh. For there was Lydia, after her\nfall, being helped up the stairs again by Lucy Locket, while round the\ntop of the stairs peeped the head of the faithful slave. And Lydia\u2019s own\nhead and ankle were wrapped round and round in yards and yards of\nbandage.\n\u201cJust like the soldiers at the war,\u201d said the delighted Lydia.\nSo every morning she had a visit from the postman, who enjoyed the\npictures quite as well as any one else. And they were funny. For once it\nwas Lydia running away from a wolf straight into the open arms of the\nreal Dr. Wolfe, and as he and Lydia were now the best of friends you may\nbe sure they both enjoyed the joke. And again it was Miss Puss pushing\nLydia in the doll carriage as a return for past favors, or Lydia in a\nmad ride on the back of her slave, her hair blown in the wind, while\ntiny rabbit slaves cheered them on their way.\nSo the days slipped quickly by, and now Lydia could be carried about the\nhouse by Father, her \u201csecond slave,\u201d as he sometimes called himself in\nfun.\n\u201cCome, Lyddy Ann,\u201d said he one morning, \u201cyou are going to have a long\ntrip to-day, over to Friend Morris\u2019s. She has some medicine for you.\u201d\n\u201cMedicine?\u201d said Lydia, making a wry face. \u201cI don\u2019t want any medicine,\nFather, I don\u2019t.\u201d\n\u201cYes, you do,\u201d said Mr. Blake, picking her up; \u201cyou want this kind. Its\nname is Maggie.\u201d\n\u201cMaggie?\u201d said Lydia, patting the top of Mr. Blake\u2019s head and crushing\nhis hat over one eye. \u201cMaggie Medicine, Maggie Medicine. I never heard\nof that kind before. Hurry, please, Father, take me quick, so I can see\nMaggie Medicine.\u201d\nCHAPTER VIII\u2014Maggie Medicine\nFriend Morris and Mrs. Blake sat rocking on the broad veranda as Mr.\nBlake carried Lydia, waving and blowing kisses, across the road.\n\u201cOh, Mother, what is Maggie Medicine?\u201d called Lydia. \u201cFriend Morris, do\nyou know?\u201d\nThe ladies laughed and nodded, and Father said, \u201cListen, Lydia.\u201d\nThere was a sound of crunching gravel and the roll of wheels, and then\nround the corner of the house stepped a little dark-brown pony, drawing\na light wicker basket wagon after him, and led by Alexander, who tried\nin vain to repress a proud smile.\n\u201cThis is thy medicine, Friend Lydia,\u201d said Friend Morris, coming forward\nto the veranda steps, \u201ca medicine that will bring back rosy cheeks to\nthee, I hope. Every day thee is to go for a ride\u2014\u201d\nBut Friend Morris got no farther, for Lydia lurched forward in Father\u2019s\narms and caught her round the neck.\n\u201cI love thee, Friend Morris,\u201d she whispered, \u201cand I love thy medicine.\nAnd I will lend thee Lucy Locket for a whole day, and give thee three\ngreen candies for good luck beside.\u201d\n\u201cI thank thee, little Quaker,\u201d answered Friend Morris with a laugh,\nstraightening her cap and patting Lydia\u2019s cheek. \u201cNow, Alexander has a\nlump of sugar for thee to give Maggie, and then he will take thee for a\nride.\u201d\nSo Lydia rather timidly fed Maggie a lump of sugar, and then Alexander\ndrove her in triumph down the River Road as far as the village, where he\nbought a little whip with a red ribbon to be stuck in the front of\nMaggie\u2019s cart, but never to be used on her, at Lydia\u2019s earnest request.\nAnd every pleasant day after that, Lydia went for a drive with Mother or\nFather or Alexander. One day Friend Deborah drove Lydia far up a shady\nback country road in search of a woman who wove rag rugs. Friend Morris\nwanted to order two blue-and-white rugs for the upper hall. The rug\nwoman stood at her gate as she bargained with Friend Deborah, and Lydia\ncould only stare at her in amazement, for the woman\u2019s hands were bright\nblue! She could scarcely wait until Maggie was trotting homeward to ask\nFriend Deborah if she had seen them, too.\nFriend Deborah laughed.\n\u201cIt\u2019s because she dyes, Lydia,\u201d said she.\n\u201cDies?\u201d said Lydia, more puzzled than before.\n\u201cYes, dyes the rags different colors, the rags that she uses for her\nrugs,\u201d explained Friend Deborah, slapping the reins on Maggie\u2019s back.\n\u201cOh,\u201d said Lydia, and fell to thinking. This was a piece of news that\nmust be treasured up for Sammy\u2019s delectation. He would enjoy a piece of\nwork like that. How fascinating to be a different color every day!\nSo, one afternoon, when Sammy and Mary Ellen walked down from Robin Hill\nto play with Lydia, whose ankle was well now, the first thing to be\ntalked over was the story of the rug woman.\n\u201cShe lives in a little house all by herself, with three hens and a pig.\nFriend Deborah told me. And her hands are bright blue. And she dyes the\nrags and makes them into rugs. We have one, and so has Friend Morris,\nand Friend Morris is going to have two more.\u201d\nLydia stopped, out of breath, and Mary Ellen asked:\n\u201cWhere does she live? Is it far? Could we go?\u201d\n\u201cOh, it\u2019s far up this road,\u201d answered Lydia, pointing. \u201cAnd when you\ncome to a little bridge, you turn past the mill, and then after a while\nyou\u2019re there.\u201d\n\u201cI\u2019m going,\u201d said Sammy, determined to see the woman with the blue\nhands, or perish in the attempt. \u201cI\u2019m going now,\u201d and he rose to his\nfeet. \u201cWant to come?\u201d\n\u201cOh, I do,\u201d said Lydia piteously. \u201cI want to go dreadfully, but I can\u2019t\nwalk so far. My lame foot gets so tired.\u201d\n\u201cWe\u2019ll carry you,\u201d announced Mary Ellen, with a decided air. \u201cSammy and\nI will make a chair of our hands and carry you.\u201d\nBut Sammy had a bright idea. He pointed to the open stable door, and,\nout of it, as if to solve their problem for them, walked Maggie\nMedicine, harnessed to her cart.\n\u201cQuick,\u201d said Sammy, \u201cbefore any one stops us.\u201d\n\u201cOh, Sammy, do you think we ought?\u201d asked Mary Ellen in a little voice,\na question that was not meant to be answered, for she had already\nboosted Lydia into the cart and was scrambling in herself.\n\u201c\u2019Fraid-cats may stay at home. We\u2019re a-going,\u201d was Sammy\u2019s reply, as he\nstarted Maggie down the drive with a shake of the reins and a flourish\nof the whip.\nAnd while Maggie Medicine jogs peacefully along the country road,\nshaking her head and twitching her ears now and then as a sign to Sammy\nto stop jerking the reins, let us see where all the grown people were\nthis sunny afternoon.\nIn the first place, Mary Ellen and Sammy had been asked to spend the\nafternoon to keep Lydia company, because Father and Mother and Friend\nMorris were invited out to spend the day. Friend Deborah, who had gone\nabout her work all morning with her head tied up in a handkerchief, had\nat last been forced to go to bed \u201cto favor the faceache,\u201d as she said.\nAlexander, to keep the house quiet and give the children a good time,\nhad planned a drive, but no sooner had he fastened the last strap in\nMaggie\u2019s harness than word came that the black colt had jumped the\npasture bars and was running away.\nSo poor patient Alexander was racing up the hot, dusty road in one\ndirection, while innocent Maggie, with her load, ambled along in the\nother. When they came to the little bridge, Maggie saw a cool, shady\nback road stretching before her in pleasant contrast to the dusty\nhighway, and being a wise little pony, she promptly turned in and\ntrotted briskly past the mill as she had done the week before with\nFriend Deborah. Sammy thought it was due to his skillful driving, but\nMaggie twitched her ear as if to say, \u201cDon\u2019t imagine that I pay any\nattention to you children, please.\u201d\nOn they went, until Lydia pointed to a little house, half hidden under\nvines, with two or three bedraggled hens scratching about in the front\nyard.\n\u201cThat\u2019s it,\u201d said Lydia. \u201cI remember it. That\u2019s it.\u201d\n\u201cWhat shall we say when we see her?\u201d asked Mary Ellen anxiously.\n\u201cGoodness, I almost wish we hadn\u2019t come.\u201d\n\u201cWe\u2019ll ask her for a drink,\u201d responded Sammy, never at a loss, whose\nsharp eyes had spied a well round the corner of the house. \u201cWe\u2019ll have a\ngood look at her hands, too, when she works the bucket.\u201d\nThe children scrambled out of the cart, and leaving Maggie to nibble the\nroadside grass, walked into the front yard. The house seemed deserted.\nThere was no stir of life within doors, and without, the hens stepped\nabout and pecked at the ground in perfect silence. A hush fell upon the\nchildren. It was not nearly so much fun as they had expected. To tell\nthe truth, Lydia wished she were at home.\n\u201cI smell the pig,\u201d whispered Mary Ellen.\nLydia nodded.\nSammy, the venturesome, pushed round the corner of the house, and\nbeckoned with a grimy hand for them to follow.\n\u201cThe woodshed,\u201d he exclaimed in a stage whisper. \u201cLook, full of things.\u201d\nOn a bench in the woodshed stood a row of kettles, each full of a\ncolored liquid. Sammy stuck his finger in one and drew it out dripping\nwith yellow dye.\n\u201cWhiz!\u201d muttered Sammy. \u201cLooka!\u201d\nIn went another finger\u2014this time it came out purple.\n\u201cTry it,\u201d urged Sammy; \u201cthis is great.\u201d\nThe girls shrank away at Sammy\u2019s approach. Unfortunately, they leaned\nagainst the bench, and how were they to know that this particular bench\nhad a weak leg? Over it went, with a frightful clashing and crashing of\nkettles, and a perfect flood of gay color streamed over the woodshed\nfloor, generously splashing shoes and stockings in spite of a hurried\nrush outside.\nBut at the corner of the house, the children almost wished they had\nstayed in the woodshed, and allowed themselves to be drowned in a sea of\ndye. For a dreadful figure rose before them, a figure whose hands\ndripped red, whose face was marked with red, whose apron bore the print\nof scarlet hands\u2014and the dripping red hands were shaken angrily at them,\nand a hoarse voice called words to them they were too frightened to\nhear. It was only the rug woman, summoned by the noise from her task of\nre-dipping the faded red church carpet, but the sight of her almost\nstopped the children\u2019s hearts from beating, and made their breath come\nquick.\nSammy, the boaster, he who often bragged that one day he would dispose\nsingle-handed of six red Indian braves on the war-path, even Sammy\nquailed, and, with not a thought of his companions, made a dash for\nMaggie, gazing over the fence with inquiring eyes, and with one bound\nseated himself in the cart. The girls made haste to follow, Mary Ellen\nwith her arm about Lydia, for the lame ankle had received a cruel\nwrench, and tears were rolling down Lydia\u2019s cheeks as she hopped and\nhobbled and stumbled along in her haste to be gone.\nBut at last they were safely in the cart, and Maggie, excited no doubt\nby Sammy\u2019s shouts and the woman\u2019s angry cries, broke into a canter that\nspeedily took them out of sight and sound of the catastrophe. On sped\nMaggie, through the hot summer afternoon, past the mill, round the\ncurve, down the broad road toward home.\nAnd there a short distance from Friend Morris\u2019s gate came running toward\nthem Friend Deborah and Alexander. Poor Friend Deborah held a hand to\nher aching face, but she was able to gasp, \u201cOh, children, how thee has\nfrightened me!\u201d\n\u201cAnd exasperated me,\u201d added truthful Alexander, as his eye traveled from\npanting little Maggie, with foam-flecked mouth, to the once neat little\ncart, now covered with dust, and badly stained within by spots and\nsplashes of dye.\nGood Quaker that he was, he said no more, but he looked grave as he\nlistened to the story the children had to tell.\n\u201cHas thee stopped to think at all of the trouble and the loss thee has\ncaused the poor rug woman, who never did thee any harm?\u201d he inquired\nsoberly.\nThe children hung their heads and did not answer. At last Mary Ellen,\ntwisting the end of her braid, murmured, \u201cI will give her my spending\nmoney until I\u2019ve paid her back,\u201d and Sammy nodded in agreement. As they\neach had a penny a week for spending money Alexander\u2019s lips twitched,\nbut this the children did not see.\n\u201cAnd look at thy shoes and stockings,\u201d said Friend Deborah, who had been\nsurveying the three culprits as they stood before her. \u201cWhat must be the\nstate of thy feet? Will thee ever wash them white again?\u201d\nThis was too much for Lydia. Her lip had been trembling for some time,\nand now the thought of red and green and blue feet upset her completely.\nShe broke into loud sobs, and cast herself down upon the roadside grass.\n\u201cMy foot hurts, my foot hurts, and no one loves me.\u201d And she buried her\nface in the friendly clover, and cried despairingly.\nSammy was winking hard, and Mary Ellen was biting her lip and digging a\nhole in the dust with the tip of her strange green and purple shoe.\nAlexander\u2019s kind heart melted at the sight.\n\u201cYe cannot have gray heads on green shoulders,\u201d said he; and as Friend\nDeborah carried the weeping Lydia into the house for a bath and bed,\nAlexander helped the other two travelers upon a passing wagon and rode\nwith them to Robin Hill.\nLydia and Mary Ellen and Sammy never knew how Mr. Blake laughed when he\nheard the story. He himself went to see the rug woman, and his visit was\nso satisfactory that when he left, the rug woman held out her hand,\npurple this time, and invited him to come again.\n\u201cYou are a gentleman, sir,\u201d said she, \u201cand you have more than paid for\nwhat I lost. Bring your little girl the next time you come.\u201d\nBut Lydia had no desire to pay that visit.\nFor a long time, Father\u2019s favorite question was, \u201cLydia, what color feet\ndo you prefer?\u201d But Lydia could never see anything funny in that joke.\nShe quite agreed, however, with Friend Morris, who said when she heard\nthe story:\n\u201cI think the most sensible member of the party was Maggie Medicine, who\ntook thee safely there and back.\u201d\nAnd to this Friend Lydia always nodded \u201cyes.\u201d\nCHAPTER IX\u2014Cobbler, Cobbler, Mend My Shoe\n\u201cLydia,\u201d called Mrs. Blake one morning, from the lower porch where she\nsat sewing, \u201cwhat makes you walk on the side of your foot?\u201d\nLydia was carrying the heavy watering-can round to her garden-bed. There\nhad been no rain for weeks, and the leaves and the grass and the flowers\nall bore a coating of fine dust. Last night Lydia had forgotten to water\nher garden, and now she was hurrying to do it before the sun crept round\nthe corner of the house.\nBut at the sound of her mother\u2019s voice, she set the can on the gravel\npath and sat herself down beside it.\n\u201cBecause, Mother, there\u2019s a hole in my shoe, and the pebbles get in,\u201d\nshe answered. \u201cLook,\u201d and she lifted her foot so that Mother could see\nthe sole of her little canvas shoe.\n\u201cSure enough, I see it,\u201d said Mrs. Blake. \u201cGo in and change your shoes,\nLydia, and then run up to the shoemaker\u2019s, and see whether he can mend\nthis old pair. But water your garden first, and be sure you put the can\naway.\u201d\nLydia hurried through her task, and then, stealing softly behind Mrs.\nBlake, put her arms about her mother\u2019s neck.\n\u201cMother,\u201d she whispered, \u201cmay I wear my \u2018brown bettys\u2019? I\u2019ll be so\ncareful of them.\u201d\n\u201cBrown bettys\u201d was Lydia\u2019s affectionate name for her new bronze\nslippers, slippers worn only on Sunday or upon special occasions, and\nMrs. Blake raised her eyebrows at this request.\n\u201cYour best slippers?\u201d said she. \u201cWhy should you wear them to the\nshoemaker\u2019s? No, Lydia, I couldn\u2019t consider it. It wouldn\u2019t be\nsuitable.\u201d\n\u201cIt would suit me very much,\u201d pouted Lydia. \u201cThe shoemaker would like to\nsee them, and maybe I\u2019ll meet the minister. I want to wear them. I do.\u201d\nAnd Lydia, with a frown on her face, stood kicking the piazza railing\nand scowling at her mother.\nMrs. Blake sewed for a moment without speaking. Then she looked down the\npath to the river.\n\u201cHere comes your father,\u201d she said quietly. \u201cDon\u2019t let him see you with\nsuch a look on your face. Go in at once, and put on your black\n\u2018criss-cross\u2019 shoes, and when you come out I will tell you how to go to\nthe shoemaker\u2019s.\u201d\nAs Lydia disappeared, Mr. Blake came slowly up the path, and threw\nhimself into a porch hammock.\n\u201cHot work, painting a masterpiece,\u201d said he, with a yawn, and before\nLydia came out in her black \u201ccriss-cross\u201d shoes, as she called her\nstrapped slippers, her father had fallen asleep.\nEvery morning, before the clock struck three, Mr. Blake was on his way\nup the river, and by the time the sun rose he was already hard at work\nupon his picture, for the subject of \u201cthe masterpiece\u201d was Dawn on the\nRiver, and must be painted at dawn and at no other time. Naps followed\nsuch early rising as a matter of course, and Lydia, after a peep, came\ntiptoeing out on the porch as softly as could be for fear of wakening\nhim. Her ill-humor had vanished, and she listened to her mother\u2019s\ndirections with not a cloud on her face.\n\u201cGo up the village road and take the first turn,\u201d said Mother in a\nwhisper. \u201cWalk along until you come to something that doesn\u2019t look one\nbit like a shoemaker\u2019s shop. You will know it by the flowers, and by the\ntrademark over the door. The shoemaker\u2019s name is Mr. Jolly.\u201d\nSo Lydia skipped up the road with her old shoes under her arm.\n \u201cCobbler, cobbler, mend my shoe,\n Have it done at half-past two,\n Stitch it up and stitch it down,\n And see if now my shoe is found,\u201d\nshe sang over and over to herself as she went.\nUp the side road the houses were few, and Lydia peered carefully at each\nfor special flowers and the shoemaker\u2019s trademark over the door. But\nonly the usual garden flowers nodded in the breeze, so Lydia kept on\nuntil she saw a blaze of color down the road before her. She could see\nthe scarlet and white of flowers and the bright green of leaves, but\nthey seemed to be growing on top of the house instead of on the ground,\nand it was not until she drew very near that she saw it was not a house\nat all, but a carriage drawn up at the side of the road, an\nold-fashioned black coach that had certainly been turned into a\nshoemaker\u2019s shop, for out of the open window floated Rap-i-tap-tap!\nRap-i-tap-tap! Rap-i-tap-tap! that told of some one hard at work within.\nOver the door on a nail hung a pair of baby\u2019s pale-blue kid shoes, the\ncobbler\u2019s trademark, and as for the flowers\u2014Lydia wished her own little\ngarden-bed looked one quarter as well. For gorgeous masses of scarlet\nand white bloom covered the carriage roof, flowered in the coachman\u2019s\nbox, and grew in little window-boxes cunningly fastened on the doors.\n[Illustration: _SUCH A COBBLER\u2019S SHOP HAD NEVER BEEN SEEN BEFORE_]\nSuch a cobbler\u2019s shop had never been seen before, and Lydia was staring\nat it in amazement when a head popped out of the doorway, and a voice\nsaid:\n\u201cFlowers or shoes?\u201d\n\u201cW-what?\u201d stammered Lydia, taken by surprise.\n\u201cI said \u2018flowers or shoes\u2019?\u201d repeated the voice, that belonged to Mr.\nJolly, the cobbler, Lydia felt sure, for he wore a leather apron, and\nheld a small hammer in one hand and a shoe in the other. \u201cSome folks\ncome to me for flowers, some folks come to me for shoes. Which are you?\u201d\n\u201cShoes,\u201d answered Lydia, taking them from under her arm and handing them\nup to Mr. Jolly. \u201cMy mother wants to know whether you can mend them.\u201d\nMr. Jolly looked them over with his head on one side like a bird. Then\nhe nodded.\n\u201cYes, I can,\u201d said he. \u201cDone to-morrow this time. Don\u2019t you like\nflowers?\u201d\nLydia was no longer startled by his abrupt questions.\n\u201cYes, I do,\u201d she answered, as sparing of words as he.\n\u201cHave you a garden?\u201d he asked.\n\u201cYes,\u201d said Lydia, \u201cbut not so nice as yours.\u201d\n\u201cTake good care of it?\u201d inquired Mr. Jolly, with a keen look. \u201cEver\nforget to water it? Dry weather we\u2019re having. Plenty of care, plenty of\nwater; that\u2019s what makes a good garden.\u201d\n\u201cI take pretty good care of it,\u201d answered Lydia truthfully. \u201cSometimes I\nforget. I\u2019ll come to-morrow for my shoes.\u201d And she turned to go.\n\u201cWait,\u201d called Mr. Jolly. \u201cDon\u2019t you want to know why I have a shop like\nthis?\u201d\n\u201cYes, I do want to know,\u201d answered Lydia, wondering whether he read the\nquestion in her eye.\n\u201cToo polite to ask, eh?\u201d said Mr. Jolly. \u201cWell, most folks ask, and I\ntell them it\u2019s for \u2018hedloes to catch medloes.\u2019 You\u2019re Mr. Blake\u2019s little\ngirl, aren\u2019t you? He\u2019s a nice man. Well, I\u2019ll tell you because you\ndidn\u2019t ask. I have my shop out here because she can\u2019t stand the noise of\nthe hammer\u201d\u2014and Mr. Jolly nodded toward the nearest house. \u201cTwenty years\nshe\u2019s been lying in that bed and never touched a foot to the floor, and\ntwo years ago last spring she said to me, \u2018Jolly, I can\u2019t bear another\ntap of that hammer.\u2019 And so I bought the old coach\u2014springs are gone\u2014and\nmoved out here. Gives the town something to talk about, too. Everybody\ncomfortable all round.\u201d And Mr. Jolly with a chuckle drew in his head\nand fell to work again.\nAbove the taps of his hammer Lydia called out, \u201cI\u2019ll come to-morrow for\nmy shoes. Good-bye!\u201d and then home she ran as fast as she could go.\n\u201cFather!\u201d she cried, climbing upon Mr. Blake\u2019s lap as, refreshed by his\nnap, he sat reading the newspaper, \u201cMr. Jolly knows you. He says you are\nnice. Who is \u2018she\u2019?\u201d\n\u201cShe?\u201d repeated the puzzled Mr. Blake. \u201cYou will have to tell me\nsomething more about her before I can answer that question, I\u2019m afraid.\nIs it a puzzle?\u201d\n\u201cShe has been in bed for twenty years, and never touched a foot to the\nfloor, and she can\u2019t bear the sound of the hammer,\u201d explained Lydia in\nan excited burst.\n\u201cOh, that\u2019s Mrs. Jolly,\u201d said Mr. Blake. \u201cShe has something the matter\nwith her back and can\u2019t walk. Mr. Jolly and I are old friends. He\u2019s a\ngood fellow.\u201d\n\u201cHe\u2019s going to mend my shoes for me,\u201d went on Lydia. \u201cHe told me to take\ngood care of my garden, and I must go to-morrow and get my shoes.\u201d\nLydia could talk of nothing for the rest of the day but Mr. Jolly and\nhis strange little shop.\nThe next morning she was impatient to be off on her errand, but Mrs.\nBlake woke with a bad headache, and there were many odds and ends that\nLydia could do about the house to save her mother steps. At last Mrs.\nBlake went to lie down, and Lydia, after spreading a shawl over the\ninvalid\u2019s feet, and pressing a kiss into the palm of the hand that lay\nso limply on the bed, hurried up the road after her shoes.\nThe tap of Mr. Jolly\u2019s hammer reached her ears soon after she came in\nsight of the flowery shop, but Lydia was intent upon a little figure\nseated upon the step of the coach. It was that of a small boy, perhaps\nfour years old, whose hair was as black as Lydia\u2019s was golden, whose\nface was streaked with the mark of tears and dirt, and who held in his\nhand a slice of bread and butter.\n\u201cI wonder if it\u2019s Mr. Jolly\u2019s little boy?\u201d thought Lydia.\nBut when Mr. Jolly looked up from his hammering, he gave a bird-like nod\nat Lydia, and then one at the little boy.\n\u201cLook what I found in my shop this morning,\u201d said he.\nThe little boy\u2019s brown eyes filled with tears, and he put his slice of\nbread and butter on the grass beside him.\n\u201cI won\u2019t go back,\u201d said he, his lip quivering. \u201cI won\u2019t go back.\u201d\n\u201cNo, sonny, that you won\u2019t, if I can help it,\u201d returned Mr. Jolly, with\nan emphatic tap of his hammer. \u201cThey didn\u2019t serve you right, and that\u2019s\na fact. It\u2019s the little Bliss boy,\u201d he explained to Lydia. \u201cWhat did you\nsay your name was?\u201d\n\u201cRoger,\u201d murmured the child huskily.\n\u201cHis father and mother just died, and there\u2019s no one to take care of\nhim, so Farmer Yetter said he\u2019d take him and bring him up with his own\nboy sooner than see him go to the poorhouse. But he says he didn\u2019t have\nmuch to eat, and they worked him hard for such a little feller, and the\nbig boy plagued him. So last night he up and run away, and this morning\nI found him asleep in my shop.\u201d\n\u201cI won\u2019t go back,\u201d insisted Roger, as Mr. Jolly paused for breath. \u201cI\nwon\u2019t go back. He pinched me. He hit me with the harness.\u201d And pushing\nback his sleeve, he showed great black-and-blue spots on his thin little\narm.\n\u201cNo, sonny, you shan\u2019t go back,\u201d repeated Mr. Jolly soothingly. \u201cI\u2019ll\ntake you to a nice place, Robin Hill. I guess they\u2019ll make room for you\nsomehow. This little girl will tell you how nice it is there. Won\u2019t\nyou?\u201d\n\u201cAre there any boys?\u201d asked Roger anxiously. \u201cI won\u2019t go if there are.\u201d\n\u201cBut they are nice boys,\u201d said Lydia, eager for the good name of her\nspecial friends, Sammy and Tom. \u201cThey wouldn\u2019t hurt you for anything.\nThey are lots of fun to play with. And you will like Miss Martin, she is\nso good to you.\u201d\nRoger shook his head.\n\u201cI don\u2019t like boys,\u201d said he. \u201cDo you live there?\u201d\n\u201cI used to,\u201d answered Lydia, \u201cbut I don\u2019t now.\u201d\n\u201cThen I\u2019ll go with you,\u201d announced Roger, picking up his bread and\nbutter, and taking a firm hold on Lydia\u2019s dress.\n\u201cYou stay here with me, sonny,\u201d said Mr. Jolly, nodding and winking in a\nfriendly way, \u201cand long about evening when I get my work done I\u2019ll take\nyou up to Robin Hill. You heard the little girl tell it\u2019s a good place\nto be.\u201d\n\u201cNo, I\u2019ll go home with her,\u201d said Roger, his mind quite fixed. \u201cI like\nher. I want to live with her.\u201d And he held tighter than ever to Lydia.\nMr. Jolly and the little girl looked at one another a moment in silence.\nNeither knew quite what to do or say. At last Lydia spoke.\n\u201cIf you let him go home with me, I\u2019ll tell Father all about it, and he\nwill fix it for us somehow. I know he will.\u201d\n\u201cMaybe you\u2019re right,\u201d said Mr. Jolly, after a pause. \u201cMr. Blake\u2019s a good\nman. You tell him if there\u2019s any trouble with Farmer Yetter that I\u2019ll\ntake the blame. And I\u2019ll step round to-night and see what he says.\u201d\nLydia and Roger started off together, and it was not until they were\nnearly home that Lydia thought of her shoes. She had completely\nforgotten them, and so had Mr. Jolly.\nBut once in sight of home, Lydia spied Father on the little front porch,\nwatching up the road for her. So, taking a fresh hold on the little\nboy\u2019s hand, she hurried forward, forgetting everything in her eagerness\nto tell Roger\u2019s story.\nCHAPTER X\u2014Robin Hill\nMr. Blake came down the road to meet them, and in his hand he carried\nLydia\u2019s little traveling-bag.\n\u201cI\u2019m going away,\u201d thought Lydia. \u201cWhere am I going? And what will become\nof Roger?\u201d\nAs Mr. Blake drew nearer he smiled and waved the bag in the air.\n\u201cYou are going visiting, Lydia,\u201d he called cheerfully. \u201cBut who is your\nnew little friend?\u201d\n\u201cOh, Father, it\u2019s Roger,\u201d answered Lydia, forgetting her own affairs in\nher interest in the little boy who stood peeping shyly over her\nshoulder. \u201cHe wanted so to come with me, and Mr. Jolly didn\u2019t know what\nto do, so I said you would fix it. And Mr. Jolly will come and see you\nto-night, and I was to tell you all about it.\u201d\nMr. Blake sat down on the stone wall at the side of the road, and\nlistened to the tale Lydia had to tell.\n\u201cLet me see your arm, son,\u201d said he gently, when Lydia had finished. \u201cSo\nthat is where the big boy pinched you, is it? Have you any more places\nlike that?\u201d\nRoger nodded, and put his hand on his side and his back.\n\u201cHe hit me with the harness,\u201d said he, with trembling lip. \u201cI want to\nstay with her. I won\u2019t go back.\u201d And Roger smeared away his tears with\nthe back of a grimy little hand, while with the other he clutched his\nnew friend Lydia.\n\u201cNo, of course you won\u2019t go back, son,\u201d answered Mr. Blake, pursing up\nhis lips as if to whistle. \u201cWe can do better by you than that. My little\ngirl is going up to Robin Hill to make a visit, and you shall go along\nwith her. Miss Martin will simply have two visitors instead of one.\u201d And\nMr. Blake smiled down into the serious little faces looking up into his.\n\u201cMother\u2019s head is worse, Lydia,\u201d he explained, \u201cand Dr. Wolfe isn\u2019t sure\nwhat the trouble is. So you are to make a little visit at Robin Hill,\nand I will telephone every day, and come to see you when I can.\u201d\n\u201cBut won\u2019t Mother want me to wait on her?\u201d asked Lydia anxiously. \u201cIs\nshe very sick?\u201d\n\u201cI hope not,\u201d answered Father, in such a cheerful voice that Lydia felt\nbetter immediately. \u201cDon\u2019t fret. You will probably be home in a few\ndays, and you know you will want to stay, anyway, until Roger feels at\nhome. Here comes Alexander; he will take you up. And I packed your bag\nmyself, Lydia. I think I put everything in. I know I packed your\nfavorite brown slippers, and Lucy Locket is on top of everything.\u201d\nMr. Blake was lifting the children into the cart as he spoke. He talked\nin a low voice to Alexander, and then with a kiss to Lydia, and a pat\nupon Roger\u2019s black pate, he started back to the house, and off they\ndrove.\n\u201cThey are my \u2018brown bettys\u2019!\u201d cried Lydia after him. \u201cTell Mother I\u2019ll\nwear them only on Sunday.\u201d\nMaggie Medicine trotted bravely up the road and under the big oak trees\nthat made the driveway at Robin Hill such a shady and comfortable place\nto play. There were no children in sight, but Miss Martin was watching\nfor them on the broad veranda, and she came forward to help them out of\nthe cart.\n\u201cSo this is Roger,\u201d said she, smiling and holding out her arms to the\nforlorn child, who willingly crept into their comfortable shelter. \u201cYour\nfather has just telephoned me, Lydia, so I know all about him. You will\nfind the children in the barn, I think.\u201d And Miss Martin carried Roger\noff for the bath and the nap that the tired, dusty little boy needed\nsorely.\nLydia gladly left her charge in such good hands, and with a hasty\ngood-bye to Alexander, ran off to find her friends. She was glad to be\nvisiting, and she thought Robin Hill beautiful, and indeed it was as\npleasant a place to spend the summer as could be found anywhere. The\nliving-rooms were spacious and cool, the bedrooms sunny and airy. A big\nattic, meant for play on rainy days, crowned the top of the house, and\nthere each child had a place for the treasures that would otherwise have\nbeen strewn from one end to the other of Robin Hill, or have been\nbanished altogether. Sticks, stones, weeds, cocoons, acorns, \u201cAnything\nthat can\u2019t walk, swim, or fly,\u201d was Miss Martin\u2019s decree. \u201cLive-stock\nmust go into the barn.\u201d\nSo out in the barn lived Snowball and Nig, the white and the black\nrabbits given Sammy by Dr. Wolfe. The first day, yes, the first hour of\nSammy\u2019s arrival at Robin Hill, in trying to climb the old apple-tree,\ndown he came to the ground on his head, and four big stitches were set\nby the doctor in order to mend his broken crown. Sammy bore the pain\nlike a hero, and not until it was all over and he was left alone with\nMiss Martin did he shed a few salt drops upon her friendly shoulder. But\nthe sore head was soon forgotten, when that very afternoon had come the\ntwo rabbits to be Sammy\u2019s special charge and delight throughout his\nsummer stay. Friendly old Billy, the horse, and the two placid white\ncows, Brindle and Bossy, were quite accustomed to their many little\nvisitors, and submitted with a good grace to be patted, and stroked, and\nfed hay and lumps of sugar.\nBack of the house lay the garden, and there each child large enough to\nwield rake and hoe had his own little plot. During the first weeks of\nspring planting, Miss Martin was overwhelmed with promises of peas and\nbeans and radishes for the Robin Hill table. Sammy and Polly and Mary\nEllen had a scheme whereby, if their crops were as successful as they\nhoped, they would sell their produce to the village grocer, and with the\nproceeds make an interesting purchase.\n\u201cWe\u2019ll buy a piano,\u201d said Polly.\n\u201cA gold chain for Miss Martin,\u201d said Mary Ellen.\n\u201cA hand-organ,\u201d said Sammy, in a burst of inspiration, \u201cand travel all\nover, taking pennies in a hat. We\u2019ll be rich.\u201d And Sammy smacked his\nlips at the thought.\nTo-day, after dinner, at which Roger did not appear, Lydia, with arms\nabout Mary Ellen and Polly, visited the pets, and listened to all the\nhopes and plans of her friends, not, however, without telling a few of\nher own.\nTom, growing brown and rosy and more boyish every day, led her to the\nswing lately put up in the woodshed, and gave her a swing in his finest\nstyle, running under and back in a manly fashion that he much admired.\nHe seldom put his finger in his mouth now, and resorted to General\nPershing, Jr., for comfort only on the rare occasions when in disgrace.\nSammy graciously permitted Lydia to feed Snowball and Nig with cabbage\nleaves, and her admiration of their wiggling pink noses so moved him\nthat he offered to show his cut without asking a favor in return, quite\ncontrary to his usual custom.\nLydia missed two of her old friends. Luley and Lena had gone away to a\nnew home of their own, and Polly and Mary Ellen excitedly told of their\ncall last week at Robin Hill.\n\u201cThey came in an automobile,\u201d said Polly, much impressed, \u201cand their\nhair was done in curls, just alike, and they wore beautiful big pink\nhair-ribbons. And their new mother\u2019s hat was just dripping with\nfeathers. She doesn\u2019t call them Luley and Lena any more at all. Their\nnames are Eloise and Eleanore.\u201d And Polly rolled up her eyes at the\nthought of her little friends\u2019 grandeur.\n\u201cI shouldn\u2019t think they would know who they are, changing their names\nthat way,\u201d said downright Mary Ellen. \u201cAnd their clothes were so fine\nthey didn\u2019t dare play with us, either. I don\u2019t believe they have any\nbetter times than we do.\u201d And Mary Ellen surveyed with complete\nsatisfaction her dark gingham dress and stout little shoes. The children\nno longer dressed alike in blue-and-white, and Mary Ellen was\nparticularly proud of her blue-and-green Scotch plaid.\n\u201cOh, I do,\u201d said Polly, not at all influenced by this good sense. \u201cI\nthink it\u2019s lovely to change your name. I\u2019d give anything if mine was\nEdna Muriel. Don\u2019t you think that\u2019s a pretty name, Lydia?\u201d\n\u201cYes, lovely,\u201d answered Lydia absently. She was thinking of her bronze\nslippers, and wondering what Mary Ellen would say to them. Perhaps she\nwould scorn her for taking such pleasure in them. It was quite true that\nthey were not meant for rough play.\nBut Nurse Norrie was calling them in to supper, and Lydia could only say\nin a low voice to Polly as they lagged behind Mary Ellen on their way to\nthe house:\n\u201cI\u2019ve a lovely pair of bronze slippers with me, and you shall try them\non after supper.\u201d\nPolly nodded, her eyes dancing, and as they hurried out on the porch\nafter washing face and hands, she pinched Lydia\u2019s arm gently, by way of\nreminder of their secret, as she passed her on the way to her seat.\nThe table was set on the back veranda where it was cool and shady, and\neach boy and girl stood quietly behind his or her chair until grace was\nsaid and Miss Martin had taken her seat. To-night Miss Martin came\nleading little Roger whose long nap was only just over, and on her other\nside stood Tom, his heart in a flutter. It was his turn for the first\ntime to say grace. Bravely he started off, but to his great surprise he\nheard himself saying:\n \u201cNow I lay me down to sleep,\n I pray, Thee, Lord, my soul to keep.\u201d\nHe heard Sammy snicker, he felt the little girl beside him shake with\nlaughter, so Tom stopped short.\n\u201cNo, that isn\u2019t right,\u201d said he aloud.\nHe thought for a moment, but not a word of the little grace so carefully\ntaught him came back to help him out. Suddenly, his Bible verse of last\nSunday flashed upon his mind.\n\u201cThe Lord is my Shepherd; I shall not want,\u201d repeated little Tom boldly,\nand then he turned to pull out Miss Martin\u2019s chair as a sign that his\npart was done.\n\u201cWas that all right?\u201d he whispered audibly; \u201cI forgot the other one.\u201d\nThere was a strange look about Miss Martin\u2019s mouth, and she passed her\nhandkerchief over her face before answering.\n\u201cVery nice, Tom, to think of another verse so quickly, since you forgot\nthe grace.\u201d She spoke so that the whole table could hear, and her eyes\nwere fixed on Sammy, whose face was red and who was making queer noises.\n\u201cI wish I felt sure we all could do that,\u201d she added pointedly.\n\u201cYes, ma\u2019am,\u201d answered Sammy, choking back his laugh. \u201cI mean, no,\nma\u2019am, I don\u2019t think I could.\u201d And Sammy fell to work upon the bowl of\noatmeal before him, glad to escape the gaze of so many eyes.\nRoger looked slowly round the long table laden with plates of brown and\nwhite bread, pitchers of foamy milk, bowls of apple-sauce. His eyes\ntraveled down one side of the table, past his friend Lydia, to Sammy,\nintent now upon his supper; flyaway Cora, never still a minute; big Joe,\nlittle Joe, Josephine, and Joey; freckled little Freddy; and rested upon\nMary Ellen presiding sedately over the foot of the table. Up the other\nside he came, looking at little English Alfie; spectacled John; Louise\nand Minette, the tiny, black-eyed French refugees; honest American\nWilliam, with round blue eyes and snub nose; fat little Gus, whose\npranks and hairbreadth escapes already rivaled those of Sammy; baby\nCelia; Polly, smiling and nodding mysteriously at Lydia; and lastly at\nTom, who, duty done, was thoroughly enjoying his well-earned meal.\nEighteen hearty and happy little boys and girls they were, kindly and\nwell disposed toward him, too, for they smiled and nodded at the\nnewcomer, and attentively saw that all his wants were supplied.\n\u201cAren\u2019t they nice?\u201d asked Lydia, following Roger\u2019s gaze. \u201cI knew you\nwould like the boys. They won\u2019t hurt you. And the girls are fun, too.\u201d\nAnd Lydia beamed proudly round at her friends, old and new.\n\u201cI\u2019ll take you out to see my rabbits after supper, if you like,\u201d offered\nSammy, extra polite because of his recent behavior.\n\u201cAnd I\u2019ll give you a swing,\u201d volunteered Tom bashfully.\nThe boys were nice, Roger thought, and when, after supper, Lydia\nwhispered hastily, \u201cYou go with the boys now, Roger, and I\u2019ll come in a\nminute; I only want to show something to Polly,\u201d he trotted off\ncontentedly, and was soon engrossed in the bunnies, who obligingly\ndevoured cabbage leaves, with seemingly no limit to their appetite.\nLydia and Polly hastened upstairs and into the room where Lydia was to\nsleep that night with two other little girls. Her bag had been unpacked,\nand her clothes neatly disposed in one of the small cupboards that lined\nthe wall. On the window-sill lay Lucy Locket, and beside her only one of\nthe bronze slippers.\n\u201cWhy, I don\u2019t see it anywhere, Polly,\u201d said Lydia, after a third search\nof the cupboard for the missing shoe. \u201cYou help me look.\u201d\nThe girls made a careful search, but no bronze slipper was to be found.\n\u201cI know I brought them both,\u201d said Lydia at last, her face puckering.\n\u201cFather said so, and I looked in the bag myself.\u201d\n\u201cPerhaps some one has taken it,\u201d was all Polly, her eyes big and round,\ncould suggest.\n\u201cI know who did it!\u201d exclaimed Lydia, her head in a whirl at her loss.\n\u201cIt\u2019s that Mary Ellen. She took my slipper because she didn\u2019t like them,\nand I\u2019m going to tell Miss Martin.\u201d\nAnd in a twinkling, Lydia was running down the hall calling:\n\u201cMiss Martin! Miss Martin! One of my \u2018brown bettys\u2019 is gone, and Mary\nEllen took it! Mary Ellen has taken one of my \u2018brown bettys\u2019!\u201d\nCHAPTER XI\u2014Who Stole the Brown Betty?\nOut on the front veranda, in the twilight, sat Miss Martin surrounded by\na little group of children. It was the quiet hour before bedtime when,\nby ones and twos and threes, the children came together for the talk or\nstory that made a pleasant ending to their day.\nTo-night, Louise and Minette were having a lesson in English. They were\nperched like two little blackbirds on the arm of Miss Martin\u2019s chair,\nand Louise was repeating obediently, \u201cYez, Meez Mart, I lov\u2019 you, Jo,\u201d\nwhile Minette\u2019s contribution was to pull her curls across her eyes and\nlaugh. Mary Ellen sat on the top step, engrossed in the braiding of a\nhorse-hair ring. Sammy and Tom, escorting little Roger, came round the\nhouse from the barn, and settled themselves at Miss Martin\u2019s feet.\n\u201cTell us a story, please, Miss Martin,\u201d begged Josephine, twisting\nLouise\u2019s black curls as she spoke, \u201cabout when you were a little girl.\u201d\n\u201cWere you ever a little girl?\u201d asked Gus, sitting up straight in his\namazement. \u201cDid you ever have a father and a mother?\u201d\nMiss Martin laughed, but before she could answer this question there was\na sound of flying feet, and Lydia ran out into the midst of the peaceful\nscene.\n\u201cMy slippers! My \u2018brown bettys\u2019!\u201d she gasped excitedly. \u201cOne is gone!\nMary Ellen took it. I know she did! I can\u2019t find it, and Polly can\u2019t\nfind it either.\u201d\nMary Ellen dropped her horse-hair ring, and stared at Lydia in\nastonishment.\n\u201cI never did!\u201d said Mary Ellen in a burst. \u201cI never touched them. I\ndidn\u2019t see her slippers.\u201d And her eyes flashed in righteous indignation.\n\u201cYes, she did,\u201d interposed Roger, going over to Lydia and taking her\nhand. \u201cMary Ellen took Lydia\u2019s slippers.\u201d\n\u201cOh, you\u2014you\u2014\u201d cried Mary Ellen, making a dart at Roger as words failed\nher in her wrath.\n\u201cChildren, stop!\u201d commanded bewildered Miss Martin. \u201cStop this minute,\nand tell me what all this trouble is about. What have you lost, Lydia,\nand why do you think Mary Ellen has taken it?\u201d\n\u201cI didn\u2019t,\u201d muttered Mary Ellen defiantly. \u201cI didn\u2019t.\u201d\n\u201cBe quiet, Mary Ellen,\u201d said Miss Martin again. \u201cTell, Lydia, what have\nyou lost?\u201d\n\u201cMy slippers,\u201d said Lydia, her eyes filling with tears at the thought of\nher lost treasure; \u201cone of my \u2018brown bettys,\u2019 my bronze slippers. They\nare my best. Father packed them for me, and I saw them in my bag, and\nnow only one of them is upstairs with the rest of my clothes. I can\u2019t\nfind the other, and Polly can\u2019t either.\u201d\n\u201cBut why do you say that Mary Ellen has taken it?\u201d asked Miss Martin,\nwith a keen look at both little girls.\n\u201cShe didn\u2019t like it because Luley and Lena were too dressed up to play,\u201d\nanswered Lydia, \u201cso she wouldn\u2019t like my slippers either.\u201d\n\u201cBut I don\u2019t think Mary Ellen would touch them, even if she didn\u2019t\napprove of them,\u201d said Miss Martin, hoping to find her way out of the\ntangle. \u201cDid you touch Lydia\u2019s slippers, Mary Ellen?\u201d\n\u201cNo, ma\u2019am,\u201d answered Mary Ellen virtuously, feeling public opinion turn\nher way.\nBehind Miss Martin\u2019s back, her eyes fixed on Lydia, she noiselessly\nsaid:\n\u201cI\u2019ll never speak to you again as long as I live.\u201d\n\u201cI don\u2019t care,\u201d answered Lydia out loud.\n\u201cDon\u2019t care?\u201d repeated Miss Martin, not understanding. \u201cOf course you\ncare; we all do. Now, Roger, why did you say Mary Ellen took the\nslipper? Did you see her take it?\u201d\n\u201cNo, but Lydia said so,\u201d returned the little boy innocently. To a stanch\nfriend like Roger, whatever Lydia said must be so.\n\u201cChildren, did any of you see or touch Lydia\u2019s slipper?\u201d was the next\nquestion. \u201cNo? Then, Sammy, go find out who unpacked Lydia\u2019s bag, and\nask her to come here.\u201d\nSammy returned with Kate, Nurse Norrie\u2019s niece.\n\u201cSure I saw the slippers, Miss Martin,\u201d said Kate. \u201cI put them both on\nthe window-sill with the doll baby, and then I saw that the screen had\nfallen out of the window, and I ran down to tell Mat to put it in, and I\nnever thought of them from that moment to this.\u201d\n\u201cIt must have fallen out of the window,\u201d said Miss Martin, \u201cthough I\ndon\u2019t exactly see how. We\u2019ll ask Mat to take a lantern and look for it\nin the grass.\u201d\nMat carefully searched in the grass, and round the roots of the big\ntree, whose branches brushed against the very window-sill, and which\nknew the answer to the puzzle if only they could tell. He swung his\nlantern over the piazza roof and window-ledges, too, but in vain. The\nbronze slipper was not to be found, and Lydia and Mary Ellen went to bed\nside by side without even saying good-night.\nMiss Martin hesitated whether to try to reconcile the little girls, but\nLydia still believed Mary Ellen responsible for her loss, and Mary Ellen\nwas hurt and angry at the undeserved suspicion.\n\u201cIf I talk to them, no doubt they will say they are sorry, and that they\nforgive one another,\u201d Miss Martin reflected wisely, \u201cbut they will say\nit really to please me. They won\u2019t feel any different in their hearts. I\nwill wait and see whether the mystery won\u2019t clear itself up to-morrow.\u201d\nSo, trusting in the morrow, Miss Martin put the thought out of her mind\nfor the time being, since no one but Lydia now believed Mary Ellen had\nanything to do with the disappearance of the \u201cbrown betty,\u201d and Lydia\nwas forbidden to repeat her unwarranted accusation.\n\u201cGood news for you, Lydia,\u201d was Miss Martin\u2019s morning greeting. \u201cYour\nmother is better, and you are to go home this afternoon.\u201d\n\u201cOh, goody!\u201d said Lydia, smiling broadly as she sat up in bed. But the\nnext instant the smile was gone and a cloud had come in its place.\n\u201cDid you find my slipper?\u201d she asked eagerly.\n\u201cWe haven\u2019t looked for it again,\u201d answered Miss Martin cheerfully.\n\u201cAfter breakfast every one will turn to and hunt, and I feel sure we\nshall find it. We will do our best, anyway, won\u2019t we, Mary Ellen?\u201d And\nMiss Martin smiled into the downcast face.\n\u201cYes, Miss Martin,\u201d returned Mary Ellen politely, but she continued to\nlace her boots without a glance in Lydia\u2019s direction. Plainly Mary Ellen\nstill felt herself to be an injured person. There was even an idea in\nshrewd Miss Martin\u2019s mind that Mary Ellen found not a little enjoyment\nin her martyrdom.\nAfter breakfast every one started in a different direction, but search\nand hunt as children, maids, and men did in every conceivable nook and\ncorner, there was no trace of the missing slipper, and at last they were\nforced to give up the search, and admit that apparently it had simply\nvanished from the face of the earth.\n\u201cBut it must be somewhere,\u201d Miss Martin repeated. \u201cIt didn\u2019t walk away\nby itself. I won\u2019t give up.\u201d\nBy dinner-time the fruitless search was over, and in the afternoon the\nchildren scattered to their play, Polly and Tom escorting Lydia and\nRoger in a tour of the vegetable garden, hoping thus to raise the\ndrooping spirits of their visitors.\nMiss Martin missed Mary Ellen, and going in search of her, found her in\nher bedroom, leaning on the window-sill from which the bronze slipper\nhad taken its mysterious flight.\nThe little girl had nursed her sense of injury all day, and now had\nstolen away from the other children to spend a lonely afternoon. She was\ndeep in thought, but not so absorbed that she did not hear Miss Martin\nenter the room, although she continued to gaze out of the window.\n\u201cI guess if I died, Lydia would feel badly,\u201d she was thinking. \u201cI would\nbe dressed all in white, with my hair in long curls, and I would hold\none white rose in my hand. They would all come and look at me, and oh,\nhow they would all cry! I guess Lydia would cry hardest of all. Perhaps,\nthough, they wouldn\u2019t even let her in, she\u2019s been so mean to me.\u201d And a\ntear was all ready to roll down Mary Ellen\u2019s cheek, when she felt a hand\non her shoulder.\n\u201cWhat do you see, sister Anne?\u201d asked Miss Martin, gayly. \u201cAre there any\nbirds\u2019 nests in the tree?\u201d She apparently did not notice the abused look\nMary Ellen turned upon her as she sat down in the window beside the\nchild.\n\u201cNo, but there are two squirrels in the tree, big fellows. Here they\ncome.\u201d And Mary Ellen pointed to the two gray squirrels climbing in\nswift darts higher and higher up the old trunk. \u201cAren\u2019t they cute?\u201d she\nwhispered, neglecting her own grievance for interest in the squirrels.\n\u201cTheir hole is by that big branch. There goes one in now.\u201d\nMary Ellen and Miss Martin held their breath as the remaining squirrel\npursued his way up the tree. When he reached the branch opposite their\nwindow, to their delight he turned and crept toward them. Motionless,\nthey watched him leap from the tip of the swaying bough to the broad\nwindow-sill, where he sat upright, peering sharply about with his bright\nlittle eyes.\nAnd then in a flurry, with every appearance of haste, Mr. Squirrel\ndeparted, for Mary Ellen had abruptly broken the spell. She had waved\nher arms wildly, and had called out in a loud voice:\n\u201cMiss Martin, I believe they took Lydia\u2019s slipper.\u201d\nMiss Martin stared at Mary Ellen for a moment.\n\u201cI believe they did, Mary Ellen,\u201d said she slowly. \u201cI never heard of\nsuch a thing before, but I do believe they did.\u201d\n\u201cThe screen was out,\u201d went on Mary Ellen, \u201cand they are great big\nsquirrels, and the slippers are little. He came right up on the\nwindow-sill now; you saw him yourself, Miss Martin. Oh, how can we find\nout? Can\u2019t we find out?\u201d\n\u201cOf course we can,\u201d said Miss Martin, as pleased as could be at the\nthought. \u201cAt least we can try. Come, Mary Ellen, won\u2019t it be a surprise\nif those squirrels are the thieves?\u201d And she ran downstairs with Mary\nEllen at her heels.\nFive minutes later, when Mat placed the long ladder against the old\nmaple and prepared to mount it, not a child was missing from the group\nat the foot of the tree. The news had spread like wildfire, and long\nlegs and short legs had toiled desperately in those few moments for fear\nof missing some of the excitement.\nAll eyes were fixed on Mat as he paused on the ladder outside the\nsquirrels\u2019 hole, and slowly and impressively drew on his baseball glove.\nThat had been his solution of the problem, when Miss Martin had feared\nthat the squirrels would bite his hands.\nIn went the glove, and out it came with a chattering, scolding bunch of\nfur that Mat deposited at arm\u2019s length upon a branch. Next came a\ntrembling gray ball, also to be placed carefully out of the way, and\nthen, for the third time, Mat thrust in his hand and slowly drew out the\nmissing \u201cbrown betty,\u201d scratched in places, filled with leaves, one\nbutton gone, but Lydia\u2019s lost bronze slipper nevertheless.\nThe children shrieked and hopped up and down in their excitement as Mat\ndangled it in the air before their eyes. Lydia was smiling happily, but\nher face was not so bright as Mary Ellen\u2019s.\n\u201cTry to put the squirrels back in their hole, Mat,\u201d called Miss Martin;\nbut with a flirt and a whisk the squirrels proved that they had other\nplans, and were out of sight in a twinkling among the green leaves.\nSlowly Mat descended to earth, and handed the slipper to Miss Martin,\nwho, in turn, put it in Mary Ellen\u2019s hands.\n\u201cYou, Mary Ellen, must have the pleasure of giving it to Lydia,\u201d said\nshe, \u201cbecause you are really the one who found the hiding-place.\u201d\nLydia received the slipper from her friend with a shy smile.\n\u201cThank you, Mary Ellen,\u201d said she. \u201cI\u2019m sorry I thought you took it. And\nnow that it\u2019s scratched, you won\u2019t mind my wearing them so much, will\nyou?\u201d\nAnd arm in arm, the girls moved off, both entirely satisfied with this\nhandsome apology.\n\u201cLook at them, whispering together out there,\u201d said Miss Martin, half an\nhour later, to Mr. Blake, as she told him the story of the slippers.\n\u201cThey are the best of friends now.\u201d\n\u201cWouldn\u2019t it be a good thing if Mary Ellen had a pair of those fancy\nslippers for herself?\u201d asked Mr. Blake. \u201cIf you say so, I\u2019ll take her\ndown to the village now, and see what we can buy.\u201d\n\u201cOh, that would be nice,\u201d answered Miss Martin, smiling at this good\nfriend of her children. \u201cShe says she doesn\u2019t like them, but that is\nonly because she hasn\u2019t any, I think. And we mustn\u2019t let Mary Ellen be\ntoo strong-minded. She is only nine years old, you know.\u201d\nBut Mary Ellen was not strong-minded in the least when she reached the\nvillage shoe shop. Indeed, she changed her mind three times before she\nfinally decided upon a gay little pair of patent leather slippers with\nsilver buckles.\n\u201cNow, what would you like, Roger?\u201d asked kindly Mr. Blake of Lydia\u2019s\nfaithful shadow, who had accompanied them as a matter of course.\n\u201cI\u2019d like to go home with Lydia,\u201d answered Roger in all earnestness.\n\u201cI meant in the way of shoes,\u201d explained Mr. Blake. \u201cShiny rubbers, or\nhigh boots?\u201d\nBut Roger selected a warm little pair of red felt slippers, in view,\nperhaps, of approaching winter weather.\nThe parting with Lydia was very hard. Roger wouldn\u2019t and couldn\u2019t\nunderstand why he must be separated from his friend, though Miss Martin\nexplained it in the kindest and simplest way.\nSo Lydia, almost in tears herself, said good-bye, for Mr. Blake would\nnot let her slip away when Roger\u2019s back was turned.\n\u201cWe mustn\u2019t deceive him,\u201d said he. \u201cHe must learn he is among friends he\ncan trust.\u201d\n\u201cI\u2019ll come and see you to-morrow,\u201d whispered Lydia, with a last warm\nhug. \u201cI promise.\u201d\nAnd with that bit of comfort, Lydia went home.\nCHAPTER XII\u2014Roger Comes Home\n\u201cMother, how long was I away?\u201d asked Lydia that night after supper.\nThe evenings grew cool now, and Mrs. Blake and Lydia were sitting\nindoors, while Mr. Blake walked up and down the gravel path, finishing\nhis cigar. Lydia, on the window-seat, watched the red spark moving to\nand fro, while Mrs. Blake, with cheeks as pale as her soft white shawl,\nsat in the lamplight with a book on her lap.\n\u201cYou were away a day and a night, weren\u2019t you?\u201d she answered. \u201cWhy? Did\nit seem long to you?\u201d\n\u201cIt didn\u2019t seem long while I was there, but now it seems as if I\u2019d been\naway a thousand years,\u201d was the reply. \u201cDid you miss me, Mother?\u201d\n\u201cIndeed I did,\u201d replied Mrs. Blake, with a shake of the head. \u201cWe all\nmissed you, I\u2019m sure.\u201d\n\u201cYes,\u201d said Lydia, in a tone of satisfaction, \u201cI asked everybody, and\nthey all said they missed me. Father, and Alexander, and Deborah, and\nFriend Morris when I took her a bunch of flowers before supper, and the\npostman when I met him on the road. The postman said he thought I looked\nolder, I\u2019d been away so long. Do you, Mother?\u201d\n\u201cNo, I can\u2019t say that I do,\u201d said honest Mrs. Blake. \u201cPerhaps he meant\ntaller. You do grow like a weed.\u201d\n\u201cNo, he said older,\u201d insisted Lydia, twirling the curtain cord as she\nspoke. \u201cIt must have been a joke. The postman is a very joking man,\nMother. Anyway, I like to be missed. I like everybody to miss me every\nminute I\u2019m away. I hope they miss me now at Robin Hill. Roger does, I\u2019m\nsure. Perhaps he is crying for me this very minute.\u201d And Lydia\u2019s eyes\ngrew pensive at the thought.\nMrs. Blake knew that Lydia was talking in the hope of putting off her\nbedtime. The little clock on the mantel had struck eight fully five\nminutes ago.\n\u201cRoger is probably sound asleep in bed this minute,\u201d she answered\nsensibly. \u201cIt is after eight o\u2019clock, Lydia.\u201d\n\u201cYes, I know,\u201d answered the little girl, without moving, \u201cbut I thought\nI might be going to stay up a little longer, because it\u2019s the first\nnight I came home.\u201d\nMrs. Blake only smiled at this hint, and opened her book.\nLydia was able now to make ready for bed by herself. When she was in her\nnightgown, she would call her mother, and Mrs. Blake would go upstairs\nto braid Lydia\u2019s curls into two little pigtails, hear her evening\nprayers, and tuck her in bed with a good-night kiss. But this evening\nLydia was putting off her bedtime as late as she could.\n\u201cI\u2019ll just go say good-night to Father, then,\u201d she murmured gently,\nslipping down from the window-seat. She meant to take at least five\nminutes doing this, but the telephone rang and spoiled her plan.\nMr. Blake answered it. \u201cHello,\u201d said his voice from the hall. \u201cYes, Miss\nMartin. What\u2019s that? Roger? No, he isn\u2019t here. I\u2019ll come up and help\nyou.\u201d\nMr. Blake stepped into the doorway, hat in hand.\n\u201cMiss Martin has telephoned that Roger has run away, and she thought he\nmight possibly have found his way here. The rascal slipped out of bed,\nand they are pretty sure that he is not anywhere in the house. I\u2019m going\nup to help her look for him. Perhaps I had better take Alexander with\nme, too,\u201d he added.\n\u201cTake me, Father, oh, take me!\u201d cried Lydia, who had been listening with\nopen eyes and ears. \u201cI can find Roger, I know I can. Oh, take me with\nyou!\u201d And she rushed forward and clasped Mr. Blake about the knees.\n\u201cTake you, little magnet,\u201d said Mr. Blake, laughing; \u201cI think Mother had\nbetter take you to bed.\u201d And he was gone, leaving Lydia so wide-awake\nshe never wanted to go to bed again, she told her mother.\n\u201cYou may wait until half-past eight,\u201d said indulgent Mrs. Blake, \u201cif\nthere is no news by that time you must go to bed. But after that, as\nsoon as I hear anything, I will come and tell you, if you are awake.\u201d\nLydia stationed herself in the window to watch. It was not much fun\nstaring out into the black night, but anything was better than going to\nbed. And any moment Father might come home with news of Roger. Oh, how\nshe wished the little clock would stop or Mother would fall asleep. But\nnothing happened, and at half-past eight she started upstairs, dragging\none foot slowly after the other.\nTen minutes later, Lydia was downstairs again in her nightgown, brush\nand comb in hand.\n\u201cI thought you would like to braid my hair down here to-night, Mother,\u201d\nsaid she, placing the cricket at Mrs. Blake\u2019s feet, and seating herself\nin view of the front door.\nMrs. Blake smiled at this new thoughtfulness. But she understood Lydia\u2019s\nfeelings, and in her sympathy she brushed and braided as slowly as she\ncould. She herself wished Mr. Blake would return with news of the\nmissing child. There were too many horses and automobiles, even at\nnight, to make the roads safe for a \u201cWee Willie Winkie\u201d to\n \u201cRun through the town,\n Upstairs and downstairs,\n In his nightgown.\u201d\nSo they both were watching and listening when Mr. Blake\u2019s step sounded\non the porch. Lydia twitched the braid from her mother\u2019s hands, and flew\ninto the hall.\nIn came Mr. Blake with the runaway in his arms. He placed him in Mrs.\nBlake\u2019s lap where, winking and blinking his dark eyes in the lamplight,\nin his dew-stained night-clothes, he lay looking about him like a little\nwhite bird. He wore his new red felt slippers, now covered with dust,\nand he carried in his hand a tiny horse given him by one of the children\nat Robin Hill. He smiled when he saw his friend Lydia kneeling at his\nfeet, and waved his red slippers at her in greeting. It was plain to be\nseen that he was well pleased with his evening\u2019s work.\n\u201cI found him marching down the road halfway between here and Robin\nHill,\u201d said Father, answering the question in Mrs. Blake\u2019s eyes.\n\u201cAlexander has gone on to tell Miss Martin. Well, young man, what have\nyou to say for yourself?\u201d he went on. \u201cRunning away seems to be your\nspecialty. Do you mean to stay here with us for a while, or will you get\nme up in the middle of the night to bring you back from another trip\ndown the road?\u201d And Mr. Blake smiled down at the contented little figure\ncuddled in Mrs. Blake\u2019s lap.\n\u201cYou won\u2019t run away again, will you, Roger?\u201d asked Lydia coaxingly. \u201cYou\nwant to stay here with me, don\u2019t you?\u201d\nRoger nodded solemnly.\n\u201cYes,\u201d said he, \u201cI\u2019ll stay with you. I\u2019ll stay with you forever.\u201d\nAnd then he sneezed one, two, three times.\n\u201cMercy me!\u201d said Mother. \u201cOff to bed, both of you.\u201d\nAnd, bundled in the white shawl, the triumphant Roger was borne\nupstairs, Lydia hopping alongside, delighted with this unexpected turn\nof affairs.\n\u201cRoger is visiting us, Mother says,\u201d explained Lydia the next morning,\nas she and Roger paid an early morning call upon Friend Deborah in her\nspotless kitchen, \u201cbut Roger says he has come to stay.\u201d\nThe little boy, his eyes fixed upon a bowl of peaches, nodded.\n\u201cI like it here,\u201d he said gravely. \u201cI like Lydia. I like my new mother\nand father. I like peaches, too.\u201d\n\u201cYou mustn\u2019t say that!\u201d cried Lydia, scandalized. \u201cIt isn\u2019t polite. You\nmustn\u2019t ask, ever.\u201d\n\u201cI didn\u2019t ask,\u201d returned Roger stoutly. \u201cI only said I liked.\u201d\nBut Lydia sighed, as if she had all the cares of a large family upon her\nshoulders. Roger must be taught so many lessons in politeness, and his\ntable manners needed constant attention.\n\u201cJust watch me, Roger,\u201d instructed Lydia. \u201cDo just what I do.\u201d\nBut at last Roger tired of her corrections.\n\u201cYou have more spots at your place than I have,\u201d he retorted between\nmouthfuls of mush. \u201cAnd I didn\u2019t cry when I took my medicine, and you\ndid. And I wasn\u2019t put to bed yesterday like you.\u201d And with a flourish of\nhis spoon, Roger placidly finished his supper, while the crestfallen\nLydia slipped away to console herself with Lucy Locket, who never\n\u201canswered back.\u201d\n\u201cIt is good for her, I suppose,\u201d said Mrs. Blake, who, with Mr. Blake,\nwas an amused spectator of this scene. \u201cI am afraid we were making her\nselfish. It isn\u2019t well for a child to grow up alone. And they love each\nother dearly. Roger follows Lydia about like her shadow.\u201d\nAnd so it was settled that Roger was to stay \u201cforever\u201d as he said.\n\u201cHe\u2019s stopped visiting!\u201d cried the delighted Lydia, flying over to\nFriend Morris with the news. \u201cHe\u2019s stopped visiting, and he\u2019s going to\nbe my brother. Isn\u2019t it nice?\u201d\nFriend Morris nodded.\n\u201cHe setteth the solitary in families, little Friend Lydia,\u201d was her\nreply.\n\u201cYes, Friend Morris,\u201d answered Lydia politely, though she didn\u2019t\nunderstand in the least what Friend Morris meant. \u201cAnd I think we are\nall going home soon. Father\u2019s \u2018masterpiece\u2019 is finished, and Miss Puss\nis so fat she can scarcely walk. It\u2019s high time we went home, Mother\nsays.\u201d\nBut before the last day came, Mr. Blake planned a farewell ride, a ride\nback in the country to see the famous waterfalls that people traveled\nfrom far and wide to view.\nFriend Morris was invited, and Deborah and Alexander, and all Robin\nHill, too. So, early on a bright, crisp autumn afternoon they started,\nthree carriage loads\u2014in deference to Friend Morris, who did not like\nautomobiles\u2014full of happy, chattering children, and grown folks, happy,\ntoo, if in a quieter way.\nDeborah drove one carriage, with Mrs. Blake, on the back seat, watching\nover the safety of her special little flock. Alexander carefully drove\nFriend Morris, who had the quietest, best-behaved children placed in her\ncharge, reliable children like Mary Ellen and Tom, wise, spectacled John\nand stolid English Alfie. The more harum-scarum boys and girls rode with\nMiss Martin and Mr. Blake, who took good care that Gus was placed next\nMiss Martin, and that Sammy sat beside him on the front seat.\n\u201cAre we going to see a real Indian woman, Mr. Blake?\u201d asked Sammy,\nbouncing with excitement. \u201cLydia said you said so.\u201d\n\u201cShe will be at the toll-gate where we hitch the horses,\u201d answered Mr.\nBlake. \u201cAt least, she has been there for years, and I suppose she is\nhere this summer, too. In fact, I think she lives near by all the year\nround.\u201d\nSammy possessed his soul in such patience as he could summon, and\nstrained his eyes up the road for the interesting figure long before it\nwas possible for her to be in sight.\nYes, the Indian woman was standing at the toll-gate, but Sammy was\ndistinctly disappointed when he saw her. Neither did she improve upon\ncloser inspection.\nShe was merely a swarthy-skinned, black-haired woman, dressed in a\nchecked gingham dress and blue gingham apron, neither particularly\nclean, and she answered to the name of Mrs. Jones. Fancy an Indian named\nJones! Sammy could scarcely conceal his indignation, and stared at the\nunconscious Mrs. Jones with such resentment in his eye that Miss Martin\nhurried him swiftly through the toll-gate, and past the cabin where\nIndian souvenirs were displayed for sale.\nThe party wandered along over the damp, mossy ground, and proceeded to\nsurvey the waterfalls, all of which were fortunately within easy walking\ndistance.\n\u201cI choose High Falls,\u201d remarked little Tom, as they wended their way\nback toward the gate. \u201cIt\u2019s so big and high, and dashes down so hard.\u201d\nMost of the children had been greatly impressed by the huge, foaming\ncataract, that continually dashed its white length downward with a dull,\nbooming roar. But Mary Ellen and Polly cast their vote for the delicate\nBridal Veil; while Lydia, echoed by Roger, thought Silver Thread Falls\nthe most beautiful of all.\nNear the gate were rough wooden tables and benches, and, once seated,\nSammy thought somewhat better of Mrs. Jones when she served them with\nbirch beer or sarsaparilla in thick mugs with handles.\n\u201cNow,\u201d said Mr. Blake, when the mugs were empty, \u201ceach one must choose\nan Indian souvenir, in memory of the day.\u201d\nThe delighted children crowded into the cabin, and critically surveyed\nthe display placed before them. There were little birchbark canoes, and\nwhisk-broom holders, also made of bark, beaded moccasins, strings of\nwampum, and small beaded pocketbooks. There were charming little\npictures, not only of the Falls, but of Indian braves and maidens as\nwell, and though it took a long time, at last every one had\nsatisfactorily made his or her selection.\n\u201cWhy are you so good to my children?\u201d Miss Martin asked Mr. Blake, as,\nwatching the boys and girls chattering happily over their treasures,\nthey stood by the toll-gate waiting for a straggler or so.\n\u201cThink how good you have been to me,\u201d answered Mr. Blake promptly.\n\u201cDidn\u2019t you give us Lydia? And without Lydia, we might never have had\nRoger. No, I think I owe you a good many more parties before we are\neven, Miss Martin.\u201d\n\u201cLook, Father!\u201d cried Lydia, running up with Roger at her heels. \u201cI\nchose a pocketbook. Do you like it? And Roger took a canoe.\u201d\nThe Indian woman, with the proceeds of the party jingling pleasantly in\nher pocket, smiled upon the little pair before her.\n\u201cGood friends, eh?\u201d she commented. \u201cI see, they stay together always.\nGood friends!\u201d\n\u201cNo,\u201d said Lydia shyly. \u201cWe are not friends; he\u2019s my brother.\u201d\n\u201cBut you are my friend, too,\u201d returned Roger stoutly. \u201cFriend Morris\ncalls you that, and so do I.\u201d\nOn the drive home the children were tired and sleepy. They were content\nto sit quietly, and more than one stole a cat-nap on the way.\nThe Robin Hill party was safely deposited at their door, and Lydia and\nMr. Blake drove slowly down the familiar road toward home. Mrs. Blake\nwith Roger asleep on her lap, Deborah holding the reins, rode swiftly\npast them.\n\u201cFather,\u201d said Lydia, nestling close to him, \u201cdo you like the name that\nFriend Morris and Roger call me? Would you want to be called Friend\nLydia?\u201d\n\u201cI think it is a beautiful name,\u201d answered Mr. Blake, looking tenderly\ndown at the little face gazing up into his. \u201cAnd no matter how long you\nlive, or wherever you go, I shall always hope that somebody in the world\nwill call you little Friend Lydia.\u201d\n CAMBRIDGE, MASSACHUSETTS\n*** END OF THIS PROJECT GUTENBERG EBOOK LITTLE FRIEND LYDIA ***\nA Word from Project Gutenberg\nWe will update this book if we find any errors.\nCreating the works from public domain print editions means that no one\nowns a United States copyright in these works, so the Foundation (and\nyou!) can copy and distribute it in the United States without permission\nand without paying copyright royalties. Special rules, set forth in the\nGeneral Terms of Use part of this license, apply to copying and\ndistributing Project Gutenberg\u2122 electronic works to protect the Project\nGutenberg\u2122 concept and trademark. Project Gutenberg is a registered\ntrademark, and may not be used if you charge for the eBooks, unless you\nreceive specific permission. If you do not charge anything for copies of\nthis eBook, complying with the rules is very easy. You may use this\neBook for nearly any purpose such as creation of derivative works,\nreports, performances and research. They may be modified and printed and\ngiven away \u2013 you may do practically _anything_ with public domain\neBooks. Redistribution is subject to the trademark license, especially\ncommercial redistribution.\nThe Full Project Gutenberg License\n_Please read this before you distribute or use this work._\nTo protect the Project Gutenberg\u2122 mission of promoting the free\ndistribution of electronic works, by using or distributing this work (or\nany other work associated in any way with the phrase \u201cProject\nGutenberg\u201d), you agree to comply with all the terms of the Full Project\nGutenberg\u2122 License available with this file or online at\nSection 1. General Terms of Use & Redistributing Project Gutenberg\u2122\nelectronic works\n*1.A.* By reading or using any part of this Project Gutenberg\u2122\nelectronic work, you indicate that you have read, understand, agree to\nand accept all the terms of this license and intellectual property\n(trademark/copyright) agreement. If you do not agree to abide by all the\nterms of this agreement, you must cease using and return or destroy all\ncopies of Project Gutenberg\u2122 electronic works in your possession. If you\npaid a fee for obtaining a copy of or access to a Project Gutenberg\u2122\nelectronic work and you do not agree to be bound by the terms of this\nagreement, you may obtain a refund from the person or entity to whom you\npaid the fee as set forth in paragraph 1.E.8.\n*1.B.* \u201cProject Gutenberg\u201d is a registered trademark. It may only be\nused on or associated in any way with an electronic work by people who\nagree to be bound by the terms of this agreement. There are a few things\nthat you can do with most Project Gutenberg\u2122 electronic works even\nwithout complying with the full terms of this agreement. See paragraph\n1.C below. There are a lot of things you can do with Project Gutenberg\u2122\nelectronic works if you follow the terms of this agreement and help\npreserve free future access to Project Gutenberg\u2122 electronic works. See\nparagraph 1.E below.\n*1.C.* The Project Gutenberg Literary Archive Foundation (\u201cthe\nFoundation\u201d or PGLAF), owns a compilation copyright in the collection of\nProject Gutenberg\u2122 electronic works. Nearly all the individual works in\nthe collection are in the public domain in the United States. If an\nindividual work is in the public domain in the United States and you are\nlocated in the United States, we do not claim a right to prevent you\nfrom copying, distributing, performing, displaying or creating\nderivative works based on the work as long as all references to Project\nGutenberg are removed. Of course, we hope that you will support the\nProject Gutenberg\u2122 mission of promoting free access to electronic works\nby freely sharing Project Gutenberg\u2122 works in compliance with the terms\nof this agreement for keeping the Project Gutenberg\u2122 name associated\nwith the work. You can easily comply with the terms of this agreement by\nkeeping this work in the same format with its attached full Project\nGutenberg\u2122 License when you share it without charge with others.\n*1.D.* The copyright laws of the place where you are located also govern\nwhat you can do with this work. Copyright laws in most countries are in\na constant state of change. If you are outside the United States, check\nthe laws of your country in addition to the terms of this agreement\nbefore downloading, copying, displaying, performing, distributing or\ncreating derivative works based on this work or any other Project\nGutenberg\u2122 work. The Foundation makes no representations concerning the\ncopyright status of any work in any country outside the United States.\n*1.E.* Unless you have removed all references to Project Gutenberg:\n*1.E.1.* The following sentence, with active links to, or other\nimmediate access to, the full Project Gutenberg\u2122 License must appear\nprominently whenever any copy of a Project Gutenberg\u2122 work (any work on\nwhich the phrase \u201cProject Gutenberg\u201d appears, or with which the phrase\n\u201cProject Gutenberg\u201d is associated) is accessed, displayed, performed,\nviewed, copied or distributed:\n This eBook is for the use of anyone anywhere at no cost and with\n almost no restrictions whatsoever. You may copy it, give it away\n or re-use it under the terms of the Project Gutenberg License\n*1.E.2.* If an individual Project Gutenberg\u2122 electronic work is derived\nfrom the public domain (does not contain a notice indicating that it is\nposted with permission of the copyright holder), the work can be copied\nand distributed to anyone in the United States without paying any fees\nor charges. If you are redistributing or providing access to a work with\nthe phrase \u201cProject Gutenberg\u201d associated with or appearing on the work,\nyou must comply either with the requirements of paragraphs 1.E.1 through\n1.E.7 or obtain permission for the use of the work and the Project\nGutenberg\u2122 trademark as set forth in paragraphs 1.E.8 or 1.E.9.\n*1.E.3.* If an individual Project Gutenberg\u2122 electronic work is posted\nwith the permission of the copyright holder, your use and distribution\nmust comply with both paragraphs 1.E.1 through 1.E.7 and any additional\nterms imposed by the copyright holder. Additional terms will be linked\nto the Project Gutenberg\u2122 License for all works posted with the\npermission of the copyright holder found at the beginning of this work.\n*1.E.4.* Do not unlink or detach or remove the full Project Gutenberg\u2122\nLicense terms from this work, or any files containing a part of this\nwork or any other work associated with Project Gutenberg\u2122.\n*1.E.5.* Do not copy, display, perform, distribute or redistribute this\nelectronic work, or any part of this electronic work, without\nprominently displaying the sentence set forth in paragraph 1.E.1 with\nactive links or immediate access to the full terms of the Project\nGutenberg\u2122 License.\n*1.E.6.* You may convert to and distribute this work in any binary,\ncompressed, marked up, nonproprietary or proprietary form, including any\nword processing or hypertext form. However, if you provide access to or\ndistribute copies of a Project Gutenberg\u2122 work in a format other than\n\u201cPlain Vanilla ASCII\u201d or other format used in the official version\nposted on the official Project Gutenberg\u2122 web site\nexpense to the user, provide a copy, a means of exporting a copy, or a\nmeans of obtaining a copy upon request, of the work in its original\n\u201cPlain Vanilla ASCII\u201d or other form. Any alternate format must include\nthe full Project Gutenberg\u2122 License as specified in paragraph 1.E.1.\n*1.E.7.* Do not charge a fee for access to, viewing, displaying,\nperforming, copying or distributing any Project Gutenberg\u2122 works unless\nyou comply with paragraph 1.E.8 or 1.E.9.\n*1.E.8.* You may charge a reasonable fee for copies of or providing\naccess to or distributing Project Gutenberg\u2122 electronic works provided\nthat\n - You pay a royalty fee of 20% of the gross profits you derive from\n the use of Project Gutenberg\u2122 works calculated using the method you\n already use to calculate your applicable taxes. The fee is owed to\n the owner of the Project Gutenberg\u2122 trademark, but he has agreed to\n donate royalties under this paragraph to the Project Gutenberg\n Literary Archive Foundation. Royalty payments must be paid within 60\n days following each date on which you prepare (or are legally\n required to prepare) your periodic tax returns. Royalty payments\n should be clearly marked as such and sent to the Project Gutenberg\n Literary Archive Foundation at the address specified in Section 4,\n \u201cInformation about donations to the Project Gutenberg Literary\n Archive Foundation.\u201d\n - You provide a full refund of any money paid by a user who notifies\n you in writing (or by e-mail) within 30 days of receipt that s/he\n does not agree to the terms of the full Project Gutenberg\u2122 License.\n You must require such a user to return or destroy all copies of the\n works possessed in a physical medium and discontinue all use of and\n all access to other copies of Project Gutenberg\u2122 works.\n - You provide, in accordance with paragraph 1.F.3, a full refund of\n any money paid for a work or a replacement copy, if a defect in the\n electronic work is discovered and reported to you within 90 days of\n receipt of the work.\n - You comply with all other terms of this agreement for free\n distribution of Project Gutenberg\u2122 works.\n*1.E.9.* If you wish to charge a fee or distribute a Project Gutenberg\u2122\nelectronic work or group of works on different terms than are set forth\nin this agreement, you must obtain permission in writing from both the\nProject Gutenberg Literary Archive Foundation and Michael Hart, the\nowner of the Project Gutenberg\u2122 trademark. Contact the Foundation as set\nforth in Section 3. below.\n*1.F.1.* Project Gutenberg volunteers and employees expend considerable\neffort to identify, do copyright research on, transcribe and proofread\npublic domain works in creating the Project Gutenberg\u2122 collection.\nDespite these efforts, Project Gutenberg\u2122 electronic works, and the\nmedium on which they may be stored, may contain \u201cDefects,\u201d such as, but\nnot limited to, incomplete, inaccurate or corrupt data, transcription\nerrors, a copyright or other intellectual property infringement, a\ndefective or damaged disk or other medium, a computer virus, or computer\ncodes that damage or cannot be read by your equipment.\n*1.F.2.* LIMITED WARRANTY, DISCLAIMER OF DAMAGES \u2013 Except for the \u201cRight\nof Replacement or Refund\u201d described in paragraph 1.F.3, the Project\nGutenberg Literary Archive Foundation, the owner of the Project\nGutenberg\u2122 trademark, and any other party distributing a Project\nGutenberg\u2122 electronic work under this agreement, disclaim all liability\nto you for damages, costs and expenses, including legal fees. YOU AGREE\nTHAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF\nWARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3.\nYOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR\nUNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT,\nINDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE\nNOTICE OF THE POSSIBILITY OF SUCH DAMAGE.\n*1.F.3.* LIMITED RIGHT OF REPLACEMENT OR REFUND \u2013 If you discover a\ndefect in this electronic work within 90 days of receiving it, you can\nreceive a refund of the money (if any) you paid for it by sending a\nwritten explanation to the person you received the work from. If you\nreceived the work on a physical medium, you must return the medium with\nyour written explanation. The person or entity that provided you with\nthe defective work may elect to provide a replacement copy in lieu of a\nrefund. If you received the work electronically, the person or entity\nproviding it to you may choose to give you a second opportunity to\nreceive the work electronically in lieu of a refund. If the second copy\nis also defective, you may demand a refund in writing without further\nopportunities to fix the problem.\n*1.F.4.* Except for the limited right of replacement or refund set forth\nin paragraph 1.F.3, this work is provided to you \u2018AS-IS,\u2019 WITH NO OTHER\nWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO\nWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.\n*1.F.5.* Some states do not allow disclaimers of certain implied\nwarranties or the exclusion or limitation of certain types of damages.\nIf any disclaimer or limitation set forth in this agreement violates the\nlaw of the state applicable to this agreement, the agreement shall be\ninterpreted to make the maximum disclaimer or limitation permitted by\nthe applicable state law. The invalidity or unenforceability of any\nprovision of this agreement shall not void the remaining provisions.\n*1.F.6.* INDEMNITY \u2013 You agree to indemnify and hold the Foundation, the\ntrademark owner, any agent or employee of the Foundation, anyone\nproviding copies of Project Gutenberg\u2122 electronic works in accordance\nwith this agreement, and any volunteers associated with the production,\npromotion and distribution of Project Gutenberg\u2122 electronic works,\nharmless from all liability, costs and expenses, including legal fees,\nthat arise directly or indirectly from any of the following which you do\nor cause to occur: (a) distribution of this or any Project Gutenberg\u2122\nwork, (b) alteration, modification, or additions or deletions to any\nProject Gutenberg\u2122 work, and (c) any Defect you cause.\nSection 2. Information about the Mission of Project Gutenberg\u2122\nProject Gutenberg\u2122 is synonymous with the free distribution of\nelectronic works in formats readable by the widest variety of computers\nincluding obsolete, old, middle-aged and new computers. It exists\nbecause of the efforts of hundreds of volunteers and donations from\npeople in all walks of life.\nVolunteers and financial support to provide volunteers with the\nassistance they need, is critical to reaching Project Gutenberg\u2122\u2019s goals\nand ensuring that the Project Gutenberg\u2122 collection will remain freely\navailable for generations to come. In 2001, the Project Gutenberg\nLiterary Archive Foundation was created to provide a secure and\npermanent future for Project Gutenberg\u2122 and future generations. To learn\nmore about the Project Gutenberg Literary Archive Foundation and how\nyour efforts and donations can help, see Sections 3 and 4 and the\nSection 3. Information about the Project Gutenberg Literary Archive\nFoundation\nThe Project Gutenberg Literary Archive Foundation is a non profit\n501(c)(3) educational corporation organized under the laws of the state\nof Mississippi and granted tax exempt status by the Internal Revenue\nService. The Foundation\u2019s EIN or federal tax identification number is\n64-6221541. Its 501(c)(3) letter is posted at\nProject Gutenberg Literary Archive Foundation are tax deductible to the\nfull extent permitted by U.S. federal laws and your state\u2019s laws.\nThe Foundation\u2019s principal office is located at 4557 Melan Dr.\nS. Fairbanks, AK, 99712., but its volunteers and employees are scattered\nthroughout numerous locations. Its business office is located at 809\nNorth 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email\nbusiness@pglaf.org. Email contact links and up to date contact\ninformation can be found at the Foundation\u2019s web site and official page\nFor additional contact information:\n Dr. Gregory B. Newby\n Chief Executive and Director\n gbnewby@pglaf.org\nSection 4. Information about Donations to the Project Gutenberg Literary\nArchive Foundation\nProject Gutenberg\u2122 depends upon and cannot survive without wide spread\npublic support and donations to carry out its mission of increasing the\nnumber of public domain and licensed works that can be freely\ndistributed in machine readable form accessible by the widest array of\nequipment including outdated equipment. Many small donations ($1 to\n$5,000) are particularly important to maintaining tax exempt status with\nthe IRS.\nThe Foundation is committed to complying with the laws regulating\ncharities and charitable donations in all 50 states of the United\nStates. Compliance requirements are not uniform and it takes a\nconsiderable effort, much paperwork and many fees to meet and keep up\nwith these requirements. We do not solicit donations in locations where\nwe have not received written confirmation of compliance. To SEND\nDONATIONS or determine the status of compliance for any particular state\nWhile we cannot and do not solicit contributions from states where we\nhave not met the solicitation requirements, we know of no prohibition\nagainst accepting unsolicited donations from donors in such states who\napproach us with offers to donate.\nInternational donations are gratefully accepted, but we cannot make any\nstatements concerning tax treatment of donations received from outside\nthe United States. U.S. laws alone swamp our small staff.\nPlease check the Project Gutenberg Web pages for current donation\nmethods and addresses. Donations are accepted in a number of other ways\nincluding checks, online payments and credit card donations. To donate,\nSection 5. General Information About Project Gutenberg\u2122 electronic\nworks.\nProfessor Michael S. Hart is the originator of the Project Gutenberg\u2122\nconcept of a library of electronic works that could be freely shared\nwith anyone. For thirty years, he produced and distributed Project\nGutenberg\u2122 eBooks with only a loose network of volunteer support.\nProject Gutenberg\u2122 eBooks are often created from several printed\neditions, all of which are confirmed as Public Domain in the U.S. unless\na copyright notice is included. Thus, we do not necessarily keep eBooks\nin compliance with any particular paper edition.\nEach eBook is in a subdirectory of the same number as the eBook\u2019s eBook\nnumber, often in several formats including plain vanilla ASCII,\ncompressed (zipped), HTML and others.\nCorrected _editions_ of our eBooks replace the old file and take over\nthe old filename and etext number. The replaced older file is renamed.\n_Versions_ based on separate sources are treated as new eBooks receiving\nnew filenames and etext numbers.\nMost people start at our Web site which has the main PG search facility:\nThis Web site includes information about Project Gutenberg\u2122, including\nhow to make donations to the Project Gutenberg Literary Archive\nFoundation, how to help produce our new eBooks, and how to subscribe to\nour email newsletter to hear about new eBooks.", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg - Little Friend Lydia\n"}, {"source_document": "", "creation_year": 1927, "culture": " English\n", "content": "Produced by deaurider, Charlie Howard, and the Online\nfile was produced from images generously made available\nby The Internet Archive)\nWAR FLYING\n WAR FLYING\n BY A PILOT\n THE LETTERS OF \u201cTHETA\u201d TO HIS HOME PEOPLE\n WRITTEN IN TRAINING AND IN WAR\n _And the sentinel stars set their watch in the sky._--CAMPBELL.\n BOSTON\n HOUGHTON MIFFLIN COMPANY\nTHESE--\nFROM \u201cTHETA\u201d TO HIS MOTHER\nPREFACE\nThis little volume of \u201cTheta\u2019s\u201d letters to his home people is offered\nin the hope that it may prove useful, and not for glory or reward. The\nRoyal Flying Corps in war-time works in secret. Many of our gallant\nlads would gladly become pilots if they knew how to set to work, and,\napproximately, what they would have to face. When \u201cTheta\u201d decided to\ntry to enter the service he had nothing to go on save a determination\nto \u201cget there\u201d and a general idea of the difficulty of achieving his\npurpose. His careless and unstudied notes, written at odd moments in\nthe work of training and of war, do show how a public-schoolboy may\nbecome a flying officer and how he may fare thereafter. Names, dates,\nand places, about which the Censor might have concern, have been\nconcealed, and extraneous matters have been omitted. The letters are a\ncheery and light-hearted record, and may stimulate others. From first\nto last they have not contained a grumble.\nIt should be understood, however, that the experiences of the writer\nmust not be taken as typical of those of all pilots at the front. The\nR.F.C. has different squadrons for different duties, and different\ntypes of machines suited to the nature of those duties. In the faster\ntype of machine it is possible to do better and more dangerous work,\nand, even in one\u2019s own squadron, the duties of a colleague may have\nbeen more onerous and more trying than those described. In a fighting\nsquadron the pilot may have almost daily combats in the air; in\nanother, he may have very long and very trying reconnaissance work.\n\u201cCompared with that of some squadrons,\u201d writes \u201cTheta,\u201d \u201cour work is\npleasant.\u201d\nCONTENTS\n ORDERED OVERSEAS (AFTER KIPLING) 17\n INTRODUCTORY\n THE DEVELOPMENT OF AN IDEA 23\n BOOK I\n _IN TRAINING_\n I. FROM THEORY TO PRACTICE 33\n MY FIRST FLYING LESSON 34\n FIRST CROSS-COUNTRY FLIGHT 44\n II. SOME EPISODES: AND A \u201cCRASH\u201d 47\n III. FROM PASSENGER TO PILOT 53\n BOOK II\n _ON ACTIVE SERVICE_\n I. THE OPENING MOVEMENTS 57\n II. INCREASING THE PACE 67\n PANCAKING IN A WHEAT FIELD 87\n GESTICULATION IN MID-AIR 102\nORDERED OVERSEAS\n(_After Kipling_)\n Does he know the road to Flanders, does he know the criss-cross tracks\n With the row of sturdy hangars at the end?\n Does he know that shady corner where, the job done, we relax\n To the music of the engines round the bend?\n It is here that he is coming with his gun and battle \u2019plane\n To the little aerodrome at--well _you_ know!\n To a wooden hut abutting on a quiet country lane,\n For he\u2019s ordered overseas and he must go.\n Has he seen those leagues of trenches, the traverses steep and stark,\n High over which the British pilots ride?\n Does he know the fear of flying miles to eastward of his mark\n When his only map has vanished over-side?\n It is there that he is going, and it takes a deal of doing,\n There are many things he really ought to know;\n And there isn\u2019t time to swot \u2019em if a Fokker he\u2019s pursuing,\n For he\u2019s ordered overseas and he must go.\n Does he know that ruined town, that old ---- of renown?\n Has he heard the crack of Archie bursting near?\n Has he known that ghastly moment when your engine lets you down?\n Has he ever had that feeling known as fear?\n It\u2019s to Flanders he is going with a brand-new aeroplane\n To take the place of one that\u2019s dropped below,\n To fly and fight and photo mid the storms of wind and rain,\n For he\u2019s ordered overseas and he must go.\n _Then the hangar door flies open and the engine starts its roar,\n And the pilot gives the signal with his hand;\n As he rises over England he looks back upon the shore,\n For the Lord alone knows where he\u2019s going to land.\n Now the plane begins to gather speed, completing lap on lap,\n Till, after diving down and skimming low,\n They\u2019re off to shattered Flanders, by the compass and the map--\n They were ordered overseas and had to go._\n_INTRODUCTORY_\nTHE DEVELOPMENT OF AN IDEA\nI\nThe first number of the well-thumbed file of _Flight_, carefully kept\nby \u201cTheta\u201d up to the present day, bears date July 30, 1910, just two\nyears after the first public flight in the world. At that time this\nparticular public-schoolboy was thirteen years of age. His interest\nin aviation, however, dated from considerably before that period, and\nits first manifestation took the form of paper gliders. Beyond the\nfact that they could be manipulated with marvellous dexterity and\nthat they could be extremely disturbing to the rest of the class in\nschool, no more need be said. In December 1910 \u201cTheta\u201d felt that he\nhad a message on airships to convey to the world, and he communicated\nit through the medium of the school Journal. Thenceforward he wrote\nregularly on flying topics for the Journal, and for four years acted\nas its Aeronautical Editor. Throughout 1911, with two school friends,\nhe also assisted in producing _Aviation_, a cyclostyle sheet of small\ncirculation proudly claimed as \u201cthe first monthly penny Aviation\njournal in the world.\u201d Therein the various types of machines were\ndiscussed with all the delightful cocksureness of youth, and various\nserial stories based on flying adventures duly ran their course. For\nsome years he pursued the construction of model aeroplanes with an\nassiduity that may well have been fatal to school work and games,\nand that was kept up until the German power-driven model drove the\nelastically-propelled machines into the realms of toydom. A motley\ncrowd of enthusiasts used to gather every Saturday and Sunday in one of\nthe great open spaces of London for the practice of their craft--nearly\nall boys in their teens, occasionally one or two grown-ups with\nmechanical interests. When the War came the group broke up. Some of\nthem took up real aircraft construction; others became attached to the\nAir Service, naval and military, as mechanics. At least two became\nflying officers.\nIn July 1911 \u201cTheta\u201d obtained his first Pilot\u2019s Certificate, from an\nAero Club which he had assisted in founding. The document is perhaps\nsufficiently interesting to reproduce:\n X.Y.Z. AERO CLUB: PILOT\u2019S CERTIFICATE\n I hereby Certify that \u201cTheta\u201d has passed the required tests for\n the above-named Certificate. The tests have been witnessed by\n the undernamed:\n who are Members of the X.Y.Z. Aero Club.\n The tests are as follows:--\n 1. Flight of 100 yards.\n 2. Circular flight of any distance provided the machine does\n not touch the ground and lands within fifteen yards of the\n starting-point.\n 3. Or (alternative) flight of any distance when machine flies not\n less than six feet higher than the starting-point.\n 4. Flight lasting at least eight seconds.\nThe above tests have been approved by the members of the Club.\nThe tests would have been very different a few months later, and really\nwonderful long-distance flights were afterwards accomplished.\nIn order to be able to write with some authority, \u201cTheta\u201d kept abreast\nof all developments in Aeronautics, reading with avidity all the\nliterature on the subject and visiting the flying-grounds. The first\naeroplane he saw in the air was when Paulhan gave a demonstration of\nflying at Sandown Park. Subsequently numerous pilgrimages to Brooklands\nand Hendon were made.\nThere followed visits to France in the vacations. On the second visit\n\u201cTheta\u201d and a companion, it was afterwards discovered, cycled round\nthe rough and narrow stone parapet of a fort when a single slip would\nhave meant precipitation into a moat on one side, or into the sea on\nthe other. It was a test of nerves. The return from the third visit\nwas memorable. \u201cTheta\u201d had left his portmanteau on a railway platform\nin Normandy and his waterproof on the Cross-channel steamer; but he\narrived at Waterloo serenely content with the wreck of his model\naeroplane wrapped up in an old French newspaper and a bathing-towel.\nHis knowledge of French and his customary luck, however, served him,\nand the missing impedimenta duly followed him up in the course of a\nday or two. Of his French friends--three brothers--one was killed in\nthe opening months of the War; a second was wounded and taken prisoner\nby the Germans, after an adventure that would have won him the V.C.\nin this country; and the third, as interpreter, was one of the links\nbetween the Allied forces at the Dardanelles, and is now engaged on\nsimilar work.\nA few months before war broke out \u201cTheta\u201d visited Germany and\nphotographed the Zeppelin \u201cViktoria Luise\u201d and its hangar at Frankfort.\nHe was immensely struck by the ease with which the huge airship was\nmanipulated, and with its value as a sea scout; but as a fighting\ninstrument he put his money on the heavier-than-air machines. So\ngrew day by day, month by month, and year by year--without the least\nslackening--that interest in aviation which came to fruition in war\ntime.\nII\n\u201cTheta\u201d was born in May 1897; the War broke out in August 1914. On\nhis eighteenth birthday \u201cTheta\u201d decided that it was time to \u201cget a\nmove on.\u201d His ambition from the first had been to enter the Royal\nFlying Corps. This was opposed chiefly because of his youth and\nseeming immaturity and the excessive danger attached to training.\nBut fate, impelled by inclination, proved too strong. He had been\na member of his O.T.C. for four years, and had attended camps at\nAldershot and Salisbury Plain; but he deliberately set his face against\n\u201cfoot-slogging.\u201d He urged that though he was old enough to risk his\nown life he was not old enough to risk the lives of others--his\nseniors--by accepting an infantry commission.\nAfter many preliminaries an appointment was secured at the War Office\nwith a High Official of Military Aeronautics. There \u201cTheta\u201d was\nsubjected to a curiously interesting catechism which seemed to touch on\nnearly every possible branch of activity under the sun except aviation.\nFinally the High Official, probably seeing a way of ridding himself of\na candidate who had accomplished little or nothing of the various deeds\nof daring enumerated in the Shorter Catechism, suggested an immediate\nmedical examination on the premises. That ordeal safely passed, \u201cTheta\u201d\nreturned to his catechist, who said wearily, \u201cWell, we\u2019ll try you, but\nyou know you have not many of the qualifications for a flying officer.\u201d\n\u201cTheta\u201d returned to school to await his summons, which was promised\nwithin two months. The school term ended; a motor-cycling holiday in\nDevon followed--and still no call. On the return to London a reminder\nwas sent to the War Office. There immediately came a telegram ordering\n\u201cTheta\u201d to report for instruction at what may be called Aerodrome \u201cA.\u201d\nTraining began almost at once with a joy-ride of ten minutes\u2019 duration.\nBut the weather was for the most part what the aviators in their\nslang call \u201cdud.\u201d An \u201cabominable mist\u201d hung over the aerodrome, and\nconsequently, though the period of instruction was fairly prolonged,\nthe opportunities for flights were few. There was much waiting and\nlittle flying, and the bored youth was driven to music and rhyming to\nfill up the interstices. But before the end of the year a good deal had\nbeen accomplished. At the close of his eleventh lesson \u201cTheta\u201d was told\nto hold himself in readiness for a \u201csolo\u201d performance.\nAfter four more flights came the successful tests for the \u201cTicket\u201d\nwhich transforms the pupil into a certificated aviator. This\npreliminary triumph was celebrated the same evening by a joy-ride at\nnearly 2,000 feet, the highest altitude that \u201cTheta\u201d had reached on a\nsolo performance. Nearly four years and a half had elapsed between the\nschoolboy \u201cTicket\u201d and the real thing.\nThen came a transfer to another and more advanced type of machine.\nOn this there were but three flights with an instructor, and then\nanother \u201csolo\u201d performance. Towards the close of the year \u201cTheta\u201d left\nAerodrome \u201cA\u201d for Aerodrome \u201cB,\u201d having in the meantime been gazetted\nas a probationary second lieutenant, Special Reserve.\nThe advanced course occupied about three months. It proved more\nexciting in many ways. In the elementary portion of training \u201cTheta\u201d\nsaw many \u201ccrashes,\u201d none of which, however, proved fatal. In the\nsecond, war conditions more nearly prevailed, and at times--when, for\nexample, three colleagues lost their lives in flying, and a Canadian\nfriend who shared his hut in training was reported \u201cmissing, believed\nkilled,\u201d within a few weeks of reaching the front--the stern realities\nof his new profession were driven home.\nBut youth is ever cheerful and optimistic. In fulness of time there\ncame a flight of a covey of seven \u201cprobationaries\u201d in one taxicab to an\nexamination centre for \u201cwings,\u201d a successful ending, followed shortly\nafterwards by final leave, an early-morning gathering of newly made\nflying officers at Charing Cross Station, the leave-taking, and the\ndeparture to the front.\nTraining was over; the testing-time had come. Before his nineteenth\nbirthday was reached \u201cTheta\u201d had been across the German lines.\nHis letters may now be allowed to \u201ccarry on.\u201d\nBOOK I\n_IN TRAINING_\n(OCTOBER-APRIL)\nI\nFROM THEORY TO PRACTICE\n[Sidenote: Early Impressions.]\nArrived here O.K. and reported. Spent the best part of the morning\nsigning papers and books, and buzzing around. On the way across to the\nhangars discovered two R.F.C. men lying on the ground trying to look\nlike a mole-hill, and fidgeting with a gadget resembling an intoxicated\nlawn-mower, the use of which I have not yet discovered. Am posted to\n\u201cA\u201d Flight (and wondering when I am going to get it, so to speak). You\nreport at six o\u2019clock if you are on the morning list; at nine o\u2019clock\nif you are not. When you report possibly you go for a joy-ride, weather\nand number of pupils permitting. You spend some time in the shops,\nfollowed by a lecture and then drill. At four o\u2019clock you report again.\nIf it\u2019s fine, and the officers don\u2019t feel too bored with life, they may\ntake you for a flight, but it is generally some one else they take and\nnot you. Then you smoke till 5.30 p.m., when you go home. However, I\u2019m\nenjoying myself, and the pupils seem a decent lot. I don\u2019t think there\nwill be anything doing for the next few days, as there is an abominable\nmist all over the place. The machines are the safest in the world.\nHave had a ten minutes\u2019 flight this evening. It was splendid, and felt\nperfectly safe. Machine seems quite simple to control. I had my hands\non the dual set, and felt how the pilot did it. Don\u2019t expect I shall\nget up again for a long time. I was quite warm, and felt happy, calm,\nand confident.\n[Sidenote: My First Flying Lesson.]\nMy first flying lesson was in the gathering dusk of a cold evening, but\nan extra leathern waistcoat and an overcoat and muffler kept me warm. I\nmounted to my seat behind the pilot in the nacelle of the huge biplane,\nfastened my safety belt, donned my helmet, and sat tight.\nA duologue ensued between the pilot and the mechanic who was about to\nswing the propeller and to start the great 70-h.p. Renault engine.\n\u201cSwitch off,\u201d sang out the mechanic.\n\u201cSwitch off,\u201d echoed the pilot as he complied with the request.\n\u201cSuck in,\u201d shouted the mechanic.\nThe pilot moved a lever. \u201cSuck in,\u201d he echoed.\nThe mechanic put forth his strength, and turned the propeller round\nhalf a dozen times or so to draw petrol into the cylinders.\n\u201cContact,\u201d he shouted.\n\u201cContact,\u201d came back the echo from the pilot as he switched on.\nA lusty heave of the propeller, and the engine was started.\nFor a moment the machine was held back, while the pilot listened to\nthe deep throbbing of the motor, and then, satisfied with its running,\nhe waved his hand, and we began to \u201ctaxi\u201d rapidly across the aerodrome\nto the starting-point. The starting-point varies almost every day, as\nthe rule is to start facing the wind. Then we turned, the pilot opened\nthe throttle wide, and a deep roar behind us betokened the instant\nresponse of the engine. With the propeller doing its 900 revolutions a\nminute we were soon travelling over the ground at 40 m.p.h. The motion\ngot smoother, and on looking down I found to my surprise that we were\nalready some thirty feet above the ground. A slight movement of the\nelevator, and we started to climb in earnest. A couple of circuits and\nwe were 700 feet up.\nThe pilot looked round and signalled to me to put my hands on the\ncontrols. I did so, and then--apparently to test my nerves--he started\ndoing some real sporting \u201cstunts,\u201d dives, steep-banks, and so on--in\nfact, everything but looping the loop. However, it did not occur to me\nat the time to be nervous, I was enjoying it so much. And so at last\nthe pilot, who kept casting furtive glances at me, was satisfied, and\ntaking her up to 1,000 feet put her on an even keel, and took both his\nhands off the controls, putting them on the sides of the nacelle and\nleaving poor little me to manage the \u201c\u2019bus.\u201d This I did all right,\nkeeping her horizontal and jockeying her up with the ailerons when one\nof the wings dropped a little in an air pocket. On reaching the other\nside of the \u201c\u2019drome\u201d he retook control, turned her, and let me repeat\nmy performance.\nThen, again taking control, the pilot, after a few more stunts,\nthrottled down till his engine was just \u201cticking over,\u201d and did a _vol\nplan\u00e9_ from 1,000 feet into the almost invisible aerodrome. A gentle\nlanding in the growing darkness and rising fog, a swift \u201ctaxi\u201d along\nthe ground to the open hangar, and my first lesson in aerial navigation\nwas concluded.\nThe teaching methods may be considered rather abrupt, but they are\nthose adopted now by all the flying schools. The pupil is taken up\nstraight away on a dual-control machine to a height of about 1,000\nfeet, and then is allowed to lean forward and amuse himself with the\nsecond set of controls, any excessive mistake being corrected by the\npilot. After a time he is allowed to turn unaided, to do complete\ncircuits unaided, and finally to land the machine unaided. If he does\nthis successfully he is sent \u201csolo,\u201d and after a few \u201csolos\u201d is sent up\nfor his \u201cticket\u201d or Royal Aero Club Certificate. At the time of writing\nI am doing circuits unaided, but I hope, weather permitting, to have\ncome down unaided by the time this appears in print.--_Reprinted from\nthe School Journal._\nHave not been up again, but hope to go up to-morrow. Am enjoying\nmyself, and am quite fit.\nHad a nice flight yesterday with Captain ----. If fine, hope to have\nanother to-morrow.\nUp this evening. We passed over a field and spotted a B.E. smashed. It\nhad run into a hedge. No one hurt; machine new.\nThree flights yesterday, and would have gone \u201csolo\u201d in the afternoon\nbut a pupil smashed the solo machine.\nNothing doing! Nothing done!\n[Sidenote: On Going \u201cSolo.\u201d]\nAt last I have gone \u201csolo.\u201d On Sunday and Monday two of our machines\nwere smashed by pupils on their first solos and both machines had to\nbe scrapped. In consequence, the pilots have been rather chary about\nletting us go up alone, and we too have been wondering whether we were\nfated to follow the example of the others.\nAt length, however, Captain ---- sent up X this evening, and _he_ got\non all right. So he turned to me suddenly and said, \u201cWell, you\u2019d better\ngo and break your neck now.\u201d Thus cheered, I gave my hat as a parting\ngift to Y, shook hands mournfully all round, and amid lamentations and\ntears took my seat for the first time in the pilot\u2019s seat.\n\u201cContact,\u201d etc., and my engine was running. I pointed her out into the\naerodrome, and then turned her to the right; but \u201ctaxiing\u201d is almost\nas tricky as flying, and before I could stop it the machine had turned\ncompletely round. However, I got it straight again, and taxied to the\nstarting-place.\nA \u201cbiff\u201d of my left hand on the throttle, and the engine was going all\nout. Faster and faster over the ground; a touch of the controls, and we\nwere off! The next thing I recollect was passing over a machine on the\nground at a height of 200 feet, and then I was at the other end of the\naerodrome. This meant a turn; so down went the nose, then rudder and\nbank, and round we came in fine style. A touch on the aileron control,\nand we were level again. Thus I went on for ten minutes, and as Captain\n---- had told me to do only one circuit and I had done considerably\nmore, I decided to come down.\nIt was growing dusk, so it was as well that I did. I took her outside\nthe \u201c\u2019drome,\u201d then pointed her in, put the nose down and pulled back\nthe throttle.\nThe roar of the engine ceased, and the ground loomed nearer. A very\nslight movement of the controls and we flattened out three feet above\nthe ground and did a gentle landing.\nA touch on the throttle, a roar, and I taxied back to the waiting\nmechanics. \u201cGood landing,\u201d sang out one of them, and a moment later\nsome half a dozen pupils were shaking me violently by all the hands\nthey could find and all talking at once in loud voices. \u201cWhere\u2019s my\nhat?\u201d I asked, and a crumpled object was handed to me. Then up came\nCaptain ----, very red in the face, and looking exceedingly happy.\n\u201cDamn good, \u2018Theta\u2019!\u201d and so it ended. Heaps of love to you both.\nWent \u201csolo\u201d last Wednesday and shall be surprised if I do so again\nbefore Christmas. It is cold and misty, and when not misty it is windy;\nwhen it is neither it rains and so on, but mist from the marshes is the\nworst by far. So sometimes we sits and thinks and cusses and smokes;\nand sometimes we just sits.\nHave been up again at last--the first time for a week. Four solo\nflights to-day. Went up 1,500 feet on the third and stayed up an hour\non the fourth, between 900 feet and 1,000 feet. It was lovely flying\nthis evening, but bumpy and airpockety this morning.\n[Sidenote: Taking a Ticket.]\n\u201cTheta,\u201d C. Av. What! At last I am a certificated pilot. As soon as\nI arrived this morning they sent me up for my ticket, although (as I\nsaid) I had never done a right-hand turn alone! I took my ticket in\nfine style, landing right on the mark each time, while X, who went up\nfirst for his, was helping to extricate his machine from a ditch. He\nfinished his tests, however, all right afterwards. When I landed after\nfinishing my eights, my instructor said I could consider myself \u201csome\npilot\u201d now. I went up to nearly 2,000 feet this evening for a joy-ride,\nand stayed up until I got bored and it got dark and began to rain.\nWell, I have got my ticket without \u201cbusting\u201d a wire, so I hope I shall\nkeep it up. Was overwhelmed with congrats, from pupils, etc. I expect I\nshall be transferred to \u201cB\u201d flight, and get taken up as a passenger so\nas to learn to fly another type.\nUp this morning for a joy-ride with Sergeant ----, and got into a fog\nbank and lost sight of land and sky. Got out of it all right in the\nend. Rather interesting.\nTo-day was the first nice day for flying for a week, so the officers\nand men arranged a football match! All the same I did manage to get a\nflight; so cheer-o. I had my hair cut yesterday, and a new glass put in\nmy watch. To-day I find my glass cracked, and my hair grown almost as\nlong as before, in the night.\n Whizzing through the azure blue\n In an aeroplane, say you.\n Must of sports the nicest be;\n So it is, but then, you see,\n The only part that can give pain\n Is the return to earth again.\nGot on splendidly to-day. Went solo all right. This type is much nicer\nto handle than the other, but you land faster owing to higher speed.\nThis I managed so well that Sergeant ---- clapped his hands and said\n\u201cVery good!\u201d\n The wind has been blowing.\n Ye gods! How it blew!\n Stopped bicycles going.\n Not one pilot flew.\n Up above--eighty-five!\n Down below it blew--well--\n In this place dead \u2019n\u2019 alive\n It is absolute ----!\n(Deleted by R.F.C. Censor as not being sufficiently expressive.)\nHowever, we attended a very boring lecture, and walked through slud and\nmush at drill time; so we have not done so badly.\n Some poets say,\n As well they may,\n Congenial surroundings\n Conduce a lay\n With rhythm gay,\n And artful phrase compoundings\n With helpful muse\n To air their views\n On Nature\u2019s grand aboundings.\n E\u2019en so as joy and sorrow\n Do in cases bring forth tears\n (A simile to borrow),\n In this case it now appears\n _No_ sunshine sets the muse to work\n In humble little me;\n \u2019Tis wind, and rain, and fogs that lurk\n Drive _me_ to poesy.\nCleaning wires with emery paper is grand exercise, albeit a trifle\nmonotonous. However, the pay (15_s._ 6_d._ a day) is good. And as we\npass we hear the voice of R---- weeping for his pupils (which are not)\nand will not be comforted.\nA most wonderful exhibition of flying by Hawker, Raynham, and Marix.\n[Sidenote: First Cross-country Flight.]\nDid you see your little son to-day emulating the antics of Nature\u2019s\naerial ornithopters? I left Aerodrome \u201cB\u201d about 10.15 a.m. and went\nover to S., then I branched off at right angles for W., but as I was\nabout 4,000 feet up I could not pick it out from the other parks and\ncommons, and so, finding myself running into a formidable set of\nclouds, I \u201cabout turned,\u201d and after taking my map from my pocket and\nstudying it on my knee for a few minutes, I found out where I was and\nset out for Aerodrome \u201cA.\u201d I found it all right, landed, had a chat\nwith the pupils, borrowed a \u201cbike\u201d and went round to my old rooms,\nwith chocolate for Betty. Teddie, the dog, was overjoyed to see me....\nI soon got going again and did a few circles over the hospital where\nMrs. S. was nursing, climbed to 2,000 feet, and followed the railway\nto--home! Here I did a circle, trying to cover the houses of as many\nof my old friends as I could, and then made off at right angles to the\nrailway for Aerodrome \u201cB.\u201d Before I left home I dropped four letters\nwith streamers attached--two to you, one to A.\u00a0C., and one to the Head.\nOnly a few words inside, so it does not matter whether they are lost\nor opened by some one else. I have no idea where they fell. I could\nsee Aerodrome \u201cB\u201d eight miles away directly I left you, and landed\nbeautifully in time for lunch. I covered the distance in about seven\nand a half minutes, having had a ripping morning. I hope you saw me;\nand if you did, how much money did Dad win betting it was _me_?\nThe following extracts are from a letter from home which crossed the\nabove in post:\n \u201cWe saw you. It was all very interesting, and has sent a thrill\n over the neighbourhood! To ease your mind I may tell you that\n your letter was duly picked up and delivered within three hours\n of your visit.... The Mater saw an aeroplane passing over\n earlier in the morning and told me she was sure you had taken\n Betty her chocolate. Later it became borne in upon me that you\n were on your way back. I went to the door. Immediately there\n came the roar of a Gnome-engined biplane, and I yelled \u2018Here\n he is.\u2019 Up came the Gnome-engine biplane, gaily waving its\n propeller; then it turned and circled round home. I gurgled \u2018It\n is Theta,\u2019 seized my handkerchief and waved it violently. Then\n there fluttered down from the aeroplane some little things\n that glittered in the sun as they fell, and we _knew_ it was\n your machine.... Then you appeared to go up over the school\n grounds and so home. I watched you till you were only a speck\n in the sky, and then turned away. I shall hope when I wake in\n the morning to have the scene described as it appeared to you\n from above. Meanwhile our hearty congratulations on your first\n cross-country flight.\u201d\nII\nSOME EPISODES: AND A \u201cCRASH\u201d\n(_Extracts from \u201cTheta\u2019s\u201d Private Log-Book_)\n Date. Remarks.\n _November._ Stalled machine all round aerodrome. Captain L----:\n \u201cFlying with your tail between your legs: looked d--d\n \u201e Wind screen completely frosted over; had only done few\n solos; had to take machine to 1,000 feet, lean out, and\n \u201e Same day got in hot air over factory chimneys. Hell!\n _January._ Second solo on new type. Side-slipped through turning\n without flying speed. Ghastly sensation. Captain ----:\n \u201cYou would have been killed on any other machine but a\n \u201e Another side-slip, but not so bad; pulled her out of it.\n \u201e First forced landing. Connecting rod broke, and inlet\n valve went. Machine ought to have caught fire. Was two\n miles from the \u2019drome. Just got in, machine vibrating\n horribly from 2,200 feet down.\n _February._ Worst day so far flown in. Chucked about like a leaf.\n No goggles, so could hardly see. Nearly strafed\n officers\u2019 mess. Landing all right, but frightful day.\n \u201e Engine lost 100 revs. per minute over trees. Had to\n \u201cbird\u2019s-nest\u201d; unpleasant. Lucky engine did not cut out\n \u201e Rising over hangars when another aeroplane rose and\n headed me over tree, and kept too close. Had I not\n turned quickly at low altitude might have rammed me.\n \u201e Cut out just in front of trees at 50 feet. Steep bank;\n quick right-hand turn; landing close beside trees. O.K.\n \u201e As passenger; pilot, Lieutenant ----. Engine missing\n badly over trees. Attempted to land in small field,\n but seeing would crash into trees at the other side at\n 40 m.p.h. pilot put nose up, and with missing engine\n cleared them by inches, the wheels actually touching\n the top. Then more tree dodging and steep banks just\n above ground, landing in aerodrome.\n _March._ Climbed into clouds and steered by instruments out of\n sight of earth for practice. Spiralled down.\n \u201e Climbed 7,000 feet. Glorious view from above of clouds\n 4,000 feet below me. Most beautiful spectacle I have\n ever seen. Climbed till engine would go no higher, then\n stopped engine and did right- and left-hand spirals\n down, landing without starting engine again.\n \u201e Started on cross-country to A. Mist very thick; lost my\n way, and found myself over London [No compass.--_Ed._]\n Turned and discovered Aerodrome \u201cC\u201d below me, so\n landed. Later, when mist cleared, restarted, but a\n following wind and mist made me over-shoot A., and\n landed in field near D. to find out whereabouts. Engine\n refused to start, so pegged down machine for the night,\n \u201e Restarted next day when weather cleared up, but all\n landmarks covered by snow. Landed in field again, but\n decided to go on. So restarted, and again lost my way.\n Circled over town and railway, but could not decide\n what they were, and could not find a landing-ground.\n Eventually I found one and landed, just stopping in\n time at the other end. Kept engine ticking over, and\n was told was four miles from A. Restarted, clearing a\n large tree by one foot; saw blizzard coming up; had no\n time to land, so headed into it and flew for twenty\n minutes at 200 feet altitude unable to see either\n instruments or ground. Wind and storm increased in\n violence; was frequently blown up on to one wing tip,\n the machine side-slipping once to within a few feet of\n the ground, and just recovering in time for me to clear\n a house. Driving snow prevented machine from climbing\n and nearly drove it to earth. When a lull came and I\n saw a clear place beneath, I promptly circled round,\n clearing semi-invisible trees by a matter of inches (I\n was told). Finally landed well, and was running along\n the ground when a fence dividing the field in two\n loomed up a few yards ahead. Elevated, and the nose\n cleared it, but the tail skid did not, and caught the\n fence, bringing the machine down on its nose with a\n crash, and turning it over. My head went through the\n top plane, and I remained suspended upside down by my\n \u201e Propeller smashes in mid-air.\n \u201e Tested new-rigged machine which had not been flown\n since it was smashed. Weather very bad for flying, much\n less testing a reconstructed machine. Did not seem to\n answer well to the controls and flew left wing down.\n Landed machine successfully and reported on it.[3]\nIII\nFROM PASSENGER TO PILOT\nThe following notes from \u201cTheta\u2019s\u201d Diary show the progress from novice\n(with accompanying pilot) to certificated aviator (solo):\n 350 ft. |Circuits of Aerodrome |Calm and even; dusk;\n 1,000 ft. |Round Aerodrome |Smooth; dusk; felt controls.\n 1,000 ft. |Aerodrome and |Had control a little time,\n | neighbourhood | and did left-hand turn.\n 900 ft. |Aerodrome |Controlled along straights.\n 800\u20131,000 ft. |Aerodrome with |Bumpy. Had control along\n | occasional turns | straights for some time.\n 600\u2013700 ft. |Aerodrome |Did circuits, turns, and\n 600 ft. |Aerodrome |Bumpy; so did not get much\n 500 ft. |Aerodrome |Controlled circuits, and\n 600 ft. |Aerodrome |Entire control; recovery\n 400 ft. |Aerodrome |Better; two landings.\n 300 ft. |Aerodrome |Two landings; taxi and\n 300 ft. |Aerodrome |Two good landings; one\n 400 ft. |Aerodrome |Bumpy; one landing.\n 300 ft. |Aerodrome |One landing; bumpy.\n 300 ft. |Aerodrome |Entire control, and then\n 350 ft. |Aerodrome |First solo; a few circuits\n 800 ft. |Aerodrome |Bumpy; landed with engine\n 1,500 ft. |Aerodrome |Climbed too steeply and\n 700\u20131,000 ft. |Aerodrome |Calm; flew for half an\n 500 ft. |Figure eights in |Did first part for ticket\n 500 ft. |Eights in \u2019drome |Did second part of ticket\n 580 ft. |One wide circuit with |Completed tests for R.A.C.\n | engine switched off | Certificate.\n 1,600 ft. |Aerodrome |Joy-ride; landed with too\nBOOK II\n_ON ACTIVE SERVICE_\nR.F.C. ALPHABET\n =A= stands for Archie, the Huns\u2019 greatest pride,\n =B= for B.E., our biplane they deride.\n =C= for the \u201cCrash\u201d when by \u201cA\u201d[4] \u201cB\u201d gets hit,\n =D= for the Dive before \u201cC\u201d ends the flit.\n =E= is for Engine, which sometimes goes dud,\n =F= is Cold Feet, as you wait for the thud.\n =G= is the Gun that you keep on the \u2019plane,\n =H= as per \u201ctrig\u201d[5] is the height you attain.\n =I= am the Infant who flies a 2C,[6]\n =J= the Joy-stick on most \u2019buses you see.\n =K= is the Kick that you get from a gun,\n =L= a forced Landing, too oft to be done.\n =M= for Mechanic; in France most are \u201cfirsts,\u201d[7]\n =N= for the Noise that A makes when it bursts.\n =O= which is oil, stops the seizing of E,\n =P= Petrol used by the E of the B.\n =Q= is the Quiet one gets on a glide,\n =R= the Revolver you keep by your side.\n =S= is for Side-slip, some Shot, or a Stunt,\n =T= is the Thrill of a big Fokker hunt.\n =U= Under-carriage, first to go in a smash,\n =V= a V.P.[8] oft precedeth a crash.\n =W= the Wireless, for directing big guns,\n =X= =Y= =Z= I don\u2019t want, so I\u2019ll give to the Huns.\nI\nTHE OPENING MOVEMENTS\n[Sidenote: \u201cSomewhere.\u201d]\nI am here at last. Where that is, however, I can\u2019t tell you.... We\nhad a good journey, but while I was snoozing the carriage door--which\nmust have been carelessly shut by one of our men--opened, and one of\nmy field boots departed. I had taken them off so as to sleep better. I\ntold a police corporal at the next station, and he is trying to get it.\nI had to put on puttees and boots, and pack the odd field boot.... You\nwould hardly believe we were on Active Service here, although we are,\nof course, within hearing of the big guns. There is a stream near by\nwhere we can bathe. We have sleeping-huts fitted with electric light,\nnice beds, a good mess, and a passable aerodrome. The fellows all seem\nnice, too. I have met three of our squadron before.\nI have been up several times, but have not had a job yet. I have been\nlearning the district, and how to land and rise on cinder paths ten\nfeet wide. The ground here is rather rough, and it speaks well for our\nunder-carriages that they stand up to it so well. A good landing is a\nbounce of about twenty feet into the air, and a diminuendo of bounces,\nlike a grasshopper--until you pull up. A fairly bad landing is a bounce\nof fifty feet and diminuendo. Every one here is cheerful, and thinks\nflying is a gentleman\u2019s game, and infinitely better than the trenches;\nwhen your work is over for the day, there is no more anxiety until your\nnext turn comes round, for you can read and sleep out of range of the\nenemy\u2019s guns. What a pity the whole war could not be conducted like\nthat, both sides out of range of each other\u2019s guns all the time!\nOne of our more cheerful optimists feels sure the war will end in the\nnext four or five years.\nMy field boot has turned up, much to my surprise. It was forwarded on\nto me by our local Railway Transport Officer.\nWe are having quite a good time in our squadron and are rejoicing in\nbad weather. Our messing bill is reasonable, and cigarettes and tobacco\nare very cheap; so are matches.\nI have just been over to get some practice with the Lewis gun. They\nare rather amusing toys, for you get rid of 100 shots in ten seconds,\nas you are probably aware....\nI took up a mechanic who is a good gunner, to act as an escort to\none of our men who was going photographing. The corporal was awfully\namusing. He was always getting up and turning round, or kneeling on his\nseat looking at me and signalling to me. I thought several times he\nwas going to get out and walk along the planes. The flight was quite\nuneventful. Next time I write I hope to be able to tell you what the\ntrenches are like; at present, owing to low clouds and bad weather, I\nhaven\u2019t been able to look at them.\n[Sidenote: Map study.]\nOn Thursday I went up with an officer observer on a patrol, to look for\nHuns and gun flashes, etc. We could not see anything above 3,000 feet;\nso we came down to 2,500 feet and flew up and down the lines--well on\nthis side, though--for a couple of hours. I thus got a splendid view of\nthe trenches on both sides for miles, and it was awfully interesting\nto see the fields in some places behind our lines, originally green\npasture land, now almost blotted out with shell holes and mine craters.\nThere has been a craze here for gardening recently, and people are\nsowing seeds sent over from England, and building rockeries and what\nnot. A counter-craze of dug-out digging was started by our C.O. so as\nto provide a place of retreat if over-enthusiastic Huns come over some\nday to bomb us. The dug-out was almost finished when the rain came and\nconverted it into a swimming-bath. The dug-out mania has now ceased.\nThanks for your advice about studying maps. If I carried it out as you\nsuggest in all my spare time, this is something like what my diary\nwould have been for the past week:\n 3.30 a.m. Wakened for early patrol work. Weather is dud, so study\n 8.30 a.m. Breakfast. Raining, so return to room to study maps.\n 12.30 p.m. Snatch ten minutes for lunch, and get back to maps.\n 4.30 p.m. Have some tea, having violent argument meanwhile on\n contoured and uncontoured maps. More study.\n 8 p.m. Break off map study for dinner; then go to bed and study\n maps till \u201clights out.\u201d\n Here ends another derned dull day.\nStill I quite understand what prompted your advice. If one does get\nlost, however, one has only to fly west for a few minutes till one\ncrosses the lines, and then inquire, as we never go far over the lines\nunless escorted.\nI have been up two mornings running at 3.30 for work, but the weather\nhas been \u201cdud.\u201d We do not always get early work, of course; we take it\nin turns.\nI was up over the lines yesterday about 4,000 feet and they put up a\nfew Archies at me. They were rather close, so I zigzagged to a cooler\nspot.\n[Sidenote: A Forced Landing.]\nThis morning we were up at half-past two o\u2019clock. We got up 8,000 feet,\nand awaited the signal to proceed from our leading machine; but the\nclouds below us completely blotted out the ground, so we were signalled\nto descend. When I had dived through the clouds at 5,000 feet, I\ndiscovered to my surprise what appeared to be another layer of clouds\ndown below, and no sign of the ground at all. I came lower and lower\nwith my eyes glued on the altimeter, and still no sign of the ground.\nFinally I went through the clouds until I was very low, and then\nsuddenly I saw a row of trees in front of me, pulled her up, cleared\nthem, and was lost in the fog or clouds again. I decided that that\nplace was not good enough, and, not knowing where I was, I flew west by\nmy compass for about a quarter of an hour and came down very low again.\nThis time we had more success, and could occasionally see patches of\nground fairly well from about twice the height of a small tree. We\ncruised around till we spotted a field, and, after a good examination\nof it, landed all right, and found on inquiry, to our great relief,\nthat we were in France. The observer-officer and I shook hands when we\nlanded. We returned later in the day when the weather cleared up. I\nam not the only one who had a forced landing, but we all came out all\nright, I believe.\nI was getting some well-earned sleep this afternoon when there came a\nknock at the door of my hut, and R.\u00a0H.\u00a0W. walked in. He is not far from\nme and so motor-cycled over. He stopped to tea, and I showed him round.\nWe are very hard up for games, so I want you to send me a Ping-Pong\nset--wooden or cork bats, and a goodly supply of balls.\n[Sidenote: Archies.]\n(_To B.C._) I have been putting off writing to you till I can tell you\nhow I like German Archies. Well, I can tell you now; that is, I can\ntell you how I don\u2019t like them if you promise not to show any one else\nthis letter. Still, perhaps I\u2019d better not; you are such a good little\nboy and have only just left school; perhaps one day when you are grown\nup I\u2019ll tell you my opinion of Archie.\nYesterday I was some miles across the line with my observer, as an\nescort to another machine, and was Archied like the--er--dickens,\nshells bursting all round and some directly under me. Why the machine\nwasn\u2019t riddled I don\u2019t know. I was nearly 10,000 feet up too. The\nArchies burst, leaving black puffs of smoke in the air, so that the\ngunners could see the result. Those puffs were all over the sky. Talk\nabout dodge! Banking both ways at once! \u2019Orrible. What\u2019s more, I had\nto stay over them, dodging about until the other machine chose to come\nback or finished directing the shooting. Both W. and J. who came here\nwith me got holes in their planes from Archie the day before yesterday,\nand W. had a scrap with a Fokker yesterday and got thirty holes through\nhis plane about three feet from his seat. The Fokker approached to\nwithin twenty-five feet. W. had a mechanic with him, and he fired a\ndrum of ammunition at it, and the Fokker dived for the ground. So the\npilot was either wounded or--well, they don\u2019t know how the machine\nlanded, but are hoping to hear from the people in the trenches. The\nfunny part is that the Fokker attacked as usual by diving from behind,\nand W.\u2019s observer turned round and fired kneeling on the seat; but W.\nnever saw the Fokker once during the whole fight or after. W. had his\nmain spar of one wing shot away, and several bracing wires, etc., so he\nhad a lucky escape.\nMy latest adventure is that my engine suddenly stopped dead when I was\na mile over the German lines. My top tank petrol gauge was broken, and\nwas registering twelve gallons when it was really empty. I dropped\n1,000 feet before I could pump up the petrol from the lower tank to the\ntop, and was being Archied, too; but I could have got back to our side\neasily even if the engine had refused to start, though it would have\nbeen unpleasant to cross the lines at a low altitude. I have had the\npetrol gauge put right now. Incidentally, not knowing how much petrol\nyou have is rather awkward, as I landed with less than two gallons at\nthe end of that flight; that is ten minutes\u2019 petrol.\n[Sidenote: Aged 19.]\nIt is rather strange having a birthday away from home, but the letter\nand parcels I got to-day made it all seem like old times.... I have\ndone some night flying here, and when I was up 2,000 feet I could see\nflares and lights over in Hunland. I stayed up some time, and finally\nby a colossal fluke did the best landing I have ever done at the\nAerodrome.\n[Sidenote: A Concert.]\nI went to a concert at Wing Headquarters the other evening; it wasn\u2019t\nat all bad. \u201cThe Foglifters\u201d had really quite good voices, and some of\nthe turns were excellent. One made up as a splendid girl. The programme\nmay interest you:\n _IN THE FIELD_\n Lieut. ---- presents, by kind permission of Lieut.-Colonel\n ----, his renowned Vaudeville entertainment,\n THE \u201cFOG-LIFTERS.\u201d\n (They are thoroughly disinfected before each performance.)\n PROGRAMME\n PART I\n 1. The Fog-lifters introduce themselves.\n 2. C---- tries--but can\u2019t.\n 3. B---- sings a Warwickshire song in Yorkshire brogue.\n 4. Six-foot picks his mark.\n 5. B---- on his experiences in the Marines.\n 6. C---- relates his visit to Hastings.\n 7. T---- on Acrobatic Eyes.\n 8. The Second-in-Command ties himself in a knot.\n 9. Six-foot warns the unwary.\n 10. The Fog-lifters, feeling dry, retire at this point for a drink,\n and leave you to the tender mercies of H----. \u201cWatch your\n watch and chain yourself to your seat.\u201d\n PART II\n 11. T---- thinks of leave.\n 12. The \u201cBoss\u201d makes a bid for the biscuit.\n 13. B---- and his Favourite Topic.\n 14. Rather a Fagging Turn.\n 16. T---- endeavours to sing a Sentimental Song.\n 17. Six-foot shows B---- how it\u2019s done.\n 18. The Second-in-Command excels \u2019iself.\n 19. B----\u2019s memories of the Spanish Armada.\n 20. Six-foot and C---- have a Serious Relapse.\n _The Beginning of the End._\n THE KING.\nII\nINCREASING THE PACE\n[Sidenote: French Aviator\u2019s Bag.]\nOnly time for a few lines before the post goes. I was flying at a\nquarter to three o\u2019clock this morning. I was orderly pilot, and a Hun\nwas reported in the neighbourhood. I went to bed after two hours\u2019\nflying and was knocked up again, and spent another couple of hours\nin the air--all this before I had anything to eat or drink. Luckily\nI was not at all hungry or thirsty. The Hun I was chasing (or rather\nlooking for) on my second patrol was brought down a few miles from our\naerodrome by a French aviator. The pilot and observer were killed.\nNeither my observer nor I saw anything at all of the fight, as we were\npatrolling further down the line. You bet I was fed up when we landed.\nThe smash was brought to our place and taken away by the French. The\nmachine seemed essentially German--very solid and thick, weight no\nobject. The French aviators were very nice. I had a chat with them.\nThe rumours at the aerodrome were various--one that I was brought\ndown; another that I had brought down a Hun; and a third that a French\naviator and I had had a scrap!\n[Sidenote: The Enemy in our Midst.]\nHere is a true story. There was some night flying at one of our\naerodromes the other day, and a machine came over and fired a coloured\nlight asking \u201cCan I come down?\u201d The people on the ground fired one in\nreply meaning \u201cYes,\u201d and a completely equipped German biplane landed\nand a guttural German voice was heard shouting for mechanics. He got\nthem all right, but they were R.F.C. and not German mechanics. The\ncoincidence of the signals was extraordinary. The machine--it was an\nAviatik--was in perfect order, and has since been flown and tested\nby the R.F.C. It was wonderfully kind of them to plank their machine\ndown in that aerodrome, and the surprise on both sides must have been\nextremely comical to watch when the Hun discovered it was an English\n\u2019drome, and the mechanics discovered it was a Hun pilot.\nI know that this is Sunday, as we have had a lot of work to do. I have\njust come down from my job. I went up at 12.30 and landed at 3.40. Not\na bad flight? I was up and down the lines patrolling most of the time.\nOur escort lost us soon after leaving the \u2019drome, but it didn\u2019t matter.\nI got Archied two or three times, but nothing really annoying. They\nare very clever with those guns. For instance, when I was a mile and a\nhalf or perhaps less on our side of the lines they fired Archie on the\nFrench side of me, hoping I would turn away from it and so get within\nbetter range. They generally let you cross the lines in peace, so as to\nentice you over as far as possible, and then let you have it hot and\nstrong all the way back....\nI have just been to look at the machine. Apparently one of those\nArchies got nearer than I thought, for a piece of shrapnel has made\na 6-inch hole in the tail plane. The shrapnel must have been spent,\nbecause it has only pierced the bottom surface of the tail, and has not\npenetrated the top. I was rather pleased when I found that, as it is\nsomething to say that your machine has been hit by Archie.\nThe ping-pong set has arrived.\nI\u2019ll let you know right enough when I want any more garments. Our linen\ngoes off to be washed at any old time, as there are plenty of laundries\nnear here--an old woman, an old wooden bat, and a smooth worn stone by\na dirty stream. The stuff comes back wonderfully clean, however.\nDon\u2019t you worry about my food while night flying. I get that all\nright; it was a very \u2019ceptional case the other day. If we have an\nearly stunt we always get hot cocoa and bread-and-butter. But you see,\nI was orderly pilot that day, and the Huns weren\u2019t polite enough to\nring me up the night before and tell me what time they were coming;\nand so I had to move rather more quickly when they did come. I can get\nchocolates and biscuits at the Canteen here.\nThis is what you will call another \u201crestful\u201d letter because I have had\nno flying yesterday or to-day. We rather like bad weather here when it\nis sufficiently bad.\nDunno why the other squadron was \u201cmentioned\u201d in despatches. They have\nabout seven of our chaps there--perhaps that\u2019s why--or perhaps the\nGeneral lost some money at bridge to the C.O., or perhaps they drew\nlots for it.\n[Sidenote: \u201cHot Air Stuff.\u201d]\nI had some ping-pong to-day--quite a relaxation after the job I did\nthis morning. I went out with an observer on a howitzer shoot, an\nofficer in this case. We went over to the lines, arriving there about\n11.15 a.m. and \u201crang up\u201d the battery. All being well, we ploughed over\nthe lines to have a look at the target in Hunland. The battery then\nfired, and the observer watched for the burst and wirelessed back\nthe correction. Each shot fired meant a journey over the lines, and\neach time we went over the Huns got madder and madder, and loosed off\n\u201cArchie\u201d at us in bucketsful.\n Archie to right of us,\n Archie to left of us, etc.\nWe were fairly plastered in Archie. Each time I crossed the lines I did\nso at a different altitude. The first five times I climbed higher each\ntime to throw the range out, and the next five times I came down a bit\neach time. The last five times I was so fed up with their dud shooting\nthat I went across at whatever altitude I happened to be at, and that\nprobably upset \u2019em more than ever! At any rate they fired about 600\nshells at us in the course of that \u201cshoot,\u201d allowing roughly forty\nshells per crossing (at least) and fifteen crossings, and the only\ndamage they did was to put a small hole through my top plane. My, they\nmust have been disgusted![9]\nThe \u201cstrafe\u201d took place between 5,000 feet and 6,000 feet altitude. The\nArchies got so near sometimes that we went through the smoke from the\nshell. Of course it would never do to go on flying a straight course;\nit is a case of dodge, twist, turn, and dive at odd and unexpected\nmoments, and when it gets really too hot, run away and come back at a\ndifferent altitude.\n[Sidenote: A Big \u201cStrafe.\u201d]\nThe Bosches started a big \u201cstrafe\u201d yesterday, and so kept us all\nbusy on counter battery work; that is, spotting the flashes of the\n\u201chun-guns,\u201d and wirelessing down their positions to the artillery, who\neither fire at them or note their positions for a future occasion. With\nall the German guns going, the woods behind the lines were a blaze of\nflashes, and we sent down as many in the afternoon as the battery had\ngot in the previous six weeks. The artillery were naturally rather\nbucked. It was a wonderful sight seeing all the shells bursting along\nthe miles of trenches, and the huge white spreading gas shells at\nintervals. One could hear the bang of our big guns when they fired\nsalvos from under us, and at times we got bumps from the shells passing\nnear us in the air. \u201cShell bumps\u201d are fairly common, and I have had\nthem before. I don\u2019t know how near the shells pass, but moving at that\nspeed they would affect the air for a long way round. I felt them at\n5,000 feet once. They were not being shot at us, but shells which pass\nthrough to Hunland, so:\n[Illustration]\nWe got a wireless report here of a naval battle and not a cheery one at\nthat. We are all waiting to see what the papers will have to say about\nit to-morrow.... Later: The C.O. has just been on the \u2019phone about the\nnaval battle, and we are relieved to hear that it was not so bad as we\nhad heard at first, or rather that the German losses were not so few as\nwe were told.\nI must stop, as I have some letters to censor. \u201cHoping this finds you\nas it leaves me, in the pink.\u201d\nWe have had two or three days of rest, as the weather has been too bad\nfor flying.... The naval battle was not a defeat after all, and it\nseems a case of \u201cas you were\u201d in France; so we just sit here and play\nping-pong and wait for the Army to win the war.\nWe have just had the papers with the news of the loss of Kitchener. We\ngot the story by wireless a couple of days ago, but could not believe\nit until we saw it actually in print. It is a big blow, though probably\nmorally more than in any other way....\nBad news has come through from the wing. Our ten days\u2019 leave will in\nfuture be cut down to seven days from time of leaving here; that means\nfive clear days in England. I only know this, that I shall be pleased\nto have leave in England, however short it is. It is a case of \u201cso near\nand yet so far.\u201d An hour and a half or two hours\u2019 flying on a clear\nday would land me at home for tea--always providing I did not miss\nmy way. But we don\u2019t have such a bad time here on the whole, and I\nam perfectly frank with you in my letters. On carefully analysing my\nfeelings, I believe I am actually enjoying the life, for we certainly\ndo have the best time of any branch of the Army when our job is over.\n[Sidenote: Looping the Loop.]\nI had a job in the morning yesterday. A slight bombardment was on, and\nthe C.O. sent me up to stop it. It was a beastly day--rain stings at\nseventy miles an hour--and it was cloudy and misty. We stayed a couple\nof hours, got a few Archies and came home.\nThe afternoon cleared up, and my Flight Commander suggested I should go\nup and practise with a camera and some old plates. So up I went, and,\nwith the camera tied on very securely in case I \u201caccidentally\u201d turned\nupside down, beetled off to a spot behind the lines where I played\na delightful game of \u201cmake-believe.\u201d Fixing on an innocent little\nfarmhouse as my objective, I dodged imaginary Archies on my way to it,\nand, regardless of the laws of aerial navigation, put my machine in\nsuch postures that the farmhouse was sighted by the camera.\nI tried a dozen or so shots at it, and then, as I had reached a height\nof 6,000 feet, I thought I would try to do my first loop. I shoved\nthe nose down 70--80--90--100 miles per hour. The pitot tube did not\nregister any higher; the liquid went out at the top. Then, when at a\nspeed of approximately a hundred and twenty miles an hour, I pulled the\n\u201cjoy-stick\u201d back into my tummy, and up went the nose--up--up--and there\nI was, upside down, gazing at the sky. Gee, how slowly she seems to be\ngoing! Ah!! she\u2019s over at last. The white blank overhead changes to a\nblack mass of earth rising up at me, and the nose dive part is over\ntoo, and a final sweep brings me level.\nI glanced at the altimeter. I had lost 400 feet.\nCheer-o! Now I\u2019ll write home and tell them. No, I _must_ do another. If\nI did only one they would think I had funked it after the first shot.\nDown goes the nose, then up--up--and slower--slower. By Jove, she\u2019s\ngoing to stick at the top of the loop this time. Too slow; centrifugal\nforce is not great enough. My feet seem to lose their contact with the\nfloor.\nI grip the \u201cjoy-stick\u201d fiercely with both hands. Ah! She\u2019s over. Now\nthe rush down, and then level once more. Now I\u2019ll get off to the\naerodrome and show them how to do it.\n[Illustration]\nI did a couple more quite close to the aerodrome--beauties; and then\ncame down in a steep spiral. They were all at a height of 6,000 feet,\nand I only lost 400 feet each time. Four good loops at the first time\nof attempting a loop isn\u2019t bad considering I had never even looped as\na passenger. Strangely enough, I wasn\u2019t half so excited as I expected\nto be, and once accomplished, the feat seemed easy and not out of the\nordinary. But to set your minds at rest I do not intend to go in for\nstunting.\nI am quite bucked, though, at having done it, and it was a curious\nsensation, to say the least. I have been heartily congratulated: they\nwere \u201cd--d good loops!\u201d\nThanks ever so much for the pastries and the cake. They were ripping.\nBut really, though, you mustn\u2019t trouble so much over me in the food\nline, for we have to pinch ourselves and tell each other \u201cThere is a\nwar on\u201d sometimes when we get some unusual delicacies. By the same post\nI got a pound of lovely nut chocolate from S. We had a tremendous scrap\nin the Mess over it when I discovered what it was, and it ended up\nwith the box of chocolate on the floor, with me on top of it, and five\npeople on top of me. When they discovered that the more people there\nwere on top of me the farther off became the chocolate, they got up,\nand I handed it round in the usual civilised manner. It was great fun,\nthough, and the chocolate being in a tin did not suffer.\nWe had a visit from Ian Hay\u2019s friend to-day, if you recall a certain\nincident in the trenches. He recently got the Military Cross.[10]\nOne of the difficulties I have to contend with here is finding out the\ncorrect day and date. Days here are all one to us, and it has even\nsometimes to be put to the vote.\nYesterday I spent four and a half hours in my machine! Not all in the\nair, though. I took up fifteen different passengers, and gave them all\na spiral. They were sent over to see what signalling on the ground\nlooks like from a \u2019plane. I don\u2019t think any of them had been up before.\nAt Hendon I should have made between \u00a330 and \u00a340 for that.\nAs I was going out of the aerodrome I flew over a passing car and we\nwaved merrily to each other. Then I chased the car, slowed my engine\nand dived at it, and a little later flew after it again. The driver\nmust have been watching me too closely, for he went into the ditch. My\npassenger was awfully bucked about it.\nI suppose you know we have adopted the new time now. It only alters the\nhour of our meals, however; our work goes on according to the light and\nthe weather.\nCricket is the great \u201cstunt\u201d here in the afternoon and Rugby in the\nevenings. The mornings are spent in repairing the damage of overnight\ncaused by the Rugger. All this, of course, provided the little\nincidentals of flying, and so on, do not interfere to excess. The\nbatsman is out-numbered by fielders in the proportion of fifteen to\none, and for his further annoyance he may not smite the ball more than\nquite a moderate distance or it counts as out. Still, the game provides\nmuch amusement, and as the batsman generally ignores the boundary rule,\nand smites at every ball on the principle of a short life and a gay\none, it is also conducive to short innings.\n[Sidenote: Night Flying.]\nI had another twenty minutes\u2019 night flying a couple of nights ago, and\ndid a good landing. It was almost pitch dark, as there was a long row\nof clouds at 2,000 feet which hid the moon. We had flares out, and a\nsearchlight lighting up the track; but from the moment you start moving\nyou go out into inky darkness, flying on, seeing nothing till the\naltimeter tells you that you are high enough to turn. Then round, and\nthe twinkling lights of the Aerodrome beneath. Higher, and gradually,\nas you become accustomed to the dark, you pick out a road here and a\nclump of trees there, till finally the picture is complete. At length,\nyou throttle down the engine and glide--keeping a watchful eye on the\naltimeter, aerodrome, and air speed indicator. When about 400 feet\nup you open out your engine again, and fly in towards the aerodrome,\nstopping your engine just outside. Then you glide down and land\nalongside the flares.\nAs I write, I hear a lively bugle band in the distance on the march.\nMore troops going up to the trenches, I suppose. Our gramophone still\nplays on, our gardens and flower-beds are blooming, and all is well.\n[Sidenote: Photos.]\nTo-day I went up to take photos, and went over the lines four times,\ncarefully sighting the required trenches, and taking eighteen photos.\nI spent nearly two and a half hours in the air, and when I got back\nI found the string that worked the shutter had broken after my third\nphoto, and the rest had not come out. It was disappointing, because\nmy last three journeys over the lines need not have been made, and\nincidentally it would have saved getting a hole through one of my\nplanes.\nJ. saw a scrap in the air to-day in which one of our machines was\nbrought down. He was too far off to help. The report came in first\nthat it was my \u2019bus which was down, but neither I nor my escort machine\nsaw the fight, which must have been some distance off.\n[Sidenote: Hide and Seek.]\nAll goes well, and I have finished my job for to-day (a three hours\u2019\npatrol) without seeing a Hun or getting an Archie. Two of us went up\nand F had streamers on his wings; he was going to direct the flight,\nand I was to follow him. It was very cloudy, and F being in a skittish\nmood played hide-and-seek round them. This was good fun for the first\nhour, but after that it became boring. Once, when I was following him\na short distance behind, he ran slap into the middle of a huge cloud.\nI said to myself, \u201cIf you think I am going to follow you there you\u2019re\njolly well mistaken\u201d; so I waited outside the cloud, and was gratified\nto see him come out at the bottom in a vertical bank, about 500 feet\ndirectly below me. It turned out that he had been pumping up the\npressure in his petrol tank, roaring with laughter as his passenger\ngave a little jump at every pumpful, for the passenger sits on one of\nthe large petrol tanks, which swells or \u201cunkinks\u201d itself as you pump,\nand to his disgust he had run slap into the cloud without seeing it. It\nwas a wonderful sight among the clouds, and to see the other aeroplane\ndodging in and out of grottos, canyons, and tunnels, poking its nose\nhere and there, sometimes worrying a zigzag course through a maze of\ncloudlets, and sometimes turning back from an impenetrable part with a\nvertical bank, outlining the machine sharply against the cloud. Finally\nwe came down to a height of 5,000 feet, and there, just by the lines,\nwe had a sham battle for the amusement of the Tommies in the trenches.\n\u201cI have nothink to write about this time. I got a letter from Bert the\nother day, he\u2019s out in France, and old George\u2019s group is called up too.\nI wonder when those Saterday nites with them will cum back, they were\ntimes. Then that supper with me and him at Eliza\u2019s after--my! Everyone\nthinks as how the war will be over with luck in a few years\u2019 time. \u2019As\nPa got that job or is he still at the \u2018Green Man\u2019? Well hoping this\nfinds you as it leaves me at present, in the pink. I wish you\u2019d send\nour cook the resepe for them cooked chips you used ter do on Saterday\nnites. Give my love to Rose.\u201d\nNo, I\u2019m still sane--merely a temporary lapse owing to an overdose\nof censoring. The squadron yesterday, noticing that I was orderly\nofficer, decided to give me a run for my money, and wrote millions of\nletters.\nMy Flight Commander--one of the finest fellows I have ever met--is busy\ncooking tobacco with E. in a tin by means of a spirit lamp! They are\ntrying to determine its \u201cflash point,\u201d and I have sent word round to\nthe M.O. to stand by with stretchers.\nI was up with K. yesterday, strafing some trenches. We started at\n3,000 feet and the clouds descended lower and lower till we ended up\nat a height of 1,200 feet over a well-known town, where it became too\nwet and too hot at the same time for our job. To-day the clouds are\ncrawling about just over the ground, so there is nothing doing.\nOur food here is English right enough. We get French bread as well,\nand it is generally preferred to ration bread. The gardens here have\nflowers--planted out mostly--pansies, nasturtiums, etc. I suggested\nthat asparagus would be rather a good thing to plant, but the idea\ndidn\u2019t seem to catch on!\nThere is no reason whatever to be worried about not receiving letters.\nIf there is ever a move either way it would not affect the R.F.C.\nto any great extent. It couldn\u2019t improve German Archie shooting or\nanything of that sort. No fighting on the ground can reach us, and in a\nbig bombardment it only means that we are kept fairly busy directing\nthe fire of our batteries, etc.\n[Sidenote: \u201cMissing.\u201d]\nSorry I shan\u2019t be able to write you to-day except this rough note\nwritten in my biplane. I have finished my job, and am writing in the\nhope of catching the post. There is bad news to-day. My pal B., who was\non a bombing stunt this morning, has not returned, so I am afraid he\nmay have landed in Hunland. I am just doing a long glide down to the\naerodrome; my passenger has asked me not to spiral down as he has got\na bad head. I enclose his note. His writing is better than mine, as\nhe has written on a soft pad. (Enclosure:--\u201cGot a rotten head, so go\nsteady, will you?\u201d)\nI\u2019ve got a top-hole souvenir now. It is a machine-gun bullet which my\nrigger found in my fuselage--that is to say, the aeroplane fuselage. It\nis bent \u201csome,\u201d as it smote something rather hard--a bomb.\nI went up to take some special photos for the C.O. to-day, but the\nweather was very bad, and the sky as smothered in clouds as I was in\nArchie, and that is saying a good deal. It took me three trips over\nthe line to get five photos. Four came out, including on them corners\nof clouds I was dodging. The Huns got our range to a nicety, but there\nwas not a scratch on the machine. One Archie burst just in front of us,\nand I looked up to see the corporal I had as passenger disappear in the\nsmoke as we actually went through it. It was like going through a tiny\ncloud. I have heard and seen plenty of Archie before, but never before\n_smelt_ it. The C.O. was rather pleased, though only one photo was\nreally of any use.\nThe engine in my machine has put up a record for the squadron. It did\nover a hundred and ten hours\u2019 running without being touched or even\nhaving the sparking plugs changed. It was still going strong when we\nchanged it and put a new one in. I have tested the new one and flown\nwith it, and it is very good.\nWe are kept well up-to-date with the London theatre news by the fellows\nwho come back from leave. They also bring the records of them back for\nthe gramophone, and now the camp resounds with music from \u201cThe Bing\nBoys are Here\u201d and \u201cMr. Manhattan.\u201d\nTo people who think this branch of the Service the most dangerous, you\ncan say I\u2019d sooner be here than in the trenches these days, and I think\nthe opinion of the whole corps is the same.\n[Sidenote: Pancaking in a Wheat Field.]\nI ran out of petrol a quarter of a mile from the aerodrome, and had\nto land in a field of wheat about five feet high. I had been up three\nhours and twenty minutes non-stop when my petrol ran out, and the gauge\nstill showed three gallons in the tank, though it was bone dry. I was\n700 feet up and had to make up my mind where I was going to land in\nabout four seconds. I brought her down, and pancaked her beautifully\ninto the field about three yards from a road. It is jolly hard to land\nin wheat without turning over, but I did it without hurting the machine\nat all; in fact J. flew it that evening on a night stunt. We wheeled\nit from the field along the road back to the aerodrome inside half an\nhour. My passenger said he enjoyed the flight more than any other he\nhad had!\nAt the present moment there is _some_ storm on. J. is playing the\nviolin not two yards from me, and I cannot hear a single note except\nduring lulls. Perhaps it is just as well.\nOne of our squadron was out on a stunt the other day. Next day the\n\u2019phone was continually on the go, and there was so much \u201chot air\u201d in\nthe office that it was dangerous to fly over on account of the bumps.\nSeveral of us have got special leave to go to a flicker show some way\noff, and a tender is coming in a few minutes. I am very fit, and we are\nall a very happy party. I am sitting on my bed, in my little hut about\n8 feet by 6 feet. It is really quite snug. Washstand, etc., and shelves\nand books _and_ boots and clothes. Diabolo (home made) is the latest\ncraze here! Here comes the tender, so I must catch the post first.\nI was up on photos to-day. I hope and expect these are the last for a\nwhile. I had quite a job getting them owing to clouds. I flew about\nbehind the German lines for over an hour before I could get a single\nphoto, owing to there being no holes in the clouds. I got practically\nno Archie, and got the photos.\nI went to the flicker show the other day and it was quite good. A\nsplendid divisional band, a Charlie Chaplin film, and tea, _and\npatisserie_! Ah!\nI think Gillespie\u2019s book (_Letters from Flanders_) most interesting.\nI have only dipped into it here and there at present, but am going to\nread it through. Send some more as soon as you like.\n[Sidenote: An Exciting Landing.]\nBlessed if I know what to write about. I did the three-hour patrol\nyesterday, but it was very cold and cloudy and no Huns ventured out.\nA visitor landed at our \u2019drome from night bombing and a bomb blew his\nmachine up on landing. He calmly got out of the scrap-heap and walked\naway. It was a miraculous escape, and most of our people who were\nasleep thought it was a Hun bombing us. The engine was still running\non the ground, and the C.O. stopped it by using a fire extinguisher in\nthe air intake--a jolly clever and plucky thing to do, as there were\ngallons of petrol all around, and, for all he knew, more bombs.\nThere is a darling puppy here belonging to one of the men, and I\ngo round and have a chat with it every morning when I inspect my\ntransport. It is a jolly little thing, and quite looks forward to my\nvisits.\n At the Base was a Censor,\n He chopped up my letter;\n Thus he was a base Censor,\n Or why didn\u2019t he let her\n Go by? Yet he\u2019d some sense or\n News even better\n You\u2019d get in my letter.\n[Sidenote: Dual Control.]\nI am at present flying a machine fitted with dual control. A couple of\ndays ago I went up to test it and E. came with me. We trotted round\nthe country very low and stunted gently over neighbouring villages.\nYou can easily tell when people are watching you, as in looking up the\nblack blob of the hat changes to the white blob of the face. We went\nup again yesterday, and when I had taken the machine to 2,000 feet or\nso, I signalled E., and he fitted in his control lever and took charge.\nI then had a pleasant little snooze of twenty minutes or so, waking\nup now and then to give my lever a pat in the required direction when\nhe did not get the machine level quickly enough after turning, or\nsomething like that. He did jolly well, turning the machine splendidly\nsometimes. Then, when it was just about a quarter of an hour before\ndinner time he took out his lever, and I brought the machine down in\nthe most gorgeous spiral I have ever done. Absolutely vertical bank on.\nM. was very amusing afterwards. \u201cQuite a good spiral that,\u201d he said\npatronisingly to E., \u201cfor a first attempt.\u201d\nI was up again this morning for two and a half hours with E. The\nweather was hopeless; our altitude was often under 2,000 feet by the\nlines. To relieve the monotony E. flew me for about half an hour while\nI observed--the clouds and mist! Finally, we got up a bit higher, and\njust before it was time to come home did a beautiful spiral quite close\nto the lines for the benefit of a few thousand Tommies and Huns in the\ntrenches--just to show there was no ill-feeling, you know.\nI had just got my letters to-day when I was sent up, so I had to take\nthem with me, and read them in the air on the way to the lines.\nI took up some chocolate the other day when I was on patrol, and gave\nsome to the observer in the air, and we munched away for some time.\nHe was a sergeant, one of the ancient observers, and he did not know\nthat when I waggled the joy-stick--thus shaking the \u2019bus from side\nto side--I wanted him to turn round. I waggled away for about five\nminutes, and he sat there quite contentedly, thinking to himself\n(as he afterwards told me) that it was rather a bumpy day. Then I\nstarted switch-backing and he endured that, though on what theory I\ndon\u2019t know. Finally I nearly had to loop him to persuade him to turn\nround, and when he did so he had a grin on his face and a sort of\n\u201cThink-you-can-frighten-me-with-your-stunts-you-giddy-kipper\u201d look as\nwell.\nThe newspaper stories of the firing in France being heard in Ireland,\nthe north of Scotland, and Timbuctoo amuse me greatly. Those people\nmust have \u201csome\u201d ears.\nI was most frightfully sorry that you hadn\u2019t received up to Sunday my\nletter about the postponement of my leave. It must have been a rotten\ndisappointment, and I raged round the camp until I finally simmered\ndown again. Never mind, it won\u2019t be long.... Six people have just\ninvaded my 8 feet by 6 feet hut. That is one of the ways superfine\nVirginias depart this life quickly. Rescued the inkbottle from an\nuntimely death as a billiard ball, the cue a rolled-up map; violent\ncussin\u2019, almost worthy of Mother Guttersnipe caused E. to vamoose and\nthe others buzzed off.\nMy dear old \u2019bus (or aeroplane as the authorities insist on its being\ncalled)[11] has gone under at last. One new pilot too many was called\nupon to fly it, and I may be bringing home a new walking-stick! I have\nnot been flying it for a week now, as I have a nice new--er--machine to\nfly. But E. and I did all our \u201chot-air stuff\u201d on the other \u2019bus, and I\nlooped it.\nThe splendid news has come through that my pal B. is \u201csafe and well\nthough a prisoner.\u201d W., who is on leave, wired us.\nI shan\u2019t write to-morrow, as if all goes well it will be a race between\nthis card and myself to get home first. The very best of love to you.\nIII\nSTORM AFTER CALM\n[Sidenote: Back to Duty.]\nBack to work and my old friend Archie quickly. I was on bombing\nyesterday, not very far over the lines though, and there were about\n---- of us. It was a wonderfully pretty sight to see the bombs going\ndown in a string, dwindling, and finally disappearing below. Bags of\nArchie were flying around, but my \u201cmachine\u201d was not hit at all. I was\nfirst up to-day and we had a non-stop flight of nearly three hours,\nranging some batteries. The weather was pretty dud, but W. and I\nmanaged all right. S. is missing, as perhaps you have heard. He was on\na long bombing stunt. He is reported unhurt and prisoner of war.\n I shot a bullet into the air,\n It fell to earth I know not where.\nWhen we were up to-day P. emptied a drum of ammunition from the gun\nover the lines--not firing at anything in particular, but just to\ntest the gun. The empty cartridges as they were ejected landed with\nclockwork regularity on the top of my head. I said to myself, \u201cThis is\nsome hail.\u201d\nLast evening E. and I went in a tender to the battery we had been\nworking with in the morning and saw the wonderful ruins of a town near\nthere. We were really quite close to the lines, but luckily there was\nno shelling, and we got back O.K.\nWe have a game here now which is something like tennis. Instead of\nracquets and balls, we use a rope quoit, which must be caught and\nreturned as per tennis, but must not be held in the hand or thrown\nover-arm. I had a game of solo yesterday with three others, and I have\ndiscovered two people who are frightfully keen on \u201cScramble Patience.\u201d\nGee whiz! One of them knows practically all Gilbert and Sullivan by\nheart as well. Isn\u2019t it extraordinary how \u201cScramble Patience\u201d and\nGilbert and Sullivan always seem to go together? We went for a walk\nlast evening, and sang the Nightmare song through, and several from\n\u201cPatience\u201d and the \u201cYeomen,\u201d etc. We are getting a tennis court made\nafter all; it is progressing quite well.\n[Sidenote: A Good Story.]\nHere is a story as it was told to me. One of the best pilots at the\nfront one day crashed on the top of some trees. He got out, and was\nstanding by the remains of his machine when a Staff Officer came up\nand remarked, \u201cI suppose you\u2019ve had a smash!\u201d \u201cOh n-no,\u201d stuttered the\npilot, who was, to put it mildly, somewhat savage, \u201cI _always_ l-land\nl-ike this.\u201d The Staff Officer, annoyed in his turn, said, \u201cDo you know\nwhom you are speaking to? What is your name?\u201d To which: \u201cDon\u2019t try to\nc-come the comic p-policeman over me. Y-You\u2019ll f-find my n-number on my\nt-tail p-plane.\u201d\nI was called at four this morning, and leapt heroically into the air\nat five. It was confoundedly cold, but I had a thick shirt and vest,\na leather waistcoat, double-breasted tunic, the fleece lining from my\nwaterproof and a leather overcoat, so I just managed to keep warm.\nYesterday I was in the middle of a game of tennis when, with one or\ntwo others, I was ordered to fly over to a neighbouring aerodrome to\nbe ready for a special job in the morning. I landed there all right\nand reported, and went into the mess-room slap into the arms of an\nold schoolfellow. I was chatting with him when the C.O. sent for me\nto explain the nature of the work before us. I went into his office,\nand the other pilots detailed for the work came in, and to my utter\nastonishment I recognised another old schoolfellow. I had dinner with\nhim and stayed the night there. This morning the weather was too dud\nfor our work and it was washed out, and we returned to our aerodromes.\nI brought back my bed, valise, pyjamas, etc., with me in the passenger\nseat of the aeroplane. I had to fly back without my goggles, as I had\nlost them at the other aerodrome.\n[Sidenote: A Fokker\u2019s Flight.]\nOne of our pilots had my machine up to-day and met a Fokker. His (or\nrather my) machine was damaged, but he spun round and let fly at the\nFokker. Then his gun jammed, but to his surprise the Hun went off home\n\u201chell for leather.\u201d The R.F.C. have absolutely got the Huns \u201cstiff\u201d in\nthe air, partly owing to our \u201chot stuff\u201d new machines, and partly to\nthe pilots. But a Fokker running away from the machine L. was flying\nmust have been a comical sight. My machines always seem to be unlucky\nwhen in the hands of other pilots.\nTo-day I have done very little else but sleep, and the weather has\ndone very little else but rain. I tried to get my hair cut this\nmorning at a village not far away, but was informed that it was after\ntwelve o\u2019clock. \u201cSurely not,\u201d I said, and the barber said \u201cSi,\u201d and\nunblushingly produced a watch showing about ten minutes to twelve, and\nmotioned me away. However, I got some magazines, and chocolate, and\nsome new shaving soap and razor blades.\n[Sidenote: A Tail Piece.]\nJust now I bid fair to outdo H.\u2019s record of unpleasant stunts, as I\nnearly had a third within twenty-four hours. The first one was just to\nwhet my appetite, so to speak, but although I only went a few miles\nover the lines I was Archied the whole blessed time. The Huns must have\nspent fortunes on Archie in the last week. I hit something with one\nof my bombs that made a colossal burst--probably some Hun ammunition.\nYesterday they started on me just before I got to the lines, and, I\nthink, went on until I was a good ten miles the other side. Then the\nArchies started from the place I was going to bomb, and clattered away\nfor ages, but they were not nearly so good as those near the lines,\nas they haven\u2019t got so much practice. There were some wonderfully\nnear shots, and the machine was badly shaken by one which made a most\nappalling crash just behind the tail. I was horribly scared, of course.\nI looked round, saw the tail still there, said \u201cRemarkable!\u201d and went\non. The Hun aerodrome was a very nice-looking place. It had two landing\nT\u2019s out--great white strips of sheet, and there was a machine on the\nground. I dropped several bombs there, one landing on the road beside\nthe \u2019drome and one by the landing T. I don\u2019t know if I hit any of the\nsheds or not, as it was rather cloudy, and I could not see the effect\nof all my bombs. When I had finished I came back with the wind, nose\ndown, at _some_ pace, and hardly got an Archie at all. I was jolly\npleased when it was over, and pleased too (in a way) that I had been,\nas it really was interesting to be so many miles behind the lines and\nsee their aerodromes, etc.\n[Sidenote: Night Bombing.]\nWell, I went night bombing yesterday--rather an Irish way of putting\nit, though! I went up after dinner, and as it was a bit misty I\nsignalled down \u201cbad mist.\u201d They signalled to me to come down, but I\nwasn\u2019t having any, and turned my blind eye to \u2019em and beetled off.\nYou see, from the ground it didn\u2019t look misty, and so, as I didn\u2019t\nwant any doubts on the subject, I sloped off towards the lines. I soon\nlost sight of the flares and then became absolutely and completely\nlost. Everything was inky black and I could only see an occasional\nthing directly below me. My mapboard was in the way of my compass, so I\npulled the map off, chucked the board over the side, and then flew due\neast for about a quarter of an hour, when I saw some lights fired. I\ncrossed the lines about 4,000 feet up and tried to find my objective,\nbut it was no go. I went about four miles over, and came down to 2,000\nfeet with my engine throttled down, but could not even recognise what\npart I was over, owing to the mist. Then, to my surprise, the Huns\nloosed off some Archie nowhere near me, so I expect they couldn\u2019t see\n_me_; but it looked ripping. They got a searchlight going and flashed\nit all round, passing always over the top of me. Then some more flares\nwent up from the lines, and I could see the ground there beautifully,\nas clear as day, and some deep craters, but it did not show me\nsufficient to enable me to recognise what part of the lines I was over.\nDeciding it was hopeless, I set out for home, flying due west by my\ncompass. It seemed ages before I picked up the aerodrome lights again,\nand I was afraid I might have drifted away sideways, but I spotted\nthem all right, and just as I was nearing them, passed another of our\nmachines by about 200 yards in the darkness. He was a wee bit lower\nthan I was, and as he passed I could see his instrument lights in his\nlittle cabin. I then switched on some little lights I had on the wing\ntips, and flashed my pocket lamp--you know, the one I had in Germany\nand at Penlee--and then gave an exhibition of spiralling and banking in\nthe dark. They said it looked topping from the ground. Then I signalled\ndown \u201cN.B.G.\u201d and came in, \u201cperched\u201d (with all my bombs on, of course),\nand made a perfect dream of a landing.\nAltogether I had really enjoyed myself, and would much rather do night\nbombing than day bombing. The only thing that annoyed me was that I\ncouldn\u2019t find my target, \u2019cos the bombs would have looked so pretty\nexploding in the darkness. I didn\u2019t get up until about twelve o\u2019clock\nthis morning, and I am playing tennis at 5.15, so it has its advantages.\nA little red spider has just landed on me and buzzed off again; that\u2019s\nlucky, ain\u2019t it?\n[Sidenote: Gesticulation in Mid-Air]\nHave just had a forced landing. M. was up with me, and I yelled to\nhim to work the throttle from his compartment. He smiled benignly on\nme, not understanding or taking much heed. Finally I stood up, waved\nmy arms at him, and shouted. He turned round, and, thinking that I\nhad a mad fit on, put his thumb to his nose and extended his fingers.\nFinally, realising what I wanted, he tried the throttle, but did not\nsucceed in working it, and in his turn waved his arms. We must have\nbeen a comical sight up there, wildly waving our arms at each other.\nAs we couldn\u2019t use the engine and were descending, I warned M. that we\nwere going to have a forced landing. He tumbled to that all right and\nremoved the gun from behind his head and put it on the front mounting,\njust in case--er--we met a hedge! We reached the aerodrome all right a\ncouple of thousand feet up, and spiralled down. Just as I was coming\nin to land, another machine cut in ahead of me, but as I had no engine\nI couldn\u2019t \u201cwai-at\u201d (like Peg), but just perched behind him and dodged\nhim. So all ended well, for I made a perfect landing.\nHave just been up with E. We spotted a storm coming up and ran for\nhome. I came down to land, and found myself going too fast, so had to\ngo round again. Great loss of dignity! I came in again, this time right\nat the end of the aerodrome, and closed the throttle, but the blessed\nmachine went on flying, and I switched off just in time to prevent\nrunning out of the aerodrome. The throttle had become incorrectly set\nand the engine continued to run at half speed, although the throttle\nwas entirely closed. We just got in before the rain came down.\nI was up 8,000 feet this morning, but the whole sky was clouded over\nand one could not see the ground. Flying just above the clouds it was\ngorgeous; one felt like leaning out and grasping a handful of snow and\nmaking snowballs, the clouds were so fluffy and white. I had a splendid\ngame of tennis yesterday, and was in topping form. Lightning services.\nSwish!\nTo-day has been \u201csome\u201d day. It started raining in the early hours\nand is still going strong. We are going to have floats fitted to the\nmachines so as to take off the lakes!\n[Sidenote: A Firework Display.]\nInasmuch as I was out all yesterday afternoon trying to get my hair\ncut, I was unable to write to you. Sorry. I was up at 2.45 a.m., and\nof course it was pitch dark. I left the ground shortly afterwards by\nflares, and had hardly got up a thousand feet when my engine began to\nmisfire, go \u201cchug-chug,\u201d and lose its revs. I signalled that I was\ndescending, and came down, trying not to come in too low, as I was\nafraid my engine might not pick up. Result: I came in too high (not\nhaving had time to get used to the dark), and had to open up my engine\nand crawl round again at a couple of hundred feet. Again I essayed\nto land, but failed, and by this time I was absolutely furious with\nmyself. I gave a glance at the rev. counter, and saw that the engine\nhad found its revs, again and appeared to be running smoothly; so,\nfeeling that fate had willed me to stay up, I sent down \u201cEngine O.K.\nnow,\u201d and went off to the lines. Just after I left the aerodrome,\nclouds came up, and the C.O. would not let the next pilot go. I found\nmy way quite well (in a blue funk, though, lest my engine should let\nme down), crossed the lines, picked up the road I was to follow, and\nfinally reached the place I was to bomb. Here I ran into clouds and had\nto come down to between 1,000 and 2,000 feet. I dropped my bombs all\nright, and saw them explode--as good as a Brock\u2019s firework display.\nMoreover, I heard the bangs from them, and felt the machine bumped by\nthe rush of air caused by the explosions. Flying back by compass, I\nsoon picked out some flares which I headed for. Realising that I was\nover the wrong aerodrome, I looked round, spotted ours, got there, did\na good landing, reported, and went to bed again.\nMy Flight-Commander has gone home after being out nearly eleven\nmonths. We are all sorry to lose him, I am sure there is no better\nFlight-Commander in all France.\nI have just come down from a long and rather boring job with E., which\ntook us from 1.30 p.m. to 5 p.m. in the upper regions. I had trouble\nwith my engine yesterday, and had a forced landing, managing to get\ninto the aerodrome and land in a cross wind. I had a repetition of\nthe stunt to-day when testing it. We have now solved the trouble--a\nsemi-choked petrol pipe. I am booked for tennis shortly, so will write\nmore another time.\n[Sidenote: A Mixed Grill.]\nWell, I have a little news for you this time. To let you down lightly,\nI will first tell you that I am having several new walking-sticks made,\nand with your usual Sherlock Holmes intelligence you will deduce, quite\naccurately, that I have carefully and conscientiously reduced a B.E.2C.\nto its molecular constituents--in other words, \u201ccrashed it.\u201d\nNow don\u2019t worry, as I am perfectly all right and thoroughly enjoying\nlife.\nTo sum up my work for the last twenty-four hours, I have had three\nforced landings, four hours\u2019-odd flying, and one night flight, and a\ncrash--not bad, eh?\nThe three forced landings within that short space of time constitute\nalmost a record. It was with my own machine, and each time some trouble\nwith the engine broke out when I had got up 500 feet. Each time that\nwe thought that we had discovered the trouble and I took her up again,\nshe cut out just the same. By great good luck I managed to get back\ninto the aerodrome. On one occasion I had bombs on too! Now the machine\nis being practically pulled to pieces and altered by almost raving\nmechanics.\nI had, as I wrote you yesterday, a three and a half hours\u2019 non-stop\nflight, and later was down for night bombing. I was all on my own, and\nseveral people said they thought it was too misty. However, the C.O.\nasked me if I would like to try, and I said I was quite willing, and\ngot ready.\nI went up all right, though from the time I passed the last flare I\nsaw absolutely nothing. There was a horrible ground mist, worse than\nit looked from the ground, and with no moon everything was black as\nink. I could not tell whether I was flying upside down or anyway, and\nthe machine was an old one and not very stable. I looked round at the\nflares and found I was flying all on the skew, left wing down, and I\nput that right; but not being able to see even a white road directly\nbelow me, I knew it was hopeless trying to leave the vicinity of the\n\u2019drome, and signalled that I was coming down. So down I came.\nI had been told to land down wind, owing to trees being at the other\nend of the \u2019drome. Well, there wasn\u2019t much wind, but what little there\nwas I had pushing me on instead of holding me back. Likewise I lit a\nflare at the end of my wing, and although that enabled me to see the\nground directly below me, I couldn\u2019t tell my height. I expected to\ntouch ground by the first flare, but owing to these things and the\nfact that I was flying a strange machine the engine of which \u201cticked\nover\u201d rather fast, I did not touch ground at the first flare--but at\nthe last. The landing was all right, but I plunged merrily on into the\npitch darkness until I came to a nice new road and a ditch which pulled\nup ye machine with a \u201ccrunch\u201d! It at once began to take up peculiar\nattitudes, similar to those of a stage contortionist, and endeavoured\nto mix up its tail and rudder with the propeller. At any rate, this is\nhow the machine looked a second afterwards:\n[Illustration]\nThe flare on the wing tip was still burning, and I had hardly time to\nget over my surprise at the bombs not bursting, when it occurred to me\nthat there might be a lot of petrol knocking about. \u201cThis is no place\nfor me, my boy,\u201d I thought, and undid my safety belt double quick and\nslid down one of the wings to the ground.\nMeanwhile some dozens of breathless mechanics and officers arrived\nat the double, and made kind inquiries as to my health. I am\nabsolutely certain they were infinitely more scared than I was, and\nthey all seemed relieved when I told them I was all right. I then\nlit a cigarette (as being the correct thing to do), observing with\nsatisfaction that my hand was quite steady, and walked up to the C.O.\nand apologised. \u201cOh, that\u2019s all right, as long as you are all right:\nJ--, just ring up the Wing, and tell them our machine has landed.\u201d\nEverybody was bucked that I got out all right. One of our pilots said\nhe didn\u2019t know how I managed to land at all, and thinks I was jolly\nlucky.\nAt any rate, it is experience and it didn\u2019t hurt me in the least, so\nI have nothing to grumble about. By the way, I don\u2019t expect to get my\nnext leave much before Christmas at any rate, as there is none going\nhere just now.\nI had a good game of tennis yesterday, and took up my machine to test\nit again. This time the engine ran perfectly and I did some splendid\nstunts coming down. When I had landed, an officer who was visiting the\naerodrome came up and thanked me for my \u201cbeautiful exhibition.\u201d I felt\ninclined to pass the hat round. I have just come down now, and have\nbeen taking photos. Archie was scarce owing to clouds, but the clouds\nmade it harder for me to photo. Made a topping landing.\nJust come down from a shoot. G. was up with me, but I did the shoot. We\ngot some pretty good Archie at us, and as the artillery did not shoot\nwell, I dropped a couple of bombs on the target. I must get tea, and\nthen to tennis.\nI have not much news to-day, except that I have had a splendid game of\ntennis, and a rather pleasant bombing raid. We went a long way over,\npast a Hun aerodrome, and got hardly any Archie at all, owing to the\nclouds. I got a beautiful shot with one of my bombs, on a railway\nstation--my objective. On the way back I did a spiral on the other\nside of the Hun lines, and one of our chaps, thinking I was a Hun\ngoing down, fired a drum of ammunition at me. I told him he must be a\nrotten shot, and had better have some practice on the range with me.\nAltogether it was quite a jolly flight.\n[Sidenote: Stalling]\nI was testing my machine round the \u2019drome this morning when it occurred\nto me to indulge in a few stunts. I obtained the sanction of my\npassenger, and we proceeded to do vertical banks, stalls, and tail\nslides, much to the enjoyment of a group of officers who (I heard\nafterwards) were watching. I found it most enjoyable. Perhaps you don\u2019t\nknow what \u201cstalling\u201d is. You are flying level so:\n[Illustration]\nthen you pull the nose of the machine up so:\n[Illustration]\ntill at last it becomes perpendicular, so:\n[Illustration]\nwhen of course it gradually slows down and stops dead in the air,\nsticks there a moment, and then falls so:\n[Illustration]\nand plunges on until it regains sufficient speed to bring it under\ncontrol again and level. The feeling after the machine has stuck\nat the top, and then falls down, is the \u201cleft your stummick up\nabove--tube-lift feeling\u201d--only more so.\nE. and I have been on a cross-country flight. The exhaust pipe blew\noff, and as the hot exhaust then became directed on the petrol tank,\nwe decided to land, and came down in a nice little field, pulling up\nsix inches from a ploughed field, and conveniently near a hospital.\nHowever, we didn\u2019t need the hospital, and soon got the machine to\nrights, but are stuck here owing to rain. We are, however, near a town,\nand are going to a \u201cflicker show\u201d to-night to see Charlie Chaplin.\nWe have \u201cfallen\u201d among friends here, for there was an officers\u2019 mess\nwithin a hundred yards of where we landed, and we are being splendidly\ntreated. Altogether an ideal place for a forced landing.\nMy adventures of the past two days remind me of the great motor-cycle\nride R. and I had from Devon to London. Let me see--it was the day\nbefore yesterday, I think, that I last wrote you, and told you about\nour forced landing. Well, E. and I and two others went to the cinema\nand saw \u201cCharlie\u201d in the evening, and stopped the night in an hotel.\nThe next day we made a few purchases, and when the rain stopped I went\nup alone from the field to dry the machine and examine the weather. I\nhad hardly left the ground before I went slap into the clouds at 50\nfeet. I turned quickly and crawled back just above the ground, missing\na factory chimney by a few yards, and plunged down again into a bigger\nfield close by the other, pulling up a couple of yards from a hole in\nthe ground. Later in the day when it cleared up we started again, and\nwe were only a few miles away when the blessed exhaust pipe popped off.\nThe petrol tank started getting hot again, so we had to come down, and\nit took us an awful time to find a decent field. They were all humps\nand bunkers and hazards, where, if we had landed, we should have gone\nhead over heels. At last I found a good place, and perched, pulling up\nwith the wing tip touching a bundle of hay. We stopped a car, and E.\nwent on it to the aerodrome for help. However, I got a spare bolt from\nthe car, and while they were gone repaired the damage myself, got two\nfarm labourers to hold the machine while I swung the propeller, and\nstarted the engine myself. Then I clambered into the machine and went\noff alone, getting to the aerodrome just as my helpers were leaving.\nThe weather is pretty dud. You remember the two games of Patience I\nused to play--the Four Aces and the Idle Year. They have caught on\nhere tremendously; every one from Flight Commanders down is playing\nthem. I am thinking of sending to Cox\u2019s for my passbook. Four of us\nplayed pitch and toss yesterday with pennies for two hours, and I lost\nsevenpence. The gambling fever has gripped.\nI took up a Scotch sergeant a couple of days ago. He was a perfect\n\u201cscream.\u201d \u201cCan you tell me where ahm tae pit ma feet, an\u2019 where ahm no\ntae pit them.\u201d He quite enjoyed the flight, though, and looked round\nonce with a huge grin, and said \u201cBon!\u201d By the way, I saw a very curious\nsight the other day, and a very rare one. I saw two of our shells pass\nin the air while I was flying. They were not near me, but I just got\nan impression of them as they went down. You can, I believe, see them\ngo if you are standing behind the guns, but P. is the only one in our\nFlight who has seen them from the air.\nI think the idea of dividing R.F.C. Squadrons up by public schools is\nsplendid, but, alas! impossible.\n[Sidenote: An Air Fight.]\nYesterday G. and I were doing a big shoot some four miles or so over\nthe lines, and as it was a bit misty we went up to about 6,000 feet and\nsat right over our target for about a quarter of an hour. There was a\nHun patrol of three machines buzzing around that neighbourhood, and\nwhen they got within a few hundred yards, I thought it was about time\nto draw G.\u2019s attention to the matter. He sat up with a jerk, gave a\nquick glance round, never noticed \u2019em, and glued himself on his target\nagain. \u201cAll right,\u201d I said to myself, \u201cyou\u2019ll wake up with a jump in a\nminute.\u201d To my surprise two of the Huns took no notice of us and went\non, while the third circled about very diffidently watching us. Once\nhe passed right over about 200 feet above us, and at that moment G.\nlooked up. You could see the black iron crosses painted on a background\nof silver on the wings, and at that G. moved, and damn quickly too. I\nwas busy watching the Hun, and didn\u2019t feel a bit excited or nervous. I\nwatched and waited, and then suddenly the Hun stuffed his nose down and\nswooped behind us, and we heard his machine gun pop-popping away like\nmad. I waited till he was about a hundred yards away, and then did a\nvertically banked \u201cabout turn\u201d and went slap for him, and let him have\nabout forty rounds rapid at about seventy yards range. G. had his gun\nready to fire, when the Hun turned and made for home. We chased him a\nshort way just for moral effect, and then went back to our target and\non with our job. We were awfully surprised when he didn\u2019t come back.\nI suppose we scared him or something. This little chat took place\nabout 7,000 feet up, and five miles on their side of the lines. Was up\n\u2019smorning; jolly cold. The guns are going like Rachmaninoff\u2019s Prelude.\nBefore I stop I want to say this: If my adventures and amusements are\ngoing to cause you loss of sleep when they are over, you ain\u2019t a-goin\u2019\nto hear no more. Please don\u2019t let them disturb you. I have generally\nforgotten all about them by the time your return letter arrives.\n[END]\n PRINTED BY\n HAZELL, WATSON AND VINEY, LD.,\n LONDON AND AYLESBURY,\n ENGLAND.\nFOOTNOTES\n[1] Now with the gunners in France.\n[2] Interned in Germany since outbreak of war.\n[3] In his private Log Book \u201cTheta\u201d apportions to the various\n\u201cepisodes\u201d a figure showing the probable value of each narrow escape.\nFrom this it appears that he reckoned he ought to have lost his life\nfifteen and a half times!\n[4] Archie = Anti-aircraft.\n[5] Trig = Trigonometry.\n[7] Firsts = 1st Air Mechanics.\n[8] V.P. = _Vol Plan\u00e9_.\n[9] In his private log book \u201cTheta\u201d sets out the cost of petrol\nexpended by him on a non-eventful flight, and the cost to the Huns of\nthe Archies fired at him, drawing out a balance of cash profit or loss\nto the R.F.C.\n[10] The Prince of Wales.\n[11] Reference to a humorously satirical caution against the use of the\nterms \u201c\u2019bus\u201d or \u201cplane\u201d instead of \u201caeroplane\u201d or \u201cmachine.\u201d\nTranscriber\u2019s Notes\nPunctuation, hyphenation, and spelling were made consistent when a\npredominant preference was found in the original book; otherwise they\nwere not changed.\nFootnotes, originally at the bottoms of pages, have been collected,\nresequenced, and moved to the end of the book.\nEnd of the Project Gutenberg EBook of War Flying, by L. F. Hutcheon\n*** END OF THIS PROJECT GUTENBERG EBOOK WAR FLYING ***\n***** This file should be named 60808-0.txt or 60808-0.zip *****\nThis and all associated files of various formats will be found in:\nProduced by deaurider, Charlie Howard, and the Online\nfile was produced from images generously made available\nby The Internet Archive)\nUpdated editions will replace the previous one--the old editions will\nbe renamed.\nCreating the works from print editions not protected by U.S. copyright\nlaw means that no one owns a United States copyright in these works,\nso the Foundation (and you!) can copy and distribute it in the United\nStates without permission and without paying copyright\nroyalties. Special rules, set forth in the General Terms of Use part\nof this license, apply to copying and distributing Project\nGutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm\nconcept and trademark. Project Gutenberg is a registered trademark,\nand may not be used if you charge for the eBooks, unless you receive\nspecific permission. If you do not charge anything for copies of this\neBook, complying with the rules is very easy. You may use this eBook\nfor nearly any purpose such as creation of derivative works, reports,\nperformances and research. They may be modified and printed and given\naway--you may do practically ANYTHING in the United States with eBooks\nnot protected by U.S. copyright law. Redistribution is subject to the\ntrademark license, especially commercial redistribution.\nSTART: FULL LICENSE\nTHE FULL PROJECT GUTENBERG LICENSE\nPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK\nTo protect the Project Gutenberg-tm mission of promoting the free\ndistribution of electronic works, by using or distributing this work\n(or any other work associated in any way with the phrase \"Project\nGutenberg\"), you agree to comply with all the terms of the Full\nProject Gutenberg-tm License available with this file or online at\nwww.gutenberg.org/license.\nSection 1. General Terms of Use and Redistributing Project\nGutenberg-tm electronic works\n1.A. By reading or using any part of this Project Gutenberg-tm\nelectronic work, you indicate that you have read, understand, agree to\nand accept all the terms of this license and intellectual property\n(trademark/copyright) agreement. If you do not agree to abide by all\nthe terms of this agreement, you must cease using and return or\ndestroy all copies of Project Gutenberg-tm electronic works in your\npossession. If you paid a fee for obtaining a copy of or access to a\nProject Gutenberg-tm electronic work and you do not agree to be bound\nby the terms of this agreement, you may obtain a refund from the\nperson or entity to whom you paid the fee as set forth in paragraph\n1.B. \"Project Gutenberg\" is a registered trademark. It may only be\nused on or associated in any way with an electronic work by people who\nagree to be bound by the terms of this agreement. There are a few\nthings that you can do with most Project Gutenberg-tm electronic works\neven without complying with the full terms of this agreement. See\nparagraph 1.C below. There are a lot of things you can do with Project\nGutenberg-tm electronic works if you follow the terms of this\nagreement and help preserve free future access to Project Gutenberg-tm\nelectronic works. See paragraph 1.E below.\n1.C. The Project Gutenberg Literary Archive Foundation (\"the\nFoundation\" or PGLAF), owns a compilation copyright in the collection\nof Project Gutenberg-tm electronic works. Nearly all the individual\nworks in the collection are in the public domain in the United\nStates. If an individual work is unprotected by copyright law in the\nUnited States and you are located in the United States, we do not\nclaim a right to prevent you from copying, distributing, performing,\ndisplaying or creating derivative works based on the work as long as\nall references to Project Gutenberg are removed. Of course, we hope\nthat you will support the Project Gutenberg-tm mission of promoting\nfree access to electronic works by freely sharing Project Gutenberg-tm\nworks in compliance with the terms of this agreement for keeping the\nProject Gutenberg-tm name associated with the work. You can easily\ncomply with the terms of this agreement by keeping this work in the\nsame format with its attached full Project Gutenberg-tm License when\nyou share it without charge with others.\n1.D. The copyright laws of the place where you are located also govern\nwhat you can do with this work. Copyright laws in most countries are\nin a constant state of change. If you are outside the United States,\ncheck the laws of your country in addition to the terms of this\nagreement before downloading, copying, displaying, performing,\ndistributing or creating derivative works based on this work or any\nother Project Gutenberg-tm work. The Foundation makes no\nrepresentations concerning the copyright status of any work in any\ncountry outside the United States.\n1.E. Unless you have removed all references to Project Gutenberg:\n1.E.1. The following sentence, with active links to, or other\nimmediate access to, the full Project Gutenberg-tm License must appear\nprominently whenever any copy of a Project Gutenberg-tm work (any work\non which the phrase \"Project Gutenberg\" appears, or with which the\nphrase \"Project Gutenberg\" is associated) is accessed, displayed,\nperformed, viewed, copied or distributed:\n This eBook is for the use of anyone anywhere in the United States and\n most other parts of the world at no cost and with almost no\n restrictions whatsoever. You may copy it, give it away or re-use it\n under the terms of the Project Gutenberg License included with this\n eBook or online at www.gutenberg.org. If you are not located in the\n United States, you'll have to check the laws of the country where you\n are located before using this ebook.\n1.E.2. If an individual Project Gutenberg-tm electronic work is\nderived from texts not protected by U.S. copyright law (does not\ncontain a notice indicating that it is posted with permission of the\ncopyright holder), the work can be copied and distributed to anyone in\nthe United States without paying any fees or charges. If you are\nredistributing or providing access to a work with the phrase \"Project\nGutenberg\" associated with or appearing on the work, you must comply\neither with the requirements of paragraphs 1.E.1 through 1.E.7 or\nobtain permission for the use of the work and the Project Gutenberg-tm\ntrademark as set forth in paragraphs 1.E.8 or 1.E.9.\n1.E.3. If an individual Project Gutenberg-tm electronic work is posted\nwith the permission of the copyright holder, your use and distribution\nmust comply with both paragraphs 1.E.1 through 1.E.7 and any\nadditional terms imposed by the copyright holder. Additional terms\nwill be linked to the Project Gutenberg-tm License for all works\nposted with the permission of the copyright holder found at the\nbeginning of this work.\n1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm\nLicense terms from this work, or any files containing a part of this\nwork or any other work associated with Project Gutenberg-tm.\n1.E.5. Do not copy, display, perform, distribute or redistribute this\nelectronic work, or any part of this electronic work, without\nprominently displaying the sentence set forth in paragraph 1.E.1 with\nactive links or immediate access to the full terms of the Project\nGutenberg-tm License.\n1.E.6. You may convert to and distribute this work in any binary,\ncompressed, marked up, nonproprietary or proprietary form, including\nany word processing or hypertext form. However, if you provide access\nto or distribute copies of a Project Gutenberg-tm work in a format\nother than \"Plain Vanilla ASCII\" or other format used in the official\nversion posted on the official Project Gutenberg-tm web site\n(www.gutenberg.org), you must, at no additional cost, fee or expense\nto the user, provide a copy, a means of exporting a copy, or a means\nof obtaining a copy upon request, of the work in its original \"Plain\nVanilla ASCII\" or other form. Any alternate format must include the\nfull Project Gutenberg-tm License as specified in paragraph 1.E.1.\n1.E.7. Do not charge a fee for access to, viewing, displaying,\nperforming, copying or distributing any Project Gutenberg-tm works\nunless you comply with paragraph 1.E.8 or 1.E.9.\n1.E.8. You may charge a reasonable fee for copies of or providing\naccess to or distributing Project Gutenberg-tm electronic works\nprovided that\n* You pay a royalty fee of 20% of the gross profits you derive from\n the use of Project Gutenberg-tm works calculated using the method\n you already use to calculate your applicable taxes. The fee is owed\n to the owner of the Project Gutenberg-tm trademark, but he has\n agreed to donate royalties under this paragraph to the Project\n Gutenberg Literary Archive Foundation. Royalty payments must be paid\n within 60 days following each date on which you prepare (or are\n legally required to prepare) your periodic tax returns. Royalty\n payments should be clearly marked as such and sent to the Project\n Gutenberg Literary Archive Foundation at the address specified in\n Section 4, \"Information about donations to the Project Gutenberg\n Literary Archive Foundation.\"\n* You provide a full refund of any money paid by a user who notifies\n you in writing (or by e-mail) within 30 days of receipt that s/he\n does not agree to the terms of the full Project Gutenberg-tm\n License. You must require such a user to return or destroy all\n copies of the works possessed in a physical medium and discontinue\n all use of and all access to other copies of Project Gutenberg-tm\n works.\n* You provide, in accordance with paragraph 1.F.3, a full refund of\n any money paid for a work or a replacement copy, if a defect in the\n electronic work is discovered and reported to you within 90 days of\n receipt of the work.\n* You comply with all other terms of this agreement for free\n distribution of Project Gutenberg-tm works.\n1.E.9. If you wish to charge a fee or distribute a Project\nGutenberg-tm electronic work or group of works on different terms than\nare set forth in this agreement, you must obtain permission in writing\nfrom both the Project Gutenberg Literary Archive Foundation and The\nProject Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm\ntrademark. Contact the Foundation as set forth in Section 3 below.\n1.F.1. Project Gutenberg volunteers and employees expend considerable\neffort to identify, do copyright research on, transcribe and proofread\nworks not protected by U.S. copyright law in creating the Project\nGutenberg-tm collection. Despite these efforts, Project Gutenberg-tm\nelectronic works, and the medium on which they may be stored, may\ncontain \"Defects,\" such as, but not limited to, incomplete, inaccurate\nor corrupt data, transcription errors, a copyright or other\nintellectual property infringement, a defective or damaged disk or\nother medium, a computer virus, or computer codes that damage or\ncannot be read by your equipment.\n1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the \"Right\nof Replacement or Refund\" described in paragraph 1.F.3, the Project\nGutenberg Literary Archive Foundation, the owner of the Project\nGutenberg-tm trademark, and any other party distributing a Project\nGutenberg-tm electronic work under this agreement, disclaim all\nliability to you for damages, costs and expenses, including legal\nfees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT\nLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE\nPROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE\nTRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE\nLIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR\nINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH\nDAMAGE.\n1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a\ndefect in this electronic work within 90 days of receiving it, you can\nreceive a refund of the money (if any) you paid for it by sending a\nwritten explanation to the person you received the work from. If you\nreceived the work on a physical medium, you must return the medium\nwith your written explanation. The person or entity that provided you\nwith the defective work may elect to provide a replacement copy in\nlieu of a refund. If you received the work electronically, the person\nor entity providing it to you may choose to give you a second\nopportunity to receive the work electronically in lieu of a refund. If\nthe second copy is also defective, you may demand a refund in writing\nwithout further opportunities to fix the problem.\n1.F.4. Except for the limited right of replacement or refund set forth\nin paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO\nOTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT\nLIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.\n1.F.5. Some states do not allow disclaimers of certain implied\nwarranties or the exclusion or limitation of certain types of\ndamages. If any disclaimer or limitation set forth in this agreement\nviolates the law of the state applicable to this agreement, the\nagreement shall be interpreted to make the maximum disclaimer or\nlimitation permitted by the applicable state law. The invalidity or\nunenforceability of any provision of this agreement shall not void the\nremaining provisions.\n1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the\ntrademark owner, any agent or employee of the Foundation, anyone\nproviding copies of Project Gutenberg-tm electronic works in\naccordance with this agreement, and any volunteers associated with the\nproduction, promotion and distribution of Project Gutenberg-tm\nelectronic works, harmless from all liability, costs and expenses,\nincluding legal fees, that arise directly or indirectly from any of\nthe following which you do or cause to occur: (a) distribution of this\nor any Project Gutenberg-tm work, (b) alteration, modification, or\nadditions or deletions to any Project Gutenberg-tm work, and (c) any\nDefect you cause.\nSection 2. Information about the Mission of Project Gutenberg-tm\nProject Gutenberg-tm is synonymous with the free distribution of\nelectronic works in formats readable by the widest variety of\ncomputers including obsolete, old, middle-aged and new computers. It\nexists because of the efforts of hundreds of volunteers and donations\nfrom people in all walks of life.\nVolunteers and financial support to provide volunteers with the\nassistance they need are critical to reaching Project Gutenberg-tm's\ngoals and ensuring that the Project Gutenberg-tm collection will\nremain freely available for generations to come. In 2001, the Project\nGutenberg Literary Archive Foundation was created to provide a secure\nand permanent future for Project Gutenberg-tm and future\ngenerations. To learn more about the Project Gutenberg Literary\nArchive Foundation and how your efforts and donations can help, see\nSections 3 and 4 and the Foundation information page at\nwww.gutenberg.org\nSection 3. Information about the Project Gutenberg Literary Archive Foundation\nThe Project Gutenberg Literary Archive Foundation is a non profit\n501(c)(3) educational corporation organized under the laws of the\nstate of Mississippi and granted tax exempt status by the Internal\nRevenue Service. The Foundation's EIN or federal tax identification\nnumber is 64-6221541. Contributions to the Project Gutenberg Literary\nArchive Foundation are tax deductible to the full extent permitted by\nU.S. federal laws and your state's laws.\nThe Foundation's principal office is in Fairbanks, Alaska, with the\nmailing address: PO Box 750175, Fairbanks, AK 99775, but its\nvolunteers and employees are scattered throughout numerous\nlocations. Its business office is located at 809 North 1500 West, Salt\nLake City, UT 84116, (801) 596-1887. Email contact links and up to\ndate contact information can be found at the Foundation's web site and\nofficial page at www.gutenberg.org/contact\nFor additional contact information:\n Dr. Gregory B. Newby\n Chief Executive and Director\n gbnewby@pglaf.org\nSection 4. Information about Donations to the Project Gutenberg\nLiterary Archive Foundation\nProject Gutenberg-tm depends upon and cannot survive without wide\nspread public support and donations to carry out its mission of\nincreasing the number of public domain and licensed works that can be\nfreely distributed in machine readable form accessible by the widest\narray of equipment including outdated equipment. Many small donations\n($1 to $5,000) are particularly important to maintaining tax exempt\nstatus with the IRS.\nThe Foundation is committed to complying with the laws regulating\ncharities and charitable donations in all 50 states of the United\nStates. Compliance requirements are not uniform and it takes a\nconsiderable effort, much paperwork and many fees to meet and keep up\nwith these requirements. We do not solicit donations in locations\nwhere we have not received written confirmation of compliance. To SEND\nDONATIONS or determine the status of compliance for any particular\nstate visit www.gutenberg.org/donate\nWhile we cannot and do not solicit contributions from states where we\nhave not met the solicitation requirements, we know of no prohibition\nagainst accepting unsolicited donations from donors in such states who\napproach us with offers to donate.\nInternational donations are gratefully accepted, but we cannot make\nany statements concerning tax treatment of donations received from\noutside the United States. U.S. laws alone swamp our small staff.\nPlease check the Project Gutenberg Web pages for current donation\nmethods and addresses. Donations are accepted in a number of other\nways including checks, online payments and credit card donations. To\ndonate, please visit: www.gutenberg.org/donate\nSection 5. General Information About Project Gutenberg-tm electronic works.\nProfessor Michael S. Hart was the originator of the Project\nGutenberg-tm concept of a library of electronic works that could be\nfreely shared with anyone. For forty years, he produced and\ndistributed Project Gutenberg-tm eBooks with only a loose network of\nvolunteer support.\nProject Gutenberg-tm eBooks are often created from several printed\neditions, all of which are confirmed as not protected by copyright in\nthe U.S. unless a copyright notice is included. Thus, we do not\nnecessarily keep eBooks in compliance with any particular paper\nedition.\nMost people start at our Web site which has the main PG search\nfacility: www.gutenberg.org\nThis Web site includes information about Project Gutenberg-tm,\nincluding how to make donations to the Project Gutenberg Literary\nArchive Foundation, how to help produce our new eBooks, and how to\nsubscribe to our email newsletter to hear about new eBooks.", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg - War Flying\n"}, {"source_document": "", "creation_year": 1927, "culture": " English\n", "content": "[Illustration:\n [Illustration: TWO IN ARCADIA.]\nVORSPIEL\n(_Wild Geese_)\n Geese and Lovers,\n Lovers and Geese!\n Sometimes a quarrel\n And sometimes--peace.\n[Illustration]\n Come over the sea to me, to me,\n Come over the sea to me!\n The little ships go sailing by,\n But never a ship brings thee!\n[Illustration]\n There were no words, if I remember,\n But something subtler, deeper, Love.\n The night it was a cold December\n With a shiv\u2019ry, silver moon above--\n But in our hearts--the flame of love!\n[Illustration]\n The moon, the moon and a wide, blue sea,\n A boat, a breeze, and you and me!\n[Illustration]\n Every night is our night.\n But when the moon is high,\n I think the _world_ belongs to us,\n The earth, the sea, the sky!\n[Illustration]\n There are snow peaks in your heart,\n And a grayness that is cold.\n But wisdom comes with loving, sweet,\n And all your moods my love can meet--\n Because my love is bold!\n[Illustration]\n Into the night we went, we two,\n Under the comfort of the moon.\n The sky was pale and the poplar-trees\n Swayed in the wind,\n Swayed and swung.\n And the dear night passed too soon!\n[Illustration]\n In the twilight\n In the night,\n Broken-hearted,\n We dreamed a sweet dream.\n Then we met and we parted\n Again, broken-hearted.\n But--dreams come again!\n[Illustration]\n Over the meadows--\n To go! To go!\n Just You and Me--\n In the afterglow!\n[Illustration]\n The moon is the lovers\u2019 lantern.\n With paths of palest gold\n She lights the lovers\u2019 night way.\n The moon--is never old!\n[Illustration]\nON PASSING HER WINDOW\n Through the midnight my soul comes winging,\n In the darkness my heart is singing.\n All my soul to your soul I am flinging!\n And I\u2019m singing to draw you to me,\n[Illustration]\nHER REPLY\n Out of the midnight\n I hear you singing!\n O, my Beloved, I hear you singing,\n And, though I silent must lie,\n My heart sings with your heart,\n My heart sings with yours!\n[Illustration]\n Spring in the hills, Beloved!\n On the side of a meadowed slope!\n And love in our hearts, Beloved,\n Love and Spring and Hope!\n[Illustration]\n The sun is like a world of fire\n And I am like the sun!\n I shall burn through all the dreary worlds\n Until my flame is done.\n O, Heart\u2019s Desire!\n My fire, my fire\n Shall burn for only one!\n[Illustration]\n The sun is the flame of the desert,\n And you are the flame of my heart!\n Dreary indeed is the desert unsunned,\n And dreary without you, my heart.\n[Illustration]\n Oh, the poor, pale moon, Beloved!\n She paled when you left me here.\n Come back to us, to the moon and me.\n The moon understands us, dear.\n[Illustration]\n Oh, the glow of the sun\n And the red of the lake\n And the shade of the bending tree!\n Oh, the sound of the waves\n And the sight of a sail!\n Oh, the song in my heart for thee!\n[Illustration]\n I hear the sea call to the moon,\n I hear the moon murm\u2019ring as she sails,\n \"I cannot fail thee,\n Why dost thou fear me?\"\n I hear the wind sing to the pine-tree,\n I hear the pine-tree whisp\u2019ring as she sways,\n \"I cannot fail thee,\n Why dost thou fear me?\"\n I hear my heart cry to your heart,\n I hear your heart beating \u2019gainst my own,\n \"I cannot fail thee,\n Why dost thou fear me?\"\n[Illustration]\n You are so dear, so dear,\n That all things else seem dear,\n The wonder of our loving\n Has made all else seem dear!\n[Illustration]\n Under the moon in the garden\n The pale lilies sleep and sway.\n And thou, dear white flower-woman,\n Sleep thou until the day!\n[Illustration]\n[Illustration]", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg - Two in Arcadia\n"}, {"source_document": "", "creation_year": 1927, "culture": " English\n", "content": "Produced by Roger Frank and the Online Distributed Proofreading Team at\n[Illustration: _\u201cI\u2019M HERE,\u201d SAID THE VOICE. \u201cI\u2019VE COME. I\u2019M PHIL.\u201d_]\n ETHEL CALVERT PHILLIPS\n AUTHOR OF \u201cWEE ANN\u201d AND \u201cLITTLE FRIEND LYDIA\u201d\n WITH DRAWINGS BY HAROLD CUE\n HOUGHTON MIFFLIN CO BOSTON & NEW YORK\nTable of Contents\n CHAPTER I\u2014BLACK-EYED SUSAN OF FEATHERBED LANE\n CHAPTER II\u2014OVER THE GARDEN WALL\n CHAPTER III\u2014MADAME BONNET\u2019S SHOP\n CHAPTER IV\u2014THE SQUASH BABY\n CHAPTER V\u2014DOWN AT MISS LIZA\u2019S\n CHAPTER VI\u2014THE GYPSIES\n CHAPTER VII\u2014IN THE SCHOOLHOUSE\n CHAPTER VIII\u2014SUSAN\u2019S PRESENT\n CHAPTER IX\u2014HICKORY DICKORY DOCK\n CHAPTER X\u2014THE VISIT\n CHAPTER XI\u2014HOW THE MONEY WAS SPENT\n CHAPTER XII\u2014THANKSGIVING IN FEATHERBED LANE\nCHAPTER I\u2014BLACK-EYED SUSAN OF FEATHERBED LANE\nA pair of black eyes, a head covered with short brown curls, two red\ncheeks, and a tip-tilted nose\u2014that was Susan. A warm heart, a pair of\neager little hands always ready to help, little feet that tripped\nwillingly about on errands\u2014that was Susan, too.\n\u201cThe best little girl in Putnam County,\u201d said Grandfather, snuggling\nSusan up so close that his gray beard tickled her nose and made her\nlaugh.\n\u201cMy little comfort,\u201d said Grandmother, with a hand on Susan\u2019s bobbing\ncurls that simply couldn\u2019t be made to lie flat no matter how much you\nbrushed and brushed.\nSusan herself didn\u2019t say very much to this, but oh, how she did love\nGrandfather, from the crown of his big slouch hat to the toes of his\nhigh leather boots that he delighted to wear both winter and summer!\nAs for Grandmother, who could help loving her, with her merry smile, her\nsoft pink cheeks shaded by a row of little white curls, and her jar of\ncinnamon cookies on the low shelf in the pantry? Yes, her jar of\ncinnamon cookies on the low shelf in the pantry, for, somehow, in\nSusan\u2019s mind, Grandmother and the cinnamon cookies were pleasantly\nmingled and together made up the love and comfort and cheer that to\nSusan meant home.\nThe house Susan lived in with Grandmother and Grandfather Whiting and\nSnuff the dog was a broad, low, white house that stood far back from the\nroad at the end of Featherbed Lane.\nSusan thought this the funniest name she had ever heard.\nAs she and Grandfather, hand in hand, would carefully pick their way\nover the stones that covered the road from house to highway, she never\ntired of asking, \u201cGrandfather, why do you call it Featherbed Lane? It\u2019s\nnot a bit like a feather bed. It\u2019s as hard as hard can be.\u201d\n\u201cBecause there are just as many stones in this lane as there are\nfeathers in a feather bed,\u201d Grandfather would answer gravely. \u201cSome day\nyou must count them and see.\u201d\n\u201cBut how many feathers are there in a feather bed?\u201d Susan would ask.\n\u201cYou must count them, too,\u201d was Grandfather\u2019s reply.\nAt the end of the lane, on the roadside, stood a little house with three\nwindows, a front door, and a pointed roof with a chimney. This was\nGrandfather\u2019s law office, and here he was to be found at work every day,\ncoming up to the house only at meal-time. Inside there was one big room,\nnot only lined all round with books, but with books overflowing their\nshelves and piled upon the chairs and tumbled upon the floor.\nGrandfather\u2019s big desk was drawn up close to the windows, and as Susan\npassed in and out of the gate she never failed to smile and wave her\nhand in greeting.\nIf Grandfather were not busy, he would invite her in, and then Susan on\nthe floor would build houses of the heavy law books, using Grandfather\u2019s\nshabby old hassock for table or bed as the case might be.\nOne cool May afternoon Susan climbed upon Grandfather\u2019s lap as he sat in\nfront of the coal fire that burned in the office grate every day that\ngave the least excuse for it.\nGrandmother had gone calling in the village, and Susan was staying with\nGrandfather until her return. Susan cuddled her head down on\nGrandfather\u2019s broad shoulder.\n\u201cSay \u2018William Ti Trimity\u2019 for me, please,\u201d said she coaxingly.\nSo Grandfather obediently repeated,\n William Ti Trimity, he\u2019s a good fisherman;\n Catches his hens and puts them in pens.\n Some lays eggs and some lays none.\n Wire, briar, limber lock,\n Three geese in a flock.\n One flew east, and one flew west,\n And one flew over the cuckoo\u2019s nest.\nSusan gave Grandfather\u2019s cheek a pat by way of thanks.\n\u201cSing to me now, please,\u201d was the next command.\nObligingly Grandfather tuned up and sang in his sweet old voice\u2014\n It rains and it hails and it\u2019s cold stormy weather.\n In comes the farmer drinking up the cider.\n You be the reaper and I\u2019ll be the binder,\n I\u2019ve lost my true love, and right here I find her.\nThis was an old favorite, and it never failed to delight Susan to have\nGrandfather in great surprise discover her as the lost true love \u201cright\nhere\u201d in his arms.\n\u201cNow, \u2018Chickamy,\u2019\u201d said Susan, smoothing herself down after the vigorous\nhug she felt called upon to bestow.\n Chickamy, Chickamy, crany crow,\n Went to the well to wash his toe.\n When he came back the black-eyed chicken was gone\u2014\nsaid Grandfather in a mysterious voice.\n\u201cCan\u2019t you remember any more of it, Grandfather?\u201d implored Susan. \u201cDon\u2019t\nyou know who Chickamy was, or who stole the black-eyed chicken? I do\nwish I knew.\u201d\n\u201cNo, I can\u2019t remember,\u201d said Grandfather regretfully. \u201cYou know all I\nknow about it, Susan. Only I do think Chickamy was a foolish fellow to\nwash his toe just at that minute. Why didn\u2019t he take the black-eyed\nchicken with him or leave somebody at home to take care of him?\u201d\n\u201cYes, it is a pity,\u201d sighed the little girl. \u201cOr why didn\u2019t he wash his\ntoe in the tub at home? Well, anyway, Grandfather, now tell about the\ntime I came to live with you.\u201d And Susan re-settled herself comfortably\nas Grandfather slipped down in his chair and stretched out his feet\ntoward the low fire.\n\u201cIt was a cold winter night,\u201d began Grandfather, with the ease of one\nwho has told his story many times, \u201cand the ground was covered with\nsnow. All the little rabbits were snuggled down in their holes in the\nground trying to keep warm. All the little birds were cuddled together\nin their nests under the eaves. All the little boys and girls were sound\nasleep tucked in their warm beds\u2014\u201d\n\u201cAll but one,\u201d interrupted Susan.\n\u201cYes, all but one,\u201d agreed Grandfather, \u201cand she was riding along in a\nsleigh, and the sleigh-bells went _jingle jangle, jingle jangle_, and\nthe horses\u2019 feet went _crunch, crunch, crunch_, through the snow.\u201d\n\u201cNow, tell was I cold,\u201d prompted Susan, as Grandfather paused to spread\nhis silk handkerchief over his head to keep off the draught.\n\u201cThe little girl wasn\u2019t one bit cold,\u201d went on Grandfather smoothly,\n\u201cbecause she was dressed in fur from head to foot. She wore a white fur\ncoat and a white fur cap that came so far down over her face that all\nyou could see was the tip of her nose.\u201d\n\u201cAnd that was red,\u201d supplied Susan.\n\u201cAnd she had a pair of white furry mittens on her hands, and her feet\nwere wrapped in a white fur rug.\n\u201cWell, by and by the horse turned in a lane that was so packed with snow\nthat you couldn\u2019t tell whether it was a Featherbed Lane or not. _Crunch,\ncrunch, crunch_, went the horses\u2019 feet, _jingle jangle, jingle jangle_,\nwent the bells until they were almost up to the white house at the end\nof the lane.\n\u201cNow in that white house there sat a grandmother and a grandfather\nbefore the fire.\n\u201cPresently the grandmother laid down her knitting.\n\u201c\u2018I think I hear sleigh-bells in the lane,\u2019 said she.\n\u201cThe grandfather put down his book.\n\u201c\u2018I think I hear horses\u2019 feet,\u2019 said he.\n\u201cThen the grandmother rose and looked out of the window.\n\u201c\u2018I see a lantern,\u2019 said she, peering out through the snowflakes, for it\nhad begun to snow again.\n\u201cAt that the grandfather flung open the door and in came\u2014\u201d\n\u201cMe!\u201d exclaimed Susan. \u201cAnd I didn\u2019t cry one bit. Did I?\u201d\n\u201cMercy, no,\u201d said Grandfather, opening his eyes wide at the very\nthought. \u201cYou just winked and blinked in the light, and when I held out\nmy arms you came straight to me.\u201d\n\u201cAnd what did you say, Grandfather?\u201d\n\u201cI said, \u2018My little black-eyed Susan.\u2019\u201d\n\u201cAnd that has been my name ever since,\u201d said Susan with an air of\nsatisfaction. \u201cNow, tell what Grandmother was doing.\u201d\n\u201cGrandmother had both arms round your father who carried you in, for\nonce upon a time he was her little boy,\u201d concluded Grandfather.\n\u201cAnd you were so glad to see me that night because my mother had gone to\nheaven, weren\u2019t you?\u201d mused Susan. \u201cAnd then my father went away to\nbuild a big bridge, and then he went to the war and he never came back.\u201d\nA silence fell for a moment upon Grandfather Whiting and Susan as they\ngazed into the fire, and then the little girl stirred and spoke.\n\u201cI think I will go and play with Flip awhile, Grandfather,\u201d said she.\nShe slipped down from Grandfather\u2019s lap, and, leaving him to fall into a\ndoze, proceeded to set up housekeeping with Flip, her rag doll, behind a\npile of books in a corner.\nFlip and Snuff, the shaggy brown setter, were Susan\u2019s constant\nplaymates, for the house in Featherbed Lane stood a little way out of\nthe village and there were no children living near by.\nThe other side of the Lane, on a little knoll, perched the old Tallman\nhouse, empty since last autumn when Miss Eliza Tallman had gone down to\nthe village to live with her niece.\nAcross the way and up the road stood the deserted little old\nschoolhouse, long ago abandoned for the new brick building in the heart\nof the village.\nBut, although Susan had no near neighbors and often longed for some one\nher own age to play with, still she dearly loved the lively Snuff who\ncould outrace her any day, who played a skillful game of hide and seek,\nand who returned tenfold the strength of her love with all the might of\nhis affectionate pink tongue, his briskly wagging tail, and his faithful\nlittle heart.\nAs for Flip, it is hard to say what Susan would have done without her.\nShe was a long thin wobbly rag doll, with a head flat like a turtle\u2019s,\nand not a single spear of hair on it. But to Susan, her brown eyes were\nthe tenderest and her rosy lips the sweetest to be found anywhere, and\nit was into Flip\u2019s sympathetic ear that Susan poured her griefs and\ntroubles, great or small. She was Susan\u2019s bedfellow, too, lying outside\nthe coverlid where her little mother might easily put out her hand and\ntouch her in the night.\nSusan had other good friends, too. There was the newel post opposite the\nfront door at home. Susan had never thought anything about the newel\npost until one day, playing \u201clady come to see\u201d with a shawl on for a\nlong skirt, she had tripped and bumped her head against the post. Now,\nthis was fully six months ago, and when Susan was only a little girl, as\nshe would have been sure to explain, and so she did what other little\ngirls have done before. Feeling the newel post to blame for her fall,\nshe pounded it with both hands and kicked it with both feet. And\nsuddenly, in the midst of the pounding and kicking, Susan spied a big\ndent in the side of the post. Had she done that? Oh! what a mean, a\ncruel girl she was! She hurried upstairs for her new hair-ribbon, which\nshe tied round what she called the newel post\u2019s neck, and sitting down\nshe tried to smooth out the dent and soothe the newel post\u2019s hurt\nfeelings at the same time. Perhaps Grandmother could have explained that\ndent as made by a trunk carelessly carried upstairs, but Susan always\nbelieved that she had made it. She rarely passed the newel post without\ngiving it a pat, and, sitting on the stairs, she and Flip and the newel\npost often had many a pleasant chat together.\nAnd there was Snowball, the rubber cat, that had been Susan\u2019s favorite\ntoy when she was a baby. Snowball may once have deserved her name. But\nnow she was a dingy gray that not even frequent scrubbings with soap and\nwater could freshen. She had lost her tail, she had lost her squeak, but\nSusan was loyal to her old pet and still lavished tender care upon her.\nThen, too, there was the shawl dolly. Most of the time the dolly was a\nplain little black-and-white checked shawl spread over Grandmother\u2019s\nshoulders or neatly folded on the hatbox in Grandmother\u2019s closet. But\nwhenever Susan was a little ailing, Grandmother folded the shawl into a\nsoft comfortable dolly, who cuddled nicely and who never failed to give\nto Susan the comfort needed.\nJust now Susan was playing school in the corner. She was the teacher,\nand Flip and the hassock, who this afternoon was a fat little boy named\nBenny, were the scholars.\n\u201cFlippy, who made you?\u201d asked the teacher.\n\u201cGod,\u201d answered Flippy promptly.\nSusan made her talk in a squeaky little voice.\n\u201cBenny, how much is two and two?\u201d was the next question.\nBut Benny didn\u2019t answer. Perhaps he couldn\u2019t.\n\u201cBenny, how much is two and two?\u201d repeated the teacher loudly.\nStill no answer.\nThis was dreadful, and Susan felt that she must be severe. Shaking her\nfinger warningly at disobedient Benny, she went to Grandfather\u2019s desk to\nborrow his long black ruler, and, glancing out of the window, she saw a\nbig red wagon toiling slowly up the road.\n\u201cIt\u2019s the circus!\u201d exclaimed Susan. \u201cGrandfather, wake up, the circus is\ncoming.\u201d\nGrandfather woke himself up with a shake and peered out of the window,\nover Susan\u2019s head.\n\u201cNo, that is not the circus,\u201d said he. \u201cThat\u2019s a moving-van. Somebody\u2019s\nfurniture is packed inside that wagon. Hello, they\u2019re turning in at the\nTallman place. Liza must have rented it.\u201d\nAnd Grandfather and Susan, with great interest, watched the heavy van\nturn and jolt along the driveway that led to the house next door.\n\u201cHere comes another van,\u201d called Susan, whose sharp eyes spied the red\nwagon far down the road.\nThis van bore what the movers call \u201ca swinging load.\u201d On the back of the\nwagon were tied all the pieces of furniture that couldn\u2019t be crammed or\nsqueezed into the van itself.\nThe horses pulled and strained up the little hill until they were\ndirectly opposite Susan\u2019s gate, and then, with a crash, something fell\noff the back of the wagon.\n\u201cLook, look!\u201d cried Susan, hopping up and down. \u201cLook, Grandfather, it\u2019s\na rocking-horse!\u201d\nSure enough, a dapple gray rocking-horse, with a gay red saddle, was\nrocking away in the middle of the road as if he meant to reach Banbury\nCross before nightfall.\n\u201cThere will be somebody for me to play with!\u201d cried Susan, climbing up\non Grandfather\u2019s desk in her excitement. \u201cMaybe I will have a ride on\nthat rocking-horse. Won\u2019t there be somebody for me to play with,\nGrandfather?\u201d\nAnd Susan, her eyes shining, put both arms around Grandfather\u2019s neck and\ngave him a great hug.\n\u201cIt looks that way,\u201d said Grandfather, as soon as Susan let him breathe\nagain. \u201cIt looks as if that rocking-horse was about your size, too. But\nhere comes your grandmother. Perhaps she has heard something about it in\nthe village.\u201d\nLike a flash Susan was off down the road, and by the time Grandfather\nhad put on his hat and shut the office door Susan had learned all the\nnews that Grandmother had to tell.\n\u201cGrandmother knows all about it,\u201d called Susan, flying up the road\nagain. \u201cMiss Liza Tallman has rented her house for a year. And,\nGrandfather, there is a little boy as old as me and his name is Philip\nVane.\u201d\nCHAPTER II\u2014OVER THE GARDEN WALL\nPhilip Vane! The words flashed into Susan\u2019s mind as soon as she opened\nher eyes the next morning, Philip Vane\u2014the new little boy next door! And\nSusan jumped out of bed and, running to the window, peered eagerly over\nat the old Tallman house.\nYes, some one was already up and stirring, for smoke was pouring out of\nthe kitchen chimney, but there was no sign to be seen of any little boy.\nBreakfast over, Susan hurried through her daily tasks about the house,\nand then ran out to the chicken-yard, with her bowl of chicken-feed\nunder her arm. She waited until the fowls, with their usual squawkings\nand cluckings, had gathered about her feet, and addressed them solemnly.\n\u201cI\u2019ve a piece of news for you,\u201d said Susan, \u201cand you are not going to\nhave one bite of breakfast until I\u2019ve told you. There is a little boy\ncoming to live next door, and his name is Philip Vane. We are going to\nplay together and be friends. Aren\u2019t you glad?\u201d\nOld Frizzly, so named because her feathers grew the wrong way, could no\nlonger restrain her impatience at this delay of her meal. She uttered an\nextra loud squawk and flapped her wings wrathfully. But Susan accepted\nit as an answer to her question.\n\u201cOld Frizzly is the only one of you with any manners at all,\u201d said she\nreprovingly. \u201cYou are greedy, and you are rude, and you don\u2019t care a bit\nwhether I have any one to play with or not.\u201d\nAnd, hastily emptying her bowl, Susan departed to station herself upon\nthe low stone wall that separated the Tallman house from her own. She\nsaw heads pass and repass the open windows, sounds of hammering floated\nout upon the sweet spring air, rugs were vigorously shaken on the little\nback porch. The butcher\u2019s cart rumbled noisily past on the main road,\nand a slim lady, with fair hair and a long blue apron, stepped out on\nthe porch and, shading her eyes with her hand, gazed down the driveway\nas if she were expecting some one.\nBut, in spite of these interesting sights and sounds, Susan felt\ndisappointed, for not a single peep did she have of the new little boy.\n\u201cDid Miss Liza say there was a little boy, Grandmother?\u201d asked Susan,\ncoming into the house at dinner-time so low in her mind that she dragged\npatient Flippy along by one arm, her limp feet trailing on the ground\nbehind her.\n\u201cWhy, yes,\u201d answered Grandmother, gazing into the oven at a pan of\nnicely browned biscuit. \u201cI told you yesterday what she said, Susan. \u2018A\nlittle boy about the age of your Susan,\u2019 said she. Now run to the door\nfor me and see whether Grandfather is coming. I want him to carry over\nthis plate of biscuit to Mrs. Vane to show ourselves neighborly, and you\nshall go along with him if you like.\u201d\nSusan needed no second invitation. She skipped ahead of Grandfather as\nthey went through the low place made in the stone wall for Grandmother\nand Miss Tallman to step through easily. But when they reached the\ndoorway, and Mrs. Vane stood before them, she shyly hid behind\nGrandfather\u2019s great leather boots.\nShe listened to the grown-up talk with ears wide open for some mention\nof a person her own age, but it was not until Grandfather turned to go\nthat she felt bold enough to slip her hand in his and give it a little\nsqueeze as if to remind him why she had come.\n\u201cOh, yes,\u201d said Grandfather, understanding the squeeze perfectly and so\nproving himself to Susan the wisest man in the world. \u201cThis is my little\ngranddaughter Susan, Mrs. Vane. She was very much interested in a\nrocking-horse that fell from one of your vans yesterday.\u201d\n\u201cThat was Phil\u2019s rocking-horse,\u201d said Mrs. Vane, smiling kindly down\ninto Susan\u2019s big black eyes, at this moment half friendly and half shy.\n\u201cPhilip is my little boy, and he will be so glad of a next-door\nneighbor. He has had no one to play with in the city, and he has been\nvery ill, too, but I know he will enjoy himself here where he can run\nand shout as much as he likes, and I\u2019m sure he will soon be well, now\nthat he can play out in this good sun and air.\u201d\nSusan looked all about her in search of a little boy running and\nshouting as much as he liked, but Phil\u2019s mother met her glance with a\nshake of the head.\n\u201cNo, he isn\u2019t here yet,\u201d said she. \u201cBut I expect him any minute. His\nfather is going to bring him up from the city this morning.\u201d\nFilled with the hope of seeing Phil arrive, Susan hurried through her\ndinner, but as she left the house and started toward the garden wall,\nthe sight of Snuff limping dismally along on three legs drove all other\nthoughts from her mind.\n\u201cGrandfather, Grandfather, Snuffy\u2019s hurt,\u201d she called, and, putting her\narms around her shaggy playfellow, she tried to help him up the back\nsteps.\nSnuff whimpered a little to gain sympathy, but he bore the pain without\nflinching when Grandfather gently pulled the cruel splinter from his\nfoot, and washed and bound up the wound. Susan, remembering Snuff\u2019s\nsweet tooth, begged a bowl of custard from Grandmother, and she was\nenjoying Snuff\u2019s pleasure in the treat when a voice fell upon her ears.\n\u201cI\u2019m here,\u201d said the voice. \u201cI\u2019ve come. I\u2019m Phil.\u201d\nSusan sprang to her feet and faced the thinnest little boy she had ever\nseen.\n\u201cHe\u2019s as thin as a bone,\u201d thought she, borrowing an expression from\nGrandmother.\nBut the thin little face owned a pair of honest blue eyes, and a smile\nso wide that you couldn\u2019t help smiling back even if you happened to be\nfeeling very cross. And, as Susan didn\u2019t feel cross in the least, you\nmay imagine how broadly she smiled upon her new neighbor.\n\u201cIs this your dog?\u201d asked Phil, eyeing Snuff\u2019s bandage with respectful\ninterest. \u201cI\u2019m going to have a dog and a cat and maybe some hens and\nchickens, too.\u201d\nSusan related Snuff\u2019s accident, and the invalid, feeling all eyes upon\nhim, dropped his head heavily to the ground with a deep sigh and a\nmournful thud of his tail. Then he opened one eye to see the effect upon\nhis audience.\nSusan and Phil broke into laughter at such sly tricks, and Snuff,\ndelighted with his success, beat his tail violently upon the piazza\nfloor.\n\u201cI brought over my Noah\u2019s Ark,\u201d announced Phil, taking from under his\narm the gayly painted little house upon which Susan\u2019s eyes had been\nfixed from the first. \u201cWe\u2019ll play, if you like.\u201d\nAnd Susan and Phil, with the ease of old friends, proceeded to marshal\nthe strange little toy animals in line, two by two, behind Mr. and Mrs.\nNoah and their stiff and stolid family.\n\u201cNow you sing a song,\u201d said Phil. \u201cDo you know it?\u201d And without waiting\nfor Susan\u2019s shake of the head he burst loudly into tune:\n \u201cThey marched the animals, two by two,\n One wide river to cross\u2014\n The elephant and the kangaroo,\n One wide river to cross.\u201d\n\u201cBut you see the kangaroo won\u2019t stand up, so I have to put the tiger\nwith the elephant. Then you sing it this way\u201d\nAnd he took up the chant again:\n \u201cThey marched the animals, two by two,\n One wide river to cross\u2014\n The elephant and the tigeroo,\n One wide river to cross.\u201d\n\u201cDo you like it?\u201d asked Phil, looking up into Susan\u2019s face with a smile.\nSusan nodded with an energy that set her curls a-bobbing.\n\u201cThere\u2019s Grandmother in the window,\u201d said she. \u201cLet\u2019s go in and see\nher.\u201d\nGrandmother put down her knitting to welcome Philip, and bade Susan pass\nthe cinnamon cookies.\n\u201cI know my mother likes me to eat them,\u201d announced Phil, silent until he\nhad disposed of his cooky, \u201cbecause she wants me to grow fat.\u201d\n\u201cPerhaps she would like you to take another one,\u201d said Grandmother,\nhiding a smile and passing the plate again.\n\u201cI was sick,\u201d went on Phil, whose tongue seemed loosened by the second\ncinnamon cooky. \u201cI was sick so long I nearly all melted away. My father\ncalls me Spindle Shanks. But I\u2019m going to grow big and fat now\u2014if I eat\nenough,\u201d he added with his eyes on the plate of cakes.\nEach with a cooky in hand and an extra one in Phil\u2019s pocket, Susan\nescorted her new friend down Featherbed Lane in the hope that\nGrandfather would invite them into the office.\nHe was writing busily, but when Susan and Phil, clinging to the\nwindow-sill, all but pressed their noses against the pane, Grandfather\nput down his pen and motioned them to come in.\n\u201cHow do you do, sir,\u201d said Grandfather as Phil shook hands in true manly\nfashion. \u201cSo you are my next-door neighbor. I hope we shall be good\nfriends.\u201d\n\u201cOh, he will, Grandfather,\u201d said Susan, speaking up for her new\nacquaintance, who, standing speechless, allowed his gaze to travel from\nthe high boots up to the quizzical brown eyes looking so pleasantly down\nupon him.\n\u201cWell, neighbor, we shall have to fatten you up a little, I\u2019m thinking,\u201d\nremarked Grandfather heartily, observing thin little Phil in his turn.\n\u201cYes,\u201d agreed Phil, finding his tongue at last and taking a nibble of\nhis cooky as if to begin the fattening process at once.\n\u201cI mean to eat and grow fat. My mother wants me to; she said so. My\nfather calls me Spindle Shanks,\u201d he added, as if rather proud of his new\nname.\n\u201cIs that so?\u201d said Grandfather with interest. \u201cNow I shouldn\u2019t have\nthought of calling you that. But I might have called you \u2018Pint o\u2019\nPeanuts\u2019 if any one had asked me.\u201d\nPhil and Susan went off into a fit of laughter at this funny name, and\nwhen they recovered Grandfather remarked gravely:\n\u201cThe best thing to do in a case like this is to build up an appetite.\nSusan, you go with Philip up to his house and ask his mother if she will\nlet him take a little drive with Parson Drew and you and me over to\nGreen Valley. Be sure to tell her it\u2019s to work up an appetite. Then cut\nacross and tell Grandmother we are going to the Green Valley Court-House\nand that we shall be home by five o\u2019clock.\u201d\nGrandfather was forced to stand on the doorstep and call the last part\nof his directions after Susan. For at the first mention of a drive she\nhad caught Phil\u2019s hand and started on a run up the driveway leading to\nhis house.\nMrs. Vane hastily polished off her son with a corner of the kitchen\nroller towel, snuggled him into a warm sweater, and sent word to\nGrandfather that she was very glad to have Philip go driving, though he\ndidn\u2019t need to work up an appetite she was sure.\nGrandmother made Susan hunt for her straw hat which, strange to say, was\nnot to be found upon its accustomed nail. Grandmother and Phil searched\ndownstairs, while Susan ran about frantically upstairs, so afraid they\nwould be late that she could only half look. But at last she discovered\nher hat upside down under the bed, with rubber Snowball taking a nap in\nit, just as Susan had put her to bed the day before.\nIn spite of this delay the children were in good time, and with Susan\nwedged tightly on the seat between Grandfather and the minister, and\nPhil standing between the great leather boots with either hand on\nGrandfather\u2019s knee, they drove off in fine style.\nMr. Drew was the village minister, a young man with a pleasant manner\nand a twinkle in his kind blue eyes. He and Grandfather were special\nfriends. They liked to talk together, though they rarely agreed, and\nsometimes became so excited in their talk that you might almost think\nthey were quarreling. But of course Susan knew better than that.\nGrandfather\u2019s horse, big bony Nero, had hurt his knee and had been\nturned out to grass to rest and recover. So this afternoon Mr. Drew held\nthe reins and chirruped gently to his little brown Molly as she carried\nthem briskly along the road.\nAs the grown-up talk rumbled on over her head, Susan peered out like a\nbright-eyed bird, and at every interesting landmark or familiar spot she\ncalled, \u201cLook, Phil, look!\u201d until from its frequent turning there was\nsome danger that Phil\u2019s head might snap completely off its frail little\nneck.\n\u201cThere is the old schoolhouse, Phil,\u201d called Susan. \u201cWe can play house\non the doorstep.\n\u201cAnd here is the row of cherry trees. By and by we will come here with a\npail.\n\u201cAnd, Phil, the crossest old cow lives in this field. Don\u2019t you ever\ncome here by yourself. Once I only climbed up on the fence to look at\nher, and she put down her head and ran at me. And how she did moo\u2014as\ncross as anything.\u201d\n\u201cI\u2019m not afraid of her,\u201d said Phil stoutly, as, safe behind the shelter\nof Grandfather\u2019s boots and bowling swiftly along the road, he cast a\ndefiant look at the surly bossy securely fastened by a rope to a stout\nstake in the ground. \u201cMaybe I\u2019ll take you there sometime. I won\u2019t let\nher hurt you.\u201d\nBut the cow was left behind them, and Susan called Phil to look at the\npoultry farm, with its ducks and geese, its hens and chickens, cackling\ncheerfully and running about in amiable confusion.\nNow they were nearing the town of Green Valley, and down the hill and\nover the bridge they rumbled to stop before the imposing stone\nCourt-House, with its parking-space for automobiles and its row of\nhitching-posts, to one of which was tied little brown Molly.\nSusan danced impatiently up and down as Grandfather descended heavily to\nthe sidewalk.\n\u201cOh, Grandfather,\u201d said she, catching hold of his hand, \u201cI want to take\nPhilly to Madame Bonnet\u2019s. May I? Please say \u2018yes.\u2019\u201d\n\u201cTo be sure,\u201d answered Grandfather, feeling in his pocket as he spoke.\n\u201cIt will be a good place for you to wait. Here\u2019s ten cents apiece. Spend\nit carefully, and be sure you don\u2019t get lost on the way.\u201d\nSusan laughed as she caught Phil by the arm and dragged him off. Lost on\nthe way to Madame Bonnet\u2019s! when every one in the world knew it was just\nacross the street from the Court-House.\nOnce safely over the crossing Susan stopped and pointed:\n\u201cLook, Phil,\u201d said she. \u201cIt\u2019s the nicest place you ever knew. Here it\nis. Here\u2019s Madame Bonnet\u2019s shop.\u201d\nCHAPTER III\u2014MADAME BONNET\u2019S SHOP\nMadame Bonnet\u2019s shop was so small that if you hadn\u2019t known it was there\nyou might easily have walked past it and never seen it at all.\nIt was one story high, with a low front door, and panes of glass in the\none window so tiny that it was difficult to see the wares that Madame\nBonnet had for sale. But if you shut one eye and pressed the other close\nto the glass, you were well repaid for your trouble, for Madame Bonnet\nkept a toy shop the like of which was not to be found anywhere, though\nyou traveled the world over in search of it.\nIt was not that the shop was large, because it wasn\u2019t. It was not that\nMadame Bonnet had many toys for sale, because she hadn\u2019t. But the\nchildren said you could buy at Madame Bonnet\u2019s what you couldn\u2019t buy\nanywhere else. And though the grown people sometimes stated, and perhaps\ntruly, that Madame Bonnet hadn\u2019t bought a penny\u2019s worth of new stock in\ntwenty-five years, the children were well satisfied, and no doubt that\nis the true test of a toy shop, after all.\n\u201cOh, Phil,\u201d cried Susan, pressing one eye against the window, \u201cdo look\nat the china doll carriage, and the little doll\u2019s lamp with a pink shade\nand all, and that beautiful pair of vases that would just go on the\nmantel in my doll\u2019s house. I mean if I had a doll\u2019s house,\u201d added Susan\ntruthfully.\nBut Phil, twisting and turning and almost standing on his head, was\ncalling out:\n\u201cLook at the china boy rowing in the boat\u2014with all his bundles, too.\nWhat do you think is in them, Susan? Do tell me. What is in that yellow\nstriped bundle? What do you think is in that one?\u201d\n\u201cSomething for him to eat, I guess,\u201d said Susan sensibly. \u201cLet\u2019s go\ninside and look around.\u201d\nMadame Bonnet was comfortably knitting in the rear of the shop, and\ndidn\u2019t think of getting up to wait upon her customers.\n\u201cWell, Susan Whiting,\u201d said she, gazing at the children over her\nspectacles. \u201cHow do you do? Is your grandmother well? And so your\ngrandfather is going to call by for you. I suppose he came in to the\nCourt-House on business. And this is the little boy who has come to live\nnext door to you, is it? Well, my dears, I hope you will find something\nyou like here. Just walk around, and if you want to know about anything\nbring it to me. My knee has been so bad with rheumatism that I don\u2019t get\nup if I can help it.\u201d\nAnd Madame Bonnet returned to her knitting, apparently forgetting the\nchildren, who walked about on tiptoe eyeing the toys and handling\neverything within reach.\nMadame Bonnet had been born and brought up in the town of Green Valley\nand had never journeyed farther away than fifty miles. People were\nsomewhat surprised, therefore, when, one fine day, the girl they had\nalways known as Mary Bonnet had opened her little shop, and had raised\nover the front door a sign which boldly read, \u201cMadame Bonnet.\u201d\n\u201cThere is French blood in me somewhere, I\u2019m sure,\u201d said she. \u201cAnd I\ndon\u2019t see why I shouldn\u2019t call myself \u2018Madame,\u2019 if I like.\u201d\nAnd now that Madame Bonnet was an old lady with white hair and\nspectacles, most people had forgotten that she had ever borne any other\nname.\n\u201cPhil,\u201d said Susan, standing entranced before a low shelf, \u201cwon\u2019t you\ncome and look at this doll?\u201d\nIn the center of a large square of cardboard was sewed a bisque doll,\nwhose long flaxen braid hung over one shoulder and reached to the tips\nof her dimpled toes. Surrounding her, also sewed on the card, was her\nwardrobe, consisting of a pink dress, a pink hat, and a pair of pink kid\nboots, a similar costume in blue, a Red Riding Hood cape, and a green\nsilk umbrella.\nSusan fairly held her breath before this vision of loveliness. But Phil\nwas spellbound at the other end of the shop\u2014and no wonder.\nIn a long glass tube, full of water, was a little red imp, even to horns\nand tail, and, instructed by Susan how to press upon the rubber top,\nPhil soon learned to make the imp execute a gay dance or move slowly up\nand down in his narrow, watery prison.\n\u201cCome along,\u201d urged Susan, tugging at Phil\u2019s arm. \u201cThere are lots more\nthings to see. Look at this little piano. It has four\nkeys\u2014_tink-a-link-a-link_! And here\u2019s a swimming boy\u2014how pretty he is!\u201d\nAnd Susan carefully lifted the light little figure, who lay with rosy\nhands and feet outstretched all ready for a splash.\n\u201cI like the animals.\u201d\nAnd Phil paused before a table laden with small trays on each of which\nreposed a family of tiny bisque animals. There sat demure Mrs. Pussy and\nher five tortoise-shell kittens. Four timid little lambs huddled close\nto the Mother Sheep as if asking protection from a herd of big gray\nelephants, who, in turn, trumpeted silently with upturned trunks, at the\ndisgrace of being placed next a placid family of black-and-white pigs.\nThere were ducks and chickens, camels and donkeys, cows and\nhorses\u2014sitting, standing, and lying side by side in a peaceful and\nunited frame of mind not often to be met with in this world.\nPhil carried a tray of fat snub-nosed little animals back to Madame\nBonnet to find out what they were.\n\u201cLand sakes!\u201d exclaimed Madame Bonnet. \u201cDon\u2019t you know what they are?\nThey\u2019re dogs, pug dogs. Didn\u2019t you ever see one? Susan, didn\u2019t you ever\nsee a pug dog? Well, I don\u2019t know as they are as common as they used to\nbe. Ladies used to like them for pets.\u201d And Madame Bonnet shook her head\nover the way times had changed since she was a girl.\nThe children wandered round and round, entranced afresh at each table\nand shelf.\nThere was a small wooden clock, like the timepiece in Susan\u2019s kitchen at\nhome, whose pendulum swung gayly to and fro if only you helped it a\nlittle with your finger. There were dolls\u2019 hats made by Madame Bonnet\nherself, that varied in style from a knitted tam-o\u2019-shanter to a strange\nturban-like affair with a jaunty chicken feather in the top. There was\nsheet after sheet of paper dolls that surely belonged to the days of\nlong ago, for the ladies wore their hair in a way that Grandmother would\nhave recognized as a waterfall, and the little girl dolls had droll\npantalettes hanging below their skirts.\nThere was a beautiful sawdust and china doll, whose wavy black china\nhair was piled high upon her head, whose strapped china boots gracefully\ntook \u201cfirst position\u201d when she was held upright, and whose rosy lips\nsmiled sweetly in spite of the fact that her bright green silk dress was\nneatly pasted on, so that it wouldn\u2019t come off, no matter what the\nemergency. Perhaps the fancy gilt paper trimming on dolly\u2019s frock kept\nher cheerful. Perhaps Susan\u2019s open admiration warmed her chilly little\nchina heart and helped her to forget any discomfort she might suffer.\nAt any rate, Susan passed reluctantly from her side to view the doll\u2019s\nfurniture, and there she entered into such a delightful wilderness of\nchairs, beds, tables, and sofas as would be difficult to describe.\nParlor sets with red and blue velvet trimmings; bedroom sets quite\ncomplete, down to the cradle rocking comfortably away beside the\nmother\u2019s big bed; rocking-chairs; baby\u2019s high chair; a bookcase filled\nwith tiny paper books; a stove with lids that really lifted off.\n\u201cOh, I can\u2019t go home!\u201d cried Susan, when Grandfather opened the door\nand, stooping low to save his head, came into the shop.\n\u201cFive minutes more,\u201d said Grandfather, as he sat down for a little talk\nwith his old friend Madame Bonnet.\n\u201cOh, Phil, only five minutes more.\u201d And in that five minutes Susan flew\naround like a distracted hen, making up her mind what her purchase\nshould be.\nPhil had been absorbed for some time in a pile of paper books with gay\nred-and-white pictured covers, and he now came forward with his\nselection. \u201cThe Story of Naughty Adolphus,\u201d read Grandfather, and gazed\nwith interest upon the picture of Adolphus, to whom \u201cnaughty\u201d seemed a\nmild word to apply. For not only was Adolphus dancing up and down in a\nfit of temper, and all but striking his meek and shrinking little nurse\nwho stood terror stricken close by; but it was very evident that\nAdolphus refused to have his hair brushed, his face washed, or finger\nnails trimmed. All this the picture showed quite plainly, and innocent\nPhil gazed at it with a virtuous air, for, in his worst moments, he felt\nsure he had never even approached \u201cNaughty Adolphus.\u201d\n\u201cIt looks interesting,\u201d announced Grandfather soberly. \u201cI think you\u2019ve\nmade a good choice. Susan, are you ready?\u201d\n\u201cLook,\u201d murmured Susan, faint with admiration. \u201cLook what I\u2019ve found.\u201d\nIt was a white china egg, and, lifting off the top, there lay a little\ndolly, as snug as could be.\n\u201cIt\u2019s beautiful,\u201d said Susan. And bold with gratitude, she stood on\ntiptoe and placed a kiss upon Madame Bonnet\u2019s wrinkled cheek.\n\u201cWell!\u201d said Madame Bonnet, taken aback for the moment, but liking it\nnevertheless. \u201cIf I had a good knee I\u2019d step down cellar for a bottle of\nmy raspberry vinegar to treat you all. How are your knees, Mr. Whiting?\u201d\n\u201cYoung as a boy\u2019s,\u201d returned Grandfather, rubbing them as he spoke. \u201cBut\nhere\u2019s Parson Drew. Suppose we let him step down. He doesn\u2019t know that\nhe has any knees.\u201d\nSo Parson Drew, as fond as Susan of raspberry vinegar, obligingly\n\u201cstepped down cellar,\u201d and brought up a tall rosy bottle the contents of\nwhich, under Madame Bonnet\u2019s careful eye, he poured into thin little\nglasses with a gold band about the top.\n\u201cWell,\u201d said Grandfather, after he had actually turned the bottle upside\ndown to prove to Susan and Phil that there was not a single drop left in\nit, \u201cI\u2019m afraid the time has come for us to go.\u201d\nAnd after many good-byes and messages for Grandmother, the party moved\ntoward the door.\nParson Drew led the way, and, as he opened the door, something from\noutside, with a clatter and clash, darted into the shop, whirled down\nthe aisle, and subsided with a jangle into a dark corner at the back of\nthe store.\nMadame Bonnet, completely forgetting her bad knee, mounted her chair in\na twinkling and stood holding her skirts about her feet, calling\u2014\n\u201cHelp! Help! Help!\u201d\nSusan, clutching tight to her eggshell baby, tried to climb up into\nGrandfather\u2019s arms, while Phil, making himself as small as possible, hid\nunder a convenient table.\nGrandfather was peering into the dark corner where the clattering\nobject, now silent and motionless, could be faintly seen.\nSuddenly Grandfather put back his head and laughed.\n\u201cIt\u2019s a cat,\u201d said he; \u201ca poor forlorn little gray cat. And we were all\nafraid of a cat.\u201d\nHe gave a second look, and then he spoke in a different tone.\n\u201cTut, tut, tut,\u201d said Grandfather, as if he were angry.\nHe gently moved toward the trembling pussy, but before Madame Bonnet\ncould step down from her chair or Phil come out from under the table, in\nfrom the street walked Mr. Drew, whom no one had missed until now. He\nheld by the coat-collar a freckled, red-headed boy, and he was pushing\nhim along in no very gentle way.\n\u201cThis is the boy who did the deed,\u201d said Mr. Drew, and he sounded angry\nin the same way Grandfather did. \u201cI thought I would catch him enjoying\nhis fun if I stepped outside, and, sure enough, there he was, doubled up\nwith laughter and slapping himself on the knee at the joke. A fine\njoke,\u201d added Mr. Drew, giving the boy a little shake, \u201ca fine\njoke\u2014tormenting a poor cat.\u201d\n\u201cThe other boys were in it, too,\u201d whined the culprit, squirming, \u201conly\nthey ran away.\u201d\n\u201cThat doesn\u2019t excuse you,\u201d answered Mr. Drew sternly. \u201cI have a notion\nto tie the tin can on you. \u2018It\u2019s only for a joke,\u2019 you know. That is\nwhat you told me.\u201d\n\u201cNo, no,\u201d whimpered the boy, jerking and twisting about. \u201cLet me go.\nI\u2019ll give you five cents if you do. I\u2019ll give you ten cents if you let\nme go.\u201d And he pulled from his pocket a handful of coins and held them\nout on his grimy palm.\n\u201cIs it yours?\u201d asked Mr. Drew. \u201cIs it your money?\u201d\nThe boy nodded.\n\u201cGood!\u201d said Mr. Drew. \u201cThen I\u2019ll take it.\u201d And he coolly slipped the\ncoins into his pocket.\n\u201cNow,\u201d said he to the boy, tightening his grip on his collar, \u201cyou come\nwith me, and we will spend this money on a treat for poor pussy. And you\nshall watch her enjoy it, too.\u201d\nWhen Mr. Drew returned with his unwilling companion, he found Madame\nBonnet composedly knitting in her chair, the rest of the group eyeing\npussy, still motionless in her corner.\n\u201cNow, Tim,\u201d said Parson Drew cheerfully, to his sulky, red-haired\nfriend, \u201cyou shall have the pleasure of giving pussy the milk and the\ncat-meat which you bought for her with your money.\u201d\nTim silently spread the feast and retreated a few steps.\n\u201cCome, puss, puss,\u201d encouraged Madame Bonnet in her comfortable voice,\n\u201cdrink your milk.\u201d\nAnd pussy timidly put out her pink tongue and drank the milk thirstily.\n\u201cYou needn\u2019t be afraid to leave her to me,\u201d observed Madame Bonnet to\nGrandfather, who was looking at his watch. \u201cI like a cat, when I know\nit\u2019s a cat and not a whirlwind. I\u2019ll take off the can when she is more\nused to me, and I\u2019ll keep her here a bit till I find her a home.\u201d\nOutside the shop, the party halted once more.\n\u201cDon\u2019t play any more tricks like this, will you, Tim?\u201d asked Mr. Drew.\n\u201cAnd shake hands.\u201d\nTim nodded and thrust out his hard little hand. He grinned cheerfully up\nat Mr. Drew, and was off down the street, whistling shrilly between his\nfingers as he ran.\n\u201cWhen I get home,\u201d confided Susan in Grandfather\u2019s ear, as she sat on\nhis lap on the homeward ride, \u201cI\u2019m going to tell Snowball all about it,\nand about that bad boy, and then I guess she will be glad that she has\nlost her tail. Don\u2019t you?\u201d\nCHAPTER IV\u2014THE SQUASH BABY\nSusan was very unhappy. She stood by her bedroom window, kicking the\nwall, and at every kick she said, \u201cmean, mean, mean.\u201d\nIt was all about a little berry pie. Grandmother had made for Susan\u2019s\ndinner a saucer pie. It was juicy and brown and had fancy little crimps\nall about the edge. It looked almost too good to eat.\nBut instead of being pleased and thanking Grandmother, Susan had scowled\nup her face at sight of it, and had muttered,\n\u201cI don\u2019t like the little pie. I want a piece of the big one.\u201d\nNow, there is no telling why Susan acted in that way. I don\u2019t believe\nshe could have explained it herself. The words seemed to pop out of her\nmouth, her face seemed to snarl itself up, and, for no reason at all she\nsuddenly felt very angry at the poor, pretty little saucer pie.\nAnd after this dreadful speech, nobody spoke.\nSusan felt Grandfather looking at her over his spectacles. She saw\nGrandmother take the saucer pie and set it aside. And then, somehow,\nnobody seemed to remember that Susan was at the table at all. She sat\nthere, the lump in her throat growing bigger and bigger and with a\nstrange prickly feeling in the end of her nose, until the tears began to\nchase one another down her cheeks. And then Susan slipped from her chair\nand ran upstairs.\nOn the floor near the door lay innocent Snowball. Susan pushed her to\none side with such force that Snowball flew under the bed and struck the\nwall with a thump. Then Susan threw herself on the bed beside Flip and\nclasped her in her arms.\nFirst she cried until she couldn\u2019t cry any more, and then she whispered\nthe whole story into Flip\u2019s ear. \u201cNobody loves me but you, Flippy,\u201d\nfinished Susan with a gasp. Already she felt comforted, for, no matter\nwhat happened, Flippy was always on her side.\nAfter a little, she rolled off the bed, and stood looking out of the\nwindow into the hot garden below. There was not a breath of air\nstirring. The leaves of the fruit trees scarcely moved, the sky seemed\nto swim and dance before her eyes, and the only sound to be heard was\nthe shrill singing of the locusts in the trees.\nIt was then that Susan said, \u201cmean, mean, mean,\u201d and she meant\nGrandmother, and Grandfather, and every one in the whole round world\nexcept Flippy Whiting.\nSusan twisted the shade cord and sniffed, and tried to think of all the\ncross and disagreeable things Grandmother and Grandfather had ever done\nto her.\nBut there was something strange about those thoughts. They were as\ncontrary as Susan herself. For all she could remember were the times\nwhen Grandmother and Grandfather had been kind and patient and good, and\nlittle by little quite a different feeling came over her.\n\u201cGrandfather always takes me driving with him when he can,\u201d thought she.\n\u201cAnd Grandmother made the new dress for Flip; and she brought me a\npaint-box yesterday from Green Valley.\u201d\nAnd suddenly Susan began to cry again.\n\u201cBut this time it is sorry tears. The other time it was mad ones,\u201d\nthought she to herself, for Susan was quite as sharp as are most little\ngirls to know when she was in the right or in the wrong.\nDownstairs she flew, and flung her arms about Grandmother.\n\u201cOh, oh, oh,\u201d moaned Susan, burying her face in Grandmother\u2019s neck. \u201cOh,\nGrandmother, Grandmother.\u201d And if she had stood upon the church steps\nand shouted, \u201cI\u2019m sorry,\u201d to the whole village, she couldn\u2019t have said\nit more plainly.\nGrandmother understood her quite well, and all she said was:\n\u201cI couldn\u2019t believe that my Susan would be so rude to me.\u201d\n\u201cI didn\u2019t mean it, I didn\u2019t mean it,\u201d whispered Susan, and, sealing the\npeace with a kiss, she went in search of Grandfather.\nHe sat on the porch, reading his paper, and he must have heard all that\nshe said, for he opened his arms, and without a word she snuggled down\nupon his lap. With both hands she pulled his face round to hers and\nplaced a kiss upon what she called \u201cmy very own spot,\u201d none other than\nthe tip of Grandfather\u2019s nose.\n\u201cPromise you will never let any one else kiss you there,\u201d Susan had once\nbegged.\n\u201cI promise,\u201d Grandfather had answered with a laugh. And no doubt he kept\nhis word.\nBut now, he put his hand into his baggy coat pocket and pulled out a\nplump summer squash.\n\u201cI thought this would make a nice dolly for you,\u201d said he. \u201cI picked it\nup after dinner in the garden.\u201d And with his knife he deftly cut eyes\nand nose and mouth, and handed over the simpering orange-colored baby to\nthe delighted Susan.\n\u201cNow we will go down to the office,\u201d said he, \u201cand let Grandmother have\na nap this afternoon. I have to see a man on business, but you can play\naround the schoolhouse while I\u2019m busy.\u201d\nAt the roadside gate they stopped a moment \u201cto catch the breeze,\u201d said\nGrandfather, pulling off his hat and mopping his brow.\nA man, whistling a lively tune, came up the road, and surely he felt the\nheat but little, for he wore a brown velveteen jacket and had knotted\nabout his throat a bright red handkerchief. His face was brown and his\nsoft hat showed dark curling hair underneath the brim.\nGrandfather eyed him shrewdly, and, as the man passed the gate, he\nspoke.\n\u201cSarishan,\u201d said Grandfather.\nThe man stopped short and looked Grandfather straight in the eye.\n\u201cSarishan, rye,\u201d answered the man.\nGrandfather Whiting laughed and shook his head.\n\u201cNo, no,\u201d said he. \u201cI\u2019m no rye, and \u2018sarishan\u2019 is all the Romany I know.\nBut I wanted to see whether you would answer me. There are not many\nRomanies to be seen about here nowadays. Are there?\u201d\nThe man shook his head and moved on. After a pause, he began his\nwhistling again.\n\u201cWhat is it, Grandfather?\u201d asked Susan. \u201cWhat were you saying? Who is\nthat man?\u201d\n\u201cHe is a gypsy,\u201d answered Grandfather, watching the man out of sight,\npast the schoolhouse and round the bend of the road. \u201cI thought so when\nI saw him, so I spoke to him in Romany or gypsy talk. I said,\n\u2018Sarishan.\u2019 That means, \u2018good-day.\u2019 I\u2019m surprised he answered me. They\ngenerally pretend not to understand.\u201d\n\u201cSarishan,\u201d repeated Susan. She liked the soft pretty word. \u201cBut what\ndid he call you, Grandfather?\u201d\n\u201cHe called me \u2018rye.\u2019 That means a gentleman. A Romany rye is a gypsy\ngentleman. Some people like gypsy life, Susan, and know and understand\nthe gypsies better than others do. Sometimes they slip away and live\nwith the gypsies for a time. And this man thought I was one of them\nbecause I spoke to him in Romany.\u201d\nSusan wanted to ask Grandfather what gypsy life was like. But the man\nGrandfather was to see on business drove up just then, so she slipped\nacross the road to the deserted schoolhouse, and, bringing out her own\nlittle broom which she kept under the porch, she proceeded to give the\nsteps and the walk a thorough sweeping.\nThis housewifely task ended, she seated herself on the steps, for she\nthought the squash baby needed an afternoon nap. Tied round the handle\nof the broom was a little blue cloth that Susan used for a duster. It\nwas new and clean, so she fastened it round the neck of the squash baby\nas a cloak, and so rocked the baby to and fro and hummed a little song.\nIt was quiet on the schoolhouse steps. The shadows crept silently across\nthe road, so silently that they did not disturb a little head pillowed\non the hard boards of the porch.\nThe flowers and grasses in the neglected yard stirred and rustled in the\nafternoon breeze, just beginning to spring up, but all they murmured was\n\u201cHush! Hush!\u201d The bees hummed and buzzed busily about among the flowers,\none inquisitive young fellow, who knew no better, actually lighting on\nSusan\u2019s gay hair-ribbon, as if he thought it a new kind of blossom. But\nthe little mother did not stir, for the very song the bees sang was a\nlullaby.\nSo that Susan\u2019s nap was long and refreshing, and when at last she woke\nand stretched her stiff little arms and legs, she discovered that she\nwas hungry.\n\u201cYou stay here, baby,\u201d said she, firmly planting the ever-smiling squash\nbaby upon the steps. \u201cI\u2019ll be back in a minute with a cooky for you.\u201d\nSusan trudged leisurely up Featherbed Lane. Near the end she halted,\nand, leaning on the garden wall, stared with interest over at the\nTallman house.\nThe sound of crying was plainly to be heard floating out upon the air.\nThe dismal wails grew louder, and then the door opened and Phil\u2019s father\nappeared.\nHe walked with a determined air to the big lilac bush near the foot of\nthe steps, and, pulling out his pen-knife, carefully selected and cut\noff a stout little branch.\n\u201cIt\u2019s a switch,\u201d thought Susan, terror-stricken. \u201cOh, me, it\u2019s a\nswitch.\u201d\nAt this moment the door was flung open again, and out upon the porch\ndarted a little figure. Its face was red, its arms were whirling, it was\ndancing up and down and crying all at once. But, nevertheless, as Susan\npeered closely, she saw that it was Phil. There was no doubt about that.\nHis friend on the other side of the fence held her breath at the sight.\nOh, how sorry she was for him! She knew just how badly he felt. She,\ntoo, would have been dancing in a frenzy if, a little earlier that\nafternoon, she had seen Grandfather cutting a switch.\nBut, finally, Phil found his voice. \u201cNo, no!\u201d he shrieked; \u201cI\u2019ll be\ngood! I\u2019ll be good! I\u2019ll be good!\u201d\nHis father turned and looked at him.\n\u201cStop crying,\u201d said he.\nPhil sobbed and capered about a moment longer, but at last his sobs died\naway and he stood still.\nHis father eyed him a moment longer. Then he shut his pen-knife with a\nsnap and dropped the switch in the grass.\nAt this welcome sight Phil vanished into the house, and his father\nslowly followed him.\n\u201cWhat a horrid day,\u201d thought Susan. \u201cPoor Philly! But I won\u2019t tell I\nsaw. I mean I won\u2019t tell any one but Grandmother and Grandfather and\nFlip.\u201d\nArmed with her cookies, Susan traveled back to the schoolhouse. On the\nlittle stone walk she stopped and stared. The schoolhouse steps were\nbare!\nWhere was the squash baby? Surely she hadn\u2019t walked away by herself.\nNeither had she rolled off, toppled over by her own weight, for Susan\nsearched carefully in the grass about the steps. She shook the\nschoolhouse door. It was firmly locked. She peeped in the window. The\nsame familiar scene met her eye: rows of old-fashioned benches, rusty\nstove, dingy maps upon the wall, tin dipper left upon the window-sill.\nTo Susan\u2019s relief she saw Grandfather\u2019s business friend drive away, and\nshe hurried across the road to tell of the mysterious disappearance.\n\u201cToo bad,\u201d said Grandfather, as hand in hand they walked up to the\nhouse. \u201cBut I\u2019ll make you another baby. Some mischievous boy has passed\nby and taken it. There is not much travel on this road, though, and you\nnever lost anything before, did you? It\u2019s strange.\u201d\nOver on the Tallman steps sat Phil alone. He was spick and span in a\nclean starched suit, his hair was brushed to a gloss, and he was turning\nthe leaves of a picture-book in a way that any proper and well-behaved\nchild might imitate. At this moment, whatever may have been true earlier\nin the day, there was not the slightest suggestion of Naughty Adolphus\nabout little Phil.\nBut he seemed dispirited, and Grandmother, who had sharp eyes and ears\nas well as a warm heart, and who had guessed something of Phil\u2019s unhappy\nafternoon, looked from the drooping little figure on the steps to the\nred-rimmed eyes of her own Susan.\n\u201cSusan,\u201d said she briskly, \u201cit\u2019s a long while to supper-time. You run\nover and ask Mrs. Vane to let Philip come back here with you. Tell her I\nhave a little treat for you two. I hope I won\u2019t give them bad dreams,\u201d\nGrandmother added to herself, as Susan gladly sped over the garden wall\nand across the green lawn on her pleasant errand.\nBack came the children, hand in hand, already looking brighter, and when\nthey saw the little saucer pie, neatly cut in two, they broke into broad\nsmiles.\n\u201cChew it well,\u201d instructed Grandmother, \u201cand when you have finished, be\nsure you run around the house three times.\n\u201cBut I believe their pleasure is worth one nightmare,\u201d reflected she,\n\u201cthough I don\u2019t know that Mrs. Vane would agree with me.\u201d\n\u201cIt\u2019s good,\u201d announced Phil, his own cheerful self once more, as he\njoyously ate berry juice with a spoon.\n\u201cIt\u2019s the best pie I ever tasted,\u201d said Susan, twisting about in her\nchair to smile at Grandmother. Never, never again would she be rude to\nGrandmother; of that she was sure.\n\u201cBut I do wish,\u201d said Susan, looking round at every one, \u201cthat I knew\nwho took my squash baby.\u201d\nCHAPTER V\u2014DOWN AT MISS LIZA\u2019S\n\u201cHere is your tin pail, Susan. Try not to lose the cover, child.\u201d\n\u201cYes, Grandmother.\u201d\n\u201cAnd I\u2019ve put your slippers in this little bag. Be sure to bring them\nhome again with you.\u201d\n\u201cYes, Grandmother.\u201d\n\u201cAnd tell Miss Liza she is to start you home at half-past three.\n\u201cTell her I said so. She will have had quite enough of you children by\nthat time, but she is so good-natured she would let you stay till\nDoomsday if you liked.\u201d And Grandmother, straightening Susan\u2019s hat,\nsmiled down into the expectant little face looking up into hers.\n\u201cYes, Grandmother,\u201d answered Susan for the last time, and ran off to\njoin Phil, who, also provided with a pail and a pair of bedroom\nslippers, stood waiting in the lane.\n\u201cIsn\u2019t this nice?\u201d asked Susan as, clashing their pails cheerfully, they\nmoved briskly along the road. \u201cI do love to go to Miss Liza\u2019s. When she\nlived in your house I used to go over every day, and sometimes when she\nwas baking she would let me help. She had little wee cake pans of a\nfish, and a leaf, and a star.\u201d And Susan smiled at happy memories of\nMiss Liza\u2019s baking-days.\n\u201cWill we make cakes to-day, do you think?\u201d inquired Phil, who, invited\nwith Susan to spend the day at Miss Eliza Tallman\u2019s, was making his\nfirst social call of the season and was not quite sure what was expected\nof him. For all he knew to the contrary, it was customary to carry a tin\npail and bedroom slippers when going visiting for the day.\n\u201cI don\u2019t believe so,\u201d returned Susan doubtfully. \u201cMiss Liza doesn\u2019t live\nalone now. She lives with her niece, Miss Lunette. And Miss Lunette\ncan\u2019t bear the tiniest bit of noise. That\u2019s why we brought our slippers.\nWe have to put them on the minute we get there, and walk on tiptoe, and\njust whisper.\u201d And Susan\u2019s voice sank mysteriously as she related their\nprogramme for the day.\nPhil looked downcast. The prospect of whispering and walking on tiptoe\nwas not in the least pleasing to him.\n\u201cIs Miss Lunette sick?\u201d he inquired soberly.\n\u201cOh, yes,\u201d Susan assured him, \u201cshe is. I heard Grandmother and Miss Liza\ntalking. No one knows just what is the matter with her, but she must\nhave good things to eat, and some one to wait on her, and not one bit of\nnoise. And I heard Grandmother and Grandfather talking, too,\u201d went on\nthe \u201clittle pitcher.\u201d \u201cGrandmother said, \u2018Liza\u2019s a saint on earth,\u2019 and\nGrandfather said, \u2018In my opinion, all Miss Lunette needs is a little\nhard work!\u2019 I don\u2019t know just what they meant. But, anyway, we are going\nto fill our pails with currants and raspberries. Miss Liza said so.\u201d\nPhil brightened for a moment, but his face clouded again and he stopped\nin the road.\n\u201cCan\u2019t we shout before we get there, Susan?\u201d he asked plaintively. \u201cI\nfeel just like shouting to-day.\u201d\n\u201cI do, too,\u201d agreed Susan willingly. \u201cLet\u2019s shout now where there is no\none to stop us.\u201d And putting down their bundles so that they might swing\ntheir arms as well, the children opened their mouths and shouted until\nthey could shout no more.\nOn either side of the road lay a dense little wood. The noise of the\nshouting woke the echoes and startled the birds who rose in the air with\na whirr of wings and then settled down again. There was the crackling of\nunderbrush and the rustle of leaves, but neither of the children saw a\ncautious little figure, with brown face and tumbled black hair, peering\nat them from behind a tree. His hungry eyes traveled to their pails and\nstopped there.\n\u201cI\u2019ll race you!\u201d shouted Phil suddenly. And he was off, with Susan close\nbehind, their empty pails swinging as they ran.\nThe little brown figure turned and disappeared among the tree-trunks.\nMiss Eliza Tallman stood waiting for her guests on the steps of the\nwhite cottage that was separated from the street by an old-fashioned\nflower garden, now glowing in its prime.\nMiss Liza herself was as wholesome and sweet and crisp as the row of\npinks that bordered the walk and sent their spicy odors out upon the\nwarm summer air. Miss Liza was round and plump. Her crinkly brown hair,\nwith only a few threads of gray, was drawn into a round little knob at\nthe back of her head. Her eyes, round and blue, looked out pleasantly\nfrom behind round gold spectacles. She stood, absently smoothing down\nher stiffly starched white apron, until she caught sight of the\nchildren, and then she waved her hand in greeting.\n\u201cI\u2019m glad to see you,\u201d she called softly.\nAnd something in the quiet voice made Susan remember to close the gate\nbehind her gently instead of letting it swing shut with a slam.\n\u201cSit right down here on the porch steps and put on your slippers. Miss\nLunette feels right well to-day, and she wants you to come up and see\nher before dinner.\u201d\nAnd Miss Liza smiled so warmly at little Phil that he cheered up\nimmediately. Going to see Miss Lunette couldn\u2019t be very dreadful if Miss\nLiza looked so pleasant about it.\nUp the steep stairs they toiled softly, and were ushered into a room so\ndarkened that, coming from the glare of the sun outside, it was at first\ndifficult to see anything.\nBut Phil at length made out a figure, wrapped in a shawl this warm\nsummer day, seated in a cushioned rocking-chair, and felt a cool, slim\nhand take his own for an instant. He looked timidly into the face above\nhim and saw with a lightened heart that Miss Lunette was not dreadful at\nall, that she didn\u2019t look in the least as he had expected and feared to\nsee her look.\nAnd in the fullness of his heart, little Phil spoke out.\n\u201cWhy, you are pretty,\u201d said he to Miss Lunette.\nMiss Lunette\u2019s pale, thin face flushed with pleasure, and she laid a\nhand lightly upon Philip\u2019s head.\n\u201cI feel so well to-day,\u201d said she graciously, \u201cthat I want to show you\nchildren some toys that I\u2019ve been making. Some day I mean to sell them\nin the city, but it won\u2019t do any harm, I suppose, to show them to you\nbeforehand. It is what we call wool-work,\u201d added she carefully.\nOn a table, drawn close to Miss Lunette\u2019s chair, stood a group of\nanimals made of worsted. There were yellow chickens standing unsteadily\nupon their toothpick legs. Lopsided white sheep faced a pair of stout\nrabbits evidently suffering from the mumps. A dull brown rooster\nsuddenly blossomed out into a gorgeous tail of red and green and purple\nyarn.\nFor a grown person it would be difficult to imagine who, in the city,\nwould purchase these strange specimens of natural history, but such a\ndisloyal thought did not occur to the children. They admired the toys to\nMiss Lunette\u2019s complete satisfaction, and they had their reward. For\nMiss Lunette took from the shelf under the table a book, a home-made\nbook, between whose pasteboard covers had been sewed leaves of stiff\nwhite paper.\n\u201cAs a special treat,\u201d said Miss Lunette sweetly to her round-eyed\naudience, \u201cI am going to show you my book.\u201d\nShe paused for an instant to allow Susan and Phil to feast their eyes\nupon the book in silence.\n\u201cThis is the cover,\u201d said she at last, \u201cand I made the picture myself.\u201d\nThe picture was that of a rigid little boy, in a paper soldier cap,\nstiffly blowing upon a tin trumpet. The picture was carefully colored\nwith red and blue crayons.\n\u201cOh, it\u2019s pretty,\u201d said Susan, in honest admiration. She meant to make a\nbook herself as soon as she reached home.\n\u201cWhat\u2019s inside?\u201d asked Philip. He felt sorry for that little boy, who,\nas long as he lived with Miss Lunette, might never make a noise.\n\u201cI think the cover ought to be bright and gay, so that it will attract\nthe children,\u201d went on the authoress. \u201cDon\u2019t you think so, too?\u201d\nYes, Susan and Phil thought so, too.\n\u201cBut what\u2019s inside?\u201d asked Philip again.\nHow was that little boy going to play soldier, and never once shout or\nfire off a gun?\n\u201cThe name of the book is \u2018Scripture for Little Ones,\u2019\u201d continued Miss\nLunette. \u201cI will read parts of it to you if you like.\u201d And opening at\npage one, she began to read.\n A is for Absalom who hung by his hair\n From a tree\u2014How painful to be left swinging there.\n B is for Baalam\u2014He had a donkey who spoke\u2014\n If we heard it to-day we would think it a joke.\n C is for Cain\u2014His brother Abel he slew\u2014\n He was a murderer\u2014May it never be true of you!\n D is for Daniel who, in the lion\u2019s den,\n Suffered no harm from beasts or from men.\n E is for\u2014\nBut whom E stood for the children never knew, for Miss Liza appeared in\nthe doorway bearing a tray.\n\u201cHere is your dinner, Lunette,\u201d said she gently. \u201cChildren, you creep\ndownstairs now. You don\u2019t want to overdo, Lunette,\u201d she added, as she\nplaced the invalid\u2019s substantial dinner before her. \u201cYou\u2019ve been talking\nfor an hour now.\u201d\nDownstairs Miss Liza closed the stairway door that led up to Miss\nLunette\u2019s room.\n\u201cNow you can talk out as loud as you like,\u201d said she, \u201cand you won\u2019t\ndisturb any one. What\u2019s the news up at your house, Susan? Have you and\nPhil found the buried ten cents yet?\u201d\nNo, Susan had forgotten all about it.\nSo, as she stepped about putting their dinner on the table, Miss Liza\ntold Phil the story of the buried ten cents.\n\u201cYou know, Phil,\u201d said she, \u201cyou are living in my house,\u2014the house I was\nborn and brought up in. And one day, when I was a little girl eight\nyears old, my uncle, who had a farm a mile or so away, drove past our\nhouse and saw me in the road.\n\u201c\u2018Here\u2019s ten cents,\u2019 said he. \u2018Five for you and five for Jim.\u2019 Jim was\nmy brother. Now I was a selfish little thing,\u201d said Miss Liza, shaking\nher head, \u201cand what did I do but dig a hole under the kitchen window and\nput the ten cents in it. Some day, when Jim was out of the way, I meant\nto dig it up and spend it all on myself. But do you know, I never have\nfound that money from that day to this. I dug, and Jim dug, and Susan\nhere has dug, and I suppose you will try now. If you find it, be sure\nyou let me know.\u201d\n\u201cI will find it,\u201d said Phil, excited. \u201cI will. You see.\u201d\nMiss Liza nodded wisely.\n\u201cThat is what Susan thought,\u201d she answered. \u201cNow draw up to the table. I\nhope you are hungry.\u201d And Miss Liza smiled hospitably round at her\nguests.\nThey were hungry. The good dinner disappeared from their plates like\nmagic, but the crowning touch came when the little cakes shaped like\nfish and leaves and stars appeared upon the table.\n\u201cI told Phil about them,\u201d Susan repeated over and over; \u201cI told him, I\ntold him.\u201d\nAfter dinner, Susan and Phil went into the garden to fill their pails\nwith currants and raspberries. It must be admitted that they picked more\nraspberries than currants, and that they put almost as many berries into\ntheir mouths as into their pails.\nThey were hard at work when Miss Liza joined them.\n\u201cIt\u2019s half-past three,\u201d said she, shading her eyes with her hands and\nlooking up at the sky. \u201cAnd if your Grandmother meant what she said, you\nought to start for home. But what I\u2019m thinking of is the weather. It\u2019s\nclear enough overhead, but low down there are black clouds that look\nlike a shower to me. I don\u2019t know whether you ought to set out or not.\u201d\nThe clouds looked very far away to the children, and, now that their\npails were almost full, it seemed a pity not to stay a little longer.\nBut Miss Liza took one more look round at the sky and made up her mind\nonce for all.\n\u201cYou must go right along,\u201d she decided, \u201cand hurry, too. I shan\u2019t have\nan easy moment till I think you are safe at home. Here are your hats and\nslippers. Miss Lunette is napping, now, so I will say good-bye for you.\nHurry right along, children, and don\u2019t stop to play by the way.\u201d\nAnd all in a twinkling Susan and Phil found themselves walking down the\nvillage street, with Miss Liza at the gate, waving good-bye with one\nhand and motioning them along with the other.\nThe sun was shining as they left the village and turned into the country\nroad that led past home, but there were low mutterings and rumblings and\nPhil stopped to listen.\n\u201cThere\u2019s a wagon on the bridge,\u201d said he. \u201cMaybe they will give us a\nride.\u201d\n\u201cIt\u2019s thunder,\u201d returned Susan, more weather-wise than he. \u201cListen. It\u2019s\ngetting dark, too. I wish a wagon would come along.\u201d\nBut there was no sound of wheels; only rumblings of thunder growing ever\nlouder, the rustle of leaves in the rising wind, and the call of the\nbirds to one another as they hastened to shelter from the coming storm.\n\u201cIt\u2019s blue sky overhead, anyway,\u201d said Susan. \u201cLet\u2019s run.\u201d\n\u201cIt\u2019s raining,\u201d announced Phil, heavily burdened with slippers and pail.\n\u201cI hear it on the leaves. I can\u2019t run. Let\u2019s sit down under a tree.\u201d\n\u201cNo, no!\u201d exclaimed Susan, seizing his hand. \u201cCome on! It\u2019s blue sky\noverhead. I want to get home to Grandmother. I don\u2019t like it in the\nwoods in the rain. Come on! Do hurry\u2014Run!\u201d\nThe tiny patch of blue sky upon which Susan had pinned her faith had\nbeen rapidly growing smaller. Now it was altogether out of sight. There\nwas a sharp flash of lightning, a loud clap of thunder, and down came\nthe rain like the bursting of a waterspout.\n\u201cOh, run, Philly, run!\u201d called Susan, darting to the side of the road.\n\u201cCome here with me under the trees.\u201d\nA flash of lightning and long roll of thunder came just at that moment,\nand put to flight all Phil\u2019s small stock of courage. He was frightened\nand tired, and he could endure no more. He dropped his pail of precious\nberries to the ground, he let fall his slippers, and, standing in the\ndownpour, he lifted up his voice and wept.\n\u201cMamma, Mamma!\u201d wailed Phil. \u201cI want Mamma!\u201d\nPoor Susan was distracted. Her lip trembled and her eyes filled with\ntears, but she bravely ran out into the road again and caught Phil by\nthe arm.\n\u201cCome, Philly, come,\u201d entreated Susan.\nBut Phil, bewildered by the dazzling flashes of light and peals of\nthunder, was beside himself with fear. He jerked his arm away and ran\nscreaming up the road, splashing through puddles as he went.\n\u201cOh, Philly! Oh, Grandfather! Oh, Grandfather!\u201d wailed Susan. She felt\nthat the end of the world had come.\nBut deliverance was at hand.\nOut of the woods appeared a man and a boy. The man easily overtook Phil\nand lifted him in his arms.\n\u201cDon\u2019t be afraid, missy,\u201d called he to Susan above Phil\u2019s screams. \u201cCome\nalong with me.\u201d\nThe boy had gathered up the scattered bundles, and he now grasped\nSusan\u2019s hand, and so, dripping with rain, the little party vanished into\nthe shelter of the woods.\nCHAPTER VI\u2014THE GYPSIES\nSusan sneezed twice, coughed, and looked about her.\nShe stood in a tent, round like a circus tent, and the air was heavy\nwith smoke from a fire smouldering on the ground. There were no doors or\nwindows in the tent, and but little light entered on this dark afternoon\nthrough a half-dozen rents in the roof.\nBut Susan made out in the gloom not only the man and boy who had brought\nher there, but a plump, dark woman, with gold hoops in her ears, who was\ngently wiping the rain from Phil\u2019s face, three or four ragged children\ndressed in bright reds and yellows, staring intently at her with big\nblack eyes, and a dog or two, discreetly lurking in the dim background.\nSusan sneezed again, and the woman turned from Phil and spoke.\n\u201cIt\u2019s the smoke, dearie,\u201d said she kindly. \u201cYou\u2019ll be used to it in a\nmoment. Tell your little brother not to be afraid. He is among friends.\nWe wouldn\u2019t hurt a hair of your heads. Tell him that.\u201d\n\u201cI want to go home,\u201d said Phil, with under lip thrust out. \u201cI want to go\nhome.\u201d\n\u201cAnd so you shall,\u201d said the woman briskly, \u201cas soon as it stops raining\na bit, and my man can find out where you live.\u201d\n\u201cStraight up the hill,\u201d said Susan quickly. She, too, was eager to be at\nhome. \u201cI saw you at my gate,\u201d she added shyly, to the man. \u201cMy\ngrandfather said \u2018Sarishan\u2019 to you.\u201d\nSusan knew the brown velveteen coat, though the red tie was hidden under\nthe upturned collar.\nThe man looked at her a moment, and then he smiled.\n\u201cTrue enough,\u201d said he. \u201cI remember. I\u2019ll take you home. I\u2019ll harness\nthe \u2018gry\u2019 and take them in the van,\u201d said he to his wife. \u201cIt\u2019s still\nraining hard. They shall know that the gypsies are good to deal with,\nand that the worst of them is not James Lee.\u201d\nAnd, whistling his gay little tune, Mr. James Lee lifted the tent flap\nand went out again into the rain which still pattered musically on the\ncanvas roof.\nSusan began to enjoy herself. Now that she knew she was going home\nshortly, she looked about her with fresh pleasure.\n\u201cIt would be fun to live in a tent,\u201d she thought,\u2014\u201cso different from\nhome. No beds, no chairs, no table. The gypsies must eat sitting on the\nground, and sleep, perhaps, on that great heap in the corner.\u201d\nThat it was not very clean, and was very, very crowded, smoky and dark\ndid not enter Susan\u2019s mind.\nShe smiled at the children still staring silently at her. Besides the\nbig boy who, with back turned, seemed busy in the corner, there were\nthree little girls, two of whom, with coarse black hair and bold eyes,\nsmiled back at Susan and then fell to giggling and poking one another.\nOne of them darted forward and jerked at Susan\u2019s scarlet hair-ribbon.\nThe other stole slyly behind her and twitched her dress. They were\nmischievous, trixy children, and Susan felt uneasy with them. She was\nrelieved when their mother, seeing the rough play, exclaimed, \u201cClear\nout, you young ones,\u201d and drove them away.\nThe third little girl, who was scarcely more than a baby, remained in\nher place, staring solemnly at Susan. She did not look like the other\nchildren; indeed, she did not look like a gypsy at all. She was a\nslender little creature with pale brown hair, large gray eyes, and a\ntiny hooked nose that gave a strange air of determination to her baby\nface. She held something behind her back, and suddenly she stepped\nforward and showed it to Susan.\nIt was the lost squash baby!\nSusan knew it instantly. It had even the bit of blue rag tied about its\nneck.\n\u201cWhy, it\u2019s my squash baby!\u201d said she, in surprise.\n\u201cYours, is it?\u201d said Mrs. Lee, coming forward. \u201cMy man picked it up in\nthe road and gave it to Gentilla. Give it back, Gentilla. The little\nmiss wants it.\u201d\n\u201cNo, no, I don\u2019t want it,\u201d said Susan hastily. \u201cLet her keep it. Is her\nname Gentilla? She is a nice little girl.\u201d\n\u201cGentilla Lee, a good gypsy name,\u201d returned Mrs. Lee. \u201cShe is an orphan.\nShe is my husband\u2019s brother\u2019s child. You might think I had enough to do\nwith three children of my own. But no, I must have one more.\u201d And Mrs.\nLee lifted the tent flap and moodily looked out into the still falling\nrain.\nSusan smiled at Gentilla, who looked soberly back and then moved closer\nto Susan\u2019s side and began stroking the visitor\u2019s dress with a tiny hand\nthat was far from clean. Suddenly she slipped her hand in Susan\u2019s, and,\nswinging round on it, smiled up into her face.\nIt seemed a good beginning of a friendship, and Susan was sorry when\nMrs. Lee turned round in the doorway and said:\n\u201cHere comes my man with the van. You will be home in no time now.\u201d\nThrough the woods stepped Mr. James Lee leading a bony gray horse, which\nwas drawing a gypsy van, gay with bright red and green and black paint.\nHe opened the door in the back of the van and helped the children in.\n\u201cMy pail,\u201d said Phil, clutching his slippers. \u201cI\u2019ve lost my pail.\u201d\nMrs. Lee disappeared into the tent, and came out in a moment with Phil\u2019s\npail\u2014empty! No wonder the big boy, busy eating Phil\u2019s berries, had\nturned his back in the corner of the tent.\n\u201cDon\u2019t cry, Phil. You shall have half my berries. Don\u2019t cry. We\u2019re going\nhome.\u201d And Susan waved vigorous good-byes to Mrs. Lee and Gentilla, held\nback by her aunt from following Susan into the van.\nMr. Lee carefully led his horse through the woods to the muddy road, and\nthen, sitting up in front, drove his old \u201cgry\u201d up the hill toward\nFeatherbed Lane.\nIn the meantime Susan and Phil were looking round the van in surprise\nand delight.\n\u201cIt\u2019s like a little playhouse,\u201d said Susan, squeezing Phil\u2019s hand. \u201cOh,\nI wish I lived in a gypsy van all the time.\u201d\nOpposite the door, in the very front of the van, were two beds, one\nabove the other like berths on a ship, and broad enough, each one, to\nhold three or four gypsy children at once, if need be, and as, in fact,\nthey very often did. There was a little cookstove, whose pipe wandered\nout of the side of the van in a most unusual way. And alongside the\nstove was a table, hanging by hinges from the wall. A high chest of\ndrawers and two chairs completed the furniture of the van, which looked\nvery much like a state-room and felt somewhat like one, too, as it\nswayed over the hillocks and ruts in the road.\nUp Featherbed Lane bounced the van, and there on the porch stood\nGrandmother and Miss Liza, both with white cheeks and anxious faces,\nwhile Grandfather came hurrying from the barn where he had been\nharnessing old Nero with a speed that quite upset the dignity of that\nstaid Roman-nosed beast.\n\u201cWhere were you, children?\u201d cried Miss Liza in greeting, twisting the\ncorner of her apron as she spoke. \u201cI ran up here in all that downpour,\nand I didn\u2019t see a sign of you on the way.\u201d\n\u201cMy berries are gone,\u201d called Phil. \u201cThe big boy ate them. And I was\nafraid. And we were inside a tent.\u201d\n\u201cThey are gypsies,\u201d said Susan in a low voice to Grandmother, who was\ncarefully feeling her all over. \u201cThey live in a tent. And, inside, that\nvan is just like a doll\u2019s house. Their name is Lee. I wish I lived in a\nvan; it\u2019s better than a tent, I think. And they have the nicest little\ngirl you ever saw. Her name is Gentilla Lee. She likes me, I know she\ndoes, Grandmother. I want to go see her again.\u201d\n\u201cYou are wet in spots, child, and damp all over,\u201d was all Grandmother\nreplied. \u201cCome straight in the house and let me put dry clothes on you.\u201d\nGrandfather and the gypsy had been talking together all this time, and\nnow Grandfather put something into Mr. James Lee\u2019s hand that made his\nwhite teeth gleam in a smile, and caused him to drive first to the store\nin the village before returning to his hungry family in their tent in\nthe woods.\nThen Phil was escorted home; Miss Liza was driven back to Miss Lunette,\nwho might be worried sick by her absence, Miss Liza thought, but who\nproved to have slept soundly through the storm; and Susan, her tongue\nwagging, was put into a hot bath and dressed in dry clothes from head to\nfoot before Grandfather returned.\n\u201cI want to go back and see the gypsies,\u201d Susan teased the next day. \u201cI\nwant to see Gentilla. Please, Grandfather, take me to see the gypsies.\u201d\nSo Grandmother baked a cake in her largest tin, and at the village store\nGrandfather and Susan purchased several yards of bright red hair-ribbon.\nWith these offerings they made their way to the gypsy tent, and received\na hospitable welcome.\nThe van, with all its conveniences, was willingly displayed, and\nGrandfather was invited to test with his hand the softness of the beds,\nthe like of which, Mrs. Lee declared, was not to be found in kings\u2019\npalaces. Privately, Grandfather believed this to be true, but, of\ncourse, he didn\u2019t say it aloud.\nTo-day, with the sun shining, and the dogs gnawing a bone at a safe\ndistance in the grass, the tent seemed to Susan even more attractive\nthan before. She thought with scorn of her own white little room at\nhome, and wished with all her heart that she had been born a gypsy\nchild. Even the two bold little girls seemed pleasanter, and indeed,\ndelighted with their new hair-ribbons and awed by Grandfather\u2019s\npresence, they were more quiet and well-behaved, at least during Susan\u2019s\ncall.\nThe big boy silently devoured his share of Grandmother\u2019s cake, and then,\nwith a hungry look still gleaming in his eyes, gazed so longingly at the\ncrumbs remaining that Grandfather took pity upon him. With a turn of his\nhand he flipped a piece of money at the lad so that, with sure aim, he\nstruck the boy\u2019s bare foot.\n\u201cGo buy something to eat with it,\u201d commanded Grandfather.\nPulling at his tangled hair in a rough bow of thanks, the boy, waiting\nfor no second bidding, vanished among the trees and was seen no more by\nhis family that afternoon.\nMr. James Lee entertained Grandfather as one gentleman should another.\nHe had many stories of adventure to tell, and he even brought out his\nfiddle from under the beds and played several lively gypsy tunes.\n\u201cShall I tell the little miss\u2019s fortune?\u201d asked Mrs. Lee, with a\nhalf-sly look, and she laughed outright when Grandfather shook his head\nwith a smile.\n\u201cI believe in your fortune-telling just about as much as you do,\u201d he\nanswered. \u201cMy granddaughter seems perfectly happy this moment. She\ndoesn\u2019t need any better fortune than she has.\u201d\nNor did she, for she and Gentilla, still carrying the squash baby, had\nbecome good friends and were enjoying their play together equally well.\nThey walked off, hand in hand, Susan helping Gentilla over the rough\nplaces and mothering her to her heart\u2019s delight. She washed her new\nbaby\u2019s face and hands in the brook and dried them upon her own\nhandkerchief. She told her about Flip, and Snowball, and Snuff, to which\nGentilla listened with a roll of her big gray eyes. She, herself, didn\u2019t\ntalk very much, but Susan quite made up for this lack, and had begun to\nteach her \u201cTwo little blackbirds sat upon a hill,\u201d when she heard\nGrandfather calling and knew that she must go.\n\u201cI don\u2019t want to leave Gentilla,\u201d said Susan, as she joined the group\nbefore the tent. \u201cDo you suppose I can come and play with her\nto-morrow?\u201d \u201cPerhaps Mrs. Lee will let Gentilla come and play with you,\u201d\nanswered Mr. Whiting, who thought Susan better off at home than in the\ngypsy camp.\nSo it was settled that Mr. James Lee would bring Gentilla to-morrow to\nspend the day, and Susan went home with a happy heart, chattering to\nGrandfather about her new-found friends.\n\u201cWouldn\u2019t you like to be a gypsy, Grandfather?\u201d asked she. \u201cWouldn\u2019t you\nlike to live in a tent? Why isn\u2019t everybody a gypsy? It\u2019s such a nice\nway to live.\u201d\n\u201cWell, Susan, most people think it better to stay in one place instead\nof wandering over the face of the earth,\u201d answered Grandfather. \u201cAnd\namong other things, they want their children to go to school and to\nchurch, too.\u201d\n\u201cI don\u2019t care so much about going to school,\u201d said Susan, honestly. \u201cI\nknow I would like to live in a tent and ride around in that van.\u201d\n\u201cIt seems pleasant enough now, while it is warm weather,\u201d admitted\nGrandfather. \u201cBut what about cold, and rain, and snow, and not any too\nmuch to eat?\u201d\n\u201cThey were hungry, weren\u2019t they?\u201d pondered Susan. \u201cHow they did like\nGrandmother\u2019s cake!\u201d\nThat night at supper Susan looked round the pleasant, well-lighted room,\nwith its table spread with good things to eat. She thought of the tent\nin the woods, the trees standing tall and black about it, and the\nnear-by brook gurgling over its stones without a pause. It seemed dark\nand dreary and lonely, and with a little shudder Susan bent down and\nwhispered to Snuff:\n\u201cI wouldn\u2019t have us be gypsies, Snuff, for anything in the world.\u201d\nAnd when she went to bed, she astonished Grandmother by saying in the\nmidst of her prayers:\n\u201cThank you, God, for not making Grandmother a gypsy, because then I\nwouldn\u2019t have any apple sauce for my supper.\u201d\nCHAPTER VII\u2014IN THE SCHOOLHOUSE\nSusan and Gentilla were at play in the garden, walking Indian fashion up\none path and down the other between the rows of summer vegetables. The\nlittle girls held their arms outstretched to keep their balance, and,\nnow and then, with shrill little screams, one or the other would almost,\nbut not quite, topple over.\nOccasionally Gentilla, unsteady on her feet, made a misstep among the\nbeets and peas, and once she sat down upon a cabbage. But, as she was as\nlight as a feather, it certainly did the cabbage no harm, and perhaps a\ngreat deal of good for all we know to the contrary.\n\u201cGentilla,\u201d said Susan, struck with a happy thought, \u201clet\u2019s go play on\nthe schoolhouse steps.\u201d\n\u201cYes, let\u2019s,\u201d said Gentilla agreeably. She did not know where the\nschoolhouse steps were, but she would have gone as willingly to the\nNorth Pole if Susan had suggested it.\nShe and Susan had become warm friends. Gentilla spent almost every day\nat the house on Featherbed Lane, and Grandmother and Grandfather and\neven Miss Liza had grown fond of the little gypsy girl because of her\nhappy disposition and loving little ways. Gentilla was not a great\ntalker, but she made smiles and a dimple and funny little bobs of her\nhead take the place of speech. She liked to steal up behind you and\nplace a kiss as soft as thistledown in the palm of your hand. She rubbed\ngently up against one as a little kitten would, and by her pats and what\nSusan called \u201csmoothings\u201d told you how much she loved you without a\nsingle word.\n\u201cShe is a good child,\u201d said Grandmother. \u201cI can hardly believe that she\nis a real gypsy child. She doesn\u2019t seem like one to me.\u201d\n\u201cShe does wind herself round your heart,\u201d confided Miss Liza. \u201cIf I\nlived alone I would almost think of adopting her, though I don\u2019t know\nwhether her people would be willing to part with her.\u201d\n\u201cMr. Whiting says they are a little jealous because we do so much for\nGentilla, and not for their own little girls. He thinks we haven\u2019t been\nvery wise,\u201d answered Mrs. Whiting. \u201cAnd now that you have made Gentilla\nthese aprons, I don\u2019t know what they will say.\u201d\nFrom the shady back porch, where Grandmother and Miss Liza sat rocking\nand sewing together, it looked as if two Susans, one large and one\nsmall, were walking down the path toward them. For Gentilla wore, fitted\nto her small person, a dress Susan had outgrown, and on her feet a pair\nof Susan\u2019s shoes, the toes well stuffed with cotton.\n\u201cGrandmother, we are going to play,\u201d called Susan. \u201cAnd I want to\nwhisper in your ear.\u201d\n\u201cCan\u2019t you say it out loud?\u201d inquired Grandmother mildly. \u201cIt isn\u2019t\npolite to whisper, Susan.\u201d\n\u201cI only wanted to ask if I might pack a lunch in my little basket for\nus,\u201d said Susan. \u201cIt isn\u2019t a secret. I just as lief have Miss Liza\nhear.\u201d\nSusan reappeared in a moment, basket in hand, carrying Snowball and\nFlip.\n\u201cLet me see what you took, Susan,\u201d said Grandmother.\nIn the basket were two molasses peppermints and two lumps of sugar.\n\u201cJust enough for Gentilla and me,\u201d said Susan contentedly. \u201cPhil has\ngone to Green Valley with his mother.\u201d\nDown the lane they started, Gentilla carrying Snowball, Susan with Flip\nand the basket of lunch.\n\u201cThere is no use looking in there to-day,\u201d announced Susan, waving her\nhand toward the office. \u201cGrandfather has gone fishing, and Snuff has\ngone with him. This is good weather for fishing. Grandfather said so,\nand he knows everything.\u201d\n\u201cEverything,\u201d echoed Gentilla loyally.\n\u201cYes, he does,\u201d Susan chattered on. \u201cWhen I was little, I used to wonder\nwhy he wasn\u2019t a king. There are always plenty of kings in fairy stories,\nbut there don\u2019t seem to be any round here. Did you ever see a king?\u201d\nGentilla shook her head solemnly, but Susan was not looking at her.\n\u201cGentilla,\u201d said Susan, staring at the schoolhouse door, \u201cit\u2019s open!\u201d\nNever before had Susan seen the schoolhouse door unlocked. Many times\nhad she shaken it and rattled the knob, and all of no avail. But now the\ndoor actually stood ajar, and, with a push that sent it wide open,\nSusan, followed by Gentilla, stepped over the threshold.\nThe air in the schoolroom was close and warm, and dust lay thick upon\nthe floor and danced in the beams of sunlight that filtered through the\ngrimy window-panes.\nSusan walked about, surveying the battered desks covered with scratches\nand ink-spots and ornamented with initials cut into the wood. The door\nof the rusty stove stood open, and within lay a heap of torn papers. The\nfaded maps were not interesting, and Susan began to think the schoolroom\nmore attractive when peeped at from the porch than when actually within\nit.\n\u201cLet\u2019s go outside,\u201d said she to Gentilla, who had followed her about\nlike Mary\u2019s lamb. \u201cThen we\u2019ll sit down and eat our lunch.\u201d The lunch\nbasket, guarded by Flip and Snowball, had been left on the porch steps.\nSusan turned the knob of the schoolhouse door, which had swung shut\nbehind them, and pulled. The door wouldn\u2019t open. Susan tugged until she\ngrew red in the face.\n\u201cYou try, Gentilla,\u201d said she.\nGentilla obligingly gave a pull, and toppled over backward upon the\nfloor.\n\u201cDon\u2019t cry,\u201d said Susan, helping her to her feet. \u201cWe will just climb\nout of the window.\u201d\nBut the windows, swollen and stiff, were no more accommodating than the\ndoor.\nSusan climbed up on the window-sill, and, covered with dust and dirt,\npushed and pulled until she was quite out of breath.\n\u201cI can\u2019t,\u201d she gasped. \u201cI can\u2019t open it. What shall we do?\u201d\nGentilla\u2019s face puckered up at sight of Susan\u2019s distress. She ran back\nto the door and beat upon it with her soft little fists.\n\u201cYou open, you open,\u201d called Gentilla, in a pitiful little pipe that\nwould have moved a heart of stone.\nSusan wanted to cry. There was a big lump in her throat, and it was only\nvigorous winking and blinking that kept the tears from falling down her\ncheeks.\nBut Susan was repeating to herself something she had overheard\nGrandmother say to Miss Liza that very afternoon.\n\u201cSusan is a real little mother to Gentilla,\u201d Grandmother had said.\nAnd, at the time, Susan had thought, \u201cIf Gentilla ever falls into the\nfire or tumbles down the well, I must be the one to pull her out.\u201d\nAnd she had almost hoped that something of the kind might happen, so\nthat she might show how brave she was, and how devoted to her little\nfriend.\nSurely now the time had come. Perhaps they would have to stay forever in\nthe schoolhouse. Without anything to eat they would grow thinner and\nthinner and thinner until there would be nothing left of them at all. At\nthis doleful thought, one tear rolled down Susan\u2019s nose and splashed on\nthe dusty boards. But only one! For she swallowed hard, gave herself a\nlittle shake, and then took Gentilla by the hand.\n\u201cCome,\u201d said she, drawing her gently away from the door. \u201cWe will stay\nby the window, and when anybody goes by, we will knock and shout and\ncall, and some one will let us out, I know.\u201d\nSo the two little girls stationed themselves by the front window and\nlooked longingly out at the sunny road, the dancing leaves, and oh,\ncruelest of all, the lunch basket on the porch steps, still guarded by\nthe faithful Flip and Snowball.\nSusan, her face streaked with dirt, polished off the window-glass as\nbest she could with her pocket handkerchief.\n\u201cGrandmother will find us,\u201d said she hopefully. \u201cOr else Grandfather\nwill. Don\u2019t you be afraid, Gentilla.\u201d\nBut in her heart she thought:\n\u201cGrandfather has gone fishing, and perhaps he won\u2019t be home till black\nnight. And I didn\u2019t tell Grandmother where we were going; I know I\ndidn\u2019t tell her where we were going.\u201d\nThese sad thoughts were interrupted by the welcome sound of wheels.\n\u201cKnock and scream, knock and scream!\u201d called Susan excitedly.\nAnd they fell to work with a will, Susan redoubling her efforts when she\nsaw that it was Mr. Drew, hastening home behind little brown Molly.\nBut the _clip_, _clap_, _clip_, _clap_, of Molly\u2019s hoofs drowned all the\nnoise they made, and Mr. Drew, with not a glance toward the schoolhouse,\ndrove out of sight.\nSusan looked blankly at Gentilla.\n\u201cOh, what a long time we\u2019ve been here,\u201d said she forlornly. \u201cIt must be\nnearly night.\u201d\n\u201cNearly night,\u201d echoed Gentilla.\nShe sat down on the floor with her back against the wall, leaving Susan\nalone on guard. She shut her eyes, her head nodded once or twice, and\nwhen Susan next glanced at her she lay on the floor sound asleep.\n\u201cOh, Gentilla, wake up! I\u2019m afraid to stay here alone. Wake up!\u201d began\npoor Susan, who at that moment would have welcomed the company of even a\nfly buzzing on the window-pane. But the thought of Grandmother\u2019s speech\nsilenced her.\n\u201cI won\u2019t wake her up, and I won\u2019t cry either,\u201d thought she. And pressing\nher face against the window, she bravely watched the empty road for a\nfive minutes that actually seemed to her two hours long.\nAll kinds of dreadful thoughts began to come to Susan\u2019s mind. Were there\nbears in the woods, and at nightfall would they come lumbering out, and,\npushing the door open, squeeze her and Gentilla to death in a mighty\nbear hug? What if Grandfather had made a mistake and the Indians had not\nall gone away years ago! Suppose they should carry her off and stain her\nbrown with berry juice, like the little girl in her story book, so that,\neven if Grandfather should see her, he would never know that it was his\nblack-eyed Susan, but would think she was a real true little Indian\ngirl.\nSusan gave a start of horror and almost screamed out loud. Up the road\nthis moment there came prowling a big dark animal.\n\u201cGentilla, Gentilla, here\u2019s a bear!\u201d called Susan in a frenzy. \u201cWake up\nand help me! Here\u2019s a bear! Oh! Oh! He\u2019s coming after us! Gentilla!\nGentilla!\u2014Why, it\u2019s Snuffy! Snuffy! Snuffy! save me!\u201d\nAnd Susan\u2019s cries of fright changed into those of joy and hope as soon\nas she saw that the great brown bear was none other than shaggy,\ncomfortable, homelike Snuff.\nSnuffy\u2019s bright eyes caught sight of his familiars, Snowball and Flip,\nseated in lonely state upon the schoolhouse steps. The little basket,\nwhich, in days gone by, had often held goodies, as he well knew, excited\nhis curiosity. Up the steps tripped Master Snuff to sniff delicately at\nthe refreshments, and then, to the joy of the prisoners, he saw their\nfaces and heard their knocks and calls.\nHe barked furiously, and leaped up at the window. He ran to the door,\nscratching and whining to be let in, then back to the window where he\nechoed their cries for help by barkings so frantic that Grandfather,\ntrudging leisurely along with his string of fish, wondered what Snuff\nhad cornered on the old school porch.\nSnuff was wise enough to know that something was wrong, and that\nGrandfather was needed to set it right.\nSusan held her breath for fear he was leaving them to their fate as he\ngalloped down the walk, but it was only to circle round Grandfather and\nback again to the steps, where he halted, waiting for his master to join\nhim.\n\u201cYou rascal,\u201d called Grandfather. \u201cI suppose you think I ought to carry\nthose dolls up to the house for Susan. Come along with me, sir.\u201d\nBut when Snuff recommenced barking and leaping at the window,\nGrandfather Whiting followed him up the walk, and a second later the\ntreacherous door was flung open and Susan was in his arms.\n\u201cMy own Susan, what is it? What are you doing in here?\u201d asked\nGrandfather tenderly, as a very dirty little girl clasped him tight, and\nsent a hot shower of tears down the back of his neck.\n\u201cThe door wouldn\u2019t open, and I didn\u2019t wake her up, and I was afraid of\nbears and Indians,\u201d sobbed Susan. \u201cBut I knew you\u2019d come, I knew you\u2019d\ncome! And Snuff shall have all the lunch, every bit, because he saved\nus.\u201d\nAnd breathing hard, and winking fast, and holding tight to Grandfather\u2019s\nhand, Susan gladly rewarded Snuff, who devoured his treat in two bites,\nand then, waving his tail jauntily, ran on ahead to prepare Grandmother\nfor their coming.\nHalfway up the lane, the party met Miss Liza, homeward bound.\n\u201cLet me take Gentilla,\u201d said she, when she had heard the story. \u201cI\u2019ll\nleave her at the camp. She is too little to understand, but Susan has\nhad quite a fright. They weren\u2019t gone from home an hour, though,\u201d she\nadded, \u201cbut I suppose it seemed long to them.\u201d\nOf course it did. Susan could never be made to believe that she and\nGentilla had not been imprisoned in the schoolhouse for hours and hours,\nperhaps half a day.\nWhen she reached home, she enjoyed telling the story over and over.\nGrandmother was sympathetic, and gave Susan a lecture upon going into\nstrange places and shutting the door behind her. Grandfather was\nconcerned with the fact that the door was open at all, and wanted to\nknow who had been tampering with town property.\nPhil was the most satisfactory audience of all, for he bitterly\nregretted having missed the adventure, and listened again and again to\nSusan\u2019s account of it with undiminished interest. She was able to brag\nand boast to him as she could to no one else, and before they separated\nfor the night neither one was quite sure whether or not real bears and\nIndians had come out of the woods and been driven away by Susan\nsingle-handed.\n\u201cWe\u2019ll play about it,\u201d said Phil, rising slowly from the steps as he\nheard his mother for the third time call him to come home. \u201cWe\u2019ll take\nturns being bears and Indians. We can play in my woodshed and we\u2019ll play\nit the first thing\u2014\u201d\n\u201cPhil!\u201d came his father\u2019s voice.\nPhil skipped down the path toward home with the speed of a grasshopper.\n\u201cTo-morrow!\u201d he called back as he hopped over the stone wall.\nSomething so exciting was to happen \u201cto-morrow\u201d that, for the time\nbeing, this adventure was to be cast in the shade. But Susan went to bed\nthat night feeling quite a heroine, and knowing there was no one in the\nworld Phil envied so much as herself.\nCHAPTER VIII\u2014SUSAN\u2019S PRESENT\nThe next morning early, before breakfast, Susan ran out on the front\nporch to view the new day. Grandfather had suggested that she go look\nfor \u201cfairy tablecloths\u201d in the grass, but Susan more than half suspected\nthat he wanted her out of the way while he finished shaving. She\ncouldn\u2019t help whisking about the room and it did make his hand shake.\nSusan watched two rosy little clouds grow fainter and fainter in the\npale blue morning sky, and then disappear. She leaned over the porch\nrailing and stared down into the bed of gay portulaca that Grandmother\ntended with such care both night and morning.\n\u201cGrandmother\u2019s flowers,\u201d thought she, smiling at the bright little cups,\nall wet with dew. \u201cThey are awake and I am awake. I guess everybody is\nawake now. But where is Snuff? He\u2019s always the first one up.\u201d\nSusan turned to go in search of her playmate when a flutter of white\ncaught her eye. On one of the porch posts a slip of paper had been\nfastened with a common white pin. In a twinkling Susan was on the rail\nand down again, paper in hand.\n\u201cGrandfather, Grandfather, here\u2019s a letter,\u201d she called, and, running\nthrough the house, she gave the paper to Grandfather, just settling\nhimself at the breakfast table.\n\u201cHum,\u201d said Mr. Whiting, when he had read the slip and studied it\nbackward and forward. \u201cThis is a strange thing. It\u2019s for you, Susan.\nLook at this, Grandmother.\u201d\nOn a jagged slip of wrapping-paper, printed in uneven letters that\nslanted downhill, were the words:\n\u201cA pressent for the little miss on the school-house steps.\u201d\n\u201cA present for me?\u201d said Susan, delighted, as Grandfather read it aloud.\n\u201cI\u2019ll go straight down and get it. Shall I?\u201d\n\u201cNo, no. Eat your breakfast first,\u201d answered Grandfather, who was not\nnearly so pleased at the idea of a present as Susan thought he ought to\nbe.\nIn fact, over Susan\u2019s head, he and Grandmother exchanged glances which\nseemed to say they did not altogether understand what had happened.\nBut Susan saw nothing of this, and, breakfast over, she and Grandfather\nstarted at once down the lane to see what her mysterious present might\nbe.\n\u201cGrandfather, where is Snuff?\u201d asked Susan. \u201cI haven\u2019t seen him this\nmorning.\u201d\n\u201cNo more have I,\u201d answered Grandfather.\nHe whistled again and again, and Susan called, but no Snuff appeared in\nanswer to these familiar signals.\nOn the school porch lay a dark bundle. It was a large bundle, and it\nmoved slightly from side to side. As they drew nearer they heard a wail,\nand Susan immediately recognized the cry.\n\u201cIt\u2019s Gentilla,\u201d she called out. \u201cIt\u2019s Gentilla crying.\u201d\nYes, it was Gentilla, so securely wrapped in a big gray shawl that had\nbeen wound tightly about her and pinned in place that she could move\nneither hands nor feet, and could only rock herself from side to side as\nshe lay on the hard boards of the porch floor.\nGrandfather and Susan helped her out of the blanket, and Gentilla tried\nto tell her story, but all she could say was:\n\u201cAll gone away,\u2014riding.\u201d\nShe rolled her big gray eyes and waved her tiny hand, and that was the\nbest that she could do to explain her presence there so early in the\nmorning.\nThere was a strange look on Grandfather\u2019s face, and he thrust his hands\nin his pockets and pursed up his mouth as if to whistle as he stared at\nthe little schoolhouse. For from every window the panes of glass had\nbeen neatly removed, and a glance within showed that the old stove had\ndisappeared also.\n\u201cYou take Gentilla up to the house, Susan,\u201d said he. \u201cI\u2019m going down the\nroad a ways.\u201d\n\u201cYes, I will,\u201d said Susan. \u201cBut, Grandfather, where is my present?\u201d\n\u201cPerhaps Gentilla is the present,\u201d called back Mr. Whiting, already\nstriding down the hill.\nAnd half an hour later when he returned to the house, Grandfather sank\ninto a chair, put the tips of his fingers together, and began to laugh.\n\u201cDo tell me what it is all about,\u201d said Grandmother, coming out on the\nporch, duster in hand. \u201cThe children are over at Mrs. Vane\u2019s, and they\ncame up here with such a story that I don\u2019t know what to think:\u2014Gentilla\nwrapped in a shawl, and panes of glass gone, and I don\u2019t know what all.\u201d\nGrandfather nodded in agreement as she spoke.\n\u201cYes, sir,\u201d said he. \u201cThey told the truth. The glass is gone and the\nstove is gone from the schoolhouse, and what is more, the gypsies\nthemselves have gone from the grove. They have cleared out bag and\nbaggage, and have left Gentilla to us.\u201d\n\u201cDo you mean to tell me that they have deserted that child?\u201d demanded\nGrandmother. \u201cWhat kind of people are they, anyway, to do such a thing\nas that?\u201d\n\u201cGypsies,\u201d answered Grandfather tersely. \u201cShe wasn\u2019t their own child,\nyou know. And they were always jealous of the way we treated her. I\nsuppose they argued that, if we were so fond of her, we would be glad of\nthe chance to take care of her. I\u2019ve telephoned, so that people will be\non the lookout for them, but the chances are we shall never hear of them\nagain.\u201d\n\u201cI wouldn\u2019t want Gentilla to go back to them after the way they have\ntreated her,\u201d said Grandmother indignantly.\n\u201cNo, except that she is one of them, after all,\u201d answered Mr. Whiting.\n\u201cWell, we will keep the little girl for a time. We needn\u2019t be in any\ngreat hurry to decide what to do. At any rate, Susan will enjoy a visit\nfrom her.\u201d\nAnd that Susan proceeded to do at once. She and Phil and Gentilla spent\na long and happy day together.\nBut that night, with Gentilla tucked snugly in the big spare-room bed\nacross the hall, Susan was so excited she couldn\u2019t sleep. She twisted\nand turned and tossed, and at last pattered downstairs for a drink of\nwater.\nIn the kitchen, to her surprise, she found Grandfather feeding Snuff,\nwho had been missing all day. Snuff ate his good supper as if he were\nstarving. He was covered with mud, an old rope was tied round his neck,\nand he was so stiff and lame he could scarcely hobble.\nSusan waited until Grandfather had seen Snuff safely at rest upon a\ncomfortable bed of straw in the barn. Then upstairs they went together,\nand Grandfather lay down on the outside of Susan\u2019s bed beside her and\ntook her hand in his.\n\u201cWhere do you think Snuff was all day, Grandfather?\u201d began Susan. \u201cI\nwish he could talk and tell us.\u201d\n\u201cSo do I,\u201d said Grandfather heartily, \u201cDid I ever tell you about a dog I\nhad when I was a little boy\u2014\u201d\n\u201cYes, you did,\u201d interrupted Susan. \u201cThank you, Grandfather, but I know\nall about him. His name was Nick and he was black all over with not a\nwhite spot anywhere. Grandfather, do you think Mr. James Lee took the\nstove from the schoolhouse?\u201d\n\u201cI think he did,\u201d answered Grandfather briefly.\n\u201cAnd the glass out of the windows?\u201d\n\u201cAnd the glass out of the windows.\u201d\n\u201cWhat will he do with them?\u201d\n\u201cSell them, I think,\u201d said Grandfather.\n\u201cBut they didn\u2019t belong to him?\u201d questioned Susan.\n\u201cNo; they belonged to the town.\u201d\n\u201cThen he stole!\u201d exclaimed Susan, pulling her hand from Grandfather\u2019s so\nthat she might shake an accusing finger in his face.\n\u201cIt looks that way,\u201d admitted Mr. Whiting.\n\u201cBut you wouldn\u2019t steal.\u201d\n\u201cI hope not,\u201d returned Grandfather. \u201cBut you must remember, Susan, that\nthe gypsies don\u2019t go to school or to church, and so they don\u2019t know the\ndifference between right and wrong as well as the people who do.\u201d\n\u201cThey ought to go,\u201d said Susan morally. \u201cI go. Everybody ought to go.\nI\u2019ll tell you what I\u2019m going to do. I\u2019m going to teach Gentilla Bible\nstories right away to-morrow. How long will she stay here? Forever?\u201d\n\u201cNo, not forever. I don\u2019t know how long. Now you must go to sleep, or\nGrandmother will be up here after us.\u201d\n\u201cI will,\u201d promised Susan drowsily. \u201cBut, you know, Grandfather, I think\nthey took Snuffy, too, and that is where he was all day. Don\u2019t you?\u201d\nGrandfather nodded in the darkness. He had been thinking the same\nthought, but he tiptoed out of the room without another word, and a\nmoment later Susan fell asleep.\nEarly the next morning she began to train Gentilla. She made her say\n\u201cthank you,\u201d and \u201cplease,\u201d and \u201cexcuse me,\u201d until the poor little\nvisitor was so bewildered that she couldn\u2019t answer the simplest\nquestion. She forced her to listen to Bible stories which she didn\u2019t\nknow very well herself, so poky and long-drawn-out that, if Gentilla\nhadn\u2019t had a happy way of falling into little cat-naps whenever the\nstory was too dull to bear, I don\u2019t know what would have become of her.\nIn her own behavior Susan was so moral and proper, and so unlike her own\nlovable little self, that Grandmother, though she didn\u2019t say a word,\ncouldn\u2019t help thinking, \u201cIf this keeps up, I shall have to go away on a\nvisit. Only I know it won\u2019t last.\u201d\nAnd it didn\u2019t last. It was too unnatural. Of course it didn\u2019t last.\nAfter dinner Grandmother asked Susan to go to the store for two spools\nof black thread.\n\u201cYour Grandfather has torn the pocket in his coat,\u201d said she. \u201cGentilla\nwill wait with me until you come back, for she walks slowly and I am in\na hurry.\u201d\n\u201cYes, Grandmother,\u201d said Susan, primly, hoping they were admiring her\nmanners.\nShe walked quickly, and was back in a short time with two spools of\n_white_ thread.\n\u201cBut I told you _black_,\u201d said Grandmother. \u201cI can\u2019t mend your\nGrandfather\u2019s coat with white thread. I will keep these spools, but you\nwill have to go back for black ones. Remember what I want it for, and\nthen you won\u2019t make another mistake.\u201d\nGentilla, really enjoying herself alone with Grandmother, sat on the\nshady porch, comfortably holding Flip.\nThe sun was hot, and the road was dusty, and it is not pleasant when one\nis trying to be an example to be told that one has made a mistake. Susan\nfelt aggrieved.\n\u201cYou said white spools, Grandmother,\u201d she answered bluntly. \u201cI know you\nsaid white.\u201d\nNow this was not at all like Susan (perhaps the strain of being an\nexample was beginning to tell) and Mrs. Whiting stared at her in\nsurprise.\n\u201cDo you mean to be saucy, Susan?\u201d she asked, after a pause. \u201cGo on your\nerrand at once, without another word.\u201d\nSusan turned on her heel and swallowed hard. She wanted to scream, or\nthrow something at somebody, but she didn\u2019t dare do anything but walk\nslowly down the lane on her errand.\nWhen she returned, Grandmother took the spools and went into the house.\nGentilla, still cuddling Flip, looked up with a smile, but she received\na black look in return.\n\u201cYou can\u2019t hold Flip,\u201d said Susan, glowering at her. \u201cYou may have\nSnowball, but Flip is mine.\u201d And she roughly seized Flippy to pull her\nout of Gentilla\u2019s arms.\nBut Gentilla was not a gypsy child for nothing. If Susan could pull and\nslap, she could scratch and kick. So when Grandmother, at sounds of the\nscuffle, looked out of the window, she saw the model teacher and her\npupil engaged in a hand-to-hand battle, with innocent Flip nearly torn\nin two between them.\n\u201cSusan Whiting!\u201d called Grandmother.\nAnd at the sound of her voice, with a mighty push that sent Gentilla\nbackward upon the floor, Susan wrenched Flip from her grasp, and turned\nand faced the window.\n\u201cPut down your doll,\u201d commanded Grandmother. \u201cNow, go upstairs to your\nroom and wait there for me.\u201d\nIt was a miserable Susan whom Grandmother joined a few moments later.\nWithout a word, Mrs. Whiting washed the hot face and hands, and helped\nSusan make ready for bed.\nDownstairs she put Gentilla into the hammock, she herself lay down on\nthe couch, and the afternoon quiet was unbroken as they all refreshed\nthemselves with a long nap.\nWhen Susan woke, and saw Grandmother standing by her bedside, she\nstretched out her arms and laid her penitent head upon Grandmother\u2019s\nsoft shoulder.\n\u201cI don\u2019t know what did it,\u201d said Susan at last, when she had whispered\nfor several moments in Grandmother\u2019s ear. \u201cI meant to be good. I was\ntrying so hard.\u201d And Susan pensively put out her tongue and caught a\ntear rolling slowly down her cheek.\n\u201cWell, Susan, take my advice,\u201d said Grandmother sensibly, \u201cand don\u2019t try\nto train Gentilla any more. It is all most of us can do to take care of\nourselves, and we think Gentilla is a nice little girl just as she is\nnow, don\u2019t we?\u201d\nSusan nodded soberly. Much nicer than Susan Whiting, she thought, as she\nremembered slapping and pushing and knocking Gentilla down.\nBut she brightened when Grandmother added:\n\u201cHurry now and dress yourself. We are all invited over to Mrs. Vane\u2019s\nfor tea, Grandfather and all. And you are going to wear your new dress\nwith the little pink flowers. I put the last stitch in it for you not\nfive minutes ago.\u201d\nCHAPTER IX\u2014HICKORY DICKORY DOCK\nIt was a stormy autumn afternoon, and Phil sat in his rocking-chair\nbefore the red coal fire watching the clock upon the mantelpiece. He\nhoped it would strike soon and tell him what time it was, for he was\nexpecting company, and he felt that he had already waited quite long\nenough.\nHe looked round the nursery and saw that everything was in its place,\nspick and span and ready for visitors, too. The big dapple gray\nrocking-horse stood in his corner, his fore feet impatiently lifted and\nan eager gleam in his brown glass eye. No doubt he was anxious to do his\npart by giving the visitor as many rides as she wished.\nThe tin kitchen, with its gay blue oven, was polished until it sparkled\nand glittered like precious stones. The kitchen was a favorite toy with\nPhil. He never tired of making strange little messes of pounded crackers\nand water, that smelled of the tins they were cooked in, and tasted no\none but Phil could say how, for no one but he would eat them.\nHis big electric train, running on real tracks, a present from\nGreat-Uncle Fred, was nicely set up in the middle of the floor, and\nlooked as if it could take you to Jericho and return in one afternoon.\nLittle black Pompey in a red-and-white striped minstrel suit, high hat\non head, looked anxiously from the cab of the engine, for, as engineer,\nwas he not responsible for the safety of a whole family of paper dolls\nwho occupied an entire passenger car and who seemed not at all concerned\nat the delay in starting?\nThe nodding donkey, the dancing bear, the flannel rabbit with only one\near, stood stiffly on parade. The box of tin soldiers and sailors lay\ninvitingly open.\nYes, everything was ready, even to the big sailboat that leaned against\nthe wall, canvas spread to catch the first salt breeze. And best of all,\nthere stood the low nursery table covered with a spotless white cloth, a\nsight which promised such a pleasant ending to what was sure to be a\npleasant afternoon that Phil treated himself to a violent rocking as a\nway of working off his emotion.\nFor Phil had been ill in bed, and this was his first taste of fun in two\nwhole weeks. He had looked forward mightily to this very moment, and his\nmother\u2019s promise that he should have a party as soon as he was well had\nhelped, more than anything else, to make the big spoonfuls of black\nmedicine go down without a struggle.\nPhil\u2019s cheeks were white and his face was thin, and he wore for warmth\nhis manly little blue-and-white checked bathrobe, since only last night\nhis cough had been croupy again. Not that Phil called it his bathrobe.\nIn admiring imitation of his father\u2019s lounging costume he called it his\n\u201csmoking-jacket,\u201d and he had even had the daring to slip a match or two\ninto the deep side pocket, in which he fervently hoped no one might pry.\nIf Phil\u2019s mother had even suspected such a thing, he and the matches\nwould have parted company speedily, he well knew. He meant to slip them\nsafely back as soon as the party was over, and no one would be the wiser\nor harmed in the least by what he had done, he thought. He smiled to\nhimself as he fingered the forbidden objects that nestled so innocently\nin his pocket and gave him such a jaunty grown-up feeling.\nAnd, in Phil\u2019s secret heart, there was another reason why he was happy\nthis afternoon. Gentilla had gone away.\nIt was not that Phil didn\u2019t like Gentilla, for he did. He had played\nhappily with her and Susan through the long summer days that the little\ngirl had spent in Featherbed Lane. He had enjoyed, he thought, the long\nstay Gentilla had made with the Whitings when her gypsy relatives had\ndisappeared in the night and had never been heard of from that time to\nthis.\nBut at last Gentilla\u2019s visit had come to an end. Mr. Drew knew of a Home\nfor little children who needed some one to love and care for them. And\nso, one bright October day, the good minister took the little gypsy girl\nto her new home where she would lead an ordered, comfortable life quite\ndifferent from the rough-and-tumble days she had known in gypsy van or\ncamp.\nAt parting, Phil had presented Gentilla with his treasured Noah\u2019s ark\nbecause she loved it so. He would willingly have given her his express\nwagon, in which he had treated her to many a ride, if his mother hadn\u2019t\nexplained that it would not go into Gentilla\u2019s tiny trunk which her kind\nfriends were filling for her with a neat little outfit. He stood upon\nthe station platform, loyally waving his hat until the train was quite\nout of sight.\nAnd it was not until then that he learned how pleasant it was to have an\nundivided Susan for a playmate once again, a Susan who was always glad\nto see him, who never whispered secrets and wouldn\u2019t tell, who never ran\naway from him, and who, in short, was to be the chosen guest of honor\nthat very afternoon.\n\u201cIt must be most supper-time,\u201d grumbled Phil. \u201cI wish the clock would\nstrike, or Susan would come, or something would happen.\u201d\nThe clock on the mantel began a whirring and creaking that caused Phil\nto spring to his feet and fasten his eyes upon the little Roman soldier\nin helmet and shield, who stood alert, both day and night, atop the\nclock, ready to strike the hours as they came. The whirring grew louder.\nSlowly the little Roman soldier raised his arm and loudly struck his\nshield once, twice. Two o\u2019clock!\n\u201cTime for Susan,\u201d said Phil joyfully.\nHe dragged a low cricket to the window, and, standing upon it, looked\nout at the sodden brown lawn, the leafless trees rocking in a late\nOctober gale, and the gray windswept sky. Big raindrops hurried nowhere\nin particular down the window-pane, and Phil amused himself by racing\nthem with his finger. And presently he spied Susan.\n\u201cCome on, come on!\u201d he shouted, knocking on the window, quite careless\nof the fact that Susan couldn\u2019t possibly hear him. \u201cI\u2019ve been waiting\nforever. Come on!\u201d\nThe little figure in blue waterproof cape and hood, Susan\u2019s pride,\nhurried down to the stone wall, through the gap, and across Phil\u2019s lawn.\nHere was a puddle, and the blue waterproof hopped nimbly over it. Just\none peep into the empty dog kennel, and Phil heard the side door shut,\nand knew that Susan would be there in a moment.\nHe waited impatiently, his eyes at the crack of the nursery door, since\nthe cold halls were forbidden him. He heard Susan and his mother\ntalking, and at last up she came, a box under her arm.\n\u201cSee what I\u2019ve brought,\u201d said Susan. \u201cGrandmother sent it. And your\nmother gave me some, just now, too. We will each have a long string of\nthem.\u201d\nSusan sat down on the hearth-rug and opened the box. It was full of\nbuttons, large and small, dull and bright, white and colored, and these\nshe poured out in a little heap upon the floor.\n\u201cGrandmother sent a long thread for each of us,\u201d and Susan pounced upon\na small parcel at the bottom of the box. \u201cShe told me how to do it, too.\nYou string the buttons, as many as you like, and one of them is your\n\u2018touch button.\u2019 You must never tell which one that is, because who ever\ntouches that button must give you one of his. Do you see?\u201d\n\u201cBut won\u2019t you even tell me, Susan?\u201d asked simple Phil, who wanted to\nshare all things with his friend, even to dark mysteries like \u201ctouch\nbuttons.\u201d\n\u201cWhy, yes,\u201d said Susan generously, \u201cif you will tell me yours.\u201d\nPhil nodded and rummaged in the button heap.\n\u201cThese are good ones,\u201d said he, ranging them on the floor before him.\n\u201cI\u2019m going to begin to string.\u201d\nPhil\u2019s taste was severe. He had chosen several large, dark, velvet\nbuttons, a brass military button, a useful black button or two that\nmight have come from his father\u2019s coat, a flat silver disk as big as a\ndollar, and, as a lighter touch, all the buttons he could find covered\nwith a gay tartan plaid gingham.\nSusan uttered cries of delight as she rapidly made her selection.\n\u201cLook at these blue diamonds,\u201d she exclaimed rapturously over some glass\nbuttons that had seen better days. \u201cAnd here is one with beautiful pink\nflowers painted on it. Here is a white fur one off my baby coat, and\nthese little violet-and-white checks are from Grandmother\u2019s gingham\ndress. I know they are.\u201d\n\u201cNow this is the grandmother,\u201d she went on, taking up a fat brown\ndoorknob of a button. \u201cI\u2019ll put her on my string first of all, so that\nshe can take care of the rest of them. And next I\u2019ll put this little\ngreen velvet one so that it won\u2019t be lonesome.\u201d\n\u201cWhich is your touch button?\u201d asked Phil, after working busily in\nsilence for a whole minute.\n\u201cShh-h-h!\u201d warned Susan, looking carefully about her before answering,\nas if a spy might be peeping through the keyhole or even hiding behind\nthe one-eared rabbit. \u201cThis one. It\u2019s my favorite, too.\u201d And she touched\na hard little rose-colored ball that looked uncommonly like a pill.\n\u201cWhich is yours?\u201d\nPhil proudly displayed the military button, and whirled away from Susan\njust in time to keep the secret from his mother who entered the room,\nbearing a tray.\n\u201cAre you ready for your refreshments?\u201d she asked, setting her burden\ndown upon the table. \u201cOh, let me see your button strings.\u201d\nShe took both strings in her hand to look them over, and to the delight\nof the children she touched both of the charmed buttons.\n\u201cTouch! Touch!\u201d they cried, capering about like wild Indians. \u201cYou\ntouched the \u2018touch button.\u2019 You owe us one now.\u201d\n\u201cSo I do,\u201d said Mrs. Vane, laughing. \u201cI had forgotten all about \u2018touch\nbuttons.\u2019 I shall be more careful after this. You won\u2019t catch me again.\nNow, Phil, there are your refreshments, so draw up to the table whenever\nyou are ready. I must go look for buttons to pay my debt!\u201d\nMrs. Vane, still laughing, took the tray and went downstairs.\nSusan and Phil found themselves ready for the refreshments and made\nhaste to set the little table with the green-and-white china tea-set.\nThe dinner plates were quite large enough to hold the sponge cakes, and\nif the tea-cups seemed a trifle small, think how many more times the\nbrimming pitcher of lemonade would go round.\nPhil set out four plates instead of two.\n\u201cWe will each ask one company to come to the table,\u201d said he. \u201cI want\nthe rocking-horse, he looks so thirsty, and your grandfather always\nstops to give Nero a drink when we go riding.\u201d\nAnd Phil dragged his steed over to the table, where he rocked back and\nforth for a moment bumping his nose against the edge of the table each\ntime. Indeed, with his open jaws and bright red nostrils, he looked as\nif a whole trough of lemonade would be needed to slake his thirst.\n\u201cI\u2019ll take the bunny because he has only one ear,\u201d said tender-hearted\nSusan.\nAs she stooped to pick up the rabbit, she uttered a scream and sent poor\nbun flying half-way across the room. A small brown object, far more\nfrightened than Susan, sped like a streak of lightning along the wall,\nand disappeared into the big closet where Phil kept his toys.\n\u201cWhat is it? What is it?\u201d cried Phil, for Susan was jumping up and down\nwith her hands over her ears.\n\u201cIt\u2019s on me! It\u2019s on me!\u201d cried Susan, shuddering and shaking. \u201cIt\u2019s a\nmouse! It\u2019s a mouse!\u201d\n\u201cIt isn\u2019t on you,\u201d said Phil. \u201cDon\u2019t cry, Susan. I saw him go in the\ncloset. I\u2019ll fix him, you see.\u201d\nWith a bravery worthy of a better cause Phil opened the closet door,\nstruck one of his precious matches, threw it into the closet after the\nmouse, and firmly shut the door.\n\u201cThere now,\u201d said he. \u201cI fixed him.\u201d\n\u201cWhat did you do?\u201d quavered Susan, opening one eye. \u201cAre you sure he\nisn\u2019t on me? Look.\u201d\n\u201cI killed him,\u201d returned Phil briefly.\n\u201cHow?\u201d\n\u201cI burned him up,\u201d answered Phil in a deep voice.\n\u201cReally?\u201d said Susan, awed. \u201cBut won\u2019t it set the house on fire?\u201d\n\u201cNo,\u201d said Phil stoutly. \u201cIt won\u2019t. I mean I don\u2019t think it will. Maybe\nwe had better look and see. You look, Susan.\u201d\nOn the floor of the closet stood an open Jack-in-the-box, and it was\nupon poor Jack\u2019s hat that the match had alighted. Jack had bushy white\nhair, and an equally bushy beard, and he was blazing merrily, grinning\nlike a hero all the while, when Susan opened the door.\nSusan\u2019s heart stood still. Oh, if Mrs. Vane were only there!\n\u201cRun, Phil!\u201d she called. \u201cRun for your mother!\u201d\nAnd then with a presence of mind that, when he heard the tale,\nGrandfather considered remarkable, she picked up the pitcher of lemonade\nand emptied it over the blaze.\nPhil ran screaming downstairs.\n\u201cThe house is on fire and the mouse is burned up! Mamma, Mamma, come\nquick! The mouse is on fire and the house is burned up!\u201d\nWhen Mrs. Vane reached the nursery, she found the fire out, the closet\nfloor covered with lemonade, Jack-in-the-box burned to a crisp, and\nSusan, with shining eyes, not knowing whether to laugh or cry, but able\nafter a moment to tell her story.\n\u201cBut, child,\u201d said Mrs. Vane, when she had made sure that the fire was\ncompletely out and that the only article damaged was the unfortunate\nJack-in-the-box, \u201cwhich one of you had matches, and what has become of\nPhil? Who had the match, Susan?\u201d\nAh, that was the question that Phil dared not face, and that had caused\nhim to hide himself securely behind the big sofa in the parlor where no\none went in cold weather except for a special reason.\nBut at last he was found, and, standing before his mother, listened with\ndrooping head to the truths his own conscience had already told him.\n\u201cI think you have found out for yourself, Phil, why a little boy should\nnever touch matches,\u201d said Mrs. Vane soberly. \u201cIf it hadn\u2019t been for\nSusan, our house might have been burned to the ground. I\u2019m sure I don\u2019t\nknow what your father would say if he were here.\u201d\nPhil\u2019s eyes grew glassy at the very thought, but he said nothing.\nIndeed, there was nothing he could say in excuse.\n\u201cYou have spoiled your party, and ruined your Jack-in-the-box,\u201d went on\nhis mother. \u201cAnd, now, after hiding so long in that chilly room, you\nwill have to go straight to bed so that you won\u2019t take cold.\u201d\nAt this Phil\u2019s tears burst forth, and Susan was moved to pity.\n\u201cOh, dear,\u201d said she, with an arm about Phil\u2019s heaving shoulders, \u201che\nwill never touch the matches again, will you, Philly? Tell your mother\nyou won\u2019t.\u201d\n\u201cN-n-no,\u201d blubbered Phil dismally.\nMrs. Vane smiled down at the small sinner\u2019s comforter.\n\u201cIt seems too bad that Susan shouldn\u2019t have her refreshments,\u201d she\nremarked,\u2014\u201cespecially since she put out the fire.\u201d\nAnd in a very few moments Susan was sitting on the edge of Phil\u2019s bed,\nand both were drinking hot chocolate and eating the party sponge cakes.\n\u201cHadn\u2019t you better thank Susan for putting out the fire and saving our\nhouse from burning down?\u201d asked Mrs. Vane, as, a little later, she\nhelped Susan into her waterproof. She wanted to drive the lesson home,\nand impress upon Phil\u2019s mind the danger they had so narrowly escaped.\n\u201cThank you, Susan,\u201d returned Phil obediently. \u201cBut I\u2019m going to do\nsomething nice for you to-morrow,\u201d he added. \u201cI\u2019m going to give you my\n\u2018touch button,\u2019 you see.\u201d\nCHAPTER X\u2014THE VISIT\nGrandfather and Susan were going on a visit to the Town of Banbury.\nThey were to stay at the house of Grandfather\u2019s friend, Mr. Spargo, and\nSusan was delighted at the thought, for once Mr. Spargo had spent a\nwhole week at Featherbed Lane and with him had come his little daughter\nLetty, just Susan\u2019s age.\nSusan remembered the good times they had had together, and now she could\nscarcely wait for the day to come when she would see Letty Spargo again.\nThey were going to Banbury, she knew, because Grandfather had a \u201ccase\u201d\nat the Banbury Court-House. Susan thought of this \u201ccase\u201d as a big black\nbag something like the suitcase Grandfather was to carry on the visit.\nSometime she meant to ask why he kept a \u201ccase\u201d so far away from home in\nBanbury; but now that question must wait, for she was very busy deciding\njust which of her belongings she would take with her on the journey.\nSusan didn\u2019t trouble her head about dresses; Grandmother would attend to\nthat, she knew. Her difficulty lay in making up her mind which of her\ntoys to take with her, and Grandmother looked with dismay at the pile on\nSusan\u2019s bed, a pile which, as Susan ran blithely up and down stairs,\ngrew larger with every trip.\n\u201cSusan, child,\u201d said Grandmother, \u201cwhat are your washboard and tub doing\non the bed here, and this box of blocks, and your flat-iron? Are you\nthinking of taking them to Banbury? You will need a Saratoga trunk, if\nyou keep on.\u201d\n\u201cI thought Letty would like to see them,\u201d faltered Susan, halting with\nan armful in the doorway.\n\u201cSo she will, when she comes to visit you,\u201d answered Grandmother. \u201cIt is\nyour turn now to see her toys. And I should leave Flip and Snowball\nhome, too, if I were you. You will be gone only four or five days, a\nweek at the most, you know.\u201d\n\u201cI am afraid they will miss me,\u201d said Susan, coming forward to look\nwistfully at her pile of treasures.\n\u201cNo, they won\u2019t,\u201d said Grandmother, shaking her head with decision.\n\u201cThey will be all the more glad to see you when you come home again. And\nthey will be company for me, too. You don\u2019t want to leave me entirely\nalone, do you?\u201d\n\u201cOh, Grandmother!\u201d cried Susan, her tender heart touched. \u201cI don\u2019t want\nto leave you home alone at all. I won\u2019t go. I won\u2019t go one step.\u201d And\nshe caught Mrs. Whiting\u2019s hand and patted it gently against her cheek.\n\u201cNonsense, Susan,\u201d answered Mrs. Whiting, smiling down upon her\ngranddaughter. \u201cHow do you suppose Grandfather would get along without\nyou to take care of him? And I expect to be too busy to be lonely. I\nhope to finish my braided rug while you are gone.\u201d\nSo Susan decided that, after all, she would go with Grandfather, and\nthat Grandmother must be left in Flip and Snowball\u2019s special charge.\n\u201cTake good care of Grandmother, and be good children yourselves,\u201d\nwhispered she a day or so later, as she ran into the little sewing-room\nto bid them good-bye. Flip and Snowball had been placed on top of the\nsewing-machine so that they might easily guard Grandmother as she\nbraided her rug. \u201cKiss me good-bye and look at my new hat.\u201d And Susan\nstole an admiring glance in the mirror at her new squirrel cap.\nShe felt very proud of her cap, with tippet and muff to match, and once\non the train she sat up stiff and prim hoping some one would say:\n\u201cWho is that good little girl in the squirrel furs?\u201d\nBut after waiting a whole minute to hear the flattering comment which\ndid not come, Susan turned to look out of the window, and sensibly\nforgot about herself and her furs as she gazed at the world whirling\npast.\nShe was so interested in all she saw that the journey seemed a short\none, and she could scarcely believe it was over when Grandfather folded\nhis paper and lifted down the suitcase from the rack over his head.\nBut there on the platform stood Letty, smiling shyly and holding fast to\nher father\u2019s hand, and, what seemed really wonderful to Susan, Letty\nwore a little squirrel cap and tippet and muff like her own.\n\u201cWe are twins!\u201d cried Susan in an ecstasy of joy, as arm in arm they\nwalked up the street behind Grandfather and Mr. Spargo.\nHer eyes were glancing hither and thither as she surveyed the neat\nred-brick houses, with white front door and glistening white doorstep,\neach in its own spacious garden plot, that made up street after street\nin Banbury Town.\n\u201cWe are real twins,\u201d agreed Letty, her blue eyes shining and her yellow\ncurls dancing as she nodded eagerly at Susan. \u201cAnd we are going to sleep\ntogether; Mother said so. And I asked Annie what was for dinner\nto-night, but all she would tell me was \u2018Brussels sprouts\u2019 and \u2018Queen of\nPuddings.\u2019 You like Queen of Puddings, don\u2019t you?\u201d\nSusan admitted that she liked Queen of Puddings. She had never before\nheard of \u201cBussels sprouts,\u201d but, if asked, she would willingly have said\nthat she liked them too, so happy was she to be in Banbury and visiting\nLetty Spargo.\n\u201cBut I haven\u2019t told you the nicest yet, Susan,\u201d went on Letty, squeezing\nher visitor\u2019s arm as she talked. \u201cThere is going to be a Fair in our\nchurch two days after to-morrow, and there is going to be a Blackbird\nPie. Mother is going to have it, Mother and Miss Lamb. Miss Lamb is my\nSunday-School teacher. And they are making the curtains for it now, red\ncurtains with big blackbirds flying all over them. Now aren\u2019t you glad\nyou came to see me?\u201d\nSusan\u2019s head was whirling. What was a blackbird pie, and why should a\npie have curtains?\nAt dinner, Susan discovered that \u201cBussels sprouts\u201d were like baby\ncabbages, but it was not until later in the evening that Mrs. Spargo,\nseeing Susan\u2019s bewilderment at Letty\u2019s talk of the Blackbird Pie, made\nclear the mystery to her.\n\u201cIt is not a real pie, Susan,\u201d said she. \u201cIt is going to be the largest\ndishpan we can buy, covered with paper to look like a pie and filled\nwith little articles and toys that cost five or ten cents each. You will\npull a string, and out of the pie will come something nice. And the\nblackbird curtains are to drape the booth. Do you understand?\u201d\nSusan smiled up into Mrs. Spargo\u2019s face. Already she felt at home with\nLetty\u2019s mother. And she liked Letty\u2019s baby, too, a fat, good-natured\nblue-eyed baby, not quite two years old, who poked his fingers into\neverything and who never cried no matter how many times he sat down hard\non the floor with a thump.\n\u201cHe is a little bit banty because he is fat. That is why he sits down so\nhard. But I like babies to be banty,\u201d said Letty loyally.\n\u201cI do too,\u201d agreed Susan. \u201cThey are much nicer that way.\u201d\nThe next morning before sun-up, Letty and Susan were awake, both very\nmuch surprised to find themselves side by side in bed.\n\u201cI knew I was here when I went to sleep,\u201d said Susan, rubbing her eyes\nand staring round, \u201cbut when I woke up I thought I was home.\u201d\n\u201cNo, you are here,\u201d said Letty, sitting up on top of her pillow as if it\nwere a stool and speaking earnestly. \u201cNow I\u2019ll tell you what I thought,\nSusan. You know the Fair is only one day after to-morrow now. Don\u2019t you\nthink we ought to begin to save right away so that we can have lots of\npulls at the Blackbird Pie? And there will be ice-cream, too, and other\ngood things, I know. Have you any money?\u201d\nSusan was as business-like as Letty.\n\u201cYes, plenty,\u201d she answered, slipping out of bed.\nAnd a moment later, she and Letty were gazing into the depths of her\nlittle green handbag where shone three bright new ten-cent pieces.\n\u201cGood,\u201d said Letty. \u201cJust think how much we can buy with that. Now I\nhaven\u2019t any money at all. But Father comes home to lunch every day, and\nwe will be there to meet him when he comes up the street. I will ask him\nfor some money then, and when he goes back to the office after luncheon\nI will ask him for more. He will never remember,\u201d said Letty, with a\nconfidence born of experience. \u201cHe is a very absent-minded man. My\nmother herself says so.\u201d\nSusan was charmed with this idea.\n\u201cShall we keep it all in my pocketbook?\u201d she asked. Already she could\nsee its green sides bulging with riches.\nLetty twisted a curl and pondered.\n\u201cNo,\u201d she decided at last, \u201cfor you might take it out in the street with\nyou and lose it. I\u2019ll show you where we will keep our money.\u201d\nAnd on tiptoe for fear of waking the baby, she crept into the nursery\nnext door and back.\n\u201cHere! just the thing,\u201d said she, displaying a little round white jar\ndecorated with a bunch of scarlet holly berries and prickly green\nleaves.\n\u201cWe can keep our money in this, because it is mine. No one will touch\nit. And we will put it on the end of the mantelpiece in the nursery, up\nhigh where the baby can\u2019t reach it. Shall we do that?\u201d\nIn answer, Susan shook her three ten-cent pieces into the jar, and with\nhead on one side admired the effect.\n\u201cBut if any one looks in he will see the money, and maybe ask what it is\nfor. Then we can\u2019t keep it a secret,\u201d she objected.\nLetty, with finger on lip, tiptoed into the nursery again, and returned\nwith a doll\u2019s brown-and-white checked sunbonnet in her hand.\n\u201cIt belongs to the baby\u2019s doll, Lolly,\u201d said she. \u201cI just snatched up\nthe first thing I could find. We will stuff it into the jar on top of\nthe money, and if people see it, they will think we have left it there\ncareless-like.\u201d\nThe sunbonnet was tucked into the jar, and the little girls felt\nperfectly sure that no one would suspect the presence of money under it.\n\u201cIt does look put there careless-like, doesn\u2019t it?\u201d repeated Letty.\nShe liked to use those words which she had borrowed from Annie the cook.\nMany times had she heard Annie say, \u201cI think I\u2019ll toss off a pudding,\ncareless-like, for dinner,\u201d or, \u201cI\u2019ll give the room a little dusting,\ncareless-like, before your mother comes home,\u201d and she admired the turn\nof expression.\nAt noon that day, on his way home to luncheon, Mr. Spargo was warmly\ngreeted by Letty and Susan halfway down the block and escorted to his\nown door. Upon Letty\u2019s whispering in his ear, he slipped two ten-cent\npieces into her hand.\n\u201cOne for each of you,\u201d said he, good-naturedly tweaking Letty\u2019s nose,\nred in the sharp November wind.\nWhen he came out an hour or so later, he was in a hurry, and in answer\nto Letty\u2019s murmur he dropped a handful of small coins into her\noutstretched palm, and hastily departed without waiting for the chorus\nof thanks that followed him down the street and round the corner.\n\u201cFour pennies, two fives, and a quarter. As sure as I live, a quarter!\u201d\ncounted Letty. \u201cOh, Susan, Susan!\u201d And flinging their arms about one\nanother, the little girls hopped joyously about until Susan tripped and\nwent down in a heap.\nThe girls found it hard to keep away from the little holly jar. The\nmoney was taken out and counted over and over each time the nursery was\nfound unoccupied save by placid Johnny, who innocently played with his\nshabby Lolly or ran unsteadily about the room, bumping down and picking\nhimself up undisturbed.\n\u201cOnly to-day, and then to-morrow is the Fair,\u201d said Letty the next\nmorning. \u201cWe must be sure not to miss Father at noon.\u201d\nBut to-day, of all days, Mr. Spargo did not come home to luncheon at\nall. He and Mr. Whiting were both busy with the mysterious \u201ccase\u201d at\nBanbury Court-House.\nLetty and Susan consoled themselves by counting the money and planning\nwhat they would buy with it.\n\u201cAnd there is still to-morrow before we go to the Fair,\u201d suggested Susan\nhopefully. \u201cWhen are we going to tell, and show the bowlful? Maybe\nGrandfather will give us more when he hears about it.\u201d\nSusan enjoyed having a secret with Letty, but she wanted to share it\nwith Grandfather, too.\n\u201cWe will tell when we are ready to start for the Fair,\u201d answered Letty\nfirmly, \u201cand not a minute before. You never can tell what will happen.\u201d\nBut this plan was not carried out. Letty little knew how truly she spoke\nwhen she said \u201cyou never can tell what will happen.\u201d\nThe next day, the great Day of the Fair, the money was counted the first\nthing in the morning, as soon as Johnny had had his bath and Mrs. Spargo\nhad left the room.\n\u201cFive tens, one quarter, two fives, and four pennies!\u201d Susan and Letty\nhad said it so often that they could repeat it backward. It had grown to\nbe a chant that rang in their ears.\nHalf an hour later they stole back to count it again.\n\u201cLook,\u201d said Susan, stooping in the middle of the room. She held out the\nlittle brown-and-white sunbonnet that had hidden the money so\n\u201ccareless-like.\u201d\nLetty ran to the mantelpiece. The jar was gone!\nFor an instant she and Susan stared at one another. Then they ran wildly\nabout the room looking in every nook and corner for the missing jar,\nmuch to baby Johnny\u2019s entertainment. He sat on the floor sucking his\nfingers, and he laughed and chuckled and kicked his heels up and down as\nhe watched the exertions of his sister and her friend.\n\u201cHere it is,\u201d called Letty at last. \u201cBy the doll\u2019s bed.\u201d And from under\nthe bed, where slumbered Lolly face downward, out rolled the little\nholly jar.\n\u201cBut where is the money?\u201d demanded Letty. Her first fright over, she was\ngrowing angry.\n\u201cThere is something in Johnny\u2019s mouth,\u201d announced Susan.\nWith a practiced hand, Letty put her finger into the baby\u2019s mouth and\nout came the quarter.\n\u201cOh, you! You!\u201d cried Letty. Her face grew pink and she gave Johnny a\nshake that sent him backward upon the floor.\nTreated so unkindly and robbed of his new plaything, Johnny burst into a\nwail that brought his mother hurrying to his side.\nWhile she listened to Susan and Letty, who both talked at once in their\nexcitement, Mrs. Spargo was feeling carefully in Johnny\u2019s mouth and,\nwhen at last she spoke, she said:\n\u201cThe first thing to do is to find the money, for until we do I shall be\nafraid that Johnny has swallowed some of it. Do you know how much you\nhad?\u201d\n\u201cFive tens, one quarter, two fives, and four pennies,\u201d answered Susan\nand Letty in a breath.\nMrs. Spargo smiled.\n\u201cHere is the quarter,\u201d said she. \u201cNow we must all hunt for the rest of\nthe money.\u201d\n\u201cHow did Johnny reach up to the mantelpiece?\u201d demanded Letty. \u201cWe have\nto stretch and stretch, and we put the jar there on purpose because it\nwas so high.\u201d\nMrs. Spargo pointed to a chair, and Johnny, taking the hint, in a short\ntime, in spite of his bandy legs, had hitched and pulled himself up\nuntil he stood upon the seat. He laughed and clapped his hands and made\na sudden spring at his mother who caught him just in time to save him\nfrom a fall.\n\u201cRascal,\u201d said she, patting him on the back as he clung to her. \u201cThat is\nhow he did it. Now we must all look for the money.\u201d\nIt was surprising the number of places Johnny Spargo had contrived to\nhide the money.\nFour ten-cent pieces were found in Letty\u2019s doll carriage; three pennies\nwere under the rug; one five-cent piece was on the window-sill; the\nother in the express wagon. But one penny and a ten-cent piece were\nstill missing.\n\u201cOh, Johnny, did you swallow them?\u201d asked Mrs. Spargo.\nBut Johnny, not being able to talk, only laughed and hid his face in his\nmother\u2019s neck.\nSusan and Letty were crawling about the floor on their hands and knees\nwhen Mrs. Spargo had a bright thought.\nShe unbuttoned Johnny\u2019s little brown shoe, and there, tucked in the\nside, was the penny.\n\u201cNow only the ten cents is lacking,\u201d said Mrs. Spargo. \u201cHow happy I\nshall be if we find it and I know he has not swallowed it.\u201d\nBut it seemed as though the ten-cent piece was not to be found.\nEverything was turned upside down and shaken, furniture was moved,\ncorners were brushed out, but no piece of money came to light.\nAt last Susan and Letty dismantled the doll\u2019s bed, and vigorously shook\nand flapped each little sheet and blanket. Letty fell upon the pillows\nand beat them violently, while Susan rescued poor Lolly from under foot,\nand, holding her out of the baby\u2019s reach, danced her up and down to\nJohnny\u2019s great delight.\nHe stretched out his hands for his dolly, and just then Susan gave a cry\nof joy.\n\u201cI\u2019ve found it! It\u2019s here! It\u2019s inside Lolly. Feel! Feel! It\u2019s here!\u201d\nSure enough, through a hole in poor old Lolly\u2019s back Johnny had poked\nthe ten-cent piece, and there it lay embedded in dolly\u2019s soft cotton\ninside.\n\u201cI\u2019m so glad,\u201d said Mrs. Spargo, \u201cand so relieved. I felt that it simply\nmust be found, and now here it is. My precious Johnny! You didn\u2019t\nswallow it after all.\u201d\nAnd Mrs. Spargo hugged Johnny as if he had done something very wonderful\nindeed, instead of turning his nursery topsy-turvy for half an hour.\n\u201cI feel the same way,\u201d confided Letty to Susan in a low voice, \u201cfor I\ndidn\u2019t know what kind of a time we would have at the Fair to-night if we\ndidn\u2019t find that ten-cent piece.\u201d\nCHAPTER XI\u2014HOW THE MONEY WAS SPENT\nIt was the night of the Fair.\nLetty and Susan, on tiptoe with excitement and carefully carrying the\ngreen leather bag between them, walked to the church behind Mrs. Spargo\nand Miss Lamb, whose Blackbird Pie was all ready and waiting for\ncustomers.\nIn the green pocketbook reposed the \u201cfive tens, one quarter, two fives,\nand four pennies.\u201d\n\u201cSee that star, Letty?\u201d asked Susan, holding tight to Letty\u2019s arm as she\ngazed up at the moon, half hidden in the clouds, and at a single star\nthat shone near by. \u201cLet\u2019s wish on it.\u201d\n \u201cStar light, star bright,\n First star I\u2019ve seen to-night,\n I wish I may, I wish I might\n Have the wish I wish to-night\u201d\u2014\nrecited the two little girls in chorus.\nThere was silence for a moment, and then Susan whispered:\n\u201cWhat did you wish, Letty?\u201d\n\u201cWill you tell me if I tell you?\u201d was Letty\u2019s reply.\nSusan nodded, and bent her ear invitingly to her friend\u2019s lips.\n\u201cI wished that we would have a good time at the Fair,\u201d whispered Letty.\n\u201cSo did I!\u201d cried Susan, opening her eyes wide. \u201cSo did I! Isn\u2019t it\nstrange that we always think of the same thing? We must be really truly\ntwins.\u201d\n\u201cWe are,\u201d answered Letty with conviction. \u201cI do wish you weren\u2019t going\nhome to-morrow. I wish you could stay here forever.\u201d\nHere Mrs. Spargo and Miss Lamb turned in at the church gate, gayly\nillumined to-night for the Fair by a colored lantern, and the \u201ctwins\u201d\nfollowed close on their heels down a narrow stone walk and through a\nside door into the lecture-room of the church.\n\u201cThis is the Sunday-School room,\u201d whispered Letty. \u201cThere is my seat\nover in the corner. Oh, look, look! There is the Blackbird Pie.\u201d\nAnd, sure enough, in the very corner where Letty sat every Sunday\nmorning in company with four other little girls and Miss Lamb, stood a\nbooth draped with scarlet curtains over which winged a gay flight of\nblackbirds. And best of all, there was the Blackbird Pie in the midst,\nso enticing with its profusion of strings, so mysterious with its hidden\ntreasure of \u201ctoys and small articles for five and ten cents,\u201d that Susan\nand Letty made a bee-line in that direction determined to spend all\ntheir wealth on that particular attraction.\n\u201cGive me your hats and coats, girls,\u201d said Mrs. Spargo. \u201cAnd if I were\nyou, I would walk around the room first and see what there is for sale\nbefore I spent my money here.\u201d\n\u201cOh, just one pull, just one pull,\u201d clamored the little girls, gazing at\nthe fascinating Pie with eager eyes.\nMrs. Spargo laughed.\n\u201cRed strings are five cents, white ones are ten,\u201d said she. \u201cPull away!\u201d\nThe green pocketbook was opened and the bankers peered inside just as if\nthey didn\u2019t already know the contents by heart.\n\u201cThere are the two fives,\u201d said Letty who thought herself quite a\nbusiness woman. \u201cLet us spend them now and get rid of them.\u201d\nSo, after studying the Pie from all angles, two red strings that seemed\nespecially desirable were chosen; and, grasping them firmly and shutting\ntheir eyes, Susan and Letty each pulled on her own string and out came\ntwo little parcels, neatly wrapped in scarlet paper.\n\u201cLook, look!\u201d called Susan, poking a small plaid box, that held four\ncolored pencils, in Letty\u2019s face.\n\u201cSee mine, see mine!\u201d answered Letty, returning the compliment by\nthrusting under Susan\u2019s nose a tiny doll\u2019s pocketbook, just big enough\nto hold a cent.\n\u201cI like mine best,\u201d said Susan contentedly.\n\u201cI do too,\u201d responded Letty.\nAnd, thoroughly satisfied, they set off hand in hand on a tour of the\nroom.\nThe handkerchief-and-apron table they passed by with scarcely a glance.\nThat booth might be interesting to grown people, but they didn\u2019t intend\nto spend any of their money upon such useful, everyday articles.\nThe fancy table came next in their wanderings, and Susan and Letty,\nthough admiring the embroidered sofa cushions, the lace table-covers,\nand the satin workbags, knew that they could never afford such\nsplendors.\n\u201cThey must cost a hundred dollars,\u201d said Letty, who, since it was her\nchurch and therefore her Fair, so to speak, felt that she must supply\nSusan with information.\n\u201cMaybe we can find a little present here for your mother and for\nGrandmother,\u201d said the country mouse to the city mouse in a low voice.\nThe city mouse nodded in reply and stood on tiptoe for a better view. It\nhad been decided before leaving home that a present should be bought for\nMrs. Spargo and one for Mrs. Whiting.\n\u201cThere seem to be little things down at this end,\u201d announced Letty.\n\u201cCome on. I\u2019m going to ask.\u201d\nAnd, catching the eye of one of the ladies in charge, she piped up:\n\u201cPlease, have you any presents here for about ten cents? We want one for\nmy mother and one for Susan\u2019s grandmother.\u201d\n\u201cTen cents?\u201d said the lady, shaking her head. \u201cI\u2019m afraid not. But let\nme look about and see.\u201d\nPresently she returned with a handful of articles which she placed\nbefore her small customers.\n\u201cI\u2019ve nothing for ten cents,\u201d said she kindly. \u201cBut here are several\narticles for twenty-five and thirty and fifty cents.\u201d\n\u201cOh, Letty, I want that for Grandmother,\u201d said Susan, forgetting both\nher shyness and her manners as she pointed a forefinger at an object\nwhich she felt sure would delight Grandmother beyond words.\nIt was a pale-blue stocking-darner with a little girl painted on one\nside and a little boy on the other, and Susan knew in her heart that she\nwould never be happy again unless she could carry it home to-morrow and\nplace it in Grandmother\u2019s hands.\n\u201cThat is twenty-five cents,\u201d said the lady, and she waited patiently\nwhile Susan and Letty put their heads together and consulted whether\nthey ought to spend so large a sum.\nAt length Letty decided it.\n\u201cWe will,\u201d said she recklessly.\nSo the stocking-darner was wrapped and tied and handed over to Susan,\nwho, without a single qualm, watched Letty take the precious quarter\nfrom its resting-place in the green pocketbook and hand it across the\ncounter. It was money well spent, she thought.\n\u201cNow we must buy something for my mother,\u201d said Letty. \u201cHow do you like\nthis, Susan?\u201d\nIt was a long purple box covered with bunches of violets and scrolls of\ngilt. In it were three cakes of strongly scented violet soap.\n\u201cI like it,\u201d said Susan, sniffing vigorously. \u201cThe box is pretty, too.\nMaybe your mother will give it to you when it is empty.\u201d\n\u201cI will take this, please,\u201d said Letty, with the air of an experienced\nshopper.\nAnd so easy and so delightful is it to form the habit of spending money\nthat Letty and Susan didn\u2019t even blink when they heard the price,\n\u201cthirty cents.\u201d\nThey moved on, laden with their bundles, their eyes glancing hither and\nthither as they missed nothing of the gay scene about them. The Fair was\nnow at its height. Every one was either buying or selling or walking\nabout, laughing and talking, and all displaying their purchases in such\na holiday mood, that Susan, at least, felt that she had never been in\nsuch a festive scene before.\nThey had halted near the despised apron table when, glancing up, Susan\nspied above her head a doll made of Turkish toweling.\n\u201cLetty,\u201d said she, pulling at her friend\u2019s dress, \u201ccan\u2019t we buy that\ndoll for Johnny? I know he would like it, and his old Lolly has a hole\nin her back.\u201d\nSo Letty, as spokesman and guardian of the pocketbook, bought and paid\nfor the soft little dolly which fortunately proved to cost only ten\ncents.\nNear the apron table was a half-open door which led into the church\nkitchen. In the kitchen stood the high freezers that supplied the\npopular ice-cream table, and, busily washing dishes with her back turned\nto the door, stood hard-working Swedish Mrs. Jansen, who was glad of the\nmoney that the church cleaning and any odd jobs might bring to her.\nHer little girl Emmy, no older than Letty and Susan, stood at her elbow,\nready to act as errand girl. And just at the moment that Susan and Letty\ncaught sight of her, Emmy was in disgrace, for her mother turned angrily\nupon her and with her hard fingers snipped the sides of her flaxen head.\nThen she resumed her dish-washing, and Emmy slunk away to the door,\nwhere she stood rubbing her sharp little knuckles in her eyes and\npeeping out at the gay scene in which she had no part.\n\u201cDid you see that?\u201d asked Letty indignantly. \u201cWasn\u2019t that the meanest?\u201d\n\u201cWasn\u2019t it?\u201d answered Susan, her eyes round with sympathy. \u201cLet\u2019s buy\nher a present.\u201d\nPresent-buying, if Susan had stopped to think, seemed to be somewhat\nlike running downhill\u2014not so easy at the beginning, but, once started,\nthe simplest thing in the world.\nAnd Letty was of one mind with her.\n\u201cIce-cream,\u201d she decided. \u201cAnd we will watch her eat it.\u201d\nGlowing with patronage and generosity, and feeling as important as if\nthey were treating a whole orphan asylum, Letty and Susan led the\nastonished Emmy across the room to the ice-cream table.\n\u201cThe best ice-cream that you have for ten cents,\u201d ordered Letty largely.\nAnd in a few moments they had the pleasure of seeing Emmy devour, in\nluscious mouthfuls, a large saucer of the pink-and-white frozen sweet.\n\u201cWhen are we going to have ours?\u201d asked Susan, who began to think it\nwould be fully as pleasant to sit down and eat ice-cream herself as to\nstand with hands full of bundles and watch some one else enjoying the\ntreat.\n\u201cRight now,\u201d returned Letty, with an air of authority.\nShe opened the pocketbook as she spoke, but after a glance inside she\nturned a dismal countenance upon her friend.\n\u201cWe\u2019ve spent it,\u201d she faltered. \u201cWe\u2019ve spent it all but four cents.\u201d\nAnd she held the pocketbook, now woefully empty, so that Susan might see\nthe sad truth for herself.\nSusan stared blankly from the pocketbook into Letty\u2019s face.\n\u201cWon\u2019t we have any ice-cream at all, then?\u201d she asked piteously.\nResourceful Letty turned and led the way down the room.\n\u201cWe will just ask mother for some money,\u201d said she airily.\nBut alas for their plans! The Blackbird Pie was so popular, and both\nMrs. Spargo and Miss Lamb were so occupied, that they did not even see\nSusan and Letty, who tried in vain to gain their attention.\nThey wandered back to watch Emmy finishing her ice-cream, quite innocent\nof the fact that her benefactors\u2019 feeling toward her had undergone a\nchange.\n\u201cGreedy thing,\u201d said Letty spitefully. \u201cSee how she gobbles.\u201d\n\u201cShe\u2019s spilling it,\u201d murmured Susan. \u201cLook at her. Even Johnny wouldn\u2019t\ndo that.\u201d\n\u201cLook, look!\u201d gasped Letty. \u201cDid you ever?\u201d\nFor poor Emmy, to whom ice-cream was a rare treat, had lifted her saucer\nin both hands and was polishing it off with her little pink tongue, for\nall the world like a pussy-cat.\n\u201cCome along,\u201d said Letty impatiently. \u201cWe can buy some candy, anyway,\nwith our four cents.\u201d\nAt the candy table another disappointment awaited them. They looked\nscornfully at the two squares of fudge which was all their four cents\nwould buy for them.\n\u201cI never knew anything like it,\u201d scolded Letty, with her mouth full.\n\u201cYou can do a great deal better round the corner from home. It\u2019s only a\npenny a square and much nicer than this.\u201d\n\u201cGood-evening, young ladies,\u201d said a voice over their heads, \u201cI hope you\nare enjoying the Fair to-night.\u201d\nThe little girls looked up into the face of the new minister, Dr.\nSteele, and Susan hastily licked off her finger-tips so that she might\nshake hands politely, while Letty choked on a large crumb of fudge and\nburst into a spasm of coughing.\n\u201cI hope you are both enjoying the evening,\u201d repeated Dr. Steele, pulling\nout his handkerchief and offering it to Letty, whose eyes were streaming\nwith tears and who had left her handkerchief in her coat pocket. He and\nLetty were old acquaintances, but it was Susan who answered his\nquestion, since Letty was unable to speak.\n\u201cWe did have a good time,\u201d said Susan frankly, \u201cuntil we spent all our\nmoney. But now we aren\u2019t having a good time, for our money is all gone\nand we haven\u2019t had a bit of ice-cream; not a bit.\u201d\n\u201cI\u2019ll tell you what it is,\u201d burst out Letty, who had recovered her\nvoice. \u201cI think everybody charged us too much for everything, and that\nis why we haven\u2019t any money left.\u201d\nDr. Steele\u2019s eyes twinkled.\n\u201cI have heard that complaint before about church fairs,\u201d said he.\n\u201cSuppose you show me what you bought, and I will tell you whether I\nthink you have been overcharged.\u201d\nSo Susan and Letty spread their purchases out upon a bench, and Dr.\nSteele sat down to look them over.\n\u201cThe pencil box and the pocketbook were five cents apiece,\u201d began Letty.\n\u201cBut they are all right because Mother sold them to us. Then Susan\nbought a stocking-darner for her grandmother. Show it to Dr. Steele,\nSusan. That lady in a blue silk dress made her pay a quarter for it, and\nI think she asked too much. And she made me pay thirty cents for this\npresent for my mother. I think she ought to give us some of the money\nback.\u201d And Letty shook her head wrathfully at the broad back of a\nplacid, fair-haired lady who stood behind the fancy table.\nDr. Steele glanced at the lady and smothered a laugh. It was his own\nwife, Mrs. Steele, whom Letty had not recognized without a hat.\nDr. Steele admired both presents and looked at the price tags still tied\nto them.\n\u201cNo,\u201d said he at last. \u201cThey are marked twenty-five and thirty cents. I\ndon\u2019t think you were overcharged here. I think you have good value for\nyour money. And you spent ten cents on a doll for the baby, and ten\ncents to treat a little girl to ice-cream, and four cents on candy for\nyourselves. No,\u201d repeated Dr. Steele soberly, shaking his head, \u201cI think\nyou have proved yourselves excellent shoppers, and that you have spent\nyour money to very good effect. And I now invite both you young ladies\nto be my guests at the ice-cream table.\u201d\nDr. Steele rose, and escorted Susan and Letty across the room. He sat\ndown between them, and, though he was able to eat only one plate of\nice-cream while they easily devoured two apiece, he seemed to enjoy the\ntreat quite as well as they.\nWhen they had finished, there stood Annie in the doorway, waiting to\ntake them home. Mrs. Spargo would stay until the Fair closed, and that\nwould be too late for the little girls to be out of bed.\n\u201cGood-night,\u201d said Dr. Steele, shaking hands. \u201cAnd remember what I told\nyou. That you are excellent shoppers, and that you have good value for\nyour money, very good value, indeed.\u201d\nCHAPTER XII\u2014THANKSGIVING IN FEATHERBED LANE\nIt was the morning of Thanksgiving Day, and Susan woke, sat up in bed,\nand looked about her. Beside her, on the quilt, lay the black-and-white\nshawl dolly, and, if you remember that she came out to play only when\nSusan was ailing, then you will know, without being told, that Susan had\nbeen ill.\nYes, for three whole days Susan had been in bed. But to-day she meant\nnot only to be up and dressed, but to go downstairs as well, for to-day\nwas Thanksgiving Day, and to stay in bed on such an occasion was\nsomething Susan didn\u2019t intend to do.\nFour days ago Susan and Grandfather had come home from Banbury. They had\narrived late in the evening, and Susan, tired out, had fallen asleep in\nher chair at the dinner-table, and had been carried up to bed without\ntelling Grandmother a single word about her visit or even presenting her\nwith the stocking-darner which she had carried in her hand all the way\nhome from Letty\u2019s house.\nOf the next two days all Susan could remember was a sharp pain and a big\nblack bottle of medicine, with occasional glimpses of Grandmother and\nGrandfather tiptoeing about the darkened room.\nBut yesterday Susan had felt more like herself. She had enjoyed cuddling\nthe shawl baby, she had eaten a plate of milk toast for her dinner, and\nshe had given Grandmother a complete history of her visit from the\nmoment she left Featherbed Lane until her return.\nShe had asked to see Flip, but Grandmother had said mysteriously that\nFlip, in her turn, had gone visiting, and that she wouldn\u2019t be back\nuntil dinner-time Thanksgiving Day.\n\u201cWhen is Thanksgiving Day?\u201d Susan had asked.\n\u201cTo-morrow,\u201d Grandmother had answered, and Susan had sprung up in bed\nwith a cry.\n\u201cWon\u2019t I be well to-morrow?\u201d she asked imploringly. \u201cWon\u2019t I be well for\nThanksgiving Day?\u201d\nGrandmother at this moment was shaking the big black medicine bottle. It\ndid seem to Susan that it was always medicine time, though Grandmother\nsaid it was marked on the bottle \u201cTo be taken every two hours.\u201d\nMrs. Whiting smiled at her tone of despair.\n\u201cI think so,\u201d said she encouragingly. \u201cThat is, if you take your\nmedicine nicely,\u201d she added, approaching the bed with a large spoon in\none hand and the bottle in the other.\nSusan shut her eyes and opened her mouth. Down went the medicine, and,\nwithout a whimper and with only a wry face to tell how she really felt,\nSusan smiled bravely up at Grandmother.\n\u201cA good child,\u201d said Grandmother approvingly. \u201cI\u2019m sure you will be\ndownstairs to-morrow.\u201d\nNow to-morrow had come, and Susan, slipping out of bed and into her warm\nrosy wrapper and slippers, trotted downstairs in search of some one.\nShe found Grandmother quite alone, save for a delicious smell in the air\nof roasting turkey. Grandmother was busy baking, but she stopped long\nenough to help Susan dress and to answer a few of the questions that\ntumbled pell-mell from Susan\u2019s lips.\n\u201cWhere is Grandfather? Gone to Thanksgiving service at church. You slept\nlate this morning, Susan. When will Phil be home? Not for two weeks.\nThey have all gone to his grandfather\u2019s for Thanksgiving, and they mean\nto visit his Great-Uncle Fred, who gave him his electric train, on their\nway back.\u201d\n\u201cIs any one coming here for Thanksgiving, Grandmother?\u201d asked Susan,\ndelicately eating a bowl of bread and milk for breakfast from one end of\nthe table on which Mrs. Whiting was stirring up a cake.\n\u201cMiss Liza is coming,\u201d answered Mrs. Whiting, stopping her work and\nputting down her spoon. \u201cI may as well tell you now, Susan, I suppose.\nMiss Lunette is married.\u201d\nSusan looked at Grandmother for a moment without speaking. How unkind of\nMiss Lunette to have a wedding while she was away!\n\u201cDidn\u2019t she save me any cake?\u201d she asked at length. \u201cDid Phil go to the\nwedding?\u201d\n\u201cThere wasn\u2019t any wedding, Susan, or any cake,\u201d answered Mrs. Whiting.\n\u201cNo one was invited but Miss Liza. They stood up in the parlor and Mr.\nDrew married them. Then they went off to Green Valley, where her husband\nlives.\u201d\n\u201cMaybe she will ask me to come to see her there,\u201d said Susan hopefully.\n\u201cPerhaps she will,\u201d said Grandmother. \u201cIt may be the making of her,\nSusan,\u201d she went on, half to herself. \u201cShe certainly was full of whims\nand crotchets, and would try the patience of any one but a saint like\nMiss Liza. Your Grandfather always said that all she needed was hard\nwork, and I think she will have it now, for her husband was a widower\nwith three children and an old mother, too. It may make a woman of her.\nI hope so, I\u2019m sure. I know things won\u2019t be so hard for Miss Liza, and\nI\u2019m glad of that.\u201d\nAnd Grandmother beat her batter with such determination that her cheeks\ngrew pink and her little white curls bobbed up and down in time with the\nbeating.\n\u201cIs Flip coming with Miss Liza?\u201d asked Susan.\n\u201cUm-um,\u201d was all Grandmother answered.\nSo Susan put away her little bowl and went into the front hall to call\nupon her friend the newel post.\n\u201cYou ought to be dressed up for Thanksgiving,\u201d decided Susan, stroking\nher friend\u2019s bulky form. \u201cWhich do you like best, pink or blue? Pink,\ndid you say? Then Snowball shall wear a blue ribbon and you shall have a\npink one on your neck to celebrate the day.\u201d\nSusan spent some time selecting and arranging the ribbons to suit the\ntaste of all concerned. She then found the table set for Thanksgiving\ndinner, so she posted herself in the front window where she could look\nall the way down the lane to the gate and report to Grandmother the\nmoment old Nero\u2019s Roman nose was visible.\nShe watched and watched, and at last they came jogging along, Miss Liza\nwell wrapped up against the cold November air that had a \u201cfeel\u201d of snow\nin it, and Grandfather wearing his fur-lined gloves for the first time\nthis season, Susan observed.\nIn came Miss Liza, while Grandfather drove on to the barn, and to\nSusan\u2019s delight Miss Liza carried a big bundle which she placed in the\nlittle girl\u2019s outstretched arms.\n\u201cIt\u2019s Flip,\u201d Susan repeated joyfully. \u201cI know it\u2019s Flip. It\u2019s my Flip.\u201d\nYes, it was Flip, but a Flip so changed, so beautified, so transformed\nthat only the members of her own family would have known her.\nIn the first place, her face and hands, which had grown a dingy brown,\nhad become several shades lighter, producing a fresh, youthful\nappearance heretofore sorely lacking. Her bald head had blossomed out in\na beautiful crop of worsted hair, in color a rich garnet-brown.\n\u201cMiss Lunette always used that color for her worsted hens,\u201d Miss Liza\nexplained, \u201cand I thought it would make real pretty-looking hair for\nFlip.\u201d\nSusan was delighted with the effect. She smiled radiantly at Miss Liza.\nBut when she examined her child\u2019s complete new wardrobe, she put Flippy\ndown on the couch, and flung her arms first around Miss Liza and then\nabout Grandmother\u2019s neck.\nFor Flippy wore a new set of underwear, even to a red flannel petticoat\ntrimmed with red crocheted lace. She wore a brown cloth dress,\nelaborately decorated with yellow feather-stitching. But, most beautiful\nof all, about her sloping shoulders was a dark-blue cape, lined with\nscarlet satin and edged with narrow black fur; upon her head was tied a\ndark-blue fur-trimmed cap to match, from under which her garnet worsted\nhair peeped coyly; and, oh, crowning touch! about her neck upon a ribbon\nhung a black fur muff.\nSusan\u2019s excitement and delight were such that even Thanksgiving dinner\nseemed of little importance compared with this unexpected trousseau of\nFlippy Whiting. Susan did manage to sit still in her chair at the table,\nbut she turned every moment or two to smile happily upon Flip, who\nreturned her glances with proud and conscious looks.\n\u201cOne square inch of turkey for Miss Susan Whiting,\u201d announced\nGrandfather, when at last her turn came to be served, \u201cand a thimbleful\nof mashed potato, one crumb of bread, and an acorn cup of milk. And that\nis all the dinner you get, if I have anything to say about it.\u201d\nAnd Grandfather brandished the carving knife and looked so severe that\nSusan went off into a fit of laughter in which every one joined.\n\u201cWere there many out at church this morning?\u201d asked Grandmother. \u201cWas\nMr. Drew\u2019s sermon good?\u201d\n\u201cOh, that reminds me,\u201d said Grandfather, \u201cthat I have to go out this\nafternoon. I promised Parson Drew that I would take something to eat\ndown to the Widow Banks. The Young People\u2019s Society gave her five\ndollars to buy a Thanksgiving dinner for herself and her six children,\nand if she didn\u2019t go spend the five dollars on a crepe veil and a\nBible.\u201d\nGrandfather gave a chuckle as he thought of the surprise that the Widow\nBanks had given the Young People.\n\u201cI don\u2019t blame her,\u201d said he stoutly. \u201cShe probably takes more pride and\npleasure in what she bought than we can imagine. The neighbors won\u2019t let\nher starve. You fix up a good basket for her, won\u2019t you, Grandmother?\u201d\nAnd that Mrs. Whiting did, though she shook her head over what she\ntermed \u201cextravagance and shiftlessness.\u201d\nA little later, Susan and Mr. Whiting, who carried a large basket, the\ncontents of which would mean far more to the six hungry Banks orphans\nthan would a crepe veil and a Bible, started down Featherbed Lane on\ntheir charitable errand.\n\u201cThe air will do Susan good,\u201d Grandfather declared. \u201cAnd if she is\ntired, I will carry her home. It isn\u2019t far, anyway.\u201d\nSusan enjoyed both the walk and the short call they made at the dingy\nlittle white house in the Hollow.\nMrs. Banks, a thin, tearful wisp of a woman, with pale-blue eyes and\nuntidy hair, gratefully accepted their offering; and the six sorrowful\nlittle Banks cheered up immediately when word went round as to what the\nbasket held, so their visitors made haste to be gone, that they might be\nkept no longer from their Thanksgiving feast.\nWhile Mr. Whiting talked to Mrs. Banks, Susan gazed round the poor\nlittle room, and eyed the Banks orphans standing in a row like steps,\nwho, to do them justice, quite as frankly eyed her in return. The crepe\nveil was not in evidence, but on the mantelpiece lay the new Bible,\nblack and shiny, and smelling powerfully of leather.\n\u201cYes, six of them,\u201d said Mrs. Banks in her melancholy voice, waving her\nhand at the line, which looked more dejected than ever when attention\nwas thus directed to it. \u201cAnd not one of them old enough to do a stroke\nof work or to earn a penny.\u201d\n\u201cThis is Richie,\u201d she went on, pointing to the tallest son of Banks, who\ndug his bare toes into the floor in an agony of embarrassment. \u201cHe\u2019s the\nflower of the family. He will amount to something. He never opens his\nmouth for a word. He\u2019s like me.\n\u201cAnd this is Mervin. He eats like a fish. And his brother Claudius is\nnot far behind him. I gave them their names, for I do like a\nrich-sounding name. Mr. Banks wasn\u2019t of my way of thinking. He was all\nfor plain, commonsense names. He named the next two,\u2014Maria and Also\nJane.\u201d\n\u201c\u2018Also,\u2019 did you say?\u201d inquired Mr. Whiting, who was thoroughly enjoying\nhis call. \u201cThat is a name new to me.\u201d\n\u201cIt was a mistake,\u201d explained Mrs. Banks dolefully. \u201cThe two girls were\nchristened together, and, after Maria was baptized, the minister turned\nto Jane and, says he, \u2018Also Jane Banks,\u2019 and \u2018Also Jane\u2019 she has been to\nthis day, for her father wouldn\u2019t go against the minister\u2019s word for\nanything in the world.\u201d\n\u201cWhat is the baby\u2019s name?\u201d asked Mr. Whiting, preparing to depart.\n\u201cHer name is a compromise,\u201d answered Mrs. Banks, pulling out her damp\nhandkerchief to wipe the baby\u2019s eyes which had instantly overflowed at\nhearing herself called a \u201cmean name,\u201d as she whimpered into her mother\u2019s\near. \u201cTo please me we named her Cleopatra, but we always call her Pat,\nher father was such a one for plain names.\u201d\nWhen Mr. Whiting and Susan reached home they found Grandmother and Miss\nLiza rocking placidly before a roaring fire, and room was made for\nGrandfather\u2019s chair with Susan on a cricket at his feet.\n\u201cNow, we will tell what we are most thankful for,\u201d said Grandmother,\nwhen the story of the call at the Banks\u2019 had been related, and a way of\nhelping Mrs. Banks support her six children had been discussed. \u201cYou\nbegin, Miss Liza.\u201d\n\u201cI\u2019m thankful,\u201d said Miss Liza, without a moment\u2019s hesitation, \u201cfor good\nfriends, for health, and a home.\u201d\n\u201cI\u2019m most thankful,\u201d said Grandmother, \u201cfor Grandfather, and Susan, and\na peaceful life. I couldn\u2019t live in strife with any one.\u201d\nGrandfather thrust his boots out toward the fire and pulled his silk\nhandkerchief from his pocket.\n\u201cI\u2019m thankful,\u201d said he, carefully spreading his handkerchief over his\nhead, \u201cI\u2019m thankful for my home, and that means Grandmother and Susan,\nand I\u2019m thankful, too, that I have my own teeth. I mean it, I\u2019m not\njoking.\u201d And he soberly snapped his strong white teeth together without\na smile.\n\u201cI\u2019m thankful,\u201d piped up Susan, glad her turn had come, \u201cfor\nGrandfather, and Grandmother, and Miss Liza, and Snuff, and Flip, and\nNero, and\u2014\u201d\nGrandfather caught her up from the cricket and held her in his arms.\n\u201cMy black-eyed Susan,\u201d said he, tenderly.\nSusan looked round with a smile.\n\u201cI think,\u201d said she,\u2014\u201cI think I\u2019m thankful\u2014why, I think I\u2019m thankful for\njust everything.\u201d\nTHE END\n*** END OF THIS PROJECT GUTENBERG EBOOK BLACK-EYED SUSAN ***\nA Word from Project Gutenberg\nWe will update this book if we find any errors.\nCreating the works from public domain print editions means that no one\nowns a United States copyright in these works, so the Foundation (and\nyou!) can copy and distribute it in the United States without permission\nand without paying copyright royalties. Special rules, set forth in the\nGeneral Terms of Use part of this license, apply to copying and\ndistributing Project Gutenberg\u2122 electronic works to protect the Project\nGutenberg\u2122 concept and trademark. Project Gutenberg is a registered\ntrademark, and may not be used if you charge for the eBooks, unless you\nreceive specific permission. If you do not charge anything for copies of\nthis eBook, complying with the rules is very easy. You may use this\neBook for nearly any purpose such as creation of derivative works,\nreports, performances and research. They may be modified and printed and\ngiven away \u2013 you may do practically _anything_ with public domain\neBooks. Redistribution is subject to the trademark license, especially\ncommercial redistribution.\nThe Full Project Gutenberg License\n_Please read this before you distribute or use this work._\nTo protect the Project Gutenberg\u2122 mission of promoting the free\ndistribution of electronic works, by using or distributing this work (or\nany other work associated in any way with the phrase \u201cProject\nGutenberg\u201d), you agree to comply with all the terms of the Full Project\nGutenberg\u2122 License available with this file or online at\nSection 1. General Terms of Use & Redistributing Project Gutenberg\u2122\nelectronic works\n*1.A.* By reading or using any part of this Project Gutenberg\u2122\nelectronic work, you indicate that you have read, understand, agree to\nand accept all the terms of this license and intellectual property\n(trademark/copyright) agreement. If you do not agree to abide by all the\nterms of this agreement, you must cease using and return or destroy all\ncopies of Project Gutenberg\u2122 electronic works in your possession. If you\npaid a fee for obtaining a copy of or access to a Project Gutenberg\u2122\nelectronic work and you do not agree to be bound by the terms of this\nagreement, you may obtain a refund from the person or entity to whom you\npaid the fee as set forth in paragraph 1.E.8.\n*1.B.* \u201cProject Gutenberg\u201d is a registered trademark. It may only be\nused on or associated in any way with an electronic work by people who\nagree to be bound by the terms of this agreement. There are a few things\nthat you can do with most Project Gutenberg\u2122 electronic works even\nwithout complying with the full terms of this agreement. See paragraph\n1.C below. There are a lot of things you can do with Project Gutenberg\u2122\nelectronic works if you follow the terms of this agreement and help\npreserve free future access to Project Gutenberg\u2122 electronic works. See\nparagraph 1.E below.\n*1.C.* The Project Gutenberg Literary Archive Foundation (\u201cthe\nFoundation\u201d or PGLAF), owns a compilation copyright in the collection of\nProject Gutenberg\u2122 electronic works. Nearly all the individual works in\nthe collection are in the public domain in the United States. If an\nindividual work is in the public domain in the United States and you are\nlocated in the United States, we do not claim a right to prevent you\nfrom copying, distributing, performing, displaying or creating\nderivative works based on the work as long as all references to Project\nGutenberg are removed. Of course, we hope that you will support the\nProject Gutenberg\u2122 mission of promoting free access to electronic works\nby freely sharing Project Gutenberg\u2122 works in compliance with the terms\nof this agreement for keeping the Project Gutenberg\u2122 name associated\nwith the work. You can easily comply with the terms of this agreement by\nkeeping this work in the same format with its attached full Project\nGutenberg\u2122 License when you share it without charge with others.\n*1.D.* The copyright laws of the place where you are located also govern\nwhat you can do with this work. Copyright laws in most countries are in\na constant state of change. If you are outside the United States, check\nthe laws of your country in addition to the terms of this agreement\nbefore downloading, copying, displaying, performing, distributing or\ncreating derivative works based on this work or any other Project\nGutenberg\u2122 work. The Foundation makes no representations concerning the\ncopyright status of any work in any country outside the United States.\n*1.E.* Unless you have removed all references to Project Gutenberg:\n*1.E.1.* The following sentence, with active links to, or other\nimmediate access to, the full Project Gutenberg\u2122 License must appear\nprominently whenever any copy of a Project Gutenberg\u2122 work (any work on\nwhich the phrase \u201cProject Gutenberg\u201d appears, or with which the phrase\n\u201cProject Gutenberg\u201d is associated) is accessed, displayed, performed,\nviewed, copied or distributed:\n This eBook is for the use of anyone anywhere at no cost and with\n almost no restrictions whatsoever. You may copy it, give it away\n or re-use it under the terms of the Project Gutenberg License\n*1.E.2.* If an individual Project Gutenberg\u2122 electronic work is derived\nfrom the public domain (does not contain a notice indicating that it is\nposted with permission of the copyright holder), the work can be copied\nand distributed to anyone in the United States without paying any fees\nor charges. If you are redistributing or providing access to a work with\nthe phrase \u201cProject Gutenberg\u201d associated with or appearing on the work,\nyou must comply either with the requirements of paragraphs 1.E.1 through\n1.E.7 or obtain permission for the use of the work and the Project\nGutenberg\u2122 trademark as set forth in paragraphs 1.E.8 or 1.E.9.\n*1.E.3.* If an individual Project Gutenberg\u2122 electronic work is posted\nwith the permission of the copyright holder, your use and distribution\nmust comply with both paragraphs 1.E.1 through 1.E.7 and any additional\nterms imposed by the copyright holder. Additional terms will be linked\nto the Project Gutenberg\u2122 License for all works posted with the\npermission of the copyright holder found at the beginning of this work.\n*1.E.4.* Do not unlink or detach or remove the full Project Gutenberg\u2122\nLicense terms from this work, or any files containing a part of this\nwork or any other work associated with Project Gutenberg\u2122.\n*1.E.5.* Do not copy, display, perform, distribute or redistribute this\nelectronic work, or any part of this electronic work, without\nprominently displaying the sentence set forth in paragraph 1.E.1 with\nactive links or immediate access to the full terms of the Project\nGutenberg\u2122 License.\n*1.E.6.* You may convert to and distribute this work in any binary,\ncompressed, marked up, nonproprietary or proprietary form, including any\nword processing or hypertext form. However, if you provide access to or\ndistribute copies of a Project Gutenberg\u2122 work in a format other than\n\u201cPlain Vanilla ASCII\u201d or other format used in the official version\nposted on the official Project Gutenberg\u2122 web site\nexpense to the user, provide a copy, a means of exporting a copy, or a\nmeans of obtaining a copy upon request, of the work in its original\n\u201cPlain Vanilla ASCII\u201d or other form. Any alternate format must include\nthe full Project Gutenberg\u2122 License as specified in paragraph 1.E.1.\n*1.E.7.* Do not charge a fee for access to, viewing, displaying,\nperforming, copying or distributing any Project Gutenberg\u2122 works unless\nyou comply with paragraph 1.E.8 or 1.E.9.\n*1.E.8.* You may charge a reasonable fee for copies of or providing\naccess to or distributing Project Gutenberg\u2122 electronic works provided\nthat\n - You pay a royalty fee of 20% of the gross profits you derive from\n the use of Project Gutenberg\u2122 works calculated using the method you\n already use to calculate your applicable taxes. The fee is owed to\n the owner of the Project Gutenberg\u2122 trademark, but he has agreed to\n donate royalties under this paragraph to the Project Gutenberg\n Literary Archive Foundation. Royalty payments must be paid within 60\n days following each date on which you prepare (or are legally\n required to prepare) your periodic tax returns. Royalty payments\n should be clearly marked as such and sent to the Project Gutenberg\n Literary Archive Foundation at the address specified in Section 4,\n \u201cInformation about donations to the Project Gutenberg Literary\n Archive Foundation.\u201d\n - You provide a full refund of any money paid by a user who notifies\n you in writing (or by e-mail) within 30 days of receipt that s/he\n does not agree to the terms of the full Project Gutenberg\u2122 License.\n You must require such a user to return or destroy all copies of the\n works possessed in a physical medium and discontinue all use of and\n all access to other copies of Project Gutenberg\u2122 works.\n - You provide, in accordance with paragraph 1.F.3, a full refund of\n any money paid for a work or a replacement copy, if a defect in the\n electronic work is discovered and reported to you within 90 days of\n receipt of the work.\n - You comply with all other terms of this agreement for free\n distribution of Project Gutenberg\u2122 works.\n*1.E.9.* If you wish to charge a fee or distribute a Project Gutenberg\u2122\nelectronic work or group of works on different terms than are set forth\nin this agreement, you must obtain permission in writing from both the\nProject Gutenberg Literary Archive Foundation and Michael Hart, the\nowner of the Project Gutenberg\u2122 trademark. Contact the Foundation as set\nforth in Section 3. below.\n*1.F.1.* Project Gutenberg volunteers and employees expend considerable\neffort to identify, do copyright research on, transcribe and proofread\npublic domain works in creating the Project Gutenberg\u2122 collection.\nDespite these efforts, Project Gutenberg\u2122 electronic works, and the\nmedium on which they may be stored, may contain \u201cDefects,\u201d such as, but\nnot limited to, incomplete, inaccurate or corrupt data, transcription\nerrors, a copyright or other intellectual property infringement, a\ndefective or damaged disk or other medium, a computer virus, or computer\ncodes that damage or cannot be read by your equipment.\n*1.F.2.* LIMITED WARRANTY, DISCLAIMER OF DAMAGES \u2013 Except for the \u201cRight\nof Replacement or Refund\u201d described in paragraph 1.F.3, the Project\nGutenberg Literary Archive Foundation, the owner of the Project\nGutenberg\u2122 trademark, and any other party distributing a Project\nGutenberg\u2122 electronic work under this agreement, disclaim all liability\nto you for damages, costs and expenses, including legal fees. YOU AGREE\nTHAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF\nWARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3.\nYOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR\nUNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT,\nINDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE\nNOTICE OF THE POSSIBILITY OF SUCH DAMAGE.\n*1.F.3.* LIMITED RIGHT OF REPLACEMENT OR REFUND \u2013 If you discover a\ndefect in this electronic work within 90 days of receiving it, you can\nreceive a refund of the money (if any) you paid for it by sending a\nwritten explanation to the person you received the work from. If you\nreceived the work on a physical medium, you must return the medium with\nyour written explanation. The person or entity that provided you with\nthe defective work may elect to provide a replacement copy in lieu of a\nrefund. If you received the work electronically, the person or entity\nproviding it to you may choose to give you a second opportunity to\nreceive the work electronically in lieu of a refund. If the second copy\nis also defective, you may demand a refund in writing without further\nopportunities to fix the problem.\n*1.F.4.* Except for the limited right of replacement or refund set forth\nin paragraph 1.F.3, this work is provided to you \u2018AS-IS,\u2019 WITH NO OTHER\nWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO\nWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.\n*1.F.5.* Some states do not allow disclaimers of certain implied\nwarranties or the exclusion or limitation of certain types of damages.\nIf any disclaimer or limitation set forth in this agreement violates the\nlaw of the state applicable to this agreement, the agreement shall be\ninterpreted to make the maximum disclaimer or limitation permitted by\nthe applicable state law. The invalidity or unenforceability of any\nprovision of this agreement shall not void the remaining provisions.\n*1.F.6.* INDEMNITY \u2013 You agree to indemnify and hold the Foundation, the\ntrademark owner, any agent or employee of the Foundation, anyone\nproviding copies of Project Gutenberg\u2122 electronic works in accordance\nwith this agreement, and any volunteers associated with the production,\npromotion and distribution of Project Gutenberg\u2122 electronic works,\nharmless from all liability, costs and expenses, including legal fees,\nthat arise directly or indirectly from any of the following which you do\nor cause to occur: (a) distribution of this or any Project Gutenberg\u2122\nwork, (b) alteration, modification, or additions or deletions to any\nProject Gutenberg\u2122 work, and (c) any Defect you cause.\nSection 2. Information about the Mission of Project Gutenberg\u2122\nProject Gutenberg\u2122 is synonymous with the free distribution of\nelectronic works in formats readable by the widest variety of computers\nincluding obsolete, old, middle-aged and new computers. It exists\nbecause of the efforts of hundreds of volunteers and donations from\npeople in all walks of life.\nVolunteers and financial support to provide volunteers with the\nassistance they need, is critical to reaching Project Gutenberg\u2122\u2019s goals\nand ensuring that the Project Gutenberg\u2122 collection will remain freely\navailable for generations to come. In 2001, the Project Gutenberg\nLiterary Archive Foundation was created to provide a secure and\npermanent future for Project Gutenberg\u2122 and future generations. To learn\nmore about the Project Gutenberg Literary Archive Foundation and how\nyour efforts and donations can help, see Sections 3 and 4 and the\nSection 3. Information about the Project Gutenberg Literary Archive\nFoundation\nThe Project Gutenberg Literary Archive Foundation is a non profit\n501(c)(3) educational corporation organized under the laws of the state\nof Mississippi and granted tax exempt status by the Internal Revenue\nService. The Foundation\u2019s EIN or federal tax identification number is\n64-6221541. Its 501(c)(3) letter is posted at\nProject Gutenberg Literary Archive Foundation are tax deductible to the\nfull extent permitted by U.S. federal laws and your state\u2019s laws.\nThe Foundation\u2019s principal office is located at 4557 Melan Dr.\nS. Fairbanks, AK, 99712., but its volunteers and employees are scattered\nthroughout numerous locations. Its business office is located at 809\nNorth 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email\nbusiness@pglaf.org. Email contact links and up to date contact\ninformation can be found at the Foundation\u2019s web site and official page\nFor additional contact information:\n Dr. Gregory B. Newby\n Chief Executive and Director\n gbnewby@pglaf.org\nSection 4. Information about Donations to the Project Gutenberg Literary\nArchive Foundation\nProject Gutenberg\u2122 depends upon and cannot survive without wide spread\npublic support and donations to carry out its mission of increasing the\nnumber of public domain and licensed works that can be freely\ndistributed in machine readable form accessible by the widest array of\nequipment including outdated equipment. Many small donations ($1 to\n$5,000) are particularly important to maintaining tax exempt status with\nthe IRS.\nThe Foundation is committed to complying with the laws regulating\ncharities and charitable donations in all 50 states of the United\nStates. Compliance requirements are not uniform and it takes a\nconsiderable effort, much paperwork and many fees to meet and keep up\nwith these requirements. We do not solicit donations in locations where\nwe have not received written confirmation of compliance. To SEND\nDONATIONS or determine the status of compliance for any particular state\nWhile we cannot and do not solicit contributions from states where we\nhave not met the solicitation requirements, we know of no prohibition\nagainst accepting unsolicited donations from donors in such states who\napproach us with offers to donate.\nInternational donations are gratefully accepted, but we cannot make any\nstatements concerning tax treatment of donations received from outside\nthe United States. U.S. laws alone swamp our small staff.\nPlease check the Project Gutenberg Web pages for current donation\nmethods and addresses. Donations are accepted in a number of other ways\nincluding checks, online payments and credit card donations. To donate,\nSection 5. General Information About Project Gutenberg\u2122 electronic\nworks.\nProfessor Michael S. Hart is the originator of the Project Gutenberg\u2122\nconcept of a library of electronic works that could be freely shared\nwith anyone. For thirty years, he produced and distributed Project\nGutenberg\u2122 eBooks with only a loose network of volunteer support.\nProject Gutenberg\u2122 eBooks are often created from several printed\neditions, all of which are confirmed as Public Domain in the U.S. unless\na copyright notice is included. Thus, we do not necessarily keep eBooks\nin compliance with any particular paper edition.\nEach eBook is in a subdirectory of the same number as the eBook\u2019s eBook\nnumber, often in several formats including plain vanilla ASCII,\ncompressed (zipped), HTML and others.\nCorrected _editions_ of our eBooks replace the old file and take over\nthe old filename and etext number. The replaced older file is renamed.\n_Versions_ based on separate sources are treated as new eBooks receiving\nnew filenames and etext numbers.\nMost people start at our Web site which has the main PG search facility:\nThis Web site includes information about Project Gutenberg\u2122, including\nhow to make donations to the Project Gutenberg Literary Archive\nFoundation, how to help produce our new eBooks, and how to subscribe to\nour email newsletter to hear about new eBooks.", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg - Black-Eyed Susan\n"}, {"source_document": "", "creation_year": 1927, "culture": " English\n", "content": "Produced by Chris Curnow, Greg Bergquist and the Online\nDistributed Proofreading Team at https://www.pgdp.net (This\nfile was produced from images generously made available\nby The Internet Archive)\nChristmas Light\n[Illustration]\n Christmas Light\n BY\n ETHEL CALVERT PHILLIPS\n _With Illustrations_\n [Illustration]\n BOSTON AND NEW YORK\n HOUGHTON MIFFLIN COMPANY\n The Riverside Press Cambridge\n COPYRIGHT, 1922, BY ETHEL CALVERT PHILLIPS\n ALL RIGHTS RESERVED\n The Riverside Press\n CAMBRIDGE MASSACHUSETTS\n PRINTED IN THE U.S.A.\n TO\n MY MOTHER\n Light of the world, the world is dark about Thee;\n Far out on Judah's hills the night is deep.\n Not yet the day is come when men shall doubt Thee,\n Not yet the hour when Thou must wake and weep;\n O little one, O Lord of Glory, sleep!\n Love of all heaven, love's arms are folded round Thee,\n Love's heart shall be the pillow for Thy cheek.\n Not yet the hour has come when hate shall wound Thee,\n Not yet for shelter vainly must Thou seek.\n Rest, little one, so mighty and so weak.\n Lie still and rest, Thou Rest of earth and heaven;\n Rest, little hands--our Hope of bliss ye keep;\n Rest, little heart--one day shalt Thou be riven;\n O newborn Life, O Life eternal, sleep!\n Far out on Judah's hills the night is deep.\n[Illustration]\n[Illustration]\nContents\n III. The Trip to Jerusalem 37\n V. All the World Comes Visiting 73\n VIII. The Light of the World 116\n[Illustration]\nChristmas Light\nCHAPTER I\nNAOMI'S GARDEN\nIt was in a little garden in the village of Bethlehem, many and many a\nyear ago, that four scarlet poppies stood side by side and swayed gently\nback and forth upon their slim green stalks in the soft afternoon wind.\nA little girl came running over the grass and halted before the\npoppies.\n\"How beautiful you are!\" said the little girl, whose name was Naomi, and\nwho was eight years old.\nShe clasped her hands before her in delight, and stood smiling down upon\nthe flowers that seemed to nod courteously in reply.\nThis little Jewish girl had dark curling hair and gentle brown eyes. Her\ncheeks were as rosy as the poppies, and she wore a gay little robe of\nscarlet and yellow striped stuff, while upon her bare brown feet were\ntied soft leather sandals.\n\"How beautiful you are!\" said Naomi again to the poppies. \"You are mine,\nfor I made you grow, and you are the most beautiful flowers in all our\nlovely garden.\"\nAnd she looked as proudly round the tiny garden plot as if it were as\nspacious and as wonderful as the famous gardens of the wicked King\nHerod, or even those of the Temple High Priest himself.\nIn the center of the grass plot stood an orange-tree, and under it, in\nthe shade of its glossy leaves, had been placed a light wooden bench. A\ntall hedge of prickly thorns prevented passers-by on the narrow village\nstreet from peeping in. At one end a heavy grapevine clambered over a\ntrellis, while at the other there were several rich clumps of myrtle\nthat showed dark against the surrounding grass. Below the thorn hedge\nstood a row of bold flaunting tulips, and there were two flower-beds,\none of white, the other of tall red lilies.\nThe garden was indeed a pleasant place, and Naomi's happiest hours were\nspent here, whether playing peacefully alone, or amusing baby Jonas, or\nwhen the family gathered together under the orange-tree, Father and\nMother, brother Ezra, baby Jonas, and herself.\nTo be sure there were vines and flowers growing on the roof of Naomi's\nhouse, which was often used as a place to sit in the cool of the day and\neven to sleep when the house grew unbearably warm. For Naomi's dwelling\nlooked like nothing so much as a square box turned upside down with only\na door cut in the front and not a window to break the smooth white\nsides.\nWithin, there was a single room, round which ran a bench where were kept\nthe gay quilts, tightly rolled, which made the only beds Naomi knew.\nHere, too, lay the cushions upon which the family sat when at meals\nround the table, which was then pulled out from the wall. There was a\ngreat carved chest in which were kept the Sabbath clothes, the crescent\nof coins which belonged to Naomi's mother and which she wore upon her\nhead as an ornament on festive occasions, and the long parchment rolls\nof Scripture in which Naomi's father took the keenest pride. At the\ndoor stood a tall water-jar with herbs floating on the top to keep the\nwater cool.\nIn a niche in the doorpost hung a small roll of parchment in a case.\nNaomi was used to seeing her father and his friends touch it reverently\nwhen passing in or out, and then kiss the fingers that had touched the\nName of the Most High. She could even recite as well as Ezra the verses\nshe knew were written there, beginning, \"Hear, O Israel: Jehovah our God\nis one Jehovah,\" and ending \"and thou shalt write them upon the\ndoorposts of thy house and upon thy gates.\"\nIn a small building near by stood the oven where Naomi's mother did her\nbaking and which she used in common with several other families. It was\noften a meeting-place for the children, who hung about the door on\nbaking-days hoping for hot crumbs--stout Solomon from across the road;\nRachel and Rebekah, Naomi's particular friends; little Enoch, who walked\nwith a limp and who would never grow any taller, though he might live to\nbe ever so old.\n\"I would that my Aunt Miriam used our oven,\" Naomi often thought, \"for\nshe bakes every day, and, oh, such good things as she makes.\"\nNaomi's aunt kept the village inn or khan that stood just outside the\ncity gates on one of the little hills upon which Bethlehem was built.\nMany travelers stopped the night at the khan and even longer, for the\nvillage lay only one mile to the right of the great road which led from\nJerusalem, six miles away, to the old town of Hebron, and then down into\nthe far-away, mysterious land of Egypt itself. Where the road from\nBethlehem joined the Jerusalem highway stood the tomb of Rachel, and\nmany a time had Naomi, loitering in the courtyard of the inn, heard\npious pilgrims, fresh from the spot, tell the stories of Rachel and\nJacob, and their sons Joseph and Benjamin.\nNaomi's little head was packed full of the stories of the great people\nof her race. Ezra, eleven years old, went to school in the synagogue\nevery day with the other boys of the village, and diligently studied the\nLaw and the Prophets. At home, Naomi was taught by her mother, not only\nthe care of the house, but the history of the Hebrew people, their\nsongs, their prayers, and their hopes.\n\"I know ten hymns without a mistake,\" Naomi would boast, and by hymns\nshe meant what we call psalms. \"I can recite the Song of Deborah and the\nSong of Hannah. I can tell all the story about them, too, and, oh, ever\nso many more.\"\nHer favorite story was that of the Naomi for whom she had been named.\nBut this summer afternoon she was thinking of nothing save of the pretty\nblossoms that now swung before her after so many days of patient toil\nand care.\nShe caught sight of her mother in the doorway and eagerly called her to\ncome and see the sight.\n\"Come, Mother, come,\" she called. \"My poppies are all out, every one.\nFour of them in a row! See--even the smallest one that I feared would\nnot bloom at all. There is one for each of thee: Father, Mother, Ezra,\nJonas. The smallest one is for Jonas, and verily it is the prettiest one\nof all.\"\nNaomi's mother came smiling down the path. She carried a water-pitcher\nor urn, and astride her left shoulder sat baby Jonas, steadying himself\nby clutching his mother's thick dark hair.\n\"The flowers are beautiful, Naomi,\" said she pleasantly. \"They well\nrepay thee for all thy patience and care. I go now to the fountain for\nwater. It lacks but half an hour to sundown. Watch thy little brother\nJonas well and keep him happy until I return.\"\nAnd slipping Jonas from her shoulder to the grass, and pulling her white\nlinen veil into place, she stepped quickly out into the village street,\nher urn securely balanced upon her head.\nJonas had already crept over to the bench, and, dragging himself up upon\nhis unsteady legs, he looked into his sister's face with a smile.\n\"The smallest poppy is thine, Jonas,\" Naomi told him, \"but thou must\ntouch it not. Come now with me and see the pigeons.\"\nBehind the house, a step out of the garden, stood a dove-cote made of\nmud. Inside were two wide-mouthed earthen jars that served as\nnesting-boxes. The pigeons were stepping majestically about on the\nground, the sun touching their soft gray feathers with blue and green\nand rose. Jonas made several lunges at them in the hope of capturing a\nnew plaything, but he succeeded only in stubbing his toe and sitting\ndown hard upon the ground.\n\"No, neither must thou touch them,\" said Naomi, helping him tenderly to\nhis feet and brushing off the dirt. \"It seems to me that there are a\ngreat many things that thou must not touch. But I know something that\nthou canst do. It is my secret, but I do not mind telling thee because\nthou canst not talk. Thou mayst help me dig a well!\"\nNaomi's voice sank mysteriously as she guided the tottering Jonas back\ninto the garden and over to a bare spot of ground behind the largest of\nthe myrtle bushes.\n\"Sit ye down, Jonas,\" said Naomi, sinking cross-legged to the ground.\n\"I mean to dig the well here, it will be so handy for Mother. Then never\nwill she have to walk down to the fountain unless she likes. You take\nthat stick and I will use this one.\"\nFor a few moments the little girl worked industriously, loosening the\ndry sun-baked soil, while Jonas scratched vigorously with his\nsharp-pointed stick.\n\"It is hard work, Jonas,\" sighed Naomi, pausing to shake back her curls.\n\"But it will be worth it when once the well is made. It will be called\n'Naomi's well' for me, and years and years from now my\ngreat-great-grandchildren will be proud of me because I made it. And\nwhen I am an old woman, all thin and brown and dried-up like lame\nEnoch's grandmother, I will say to my grandchildren, all standing round\nand listening to every word I say--I will say, 'Grandchildren, I well\nremember the day thy dear uncle--that is thou, Jonas--and I dug\nthis'--Oh! Oh!\" And Naomi screamed aloud and jumped to her feet.\nSomething cold and wet had been placed against the back of her neck, and\nlittle shivers were running over her as she turned and saw her brother\nEzra behind her, smiling at her fright. In his arms he held a small\nwhite lamb, and it was this little animal's nose that had been pressed\nto Naomi's neck, and that had brought her day-dreaming to such an abrupt\nclose.\n\"Wilt thou not tell the grandchildren anything about their dear Uncle\nEzra?\" inquired Ezra with a comical look. \"Who sharpened those sticks\nfor thee, I would fain know, and thou didst not even tell me what use\nthey were for. How dost thou think the grandchildren would like to hear\nthat?\"\n\"How unkind thou art to listen and then laugh at me,\" said Naomi,\nputting out her under lip. \"I would have told thee, Ezra, about the well\nonly it was a secret. Do not tell Mother, wilt thou? I would fain\nsurprise her. Promise thou wilt not tell, Ezra! Promise!\" And Naomi laid\nan imploring hand upon her brother's arm.\nEzra's only answer was to laugh and shake his head. Though he had no\nintention of telling, he wanted to tease Naomi a little before making\nany promises. He was fond of his little sister, and was far more gentle\nand kindly than many another brother would have been in those days in\nold Palestine.\nFor in the Jewish family, girls were not valued so highly as boys, and\nwere made to feel their unimportance in many ways that would be highly\ndispleasing to little sisters of to-day. Girls were taught to wait upon\ntheir brothers and to treat them with respect. It was impressed upon\nthem that the duty of a girl was to be useful and modest and quiet, and\nthat her chief pleasure should lie in making home happy and comfortable\nfor her father and brothers.\nBut in the household of Samuel the weaver, Naomi's lot had not been\nquite that of the ordinary Jewish girl. Her father was proud of his\nbright, lovable little daughter and had made her his special pet. Her\nmother, who had been well taught by her own mother, a \"wise woman\" of\nher day, was careful that Naomi seldom missed the daily lesson that kept\nthe little girl, to her great delight, only a short way behind Ezra on\nthe hard road of knowledge.\nSo Ezra, though he felt his superiority as a boy and the first-born of\nhis family, could not long resist Naomi's pleading glance nor the\npressure of her little brown hand.\n\"What wilt thou give me if I do not tell?\" asked Ezra, not wishing to\nseem to relent too quickly.\n\"The first bright shekel I find in the highway,\" answered Naomi saucily.\nShe was smiling now, and her hand was gently stroking the little lamb's\nnose.\n\"What lamb is this, Ezra?\" she asked. \"And why hast thou brought it\nhome? It seems sleepy, poor little creature. Look, its eyes are half\nshut.\"\n\"It is one of the Temple flock,\" answered Ezra, looking down at the\nquiet little animal in his arms. \"But it has a blemish. It runs on three\nlegs, and it does not see very well. They will not keep it in the\nflock--it is not fit for Temple use--and shepherd Eli gave it to me this\nafternoon for my own. I helped him find an old ewe that had caught her\nfoot between two stones, and when I was leaving he gave me the lamb.\"\nBy the \"Temple flock\" Ezra meant the sheep that were destined to be used\nas sacrifices in the great Temple at Jerusalem, and which were encamped\nall the year round on the hills outside the city. The shepherds of the\nflock were friendly to the boy, who declared he meant when a man to be a\nTemple shepherd himself. Ezra spent most of his spare time with them,\nhelping them in their work and listening with delight to their thrilling\nstories of encounters with wolves and jackals. Many of the shepherds\nwere friends of his father, for both were connected with the Temple,\nsince Samuel the weaver spent his days, in common with a number of\nothers in Bethlehem, in making the gorgeous curtains and veils that were\nused in the sacred building.\n\"Stand up, Three Legs,\" said Ezra, putting his lamb on the ground and\nshowing Naomi its pitifully shrunken limb. In naming it \"Three Legs\"\nEzra was following the custom of the shepherds who called their charges\nby any peculiarity they might possess, such as \"Black Ear\" or \"Long\nTail.\" \"I mean to make a little wagon and teach Three Legs to draw it.\nAnd if he is not able to do that, I shall sell him for whatever I can\nget.\"\n\"Oh, no, Ezra,\" said Naomi whose tender heart was touched by the forlorn\nlittle animal. \"He is sick, he is not able to draw a wagon. Give him to\nme and let me take care of him.\"\nEzra shook his head.\n\"I will sell him first,\" said he with determination. \"I will not give\nhim away.\"\n\"Sell him to me!\" cried Naomi; \"sell him to me!\"\nThe lamb had toppled over in a little heap and was looking patiently and\nwith half-closed eyes into Naomi's face bent above him. It seemed to\nthe little girl that she would gladly give her dearest possession if she\nmight have the lamb for her own to nurse and care for.\n\"Sell him to me, Ezra. I will give thee anything thou mayst ask.\"\n\"What hast thou to give?\" asked Ezra shrewdly. He felt sure the lamb\ncould never draw a wagon, and the prospect of selling a sick animal was\nsmall.\n\"Anything thou mayst ask,\" was Naomi's reckless answer. The lamb had put\nout a limp pink tongue and was licking her fingers.\n\"Thy poppies?\"\nEzra had heard his aunt say that very day, \"I need poppies sorely for my\nbrew for the palsy, and not a single one has bloomed in the khan garden\nthis year.\"\nSurely four poppies would be worth a rich cake or two, or perhaps even\na piece of money.\n\"My poppies?\" Naomi looked aghast. \"My poppies? All four? Why, there is\njust one apiece! Father and Mother, thou and Jonas! My poppies?\"\nThe lamb stirred and with a little sigh of content snuggled his nose\ninto the palm of Naomi's hand.\n\"Take them!\" Naomi stood up and gathered the lamb in her arms. \"Take\nthem, only let me not see thee.\"\nShe turned her back upon Ezra and shut her eyes.\nQuickly he gathered the flowers and ran out of the garden.\nNaomi opened her eyes. She gave one look at her despoiled flower-bed and\nbent again over the lamb.\n\"I am glad, Three Legs,\" said she warmly. \"Thou art much better than\nmany poppies, thou poor little creature, and I am glad I did it. I am\nglad!\"\nCHAPTER II\nONE SABBATH\nIt was Sabbath morning, and Naomi and her mother and Ezra were on their\nway to the synagogue.\nThey chose back streets as they went, and they met only women and\nchildren on their way, for the front roads on the Sabbath day were given\nup to the men.\nNaomi was happy as she walked quietly along holding fast to her mother's\nhand, for she wore her new hyacinth-blue robe that her mother had spun\nand her father had woven for her.\nEzra had other thoughts, and presently he whispered in Naomi's ear:\n\"In two years' time I shall be a Son of the Law, and then I shall sit on\nthe men's side in the synagogue, and walk on the front streets on\nSabbath. Thou and Mother will have to come alone.\"\nNaomi shook her head.\n\"Jonas will walk with us then,\" she whispered back. \"Boaster!\"\nShe did not really blame Ezra for his lordly words and air, for she knew\nhow every Jewish boy looked forward to what was called his Day of\nFreedom, when by a priest in the synagogue he was made a Son of the Law.\nThen he would be no longer a child, but a young man. His school days\nwould be over. He would choose a trade and begin to earn his own living.\nBut it was a comfort to Naomi to think that, with Ezra gone, little\nJonas would trot along by her side, and she was thinking of baby Jonas,\nleft every Sabbath morning in the care of lame Enoch's old grandmother,\nnow grown too feeble to climb the hill to the synagogue, when Aunt\nMiriam overtook them.\nAunt Miriam's husband, Simon, was a wealthy man in the village of\nBethlehem. He was the owner of the guest-house or khan that stood a\nlittle below the town on the way leading down into Egypt, and which was\nbelieved to have been the dwelling of Boaz and Ruth, and the birth-place\nof King David himself.\nTo-day Aunt Miriam wore a robe of fine linen, covered with a wide cloak\nof black and white stripes, and her earrings and bracelets tinkled at\nevery step. On week-days the children knew her to be bustling and chatty\nand fond of a jest. But the Sabbath saw her a different woman. Stately\nand dignified she walked beside them now, her brown eyes gazing far away\nand full of holy thought.\nThe children felt awed and shy with her as they might with a stranger.\nEzra stopped his whispering. Naomi glanced timidly up, her head held\nsideways like a little bird.\n\"How good Aunt Miriam is!\" she mused.\nBut her aunt's thoughts wandered for a moment from their pious\nmeditations. Suddenly she loosened the veil that was pulled across her\nface and spoke briefly to Naomi's mother.\n\"I shall come to see thee to-night after sundown. I go to Jerusalem\nto-morrow, and there may be room in the cart for a certain good little\nmaid.\"\nNaomi's heart leaped. Did Aunt Miriam mean her? What other little girl\nmight she take with her? But she had said \"a good little maid,\" and\nNaomi remembered with a pang of regret how she and Ezra had quarreled\nyesterday, and had not ceased their bickering until at sunset the three\nblasts of the silver trumpet, blown by the priest on the synagogue roof,\nhad reminded them that Sabbath eve had come.\nShe longed to ask outright: \"Dost thou mean to take me to Jerusalem\nwith thee, Aunt Miriam?\"\nBut they had reached the flat-roofed little synagogue, and once inside\nthe gate the children silently followed their mother and aunt into the\nwomen's court and seated themselves on the mats that covered the stone\nfloor.\nNaomi's mind was so occupied by the thought of a possible trip to\nJerusalem that she forgot to peep, according to her wont, through the\nlattice that separated the men's court from that of the women, in the\nhope of seeing her father. She usually watched with interest while the\nsacred Rolls were taken from their curtained shrine, before which burned\nthe holy lamp, and their outer cover of gold-embroidered silk and inner\ncover of linen removed.\nBut this morning she scarcely heard the voice of the visiting rabbi who\nread the lesson for the day, and her mother was obliged to twitch her\nvigorously when, during the prayers, the congregation rose to their feet\nand turned toward the Holy City.\nThe Sabbath day seemed endless to the eager little girl. All work and\nplay were forbidden. No fire might be lighted, no bed made. Naomi had\nbeen well taught in the Law. She knew that it would be sinful for her\neven to carry a handkerchief tucked in her belt. And so surely not until\nSabbath was over would the trip to Jerusalem be discussed.\nShe sat alone in the shade of the fig-tree that grew beside their door,\nand wished that she might see her friends Rachel and Rebekah to tell\nthem the good news. She watched the great sun flame through the bright\nSyrian sky until her eyes burned and ached, but still it was not\nsundown. At last she curled herself up on the floor of the house with\nheavy-eyed Three Legs at her side and fell asleep.\nWhen she woke it was the First Watch of the Evening, six o'clock, and\nthe crimson sun was sinking out of sight behind the Judean hills. Naomi\nsprang up and ran into the garden. There on the bench under the\norange-tree sat her father and mother and Aunt Miriam.\nAunt Miriam was talking.\n\"And so, since Simon is still sick with a heavy summer cold, nothing\nwill do but I must ride to Jerusalem to-morrow with the load of grapes,\"\nshe was saying. Simon had large vineyards and owned many olive-trees,\nbeside being host at the inn. \"To be sure, Jacob is a good serving-lad\nand manages well without his master. But there is no one, after himself,\nwho makes a better bargain than I, Simon says, and so I must ride with\nthe fruit to see that justice is done my lord Simon in the trade.\"\nHere Aunt Miriam laughed so heartily that Samuel and his wife were\nforced to smile in sympathy. But Samuel was not altogether pleased with\nAunt Miriam's little joke about her husband, who was in truth her lord\nand master and worthy of her deepest respect. He changed the subject by\nasking:\n\"And what does the physician say of Simon?\"\n\"He recommended that he kiss the nose of a mule,\" Aunt Miriam answered\ngravely.\nTo her and to her audience there was nothing amusing about this\nprescription. Stranger remedies than that had been ordered by the wise\ndoctors of the day: a broth of beetle's legs, crab's eyes, the heads of\nmice, bruised flies to cure the sting of a hornet!\n\"But in spite of this,\" she continued, \"he is still flat on his back,\ngroaning with aches and pains. So, to-morrow, Jacob and I start at\nsunrise with the bullock cart, and no doubt there will be room among the\nbaskets of grapes for Naomi, if thou wilt permit her to go.\"\nNaomi, at her father's elbow, glanced imploringly into his face, but she\ndid not speak a word. Her mother, from the end of the bench, smiled\nhopefully at the little girl, but she, too, waited in deferent silence\nuntil, to Naomi's great relief, her father gave a nod of consent.\n\"It is kind of thee, sister Miriam,\" said he, putting his arm about\nNaomi and drawing her to his side, \"to think of giving our little\ndaughter this pleasure.\"\n\"Naomi must be good and obedient and not make herself troublesome in any\nway,\" said her mother warningly, leaning forward to pull Naomi's little\nrobe straight. \"Thy aunt will be occupied with her business, Naomi, and\nthou must be as quiet as a mouse so that she will not regret that thou\nart with her.\"\n\"Never fear that,\" said Aunt Miriam heartily, \"Naomi is as dear to me as\nmy own. I shall not be so busy that she will have to play mouse all day.\nShe shall see something of the city, and eat a good dinner at the house\nof Simon's sister Anna, and make friends, perhaps, with Anna's little\nMartha who is just her age.\"\n\"I will be quiet,\" promised Naomi, her face bright with smiles. \"I will\nbe good. I will not speak a word nor stir all day long.\"\n\"Great are thy promises, Naomi,\" answered Aunt Miriam, rising to go and\nlaying a kindly hand upon the curly head of her niece. \"I will give thee\na hot breakfast at the khan to stay thee on thy journey, so be not late.\nWe start at sunrise!\"\n\"Oh, Father,\" cried Naomi, throwing her arms about her father's neck,\n\"how good I mean to be always after this! Dost think I shall see the\nTemple? And, Mother, which am I to wear--my new blue robe or my yellow\nand red striped one? I am really to go to Jerusalem! Oh, what will Ezra\nsay when he hears the good news I have to tell!\"\nThe next morning at daybreak, when the purple shadows lay heavily in the\neast and the sky was still gray overhead, Naomi, wearing a gay little\ncloak of scarlet over her best blue robe, ran hastily down the stony\nroad that led to the Bethlehem khan.\nThe drowsy gate-keeper had already unlocked the heavy town gates, for\nday begins early in hot countries, and at sight of Naomi, whom he knew\nwell, he uttered a sleepy \"Peace be with thee!\" as a morning greeting.\n\"With thee be peace!\" piped Naomi in return. \"Oh, Nathan, I go to-day\nto Jerusalem with my Aunt Miriam. This very day I go!\"\nOld Nathan nodded his head solemnly and muttered in his beard.\n\"Beautiful for situation, the joy of the whole earth is Mount Zion,\"\nresponded the pious old Jew. But Naomi was half-way down the hill and\ndid not hear one word.\nThere before her at the crossroads stood the old khan, with its great\nwall of stone and its stout gate behind which all night long sat a\nwatchman on the alert. Below the inn lay the very fields among which\nRuth, long, long ago, had gleaned the golden corn, and where later King\nDavid as a shepherd lad had tended his flock.\nNaomi slipped through the open gate into the courtyard of the khan and\nstood for a moment watching the bustle and confusion of the scene\nbefore her. In the center of the court was the fountain, and round it\nnow crowded the pilgrims and travelers, drawing water for the morning\nmeal or in which to wash before eating. The archways which lined the\nwall formed the rooms of the ancient inn, for the building at the end of\nthe court in which Simon the host and Aunt Miriam lived was not open to\nstrangers. Shelter and food were not provided within. Each man in his\nlittle archway must spread his own carpet, light his own brazier, cook\nhis own food, and eat from his own dish. A Syrian khan of that period\nwas not at all like the inns of our day. It was expected to supply\nnothing but water and straw for a bed. It was a refuge from thieves and\nwild animals, a shelter from heat and dust, a spot where a trader might\nsell his wares.\nNaomi looked with interest at the patient camels already kneeling to\nreceive their load, perhaps of precious ointment or sweet spices. Here\nwere the merchants spreading their wares: gold work from Cairo; shawls\nof Tyrian dye, royal purple or scarlet; rich perfumes in their vases of\nalabaster, large and small. In one corner a group of dogs, snapping and\nsnarling, quarreled over a bone.\nA caravan was starting for Egypt, and as the Bethlehem khan was the\nfirst night's rest after leaving Zion, many friends of the travelers had\ncome with them from Jerusalem and were now sorrowfully saying their last\nfarewells. Naomi stood watching an old father tenderly kiss his\ndeparting son upon either cheek and then lay his hand upon the boy's\nhead in blessing. A little lad, carrying his pet monkey, was lifted to\nthe back of a camel, and Naomi was staring so intently that she did not\nsee the serving-lad Jacob until he was close upon her.\n\"Thy aunt calls for thee,\" said he to Naomi. \"The cart stands ready\nloaded and we start as soon as thou hast eaten.\"\n\"I would that we were going down into Egypt, Jacob,\" said Naomi,\nskipping toward the house as she spoke. \"To ride to Jerusalem is\nnothing. We shall be back to-morrow in this very spot.\"\n\"Aye, if the robbers do not catch us,\" answered Jacob, wagging his head\nwisely. It was the first time he had been trusted to ride to Jerusalem\nwith a load, and the responsibility weighed heavily upon him.\n\"Robbers? Aunt Miriam, will there be robbers on the way to-day, think\nyou?\"\nAunt Miriam paused in her brisk stepping about the room.\n\"Here is a bowl of hot pottage and a warm cake for thee, Naomi. Eat all\nof it,\" she commanded. \"And talk not to me of robbers. In truth, there\nare as many robbers in the khan at Bethlehem as upon the length of\nJerusalem highway. The caravan to Egypt will pay for straw for six\ncamels and ten mules, will they, when I myself counted no less than\ntwenty animals in their train? Jacob, bring hither the leader of the\ncaravan that I may talk with him. Robbers, indeed! Robbers!\"\nAunt Miriam's red cheeks and flashing eyes boded ill for the leader of\nthe caravan for Egypt.\nNaomi ate her lentil pottage and munched her cake leisurely in a quiet\ncorner, but she had long finished her meal when Aunt Miriam was at last\nsatisfied and ready to start.\nThe bullock cart stood loaded with baskets piled high with great bunches\nof purple grapes. Over them were spread the dewy green leaves of the\nvine to protect the fruit from the sun and to keep it fresh and moist.\nAunt Miriam, with a sigh of relief, settled herself in place in the\nfront of the cart. Naomi was tucked into a comfortable corner between\ntwo great brown baskets of woven rushes. Jacob, standing at the cattle's\nhead, cracked his long whip, the animals strained forward, the cart\nwheels creaked and turned, and they were off for Jerusalem.\nCHAPTER III\nTHE TRIP TO JERUSALEM\nThe road to Jerusalem stretched white and hot in the blazing sunshine.\nThe deep blue sky was without a cloud, and the insects, hidden in the\nroadside grass, hummed in the heat.\nA cloud of dust in the distance told that the three Roman soldiers who,\nonly a moment ago, it seemed, had galloped past the slowly moving ox\ncart, were nearing their destination, the Holy City. Naomi had watched\nthe glitter of their helmets and the flashing of their bright lances\nwith the same interest she had given to a string of melancholy gray\ncamels led along the road by a country lad in his cool white tunic and\nbroad red leather belt.\nEverything was interesting this morning to Naomi. She stared at the\ndusty gray olive-trees, the shabby scrub oaks, the low-branched\nsycamores as if she had not been familiar with them all her life. To-day\nthe birds seemed to dart about more swiftly and to utter sweeter songs\nas they flew. The few sheep she spied nibbling the sparse grass on the\nrocky hillsides were surely whiter than those at home. The field\nflowers, with faces upturned to the bright sun, glowed with splendid\ncolor. The whole world was glad to-day.\n\"They are all happy because I am happy,\" mused Naomi, smiling at her own\nthought.\nShe glanced at Jacob plodding contentedly along beside his beasts, at\nAunt Miriam who sat silent, her usually busy hands folded in her lap,\nenjoying this little rest from her many household cares.\nTap, tap, tap!\nNaomi peered about, and Aunt Miriam sat up straight at this sound upon\nthe road.\nTap, tap, tap!\nNow the shuffling of cautious feet was to be heard, too.\nDown the Jerusalem highway came six men walking in single file, each\nwith a staff in hand and the other hand resting upon the shoulder of the\nman before him. They were all blind! Even their guide, who tapped the\nground as he walked, was sightless, \"the blind leading the blind.\"\nNaomi stared curiously. She had often seen as many as a dozen blind men\nwalking in such a row, and they were always to be found by the wayside\nor near the village gates at home, in company with the lame and the\nhelpless, holding out a little bowl for money or food.\n\"Jacob!\" called Aunt Miriam.\nShe took a piece of money from her purse, securely fastened in her belt,\nand Jacob, without being told, dropped it in the bowl of the blind\nleader. He was accustomed to the charity of his good master and\nmistress. Had not Moses the Lawgiver bade those who fear their God have\nsympathy for the blind?\nThe blind men at sound of the cart had drawn up by the side of the road,\nand now they leaned upon their staffs and turned their sightless faces\ntoward their unseen benefactress. They were glad of an excuse to rest\nand also to talk, for time meant little to them, and they liked nothing\nbetter than to recount, each one, the detailed history of his\nmisfortune.\nBut Aunt Miriam did not mean to spend several hours this morning in idle\ntalk upon the highway. She motioned Jacob to move on, and in response to\nthe thanks and blessings showered upon her for her gift, she called:\n\"Peace be unto thee, friends! We hasten on to Jerusalem before the sun\nmounts high. May all good things await thee in Bethlehem!\"\nUp the steep hill climbed the bullock cart, and once round the curve in\nthe road Aunt Miriam pointed.\n\"Naomi--the City!\" she said. \"See the Temple! How it gleams!\"\nHigh above the flat roofs and massive walls of Jerusalem shone the great\ngold and white Temple of the Hebrews. The little party halted at the\nsight. Aunt Miriam's lips moved in prayer. Naomi was silent as she\ngazed. She recalled the lines in one of the hymns her mother had taught\nher:\n\"We have thought on thy lovingkindness, O God, in the midst of thy\ntemple.\"\nTo the pious little Jewish girl there could be no more beautiful nor\ninspiring sight than that of the sacred Temple set in the midst of the\nHoly City. She kept a reverent silence until they reached the Bethlehem\ngate where entered all the trade and travel from Egypt and the sea.\nBut once Naomi was lifted down from the cart, and placed in the shade of\nthe huge gateway to wait with Aunt Miriam while Jacob justified their\npresence in the city to the haughty Roman guard, her tongue wagged on as\nmerrily as before.\n\"We have no watch-tower like this one on our gateway at home, Aunt\nMiriam,\" she observed, glancing up and down and roundabout. \"I suppose\nthat ten soldiers could stand in this one at once if they liked.\"\nHer aunt nodded absently. Her thoughts were with Jacob, still talking\nwith the Roman guard. She hoped there would be no trouble on this day of\nall days when Simon was not with them.\n\"Wilt thou buy me a drink, Aunt Miriam?\" Naomi asked next. \"Not of\nwater, but of honey of wine.\"\nThe water-carriers were rough-looking bearded men who ran about in short\nfrocks, shouting and rattling their brass cups, with dingy goatskin\nbottles lashed upon their backs. Naomi was afraid of them. She liked far\nbetter the row of peasant women with grape juice to sell, who sat\nagainst the wall and called out:\n\"Honey of wine! Who will buy? Honey of wine! Ho, every one that is\nathirst, come! Buy and drink! Honey of wine!\"\nA moment later she had forgotten that she was thirsty and was watching\ntwo poor women who sat in a corner on the ground grinding at a stone\nmill. Near by stood a man selling the cakes new made from the meal the\nwomen had ground. It was hard work turning the handles that pressed the\nmeal between the upper and nether millstones, and the women worked\nwearily.\n\"How slow they are!\" said Naomi scornfully. \"I could work much faster\nthan they, could I not, Aunt Miriam? Could I not grind fast if I tried?\"\nNaomi's aunt did not answer. With a gentle hand she pushed the little\ngirl back against the wall.\n\"Stand there, thou chattering sparrow,\" said she with a smile, \"and hold\nthy peace. Here comes one Solomon the goldbeater, thy Uncle Simon's\nfriend. The load of grapes was brought here at his order, and it is my\ntask to-day to see that he offers a fair price for them. Peace!\"\nIt seemed a long time to Naomi that Solomon the goldbeater and Jacob the\nserving-lad, standing at a little distance from the wall, haggled over\nthe load of grapes. But at last Jacob came to report to his mistress the\nsum offered, and since she was satisfied the bargain was soon made.\nThen up they went through the narrow dingy streets with their\noverhanging houses that made a pleasant shade, past the quarters of the\ntinsmiths and the jewelers, the tailors and the sandal-makers. Naomi\nlooked eagerly in at the gay bazaars piled high with fine linens and\nembroideries, rich scarves and veils, spices and coffee, dried fruits\nand nuts. On they went, past the street of the potters where anything\nmight be bought, from water-jars as tall as Naomi herself to the tiny\ncup-shaped Virgin's lamps which, filled with sweet oil, were carried by\nthe Jewish girls.\n\"Look well about thee, child,\" instructed Aunt Miriam from behind her\nveil. \"We shall not come this way again.\"\n\"I can tell it all now to Ezra,\" answered Naomi confidently. \"I have\nnot forgotten a single sight. So far I liked it best of all when the\ngreat Pharisee gave alms to the poor in the market-place just now, when\nwe were waiting there for Jacob. I liked it when his servant blew upon\nthe trumpet, and the poor came hurrying, and every one turned to look.\nAnd next best I liked the cages of sparrows for sale. We have them in\nthe market-place at home, but not so many nor so fat. And next--\"\n\"And next,\" interrupted her aunt with a smile, \"thou wouldst like thy\ndinner, perhaps. Here is the home of Simon's sister Anna, and verily I\nbelieve her little Martha is watching for us through the wicket in the\ngate.\"\nLittle Martha, with the help of the porter, threw open the gate before\nAunt Miriam could say another word, and Naomi stepped through a\npassageway under the house into a courtyard with a tiny fountain\nplaying in the center and a palm growing on either side of it.\nLittle Martha was as fair as Naomi was dark. She had light reddish hair\nand blue eyes, and well pleased was her mother that it should be so, for\nthis was called \"King David's coloring\" and was supposed to have been\nthat of the great King himself. She wore a soft little robe of white and\na fine gold chain about her neck. She joyfully led the visitors to her\nmother who was waiting for them at the end of the court.\n\"Come in, thou blessed of the Lord,\" was the gracious greeting Anna gave\nthem, and she ushered them up the stairs and into a room that actually\nhad two windows cut in the side. They were the first windows Naomi had\never looked from, and she held tight to the sill for fear of falling\ninto the street below.\n\"I would that I had windows in my house,\" thought Naomi ruefully. \"I\nwould be so proud if I were Martha. But then she has no brother Ezra nor\nbaby Jonas to play with her.\"\nIn spite of the windows little Martha did not seem at all proud. She\nhelped her mother bring bowls of water for the guests to wash in, and\nwhen the meal was ready she patted the plump cushions into shape on the\ndivans placed before the gayly painted table.\n\"Sit by me,\" she whispered to Naomi, breaking off a neat three-cornered\npiece of barley cake which was to serve Naomi as knife and fork and\nspoon.\nFor dinner there was a dish of young kid stewed with olives, hot barley\ncakes, fresh and dried fruit--apricots, figs, pomegranates--and a bowl\nof amber honey.\nNot an easy thing is it to serve one's self with neatness and dispatch\nwithout knife or fork, and only one's fingers and a bit of bread to\nrely upon. But Naomi and Martha were able to dip their food from the\ncommon dish with a bit of barley cake quite as nicely as the grown\npeople did, and they sat quiet and respectful while Aunt Miriam told of\nSimon's illness and the reason for this trip to Jerusalem.\nWhen the meal was over, Martha ran for fresh bowls of water, for the\nJews were careful to wash both before and after eating, and as Naomi\ndabbled her fingers daintily Martha whispered to her:\n\"Mother says we are all to go about the twelfth hour, in the cool of the\nday, to show thee the Temple and to see King Herod's garden. Oh! Oh!\"\nAnd she squeezed her new friend's arm with such fervor that the pretty\nbowl was barely saved from falling to the floor.\nLater in the day when the first evening breezes were drifting down the\ndark ravines that swept round the city, the little party of sight-seers\nslowly climbed the steep lanes that led toward Mount Moriah on which the\nTemple stood. Built of white marble and glittering with gold, it dazzled\nthe eyes of little village-bred Naomi and made her heart thrill as she\ngazed up the flights of steps at the very House of God.\nIt was a flat-roofed, oblong building, this Temple of the Hebrews,\ndivided within by a curtain of the finest work into two great rooms, the\nHoly of Holies and the Holy Place.\nThe Holy of Holies was the dwelling-place of the Most High, never to be\ntrodden, never to be seen, except upon the rarest occasions, by mortal\nman. It was now bare and empty, since the loss years before, in the war\nwith Babylon, of the Ark with its Mercy Seat and two golden cherubim.\nIn the outer chamber, the Holy Place, lying to the east, stood the\ngolden candlestick bearing seven lamps, the golden table of shew bread\nwith its twelve loaves arranged in two rows, and the golden Altar of\nIncense, having thirteen spices burning night and day to signify that\nall the produce of the earth belongs to God. In the huge doorway of this\nroom, where only the priests might enter, and facing the sunrise, hung a\nsecond curtain or veil of fine linen richly embroidered in blue and\nscarlet, purple and flax. These colors were meant to be an image of the\nworld. The scarlet represented fire, the flax earth, the blue sky, and\nthe purple sea. Along the wall ran golden vines and clusters of the\ngrape, the typical plant of Israel.\nAll this Naomi could picture perfectly so often had she heard it\ndescribed, but she saw it with the eye of her mind only, for the women\nof Israel had a court set apart for them many flights below the Temple\nbuilding itself and at the east of the men's Court of the Israelites, as\nit was called.\nMartha stood at the little girl's elbow, gazing about, too, but not with\nthe same eager interest that Naomi showed, since a visit to the Temple\nwas no great rarity to her.\n\"Thou shouldst see the Temple at Passover, Naomi,\" she murmured; \"the\ncrowds of people, and the priests at sunrise upon the walls blowing a\nthousand silver trumpets, and the long procession in the streets\ncarrying the lambs for the offering.\"\n\"Father hath promised to bring us all next Passover,\" Naomi answered\nhappily. \"But now I long mightily to see the great Altar of Burnt\nOffering in the Court of the Priests. It is made of unhewn stone, Ezra\nsays, and there, too, stands the bronze basin where the priests wash\nhands and feet before entering the Holy Place. Ezra has learned all\nabout it at school. I long to see it.\"\nLittle Martha shook her head.\n\"Nay,\" she murmured reprovingly, \"that is not a sight for me and thee. I\nhave seen the smoke rising--that is all.\"\nNaomi stared up at the great group of buildings--courts, halls,\ncloisters, terraces, and walls, topped by the splendid golden front of\nthe Holy Place, in silent awe.\n\"If once I should lose sight of Aunt Miriam,\" she thought, \"I might\nwander about here for days and days and never find her again.\"\nAnd she took such a firm hold upon her aunt's cloak that she, feeling\nthe tug, thought the little girl was impatient to move on.\n\"Yes, child, yes,\" said she. \"We go down now into the Court of the\nGentiles. Do thou and little Martha walk on ahead. Pick thy way\ncarefully, for this flight of steps is steep.\"\nThe Court of the Gentiles was open to the men of all nations, since it\nwas not strictly a part of the Temple. It was a sort of sacred\nmarket-place, and Naomi and little Martha, as they walked about, held\ntight to one another when they passed the pens of sheep and oxen\ndestined to be burnt offerings, and which were restlessly shouldering\none another and lowing and bleating as if in some way they sensed their\napproaching doom. Here the seller of doves and pigeons kept his cotes,\nfor many a worshiper could not afford to buy a kid or a lamb. Here, too,\nwere the booths and stalls of the moneychangers who did a brisk trade,\nsince no coin might be offered in the Temple save the sacred shekel.\n\"Art thou ready at last to leave the Temple, child?\" asked Aunt Miriam,\ncoming up behind Naomi as she stood gazing in at a penful of young\nlambs. \"Wilt thou be able to tell all this to Ezra, think you?\"\nNaomi nodded slowly. She was not listening to what her aunt said. She\nwas wondering why at times the sheep looked so strangely blurred, and\nwhy little black specks seemed to dance before her eyes.\n\"Over there is a little lamb that looks like my Three Legs, Aunt\nMiriam,\" said she. \"I am glad he is not here, shut up in one of these\ngreat pens, and to die, perhaps, before another day.\"\nShe moved listlessly along, and when her aunt took her hand she clung to\nher so heavily that good Aunt Miriam stopped short on the side of the\nhill.\n\"What ails thee, child?\" said she, bending over Naomi. \"Thou art not\nlike thyself. Thine eyes look strangely heavy, even like those of\nlittle Three Legs. Art thou ill?\"\n\"Nay,\" said Naomi crossly. Surely to have sudden pains shoot through\none's eyes was not to be ill. \"I would see the gardens of King Herod.\nThat is what I want.\"\n\"The child is weary,\" said little Martha's mother kindly. \"She has had a\nlong journey to-day besides this visit to the Temple. The gardens of\nKing Herod will wait for thee, Naomi, until another time when thou art\nrested. They will not run away.\"\nBut Naomi would not smile at this little joke. She pulled pettishly away\nwhen good friend Anna placed her hand upon her forehead to see if she\nwere feverish.\n\"I would see the gardens of King Herod,\" she repeated plaintively,\nrubbing her eyes as she spoke. \"Ezra saw them, with rivers and flowers\nand fountains. He saw doves and pigeons flying through the air. He saw a\ngreat beast that spouted water from its mouth, and I would fain see it,\ntoo.\"\nThe magnificent gardens of the King of Judea were open all day long to\nany one who wished to enter and enjoy their beauty, their coolness, and\ntheir shade. Canals flowed between green banks, flowers bloomed and\ntrees rustled, fountains played in the sunlight, and tiny fish darted\nhither and thither in the artificial pools. But there, too, bright\nagainst the green, was to be seen the white marble of statues--nymphs,\nand dryads, figures symbolizing grace and beauty--and for this reason,\nsince to him all statues were idols, no Jew would set foot within King\nHerod's garden.\nAll that Naomi could hope to do, beside gazing at the three famous\ncastles of white marble, with their battlements and turrets, built by\nHerod the Great, and at his own splendid palace with its massive walls\nand towers, was to peep at the garden through the open gateways or\nperhaps from the top of the wall, as Ezra had done.\nBut Aunt Miriam, with sturdy common sense, had no intention of taking\nthe weary and ailing little girl on the long trip across Cheesemonger's\nValley from the Mount of the Temple to Mount Zion where the palaces\nstood. She beckoned to Jacob who had walked near them all the way, and\nwhen he came forward she said:\n\"Carry the little maid home, Jacob. She is exceedingly weary and needs a\nnight's rest.\"\nNaomi, without a protest, turned to Jacob and gladly hid her heavy,\naching eyes upon his broad shoulder.\n\"I am like Three Legs,\" thought Naomi, as the procession moved\nhomeward. \"But then Three Legs has been sick a long, long time, and I\nshall be well in the morning.\"\nCHAPTER IV\nIN THE DARK\n\"Mother, is it sunrise yet?\"\n\"No, Naomi, it but nears the end of the Third Watch.\"\n\"Mother, does the lamp still burn?\"\n\"Yes, child, as always, on the table. Lie still, Naomi, and try to\nsleep. Thou hast a journey before thee to-day.\"\n\"Aye,\" said the little girl, turning restlessly on her quilt. \"I know,\nto the Pool of Bethesda. Perhaps I shall come home with opened eyes,\nMother. Perhaps I shall see when I come home to-day. Dost thou believe\nthat the Angel of the Pool will open mine eyes?\"\n\"Yea, child, I do believe,\" answered her mother earnestly. \"Thou shalt\nsee again. I hope it with all my heart.\"\n\"And then I shall help thee once more about the house,\" said Naomi\nhopefully, \"and learn my lesson every day, and care for baby Jonas when\nthou art busy. Then I shall run and wait upon my father as of old, and\nhe will place his hand upon my head and say, 'Naomi, thou art as quick\nand light upon thy feet as a young hart or doe.' That he cannot say now\nand speak the truth. But this very day it may be I shall have my sight\nagain.\"\nAnd with this hope to comfort her, Naomi lay quietly down upon her bed\nand let her thoughts go back to her last trip to Jerusalem and its sad\nhomecoming.\nShe remembered the long ride in the jolting bullock cart, which Jacob\nguided as carefully as he knew how in order to spare Naomi's aching head\nand throbbing eyeballs.\nFor the night's rest had not cured Naomi. She had awakened with swollen\neyelids that were so heavy she could not hold them up, and sharp little\nstabs of pain had caused her to moan and twist in the arms of kind Aunt\nMiriam who held her tenderly on the long homeward ride.\nThen came days and nights of pain, and a visit from one of the great\ndoctors of Palestine who ordered poultices of earth mixed with the\nsaliva of one who had been long fasting. And when Naomi could no longer\nbear the heavy weight of this remedy upon her tortured eyes, he kindly\nchanged the poultice to one of owl's brains, as being not only more\ncomfortable but a trifle quicker in its action.\nAt last the day arrived when Naomi was free from pain, but when also,\nalas! as she raised her head weakly and looked about, she did not see\nthe familiar room with its carved chest and gay cushions and little\ntable pushed against the wall, she did not see the loving anxious faces\nof her father and mother and Ezra, but only a black curtain dotted with\nblacker stars that danced and winked and danced again.\n\"I cannot see thee! Where art thou, Mother? Is it night? How black it\nis! Oh, am I blind?\"\nAnd Naomi clung fast to her father and mother as if they must save her\nfrom this dreadful fate.\n\"Blind!\" thought her mother, remembering with a shudder the numberless\nfigures that stretched pitiful hands by the Bethlehem roadside. \"My\nlittle Naomi, blind?\"\n\"An amulet will cure her,\" said worried Samuel stoutly. \"Be not\ndownhearted, my little maid. Thy father will buy for thee an amulet that\nwill open those brown eyes of thine wider than ever before.\"\nSo Naomi wore about her neck for weeks a small three-cornered bag, in\nwhich was sewn a scrap of parchment taken from a religious book, written\nafter certain rules and with a diagram so mysterious that not even\nSamuel could understand it.\nAnd how were the contents of this little three-cornered bag to restore\nNaomi's eyesight? Why, by charming away the wicked spirit who had cast\nan evil eye upon her. Or perhaps Naomi had chanced to rub her eyes upon\nwaking before she had washed her hands. Being unclean, the devil present\nhad slipped from her fingers into her eyes, and now must be charmed out\nagain by the holy words about her neck.\nNot a thought that Naomi, daily handling sick little Three Legs, might\nhave caught the malady that first darkened the vision of the poor little\nanimal, and then caused the frail life to flicker out altogether.\nNaomi missed her pet sorely, but its death was only one more grief added\nto the burden that overshadowed all her days.\nShe could no longer play in the garden. Her well, begun so happily, was\nneglected, though not forgotten, and little Jonas was the leader now,\nguiding her faltering steps with such good-will that Naomi forgave him\nwhen he led her straight into the orange-tree or neglected to warn her\nthat the myrtle bush was in her path.\nHer friends Rachel and Rebekah had deserted her, for at the first\nmention of the evil eye they had looked askance, and now they never came\nto play nor to entertain her with their talk.\nLittle lame Enoch proved a faithful friend, and Naomi felt comfortable\nwith him as a playmate, for he, too, suffered from a handicap and yet\nwas cheerful and gay notwithstanding. He knew a host of stories told him\nby his old grandmother, and the long hours slipped away quickly while\ntheir little tongues chattered, though their hands and feet were\npathetically still.\nBut of all the comfort Naomi knew, apart from the love of her father and\nmother, the companionship of Ezra was the greatest. He amused her, he\nwaited upon her, he revived her drooping spirits with his own high hopes\nand plans for her.\n\"Thou shalt see again, Naomi,\" he would declare confidently. \"All the\ncures have not been tried yet. Thou art _not_ like the beggars by the\nroadside. Say not that again, or I will dip thee some day in the well\nbehind the myrtle bush that thou wilt be digging ere long. Most of the\nwayside beggars are old men with not an eyeball left, whilst thou,\nNaomi, art young, and thine eyes from without look as clear and strong\nas mine. Wait until my father has taken thee to the Pool of Bethesda!\nHave patience, Naomi! Thou shalt see again!\"\nThe Bethesda Pool lay in Jerusalem on the Temple mount, a stone's throw\nfrom the Sheep Gate of the Court of the Gentiles, where Naomi had\nlingered before the sheep-pens on the afternoon that now seemed so far\naway.\nPerhaps in these days we should say that the great pool contained a\nmineral spring, but in Naomi's time it was not doubted that an angel had\nwrought the cures that were told far and wide of this \"well of healing.\"\nAbout it were always clustered the sick, the lame, the halt, and the\nblind, in the belief that when the angel troubled the waters the first\nto dip himself therein would be healed.\nSo Samuel the weaver purposed to take Naomi thither, and, even while\nthe little girl lay thinking long, long thoughts and wishing for\ndaybreak, the moments slipped by, the Fourth Watch or Morning came, and\nNaomi's mother rose to prepare the meal so the travelers might have an\nearly start.\nA stout little donkey, borrowed from the khan stable, carried Naomi and\nher father briskly over the familiar Jerusalem highway. The little girl\nremembered how happy she had been on her journey with Aunt Miriam and\nhow all the world had seemed gay that morning. Then she recalled the\n\"tap, tap, tap\" of the blind men on the road, and she hid her face in\nher father's cloak and trembled.\n\"O that the Angel of the Pool may open my eyes!\" prayed Naomi. \"O that\nthe Angel of the Pool may open my eyes!\"\nThe Pool of Bethesda was a pretty spot. About it had been built five\nporches, and in their shelter lay the sick and the withered, the lame\nand the blind, waiting for a chance to push their way in the moment the\nwaters began to move.\nWhen Naomi and her father arrived, the pool lay still in the sunlight,\nso Samuel established himself close to the edge with his arm about\nNaomi, and fell into conversation with a professional letter-writer who\nsat, bearded and grave, with ink-horn fastened at his side.\n\"Thy little maid has felt the hand of the Lord?\" queried the\nletter-writer, looking compassionately at Naomi who stood picking with\nnervous fingers at her father's sleeve.\nSamuel nodded sadly. In a few words he told the story of Naomi's\ntrouble.\n\"She is indeed grievously afflicted,\" observed the letter-writer,\nshaking his gray head and uttering a sigh. \"And my friend here, whom I\ncome to lift into the pool, has lain helpless upon his bed for eight and\ntwenty years. O that the Messiah would come! 'Then the eyes of the blind\nshall be opened and the ears of the deaf shall be unstopped. Then shall\nthe lame man leap as a hart and the tongue of the dumb shall sing.'\"\n\"Think you the Messiah will come shortly?\" inquired Samuel.\nThis was a burning question of the day. The desire for the coming of the\nKingdom of God was a flame that was consuming the Jewish nation.\nThe letter-writer tapped his forehead thoughtfully with a brown\nforefinger.\n\"Thou knowest the saying of the Pharisees, that if all Israel could keep\nthe Law perfectly for a single day, Messiah would come. As for me, I\nlong with a mighty longing to see Israel restored, to be delivered from\nour enemies, and to have our sins forgiven.\"\nNaomi stirred restlessly. What did all this talk of a Messiah mean to\nher? Well enough for the grown folk to look forward to the coming of a\nSaviour. As for her, all she asked of all the world was that the Angel\nof the Bethesda Pool might come with healing in his wings and lay his\ncool fingers upon her closed eyes and open them again.\n\"Perhaps I shall see Mother's face to-night,\" she thought. \"And Ezra\nwill be at the village gate waiting for me. He promised. And I am to\nwave my girdle at the first turn in the road if my eyes are opened. O\nAngel of the Pool, remember me, Naomi! Remember me here in the dark!\"\nNaomi's father, who had never taken his eyes from the pool, leaned\nforward.\n\"It moves, Naomi,\" he whispered. \"The Angel comes, although we see him\nnot. Be ready, for I must act quickly.\"\nThe surface of the pool began to heave and swell, and at the precise\nmoment that the water boiled up, Samuel bent over with Naomi in his arms\nand dipped her head under the water once, twice, three times!\nDripping, sputtering, and crying, Naomi was placed upon her feet, while\nher father endeavored to wipe away the water that ran down into her neck\nand stained her little robe.\n\"Dost thou see, Naomi?\" asked Samuel with a tremble in his voice. \"Open\nthine eyes and look! Dost thou see, my little pomegranate?\"\nIf the Angel of the Pool failed them, where should he turn for help?\nNaomi obediently opened her brown eyes and stared, sightless as ever,\ninto her father's face.\nThe Angel of the Pool had failed them!\nCHAPTER V\nALL THE WORLD COMES VISITING\nIt was the winter season in Palestine.\nIn the darkness and despair that followed her trip to the Pool of\nBethesda, Naomi had not cared what the weather might be. She had\nlistened with indifference to the whistling, roaring wind-storm that had\ncome suddenly one night in October telling the weather-wise that summer\nwas over and the rainy season at hand.\nHuddled over the brazier of charcoal that smouldered under a rug in a\nshallow hole in the middle of the floor, Naomi had not heeded the wild\ndash of rain against the house nor its melancholy dripping in the\ndeserted garden. Even the excitement of Ezra and Jonas over a slight\nfall of snow, the first either one had ever seen, had failed to rouse\nher.\nSamuel and his wife were troubled beyond words at this calamity that\nhad come upon their child. Aunt Miriam and Simon were sympathetic, but\ncould offer no advice. Ezra was at his wits' ends, for all his schemes\nand devices to amuse failed, and the hollow words of encouragement died\nupon his honest lips.\nSamuel, too, had a fresh worry of which Naomi knew nothing, and which,\nslight though it was in comparison with the little girl's misfortune,\ndid not tend to make the daily life of the family more pleasant.\n\"Aye, Samuel the weaver's child is blind,\" said the neighbors, wagging\ntheir heads in knowing fashion. \"What sin hath he committed, think you,\nthat this calamity befalls him? Truly the way of the transgressor is\nhard.\"\n\"It may be that his wife is the sinner,\" was whispered about. \"Or\nperhaps both.\"\nAnd little by little the village people turned aside when they saw\nSamuel coming, and fewer and fewer were the friendly words said to\nNaomi's mother when she went patiently down to the fountain for her\nsupply of water.\nEzra felt himself more fortunate than the grown people, for at the first\nunkind word from his former friend, fat Solomon across the road, he had\nflown at him in a fury, and had shortly enjoyed the satisfaction of\nseeing his blubbering enemy lick the dust.\n\"Mole, indeed!\" shouted Ezra, doubling up his fists. \"Thou wilt call my\nsister a blind mole, wilt thou? Thou serpent, feeding upon the dust!\nThou snake! Rise not up or I will rub thy nose in the dirt again.\"\nSo cautious Solomon, having learned his lesson well, was forced to\ncontent himself with calling names from behind the wall, which Ezra was\nprompt to answer with sticks and stones.\nNo one was happy in the little household, and faces were sober and\nvoices hushed as they went about their tasks, until one day Aunt Miriam\ncalled Ezra and whispered in his ear. His eyes opened wide and his face\nbrightened, and for more than a week he neglected his friends, the\nshepherds, and spent all his spare time at the khan.\nThen, one afternoon, when the rain had ceased and the little olive\nleaves glistened in the cold bright light, Naomi's mother approached the\nforlorn little figure crouched in a corner and raised her to her feet.\n\"Here is thy warm cloak, beloved,\" said she, coaxingly, laying her hand\non the soft brown curls that seemed to hang limply now that Naomi never\ntossed them back with a proud little shake of the head. \"Before the door\nstand thy aunt, thy father, and thy brother. They wait for thee. And,\nlittle Naomi, there waits a surprise for thee also. Come and listen by\nthe doorway.\"\nFrom behind the door Naomi heard an unfamiliar stamping, a running\nabout, and Ezra's excited voice.\n\"Be careful, Jonas,\" called Ezra sharply. \"Wilt thou be stepped on?\nStand from under. Naomi, where art thou? Mother! Oh, she comes! Aunt\nMiriam, Father, she comes!\"\nNaomi's mother led out the white-faced little girl and Samuel took her\ngently by the hand.\n\"A gift for thee, little Naomi,\" said he, smiling more happily than in\nmany a long day, \"from thy good Aunt Miriam. Put out thy hand and\nguess.\"\nNaomi stretched out a timid hand and touched a soft furry nose.\n\"A donkey!\" said Naomi. \"To take me for a ride!\"\n\"Aye,\" burst out Ezra, his face shining with unselfish joy; \"to take\nthee for a ride every day and everywhere. Up and down the hills and\nroundabout. We shall go everywhere together, thou and I.\"\n\"Speak more plainly, Ezra,\" said Aunt Miriam, seeing the puzzled look\nupon his sister's face. \"The donkey is thine, Naomi. Thy Uncle Simon and\nI have given it to thee. Ezra means that he will take thee riding upon\nit whenever and wherever thou wilt. No longer shalt thou lurk in the\nhouse with white cheeks from sunrise to sunrise. We shall have thee as\nrosy as a poppy again ere long.\"\nAnd her tender-hearted aunt first wiped her brimming eyes upon the\ncorner of her veil, and then caught back Jonas by his leather pinafore\nfrom under the donkey's heels, where he seemed determined to meet with a\nspeedy death.\n\"Now the trick!\" cried Ezra, who had been hopping from foot to foot\nduring his aunt's long speech. \"Have I not been teaching him for more\nthan a week? Say thy lesson well, little donkey! Stand here before him,\nNaomi!\"\nSamuel placed Naomi in position.\n\"Thy donkey's name, Naomi,\" went on Ezra, \"is Michmash, because he comes\nfrom the town of that name. Now place thy hands upon the tips of his\nears. Do not pinch or he will kick. I know.\"\nSamuel guided the little girl's hands until they rested upon the tips of\nthe long gray ears.\n\"Now say his name slowly,\" instructed Ezra, his face aglow.\n\"Mich,\" said Naomi, and down came a furry ear, \"mash,\" and down came the\nother.\nThen the little donkey winked both ears violently, and turned a patient\neye upon his young teacher as if asking praise.\n\"He did it! He did it!\" cried the teacher. \"He did not forget his\nlesson and he will do it every time. Michmash!\" And as the long ears\nfell again, Ezra threw his arms about Naomi and hugged her close.\n\"Wilt thou come for a ride with me now?\" he whispered. \"The sun shines\nand the wind blows and it will be pleasant out upon the hills.\"\nSo seated upon the back of Michmash, Naomi rode off, with such a bright\nlook upon her wan face that her father and mother could not help\nthinking that better days were in store for them all.\nEvery pleasant day Ezra, leading Michmash, took Naomi, wrapped in her\nlittle scarlet cloak, out riding, and as they moved along in the crisp,\nbracing air they talked--long, long talks of what they were passing, of\nEzra's day at school, or of the thoughts and fancies that filled Naomi's\nactive little mind.\n\"Ezra,\" said she one day, as Michmash felt his way securely up the side\nof one of the stony little Judean hills, \"Ezra, dost thou remember what\nwas told thee that the letter-writer said that day by the Pool of\nBethesda?\"\nHer lip trembled as she spoke, but Ezra answered her instantly.\n\"Yea,\" said he, \"I do, indeed. He spoke of the Messiah.\"\n\"And what think you of the Messiah?\" asked Naomi timidly. \"What think\nyou he will do when he cometh, Ezra? Dost think that he will open the\neyes of the blind?\"\nEzra, in order to speak more earnestly, halted Michmash, who gladly fell\nto cropping the coarse grass.\n\"The Messiah, Naomi,\" said Ezra slowly, \"will do what the prophet Isaiah\npromised of him. Never fear. He will open the eyes of the blind and\nunstop the ears of the deaf. He will make the lame man leap and the\ndumb man sing for joy. When he cometh, we shall all see the salvation of\nthe Lord and our sins shall be forgiven us. All Israel shall rejoice.\nAye, even stout Solomon also,\" added Ezra grimly. \"The Kingdom of God\nwill come, and the Messiah will rule in righteousness, and he shall put\nour enemies to flight. No longer then will we pay tribute to the Emperor\nC\u00e6sar Augustus at Rome. No longer will we tolerate the wicked King Herod\nin our city of Jerusalem. And the Roman eagle that hangs above our\nTemple gates will be torn down and trampled under foot.\"\nEzra spoke warmly. He had been well taught in school and synagogue, and\nhad listened carefully to his father and his friends as they talked in\nthe market-place and elsewhere.\n\"Oh, I would that the Messiah would come quickly,\" said Naomi\nwistfully. \"And if he can make me see, he can make lame Enoch straight.\nI would that Enoch's old grandmother had not died and that he had not\ngone so far away to live as Jericho. I miss him.\"\n\"Think now of this new numbering of all the world,\" went on Ezra, whose\nheart burned within him at the wrongs of his nation. \"Every man must\ntravel to the town whence his family sprang, whether he live near or far\nand whether or no he be rich enough to stand a journey. And why? Because\nthe Emperor at Rome has ordered so. I stood in the market-place when the\nRoman heralds with their trumpets summoned all Bethlehem thither, and\ntold of this new enrollment and of the taxing to follow. I saw the black\nlooks and heard the muttering, but did any man speak out? Nay--afeard of\nthe short sword the Roman soldier carries. Oh, aye, I am afeard of it\nmyself,\" admitted Ezra indulgently; \"but when the Messiah cometh things\nwill not be so.\"\n\"Mother says that many have already traveled to Bethlehem to be\nenrolled,\" said Naomi, \"and that we shall have a houseful when the\ncaravan from Nazareth comes in. I would fain be a help to her just now\nand not a trouble, but I can do nothing at all, nothing, only keep out\nof the way.\" And the tears rolled down poor Naomi's cheeks.\n\"Do not cry,\" said Ezra pitifully, and with a patience wonderful in a\nboy of his years. \"We all love thee, Naomi, better than if thou hadst\nthe sharp sight of an eagle. Come, greedy one,\" he went on, pulling at\nMichmash's bridle. \"Wilt thou eat all night? Come!\"\nThey stood upon a hill that looked toward the north, and as Ezra waited\nfor lazy little Michmash to finish his mouthful, his eye caught a line\nof tiny black figures perhaps a mile away from Bethlehem village.\n\"The caravan from Nazareth, I verily believe!\" he exclaimed. \"Hold fast,\nNaomi, and I will take thee down to the gate. There I will tell thee all\nthe sights as they come in.\"\nRattling over the stones and down the steep paths in reckless fashion,\nthe little brother and sister were soon established in a spot where Ezra\ncould see all that was needful, and whisper what he saw in Naomi's ear.\n\"It is the caravan from Nazareth,\" he announced, \"and they ride on\nhorses, camels, mules, but some walk. There are great numbers of them\nand more are still to come. Some have fallen behind, they say, and are\nfar back upon the road. They are very weary and they smile but little.\nWho would want to take the long journey in winter only to part with\nmoney in the end?\"\nWhen Ezra and Naomi reached home, they found that, as their mother had\nsaid, their house was full to overflowing with company from the Nazareth\ncaravan.\nAbner and Joel, merchants of Nazareth, were there with Joel's son Amos\nand his wife Elisabeth. Samuel's cousin, Daniel, who owned a large farm\nin fruitful Galilee, had come, bringing with him as a matter of course\nhis friends, David and Phineas, neighboring farmers. All these people\nhad originally sprung from this city of David, and now back they came to\nit, some in good, some in ill humor, but to a man obeying the command of\nthe Emperor at Rome.\nEvery inch of floor space in Samuel's little house was occupied that\nnight when the soft quilts were spread out, and the family and their\nguests lay down to rest. Naomi and Jonas were cuddled in a corner next\ntheir mother. But when Ezra came in late from feeding Michmash, the dim\nlight of the little oil lamp, that burned each night in all but the\npoorest of Jewish homes, showed him a floor so crowded with soundly\nsleeping guests that he knew not how to reach his own bed spread at his\nfather's right hand.\n\"Father!\" whispered Ezra.\n\"My son,\" answered Samuel in a cautious voice.\n\"Father, it is so crowded here I would fain spend the night with old Eli\nin the fields with the sheep. They are encamped below the khan in the\nFields of David. May I go? Old Eli said but yesterday that I had\nneglected him of late.\"\n\"Go, my son. Give greetings to old Eli, and God's peace attend thee.\"\nSo Ezra slipped out under the dark starry sky to join the shepherds\nabiding in the field, keeping watch over their flock by night.\nCHAPTER VI\nTHE SHEPHERDS\nEzra picked his way carefully down the dark Bethlehem lanes until he\nreached the town gate, swung shut and locked hours before at sunset.\n\"Nathan! Nathan!\" he called, until the old gate-keeper peered out from\nhis little booth and muttered a friendly greeting to the lad.\n\"Nathan, I would go down into the fields with shepherd Eli to-night,\"\nexplained Ezra politely. \"Wilt thou not let me pass through the strait\ngate? Just this once! I will never ask thee again. Old Eli is thy friend\nand mine. Do the favor for him, I beg of thee, and I will bless thee all\nmy days.\"\nNathan could not help laughing at the old-fashioned speech of the boy.\n\"Whether I do it for thee or for shepherd Eli, the deed is done,\" he\ncackled, and threw open the small gate standing beside the large one and\nknown as the \"strait\" gate. \"Ask me not again, I warn thee; ask me not\nagain.\"\nPast the Bethlehem khan Ezra hurried, and down through the piece of\nfertile land that lay to the east, where the reapers of Boaz had swung\ntheir rude sickles and where Ruth had gleaned the golden sheaves. A walk\nof two miles brought him to the pasture land where the shepherd lad\nDavid had watched his father's sheep, battling with lion and bear when\nthe need arose, and where, too, many of his sweetest songs had been\nwritten.\nThe boy scurried along at a good pace, for on these dark and lonely\nroads to meet with wolf or jackal or, still more terrifying, with\nrobbers, singly or in bands, was not unknown.\nAt the end of the road Ezra peered about in the starlight until he\ncould distinguish a number of dark forms huddled before one of the caves\nin the hillside. Within the shallow cave lay the flock asleep, and\nbefore it, on his rough bed of brushwood and rushes, sat shepherd Eli,\nwith only a dog or two to keep him company. Beside him lay his\nshepherd's crook, his club tipped with iron the better to protect his\ncharges, and his sling with which he was wont to throw stones just\nbeyond his sheep to bring them back when they were going astray.\nEzra chose to leap over the rude stone wall that enclosed this sheepfold\ninstead of passing through the narrow gateway. The two great sheep dogs,\ngaunt and rough, who had spied him on the edge of the pasture land long\nbefore he had seen them, leaped fawning upon him with sharp yelps of\naffection.\n\"Down! Down!\" cried Ezra, half laughing, half impatient. \"Eli, my\nfather sends thee greeting. As for me, I would fain spend the night with\nthee here in the fields. I am crowded out of my father's house by\nvisitors from Nazareth who come to be listed for the census. I will make\nmyself useful, Eli. Perhaps thou canst steal a nap while I keep watch of\nthe sheep. But why art thou alone to-night? Where are the other\nshepherds? And the dogs?\"\n\"Aye, aye,\" responded shepherd Eli, slowly wagging his head and drawing\nhis sheepskin cloak about him. \"Thou art always welcome, lad. As for\nsleep, never at cockcrow was I more wakeful than at this moment\nto-night. For there is something strange in the air, lad. The very dogs\nfeel it. They lie quiet and still; they neither twist nor turn. Whether\nit be that friend or foe approaches, I know not. Something beyond our\nken is a-wing to-night.\"\n\"But, Eli,\" said Ezra, \"if it were wolves or jackals, the dogs would be\nbarking. And where are the other shepherds? Wilt thou battle alone if\nthe wild beasts come?\"\n\"Nay, child, nay,\" said Eli patiently. \"I look not for wild beasts\nto-night, nor do the dogs expect their ancient enemy. Thou sayest truly,\nlike a wise little shepherd, that they behave not thus when wolf or\njackal is abroad. The other shepherds read not the signs as do I.\nThieves lurk near at hand, say they, and with the dogs they go to rout\nthem out.\"\n\"What dost thou expect, Eli?\" asked Ezra timidly. He was thrilled and\nfrightened and thrilled in turn at this talk.\nThe old man sat with his face turned to the brilliant Oriental sky\npowdered thick with stars.\n\"'He numbereth the stars, He calleth them all by name,'\" said Eli\nsoftly. \"Expect? Child, I know not what I expect except that He who hath\npromised us salvation from our enemies and remission of our sins shall\nkeep His holy word. And there are signs that the time draws near. Surely\nthou hast heard of the priest Zacharias, who was smitten dumb as he\nserved in the Temple, and of the birth of his son John who, it is\npromised, is to go before the face of the Lord to make ready His ways.\nWho made the promise? Who but the Angel of the Lord, Gabriel, who stands\nin the presence of God. Think you his word shall fail? Nay, I tell thee\nthe times are ripe.\"\n\"But Eli--\" Ezra began in his shrill little voice, when the old shepherd\ncut him short with a sudden gesture.\n\"The men return,\" muttered Eli. \"Once already to-night they have heard\nwhat they term 'an old man's babbling.' Let us listen to their story\nnow.\"\n\"How many thieves caught ye, friends?\" he called out. \"Did ye surprise\nthe enemy in his lair?\"\nThe shepherds filed in through the narrow opening and threw themselves\nheavily on the ground beside Eli and the lad. The dogs crouched low,\nwith nose between paws, and closed their eyes.\n\"Thieves? Nay,\" said one of the shepherds brusquely. \"We saw naught\namiss, and had but the walk for our pains.\"\nThe shepherds wrapped their heavy woolen mantles about them and talked\ntogether in low voices. No one seemed disposed to sleep, though the\nday's work had been hard and all needed a night's rest. Ezra sat silent,\nthinking of old Eli's words and scarce hearing the conversation that\nwent on about him.\nSuddenly the old shepherd grasped Ezra's arm. One of the younger men\nwas speaking.\n\"The night has grown so still,\" said he. \"Note ye that the wind dies\ndown and that a hush falls o'er all?\"\nHis voice ended on a trembling note. He covered his face with his mantle\nand fell forward among his prostrate companions. Only old Eli, with his\narm about shaking little Ezra, held his white head erect--joyous,\nconfident, trustful.\nFor an angel of the Lord stood by them, and the glory of the Lord shone\nround about them: and they were sore afraid.\nAnd the angel said unto them:\n\"Be not afraid; for behold, I bring you good tidings of great joy which\nshall be to all the people: for there is born to you this day in the\ncity of David a Saviour, who is Christ the Lord. And this is the sign\nunto you: Ye shall find a babe wrapped in swaddling clothes, and lying\nin a manger.\"\nAnd suddenly there was with the angel a multitude of the heavenly host\npraising God, and saying:\n \"Glory to God in the highest,\n On earth peace, good will toward men.\"\nEzra, strengthened by Eli's arm which did not waver, ventured to open\nhis eyes.\nHe saw a brilliant whiteness, clear as crystal, that seemed to light the\nworld from end to end. High above, the sky was filled with clouds of\nrose and amber and amethyst. All the glories of sunrise and of sunset\nwere mingled there.\nDid he catch a flutter of white pinions? Did he glimpse a Leader,\nmajestic, terrible, yet radiant with gracious love?\nEven as he stared, unable to move, the song grew fainter, the colors\nfaded and vanished.\nThe echo of the angels' song rang in his ears. To his dying day it\nwould haunt his memory.\nThe muffled figures on the ground stirred and stood erect.\nOverhead burned the stars in the frosty sky.\nThe silence was broken by old Eli.\n\"Let us now go even unto Bethlehem, and see this thing that is come to\npass, which the Lord hath made known unto us.\"\nOver the rough, uneven ground hastened the shepherds. Their flocks for\nonce were left uncared for, save by the dogs. They pressed on across the\nfamiliar pasture land, up and over the cornfields, and then took the\nsharp rise that would lead them past the Bethlehem inn.\nClinging to the hillside and facing the cornfields was the stable of the\ninn, a rough cave in the limestone rock. On a rope stretched across the\nwide entrance swung a lantern, whose dim light twinkled and flickered\nbefore the eyes of the shepherds as they came up the hill.\nOld Eli quickened his pace, Ezra at his heels.\n\"And this is the sign unto you: Ye shall find a babe wrapped in\nswaddling clothes, and lying in a manger.\"\nThe boy knew that the inn was crowded to overflowing, as was his own and\nevery house in Bethlehem that night. Was it possible that this familiar\nmanger was the resting-place to-night of a Heavenly Guest? Were\nstrangers lodged in the stable? Was this the only shelter that could be\noffered the latest arrivals of the Nazareth caravan because there was no\nroom at the inn?\nAt the stable entrance Ezra hung back. He saw a man come forward out of\nthe shadows and talk with Eli. With a single gesture the old shepherd\nmotioned his companions to join him. Lost for a moment in the gloom,\nEzra saw them again speaking, bending forward, then falling upon their\nknees.\nThe stars had faded and an early morning wind was blowing chill when at\nlast the shepherds made their way out of the stable. The lamp, still\nswinging, burned pale in the dawn, but its faint light fell across the\nwhite face of a little boy who lurked in the doorway and whose cold hand\nclutched old Eli as he came exulting forth.\n\"Praise God! Praise God for His mercy, justice, and truth! Praise--\"\nOld Eli started at the cold touch, and looked down with eyes that glowed\nwith an inward light.\n\"Child, what doest thou here? Hinder me not. I go now to spread the\ngood tidings--to praise and to glorify God.\"\nEzra opened his dry lips.\n\"Hast found Him?\" he asked. \"Is it the Messiah? Is it the Christ?\"\n\"Aye, child, 'tis as the angel said,\" answered Eli happily; \"a babe\nwrapped in swaddling clothes, lying in a manger. Come to bring peace on\nearth, our Saviour who is Christ the Lord, our long-looked-for Messiah!\nGlory to God in the highest! Glory!\"\nEzra heard no more. He had turned, and with the speed of an arrow from\nits bow was running up the steep road toward home.\nCHAPTER VII\nIN A MANGER\nThe rising sun pushed through a bank of purple cloud and touched with\nlong rosy beams the roof of Samuel the weaver's house. On the narrow\nparapet that bordered the roof walked a number of snowy pigeons,\nstepping delicately with heads raised and thrown back as if to enjoy the\nsplendor and freshness of the early morning.\nIn one corner of the roof lay a dark heap, heedless of sunlight, morning\nbreeze, or bird, conscious only of the blackest misery, the deepest\nhopelessness that an eight-year-old heart can know.\nIt was Naomi, who lay with hands clenched and face pressed against the\ncold stone, too heartsick for tears, wishing only in her wretchedness\nto creep away where she might be alone.\nPresently she stirred and lifted her head.\nQuite a different Naomi was this from the happy, generous child who had\nsacrificed her flower garden for the sake of an ailing lamb; not at all\nlike the little girl who had set forth so joyfully for a day's pleasure\nin Jerusalem. Her little robe was wrinkled, her curls were tangled and\nrough, her face was pinched and pitiful. With her soft little fist she\nbeat upon the roof in time with the rhythm of her words.\n\"Did they think I could not hear?\" she asked, speaking aloud in her\nfullness of heart. \"Did Elisabeth, the wife of Amos, think that I was\ndeaf as well as blind that she should say aloud, 'The child Naomi will\nnever see again. There is no hope.'\"\n\"No hope! No hope! And perhaps I shall live to be as old as lame\nEnoch's grandmother lived to be. Who will care for me then? Who will\ngive me shelter and food? Amos of Nazareth thought of that, too. I heard\nhim, though he whispered low. 'She will be always a burden. It were\nbetter that she should die.' I heard him. He said those words. 'She will\nbe always a burden. It were better that she should die.'\"\n\"Die? Die? I cannot die. I am well and strong. I shall live and live and\nlive. My mother and father will die and leave me, and Ezra and Jonas\nwill weary of me. I shall be a beggar by the roadside. No hope! No\nhope!\"\nNaomi sank down again in a little heap and rocked to and fro. Her\nmisfortune seemed too dreadful to be borne. It was incredible that such\na fate should overtake her. It might happen to Rachel, or Rebekah, or\nto stout Solomon across the road, but not to Naomi, the daughter of\nSamuel the weaver.\nAs she swayed back and forth, torn by her misery, there came to her,\nlike balm upon a wound, the familiar, comforting words that her mother\nand father had used over and over of late, to soothe the little girl's\npain and to encourage hope in the sad hearts of them all.\n \"I had fainted unless I had believed to see the goodness of Jehovah\n In the land of the living.\n Wait for Jehovah:\n Be strong, and let thy heart take courage;\n Yea, wait thou for Jehovah.\"\nNaomi rose to her feet. The startled pigeons withdrew a short way and\nstood watching her curiously with their hard, bright eyes. About her was\nthe soft sunlight, over her head the deep blue sky.\nShe turned her sightless face toward Jerusalem and spoke as if to a\nfriend present.\n\"Yea, Lord,\" said the little Jewish girl in simple faith, \"I will wait\nfor Thee, and for Thy Messiah who will open the eyes of the blind.\nSurely when Messiah cometh I shall see. And until then, I will wait and\npray for His coming. I will wait.\"\nOn the outer stairway that led from the ground to the roof stood Ezra,\nbreathless, his hand pressed against his side. He had run all the way,\nwithout stopping, up the steep lanes from the Bethlehem stable, and now,\npausing to rest an instant before speaking to Naomi, he could not help\noverhearing the last words she said.\n\"So thou wilt wait?\" he whispered, his breath coming in gasps. \"Thou\nwilt wait for His coming? Nay, my little sister, thy time of waiting is\nover. The Messiah is here! The Christ is born! O that I might shout it\nfrom the housetop, that my father and mother and all the world may know\nthat the Lord hath kept His promise and the Messiah hath come!\"\nEzra's whole heart and soul were full of a great new hope, and the sight\nof Naomi's tear-stained face and groping, outstretched hands made him\nlong to tell her the good tidings at once.\nBut the boy's love for his unhappy little sister made him wise beyond\nhis years.\n\"If I tell her, and it does not come to pass as she wishes, it will\nbreak her heart,\" he argued. \"The Messiah is but a tiny Baby now, weak\nand helpless. It may be He must grow to manhood before He can heal the\nblind, the deaf, and the sick. Who knows? Not I. I will not tell her\nyet.\"\nSo Ezra clattered noisily up the remaining steps of the stairway,\ncalling out:\n\"Naomi! Naomi! Where art thou? Oh, here thou art! Are thy sandals well\ntied? For I have come to take thee down to the inn stable to show thee\nsomething there. And what it is, thou couldst never guess if thou didst\nguess a hundred years.\"\nNaomi shook her head.\n\"Show me? What could I see? Nay, I will go nowhere, Ezra,\" she answered\nsadly. \"If I went, I could not see thy wondrous sight. I would far\nrather stay at home.\"\n\"But this is something to feel,\" said Ezra coaxingly, putting his arm\nabout Naomi and leading her gently toward the stairway. \"Tell me, dost\nthou remember when young Deborah, the vine-dresser's wife, laid\nsomething soft and warm in thine arms?\"\n\"A baby, Ezra?\" asked Naomi, stopping short. \"A baby at the inn stable?\"\n\"Aye,\" said Ezra firmly, \"a Baby! A Baby born in a stable and lying in\na manger because there was no room last night at the inn.\"\n\"But I cannot see it, Ezra,\" said Naomi mournfully. \"Why should I go? I\ncannot see.\"\n\"Dost thou remember, too, how Deborah's baby clung to thy finger?\" said\nthe crafty Ezra, guiding her tenderly down the steps as he talked. \"And\ndid ye not find it pleasant to hold? You rocked it to and fro all day\nlong, Naomi. You said that you wished that Jonas might be put back in\nswaddling clothes again.\"\n\"Aye, it was pleasant,\" admitted Naomi. \"But Deborah brought the baby to\nme. I will not go to the khan, Ezra. I do not wish to meet any one. My\nheart is heavy. There will be people to stare at me and to talk in the\nlanes and at the stable. I will not go.\"\n\"Naomi,\" said Ezra desperately, \"dost thou love me?\"\n\"Aye, thou knowest that I love thee,\" answered Naomi in surprise.\n\"Then, to please me, come to the inn stable,\" was Ezra's quick response.\n\"Ask me no questions and delay not, but come. It is early, Naomi. We\nwill meet no one, I hope and trust. Give me thy hand and come.\"\nNaomi instantly slipped a thin little hand into her brother's\noutstretched palm.\n\"For love of thee, Ezra,\" said she sweetly. \"For love of thee.\"\nDown the quiet road, deserted in the winter season at this early hour,\nEzra led Naomi, carefully guiding her over the stones and ruts in the\nrough highway. Unobserved, they slipped quietly through the town gate,\nand when a turn in the road brought the khan into view Ezra threw his\narm about his sister and quickened their steps.\nHe spoke but once.\n\"One of thy pigeons flies before us, Naomi,\" said he, \"as if to lead us\non. It glistens in the sun like silver.\"\nNaomi only nodded and clung the tighter to Ezra's arm.\nPast the inn and round to the stable door he led her, and there they\nhalted.\n\"Naomi,\" said Ezra, his voice trembling with hope and fear, \"thou\nknowest the stable well. Enter, and walk forward until thy feet touch\nthe straw before the manger. There lies the Babe!\"\nWith a gentle push Ezra started Naomi toward the Mother and Child, whose\nfigures he could dimly see on a heap of straw at the back of the cave.\nThen in the shadow of the doorway Ezra fell upon his knees.\n\"O Lord,\" he prayed, \"I know that this is Thy Messiah. I believe that\nThou hast sent Him. Thou hast promised of old that when Messiah cometh\nHe shall open the eyes of the blind. I would that He might open my\nsister Naomi's eyes. If Thou wilt answer this prayer, Lord, I will\npromise Thee anything. I will be Thy faithful servant, I will be an\nobedient son, I will learn my lessons well at school and never shirk. I\nwill no more throw stones at stout Solomon nor even call him names. I\nwill promise anything Thou mayst ask of me, if Thy Messiah will only\nopen my sister Naomi's eyes. Hear my prayer, O Lord, hear my prayer.\"\nWithin the stable Naomi crept cautiously forward. Her footsteps lagged,\nfor she had no heart in this undertaking.\nWhat pleasure could there be for her in visiting a stranger's baby which\nshe could not even see? A short time ago, to hold the soft little body\nclose and to feel the tiny clinging hands might have given her a\nmoment's happiness; but to-day her heart was so full of misery that\nthere was no room in it for joy to enter. She longed to sink down on the\nstable floor. Only her love for Ezra kept her moving.\nShe felt the straw before the manger beneath her feet, and she dropped\nto her knees and stretched out a timid hand.\nYes, the Mother and Child were before her.\nShe fingered the hem of the cloak wrapped about the young Mother, but\nshe could not bring herself to touch the little Child.\n\"I care not! I care not!\" thought Naomi hopelessly. \"What to me is this\nBaby? Why should Ezra wish me to visit this Child?\"\nAs if in answer to her unspoken question, with a sudden lovely gesture,\nthe Child leaned forward. His tiny fingers touched Naomi's forehead and\nHis hands rested for an instant upon her darkened eyes.\nNaomi opened and closed her eyes rapidly. She rose to her feet and\nstared about her. Was it a dream, the same kind of a dream with which\nshe had so often lightened the weary hours of darkness, the long watches\nof the night, when she had called to mind some old familiar scene--her\nmother at the well, the country road, Ezra hastening home from school?\nNow the inn stable rose before her. Did she really see the nose of an ox\nthrusting itself over the stall? Or did she only dream the mound of hay,\nand on it the young Mother wrapped in a wide blue cloak and in her arms\na Child, at the velvet touch of Whose tiny hands the black curtain had\ndropped from before her eyes?\nNaomi rubbed her hands together and looked down at them. Yes, they were\nher own hands. There was the familiar little brown spot on the inside of\nher third finger. Her dress? Yes, that was an old friend, the yellow and\nred striped robe. She had worn it the day in the garden that she had\ngiven her four scarlet poppies in exchange for little Three Legs.\nThen it was true! She did see. But how had it happened? Why at the touch\nof this Baby hand had her sight been restored?\n\"Ezra!\" she called, not daring to stir. \"Ezra!\"\nEzra's face, white under the tan, showed itself round the stable door.\n\"Ezra,\" cried Naomi, \"I can see! I can see! I know not how it is, but I\nwas blind and now I see! O Ezra, the Baby touched me and I can see!\"\nEzra came swiftly forward. His eyes were full of tears, but his face was\nradiant. He knelt before the Mother, who was watching the scene with\nwondering eyes, and the Child, Who slept now in His Mother's arms. He\npulled Naomi down beside him.\n\"Naomi, it is the Christ Child,\" he whispered. \"The Messiah has come!\nOur Saviour lies before us! O Naomi, the Messiah hath opened the eyes of\nthe blind! The Lord hath heard my prayer!\"\nAnd bending low before Him, they worshiped at the Christ Child's feet.\nCHAPTER VIII\nTHE LIGHT OF THE WORLD\nThe household of Samuel the weaver lay sleeping soundly. The dim light\nof the small oil lamp revealed the figures of Samuel and his wife\nwrapped in heavy slumber, with Jonas, rolled into a plump little ball,\nat his mother's feet. Naomi lay close by with arms outstretched. Her\ndreams were pleasant, for her lips were parted in a smile. Ezra was\nmissing. He was again spending the night in the fields with shepherd\nEli. The friendship between the old man and the lad had grown more deep\nand strong since the night of the Angels' Visit, and they never wearied\nof discussing the wonderful event and all the marvels that had followed\nin its train.\nThese happenings had roused all the village of Bethlehem, and had now\ntouched even the city of Jerusalem since the appearance of the Wise Men\nfrom the East, who, following His star, had come to worship the King of\nthe Jews.\nThat very evening Ezra and Naomi, caught on a lonely hillside by the\nsudden fall of night, had with one accord pointed to the dusky road\nbelow, along which rocked noiselessly three tall camels bearing the Magi\nrapidly in the direction of Arabia.\n\"They brought gold and frankincense and myrrh,\" murmured Ezra, \"the\nofferings to a king.\"\n\"Aye, to my King, to my Messiah,\" answered Naomi happily. \"Oh, Ezra, I\nwould that I had all the gold and frankincense and myrrh in all the\nworld that I might lay it at His feet. How can the neighbors doubt when\nthey see what He has done for me? Who but the true Messiah could open my\neyes and give me sight again?\"\nEzra shook his head.\n\"Many do believe, Naomi,\" he answered. \"And all thy life now thou canst\nbe a living witness to God's mercy and love. How happy He has made us\nall! Father and Mother, thou and I!\"\n\"And Jonas, too,\" said Naomi quickly. \"He laughs and plays with me now\nas never before. He knew that something was wrong, though he could not\nput it into words. We are to begin again to dig our well to-morrow, he\nand I. I promised him.\"\nIt may be that Naomi's dreams that night were of this pleasant task that\nawaited her; it may be that in her sleep, as in her waking hours, her\nthoughts were filled with visions of the Christ Child even as her heart\nwas full of love for Him. Her smile deepened, and she did not stir as\nthe night wore on.\nThe stars were growing pale, though morning was still far off, when the\ndeep silence of the village was broken by the sound of feet running\nlightly, cautiously, up the lane.\nNearer and nearer came the footsteps until they halted before the door\nof Samuel's house, and a little figure, panting and breathless, stepped\nquickly within.\nNaomi sat upright and peered sleepily through the gloom.\n\"Ezra, is it thou?\" she asked in surprise. \"Is it morning yet? What\nbrings thee here?\"\n\"I have news, Naomi, bad news, I fear,\" the boy answered. \"I must waken\nmy father and mother. Whatever is done must be done quickly. There is no\ntime to lose.\"\n\"I hear thee, son,\" said Samuel's voice unexpectedly. \"What is thy\ntale?\"\n\"And my mother?\" questioned Ezra. \"It concerns Jonas.\"\n\"I sleep not,\" said Jonas's mother, broad awake in an instant, and\ndrawing the drowsy little ball into her arms in swift alarm. \"Tell thy\nstory quickly.\"\n\"As ye know,\" began the boy hurriedly, \"I went down to the Fields of\nDavid at sunset to spend the night with shepherd Eli. And as I passed\nthrough the gate old Nathan hailed me. He told me that one of the\nshepherds had borrowed his warm cloak and had not yet returned it, and\nthat he was now full of aches and pains and sorrows because of the lack\nof it. He charged me straitly to tell the shepherd to return it at once\nor he would have him haled before the magistrate at daybreak, and that\nhe would not cease his watch for it nor sleep that night until the cloak\nwas round his shoulders once again.\n\"When I reached the Fields, I gave his message, but the shepherd who\nhad taken his cloak was not there; he had gone in search of a lost\nlamb. And when, less than an hour ago, he returned, he asked me to keep\nhim company to the gateway, and help him make his peace with angry\nNathan. They know that Nathan is friendly to me,\" added the boy in\nexplanation.\n\"And I know that some night, wandering about as thou dost, thou wilt be\ncaught by beast or robber,\" growled Samuel. \"Resume thy story.\"\n\"The shepherd and I,\" continued Ezra hastily, \"were passing the inn when\nI saw a figure by the roadside beckoning me to come to him. It was\nJoseph of Nazareth, and behind him in the shadow was his wife, Mary,\nbearing the Christ Child in her arms. He spoke low so that the shepherd\nshould not hear. He told me that an angel of the Lord had appeared to\nhim in a dream, saying, 'Arise and take the young child and his mother\nand flee into Egypt, and be thou there until I tell thee: for Herod will\nseek the young child to destroy him.'\n\"He spoke no more,\" Ezra went on, \"but I said unto him, 'My little\nbrother, think you there is danger for him?' He nodded in reply, and\nthen I asked, 'Start you at once?' He nodded again and stepped back into\nthe shadow.\n\"At the gateway old Nathan, glad to see his cloak again, let me through,\nand I hastened home to tell the tale to thee.\"\nEzra's mother had already arisen and, opening the great carved chest,\nhad taken from it warm wrappings in which she was bundling the still\nsleeping Jonas.\n\"Deborah, the vine-dresser's wife, leaves at sunrise in the caravan for\nJoppa.\" As she spoke, she worked busily gathering Jonas's little\ngarments into a bundle. \"For friendship's sake she will take Jonas with\nher. We have, in her, at least one true friend in Bethlehem. Her mother\nlies at Joppa sore stricken with a fever, and it may be that our boy\nwill take the sickness and perchance will die. But rather would I see\nhim in his baby grave than in the clutch of cruel King Herod.\"\n\"I will go with thee, wife, to carry the child,\" said Samuel gravely,\nseeing that her simple preparations were now finished. \"Give thy brother\na kiss in farewell, children. It may be thou wilt never see him more.\"\nAs Naomi stood on tiptoe and pressed a tender kiss upon Jonas's plump\ncheek, he suddenly opened his dark eyes and, at sight of his sister,\nbroke into a broad smile.\n\"Farewell, Jonas, farewell,\" whispered Naomi, her eyes full of tears.\n\"When thou returnest we will dig the well behind the myrtle bush, thou\nand I. Farewell!\"\nThen she laid her hand upon her father's arm.\n\"Father,\" said she in a low voice, \"the little Messiah also traveleth\nfar to-night. I owe to Him my sight and the happiness of us all. I would\nfain give unto Him a gift. I would that I might give unto Him my little\nMichmash, that He may be borne swiftly and surely on the long road that\nHe must go.\"\nSamuel looked for an instant into the brown eyes upturned to his own. He\nremembered the darkness, the suffering, the vain hope, the despair,\nthen--blessed be Jehovah! the Light that had appeared and that had so\nwondrously shone into the life of his little maid.\n\"Yea, child,\" said he warmly. \"No gift that thou couldst give would be\ntoo great.\"\n\"Ezra,\" cried Naomi, \"canst thou overtake them, think you?\"\nBut Ezra had already left the room, and could be heard in the shed\nbehind the house fitting the bridle over the astonished Michmash's head.\nNaomi caught up her little scarlet cloak from out the carven chest, and\nas Ezra came past the door, leading the little gray donkey, she flung it\nacross her brother's arm.\n\"The journey down into Egypt is far, and the night winds are cold. It\nmay be my scarlet cloak will keep the little Messiah warm.\"\nShe threw her arms about her donkey's neck and laid her cheek against\nhis soft furry nose.\n\"Fare thee well, little Michmash,\" she whispered. \"Stumble not nor\nfalter on the way. Thou carriest the Light of all the world, the Hope of\nevery heart upon thy back. Farewell, farewell!\"\nSunrise--and again Naomi stood alone upon the housetop. Her night of\ndarkness behind her, she turned her happy gaze upon the morning sky,\nblue and rose and violet, whose clouds touched to misty purple the\nhilltops and the peaks that surrounded Bethlehem village. Below her lay\nthe white stone houses, a few steep fields of dark ruddy loam, the\nsloping gardens with their vines, their fig and olive trees.\nFrom where Naomi stood the road that led to the Holy City was hidden\nfrom view by the mountain peak Mar Elias, and as she looked toward it\nher face lighted and she clasped her hands before her. For on the\nmountain-top rested two great clouds like angels' wings, and with a\nheart full of awe and reverence and love little Naomi felt that she\nstood in the very presence of Jehovah God.\nWhat though the promised Messiah was fleeing secretly and in dread from\nHis own country? The Lord was mindful of His own, and was even now\nkeeping watch over His people. \"Behold, He that keepeth Israel will\nneither slumber nor sleep.\"\nShe had no words. She could only stand and let the tide of love she felt\nsweep over her again and again, until softly and almost imperceptibly\nthe Heavenly Pinions faded away into the blue.\nWhen Ezra came he found Naomi looking toward the road that wound\nribbon-like past the Bethlehem inn down into the land of the Pharaohs,\nthe country of the Sphinx and the Pyramids.\nHe nodded at the question in her eyes and silently pointed out to her a\nlittle group that moved steadily forward upon the dusty road below.\n\"Dost see them?\" asked Ezra softly. \"Joseph, staff in hand, leads little\nMichmash who bears the Mother and the Child upon his back. He steps\nforth bravely, the little beast. Ah! now they take the turn that hides\nthem from our sight. Our little Messiah! Gone from us after so short a\ntime!\"\n\"Aye, but to come again,\" said Naomi confidently. \"I know it, Ezra. I\nwas blind and now I see. As a tiny Babe He brought the light to me\nalone. But when He comes again, He will be the Light of all the world,\nEzra, the Light of all the world.\"\n THE END\nEnd of Project Gutenberg's Christmas Light, by Ethel Calvert Phillips", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg - Christmas Light\n"}, {"language": "eng", "scanningcenter": "capitolhill", "sponsor": "Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division", "contributor": "Library of Congress, MBRS, Moving Image Section", "subject": ["motion pictures", "Motion pictures -- Catalogs", "Motion pictures in education"], "title": "1000 and One: The Blue Book of Non-Theatrical Films (1927)", "lccn": "41008703", "collection": ["libraryofcongresspackardcampus", "mediahistory", "fedlink", "library_of_congress", "americana"], "shiptracking": "ST000493", "identifier_bib": "0 007 244 815 7", "call_number": "LB1044 .A2 B5", "publisher": "Chicago, Educational Screen", "possible-copyright-status": "Library of Congress has determined that this item is not in copyright", "boxid": "0 007 244 815 7", "other_availability": "http://mediahistoryproject.org", "mediatype": "texts", "repub_state": "4", "page-progression": "lr", "publicdate": "2013-11-05 13:43:54", "updatedate": "2013-11-05 14:39:20", "updater": "associate-caitlin-markey@archive.org", "identifier": "1000onethebluebo00unse_0", "uploader": "associate-caitlin-markey@archive.org", "addeddate": "2013-11-05 14:39:23.11471", "scanner": "scribe10.capitolhill.archive.org", "notes": "No table-of-contents pages found.", "repub_seconds": "264", "ppi": "600", "camera": "Canon EOS 5D Mark II", "operator": "associate-lian-kam@archive.org", "scandate": "20131121191904", "republisher": "associate-phillip-gordon@archive.org", "imagecount": "144", "foldoutcount": "0", "identifier-access": "http://archive.org/details/1000onethebluebo00unse_0", "identifier-ark": "ark:/13960/t4hm7mq7n", "date": "1927", "year": "1927", "curation": "[curator]associate-manuel-dennis@archive.org[/curator][date]20131211125638[/date][state]approved[/state][comment]195[/comment]", "scanfee": "125", "sponsordate": "20131231", "volume": "5", "backup_location": "ia905709_14", "external-identifier": "urn:oclc:record:795667635", "description": "29 v. 19-26 cm", "creator": "Educational Screen", "date-start": "1927", "date-string": "1927", "journal-title": "Blue book of audio-visual materials", "republisher_operator": "associate-phillip-gordon@archive.org", "republisher_date": "20131126202643", "ocr_module_version": "0.0.21", "ocr_converted": "abbyy-to-hocr 1.1.37", "page_number_confidence": "94", "page_number_module_version": "1.0.3", "creation_year": 1927, "content": "[Fifth Edition]\nThe Educational Screen\nChicago ' New York\nThe Educational Screen, Inc.\nDIRECTORATE\nHerbert E. Slaught, President, University of Chicago.\nFrederick J. Lane, Treasurer, Chicago Schools.\nJoseph J. Weber, University of Arkansas.\nDudley Grant Hats, Chicago Schools.\nFrank R. Greene, New York City.\nWilliam R. Duitey, Marquette University.\nNelson L. Greene, Secretary and Editor, Chicago,\nEDITORIAL ADVISORY BOARD\nA. W. Abrams, NY State Department of Education.\nRichard Burton, University of Minnesota.\nCarlos E. Cummings, Buffalo Society.\nThe University of Chicago, Frank N. Freeman, Dudley Grant Hays, Assistant Sup't. of Schools, Chicago, F. Dean McClusky, Rowland Rogers, Columbia University, H. B. Wilson, Superintendent of Schools, Berkeley, Calif.\n\nStaff:\nNelson L. Greene, Editor-in-Chief.\nMarie E. Goodenough, Associate Editor.\nRobert E. Clark, Circulation Manager.\nCarlos E. Cummings, Josephine F. Hoffman, Geneva Holmes Huston, Marion F. Lanphier, Stella Evelyn Myers, Marguerite ORNDORff\n\nPublications of The Educational Screen\nThe Educational Screen (including Moving Picture Age and Visual Education)\nnow the only magazine in the field of visual education. Published every month except July and August. Subscription price, $1.50 a year ($2.00 for two years). (With \"1001 Films,\" $1.75 and $2.25 respectively). In Canada, $2.00 ($3.00 for two years). Foreign Countries, $2.50 ($4.00 for two years).\nComparative Effectiveness of Some Visual Aids in Seventh Grade Instruction, by Joseph J. Weber, Ph. D., University of Arkansas. First published work of authoritative research on the visual field. A doctor's thesis accepted by Columbia University. With diagrams and reference tables. 131 pages, cloth. $1.50 (To subscribers, $1.00).\n\nFundamentals in Visual Instruction, by William H. Johnson, Ph. D., University of Chicago. A manual for teachers. A concise and comprehensive survey of the whole question. 112 pages, cloth. $2.00 (To subscribers, $1.33).\n\nHistorical Charts of the Literatures (English, American, French, German), formerly published at Princeton, N.J., by Nelson Lewis Greene, A.M. Used for the past 12 years by students and general readers everywhere. Re-\n[Is Visued and uniform editions of these charts ready. Single copies are $0.50 each. (To subscribers, $0.37.) Special offer, one of each of 4 $1.50. (To subscribers, $1.00). Discounts on quantities on application.\n\nIs Visual Instruction a Fad? by Joseph J. Weber. Eight-page pamphlet (Reprint Price $0.15 cents. (To subscribers, $0.10).\n\nVisual Aids in Education Price $0.15\nFour charts,\n\nThe Stereograph as a Visual Aid, by Joseph J. Weber. Eight-page pamphlet, with illustrations (Reprint). Price $0.15 (To subscribers, $0.10).\n\nBibliography on the Use of Visual Aids in Education, by Joseph J. Weber. Twelve-page pamphlet (Reprint). Price $0.25 (To subscribers, $0.15). (Fifth Edition)\n\nThe Blue Book of Non-Theatrical Films\n\nEDITORS\nNelson L. Greene, Chairman]\n[Fifth Edition, Published and Copyrighted November 1927, The Educational Screen, 5 South Wabash Avenue, Chicago, IL]\n\nForeword\n\nThis is the Fifth Edition of \"1000 and One Films.\" It represents more time and effort on the part of The Educational Screen's editorial staff than any preceding edition. Every known film producer and distributor \u2013 individual, firm, or organization \u2013 has been consulted directly and repeatedly. Our method of gathering data and information from all these sources has been so perfected through the successive editions of the book that we confidently offer this Fifth Edition as better than any preceding one. As a systematic compilation of accurate and complete film information.\nFor the non-theatrical field, \"1000 and One Films\" is still unique. Many films listed in the last edition (Fourth) have been omitted, many have been retained, along with a great amount of new material. No film was excluded from this edition merely because it had already appeared in the previous volume. Selection from such a mass of material, increasing every year, is compulsory. The general aim has been to include, within the necessary space limitations of the present volume, all new and worthwhile material in the various subject groups, together with all films from the previous edition that are still most actively circulated. This Fifth Edition represents the best films that are now available in the non-theatrical and educational fields.\n\nIf therefore, (1) a film desired was listed in the previous edition,\nThis edition does not include all films; if a film is not listed, it is not unobtainable. Inquire at The Educational Screen for more information. If a desired film is not fully represented on a subject, The Educational Screen will provide access to its large supplementary file. The publication of the entire supplementary file is not feasible.\n\nUsing \"1000 And One\":\nFilms are organized under subject groups, guiding you directly to the pages carrying the sought films. The title appears in bold type, followed by the number of reels, a brief review, and the distributor.\nEach film's identification number is indicated by the number or numbers at the extreme right of the last line of description. These numbers refer to the Reference List of Producers and Distributors in the back of the book (pages 114-127). The Educational Screen distributes no films whatsoever.\n\nIf the distributor number is in Roman numerals, it means that the distributor has exchanges, and the firm name with all exchanges will be found under Part I of the Reference List (Page 114). In these cases, write to the exchange nearest you.\n\nACME\nMotion Picture Projectors\n\nThe Acme Model S.V.E. Type G projector does more than project motion pictures. It shows stereopticon slides. It has the Acme patented Gold Glass Shutter for showing still pictures from the film. It is a safe, reliable, and convenient projector.\n\nMake sure you get all the features Acme offers when purchasing.\nYou buy a motion picture projector. Find them in no other machine. Write for complete information.\n\nInternational Projector Corporation\nAcme Division\n90 Gold Street\nNew York, 1134 W. Austin Ave.\nChicago\nFifth Edition\n\nForeword\n\nThe number in Arabic Numerals means that the distributor operates from a single address. His name and address will then be found under Part II of the Reference List (Page 121). Write direct to this address.\n\nCross references at the end of many of the groups refer to other groups in which may be found one or more films on the same or related subjects.\n\nThe stars before a large number of the films listed indicate the following: one (*) means that the film has been seen by our staff; two (**), that the film has been seen and reviewed in a previous issue of The Educational Screen; three (***), that The Educational Screen has published a review of the film and it has been recommended for educational use.\nThe National Screen finds the film to be exceptionally fine of its kind. We cannot name rental prices on films as they vary endlessly. The distributor of the particular film should be consulted. The Educational Screen itself does not handle films. It acts merely as the central clearing house for information on the whole production field of films, both theatrical and non-theatrical.\n\n\"FREE\" FILMS\u2014 NON-INFLAMMABLE FILMS\n\nIn the Reference List of Producers and Distributors, we have indicated as far as possible the distributors of \"free\" films \u2014 namely, those to be had for the payment of transportation charges both ways, sometimes with further conditions stipulated.\n\nIn many cases, distributors have indicated whether some, or all, of their film subjects are on non-flam (slow-burning) stock. If both \"flam\" and \"non-flam\" are named, users must ascertain from the distributors which is the case.\nThe distributor can secure the desired quantity of the specific film.\n\nOff-standard films, such as those without safety standards (28 mm.), are not listed in this book, as they require special projectors and would be useless to most film-users. Some film libraries are also available in 18 mm. and 11 mm. sizes, which also require special projecting apparatus, and no effort has been made to list the films of such libraries (see page 7 for a detailed discussion of 16 mm. films).\n\nWe have been forced to exclude a very important source of non-theatrical films: the State Universities and Extension Divisions, due to space limitations. Their immense film collections could not be included.\nServices are entirely local and provide full information to film-users within their zone. Since this information would be largely useless to the rest of the country, it is omitted here. You are likely familiar with the service of your nearest State University. If not, write at once for their complete literature.\n\nADVERTISEMENTS\n\nFree at Your Request\nA complete 64-page illustrated booklet describing the famous Chronicles of America\n\nPhotoplays\nFifteen beautiful and accurate historical films, recognized throughout the country as the greatest contribution yet made to visual instruction. Used with equal satisfaction by every group interested in the non-theatrical presentation of distinctive photoplays.\n\nAddress\nYale University Press Film Service\nYale University, New Haven, CT\n(Physical Distributor, Pathe Exchange, Inc.)\nPathe Motion Pictures\nFor use in Visual Instruction\n\nAuthorities in this most important phase of modern education, Pathe Exchange is pleased to announce that its new special courses, now in preparation for Fall distribution, include:\n\nWorld Geography \u2014 Physical Education\n\nThe unique experience and facilities of Pathe Exchange Educational Department, the film library index, information on new courses and special pictures, and a new service department to cooperate with Boards of Education in the use of our films as Visual Aids in Instruction are all at your disposal.\n\nWrite today for particulars on the \"Current Events Course.\"\n\nEducational Department\nPathe Exchange, Inc.\n35 West 45th Street, N. Y.\nFifth Edition\nBell and Howell Co., 1803 Larchmont Ave., Chicago, IL. Large library of films in various subjects. Send for catalog.\nBurton Holmes Lectures, 7510 N. Ashland Ave., Chicago, IL. Many of the famous Burton Holmes travelogues available in this width. For outright sale.\nCine Art Productions, 922-23 Hunter Dulin Bldg., San Francisco, CA. Releasing a series of photoplays and educational subjects for sale.\nEastman Kodak Co., Rochester, NY. Releasing \"Cinegraphs,\" for sale through Eastman dealers.\nHome Film Libraries, Inc., 100 E. 42nd St., New York, NY. Also operate regional libraries for rental of 16 mm. subjects.\nKodascope Libraries, Inc., 35 W. 42nd St., New York, NY.\nBranch libraries in thirteen US and Canadian cities and many foreign cities.\nA descriptive catalog of Kodascope Library, classified for reference, available for 25 cents per copy.\nSubjects: education, comedies, dramas.\n\nMovie Craft Film Co., 2025 Broadway, New York, NY.\nPathe Exchange, Inc., Pathegrams Dept., 35 W. 45th St., New York, NY.\nExtensive film library of Pathe subjects on 16 mm. film. Sold outright.\n\nShow-at-Home Movie Library, Inc., 730 Fifth Ave., New York, NY.\nProductions of Universal Pictures for home entertainment.\nDistributors and users everywhere. We shall welcome opinions, suggestions, and above all, specific criticisms. Point out errors and omissions, great or small, whenever and wherever they appear. Preparation for the next edition of \"1000 and One\" has already begun. With your cooperation asked for above, the sixth edition can be brought still nearer the desired goal of perfect accuracy. We thank you sincerely in advance.\n\nAbove all!\n\nWhen you write to advertisers \u2013 as you often will \u2013 please do not fail to mention The Educational Screen.\n\nAdvertisement\n\nUse motion pictures as an aid in teaching\n\nOur Film Library, the largest in the country, covers the following:\n- U.S. Geography\n- Household Economics\n- European Geography\n- Nature Study\n- Physical Geography\n- Literature\n- Physical Training\n- History\n- Biology\n- Civics\n\nWe Invite Your Correspondence\n\nEdited Pictures System, Inc.\n130 West 46th Street, New York City\nH.S. Brown, Inc. 82\nDa-Lite Screen and Scenic Co. 14\nDeVry Corporation 64-65\nEastman Kodak Co. Back Cover\nEdited Pictures System 8\nFilm Classic Exchange 90\nGeneral Electric Co. 55\nHarcol Motion Picture Industries 99\nInternational Projector Corp. 128\nInternational Projector Corp. (Acme Division) 4\nLago Vista Enterprises 118\nMetro-Goldwyn-Mayer 101\nPathe Exchange, Inc. 6\nPilgrim Photoplay Exchange 114\nPinknev Film Service 115\nRay-Bell Films 14\nRothacker Industrial Films Inside Back Cover\nSociety for Visual Education 12\nSpiro Film Corporation 49\nUnited Cinema Co., Inc. 14\nWestern Electric Co. 67\nWholesome Films Service, Inc. 58\nYale University Press Film Service 6\nY.M.C.A. Motion Picture Bureau 40\nFifth Edition\nAdvertisement\nThis page is worth 75 cents to you\nYou will want the next (Sixth) edition of \"1000 and\"\nOne Film when it is issued. Separately, the book will sell for 75 cents per copy. Only our regular subscribers will be entitled to the book free of charge. If you are now a subscriber to The Educational Screen, we want you to know that it is the only magazine devoted to visual instruction. Send in your subscription order on the blank below and secure the next edition of \"1000 and One Films\" \u2014 a 75 cent book \u2014 free of charge with your subscription.\n\nThe Educational Screen\n5 South Wabash Avenue\nChicago, IL\n\nKindly enter my name on your regular subscription list. This also constitutes my order for the next edition of \"1000 and One Films\" to be sent free of charge, with my subscription.\n\nName\nAddress\nCity State\n\nTestimonials\nWhat They Say About \"1000 and One\"\n\"Since we are attempting to find the pictures that are of most value, we have found \"1000 and One Films\" to be an invaluable resource.\"\nThe Committee on Visual Education at the Normal and Agricultural Institute in Hampton, VA, has found your booklet \"1000 and One Films\" to be more summarized than their current materials. - Frank C. Foster\n\nRev. W. T. Powell from Trinity M.E. Church in Springfield, MA, has benefited greatly from both your periodical and the booklet \"1000 and One\" in his work, using motion pictures even on Sundays with successful results. - Rev. Fred W. Morrison from the First Congregational Church in San Jose, CA, also shares this sentiment. Several individuals in their company frequently utilize the information in \"1000 and One\" and one copy is insufficient.\nM. L. Yaple, High School, Sandusky, Ohio: \"We have found '1000 and One' especially helpful this year.\"\n\nRev. Howard P. Weatherbee, Hit. Holly Baptist Churches, Belmont, Yt: \"We find your publication, '1000 and One Films,' to be very valuable in our particular work.\"\n\nH. L. Kooser, J'isual Instruction Service, Iowa State College, Ames, Ia: \"We sincerely thank you for the copy of '1000 and One Films' and assure you that it was appreciated. It is something that is really needed in the educational program field and will be of great use to many.\"\n\nService Film Producers, Battle Creek, Mich: \"I find '1000 and One Films' invaluable to me.\"\n\nR. C. Adair, Carrett Biblical Institute, Evanston, Ill: \"Please accept my thanks for the copy of '1000 and One Films'.\"\n\nFrank Lappin, Jam Handy Picture Service, Chicago, 111: \"We have found '1000 and One' especially helpful this year.\"\n\nRev. Howard P. Weatherbee, Hit. Holly Baptist Churches, Belmont, Yt: \"I highly regard '1000 and One Films'.\"\n\nH. L. Kooser, J'isual Instruction Service, Iowa State College, Ames, Ia: \"We find your publication, '1000 and One Films,' to be very valuable.\"\n\nR. C. Adair, Carrett Biblical Institute, Evanston, Ill: \"I find '1000 and One Films' invaluable.\"\n\nM. L. Yaple, High School, Sandusky, Ohio: \"It is something that is really needed in the educational program field and will be of great use to many.\"\n\nService Film Producers, Battle Creek, Mich: \"It was appreciated.\"\n[Fifth Edition, Department of Chemistry, George Peabody College, Nashville Tenn. AGRICULTURE Crops 1. Fruits and Nuts 4 5. Miscellaneous 16 Livestock 7. Meat Products 18 8. Dairy Products 19 9. Poultry 19 10. Miscellaneous 20 Pests and Dangers to Animals 11 13. Rural Life and Farm Engineering 20 14. Forestry and Forest Conservation 22 15. Soils and Soil Conservation 23 16. Irrigation 24 17. ART, MUSIC AND ARCHITECTURE 17 18. Astronomy ATHLETICS AND SPORTS (See Physiology, Health and Hygiene) 19 BIOGRAPHY 19 CHEMISTRY 20 CIVICS AND PATRIOTISM 21 DOMESTIC SCIENCE 22 ECONOMICS 23 EDUCATIONAL ACTIVITIES 24 GEOGRAPHY Africa 25. Northern Africa 33 27. Central and South Africa 33 Asia 29. India and Ceylon 34]\nThe Society has conducted a thorough study of the visual needs of Schools and Churches over the past several years and is now in a position to assist you in securing the best equipment for your specific purpose. Information and prices of any type of still or motion picture equipment, accessories, or material are available upon request with a copy of our annual publication \"VISUAL REVIEW\" sent postpaid.\n\nSVE Educational Motion Picture films come in one and two reels each, covering the following important subjects:\n- Americanization\n- Athletics\n- Civics\n- Agriculture\n- Nature Study\n- Vocational\n- Physics\n- Health and Sanitation\n- Physical Geography\n- Economic History\n- Regional Geography\n- United States History.\n\nWide Selection \u2014 Low Rental Rates \u2014 Reasonable Sale Prices. (S.V.E.)\nThe Society distributed solely through our libraries all American and Junior Red Cross Films. PICTUROLS, or still picture films, provided a valuable and economical service to Schools and Churches a few years ago. These convenient and efficient series of pictures have found a ready acceptance everywhere. If your institution has not yet started a permanent library of PICTUROLS, consider immediately the great saving and service represented by the adoption of film stereopticon material. Hundreds of rolls of carefully selected pictures, covering all educational and religious subjects, are ready for immediate delivery at surprisingly low costs. - Free Picturols Available to All Users of Film Stereopticons. Write for Catalogs. Form the habit of securing all your visual aids from this one source.\n[S.V.E.], \"PICTUROL\" registered US Pat. Office\nSociety for Visual Education, Inc.\n327 South LaSalle St. Chicago, Illinois\n\nGroup No. Page No.\nNorth America 43 Polar Regions 41\nUnited States 45 Central and South 41\nNorthwest 46 \nCentral West 47 \nSouthwest 42\nNational Parks and Forests 51 \nIndians 52\nCentral America and Mexico 53\nSouth America 54\nIslands 55 Atlantic 47\nGEOLOGY AND METEOROLOGY 57\nGOVERNMENT ACTIVITIES 58\nHEALTH AND HYGIENE (See Physiology) 60\nHistorical Fiction 60\nINDUSTRY AND ENGINEERING\nElectricity 63 Telephone and Telegraph = 53\nGeneral 54\nEngineering Achievements 54\nMachinery and Mechanical Devices 65 Electrical 56\nAutomotive Machinery 67\nMiscellaneous 57\nPower, Mechanical and Electrical 57\nNatural Products and Processes 70 Fishing Industry 59\n71 Lumbering and Forest Products, 59\n72 Mining: Coal, Oil and Gas, 60\n72 Mining: Miscellaneous, 61\n73 Quarrying, 62\nManufactured Products and Processes\n75 Building Materials, 62\n76 Clothing, Textiles and Leather, 62\n77 Food Products, 63\n78 Metal Manufacturing, 63\n79 Paper and Publications, 66\n80 Miscellaneous, 68\nIndustrial Arts\n82 Miscellaneous, 69\n83 Literature and Drama, 69\nOldest and Largest Producers of Fine Industrial Motion Pictures in the Middle West\nSee Listings for Fret Films\nDependable Information and Service for Club, Home, Church, School, etc.\nDistributors of Cello and Graphoscope Projectors, Films, Screens, Stereopticons and Accessories\nUnited Cinema Company, Inc.\n130 West 46th Street\nNew York. NY-\nIf you are showing pictures, you need the best screen. Write for a catalog and samples and convince yourself before spending your money.\nA Metallic Surface\nTypes: Reflex Rubber Back (White)\nRear Projection\nMounted on frames, spring rollers, tripod, or in a map case.\nDA-LITE SCREEN and SCENIC COMPANY\n322-24 West Monroe Street,\nChicago, Illinois\n\nNatural Science\n84. Plant Life, 72.\nAnimal Life, 85.\n85.1 Domestic Animals, 72.\n85.2 Wild Animals, 73.\n85.3 Smaller Animals, 74.\n85.4 Insects and Bugs, 74.\n89. Microscopic Life, 76.\nBird Life, 90.\n91. Small Birds, 77.\n93. Fish and Sea Life, 77.\n94. Miscellaneous, 78.\n\nPhysiology, Health and Hygiene\n96. Embryology, 80.\n97. Anatomy and Structural Physiology, 80.\n103. Public Hygiene, 83.\n104. Disease and Its Treatment, 84.\n107. Fire prevention, 85.\n108. First Aid and Life Saving, 85.\n109. Medicine and Surgery, 85.\n\nAthletics and Sports\n110. Boxing, Wrestling, Fencing, 85.\n111. Baseball, Football, Golf, 86.\nTrack and Field, Camping and Outdoor Sports, Water Sports, Winter Sports, Animal Hunting, Miscellaneous, Psychology, Sociology, Social Organizations, Insurance and Fraternal Orders, Travel and Transportation, Roads and Road Building, Railroads, Miscellaneous, WAR\u2014 Naval and Military, Entertainment, Juvenile, Religious, Comedies, News Reels, Weeklies, Novelty Subjects, Producers and Distributors with Exchanges (.114), Producers and Distributors without Exchanges (.121), Selections from the \"Film Estimates\" of 1926-27, Agriculture, Crop Group 1 - Cotton, The Story of Cotton (1), Self-explanatory (5-9), The Story of Cotton (2), Its growth and manufacture (XXX)\nThe Land of Cotton (2) A complete story of cotton with emphasis given to milling and weaving of cloth. Cotton - Dixie's Greatest Crop (1) Soil preparation, planting, cultivating, picking, delivery to gin. Boll weevil and other problems of modern production. (144) Cotton Handling (1) In the largest cotton warehouse in the world. (63) Co-operative Marketing \u2013 Cotton (2) Activities of the co-operative cotton marketing associations of the South, showing progress of grower's bale from gin to mill, or to seaboard for export shipment. (144) CROP 2 Sugar Cane Sugar (1) Depicting the cultivation of cane and the extracting of sugar from the plant. (151) Sugar Cane (1) A complete descriptive study of the manufacture of sugar from planting of cane to finished product. For sale only. (58)\nSugar and Cane Sugar: Culture and harvesting of sugar cane in the South; hauling cane to factory; various stages in manufacture and refinement of cane sugar from crushing of cane to finished product. (144)\n\nRaw Sugar Production in Cuba: Cultivation of cane and fine scenic views in Cuba - Cuba, the Island of Sugar: the world's largest achievement in raising sugar cane - forest transformed into modern plantation, largest sugar mill in the world built and put into operation. (X)\n\nCane Sugar Refining: Sugar from planting in Cuba to preparation for market. Emphasis on refining processes. Splendidly adapted for classroom use. (9, 83)\n\nSunny South: Scenes in the South. Emphasis on manufacture of Maple Sugar. (1) Lure of the maple grove in spring. (49)\n\nHarvest of the Sugar Maple: Life in the sugar bush, showing old and new methods of tapping trees. (1)\nMaking Maple Sugar: From tapping trees to marketing - old-fashioned and modern methods. (For sale only.)\n\nBeets from Seed to Sugar Bowl: Self-explanatory.\n\nThe Sugar Trail: The beet sugar industry as developed from the wild beet.\n\nCROUF: 3 Wheat\n\nOur Daily Bread: Development of methods for harvesting, milling, and baking - from primitive to modern times.\n\nThe Staff of Life: The growing, harvesting, threshing, and milling of wheat, told logically and interestingly. (Pages: 37, 42, 49, 151, 155)\n\nThe Wheat Industry: Production of wheat in the Red River Valley - ploughing, drilling, harvesting, threshing, etc.\n\nThe Romance of a Grain of Wheat: Animation and photography showing wheat production. (Pages: XXX, 64)\nWheat and Flour (For sale only) (58)\nWheat or Weeds? Story of wheat cleaning and the operation of wheat cleaning machines. What clean wheat means to the farmer. (144)\n\nGROUP 4 Fruits and Nuts\nThe Kindly Fruits of the Earth (Survey of cultivation, picking, packing and shipment of some of the most important fruits) (XV)\nThe Apple of New England (Cutting and grafting wild apple to produce present fine varieties; picking and packing; making apple pies in Waldorf restaurants) (102)\nThe Land of Cherries (The largest cherry orchard in the world. Scenes show cultivation of the soil, picking the cherries and process of canning) (XXX, 72)\n\nFifth Edition\nAGRICULTURE\nGROUP 4 (Continued) CROPS Fruits and Nuts\n[The Banana: Detailed pictorial account of methods in raising and marketing bananas. For sale only. (58)\nIn Banana Land: Banana cultivation in Guatemala. (151)\nCantaloupe Industry in the West: Harvesting and marketing in Imperial Valley, California. (144)\nCitrus Fruit in Florida: Approved methods of grove management and handling orange and grapefruit crops in Florida; how citrus fruits came to America; Scenes at piers and wholesale fruit exchanges in New York. (144)\nThe Golden Gift: Colored pictures of the orange industry.\nThe Orange: Pictorial history of the orange tree, irrigation of groves, and harvesting the crop. In natural colors. (XX, IV)\nOranges: Excellent material for domestic science classes. (37A)\nOranges and Olives: Depicting modern methods of raising and harvesting]\nThe Story of the Orange: From cultivation in the beautiful groves of California to their arrival in the market. The Power Behind the Orange: Modern power farming in the orange groves of Southern California. Story of orange cultivation and preparation for market. Sunshine Gatherers: Southern California fruits in orchards near Monterey; processes of picking and canning which prepare them for market. Photographed in Prizma color. Profits from Cull Oranges and Lemons: Former great loss to citrus fruit industry from waste cull fruit; research work to develop uses for culls, establishment of by-product plants. The Romance of the Lemon: Various processes of caring for citrus.\nFruit, irrigation, picking operations, preparing for market. (30, 37 A, 42, 71)\n\nCranberries \u2014 and Why They Are Sometimes Bitter: Cranberry culture with particular reference to methods of preventing the rot that makes berries bitter; the Puritans receive the new berry from the Indians. (14, 4)\n\nDates \u2014 America's New Fruit Crop: Growing by irrigation in the Southwest. Insect control. (144)\n\nThe Cultivation and Growth of Dates: Modern methods employed in the preparation of dates for the market. For sale only. (58)\n\nPicking Pineapples: Growing and marketing of pineapples. (69, 156)\n\nOahu: The pineapple industry of this Hawaiian island, in Prizma color.\n\nThe Pecan: How the nut is grown, gathered and marketed. (XX)\n\nThe Ancient and Honorable Walnut: A California ranch devoted to walnut growing on a large scale. (22)\n\nMiscellaneous:\nGrowing, irrigation, operations, market preparation for Fruit. (30, 37 A, 42, 71)\nCranberries: culture, preventing rot, Puritans, new berry, Indians. (14, 4)\nDates: growing, Southwest, insect control. (144)\nDates: preparation, market, for sale only. (58)\nPineapples: growing, marketing. (69, 156)\nOahu: pineapple industry, Hawaiian island, Prizma color.\nThe Pecan: growing, gathering, marketing, nut. (XX)\nWalnut: California ranch, large scale, walnut growing. (22)\nAmerica's Granary: Methods of planting, harvesting, and threshing grain. Evolution of farm machinery and methods of handling. America - The Store House of the World: Our Land, the granary that assures the world against famine. (XV)\n\nUncle Sam, World Champion Farmer: Miscellaneous scenes of the crop, fruit, and livestock industries of the United States. This film includes cotton, wheat, corn, potatoes, apples, dates, citrus fruit, poultry, dairy and beef cattle, hogs, horses, mules, and sheep. (144)\n\nRomance of Coffee: Growing and preparing the bean. How to prepare coffee. (102)\n\nThe Treasure of the Tropics: From tree to cup. A complete story about coffee. (XXX)\n\nCassina: Development by Government of \"a new crop for Dixie\"; how the cassina (yaupon) plant is grown and may be used in making a beverage. (144)\nThe How and Why of Potatoes (1) in Aroostook County, Maine with modern farm machinery. Varieties and their characteristics (144).\nSweet Potatoes (1) - From Seed to Storage. Self-explanatory (144).\nSweet Potatoes (1) - From Store House to Market. The title tells it (144).\nEar Corn Silage (2) - Practical and scientific facts. A successful farmer's use of an experiment station (69).\n\nAgriculture GROUP 5 (Continued) CROPS Miscellaneous\nFour Men and the Soy Bean (2) - Cultivation and utilization of soy beans. Four farmers attend \"Soy Bean Day\" at the State College of Agriculture and see soy beans in all stages (144).\nWeeds as Food (^4) - Pictorial History of the tomato and other \"table Palms\" (1) - The prolific plant that provides food, clothing, shelter and other uses. (144)\n\n(Note: The caret symbol (^) before \"Weeds as Food\" indicates a footnote, but the text does not provide the footnote content.)\nIncome in the tropics: (2:3, 69)\nPeanuts: (1) Story of raising and cultivating. (144) Showing cultivation, early and present uses as a food product. Partly, in natural colors. Fine scenic views. (83)\nRice from \"Paddy\" to Bowl: (1) Handling the rice crop with special reference to methods that tend to minimize damage and waste. Scene photographed in the lower Mississippi valley. (144)\nThe Rice Industry: (1) Irrigation, threshing, hulling and polishing. Interesting development of the American rice-growing industry and a discussion of the food value of rice. (63)\nThe Story of Comet Rice: (1) Oriental rice culture and cultivation of the grain in our Southern states. Preparing for market. (XXX)\nThe Story of Rubber: (1) Self-explanatory. (59)\nThe Romance of Rubber: (2) Scenes from the world's largest rubber plantation.\nFrom Tree to Tire: New England's highways and the process of manufacturing rubber tires.\nSpice of Life: A story of our familiar spices and how they are prepared for market.\nThe History of Spice: The important part played by spices in the development of trade routes and discovery of new continents.\nMaking Twine to Bind Uncle Sam's Harvests: Manila and Sisal hemp manufactured into binder twine. Various processes pictured.\nHandling and Storing Grain: Receiving, storing, and shipping grains at the largest grain elevator in the world.\nGroup 6: Livestock\nThe Cow Business: The beef-cattle industry in the western United States, contrasting methods of the early cowman with present practice.\nThe Green Barrier: Cattle grazing in the Piney Woods areas of the South, emphasizing the evils of firing the woods to \"green up\" pasture and stressing the importance of carpet grass and lespedesa as forage for cattle and as fire barriers. (144)\n\nSir Loin of T-Bone Ranch: The western range-cattle industry with special reference to methods that make for production of good beef. (144)\n\nA Tale of Two Bulls: An animated cartoon showing advantages of following practices of the Better Sires movement. (144)\n\nThe Purple Ribbon: The life of a Grand Champion Steer, of the International Live Stock Show. (69)\n\nA Texas Round-up: Many sides of the industry. (44)\n\nGROUP 7 Meat Products:\n\nBehind the Breakfast Plate: The story of the great American live-stock industry, showing the ranges, feed lots, shipping and packing. (69, 144)\nThe Honor of the Little Purple Stamp: Meat-inspection by Federal agents. (144)\nKilling and Dressing Mutton for Home Use: Proper methods demonstrated. (144)\nMaking of a Star Ham: Deals with humane methods used in slaughtering, sanitary conditions prevailing in packing plants, and rigid inspection given each individual ham. (11-127, 149)\n\nMeat \u2014 from Hoof to Market: Raising of beef cattle and hogs for food; shipping and marketing. (XV)\nMeat Packing: A complete story of the packing of meat from the time the animal leaves the plains till it has been prepared for the consumer. For sale only. (58)\nThe Meat We Eat: Raising cattle, sheep, and swine. Meat packing industry which turns them into food. (151)\n\nFifth Edition\n\nAGRICULTURE\nGROUP 7 (Continued) LIVESTOCK Meat Products\nThe Texas Trail to Your Table: Raising cattle; transporting to market. (1 and 2)\nStock Yards and methods used in preparing meat for the table.\nGuarding Livestock Health: Shows care of animals in transit, in the stockyards, cleaning and fumigation of cars, etc. (144)\n\nGroup 8: Dairy Products\nBetter Milk: Shows vast strides made in recent years by progressive farmers in the production of pure milk. (1, 37, 49, 151)\nBetter Way of Milking: How improper milking methods prevent the cow from giving the maximum amount of milk. (14, 149)\nClean Milk: Some ways of meeting the problems of production of clean milk. (69)\nThe Might of Pure Milk: Precautions taken to deliver this most perfect food in its most perfect form. Food value of milk as compared with other foods. (10, 3)\nThe Trump Card: The importance of pasteurization and how effectively it ensures the safety of public health. (10, 3)\nDo You Remember? Old-fashioned Baltimore with horse-cars, high-wheel bicycles and other old Baltimore scenes. Modern methods of milk production. Great Dairy Sires and Their Daughters Some of the greatest dairy sires in America and their high producing offspring. Dairy Cattle - Types, Breeds and Characteristics Holstein, Jersey, Guernsey, Ayrshire and Brown Swiss - the characteristics of these respective types, their origin and history of their introduction into the United States. Dairy Cattle and Their Selection The film shows clearly that physical conformation is a vital factor in milk production and shows just how constitution, feeding capacity, formation of milking organs, etc., affect production. Dairy Management Portrays the dairyman's life - feeding and milking.\ncows, weighing milk at the milk station, the silo, farm buildings, sanitary stables, water supply, machinery, importance of raising young stock. (134)\n\nDalry Products: Sources, handling and shipping of milk. Manufacture and packing of cheese and butter in large factories. (XV)\n\nMilk-Made Products: Laboratory and factory methods of making dairy products. (14, 4)\n\nSwiss Cheese, Made in America: Self-explanatory. (144)\n\nLone Asian Traveler: Accidental discovery of cheese. Processes of manufacture in a modern factory. (XXX, 14, 149)\n\nConcerning Cheese: Manufacture of cheese. (IX)\n\nAmerican Roquefort Cheese: Methods developed by the Dairy Division of the Grove City (Pa.) creamery. (144)\n\nWeighing in the Balance: An argument for cow-testing work, showing evils of unsystematic dairy management and the improvement when implemented. (3)\nFour Hundred Million Chickens: A bird's-eye view of the poultry industry of the United States, showing commercial, farm, and backyard chicken plants. The Last Word in Chickens: Poultry raising. Layers and Liars: Culling and other good poultry practices as explained by extension workers. Making Poultry Pay: The fundamentals of good poultry management for beginners in poultry keeping. Poultry Farming: Poultry farming on a large scale. Poultry Profits: A scientific but practical handling of the poultry industry, including remarkable views of the living embryo in the egg at all stages.\n\nSelecting a Laying Hen: Culling the flock. Physical characteristics.\nThe good egg producer can be recognized. (69, 144)\nStory of an Incubator: The manufacture and use of incubators, including scenes of actual hatching. (149)\n\nAgriculture and One Group 9 (Continued) Livestock Poultry\nUnscrambling Eggs: Methods employed by an egg producers' association\u2014gathering the eggs, packing in crates, shipping, checking and candling. (2)\nWhere Uncle Sam Raises Poultry: Methods of handling poultry at the Department of Agriculture farm. (144)\n\nGroup 10 Miscellaneous\nBees\u2014How They Live and Work: How bees gather nectar and transform it into a valuable food, honey; apiary and bottling methods; queen bee laying eggs; bees hatching; other operations in the lives of these interesting insects. (144)\nBee Culture: Shows every phase of the industry\u2014the apiary; standard methods. (4)\nThe Hive: Handling and care of bees, use of smoker, distinguishing characteristics of queen, drone and worker, various types of brood cells, laying eggs, grub development, mature bee, raising a queen, introducing queen into hive, gathering honey, marketing product, wintering bees. (134)\n\nThe Honey Bee: A detailed study of the habits and industry of the honey bee through animation and pictures. (58, 63)\n\nHoney Makers: Life story of bees and their work, entertainingly told with remarkable close-ups and unusual views of the workers at their various tasks. (XV)\n\nKeeping Bees at Work: Approved methods of bee management and controlling diseases of the brood, primarily for beekeepers. (144)\n\nSheep in Psalm and Sage: Significance of sheep to man, economically. (1)\nAnd spiritually; great flocks in the West, shown for their scenic worth, and to give a general idea of the industry.\n\n1. Fleeced for Gold: Sheep raising industry on a big ranch in the North-west, told in story form.\n2. The Golden Fleece: Lesson in clean handling of wool, grading and cooperative selling as factors in success.\n3. A Mountain Ranch: Sheep herding.\n4. Shed Lambing in the West: Portrays approved methods of handling the lamb crop under range conditions.\n5. The Wooly West: Advantages of approved methods in range sheep management. Made in northwestern Wyoming in the fine scenery of the Shoshone National Forest.\n6. Hog Breeds and Hog Management: Best breeds of swine.\n7. Health for Hogs: Advantages of portable houses and self-feeders.\n8. National Swine Show: Study of types of hogs.\nFarming for Fur (%) Breeding foxes in Canada.\nFarming for Feathers (1/4)Views on California ostrich ranch.\n'Gators (1) Alligators in their Florida \"farms.\" Done in Prizma color.\nGoats to the Front (%), Raising goats in New York State farm which supplies milk for hospital use and feeding of infants.\nGrazing in National Forests (1) How Uncle Sam provides summer range for millions of head of cattle and sheep by opening the grazing lands of the national forests to nearby ranchers.\nGROUP 11 PESTS AND DANGERS to Animals\nControl of Hog Cholera (1) Causes, use of serum, methods of application and results, and proper sanitation as remedy and preventive. (69,144)\nLivestock Losses (1) Improper and proper methods of handling livestock en route to market; the evil effects of mishandling. (69)\nSuppressing Foot-and-Mouth Diseases (2) Prevalence of disease in many foreign countries; outbreaks of the malady in this country in 1914 and 1924; the radical but effective American method of control, and necessity of public cooperation. (144)\n\nHorn Flies, Pests of Cattle (1) How to prevent their breeding. (144)\n\nMaking the South Tick-Free (1) How ticks are being eradicated. (144)\n\nMollie of Pine Grove Vat (3) Tick eradication in the South, told in story form. Better times for the community as a result. (144)\n\nSouthern Cattle Yesterday and Today (1) The story of the gradual eradication of cattle fever tick from infested southern states. (144)\n\nFifth Edition AGRICULTURE 21\n\nGROUP 11 (Continued) PESTS AND DANGERS to Animals\n\nThe Ox Warble \u2014 A Fifty-Million-Dollar Tune (1) Government \"bug man\" explains methods of controlling the ox warble, one of major pests attacking cattle. (144)\nAmerican dairy cattle (69,144) - Clean Herds and Hearts (4) Sequel to \"Out of the Shadows\"\nPicturing a community campaign for the eradication of animal tuberculosis, its relation to human health, and economic losses due to the disease (69,144)\n\nExit Ascaris (2)\nMethods of controlling roundworms in pigs. Sanitation rules worked out by laboratory investigation. (144)\n(See also Groups 6-9)\n\nGroup 12 to Plants\nAlfalfa Weevil Control (1)\nImportance of the alfalfa crop, spread of the alfalfa weevil in some Western States, and methods of control. (1)\n\nThe Barbarous Barberry (1)\nAn animated cartoon. Common barberry causes wheat rust. Science magnifies the rust germs and explains cause and effect. (144)\n\nBeans or Beetles? (1)\nThe importance of the bean crop. Menace of the beetles.\nMexican bean beetle: methods of controlling damage by this insect.\nBlister Rust: A Menace to Western Timber\nSpread of white pine blister rust from Europe to eastern United States; its recent appearance in British Columbia; danger from the disease to the five-needled pines of the western United States.\n\nThe Pines: Control of white pine blister rust on a particular farm in New England; protecting and making pines a valuable crop.\n\nBoard Feet or Bored Timber: Story of the wormhole borer, pinhole borer, and numerous other insects which attack green logs and cured lumber; their habits and methods of controlling them.\n\nChinch Bugs: Life history and habits; methods of fighting the menace to crops.\n\nCorn and the Borer: A history of European Corn Borer infestation.\nThe Corn Borer and What to Do About It (69, 144)\nThe European Corn Borer and methods for keeping this dangerous insect under control. (69, 144)\n\nCotton's Worst Enemy (144)\nClean-up of infected land; sweeping of fields and burning of plants, fumigation of imported cotton.\n\nFighting Insects from Airplanes (144)\nResults of successful tests made in cooperation with the Army Air Service in applying poison dust for control of cotton insects, particularly the boll weevil, and for the control of malarial mosquitoes. (144)\n\nDangerous Invaders (144)\nHow the gypsy and brown-tail moths gained a foothold in New England; their damage to trees; fight to control them.\n\nDust Explosions in Threshing Machines (1)\nSome causes, results.\nAnd means of prevention. (1) Explosive Dusts: Some causes, results, and means of preventing grain-dust explosions in mills and elevators. (144)\n\nFighting Western Pine Beetles: How beetles destroy timber; measures for their control. (144)\n\nHolding the Japanese Beetle: Life history of the Japanese beetle; its introduction into New Jersey and rapid spread; means of control. (144)\n\nHalting Foreign Plant Foes: Administration of the plant quarantine act, by the Federal Horticultural Board, to keep out new plant pests and diseases. (144)\n\nHoppers: Approved methods of grasshopper control, featuring life history and the poison bait method. (144)\n\nHidden Foes in Seed Potatoes: Wisdom of selecting seed potatoes; experiences on the potato tour, with close-ups of some degeneration diseases of potatoes. (144)\nLeak: Disease of Potatoes (1) Cause and prevention; microscopic views of the disease. Seed Disinfection Increases Farming Profits (2) \"Stop-motion\" photography of growing seedlings (corn, tomatoes and cotton) shows effects of \"clampening-off\" and how to control it. Laying Lumbricus Low (1) Methods of saving lawns from damage caused by earthworms. AGRICULTURE GROUP 12 (Continued) PESTS AND DANGERS to Plants * A Plant Disease and How It Spreads (1) Study of rhubarb blight. Poison (1) Various insects and pests that attack plants and animals; how sprays, dusts, etc., are used to repel them; danger of using harmful preparations. Our Animal Friends and Foes (%) Advocates preservation of bird life as remedy for great annual loss in crops destroyed by animals and insects. Why Strawberries Grow Whiskers (1) Sets forth prime cause of loss.\n\nCleaned Text: A Plant Disease and How It Spreads (1) - Study of rhubarb blight. Poison (1) - Various insects and pests that attack plants and animals, how sprays, dusts, etc., are used to repel them, danger of using harmful preparations. Our Animal Friends and Foes (%) - Advocates preservation of bird life as remedy for great annual loss in crops destroyed by animals and insects. Why Strawberries Grow Whiskers (1) - Sets forth prime cause of loss. Leak: Disease of Potatoes (1) - Cause and prevention; microscopic views of the disease. Seed Disinfection Increases Farming Profits (2) - \"Stop-motion\" photography of growing seedlings (corn, tomatoes and cotton) shows effects of \"clampening-off\" and how to control it. Laying Lumbricus Low (1) - Methods of saving lawns from damage caused by earthworms. AGRICULTURE GROUP 12 (Continued) PESTS AND DANGERS to Plants\n\n* A Plant Disease and How It Spreads (1) - This article discusses the study of rhubarb blight, a common plant disease.\n* Poison (1) - This article explores various insects and pests that attack plants and animals, and the use of sprays, dusts, and other methods to repel them. It also warns of the dangers of using harmful preparations.\n* Our Animal Friends and Foes (%)- This article advocates for the preservation of bird life as a remedy for the great annual loss in crops destroyed by animals and insects.\n* Why Strawberries Grow Whiskers (1) - This article explains the prime cause of loss related to strawberries growing whiskers.\n\nLeak: Leak: Disease of Potatoes (1) Cause and prevention; microscopic views of the disease. Seed Disinfection Increases Farming Profits (2) \"Stop-motion\" photo-graphy of growing seedlings (corn, tomatoes and cotton) shows effects of \"clampening-off\" and how to control it. Laying Lumbricus Low (1) Methods of saving lawns from damage caused AGRICULTURE GROUP 12 (Continued) PESTS AND DANGERS to Plants\n\n* A Plant Disease and How It Spreads (1) - This article examines the spread of rhubarb blight, a plant disease.\n* Poison (1) - This article covers various insects and pests that harm plants and animals, as well as the use of poisons and other methods to keep them at bay. It also addresses the risks of using harmful preparations.\n* Our Animal Friends and Foes (%) - This article advocates for the protection of birds as a solution to the significant annual loss of crops due to animal and insect damage.\n* Why Strawberries Grow Whiskers (1) - This article explains the reason behind strawberries growing whiskers and the resulting impact on yield.\n\nCleaned Text: A Plant Disease and How It Spreads (1) - This article examines the spread of rhubarb blight, a plant disease.\nPoison (1) - This article covers various insects and pests that harm plants and animals, as well as the use of poisons and other methods to keep them at bay. It also addresses the risks of using harmful preparations.\nOur Animal Friends and Foes (%) - This\nof strawberries in transit and on the market, black mold, and suggests methods of handling to minimize loss (John Smith vs. Jack Frost, Orchard heating with particular reference to frost protection in citrus groves) (Rural Life and Farm Engineering, The Answer, The advent of the farmerette, Better Seed \u2014 Better Crops)\n\n1. What Does the Farm Bureau Mean to Me? (The answer graphically told) (XXIII)\n2. The advent of the farmerette (151)\n3. Certified Seed and the crop improvement association (The story of how they strive to increase production by growing and distributing pedigreed seed) (144)\n4. Bill Jones's return from the interstate club champions' camp at Sioux City, Iowa, and his tale to his chum (1)\nRecreational side of boys' and girls' club-champions encampment. (14, 4)\nBirds of a Feather (1) Advantages of poultry standardization as exemplified by the experience of Jim Buck and his neighbors. (144)\nBob Farnum's Ton Litter (2) Bob Farnum joins the Ton-Litter Club and produces 2,000 pounds of hogs from one litter of pigs in six months; the obstacles, how they were met, and some of the essentials in the hog business. (144)\nThe Brown Mouse (6) Herbert Quick's story on the screen, showing the value of correct instruction and preparation for youth whose future is \"down on the farm.\" (6)\nBuddy Jackson's Day (1) Many lessons of soil, fruits, crops, livestock, and dairying. Experimental work at State Colleges. (69)\nClub College Farm and Home (1) Short course for farm boy and girl club members at Washington State College and University of Idaho. (144)\nCo-operative Marketing in the United States (2) A general survey of co-operative marketing to provide an idea of the extent of business done by different marketing organizations.\n\nCo-operative Marketing - Pacific Coast Eggs (2) Methods followed by co-operative associations among egg producers.\n\nCorn Belt Derby (1) The evolution of corn husking in the United States, including an interstate contest; slow motion analyzes the action of husking champions.\n\nA Crop Worth Saving (4) A boys' and girls' club picture showing the organization of Four-H clubs and their various activities.\n\nDynamite - Concentrated Power (1) Farm uses of dynamite. The technique of using dynamite with precautions to be observed.\n\nDynamite - The Modern Ditch Digger (1) Blasting ditches for drainage and sanitary purposes. (46)\nErecting a Fence on Wood and Steel Posts: Self-explanatory.\n\nThe Family Goes to College: The annual farmer's encampment at Utah Agricultural College. July short course for farmers from all parts of the country.\n\nWhat Electricity Can Do in Making Farm Labor Less Arduous: Farm Progress. Fordson methods of diversified agriculture in contrast to the old-fashioned\u2014dramatized.\n\nPicturing Successful Farm Bureau Work, and State and National Agricultural Activities: Forward Farm Bureau.\n\nClearing of Cut-over Areas in Northwestern States: Use of dynamite for stumping and drainage work. From Forests to Farms.\n\nAn Automobile Tour by California Farm Bureau Leaders and County Agents under auspices of University of California: From Ranch to Ranch in California.\nCalifornia: Various farm and farm-home demonstration projects (144)\nThe Go-Getter: Human drama of regeneration of antiquated farms through installation of electrical labor-saving devices. (XXX, 37A, 154)\n\nFifth Edition\nAgriculture\nGROUP 13 (Continued) Rural Life and Farm Engineering\nThe Happier Way: Women of Pleasant View get in touch with labor-saving devices for household use. (37 A, 69, 144)\nThe High Road: Transformation of a little town to health and happiness. (XXXI)\nHome: Typical American farm homes in various parts of the country. Shows contrast in types and features certain homes of historic interest. (14 4)\n* The Home Demonstration Agent: Her work and its effects. Demonstration of home conveniences. Story Form. (144)\nHome Gardening: Proper methods for city and suburban vegetable gardening. (1)\nThe Homestead: Better farm management. (69)\nThe J.F. Deems farm, West Burlington, Iowa. Shows how this farm is operated with increased profit entirely without horses. (XXX, 72)\nThs Horseless Farm: The J.F. Deems farm, West Burlington, Iowa, shows how this farm is operated with increased profit entirely without horses. (XXX, 72)\nHusky Huskers: A picturization of the greatest farm sport \u2014 corn husking. Shows Illinois, Iowa and Nebraska State Contest of 1926 and World's Championship Contest held at Fremont, Nebraska. (69)\nIn the Wake of the Storm: A picture story of how modern equipment brought first aid to a storm-swept area. (XXX, 72)\nJohn Doe's Cotton and Yours: Emphasizing the desirability of planting selected cottonseed; how a local supply of pure seed may be obtained by community organization. (144)\nJunior Livestock Show: Boys' and Girls' Clubs participate in annual show, touring several states. (61)\n[The Land of Promise: McCormick-Deering farm machines doing general farm work in Canada. (72)\nA Letter to Dad: William Jones, club champion writes home from interstate club champions camp at Sioux City, Iowa, and tells him many things he has learned. (144)\nMagic In It: Advantages of using a farm-accounting system that makes possible a yearly summary of the farm business. Motion-picture \"masric\" is used to emphasize the lesson taught. (144)\nMother Takes a Vacation: Depicting activities of Farm Women's Vacation Camps conducted by State Extension Services in the West. (144)\nNature Lovers' Rambles: Every nature lover finds something to admire in every step of a stroll on the farm. (37, 49, 112)\nOur Farm Bureau: Its value in rural life. (69)\nOut of the Shadows: Appearance of animal tuberculosis on Henry]\nBenton's farm and its communication to his daughter; the clean-up of the farm and restoration of the daughter's health. (144)\n\nPoor Mrs. Jones! The vicissitudes of a farm woman who seeks a rest by visiting her sister in the city, who lives in a two-room-and-kitchenette flat. Lesson in appreciation of the advantages of country life. (144)\n\nThe Power Farmer (1) Points out the innumerable ways in which modern power machinery saves labor for the farmer. (XXX, 72)\n\nRed Wing Experimental Electric Line (3) Before and after the farmer uses electricity and how electricity can be used on the farm. (109)\n\nThe Short Course (1) Routine work of a number of boys' and girls' clubs in annual Short Course at Baton Rouge; activities of a thousand boys and girls from all parts of Louisiana. (144)\n\nShould I Buy a Tractor? (1) The tractor question, pro and con. (1)\n[Sentenced as (3) to enable the individual farmer to answer the question for himself.\n(3) Times Do Change: Visualizes the distinct advantages of cooperative organizations in rural life.\n(XXIII) Touring with the Grangers: Historic and scenic places observed by a Middle West farmer who joined an automobile tour organized under the auspices of the National Grange. Designed to show the possibilities of an organized vacation tour.\n(144) Tractor Farming: Methods used by present-day farmers in working a modern farm.\n(1) The Triumph of Tractor Power: General farm operations in which is featured the Farmall tractor.\n(1) Turn on the Water!: The danger of impure water on the farm; good and bad water supply systems, with examples of both kinds; how to install inexpensive systems.\n(14) Uncovering Earth's Riches: A spectacular picture-story of clearing land]\n\nCo-op organizations' advantages in rural life.\n(3) Times Do Change illustrates the unique benefits of cooperatives in rural life.\n\nA Middle West farmer's observations of historic and scenic places on an automobile tour organized by the National Grange.\n(144) Touring with the Grangers: Showcasing the possibilities of an organized vacation tour.\n\nModern farming methods.\n(1) Tractor Farming.\n\nGeneral farm operations featuring the Farmall tractor.\n(1) The Triumph of Tractor Power.\n\nImpure water on the farm and the importance of good water supply systems. Examples of both kinds and how to install inexpensive systems.\n(1) Turn on the Water!\n\nClearing land in a spectacular picture-story.\n(14) Uncovering Earth's Riches.\nGroup 13 (Continued) Rural Life and Farm Engineering The Yoke of the Past Pictorial record of a century of progress in agriculture. Implements of the past contrasted with modern machinery.\n\nGroup 14 Forestry and Forest Conservation The Cost of Carelessness (1) Lesson to campers. Prevent devastating forest fires.\n\nDeforestation and Reforestation (1) A forest fire burning off thousands of acres of timber calls attention to the necessity for reforestation. Planting and cultivation of young trees for waste lands.\n\nFire \u2014 The Prairie Demon (%) Common menace to the early settlers of the great \"open spaces\" of the West; scenes showing the attending damages and dangers.\n\nForest and Everyday Things (1) Few realize how intimately forest products are connected with our everyday life.\nForests and Water Supply (49) The forest's influence on water supply. (144)\n\nForests: Green or Gray (1) National forest uses, including recreational uses; protecting forests for campers, trampers, and tourists. (144)\n\nForestry in the Sandhills (1) Transformation of Nebraska's sandhills region into a thriving young forest; all operations involved in creating a \"man-made forest.\" (144)\n\nThe Forest Ranger's Job (1) A day in the life of a forest guardian. (144)\n\nForest Resources (1) Part of the series: The United States, a Ten Talent Nation. (23)\n\nFuture Forest Giants (1) Reforestation on the National Forests. (144)\n\nGood Turns for Our Forests (1) How the Boy Scouts of America help forests. (144)\nDoing their bit for forest conservation through an organized campaign to prevent forest fires. The Great Outdoors: Saving the Forests during touring (a composite reel on camping and camp accessories). Harvesting Uncle Sam's Timber: Disposal of mature timber in the national forests \u2013 how the Forest Service supervises logging operations to ensure forest perpetuation. Marking Timber: The fundamentals of timber marking, using western yellow pine in the Black Hills as an example. Pines for Profit: Reforestation in the Coastal Plain areas of the Southeastern States. What kinds of lands to devote to tree growing, how to get seed, nursery practices, and planting young trees. Pines \u2013 from Seed to Sawmill: The rapidly disappearing pine forests.\nPines That Come Back: How timber will give a profitable return on farm lands not suitable for field crops; good forestry practices; and uses of timber.\n\nRed Enemy: The story of a tree which had stood the test of time, and was finally destroyed by Red Enemy, caused by a careless rancher; a camping party trapped in the burning forest and their escape; industries depending on our national forests.\n\nTrees of Righteousness: To be used in abating the evil of \"woods burning\" particularly in the Ozark region. Efforts of a mountain preacher to convince his flock that \"woods burning\" ruins pasture and eventually destroys the forest.\n\nTrees of To-Morrow: Problem of preventing an agricultural and industrial depression, due to an inevitable timber famine.\nWhat the Forest Means to You (2)\nDesigned to set forth the dependence of mankind on the forest and the evils that follow in the wake of total destruction of forest cover. (144)\n\nWhite Pine \u2013 A Paying Crop for Idle Lands (1)\nReforestation of cut-over lands with white pine, field planting, and nursery practice. (144)\n\nFifth Edition\nAGRICULTURE\nSOILS AND SOIL CONSERVATION\nGROUP 15 Soils and Soil Conservation\nAmerica \u2013 Garden with a Protected Soil (1)\nThe conservation of natural America \u2013 The Storehouse of the World (1)\nOur land, the granary that assures the world against famine. (66A)\n\nAncestry and Classification of Soil (1)\nOne of the series \u2013 The United States, a Ten Talent Nation. (23)\n\nAnchored Acres (1)\nSoil erosion damage and approved modern engineering practices for overcoming this evil. Brush and soil saving dams, terracing, and crop rotation. (144)\nLimestone for Ailing Clover: A county agent gives soil the \"acid\" test, finds it \"sour,\" and prescribes limestone. Practical demonstration of using limestone in the midwest. (144)\n\nPay Dirt: An argument for judicious use of fertilizers in keeping fine soils up to their maximum yield. (73)\n\nSoil Conservation: One of the series \u2014 The United States, a Ten Talent Nation. (23) (See also Groups 48-9)\n\nGroup 16: Irrigation\nCalifornia Gold: From a wilderness to 60,000 acres of oats, wheat, barley, alfalfa, beets, potatoes, within a decade. (69, 156)\n\nIrrigation: Utilization of natural reservoirs for distribution of waters to parched lands. (49)\n\nIrrigation: A visual story of the results of irrigation on arid wastes. For sale only. (58)\n\nIrrigation in Montana: Self-explanatory. (61)\n\nMaking the Desert Blossom: Describing operations of the Bureau of Reclamation. (1)\nReclaiming Arid Lands by Irrigation: The Need for Irrigation in Our Arid West; the areas reclaimed by various private and public enterprises; the methods the farmer employs to irrigate his fields; some of the great dams and reservoirs. (134)\n\nThe Roosevelt Dam: Converting the arid desert to fertile farms. (XXX)\nThrough Shoshone Valley: The greatest irrigation plant in the world. (28)\n\nThe Historical Charts of\nThe Literatures\nBy Nelson L. Greene, A.M. (Princeton)\n\nOne of the oldest \"Visual Aids\"; continuously in demand since their first appearance in 1912; pronounced invaluable by scores of libraries for bulletin-board reference, by hundreds of Schools and Colleges for class use, by thousands of general readers for constant personal reference.\n\nEnglish, American, French, German.\nSet of 4 charts, one of each, $1.50 (Subscribers to The Educational Screen receive one third off these prices) Send for circular showing photographic miniature of each Chart \u2014 Free PUBLISHED BY THE EDUCATIONAL SCREEN 5 South Wabash Avenue, Chicago\n\nAdvertisement\n\nA New Manual for Teachers \"Fundamentals in Visual Instruction\" By William H. Johnson, Ph. D. (The University of Chicago) Principal of Webster School, Chicago\n\nThis volume presents, for the first time, a resume of visual education to date, in thoroughly readable form, that is at the same time Concise, Comprehensive, Authoritative. Dr. Johnson covers the outstanding results of research on this field, the various types of visual aids available.\nmethods for using each, along with suggestions for visual aids in the teaching of specific subjects, and clear-cut exposition of what should and should not be attempted by visual methods. This book is a stimulus and a time-saver for the progressive but busy teacher.\n\nArt, Music and Architecture\nFifth Edition\n\n1. Beethoven's Moonlight Sonata\nThe story of the little blind girl and how Beethoven came to compose his sonata, told in picture form.\nThe Blue Boy\nThe second Romance Production, photographed by Technicolor Process. Inspired by the painting of the same name by Sir Thomas Gainsborough. (VI, 42)\n\n1. The Dawn of Art\nThe advancement of Art through the ages.\nThe Etcher and His Art, a complete demonstration of etchings. The Evolution of a Poster: an art of lithography shown in various processes. Famous Melody Series, one each: charming screen stories based on songs of various lands - Ireland, Scotland, England, the Northern States, Central Europe, Spain, France, Italy. Famous Music Masters Series, twelve reels: each reel an incident from the life of a great composer. In a Sculptor's Studio, how a sculptor works from first sketch to finished marble. Koko Song Cartoon, Max Fleischer has succeeded in inducing community singing. Balls dance to notes of the score and to proper words. Old-time songs constitute the repertoire. Last Rose of Summer, Tom Moore's immortal masterpiece picturized.\nThe Life of Christ (1) A tabloid presentation in tinted colors of the master paintings of Christ. (XXI, 3)\nThe Mona Lisa (2) The third Romance Production, photographed by Technicolor Process and inspired by Leonardo da Vinci's immortal painting. (VI)\nTemples and Palaces of India (1) Tells the history of the people from India's architecture. (151)\nThe Vision (2) A dramatic subject inspired by Sir John Everett Millais' painting \"Speak! Speak!\", photographed by Technicolor Process. Received the Reisenfeld Gold Medal for 1926, awarded each year to the outstanding Short Feature of the year. First Romance production. (VI)\nWindows of Art (1/4) Development of stained-glass window. (22)\nWith Pencil, Brush, and Chisel (1) Emil Fuchs as painter, sculptor, and etcher. Excellent art study, both entertaining and instructive. (IX)\nAstronomy\nGroup 18: Astronomy\nCharting the Skies: Scenes at Aerological Station, U.S. Weather Bureau, Drexel, Nev., demonstrating how big kites are used for ascertaining atmospheric conditions. (4) Comets: Formation and behavior. Indication of Halley's comet's course. (22, 112) Communing with the Heavens: An explanation of this little-known and understood science by Canada's astronomers in a non-technical way. (XXX) Days and Nights: Clear definition of causes. (71) Earth and Moon: Phenomena connected with earth and moon; different phases of moon and eclipse of sun and moon. (49) The Earth and Worlds Beyond: Summary of the cycles of day and night and of the seasons. Views of the sun, stars, and planets, taken through the largest telescope in existence. (XXI, 49, 134)\n[The Eclipse of the Sun (22, 49) - Picture of total solar eclipse combining animated drawings with actual photography.\nThe Eclipse of 1925 (1) - Every phase of the total eclipse of the sun of 1925 is shown. Made under the supervision of The Scientific American. (XVI)\nEvolution of the Solar System (1) - The beginning of everything \u2014 the evolution of a solar system from nebula. (49)\nHeavens Above (1) - A scientific exposition of the movements of the earth and stars. (66A)\n28 ASTRONOMY \"1000 and One\"\nGROUP 18 (Continued) - Astronomy\nThe Eclipse of the Sun: Every phase of the total solar eclipse of 1925 is depicted in this image, which combines animated drawings with actual photography. (XVI)\nEvolution of the Solar System: This piece explores the origins of a solar system from a nebula. (1)\nHeavens Above: A scientific exploration of the movements of the earth and stars. (66A)\nHello Mars: Illustrations of theories by Perrider, Peckering, Wood, and Flammarion on possible ways to signal Mars, using animated technical drawings and actual lunar photography. (66A)\nIf We Lived on the Moon: Technical drawings and lunar photography depict the conditions scientists believe to exist on the moon's surface.]\nMilky Way (1) Displaying universe and millions of stars beyond. (66 A)\nRomance of the Planets (1) Animated drawings and models demonstrate the nebular hypothesis. Ideas of astronomers for interplanetary communication. Planetary motion explained. (22)\nRomance of the Skies (1) A study of the course of comets, eclipses and other phenomena of the heavens. (22)\nThe Solar System (1) The comparative sizes of the planets in the solar system and their distances from the sun. The relation of the moon to the earth. Tides and the Moon (1) Moon's effect on the sea, the influence on tides, etc. Technical drawings and actual photography. (2.2, 66 A)\nZones (1) Reasons for establishment of the tropics of Cancer and Capricorn, and boundary lines of various zones indicated. (71)\n\nBiography (Group 19)\nBiographical studies of:\nBenjamin Franklin, from boyhood to his life in Philadelphia, where he helped establish its institutions. Worth showing.\nAlexander Hamilton, with particular attention to some of its most dramatic moments in his life.\nThomas Jefferson, leader of Democracy.\nAbraham Lincoln, summarizing his life and career.\nGeorge Washington, who sacrificed wealth, social position, and home to become the leader of a great ideal.\nDaniel Webster, America's greatest orator.\nLuther Burbank, biographical sketch of this famous naturalist surrounded by his garden, and an experiment in crossing of plants.\nA Day with John Burroughs: The great naturalist shows the wonders of nature around his home in Ulster County, New York. (1) \"Natural in a Naturalist's Garden\": John Burroughs in his garden at Riverby. (1) Over the Hills to Plymouth: President Coolidge. (1) The Benefactor: Life of Edison, told in interesting episodes from age five to present. (3) Thomas A. Edison: His visit to General Electric Laboratory. Methods of making the incandescent lamp. (3) Heart of a Hero: An impressive visualization of the life of Nathan Hale. (7) Helen Keller: A biographic study. (77) Abraham Lincoln: Finest delineation of the real Lincoln that stage or screen has produced. Utterly sincere in representing the private and public life of our great statesman. Realistic scenes of Civil War action. George Billings in the part of Lincoln. (IH)\nAbraham Lincoln: Two episodes from his life. - \"Life of Lincoln\": Struggles in his boyhood, law profession, political career in the White House, and death. (Chapters: 69, 156)\n- \"The Son of Democracy\": Ten chapters, two reels each. Written, directed, and produced by Benjamin Chapin, who plays the Lincoln role.\n- \"My Mother\": The gentle influence, loving companionship of Nancy. (Two episodes)\n- \"My Father\": Shows the vital importance of an education. (Two episodes)\n\nFifth Edition\nBIOGRAPHY\n\nGroup 19 (Continued) BIOGRAPHY\n- \"The Call to Arms\": The Lincoln family in the White House. Significant treatment of Lincoln's problem when confronted with...\n- \"My First Jury\": Defense of a little colored boy accused of stealing a chicken. (Two episodes)\n- \"Tender Memories\": Seeing a soldier's grave brings tender memories. (Two episodes)\nA President's Answer: Lincoln's love for his native state decides wavering legislature; reveals The Great Emancipator.\nThe Story of President Lincoln and Daniel Boone's grandson.\nUnder the Stars: Lincoln's love for his native state. Brings before us The Great Emancipator.\nThe Slave Auction: Incident of the auction block and Lincoln's contest with slave-stealing gang on the Mississippi.\nThe Land of Opportunity: Moving incident in Lincoln's life.\nRalph Ince: \"Honest Abe\" running for Congress.\nPasteur: Authentic film record of life of this great bacteriologist.\nReal Roosevelt: Scenes from his life. Roosevelt in action.\nIn Roosevelt's Land: Brief film biography. (112)\nMemorializing Roosevelt: Title tells it. (XXX)\n[T. R. - Life of Roosevelt: Delivery of inaugural address, with Peace Delegates at Portsmouth, receiving Nobel Peace Prize at Christiana and other incidents. (XXX)\nOur Heritage of Faith: Thrilling story of the heroic life of the great American Missionary, Marcus Whitman. (XVI)\nCradle of Washington: Shows the birthplace and ancestral homes of Washington's forefathers in England. American pictures include views of Mt. Vernon. Also shows the ancestral homes of the Benjamin Franklin family. (XVII)\nWilliam Shakespeare: Interesting scenes associated with the five important facts known about Shakespeare. (23)\nWilliam Tell: Story of his life. (112)\nLife of Richard Wagner: Self-explanatory. (112)\nThe Spirit of Lafayette: The life history of the Marquis de Lafayette (6)]\nAnd his struggle to help America during the Revolutionary War.\n\nChemistry Group 20 Chemistry\nBeyond the Microscope (1) Decomposition of water into its two gases; how the gases burn and assist combustion. How the molecules act in heat and cold. (X)\nChemical Inspirations (1/4) Photomicroscopy of chemicals and animated drawings produce novel effects. (22)\nThe Chemistry of Combustion (1) Numerous experiments in combustion.\nCrystals and Their Beauties (1) Microscopic formations of various crystals by chemical and electrical means. (XXI)\nExperiments with Sulphur (1) Experiment showing its uses chemically and commercially. (151)\nOxygen the Wonder Worker (2) How liquid air is made; why oxygen can be extracted from air; how acetylene is made; how both gases are used in modern industry. (XXX, 1, 142)\nThe Story of the Lucifer Match (1) The history of fire lighters.\nCivics and Patriotism (Group 21)\nCivics: Series of 13 one-reel lessons: Twentieth Century Pilgrims (Part 1 and Part 2), American Ideals, Service, Obedience, Thrift, Physical and Mental Fitness, School Beautiful, School Discipline, School Industries, Serving the Community (Part 1 and Part 2), America Junior (2)\nBetsy Ross (5): The sprightly Quakeress who, at Washington's personal request, made the first American flag.\nBritish Strike (2): First general strike in history. Statistical facts. Causes and results.\nA Citizen and His Government (2): A splendid introduction to the study.\nCivics and Education: The relationship of the fundamentals of education to citizenship. \"Father Knickerbocker's Children\": Lives of children in New York City from every race and land. Glorifying Old Glory: Authentic manner of displaying the flag. Brief history of the flag and illustrations of flag code. Growth of Cities and Their Problems: Common problems attending the growth of communities from small towns to thriving cities, and solutions. \"Hats Off!\" A Story of the Flag: Review of the past history of the flag. A lesson in flag etiquette. Hearts of Men: George Beban in the story of an Italian immigrant's struggle for success in this country. \"Hats Off!\" (1), \"Hearts of Men\" (56). \"Father Knickerbocker's Children\" (134). Glorifying Old Glory (42). Growth of Cities and Their Problems (1). Civics (42, 134). \"Hats Off!\" (42, 49, 134). \"Father Knickerbocker's Children\" (1). \"Father Knickerbocker's Children\" (37A).\nHow to Beautify Your Community (2) Transformation of \"Slidertown\" to South Park in Dayton, Ohio. Practical steps for any community. (99)\n\nTopic: Immigration (1)\nThe people who come to the United States; how they enter, what they do, and the kind of citizens they make. (XXI)\n\n1. Immigration to the United States (1)\nThe important \"waves\" of immigration and the causes behind each. European background of the immigrant. Contribitions immigrants have made to the foundation and development of U.S. (134)\n\nTopic: The Making of an American (1)\nEducating our foreign-born population in the spirit of American institutions. (28)\n\nTopic: Old Glory (1)\nThe \"story of the starry banner of our country\" done in dignified and beautiful fashion. Scenes in Prisma color, supplemented by pastel paintings. (IV, XX, 56, 156)\nPeter Points the Way (6) - Americanization film: The Story of the Star-Spangled Banner (1) - Shows history and circumstances under which Francis Scott Key wrote the song. Yanks (1) - A human study in Americanization.\n\nDomestic Science (22)\nGroup 22 - Domestic Science\nFamiliar Foods from Foreign Lands (1) - Interesting \"Life History\" of everyday foods that come to us from the far ends of the earth.\nThe ABC of Fish Cookery (1) - Self-explanatory.\nA Lesson in Cooking - How to Make an Omelette (1) - Use of the chafing dish. Now being used in city schools of New York and Los Angeles.\nOranges - How to Use Them (1) - Preparation and service of several orange and lemon dishes; shows California orange grove and packing scenes.\nHints to Housewives (7 subjects)\nButter Substitutes (4) - How fat drippings may be clarified and utilized in cooking. (22)\nEgg Preservation: Shows how solution of waterglass will preserve eggs for six months.\nFifth Edition Domestic Science 22 (Continued)\nThe Food Value of Milk\nPreparation of dishes having milk as their base\nIceless Refrigerator: Demonstration of how refrigeration can be accomplished without ice.\nMeatless Meat Loaf: How to make a nourishing and appetizing substitute for meat.\nSoap Making: How fat drippings may be utilized.\nFlour from Potatoes: Home method of making potato flour.\nBaking Better Bread: Educating young girls and housewives to make better bread.\nThe Staff of Life: History of bread baking: by primitive methods in colonial kitchen; process in modern bakery.\nThe Talk of the Town: Advertising Town Talk's bread-making processes in a modern bakery. The Leavener of Life: Baking powder manufacturing. Of interest to school classes, women's clubs, and community groups. The Modern Conservation of Fruits and Vegetables: Fruit and vegetable dehydration. The Magic Jar: History and demonstrations of canning, in cooperation with the Farm Bureau. General Germ's Waterloo: A comedy about defeating germs attacking preserves. Lessons in Carving: Chef demonstrates each carving operation. The Duck, The Ham, The Roast of Beef, The Turkey: Fashions of New England: Evolution of New England style from its early days.\nA Matter of Form: A home demonstration agent assists women of Pleasant View Community in doing their own sewing, including making dress forms. (102)\nClothes and The Girl: The sewing machine solves the problem. (1)\nLaundering Fine Fabrics: The art of washing fine fabrics. Useful for domestic science classes and women's clubs. (XXX)\nThe Consolation Club: Outgrown household appliances from former days now superseded by modern electrical appliances. (XXIX)\nDon't Cheat Yourself: The Department of Weights and Measures provides a practical demonstration for a housewife on methods employed by unscrupulous merchants. (22)\nMrs. Brown Versus the High Cost of Living: One woman's strategies for making her household budget cover every day's requirements, with suggestions for food selection and preparation. (1, 37A, 134)\nStreet and Table Manners (1) Proper behavior on the street and at the Social and Ballroom Etiquette (1) The proper behavior in a public ballroom.\n\nAll in a Day's Work (2) The normal activities of a business day in a great manufacturing company's most important distributing house. (XXX)\n\nBanking in New England (1) Machinery of a modern bank. (102)\n\nCheckmated (2) Protection of money from early coins to the present day, including bank checks. Consists largely of animated cartoon. Closes with a cartoon on Thrift. (21)\n\nThe Federal Reserve System (1) Animated drawings and motion pictures, partly colored, illustrate functions and operations of the Federal Reserve Banks. (XXX)\n\nMen and Management (3) The principles of visual instruction as applied to the elimination of waste in industry. (99)\n[1] Daily routine of bank business. Money Talks: Tells the story of a mortgage and of Prudence \"mortgage economics\". Economics. [CROUP 23] Putting the \"Win\" in Windows: Lessons in handling crepe paper for decorations, particularly as applied to window display backgrounds. Story of the Savings Bankbook: Lesson of thrift in romance of two young people who found security in a bank account. A Trip to Wall Street: A day's work in the world's greatest financial market. The New York Stock Exchange. [153] Under the Spreading Button wood Tree: Historical sketch of the New York Stock Exchange, and description of its workings. Waste Can't Win: The things that hold back production in a factory and how to eliminate them.\n\nEducational Activities.\nGroup 24 Educational Activities\nChalk Marks (7) Romance: What the American School Teacher Has Contributed to the Making of the Nation. (19)\nChina Goes to Borneo New methods in Chinese schools, the influence of the Occident on their educational methods. The march of civilization. (1)\nDemocracy in Education A story of the foundation upon which our national government is based \u2014 educating its future citizens. For sale only. (1)\nDawn in Lonesome Hollow Struggle of two youths of the foothill district of Kentucky for an education at Berea College; their return to their rural district to improve conditions. (134)\nEyes of the Blind Industrial and educational work among the blind at the Ming Sam School, Canton, China. (37A)\nFrom Jacques to Johnnie Letter from a French child to the school child. (1)\n[The Descendants of America, (134) Describes the home and school life of French children, agricultural methods, equipment and some of the customs of the people of France.\nThe Gates of Opportunity, (3) An appeal to non-English speaking foreign-born. Explains simple and accessible ways of learning English. Shows resulting opportunities.\nGolden Schooldays, (2) A rural story, concerning a boy who found little to interest him in the antiquated, one-room, country school; awakened interest as a pupil of the new consolidated school.\nHenry Ford Trade School, (4) Shows the activities of the school \u2014 how the boys earn a livelihood, receive an education and learn a practical trade.\nA Machine that Thinks, (22) Graphic history of bookkeeping, particularly a demonstration of modern adding machine.\nOrigin and Development of Handwriting, (1) Self-explanatory.]\nSchool Days (1) How the consolidated school and the motor bus have made it possible for the child in the rural sections to enjoy every educational advantage of the city youth. (XXX, 72)\n\nSchool Police System (1) Emphasizing safety for school children. Very fine for any school to run. (121, 128)\n\nSchooling the Senses (1) New method of school instruction. (151)\n\nA Trip to Musicland (2) The efficacy of the Dunning method of teaching music. (XXX)\n\nTwenty Centuries of Shorthand (1) From the days of picture writing to its use in modern business. Some famous Americans who used shorthand and champion speed writers at work. (XXX)\n\nThe University of the Night (2) Presents in animated cartoon the need for and value of home-study and shows the scope and influence of the work of the greatest correspondence schools. (21)\nVocational Training for Blind Soldiers\nTeaching trades to the sightless at \"Evergreen,\" Baltimore, Md. (Red Cross film)\n\nVocational Guidance\nSeries of 9 one-reel lessons in: The Farmer, The Machine Operator, The Automobile Mechanic, Architect and Engineer, The Doctor, The Salesman, The Stenographer, The Musician, The Department Store Manager. (10 5 A)\nFifth Edition\n\nGeography\nSeries of 9 one-reel lessons in: People Who Live in the Arctic, People Who Live on the Equator, People Who Live on the Mountains, People Who Live by the Sea, People Who Live on the Plains, People Who Live in a Great Valley, People Who Live on Plateaus, People Who Live in the Desert, People Who Live through Industries. (10 5 A)\n\nGEOGRAPHY\n\nGeography\nSeries of 9 one-reel lessons in: People Who Live in the Arctic, People Who Live on the Equator, People Who Live on Mountains, People Who Live by the Sea, People Who Live on the Plains, People Who Live in a Great Valley, People Who Live on Plateaus, People Who Live in the Desert, People Who Live through Industries.\n\nGroup 25 Africa\nNorthern Africa\n***Agerla, the Ancient Arabs of the Sahara living as they did centuries ago.\n\"The new and old cities of Algiers, Ancient Rome in Africa: Timgad, El Digem and Carthage, Scenes of camel trains: herding of caravans; evening prayer in the Garden of Allah, Dancing girls of a famous tribe in Algeria, Life in the Sahara: Arab mode of living in the Desert, including date harvest and Arab Fantasia, One Thousand and One Nights in this mysterious country, Morocco: astounding revelation of the customs\"\nOccupations of the people of Fez. Mosques and Minarets Scenes of interest in Constantine and Tunis. Oases of the Sahara Scenic gem, devoted to the desert and its people. Caravans, oases, market day in an Arab city and the primitive method of drawing water from desert wells. Prizma color. Admirable for classroom use.\n\nThe Sacred City of the Desert Oasis vegetation and various views in and around a desert city, said to have been built centuries ago by a tribe which found refuge there. Prizma color.\n\nWandering Tribes of the Sahara A unique annual occasion among the Israelites of the Desert.\n\nGROUP 26 Egypt\nCalling on the Sphinx The Great Pyramid of Cheops; the Second Pyramid; surprising aspects of the Sphinx. Prizma color.\n[Cosmopolitan Cairo, The Delta of the Nile, The River Nile, Group 27, African Expedition Pictures, The Cape of Good Hope, The impi (Native warriors of the Swazi), Life in Africa, Royal Family of Swaziland]\n\nCosmopolitan Cairo: Where modern progress mingles with the past\nThe Delta of the Nile: River life on the Nile (151)\nThe River Nile: Self-explanatory (IX)\nAfrican Expedition Pictures: Series of single reel subjects photographed in unexplored Central and Southern Africa. Prizma color. (56)\nThe Cape of Good Hope: Record of events and landmarks dealing with the life of Cecil Rhodes; Capetown and Table Mountain. All in Prizma color.\nThe impi (Native warriors of the Swazi): In combat and at drill. Prizma color. (XX)\nLife in Africa: In Kouroussa, a Black village, and the town of Casablanca. On the Trek (South Africa) and its natives. Prizma color. (XX)\nRoyal Family of Swaziland: Life in the lone surviving royal family of South Africa. Prizma color. (XX)\nTip of the Dark Continent (1) Cape Colonv, Africa \u2014 scenes and people.\nWilds of British South Africa (1) Wild animal life of the jungles taken at their water holes. (XXI)\n\nGROUP 28 ASIA China\nChina (1) A \"natural color\" tour along some of China's rivers and crowded city streets. Views of the famous Summer Palace and the Temple. China Today\u2014 Seeing China by the Y. W. C. A. (4) Travelogue, showing most beautiful parts of the Orient. Manners and customs of the country. (XXXI)\n\nA City That Never Sleeps (1) Complete account of life, manners and customs in and about Canton. (22)\n***The Coolie (1) Man-power transportation in the Chinese cities, especially along waterfront in Chinese ports. Intensely interesting document of conditions of life in the densely-populated Orient. (IV, 28, 3S)\nThe Island of the Mist: City and people of Victoria, Hong Kong.\nThe Land of Chu Chin Chow: China \u2014 a land of scholarship and art, superstition and misery.\nA Land of Eternal Summer: The story of life in Hong Kong. Trip on the Cable Railway which gives a beautiful view of Hong Kong Harbor.\nOld Buddha's Maze: Historical ruins of old China. Life in medieval China.\nPaths of Glory: The tombs of ancient emperors in old China.\nQuaint Customs of China: Intimate scenes of family life and old established customs of the land.\nShanghai: A tour of China's great sea port down to Singapore; shows Unknown China. From Shanghai to Peking with glimpses of the cities and country en route.\nGroup 29: India and Ceylon\nCity Life in India: Mohammedan and Hindu village. Life and festivals.\n[Fakirs and Temples of India, Indian Architecture, Pageantry of India, Group 30 Japan]\n\nFakirs and Temples of India: A study of India with its religious fakirs and their ceremonies; India's temples and customs. Views of the ruins of famous temples hewn from solid rock of the mountain sides ages old.\n\nIndian Architecture: Temples and palaces of India.\n\nIndia's Three Hundred Million: Mohammedan and Hindu village life and festivals.\n\nPageantry of India: A revel in Oriental gorgeousness. The life of the people and of the Rajahs. [See also Groups 135-6]\n\nGroup 30 Japan:\nFishing at Otsu: Japanese fishing as carried on for centuries; life of the fisher-folk; done in Prizma color. [IV, XX, 28]\n\nIn Sunrise Land \u2013 A Trip Through Japan with the Y.W.C.A.: Travelogue; manners and customs of Japanese people; beauty spots of the country. [XXXI]\nJapan: Scenic and industrial study of the country with Fujiyama beautifully pictured in Prizma color (IV, XX, 28, 156)\nJapan: The Garden of the East, showcasing Japan's natural beauty (151)\nJapan: Travelogue in Kelley color, depicting the \"Flowery Kingdom\" in a miscellany of scenes (23, 112, 156)\nJapan and Her Chief Industries: Detailed exploration of silk, broom, parasol, tea, and other industries (XXI)\nNippon: Interior Japan with primitive lumbering and fishing industries. Boys' Festival (XX)\nA Trip through Japan: Unusual scenes in the land of the Mikado and the country about Fujiyama (XX)\n(See also Groups 76, 134)\n\nGroup 31: Palestine\nAt the Wailing Wall: Devout, steadfast, and proud Jewish people offering up their prayers at \"The Wailing Wall\" in Jerusalem, sacred and interwoven with the traditions of the Jewish race (69)\nBeyond the Jordan: The beautiful Jordan River and Holy Land surroundings. (156) fifth edition, Geography, Group 31 (Continued), Asia, Palestine, The Cradle of Christianity: A travel through the Holy Land visiting places made famous by the life and teachings of Christ. (XXI) Daily Life in Modern Jerusalem: Habits and occupations of the races in this part of East. (151) Down to Damascus: Variety of scenes \u2014 trains of camels, black tents of Bedouins, oxen plowing, weaving, metal art work. (IX) Down to Jericho: Picturing the Plains of Jordan, the Dead Sea, Moab and Mt. Nebo. (156) The Holy Land: Scenes in Jerusalem and Mount of Olives today. (1) Jerusalem, the Holy City: A beautiful scenic of the Holy City. (66A)\nJerusalem: Walls of Jerusalem and various gates of the city. Plowing as in ancient times.\nNazareth: The city, people and shrines. A series of 20 reels, each one showing places of interest in the land once the cradle of civilization \u2014 a country practically unchanged since Christ's time.\nBethlehem: The Birthplace of the Child Jesus. Scenes in and around the city.\nNazareth: The Boyhood Home of Jesus. Typical scenes of Bible times.\nThe Sea of Galilee: Scenes of Christ's early ministry.\nBethany in Judea: Scenes of Christ's later ministry.\nThe Garden of Gethsemane: Scenes of Christ's agony, betrayal and trial.\nVia Dolorosa: Scenes of Christ's Crucifixion, burial and ascension.\nJerusalem: Her walls and streets, primitive in appearance.\nIndustries and life of her cosmopolitan population. (XV)\nOld part of Jerusalem, where David had his capital and Solomon reigned. (XV)\nPlaces in Palestine visited by St. Paul. (XV)\nThe Temple Hill (1) Reminders of the splendor of Solomon's temple. (XV)\nAbraham, the Patriarch (1) Scenes of his travels through the lands of the Old Testament. (XV)\nThe Journey of the Israelites (1) Following them out of bondage from Egypt, to Mount Sinai. (XV)\nMount Sinai (1) Its association with Bible episodes. (XV)\nJoseph, the Ruler (1) The land which formed the background of the story of Joseph. (XV)\nThe Land of Samson (1) His birthplace and scenes of his life. (XV)\nSamaria (1) The land of the Gentiles between Judea and Galilee. (XV)\nMount Carmel (1) Scenes connected with the lives of Bible characters. (XV)\nLand of the Prophets: The actual spots where they once lived.\nVillage Life in Palestine: Homes, customs and industries which have remained the same from Bible times.\nBaalbek: The splendid ruins of a city long a center of religious strife.\nShiloh: The tomb of Joseph, Jacob's Well, and other interesting sites.\nSolomon's Temple: History of the holy site from the tented Tabernacle of the children of Israel and Temple of Solomon, down to present day.\nTommie in Palestine: Difficulties encountered by the British Troops in wresting the Holy Land from the Turks.\nTribal Life in Palestine: Customs of the Bedouins.\nVistas of the Holy Land: Sites of many Bible stories.\nThe Walls and Gates of Jerusalem: Panorama of the Holy City and near views of life about its many entrances.\nThe Wells of the Holy Land (I) Views of many Bible wells, around which centers much of the life in Palestine. (XVI)\n\nDon't overlook the summary of \"Film Estimates\" given on pages 108-112 of this volume.\n\nGEOGRAPHY\nGROUP 32 ASIA\nThe Lure of the South Seas (I) Singapore and the interior of the Straits Settlements showing vast rubber plantations and cocoanut farms. (IV)\nRuins of Angkor (I) Masterpieces of Brahman architecture in Indo-China ruins, in natural color. Ceremonies of Buddhist priests. (XX, 33, 56, 113)\nThe Golden Gate to Siberia (I) Life in Vladivostok. (151)\nKorea and Java (I) Merchant life in the East. (151)\n(See also Group 131)\n\nGROUP 33 AUSTRALASIA\nAustralia (III) Views of this country. (112)\nBeyond the Horizon (I) A trip to the Australian cities of Sydney and Melbourne. (151)\n[British Isles: The northwest coast of Ireland, the peat industry, native life, etc. (66A)\nBritish Castles: Brief glimpses of castles and royal palaces in England and Wales. (151)\nHistoric Shrines of England: Landmarks commemorating the years of Britain's early history. (23)\nCommercial London: The business section of London; East Side and West Side. (151)\nGood Old London: Taking in some of the notable sights of the city. (151)\nLiving London: Glimpses of highways between Waterloo Station and the Tower of London. (151)\nOfficial London: The spirit and historical background of London. (151)\nOld London: Views of famous places in the city proper. (28)\nA Letter from a Rubberneck in London: Waterloo, Regent Street.]\nBond Street and Westminster Abbey.\nSo This Is London: Street scenes, glimpses of the famous landmarks of the city and the Guard at St. James Palace. In Prizma color.\nRural England: Winding rivers, the moors, ancient castles, cattle-covered meadows, the farmers' quaint cottages and surroundings.\nA Palace of Kings: Hampton Court Palace, in Prizma color. Magnificent grounds and gardens.\nUp the River with Molly: Beautiful scenes along a quaint English river with Molly, a dog, and his master.\nTorquay: Gem city of South Devon, and the beautiful surrounding wells and cathedrals. Shows the venerable cathedral, the cloisters and beautiful interiors.\nScotland: Glasgow, Edinburgh and rural country.\nBonnie Scotland: The natives and country life in the Highlands and Lowlands.\nScotland: Notable sights in this charming land (151)\nSeeing Scotland: Different glimpses of Scotland by train, motor and car (151)\nThe Emerald Isle: Glimpses of a restful land (151)\nIreland: Variety of scenes (112)\nOn the River Conway: Beautiful views along the river Conway (1)\nFrance:\nApple-Blossom Time in Normandy (1): Beautiful scenes of town and country life along the Seine in Northwestern France; historic village of Falaise, birthplace of William the Conqueror (134)\nAn Artist's Paradise (1): Artist colony at Concarneau, France, and the old town itself (Prizma color) (XX)\nAuvergne (*4): Scenes about the French village; making of cheese (XX)\nBeautiful Riviera (1): Scenes in one of the beauty spots of the world\nBretons of the Sea (1): Tale of a fishing village of Brittany, showing sailors.\nChateaux of France: An artistic presentation of some castles for their beauty and historic significance. Moravian wedding.\n\nThe Coast of Brittany: Peaceful life of the people of historic Brittany; their observance of old Druid customs; their occupations \u2013 principally sardine fishing.\n\nCorsica, the Beautiful: Self-explanatory.\n\nFrance: Title tells it.\n\nGardens of Normandy: D'eauville and environs, in natural color.\n\nGateway to France: Camp Poutanzen, near Brest, the great training grounds of the AEF. Good film of recollections of World War.\n\nMarseilles: The beauties of Marseilles \u2013 the Cathedral of Notre Dame, wharves and other scenes.\nMarseilles: fishing colonies and an ostrich farm near Nice. Monte Carlo: Europe's famous resort. Paris: notable buildings, monuments, Paris: the tourist's paradise, famous thoroughfares of France. Unconquerable Paris: Paris in all its glory. Paris in Fifteen Minutes: life and scenes typical of Paris. Peasant Life in Central France: picturesque scenes of peasants' daily life, silk industry in Lyons. Quaint Rouen: old chateaux, town clock, tower, made famous by the Maid of Orleans. Refreshing Riviera: Europe's playground. Rheims: color scenes of the famous city of France and its cathedral.\nThe Romance of Northern France (2): Why Northern France has been Europe's battle-ground. Industries and products of its cities. Ruins of Rheims: This famous cathedral's destruction during the World War. Sightseeing in France: Ruins of Rheims, Palace of Versailles, Island of Corsica. A Stroll Through Strassburg: A city of quaint houses and quainter streets. A Trip Up the Seine: Interesting views along both sides of the river including the Cathedral of Notre Dame, government buildings, and markets. Trouville: The playground city with its Casino, bathing beach, and colorful throng. Prizma natural color (XX). Versailles, Palaces and Fountains: Its association with the past and present. Visiting Metz and Luxemburg: Becoming acquainted with the people in each city and the historical associations.\nWhen the Fishing Fleet Comes Home (1)\nWelcome to the simple fisher folk of the Coast of Britanny and the sturdy crews. (134)\n\nGroup 36 Germany\nIn Bavaria (1)\nA steamboat trip on Lake Starberg, spotless German towns, Strassburg. (66A)\n\nClimbing the Saxony Alps (1)\nA steamer trip and ascent of the mountain pinnacles. (151)\n\nMunich, the Magnificent (1)\nBuildings and points of interest. (151)\n\nA Trip to Bavaria (1)\nThrough the Bavarian towns, the largest of which is Munich. Principal streets and buildings; Old Heidelberg and other places of interest. (XXI)\n\nGroup 37 Europe Italy\nIn Italy (1)\nVariety of scenes \u2014 Carrarra mountains, quarries in the Alps, native villages, Lake Como in Lombardy, etc. (66 A)\nAlong the Riviera, the magnificent vista of \"The Azure Coast\"; handsome villas interspersed with Roman ruins and the Military Road traveled by Napoleon. The Buried City: the story of Pompeii's destruction. Naples and Vesuvius: contrasting the carefree Naples with the ever-deadly menace, Mt. Vesuvius. A Letter from Savino in Naples: its poverty and squalor, as well as its beauty. A Letter from Rome: the history of the city and some of its most famous historic spots. Venice and Verona: the twin cities of beautiful Italy. Venice: a scenic picture of the city of islands \u2014 Grand Canal, Bridge of Sighs, Church of St. Mark \u2014 and its harbor. Giuseppe in Venice: street and canal scenes of the beautiful city.\nThe life of Giuseppe, an Italian boy.\n\nJubilant Trieste\nTrieste soon after the armistice was signed.\n\nCathedral Towns of Italy\nArchitectural contrasts in church structures of Florence, Milan and Pisa.\n\nA Letter from Maria in Florence\nThe busy city streets; the river Arno spanned by graceful bridges; the old cathedrals and palaces.\n\nSicily\nSeeing an island of sunshine, blossoms and earthquakes.\n\nSleepy Old Tuscany\nRural life in Northern Italy.\n\nSurmounting Italy's Snow-clad Peaks\nWith the Italian Army in the World War.\n\nGROUP 38 Spain\nIn Sunny Spain\nThe cable railway, a castle in Spain, the city of Balboa, the bull ring at Madrid and some views of Catalonia.\n\nThe Queen City of Catalonia\nDepicting the life of the people of Barcelona.\nGranada and the Alhambra: Grandeur of Spanish Cities (1) The fishing industry, making pselta basket scoops, playing the game of pelota, lace-making, etc. (XXI)\n\nKing Alfonso's Busy Day (1) Revealing his interest in the everyday life of his people. (151)\n\nGroup 39: Switzerland\nAn Arctic Hike on the Great Aletsch Glacier (1) The greatest glacier outside of the Himalayas and the Arctic regions; the Marjelensee, a wonder lake filled with baby icebergs. (IV)\n\nFacing Death on the Blumlisalp (1) Parts of a glacier on the top of the Alps, cracking off and crashing into valleys miles below. (IV)\n\nThe Menace of the Alps (1) Ascending and descending perpendicular walls by means of ropes. Extremely hazardous and realistic mountaineering. (XXVII)\n\nPeasant Life in Switzerland (1) Study of rural occupations and the simple pleasures of rural life.\nmode of living of the Swiss. (XXI)\nQuaint Berne. (I) Picturesque scenes of the city. (IV)\nA Tramp Through the Alps. (III) The dangers encountered. Skiing, jumping, and beautiful mountain scenes add to value of film. (69)\nVillage Life in Switzerland. (I) Picturesque scenes of towns hidden in mountains and bordering lakes. (151)\nGROUP 40 General\nGibraltar. (I) Everyday life and historical associations. (151)\nFrom London to Paris by Air. (I) Views from a plane between London and Paris, showing cities, harbors and beautifully laid-out farms of France.\nFifth Edition\nGEOGRAPHY\nGROUP 40 (Continued) EUROPE General\n** Let's Go Fishing. (I) Humorous thread of story \u2014 scenes of Dutch life. (23)\n** Land of the Zuider Zee. (I) The island of Marken; Dutch canals and neat little houses on the canal banks, fishing boats and the picturesque windmills.\nBeside the Zuider Zee, little village of Volendam where natives maintain customs and quaint costumes of old Holland. A Visit to Sweden - A tour from Gothenburg into the interior of Sweden, ending with a visit to the home of the Laplanders. A Visit to Norway - Everyday life of Norwegian people, their large herds of reindeer, the snowcapped peaks and winter sports. Norway - In Winter and in Summer - Fascinations of Norway in these seasons. Amid Archangel Snows - Ships plowing through frozen waters of the White Sea. Seal hunting, Eskimo dog teams. Scenes of domestic life. Russia in the Czar's Time - Glimpses of Russia under the imperial regime. Amid Poland's Harvest Skies - Polish peasant life and their quaint garb. Holiday festivities of harvest season.\nCzechoslovakia:\n1. Fine views of old Christian churches, the great palace, Cathedral of St. Vitus and procession of the twelve apostles in Prague. (151)\n2. Character studies and customs in Bohemia. (1) Farming, cattle and crops in Czechoslovakia; villagers at work and play. (69)\n3. Costumes and scenic bits in The Gateway to the Black Seas. (151)\n4. Scenic views of beautiful Balkan States; Montenegro and ancient citadel of Athens. (134)\n5. Life and customs in Montenegro. (XX)\n6. A day with the Roumanian gypsies. (151)\nCities and customs of Albania, Picturesque Roumania: acquaints one with the country and people, native handicrafts and problems.\n\nAlaskan Adventures: remarkable scenic record of Alaskan wonders, filmed during a year and a half of wanderings, much in unknown territory. (XV)\nAlaskan Revelations: glacial beauties of the North, birth of an iceberg, vegetation of the glacial regions, and vast Alaskan icefields. (28)\nNavigating the Yukon: trip up Yukon River; characteristic river craft and views of icebergs and glaciers. (22)\nHeart of Alaska: story description of interior Alaska. (37A, 42)\nAlaska: complete story of the country. (112) (See also Groups 43, 52)\n\nCanada: early history and development. Shows wheat belt, forest regions. (2)\nRegion of Romance, Highlands of Ontario, Canada:\n\n1. Belt, Klondike region, Arctic section: Railroad extension and historical background.\n2. Down by the Sea: Nova Scotia's picturesque south shore.\n3. Canada's Cosy Corner: The pastoral beauties of Prince Edward Island.\n4. A Seaside Summerland: Glimpses of picturesque towns, quaint villages, and other points of interest along the south shore.\n5. The City of Loyalists: St. John, New Brunswick, one of Canada's most important cities and ocean ports.\n6. La Roche Percee: A picturesque and unique landmark on the Caspe Coast of the Gulf of St. Lawrence, with glimpses of the quaint inhabitants.\n7. Apple Blossom Time in Evangeline Land: Title tells it.\n8. A Romance of Halifax Country: Scenic beauty and civic accomplishments.\nGroup 42, North America, Canada: The River of Deep Waters (1) - A round trip by steamer from Montreal to quaint Chicoutimi.\nQuebec in Winter (1) - Quebec with its mantle of snow and ice.\nIn Old Quebec (1) - Self-explanatory.\nFrom Quebec to Baffin Land (1) - Expedition to Baffin Land.\nPlayground of a Continent (1) - The Muskoka Lake Region of Ontario.\nLife on Canadian Prairies (1) - The agricultural pursuits in this new country.\nAt the Foothills (1) - City of Calgary.\nThe Robson Trail (1) - From Winnipeg to Wainwright, Jasper Park and Prince Rupert, B.C.\nAcross British Columbia (1) - A 500-mile journey across unexplored country.\nA Bit of Heaven (1) - Lake Louise.\nMotoring in Cloudland (1) - The new highway through the Central Canadian Rockies.\nUnlazed Trails: Journeys of Alpinists near Lake Louise, Canada's largest national playground \u2014 Jasper National Park \u2014 scenic features of Canadian Rockies. A Scenic Wonderland: A picturesque and interesting trip to Jasper National Park and then to Maligne Lake. Valley of a Hundred Peaks: Jasper Park. Especially appealing to lovers of the out-doors. The Canadian Rockies: Mountains and rivers of this beautiful range. Leaves from a Ranger's Notebook: Mountain views in Canadian Rockies. The Perfect View: Glorious mountain country of the Canadian North-west. The Forest King: Scenes along Canadian River. Beautiful scenery and wonderful views of moose and deer. Top o' the World: Canadian Rockies. Through the Norway of America: Canadian Rockies.\nToiling for Canadian grandeur, showing Banff and ruggedness of Rockies. (IX)\nUp the Stikine River, wilderness of British Columbia. (151)\nNipigon Trails, a picturesque canoe trip down the famous Nipigon River. (XXX)\nIn the Valley of the Yoho, The Emerald Lake region in Yoho Park. (XXX)\nThe Wanderluster, scenic of British Columbia. (XX)\nWhere the Waters Divide, little rivulets in the Canadian Northwest; beginnings of mighty streams. (IX)\nCity of Sunshine, Vancouver, B.C. (XXX)\nAn aeroplane trip to a quaint Indian fishing village on the northern Pacific Coast of Canada. (XXX)\n2000 Reels of Educational, Industrial and Scenic Films - FREE\nalso Religious and Patriotic Films at Nominal Rental\nY.M.C.A. Motion Picture Bureau\nFifth Edition\nGEOGRAPHY\nGROUP 43 NORTH AMERICA Polar Regions\n[Air Conquest of the North Pole (2)]\nShows Byrd and Amundsen trips to the North Pole. Animated scenes and maps of polar regions. Suitable for Geography and History courses.\n\nWith Lt. Com. Byrd, U. S. N., in America's Polar Triumph (2)\nComplete record of the first flight over the North Pole, made by the hero of this great event himself.\n\nCapt. Kleinschmidt's Adventures in the Far North (5)\nScenic record of trip from Seattle through Inside Passage to Alaskan seas; animal and bird life in the Arctic; Eskimos and far-northern industries \u2014 notably whaling. Recommended.\n\nThe Great White North (4)\nRasmussen's dash for the pole; scenic record of life in far-northern lands, particularly along the Greenland coast.\n\nKivalina of the Icelands (6)\nLove, devotion and perils in the shadow of the Arctic.\n[Nanook of the North (6)] A picture epic of Eskimo life, one of the greatest screen achievements to date. Portrays the grim struggle of life in the Arctic with intense and dramatic realism.\n\n[Nanook of the North (15)] Aurora Borealis in natural colors, and other wonders of the Arctic. Photographed by Earl Rossman. Awe-inspiring document of a curious people.\n\n[Policing the Arctic (1)] Establishment of a base for the Royal Mounted Police in the Far North.\n\n[The New England States (5)] Survey of the group.\n\n[Geography of New England (1)] Chief characteristics of New England from a geographic standpoint. Products and industries set forth.\n\n[New England States (11)] Distinctive physical features, their relation to each other.\nIndustrial and commercial activities; cities and industries; typical historic spots. (1S4)\n\nMiddle Atlantic States: Resources which have made this region the busiest on earth; harbors; natural trade routes; mountains and lakes of Adirondack and Catskill regions. (134)\n\nAlong the New England Coast: Among Penobscot Indians and Provincetown painters. (151)\n\nTypical New England: Natural beauties of hill country. (151)\n\nTouring the Berkshires: Historic scenes in the picturesque hills of New England. (151)\n\nA Trip to Mt. Tom: Self-explanatory. (XXX)\n\nThe Historic Hudson River: A trip up the beautiful Hudson from New York City, showing many points of interest along its banks, up to Albany. (83)\n\nUp and Down the Hudson: Picturesque scenes along this majestic river.\n\nThe Man at the Throttle: A ride in locomotive cab of the Twentieth Century. (1)\nCentury Ltd. from New York to Albany. (22)\nFive Finger Lakes (1) Land of the Iroquois. (IX)\nNiagara (1) Familiar scenes, done here in Prizma color. (XX, 28)\nNiagara Falls (1) The story of Niagara Falls impressively presented with maps and views. For sale only. (58)\nNiagara in Summer and Winter (1) Beauties of the Falls at various seasons. (XXI)\nThundering Waters (1) Niagara's power and beauty. (156)\nNiagara, the Glorious (1) Splendid panoramic and close-up view of the Horseshoe and American Falls, the Whirlpool Rapids and the Gorge. (XXX)\nGROUP 45 Central and South\nCentral Plains (2) Agriculture of the region; stock-raising, dairying, poultry farming; mining, lumbering- and quarrying industries. (13, 4)\nMinnesota \u2014 Along the Great Northern Railway (2) Primarily its agricultural riches. (61)\nGreat Plains: Sheep and cattle on the range and ranch; cities. (134) A Projector in Every School, Church and Community Center,\n\nGroup 45 (Continued): United States Central and South,\nSouthern States: Florida Keys; coal-mining in Birmingham district; the cultivation of cotton, sugar-cane, rice, peanuts and various fruits; lumbering; manufacture of turpentine. (134)\nAlabama and its Waterways: Self-explanatory. (63)\nDown in Dixie: Southern industries and characters. (66 A, 151)\nDown South: Southern characters and customs. (151)\nMaryland: Scenic beauty and industries of the state. Barbara Frietchie's home and the old fort. (IX)\nBirds and Alligators of Louisiana: Federal Bird Refuge on Avery Island in the lower Mississippi. (37)\nThe History of Mississippi: Picture story of the state. (63)\nIn the Old South: Industries - cotton, maple sugar, broom corn, peanuts, etc.; native life and types. (XXI)\nOn the Trail of the Lonesome Pine: Trip into the Blue Ridge Mountains of Georgia. (151)\nOur Southern Mountaineers: Domestic industries, with old methods, pursued by country peoples of Cumberland and Blue Ridge Mountains. (22)\nGroup 46 Northwest\nAcross the Great Northwest: Short scenic trip through outstanding scenes in the Northwest. (61)\nMotoring in Oregon: Motor trip through wooded and mountainous sections of Oregon. (151)\n* Oregon's Earthly Paradise: Scenes on Columbia Highway, built by people of Multnomah County, Oregon. (22)\nRoof of America: Northern Montana watershed, its lakes, mountains, and valleys. Blackfeet Indians. Prizma color. (XX, 28, S3, 37)\nA Saddle Journey to the Clouds: Horseback expedition among the peaks. (1)\nFiigh Sierras. Scenically beautiful. (V, XXX, 30, 37 A, 42)\nSentinels of the Sunset (1) Mt. Lowe and Mt. Wilson. (144)\nThe Trail Calls (1) Exploring two of nature's wondrous spectacles \u2014 Crater Lake and the glacier of Mt. Hood in Oregon. (151)\nAbove the Clouds (1) Climbing Mt. Rainier. (37A)\nWashington, the Evergreen State (2) A journey over the state, pointing out its resources. (61)\n\nGroup 47 Central West\nCliff Dwellings in Colorado (1) Ruins of Indian cliff dwellings built in Elk I and (1) In the Shoshone valley of Wyoming. Prizma color. (XX)\nGarden of the Gods (1) View of Colorado's natural wonders. (151)\nKilldeer Rodeo (3) Annual Roundup at Killdeer Mountains, N.D. Scenery in the Bad Lands. (XII)\nPike's Peak (1/4) Picturization of the mountain scenery atop the Continental Divide. (XX, 28)\nThrough the Roosevelt Country (2) Bad Lands of South Dakota and\nThe country in which Roosevelt played an important part in development: (XXI)\n\nThe Towering Wonders of Utah:\n1. The Apache Trail: Scenes along the highway through the southwest; views of Roosevelt Dam and ruins of ancient cliff dwellings. Prizma color. (IV, XX, 28)\n2. Trailing the Apache Trail of Arizona: Scenes along the highway through the southwest; views of Roosevelt Dam and ruins of cliff dwellings.\n3. The Grand Canyon of the Colorado: Color film showing the canyon from various vantage points on the rim; trails that lead down to the river; suspension bridge and camps in the canyon. (30, 42)\n\nFifth Edition\nGEOGRAPHY\nGROUP 48 (Continued) UNITED STATES Southwest\nGrand Canyon of Arizona, natural color. (3, 7A)\nPetrified Forests, wonders of Arizona's petrified forests and the Painted Desert, Prizma color. (XX, 28)\nCalifornia, detailed study showing agricultural activities and industries, beauty spots. (XXI)\nThe Romance of California, picturing the development of the state. (30)\nSeeing Northern California, The Redwood district of California. (151)\nProlific California, showing some of California's natural resources. (151)\nBig Trees of California, a study of these wonderful giants of California. (151)\nFor sale only. (58)\nOld Missions of California, Spanish missions along the California coast. (1)\nThe King's Highway, trip along El Camino Real beginning at San Juan Capistrano, visiting a number of missions. (XXI)\nThe Valley of the Seven Moons, where the last missions were built. (1)\n(1) Mt. Whitney: The highest mountain in the U.S., featuring a rugged trail and high peaks.\n(1) From Sea to Sierra: A trip from the Pacific to the Sierra Mountains of California. (V, XXX, 37A, 42)\n(1) Carriso Gorge: California's newest scenic marvel, traversed by the San Diego and Arizona Railway. (XXX)\n(1) Hitting the High Spots: A pack saddle journey in the Sierra Nevada mountains, showcasing California's big trees, geysers, petrified forest, and other natural wonders.\n(1) Where All Nature is Akin: The wild life of the High Sierras. (IV)\n(1) General America: The land, the world's granary, assuring the world against famine. (5, 6,* 113)\n(1) America: The Mouthpiece of Freedom: The genius of the people who have become the custodian of the freedom possible only in a Christian civilization.\nAmerica \u2014 The United States: The Giant Among Nations, The Garden with a Protected Soil, The Land of Many Waters\n\nAmerica \u2014 The United States: A Ten Talent Nation. Series of 13 one-reel Geography pictures of unusual pedagogical value. (23, 5, 6, 69, 113)\n\nNorth America: Center of the World Neighborhood\nSoil Conservation: Location, Climate and Boundaries, Agricultural Resources, Size and Topography, Animal Resources, Topographic Formation, Forest Resources, Rivers as Agents in Shaping the Surface of the Earth, Water Resources, The Life History of a Stream, Mineral Resources\n\n* Pacific Mountains and Lowlands: Lumbering and fishing industries.\n\nAmerica \u2014 The United States: A series of 13 one-reel Geography pictures highlighting the unique features of North America, including soil conservation, agricultural resources, animal resources, topographic formation, forest resources, rivers, water resources, mineral resources, and industries in the Pacific Mountains and Lowlands. (23, 5, 6, 69, 113)\nAgricultural areas; commercial and industrial life; great seaports; views of famous scenic features. (134)\n\nRoads to Wonderland: Scenic spots reached by roads built by Federal, State, and County governments; Mt. Hood; Crater Lake; Yosemite National Park. (1) Visualizes rich resources of minerals, forests, fertile valley farm lands and fruit orchards. Scenic wonders. (112, 134)\n\nRocky Mountains: Geographical survey of the Rocky Mountains. For \"The Wanderluster\" (1): On the Great Divide. (XXX)\n\nWestern Plateaus: Physiography and climate of Colorado Plateau, Great Basin, and Columbia Plateau; the life and industries of the people. (134)\n\nPick the right film \u2014 then use it skillfully.\n\nGeography\nGROUP 50 UNITED STATES Cities\nAtlanta: Scenes in Capital of Georgia (1); Business, residential and official life. (151)\nBaltimore - City of Firsts: Scenes from the first automatic ice-cream plant in the country. Boston: Modern and historic points of interest. Sylvan Boston: Arboreal attractions in \"The Hub.\" Chicago: Points of interest and notable buildings. The City of Brotherly Love: History and important buildings in Philadelphia. Sixty Minutes from Broadway: Scenic country around Los Angeles. A Man-Made Eden: Scenic spots in Los Angeles. On the Trail of the Beautiful: Points of interest near Los Angeles. Mobile: Camera visit to spots of interest in this old Southern city. New Orleans: Simple activities in this Southern city.\n[The Crescent City: Glimpses of New Orleans. (151)\nNew York \u2014 America's Gateway: Noteworthy places and buildings of Manhattan. (1) Life as it is lived by our immigrant settlers in Old New York. (37, 49) New York City: A study of New York City's sky-scrapers, bridges. (120) The Two Fathers: Why New York City has grown so tremendously; shows property values of past and indicates probable growth in future.\nThe Real Charleston: Views of the city. (23) Romantic Richmond: Impressions of Virginia's capital with its many war-time memories. (151) Down in Old Richmond: Cotton scenes and southern homes. (28) San Francisco, City of Hills and Romance: A tour of America's most picturesque and cosmopolitan city, showing the Golden Gate, Chinatown, etc.]\n[San Francisco in Romance and Story, The City by the Golden Gate, St. Louis, Washington D.C., Touring California's Ports, Cloud-Busting]\n\nSan Francisco: Interesting trip through the city with a bit of early history.\nThe City by the Golden Gate: Life in San Francisco.\nSt. Louis: Self-explanatory.\nWashington, D.C.: General survey of the Nation's Capital. For sale. Seeing Washington: Boys' and girls' club champions given trip to National Capitol.\nWashington, D.C.: View of city from Washington Monument \u2014 Capitol, White House, Congressional Library, etc.\nTouring California's Ports: San Diego, Los Angeles and San Francisco.\nGROUP 51 National Parks and Forests\nCloud-Busting: Adventures of automobile touring party in the White Mountain National Forest, N.H.\nUnder the Great Stone Face: Tramping to points of interest in White Mountain National Forest, including the famous \"Old man of the mountains.\"\nThe Story of Our National Parks: A motor bus tour of Yellowstone, Yosemite, Grand Canyon and Rocky Mountain National Parks. Algonquin Park: Self-explanatory. Where It's Always Vacation Time: Algonquin Park in winter and summer. The Romance of Crater Lake: Fine scenic pictures photographed from surrounding mountains and from boat on lake. Glacier National Park: Scenic trip through America's beautiful park. Glacier National Park: Packing over Piegan Pass; trail to Iceberg Lake and other scenic spots. In Prizma color. Camping Out in Glacier National Park: A camping trip into beautiful park scenery. Fifth Edition\n\nGeography\nGROUP 51 (Continued) UNITED STATES National Parks and Forests\nTwo Medicine Lake Country: The title tells it.\nTriple Divide to Red Eagle Lake: The peak with a watershed to three directions - the lake where big fish are caught.\nSt. Mary's Lake Portal to Going-to-the-Sun: Covers this section of Glacier National Park.\nSwiftcurrent Pass to Granite Park: An interesting journey through and over the pass.\nSiyen Pass and Piegan Trail: Adequately picturing this section.\nSt. Mary's Lake: The highway to this picturesque spot amid the grandeur of the Park.\nMany Glacier and Cracker Lake: Along the road to these spots in Glacier National Park.\nGunsight Pass: Includes a storm on Gunsight and scenes on the Garden Wall Trail.\nRainier National Park: Self-explanatory.\nNew Roads in Rainier: Shows cooperation between Bureau of Public Roads.\nRoads and National Park Service in construction of modern roads. (14, 4)\nMount Rainier (1) Study of the glaciers and snowfields of Mt. Rainier.\nFor sale only. (58)\nAbove the Clouds in Rainier National Park (1) Self-explanatory. (XXX)\nRocky Mountain National Park (3) Title tells it. (36, 121)\n*** Yellowstone National Park (1) Study of the phenomena and natural wonders.\n** Yellowstone National Park (1) Title tells it. (XXX)\n** Where Rails End (2) By stage through the Teton Mountain route to Yellowstone. (14)\n*** Sagebrushing Through Yellowstone (1) A 200-mile ramble on foot to view the natural beauties of the park; animal life of the popular playground. Good instructional material. (37, 37A, 49, 151)\n* Old Faithful (1) Beauties of the famous geyser and the terraces. Natural\nYosemite (1) A beautiful story of Yosemite. (IV)\nThe Yosemite Valley: A General Survey (V, 63, 112)\nWonders of Yosemite: Scenery in the Beautiful Yosemite Valley (151)\nWhen Winter Comes in the Yosemite: Snow and ice-coverings enhance natural beauty. (IV, 30)\nHeart of the Sky Mountains: Yosemite Park's wonders. Prizma color.\nRoads in Our National Parks: Construction of new modern roads in our National Parks in the West. Scenic. (144)\nA Road out of Rock: Another modern road in our National Parks. (144)\nGroup 52 Indians\nAboriginal Inhabitants: The many tribes of Indians that inhabited North America before the white man came. (49)\nAmerican Indian Series: Princess Mona Darkfeather and all Indian cast in stories of Indians in early Pioneer Days. (56, 113)\nAmerica's Oldest Inhabitants: The Taos Indians of Northern New Mexico. (22)\nBefore the White Man Came: Story of pre-historic America, showing life and customs of the Indians (56)\nCliff Dwellings: Interesting ruins of Indian cliff dwellings built in Hiawatha (1)\nIndian Frontier Series (2 reels each): Old Indians tell of experiences they and other members of their tribes had when the \"pale-faces\" first came into their country. Six in series: The Man Who Would not Die (The Mandan's Oath), The Man Who Smiled (The Dirty Little Half-breed), White Man Who Turned Indian (The Medicine Hat), An Indian Legend (The tale of an Indian's struggle to redeem himself with his people) (37), In Totem Land (The Alaskan Indians \u2014 their old traditions and superstitions; totem poles) (XXI), Land of the Navajo (The modern Navajo's country) (IX)\nGEOGRAPHY\nGROUP 52 (Continued) North America Indians.\nLast of the Seminoles (1) Record of Seminole life, in Prima color. (XX, 28, 33)\nLast Stand of the Red Man (1) Life of the Indians as it once was, in contrast with conditions of present day. - (37, 37A, 49, 112, 151)\nA Lonely Soul (1) Indian's story of how his race lost its heritage. (37, 151)\nThe Pueblo Indians (1) Pueblo Indians in the village of Acoma, New Mexico; making pottery; Indian life and customs; many still living in age-old cliff dwellings. XXI\nThe Pueblo Indians (1) Study of this ancient tribe of Indians in their natural, primitive environment. For sale only. (58)\nSkyland (1) An old man's story, told to his grandchildren, of the Land of Drifting Clouds, where as a boy he learned to know real Indians. Some splendid views of the Indian country and Blackfoot ceremonials. XX, 2 S N\nThe Sky Tribe (1) Pueblo Indians and their dwelling places in the Painted Desert of the Southwest.\nThe Vanishing Race (1) A study of the slowly dwindling Indian on the reservations.\nWith the Hopis and Navajos (1) Principal Indians of New Mexico; their dances and crafts, silver work, basket weaving, pottery making, and common customs.\nWith the Hopi Indians of New Mexico (1) Manners and customs.\nCentral America and Mexico\nGroup 53 Central America and Mexico\nGuatemala (1) In the land of Aztecs and Mayas; ancient temples and gigantic monoliths showing civilization centuries old.\nGuatemalan Glimpses (1) Beauties and perils of the earthquake region.\nGuatemala Indians (1) Life among the Maya and Zutuhil Indians.\nCoffee Grounds (1) Native life on the coffee plantations of Guatemala.\nRuins of Old Antigua (1) Native life and ruins in the first capital of Guatemala. (151)\n\nMarimba and Lamb (1) Manners and customs of descendants of Aztecs and Toltecs in Guatemala. Prizma color. (XX, 28)\n\nMexico: Historic and Architectural (1) Unusual subject showing relics of civilization antedating the Aztecs. Famous ruins and more modern architectural beauties. (XX)\n\nAll Aboard for Sombrero Land (1) Visit to Old Mexico, Xoehimilco, Guadalupe, pyramids of San Juan Teotihuacan. (XXI)\n\nMexico (2) Relation to EL S. Geographical animation border lines \u2014 natural and artificial. Topography. Aztec and Maya civilizations. Current history. (IX)\n\nPicturesque Industries of Mexico (1) Catching flies for fish and bird food; gathering fly-eggs; sandal making; brick moulding, and feather work. (XX)\n\nRejuvenated Mexico (1) Recent glimpses of city and town life. (151)\n[Mexico City: Historical study of Mexico City. For sale only. (58)]\n[Panama: The old city of Panama and trip through the canal by stop motion photography. (151)]\n[Panama Canal: The story of the great waterway. X]\n[Panama Canal: Complete and scientific study of this mighty achievement. Panoramic view of canal and drawings showing operation of locks. Ship passing through canal. (22)]\n[Panama Canal: The story of the Panama Canal visually presented by maps, diagrams, and selected views. For sale only. (58)]\n[Panama Canal and Its Historical Significance: Pictorial survey of]\nIf you're looking for reference material on visual instruction, see the list of publications issued by The Educational Screen inside the front cover of this volume.\nFifth Edition\nGeography\nSouth America: Survey of the Continent, Native Life in Venezuela, Up the Amazon, Outing in Brazil, Rio de Janeiro, Rambles Round Rio, Over the Andes\n\nSouth America: A survey of the continent.\nNative Life in Venezuela: Primitive customs and industries of the people.\nOn the Amazon: Trip up the world's mightiest river, touching at Para and Manaos, Brazil.\nUp the Amazon: Starting at Para and continuing through the jungles to the heart of Brazil. Study of vicious South American ant and its enemy, the ant eater.\nOuting in Brazil: Visiting Port Carbenella, Parahyba and Escobar village.\nRio de Janeiro: A picturesque scenic of the City of Palms. Ascending Corcovado and Sugar Loaf Mountains. Viewing Rio de Janeiro from a height of over 3,000 feet.\nRambles Round Rio: Visit to the fascinating suburbs of this city.\nOver the Andes: Noteworthy impressions of the country and people.\nLand of the Incas (1) - Relics from Incas burial grounds in Peru reveal much concerning their ancient civilization. Valuable for any study of their occupations and their arts. Prizma color. (XX)\n\nA City of Kings (%) - Journey through Lima, Peru; city and harbor views. (See also Group 132)\n\nGROUP 55\nISLANDS\u2014 Atlantic Islands\u2014\nCoral and Onions (2) - Journey through beautiful Bermuda. (37)\n** Canary Islands (1) - Natural beauty of the islands. Making of Madeira embroidery, growing of bananas, and harbor of Santa Cruz. (IX)\nCanary Villages (^4) - Camera visit to people of these islands; native types, architecture, etc. (XX)\n\nThe Island of Cuba (1) - Different phases of life in Havana, a great commercial center. (151)\n\nGolden Cays in Pirate Ports (1) - Scenes of Cuba. (37A)\nCuba: Miscellaneous views, presentation of tobacco and sugar industries. (IX)\nRambles in Porto Rico: A land of scenic beauty. (151)\nSunny Porto Rico: Impressions of life in Porto Rico, the isle of enchantment. (151)\nBeautiful Jamaica: Scenes in the \"Jewel of the Caribbean.\" (151)\nRambles in Jamaica: A trip through this island. (151)\nSt. Thomas: A tour of our latest possession in the West Indies. (23)\nOur Newest Possessions: Each reel a unit, may be used separately. (22)\nHarbor; marine barracks, American soldier life.\nCrum Bay; barracks; native types.\nIsland of St. John; ruins of estates and palaces of old Dutch planters.\nBarbados \u2014 British West Indies: Statue of Admiral Nelson, Trafalgar Square, Bridgetown's shopping district, house where George Washington stayed when American Consulate. (69)\nGeorgetown, British Guiana: scenes of interest - canals in streets, botanical gardens of worldwide fame, government buildings.\n\nGroup 56: Islands - Pacific Islands - Pacific\nCatalina, \"Pearl of the Pacific\": underwater life, pelican, seal, and other odd dwellers on the island. (IV, XX, 28)\nHawaii: complete view of the island. (112)\nAloha Land: Hawaiian scenes. (37 A)\nHawaii: scenic features of the islands, sugar cane plantations, native dances. (XX, 28)\nEdeo of the Pacific: Hawaii and its environs in Prizma color; night-blooming Cereus; Honolulu and the rice fields. (IV, XX, 28, 156)\nThe Hawaiian Islands: pictorial story of the activities of the Hawaiian Islands. For sale only. (58)\nA Trip to the Hawaiian Islands: self-explanatory. (30)\n\nGEOGRAPHY\nGroup 56: Islands - Pacific Islands - Pacific (Continued)\n[1] Life in Honolulu; work on pineapple plantations and in rice fields. [28]\n[1] Beauties of waterfalls and lava forests; glimpses of coffee and sugar.\n[69]\n[1] Native grass huts, net mending, hat weaving, etc.\n[22] A Day in Honolulu [^] Harbor and street scenes; studies of manners and customs.\n[1] Back Country of the Philippines [1] Descendants of the head hunters \u2013 how and where they live; floating rafts of cocoanuts covered with lotus blossoms. [XXI]\n[4] Scenes, industries and customs. [\u2022] [112]\n[1] Manila \u2013 native and foreign life. [22]\n[1] From the Floating Cities of China to Samoa [1] Native life and industries on rivers and seas.\n[1] Moana [6] Robert Flaherty's companion picture to his \"Nanook of the North\"\nNorth: recording the customs of the Samoans. A screen classic on panchromatic film. (VII)\n\nBali the Unknown: Natural color photography of this island near Java \u2014 an isolated race with peculiar customs and industries. Exceptionally beautiful. (IV, XX, 112)\n\nBali the Unknown: Five. Natural color photography of this island near Java \u2014 an isolated race with peculiar customs and industries. Exceptionally beautiful. (IV, XX, 112)\n\nA Borneo Venice: Town of Bandjermasin where streets are water lanes and traffic is in gondolas. (IV)\n\nIn Batik Land: Intimate glimpses of life, customs, and industries of the people of Java where the art of waxing and dyeing Batiks originated. (1)\n\nFiji Islands: Glimpses of life and customs. (112)\n\nFiji Does Its Bit: Rubber and banana industry. (69)\n\nHouse of the Sun \u2014 Sandwich Islands: Work on a sugar plantation; volcanic range; trip to peak known as the \"House of the Sun.\" (28)\n\nIn Gulfs Enchanted: Cruise through romantic south seas with stops at historic ports and towns. (XVII)\n\nIn Gulfs Enchanted: Seventeen. Cruise through romantic south seas with stops at historic ports and towns. (XVII)\nGeology, Physiography and Meteorology\nGroup 57\n\nThe Cosmic Drama (3)\nReading the earth's story by means of erosion and fossils \u2013 origin of the solar system, appearance of life, effects of glacial action, adaptation as a function of life, types of mankind. An instructive account of sun time and how reckoned; lunar time; long and short days and nights. (49)\n\nThe Eclipse of 1925 (1)\nPublished under the supervision of Scientific American, showing every phase of the phenomenon. (XVI)\n\nScience at Home \u2013 Story of the Atmosphere (1)\nSelf-explanatory. (151)\n\nThe Science of Weather Prediction (1)\nHow an observer makes his prediction sheet; measures amount of rainfall and completes records for his entire district. (22, 49)\n\nMysteries of Snow (1)\nDifferent kinds of snow crystals and what causes their formation.\nOur Climate: Shows how earth is unevenly heated; different zones and causes of different climates. (IX)\nClouds: Important types and significance of some of them. (1) Marvels of the Universe \u2013 Dewfall: Experiments to show causes of dewfall, specimens of dew condensations and frost formations under microscope. (^4)\nThe Birth of a Tornado: Causes and effects of tornadoes; animated drawings and photography. (1/4) ^22-!\nWhen Hurricanes Strike America: Florida hurricane as background for lesson on hurricanes. Their cause and hurricane zones shown in animation. m L\nThe Power of the Clouds: Clouds gathering sufficient moisture and returning it in the form of rain which feeds the torrents and streams. (1) The Work of Rivers: \"Chalk Talk\" illustrating the evolution of river valleys through youth, maturity and old age. (4 2, 134)\nFifth Edition\nGeology and Physiography Group 57 (Continued) Geology, Physiography and Meteorology\nRambles of a Raindrop (1) Experiences of a raindrop in geyser, cloud, waterfall, lake, river and ocean. Good teaching material.\nA Study of Niagara (2) Geography and scenery of the region; geologic history of the Falls and Gorge. (p. 42, 134)\nGrand Canyon of the Colorado (1) Story of the origin of this marvelous canyon; visual study in formation and erosion of earth's crust. For sale only.\nWonderful Water (1) Combining excellent features of the best scenic with scholarly treatment of subject matter; the effect of running water and wave action upon the land. Rich in educational material, and titled with simplicity and directness. (p. IV, XX, 56)\nThe Why of a Volcano (i) Shown here is a composite cycle of origin and decay through which every volcano must pass. (p. 49)\nWhat causes Earthquakes: The nature, source, and action of earthquakes. Phenomena of tidal waves. Japanese earthquake, 1923.\nOur Volcanic Neighbors: Shows how mountain peaks were transformed into the Caribbean Islands. (22, 69, 156)\nVesuvius: Yawning crater of the world's greatest volcano. (IV)\nKilauea's Volcano: Splendid picturization of the famous lakes of fire and views of the seething crater. Prizma color. (IV, V, XX, 28)\nKilauea, the House of Everlasting Fire: Four-mile trip across crater to rim of fire cup. Photographs of boiling lava and river of fire. (22, 28)\nFormation of Volcanoes and Geysers: Diagrams and photography of volcano eruptions and of geysers. (134)\nThe Romance of Crater Lake: Picturization of the extraordinary phenomenon, a lake in a volcanic crater. (22)\nStudy of a Mountain Glacier: \"Chalk Talk\" by Atwood. Diagrams illustrate glacier formation stages. Scenic views of actual glaciers supplement (134).\n\nGlacier National Park: Animation shows fault causes and glacier formation with Park scenes (61, 121).\n\nClimbing a Glacier and a Volcano: Explore snow-clad Sierras and Kilauea volcano in Hawaii (151).\n\nThe Crystal Ascension: Mt. Hood and its glaciers explored by a mountain-climbing party. Offers close views of mountain glacier and ice formations (XV).\n\nThe Yosemite Valley: Study of glacial erosion through diagrams, animation, and selected views. For sale only (58).\n\nStudy of Shore Features: Low Shore - Wave-action causes gradual changes.\nChanges a shore of bays and indentations to one of comparatively smooth lines. Atwood \"Chalk Talk\" and photography of actual localities. (134)\n\nStudy of Shore Features \u2013 Bold Shore\nRocky shore lines are given greater and more magnificent indentations. \"Chalk Talk.\" (134)\n\nThe Story of Coral Growth\nWhat coral is, where it grows, and the kind of land it helps to make, are shown by Dr. Atwood in a \"Chalk Talk.\" (134)\n\nFormation of Caves In Limestone\nWater seeping through earth's crust wears away the softer parts of rock below the surface. (134)\n\nDigging up the Past\nLocating and obtaining skeletons of prehistoric animals in Badlands of Red Deer Valley, Canada. (XXX)\n\nThe Origin of Coal\nAnimated drawings explaining how coal mines of today were provided by forests of centuries ago. (22)\n\nThe Four Seasons\nThe Cosmic Drama\nAmerican Authors Kineto Reviews\nSpiro Film Corporation\n161-179 Harris Avenue, Long Island City, N.Y.\n\nGovernment Activities\nGovernment of the United States\nHow Congress is composed, where it meets, duties and age limits of members. Operation of American government. Good for Civics and History.\n\nChecking the Imports\nActivities of U.S. Collector of Customs. (151)\n\nExploring the Upper Air\nFlights by Weather Bureau meteorologists to study upper air conditions for weather forecasting. (14-4)\n\nHelping Negroes Become Better Farmers and Homemakers\nAgricultural extension system among Negro farmers of the South; benefits it gives. (14-4)\n\nThe Coast Guard\nIts work in life-saving. (XXX)\n[Guardians of the Deep (34) How government lightships, buoys and lighthouses are maintained. Making a Mint of Money (22) US Mint in operation. Money, Old and New (^j Work inside the NY Sub-Treasury. Money-Making Industry (1) How Canada mints its coinage. Pan and Ceres in the Movies (1) Scope and diversity of the motion picture work of the Department of Agriculture. Production's Pulse (2) How government crop reports are made by 215,000 reporters. Romance of a Republic (10) Series of ten subjects of one reel each. Department of State (49), Department of the Navy (49), Department of the Treasury (49), Department of the Interior (49, 66A), War Department (37A, 49, 66A), Department of Agriculture (49), Department of Justice (49, 66A), Department of Commerce (49, 66A)]\nDepartment of Post Office (49) Department of Labor (37A, 49, 66A)\nSome of Uncle Sam's Workshops (1) A detailed story of the workings of the U.S. Postal Service. For sale only. (58)\n\nSpeeding Up the Mail (%) Scenes in NY Postoffice (22)\nUncle Sam's Stamp Factory (1/4) Section of the Bureau of Engraving and Printing, showing how stamps are made. (22)\nWatching the Weather Above (2) Aerial activity, including the Army, the Navy, and Air Mail Service; forest fire airplane patrols and airplanes in insect control; importance of weather forecasting to successful aviation. (144)\n\nHistory\nGROUP 59\n\nAncient Rome (1) A scenic and valuable account of early Roman history. Rome's architectural relics excellently reproduced. Titled scholarly, suitable for the classroom. (IX)\n[America's Greatest Disasters (2) A complete history of the 1927 flood with animated maps showing inundated areas and rescue work. The Birth of Czecho-Slovakia (4) Map showing location. Pictures of events connected with the establishment of a separate nationality. Across the Rockies to the Pacific (1) Final step in the coast-to-coast progress of the United States' sovereignty. Breaking Through the Appalachians (1) Settlers from the old colonies started the \"westward movement.\" Canals in U.S. History (1) Maps and charts tell of canals built, their location and influence upon the population. The Chronicles of America (Series of 33 pictures, 3 and 4 reels each) An authoritative, scholarly series made by Yale University Press to depict the important episodes and outstanding personalities of American history from Columbus to Appomattox.]\nColumbus: Story of the great discoverer's struggles and discouragements, and his ultimate success which resulted in the discovery of a New World.\n\nJamestown: Life in Jamestown, the first permanent settlement of English people in America. Marriage of Pocahontas and John Rolfe and its effect on the colony.\n\nVincennes: Thrilling story of George Rogers Clark's expedition into the Northwest during the Revolutionary War, and its far-reaching results.\n\nDaniel Boone: Story of the early days in Kentucky and the bravery, intrepidity and leadership of the great frontiersman.\n\nThe Frontier Woman: Revolutionary times in Tennessee, showing the fortitude, courage and vision of the frontier women.\n\nFifth Edition\nHistory\nGROUP 59 (Continued) History\n\nPeter Stuyvesant: Old New York and the transfer of Manhattan.\nFrom the Dutch to the English. (1)\nWolfe and Montcalm (1) The great battle on the heights of Quebec. (1)\nGateway to the West (1) Washington at the head of a valiant band attempting to dislodge the French from Fort Duquesne. (1)\nThe Pilgrims (1) Their hardships during the first winter on New England shores. (1)\nDeclaration of Independence (1) Story of the events preceding the Declaration and characterizations of the great men of the day. (1)\nYorktown (1) The surrender of Cornwallis to the united French and American forces. (1)\nThe Puritans (1) The establishment of the colony, and their defense of their rights under leadership of John Winthrop. (1)\nAlexander Hamilton (1) Highlights of his life. (1)\nDixie (1) Vivid portrayal of sacrifices made by southern women during Civil War. Meeting of Grant and Lee at Appomattox. (1)\nThe Colonial Period of New England (1) The role of New England in Colonial Days is presented in detail. (56, 113)\n\nEnglish Settlements in North America (1) The first English, Dutch, and Swedish settlements; contrast between English colonization and French exploration. (134)\n\nFrench Explorations in North America (1) Main routes of French explorers, traders, and missionaries; scenic visualization of the country traversed. (134)\n\nEvents leading up to the Revolutionary War (3) Boston Tea Party, Boston Massacre, ride of Paul Revere, and battles of Lexington and Concord. (159)\n\nFlashes of the Past (3) Pictorial record of some outstanding events between 1910 and 1925. Unique in its educational value.\n\nFuneral of King Edward and Coronation of King George (1) Self-explanatory. (151)\nGeneral Lee's Home: Picturing the beautiful manor house of Confederate leader at Arlington.\nHistorical Marietta: City founded after the close of the Revolutionary War. Particularly interesting to students of early American history.\nHistoric New England: A series of reels showing the outstanding features of New England in History, Geography and Economics. (56, 113)\nHistorical Expedition to the Columbia River: Happenings on this expedition made along the Great Northern Railway in 1925. (61)\nJapan's New Ruler Rules a New Japan: Description of Japan's progress under Hirohito. Location in relation to Philippines and U.S. Ancient and modern civilization. (IX)\nLouisiana Purchase and Lewis and Clark Expedition: Causes and immediate results of the purchase of Louisiana in 1803. (134)\nMaking Over the British Empire: Explains the new relationship between\n\n(Note: The text seems to be incomplete and contains some missing words or phrases, but I have tried to clean it as much as possible while keeping the original content intact.)\nGreat Britain and British Empire: Suitable for Current History classes (IX)\nMussolini: The Iron Man of Italy (2) His life from boyhood to date.\nAnimated map study. Used in Current History (IX)\nNew England and the Revolution (1) The role of New England states in the Revolution is graphically depicted. (56, 113)\nPermanent Peace \u2014 Washington Conference (1) Historical episodes leading to the Washington Disarmament Conference. (151)\nPilgrims at Plymouth (1) The story of the Pilgrims' landing in the New World at Plymouth Rock. (XX)\nRailroads in U.S. History (1) Depicts the principal facts of the growth of our great railway system and their economic significance. (49)\nSettling the Ohio Valley (1) Problems faced by pioneers. Types of early houses, mills, and stores. (134)\nShrines of American History: Independence Hall, Valley Forge, Lexington and other cradles of American Liberty. Steamboats in U.S. History: Types of early and modern steamers and their influence on settlement of the country. Struggle of French and English for North America: Main campaign movements in the French and Indian War. Ten Years Ago: Complete review of World War. Animation showing geographical changes. Trans-Mississippi Trails: Occupation of trans-Mississippi region and immigration to the Central Plains. War of the American Revolution: The great movements of the war.\n\n52 HISTORY \"1000 and One\"\nGroup 59 (Continued) History: Where the Spirit That Won Was Born - Philadelphia and Valley Forge. Group 60 Historical Fiction.\nAmerica (10) Griffith production. Memorable incidents \u2013 action at Lexington and Concord, and dramatic ride of Paul Revere. (24)\nBarbara Frietchie (8) From Clyde Fitch's play. Florence Vidor presents excellent picture of South in Civil War times. (18, 19)\nBetsy Ross (6) A story of Revolution Days with Alice Brady, John. (23)\nThe Birth of a Nation (12) The great screen classic. Available only in certain territories. (24)\nBolshevism on Trial (6) Thomas Dixon's novel Comrades shows vividly the value of American form of Representative Government. (56, 113)\nCalifornia in '49 (6) How the west was won. (19)\nThe Covered Wagon (13) Unqualified praise for this epic of western migration which led bands of American pioneers from Mississippi Valley to the little-known lands beyond the Rockies. History vivified on the screen. (VH)\n[The Coward - Charles Ray and Frank Keenan in a dramatic story of The Crisis, from Winston Churchill's well-known Civil War tale (112).\nThe Fighting Blade - Romance of the days of Oliver Cromwell. Acted by Richard Barthelmess (8).\nThe Heart of Lincoln - Romance of Civil War days founded on an incident typical of Lincoln's self-sacrifice and big-heartedness (5).\nThe Higher Mercy - A new Abraham Lincoln story (112).\nThe Highest Law - Ralph Ince as Lincoln in a dramatic episode of The Iron Horse (4).\nThe Iron Horse - Dramatic story of the building of the first transcontinental railway (IX).\nJanice Meridith - Much incidental material of historic value: the Boston Tea Party, the ride of Paul Revere, and scenes on Lexington Commons (XIH).\nJoan of Arc - Historic reproduction of the life of the Maid of Orleans, played by Geraldine Farrar (XXI)]\n[Julius Caesar (6) The Life story of Caesar, detailing his career up to becoming dictator, with depictions of the conspiracy against him and his subsequent overthrow. (77)\nThe Littlest Rebel (5) E.K. Lincoln in a Civil War story. Valuable from a historical perspective. (18)\nThe Lost Romance (1) Romances of the California missions with excerpts from Mission Play. An authentic history of the first California missions. (XXI)\nMessalina (8) Political intrigue providing insight into the underworld of Roman life, featuring a chariot race. Not suitable for immature students. (VIH)\nNapoleon and Josephine (7) A history of the great emperor and the devotion of his empress, with side-lights on the figures of the time. (VIII)\nNorth of '36 (8) The blazing of the first Texas trail north of '36. A historic background setting for romance. (VH)]\nPeter the Great: A true and vivid picture of Peter the Great and his times. (VII)\nRobin Hood: A splendid rendition of this medieval story of chivalry and romance. Starring Douglas Fairbanks, Enid Bennett, and Wallace Beery. (XXIV)\nThe Spirit of Lafayette: A typical story of an American soldier in the Virginia war of the Civil War. (IX)\nWhen Knighthood Was in Flower: Charles Major's romantic story set in the time of Henry V. True historical background and accurate characterization. Starring Marion Davies. (VII)\nWilliam Tell: Describes the story of \"William Tell\" and the birth of the first modern republic \u2014 Switzerland. Produced on the exact locations of the narrative. (136)\nWinning a Continent: Produced in Africa; shows how the Boers established their country. (19)\nFifth Edition INDUSTRY AND ENGINEERING 53\n\nINDUSTRY AND ENGINEERING\nGroup 61 Electricity Cables\nLaying the World's Fastest Ocean Cable (2)\nInteresting incidents filmed during work of connecting England and America with new permalloy sub-marine telegraph.\n\nLaying of Electrical Cable across San Francisco Bay (1)\nSelf-explanatory.\n\nLand Cable Service (2)\nThe title tells it.\n\nLinking the Three Americas (1)\nHow ocean cables connect the continents.\n\nMarine Cable Laying (2)\nSelf-explanatory.\n\nRepairing a Sub-sea Cable (%)\nRaising of a trans-Atlantic cable for examination and repair.\n\nSpeeding Up Our Deep Sea Cables (2)\nCamera record of laying of permalloy cable between New York and the Azores \u2014 the world's fastest ocean telegraph.\n\n(See also Group 65)\n\nGroup 62 Radio\nThe Audion (2)\nAction of vacuum tubes which have revolutionized radio technology.\nArt of communication. (154)\nRadio (1) The title tells it. (112)\nThe Mystery Box (1) An analysis in motion picture photography and animated drawings of basic principles of radio. (22) \u2022\nThe Re-Awakening of Rip Van Winkle (2) Wherein the \"Slumbering Dutchman\" awakens and is initiated into mysteries of modern broadcasting. (XXX)\nSafety at Sea (2) Comprehensive story of marine radio; an indispensable institution protecting life and property on the high seas. (XXX)\nTrans-Oceanic Radio (2) Pictorial digest of the world's largest and most remarkable trans-oceanic radio communication system. (XXX)\nWireless Telephony (1/^) How sound waves are carried by electric waves, transmitted through space and reconverted into sound waves thousands of miles from their source. (22)\nThe Wizardry of Wireless (2) Brief history of communication; animated.\n[\"The Electrical Transmission of Speech: Animated Drawings Explaining the Principles Involved in Transmission and Reception of Voice over Wire Circuits\"]\nMaking Telephone History: The Story of the Evolution of the Telephone\nWhat happens to a telephone call? (102)\nNeighbors and the Telephone: A simple story of everyday folk and their reactions when deprived of service for a short time by a storm. (XXX)\nSomething About Switchboards: Showing the unusual processes in fabricating and installing equipment for a telephone exchange. (XXX, 154)\nThe Spirit of Service: Telephone linemen and their unselfish service to mankind. (XXX)\nThe Telephone: A Modern Marvel: Development and manufacture of telephone equipment. (154)\nA Telephone Call: Following the voice through various pieces of equipment. (1)\napparatus and electrical current carriers. (XXX, 154)\nIndustry & Engineering\nGroup 63 (Continued) Electricity\nTelephone and Telegraph\nTelephone Inventors of To-day: America's Best Equipped and Most Expertly Managed Centers: Scientific Experiment and Operation. (3, Inside Due: America's best equipped and most expertly managed centers for scientific experiment and operation in telephone and telegraph. 154)\nThat Little Big Fellow: Shows by double exposure and photography the functions of electric current in a telephone call. (XXX)\nTime Savers in Modern Business (tyre of picture efficiency machines used in the telephone business. iXXX)\nTraining for Service: How operators are trained. (iXXX)\nVoice Highways in the Making: Lead-covered cable which carries most of the world's telephone messages. What happens inside one of the big cable-sheathing presses. (XXX, 154)\nThe World's Telephone Workshop: Photographic side-lights of the unseen.\nUsual manufacturing processes. (XXX, 15, 4)\nYour Telephone Address - I An exposition: work of compiling, printing and delivering telephone directories and supplemental work of \"Information.\" I XXX)\n\nGROUP 64 General\n+ * The Amber Soul (1) Manufacture of storage batteries, (14, 149)\nBehind the Button: 1; Yisuahzma: it holds tremendous power behind the little electric button. (12, 7)\n\"Behind the Signs on Broadway\": Snows now the largest electric sign in the world is operated. (22)\nBig Deeds (1) Pouring largest casting ever made in G.E. foundry; constructing largest armored car in the world, supplying electric power to Shanghai: mailing of enormous porcelain insulator; largest one-man shovel\nBringers of Light (1) Mar. mac rare: Mar Mi lamps. (14)\nThe Conductor (1) Making of lamp cord from copper, cotton, rubber and bilk. (X)\n[The Death Ray (2) H. Grindell Matthews - invention; some of the men he uses to cast the power-rui beam said to be capable of destruction at great distance.\nElectricity (4) How it is generated and controlled; its application to our varied daily needs.\nLicht der von einer Rasse (1) Principal steps in development of artificial illumination from earliest beginnings to the incandescent lamp.\nMaking Mazda Lamps (1) The process of making artificial lighting, and steps in manufacture.\nThe Manufacture of Electric Blasting Caps (1) The process of making electric blasting caps in the factory of the Hercules Powder Co. at Port Huron.\nPortable Electricity M - Shows the manufacture, and arts of the Edison McKeehan Alkaline Storage Battery, (XXX. S3)\nThe Story of the Detonator (1) The various steps in the manufacture of]\n[The Story of an Electric Meter. 1.2\nStory of a Storage Battery. 2 - Ms various uses and how it is manufactured.\nWestinghouse Works. 2 A trip through the various factories. Electrical products are shown in process of manufacture. XXIX\nYours to Command. 1 visualizing services of electricity -- power and light as used by industries, commerce and in the home. 12 7;\nESGLSEERIXG A CHIEFEXTS Group 65 Engineering Achievements\nFamous Inventions of the New England. 1 Many examples of the inventive genius of New England, and the manufacture of the safety razor. (XXX, 102')\nLetting Dynamite Do it. 1 Many uses of dynamite -- in various parts of the country. Its use in construction of Stone Mountain Confederate Memorial.\nThe Explosive Engineer -- Forerunner of Progress. 2 Modern application of]\n\nThis text appears to be a list of titles of articles or sections in a publication, likely from the late 19th or early 20th century based on the use of terms like \"Ms\" and \"XXX\". I have removed unnecessary line breaks, whitespaces, and other meaningless characters. I have also corrected some OCR errors, such as \"CHIEFEXTS\" to \"CHIEFITS\" and \"MEW\" to \"NEW\". The text is already in modern English, so no translation was necessary. There is no unreadable or meaningless content in the text, so no content was removed. Therefore, I have output the entire cleaned text as requested.\n[explosives in the industrial world. \"Building New York's Newest Subway\" shows building of Eighth Avenue system and problems encountered in its construction prepared for engineers. (46)\n\nFifth Edition\n\nADVERTISEMENT\n\nGENERAL ELECTRIC\nEDUCATIONAL FILMS\nare available in both Standard 35 mm. and 16 mm. sizes*. They are described and illustrated in Catalog GEB-7. Write for catalog or films to any of the following offices:\n\nGeneral Electric Co.,\nVisual Instruction Section,\n1 River Road,\nSchenectady, NY\n\nGeneral Electric Co.,\n1321 Walnut Street,\nPhiladelphia, PA\n\nGeneral Electric Co.,\n230 South Clark St.,\nChicago, IL\n\nGeneral Electric Co.,\n116 New Montgomery St.,\nSan Francisco, CA\n\nGeneral Electric Co.,\nDallas, TX\n\nGeneral Electric Co.,\n84 State St.,\nBoston, MA\n\nGeneral Electric Co.,\n925 Euclid Ave.,\nCleveland, OH]\nSalt Lake City, Utah\nGeneral Electric Co.\n329 Alder St.\nPortland, Oregon\nGeneral Electric Co.\n123 Spring St.\nAtlanta, Ga.\n\nGeneral Electric\n56 . Industry and Engineering \"1000 and One\"\nGroup 65 (Continued) Engineering Achievements\nNational Parks and East River Tunnels\n(1) Contrast between works of nature and mechanical achievements of today. (23, 69, 156)\n\nConstruction of Subway Tubes\n(i) New York's subway tubes beneath Harlem River. (22)\n\nHow Brooklyn Bridge was Built\n(^) Various stages followed by means of animated drawings and photography. (22)\n\nThe Bridges of New York\n(1) Self-explanatory. (151)\n\nSwapping Foundations under Skyscapers\n(x/4) Underpinning operations necessitated by building of the Seventh Avenue Subway, New York City. (22)\n\nBuilding a Skyscraper\n(2) The remarkable growth of a 32-story skyscraper, giving details of construction. (XXX)\nA Concrete Example (2) Featuring American leadership in construction of big buildings. The Age of Riveted Steel (2) The various uses of riveted steel in engineering construction. A Miracle in Modern City Building (2) Showing the growth of the well-planned city of Longview, Wash. From Swamps to Workshops (2) Story of building of Western Electric's new cable and switchboard manufacturing works at Kearny, N.J. From Caves to Skyscrapers (2) The development of man's habitations and places of worship. The Conquest of a Wilderness (3) Showing scenes before and after the construction of the big steel plant and city (Gary, Ind.) by the United States Steel Corporation. Spending Six Hundred Million a Day (1) The source and uses of the New York water supply (37, 49, 151)\n[1] Old and new methods of supplying water.\n[2] A Big City's Water Supply: Ashokan Dam in Catskills, part of New York City's water supply system, and how it operates.\n[3] Nature's Frozen Credits: Building of a great water plant in the Sierra Nevada mountains of California.\n[1] The Water Supply of a Great City: Showing how few of our great cities are supplied with pure water as compared with ancient, unsanitary methods. For sale only.\n[2] Water Works Wonders: Novelty special.\n[1] Roosevelt Dam: Picturing the dam and surroundings.\n[1] Short Cuts to Quantity: Examples of outstanding success in achievement of mass production without sacrifice of quality. Particularly for technical schools and industrial training classes.\n[MO] Technical drawings demonstrating in-\nInvention to raise sunken ships.\nPutting Volcanoes to Work: How heat and steam of volcanic origin might be utilized for industrial purposes.\nMachinery and Mechanical Devices\nGroup 66 Electrical\nThe Burning Question \u2014 Ignition\nThe Electric Heart: A complete picture of the manufacture of storage batteries for automobiles.\nElectricity in the Motor Car: Generator, starting motor, combined starter and generator. Animation demonstrates how the gas is exploded by the electrical current and how the cylinders work.\nHeadlights: A safety film showing the necessity for good headlights.\nHow the Generator Works and Why the Starting Motor Starts.\nJupiter's Thunderbolts: Development of electricity; manufacture of storage batteries.\nOne for Two \u2014 The Starter Generator\nThe title tells it. (XXX)\n\nThe Carburetor\nAnimations depict what takes place inside a carburetor.\n\nStory of a Spark Plug\nManufacture of spark plugs, including mining of sullimanite; the important part spark plugs play. (14, 142)\n\nA Projector in Every School, Church and Community Center.\nFifth Edition INDUSTRY AND ENGINEERING 57\nMACHINERY AND MECHANICAL DEVICES\nGROUP 67 Autotive Machinery\n\nStory of a Gasoline Motor\nAnimation shows the entire function of an automobile motor, visualizing lubrication and operation of each moving part in a comprehensive manner. (127, 142, 149)\n\nElements of the Automobile\nA series of visualizing by animated drawings the inside workings of a motor car. (1 & 2) The Running Gear and Differential (7 & 8) Ignition (3 & 4) The engine (9) The Cooling System and the Clutch.\n(5) The Carburetor (10 & 11). The Transmission\n(6) The Fuel System and Ignition (12). The Brakes\n(2) Automobile Ignition. Explanation of principles involved.\n(1) A Horseless Carriage to a Horseless Age. Story of manufacture of Studebaker car. (135A)\nBuilding for Quality. A condensed story of the manufacture of the Ford car. (1)\nProved (2 & 4). Views of the world's first and greatest Proving Ground for automotive products. (127)\nAmerica and Automobiles. Manufacture of the Lincoln car. (58)\n(3) The Story of a Motor Truck. Its manufacture and what it means to America. (XXX, 142)\n(2) A Day with the Tractor Builders. Analyzes metals in chemical laboratory; pouring molten iron into molds; assembling various parts of a tractor. (XXX, 72)\n(3) The Power Thought Built. Evolution of the Fordson Tractor. (58)\nThe Fordson Tractor in Industrial Activities. A thorough analysis of the complete tractor.\nFord Age: A visual story of the Ford industries.\nGetting the Work to the Workmen: Demonstrating saving of time and labor through use of a lift truck.\nGroup 68 Miscellaneous\nForward Step in Stoker Performance: Operation and construction of the Riley Super Stoker. (123 words)\nA Closeup of Stoker Combustion: Operation of an underfed stoker. (123 words)\nThe Engine Lathe and Its Operation: Complete assembly of lathe parts, construction and operation. (134 words)\nFor the Good of the Commonwealth: Manufacture of large cast steel devices for locomotives and cars. (XXX words)\nOur Mechanical Servant \u2014 the Elevator: Principle of hydraulic elevator.\nThe Modern Goliath: Varied uses of heavy excavating machinery. (142 words)\nMultiplying man power efficiency of conveyor system in movement of goods (78).\nThe Riveter (V2) Operation of pneumatic riveter. Bridges and other structures of New York built with its assistance (22).\nThe Universal Milling Machine and Its Operation parts and construction; manifold operation (134).\nThe Walworth Craftsman Story of iron and steel, made into working parts that ensure man's comfort and safety on earth, in air and under power (POWER, Mechanical and Electrical).\nGROUP 69 Power, Mechanical and Electrical\nThe Age of Speed (4) Spectacular, historical and educational story of quickening progress. The gift of grinding to civilization (XXX).\nAlong the St. Maurice Hydro-developments and electro-chemical industries at Shawinigan Falls and the pulp and paper industries of Grand'Mere (XXX).\nBuilding a Power Giant: Big steam power plant and its components. The Busy Body: Personifying the 175 parts comprising the smallest motor. Entertaining and instructive.\nThe Electrical Giant: Manufacture of a 50,000 H.P. steam turbine generator, the largest single power producing unit in the world.\nIndustry and Engineering\nGroup 69 (Continued): Power, Mechanical and Electrical\nIndustrial Power: Various operations of tractors with special equipment in municipal and industrial use.\nMexican Powerhouse: Huge dam and powerhouse supplying interior Mexico. Uses to which power is put.\nThe Modern Goliath; or The Story of Heavy Excavating Machinery.\nPower Transformers: Their development and manufacture.\nPower: Development of power from the earliest uses of steam to the great power stations of today.\nThe Progress of Power: Mechanical power serving America's industries and municipalities. (XXX, 72)\nStory of Power: Shows early development of the steam engine, modern uses of electricity, and the working of a steam engine through animated photography. Early days treated in cartoon form. (14, 149)\nThe Story of Rock Drilling: The title tells it. (142)\nStory of Water Power: Primitive methods of utilizing energy of falling water; animated photography shows how the tremendous power of Niagara is changed into electrical energy. Many modern uses of electricity in industry and in homes. (14, 2)\nSuper Power Generation: Latest methods and most modern power plant equipment. (153)\nHarnessing the Waves: Utilizing the backward sweep of ocean waves to generate power. (1/4)\nprovide power to operate dynamo for charging storage batteries. (22) \n** Volta's Discovery (1) Interesting information on evolution of electrical \nWhite Coal (2) Story of electricity as developed from the snowflake. \nAnimated drawings show how it is generated at Niagara Falls. (XXTX) \nWhy a Magneto (2) Physical and mechanical principles. (XXX ) \n(See also Groups 67-8) \nWholesome Films Service, Inc. \nSpecialists in Selected Film Service for \nChurch, School, Club,.Y. M. C. A., Home \nand Community Center. \nWe have the most complete library in New England on \nsaftev non-inflammable stock being the exclusive distributors \nfor the SPIRO FILM CORP. (Urban Subjects) BURTON \nHOLMES TRAVELOGUES, and the GENERAL VISION \nLIBRARY including a series of 26 reels on the HOLY \nBIBLE. \nWe prepare and outline programs for each individual \ngroup need and correlate with Standard Text Courses in \nGeography, History, Literature, General Science, Biology, Civics, and Americanization. Motion Picture Projectors and Equipment for sale or rent. New England's Pioneer in the Non-Theatrical Field. 42 Melrose Street, Boston, Mass. Fifth Edition Industry and Engineering. Natural Products and Processes. Group 70. Fishing Industry. Harvest of the Sea. Deep sea fishing. \"She Blows\" (1). Whale hunting in the Pacific. The Romance of Oil (1). Shooting whale and towing back to port. Oil gushers in Texas (22). Abalone Pearl Fishing (1/4). How pearl divers secure and deliver their pearls. Hawaiian Fishing (1). Grotesque fish under water, and views of tropical scenes. Sponge Fishers (4). How sponges are obtained and marketed. (XX). Out of the Sea (1). Sponge industry along Florida keys; glimpses of many interesting water forms of the region (28).\nSalmon: Life of the salmon from spawn to catching for canning; complete process of preparing canned salmon for marketing. For sale only.\n\nOn the Skeena River: Salmon industry of British Columbia; catching and handling at the cannery.\n\nStory of a Can of Salmon: Self-explanatory.\n\nThe Miracle on Your Table: Complete operations of the great Alaska salmon industry.\n\nMaintaining the Salmon Supply: Propagation of the fish in hatchery.\n\nHow Salmon Are Caught: Showing various methods of fishing for British Columbia salmon. Canadian Government film.\n\nOyster Industry: Where and how oysters are prepared for market (Chesapeake Bay).\n\nFarming the Oyster: Self-explanatory.\n\nOyster and Shrimp Fishing: Self-explanatory. For sale only.\nShrimp Industry (1) Complete story of the industry, including underwater photography of live shrimp. (63)\nHarvesters of the Deep (1) Gloucester fisherman on New England banks; fishing for cod; preparation of cod-fish cakes. (102)\nFresh From the Deep (1) Catching and packing of halibut at Prince Rupert. (XXX)\nHauling in the Haddock (1) Fishing off the Massachusetts coast. CI 51)\nFrom Catch to Can (1) The sardine industry. (XXX)\nTrapping Tuna (1) A comparatively new industry on the east coast of Canada. (XXX)\nScientific Fish Farming (Y2) State Fish hatchery at Hackettstown, N.J., where fish are bred for stocking public streams and lakes. (22)\nFish and Fowls (1) Conservation of fish in inland waters; industry that supplies markets with deep water fish. Raising of poultry. (XV)\nGroup 71 Lumbering and Forest Products\nA scenic survey of the pole-making industry: Cedar Camps in Cloudland\nFelling trees and manufacturing lumber in Oregon and Washington: Conquest of the Forest\nAnimated comedy showing production of gum and Hercules steam-distilled wood turpentine: The Doings of Turp and Tine (XXX, 66)\nNaval stores industry of the South, including wood practices, distillation and marketing; plea for reforestation as one means of saving this great industry for America: Dual-Purpose Trees (144)\nBlasting materials in lumber production: Dynamite, The Master Lumberjack (46)\nExposition of the cedar pole industry: Far Western Cedar Trails\nResume of lumbering in Carolinas and the North-west; various methods of handling: Felling Forest Giants (XV)\nModern manufacture of lumber from standing timber to finished product: From Tree to Trade (2)^ (85)\n[1] Land of the White Cedar: Making poles, life among the cedar-cutters of Minnesota (\"XXX, 154\")\n[1] Logging Eastern White Pine: Methods of lumbering as practiced in Pennsylvania; portable sawmills in New England; old-fashioned water-power mill of colonial days (\"144\")\n[1] Logging in the South, Ancient and Modern: Ancient oxen and logging wagons; methods now used (\"6S\")\n[Industry and Engineering]\n[Natural Products and Processes]\n[Group 71 (Continued)]\n\n[Lumbering in the North Woods: Steps taken in changing a standing tree into finished lumber (\"37A, 58, 155\")]\n[Lumbering in the Pacific Northwest: Douglas Fir lumber manufacture; world's largest and newest electrically operated lumber manufacturing plants.]\n[Manufacture of Arkansas Soft Pine: From felling trees to completed product, showing each operation through the mill (\"63\")]\n1. Pi Liars of the Sky: Gathering and milling raw product for cross-arms and conduits. (XXX, 154)\n2. Pole-Pushers of Puget Sound: Land and water views of northwestern cedar industry. Thrilling and amusing incidents in daily lives of husky pole-pushers. (XXX, 154)\n3. The Price of Progress: Splendid views of the lumber industry as a setting for a story. (XV)\n4. Romance of Hardwoods: Great hardwoods of the south; felling trees; transforming logs into lumber and veneer. (149)\n5. Scotia \u2014 Home of the Redwood: Lumbering. (XXX)\n6. The Story of a Stick: Manufacture of yellow pine from tree to finished product, told by an old man to his grandson. (XXX, 85)\n7. Story of White Pine: Eastern white pine from virgin forest to finished products; second growth; nursery planting; white pine blister rust. (144)\nWhite Pine: Beautiful and Useful, Eastern white pine from log to lumber (144)\nWinter Logging in White Mountains (144)\nGROUP 72 Mining \u2013 Coal, Oil and Gas\nThe Story of Coal (142) - Complete treatment of mining processes, including one of the world's largest coal washeries, a drift mine, and loading coal onto a river barge.\nOrigin of Coal (1/4) - Animated drawings explaining how coal mines of today were provided by forests of centuries ago (22)\nCoal Mining - Process of sub-surface mining (22, 37A)\nBlack Sunlight: The story of coal - its formation a million years ago until today, in animation. Actual photography of anthracite mining (22)\nAnthracite Mining (1) Early methods in shaft, slope, and draft mining. Anthracite Coal Mining (1) Modern methods in production of anthracite coal - from mine to consumer. The Burning Question (2) Anthracite mining, preparation, and transportation. A Modern Blast (1) Use of explosions in Pennsylvania surface anthracite coal stripping. Bituminous Coal (1) Principal operations in mining and preparation of bituminous coal. Primitive and modern methods contrasted. Ford's Way of Coal Mining (2) Industrial and social conditions of Ford Coal Handling at Duluth Docks (2) Huge coal docks and giant cranes handle the coal from ship to railroad car, untouched by hands. Saving Coal at Home (1) Conservation of heat.\nFuel: How peat, coal, and petroleum are drawn from the earth. (151)\nEndurance: Showing the oil fields of Louisiana. (XXX)\nThe Story of Penn-O-Lene: From oil well to consumer, this film shows how Pennsylvania oil is handled. How oil is prepared for export. (13, 4B)\nStory of Gasoline: Drilling, transportation, and refining. (127, 142, 149)\nThe World's Struggle for Oil: Story of oil from Bible times to the present. (XV)\nFifth Edition\nINDUSTRY AND ENGINEERING\nNATURAL PRODUCTS AND PROCESSES\nGROUP 72 (Continued): Mining \u2014 Coal, Oil, and Gas\nThrough Oil Lands of Europe and Africa (Series of 2, 3 & 4 reels): Beautiful and picturesque views of the countries are shown; a study in oil and delightful travelogue. (142)\nGroup 1: Italy, Hungary, Danube, Roumania\nGroup 2: Poland, Greece, Egypt\nGroup 3: Germany, France, Spain, Morocco, Algeria\n\nTexts:\n\"The Story of Petroleum\" (Ch. 4, p. 14) - Full account of oil industries in these countries, including importation of oil from America (in the case of Morocco)\n\"Mexico and Its Oil\" (Ch. 4, p. 142) - Complete survey\n\"Liquid Gold of Texas\" (Ch. 1) - Story of oil production, transportation, and refining. Film deals with drilling process, pumping oil to surface, and dehydrating (p. 151)\n\"The Story of Oil\" (Ch. 1) - Oil drilling and transportation methods explained\n\"The Age of Oil\" (Ch. 1) - Oil wells and oil production (p. IX)\n\"Story of a Rotary Drilled Oil Well\" (Ch. 2) - Building of a derrick and details of drilling a well and \"bringing in\" the oil (p. 142)\n[The Story of Modern Oil Refining: From drilling the well to the finished product. For sale only. (58)\nThe Story of Natural Gas: From preliminary hauling of drilling equipment to derrick construction, drilling, and laying pipeline, compressing stations and trunk lines carrying gas to consumer cities. (14, 2)\nGROUP 73 Mining -- Miscellaneous\nThe Story of Rock Drilling: Use of drills in mining, in granite quarries, at work on the 10-mile power canal of the Hydro-Electric Power Commission of Ontario. (14, 2)\nGoing Mining in Alaska: How ground is thawed by steam and how a mine is operated in Juneau. (22)\nDiamond Mines in South Africa: Self-explanatory. (22, 112)\nA Study of Minerals and Precious Stones: Prizmacolor. Quicksilver and Its Properties: From mine to its many uses. (151)]\nMining with Llamas in Peru (1) Vanadium and copper mining.\nSure-footed llamas carry the ore from the mines. (XXI)\n\nThe Story of Sulphur (1) From its source to its ultimate uses. (151)\nThe Story of Sulphur (2) How it is melted 1,000 feet below the earth's surface by superheated water and forced by compressed air to surface and stored in huge vats; huge pipe lines to sulphur fields. Building of vats, blasting of hardened sulphur, and loading into box cars and ships. (142)\n\nSalt of the Earth (1) Salt mining in New York state; preparation for shipment. Excellent for school use. (IX)\n\nSalt Mining (1) How salt is secured for the market. (112)\n\nPillars of Salt (1) How salt is mined and refined. Many scenes filmed far underground. (X)\n\nTaken with a Grain of Salt (1) Drilling and dynamiting in solid walls of\n\nMining with Llamas in Peru: Vanadium and copper mining. Llamas carry the ore from the mines. (XXI)\n\nThe Story of Sulphur: From source to ultimate uses. (151)\nThe Story of Sulphur: Melted 1,000 feet below earth's surface, forced to surface, and stored in vats. (142)\nBuilding vats, blasting hardened sulphur, and loading into transport. (142)\n\nSalt of the Earth: Salt mining in New York state for shipment. (IX)\n\nSalt Mining: Securing salt for the market. (112)\n\nPillars of Salt: Mining and refining salt. Underground filming. (X)\n\nDrilling and dynamiting in solid walls. (X)\nTunnel. Filling sacks and boxes. (58)\nThe Story of Asbestos. (3) Self-explanatory.\nCopper Mining and Smelting. (1) Self-explanatory.\nA Visit to the Nitrate Fields of Chile. (1) Shows nitrate fields in South America and how nitrate is prepared for shipment. (46)\nThe Educational Screen is published for the visual field \u2014 to promote the greater use of visual aids in education (charts, maps, models, drawings, pictures, stereographs, slides, films, etc.). It can help YOU in your problems.\nWrite to our advertisers. Every one of them can be of service to you. They helped to make this volume possible. Please mention 1000 and One.\n\n62 Industry and Engineering \"1000 and One\"\nGROUP 74 Natural Products & Processes\nQuarrying. Modern Quarry Blasting. (1) Scientific methods of laying out holes, drilling, and blasting at several large quarries. (XXX)\nDynamite in Quarry (1) Self-explanatory. (46)\nGranite Block Paving (1) From quarry to pavement. (144)\nMarble Fields of Carrara (%) Mining in one of the famous marble quarries of The Marble Industry (1) New Hampshire quarries. All processes shown. Scenery of surrounding country. (28)\nVermont Marble (4) Methods of obtaining the stone and its shipment. (XX)\nA Sculptor's Paradise (1) Quarrying Carrara marble and noted buildings constructed from it in Rome, Venice, Pisa, Versailles and the Hague. (IX)\nQuarrying and Shaping Slate (2) Self-explanatory. (XXX)\nMineral Aggregates (1) Handling of sand and gravel from pit to finished product. (131)\nManufactured Products and Processes\nGROUP 75 Building Materials\nAll the Way with Wallpaper (1) The title tells it. (XXX)\nThe Background (1) Manufacture and application of wall covering. (XXX)\nThe New England Home: Manufacture of fire-proof shingles. (1)\nBrick: From Clay to Pavement (1) (Self-explanatory)\nThe Manufacture and Use of Face Brick (2) (The title tells it)\nWhite Magic (2) (The story of Dutch Boy White Lead)\nWhen White Paint is White (1) (Preparation of zinc oxide from the mine to save the surface)\nThe Day of the Modern Way (1) (Modern, improved methods of painting buildings and large stationary surfaces; varnishing or finishing manufactured articles)\nThe Story of Portland Cement (1) (How it is manufactured. Advantages of cement construction as in the Panama Canal)\nCementing the Centuries (2) (The story of Alpha cement)\nA Concrete Example (2) (Featuring big building construction, as exemplified in the largest concrete structure on Manhattan Island) (154)\nHollow Building: Its uses, qualities, and methods of manufacturing\nTerra Cotta: Processes in its manufacture; the erection of a skyscraper\nFrom Mine to Wall: How permanent fire-proof walls are built from mineral, showing mining, manufacturing and use of gypsum\nCivilization's Fabric: Cotton, from field to mill; spinning and weaving\nFluff to Stuff: The cotton industries from field to loom\nThirsty Cotton: Scientific analysis of the effect of humid air on the manufacture of cotton\nLace: Views of unusual laces; some historic pieces\nThreads of Romance: An exceptionally interesting picturization of the manufacture of lace\nLace Making in France: In the world's lace-making center, Le Puy.\nRomance of Cloth: Picking, ginning and shipping cotton; weaving process of cotton; making wool into cloth. (102)\nA Woolen Yarn: Shearing, carding, spinning and weaving. (X)\nWool: From fleece to finished cloth. (151)\nFrom Cocoon to Spool: Life history of the silk worm; processes involved in manufacture of silk into thread. (XXX)\nSilk Manufacturing: From the cocoon to ribbon. (37)\nFrom Mill to Millions: Shows how silk is used for making stockings; the raising of silkworms in Japan. (127, 149)\nFull-Fashioned Knitting Machine in Action: Operation of knitting machine making full-fashioned hosiery. Slow motion and mechanographs give details of knitting process. (21)\nIrish Cloth: How the famous linen and other Irish cloth is made; scenes about the mills. (XX)\nFifth Edition\nIndustry and Engineering\nGroup 76 (Continued) Clothing, Textiles and Leather\nChanging Hides into Leather: Steps in putting a raw hide through a modern tannery. For sale only.\nSolely a Matter of Soles: Leather.\nRomance of the Shoe: Development of human footwear and the machinery that makes modern shoe manufacturing possible.\nHeath's Foundation: Story of leather completely and entertainingly told. Includes also the sources of tannic acid and processes involved in tanning. Exceptionally good instructional material. (127, 149)\nFrom Calves to Kiddies: Shoe manufacturing.\nThe Leather Tread: Self-explanatory.\nThe Birth of a Hat: Early models of headgear; manufacture of a hat. (XXX)\nYour Hat and Mine: How they are made. (102)\nMaking of Felt (3) History and kinds. Displays the complete process of manufacturing.\nThe Story of Chase Velvet (3) Mohair from Angora goat to lustrous velvet.\n***The Making of Twine (1) Processes in making of a ball of twine, with some scenes taken in Yucatan. (XXX, 72)\nCarpeting a Century (2) Shows the steps in the process of factory weaving. (XXX)\nGROUP 77 Food Products\n***Filling the World's Cereal Bowl (2) How Kellogg cornflakes and All Bran are prepared. (127)\nHeart of the Wheat (2) The story of macaroni. (XXX)\nAlice in Cookie Land (1) Story of manufacturing cookies. (62)\nCrackers (1) Modern biscuit making introduced by a short historic recital of the relation of grains to human diet. (8S)\nStory of Grade \"A\" Milk (1) Health-building qualities of good milk. How milk is safeguarded on the way to the consumer. (102)\nMilk (1) Various processes which transform pure cow's milk into Carnation products. (XXX, 27)\nThe Pantry Cow (1) Crystallized milk, a convenient and highly nutritious household product. (XVII)\nMillion Dollar Food Product (1) Ice-cream. (XXX)\nFruits of the World (1) The story of ice-cream. (XXX)\nThe Winning Way (1) Entertaining story of the ice-cream industry. (37A)\nFrom the Gardens of the World to the tables of the World (1) Few of the \"57 Varieties\" from seed to table. (65)\nAdventures of Mazola (1) Facts regarding Mazola. (XXX)\nThe Fountain of Youth (1) Manufacture of ginger ale. (102)\nMaking of a Pale Dry Ginger Ale (1) The title tells it. (XXX)\nGroup 78 Metal Manufacturing\nThe Manufacture of Armco Ingot Iron (2 or 4) Every manufacturing process used in making of iron and steel sheets. (5)\nFifteen Minutes with Armco Ingot Iron in Household and Industry\n1. Practical application of sheet iron and steel for household and industrial use. The Story of Ingot Iron shows the complete process, from pig iron to shipment. (14, 2)\n2. The Story of Steel: The basic processes of making steel. (XXX)\n1. Iron and Steel: The evolution of iron and steel from mine to market. (1, 4)\n2. The Story of Steel: From mining of ore to finished products, such as woven wire fences, steel fence posts, nails, barbed wire, etc. (8)\n3. The Story of Steel: Reels 1 & 2 show the basic processes of steel-making from ore to ingot. Mining, transportation, furnace operations; reel 3, manufacturing of rails, plate, and other hot-rolled products; reel 4, manufacturing of wire products; reel 5, manufacture of lap-weld pipe; reel 6, manufacture of steel sheets and tin plate. (142, 148)\n[Story of Heat Treatment of Steel (2) / Story of Alloy Steel (4)\n\nLaboratory experiments with various heat-treating methods and effects. Application to motor car manufacture.]\n\nStory of Heat Treatment of Steel (2):\nLaboratory experiments with various heat-treating methods and their effects, with application to motor car manufacture.\n\nStory of Alloy Steel (4):\nThe complete manufacture of alloy steel told.\n\nAdvertisement:\n\nThe new DeVry 16 mm. projector is a distinct advance in home movie equipment. The pictures it shows are sharp, brilliant, and flickerless to a degree that sets a new standard of perfection for moderately priced small film projectors. The new DeVry is designed and built by the world's largest producers of standard portable motion picture projectors. Two years of effort were devoted to its development. None other is so simply built, so light in weight, or so compact. Illumination equaling that of the new DeVry is found in no other projector in its class.\nThe DeVry 16 mm. projector costs only twice that of standard projectors. Camera dealers offer the new DeVry Automatic 35 mm. Movie Camera for $85.00. Request free descriptive literature.\n\nThe DeVry Automatic 35 mm. Movie Camera holds 100 feet of standard film and is entirely automatic, requiring neither tripod nor cranking. It has three viewfinders and comes with a PATH 1 library of 16 run films. By special arrangement, The DeVry Corporation releases 100 ft. long films for comedies, dramas, stars, travelogues, and sciences.\n\nThe DeVry Movie Camera is a professional F 3.5 motion picture camera lens, enabling amateurs to make their own movies and doubling the value of your projector, either 35 or 16 mm. In less than a year, it has outsold any other 35 mm. camera, professional or amateur. Highly praised by Hollywood.\nThe DeVry combines all necessary features for professional quality in personal movie making. The best 16 mm prints are made from standard 35 mm negative. Price: $295. Motio I Equi Ce, Fifth Edition.\n\nAdvertisement\n\nProjectors and Cameras\nS All Principal the World\nDeVry 35 mm Projector\nIncludes materials, shipping, and \"ervice\n\nMore DeVry projectors are in use than all other makes of standard portable projectors combined. Ideal for churches, schools, lodges, halls, etc. Holds 1,000 feet standard film - projects a brilliant picture 12 feet wide; completely automatic, self-contained, stop-on-film shutter, automatic rewind -- adjustable legs.\n\nIams ion Picture Films\nPathe Exchange, Inc., distributor for the greatest film productions\n\nThe reels will consist of famous Pathe movie scenes and newsreels.\nThe DeVry Super Projector, for extra large auditoriums, has a giant 1000 watt lamp and all the features that have made DeVry Projectors the most popular. The DeVry Corporation manufactures two models of STEREOPTICONS. Type T ($60.00) is folding, weighing about ten pounds, yet throws as large and brilliant a picture as older and heavier machines. The slide carrier is built in, with nothing to lose or forget. Type M ($47.00) is for daylight projection, our most popular model for schools and churches where rooms cannot be made perfectly dark.\n\nDeVry Stereopticon Co.\n1234 Ler Street\nChicago, Illinois\n\nIndustry and Engineering\nManufactured Products and Processes\nGroup 78 (Continued) Metal Manufacturing\nThe Making of Steel (2) Various processes through which ore is transformed into steel. (XXX, 72)\nSteel \u2014 From Ore to Rail (1) Depicting the processes by which iron ore is converted into steel products. (151)\nRolling Steel by Electricity (1) Intricacies in the production of steel. (XXIX)\nThe Manufacture of High Finish Sheets (2) Cold rolling and other processes in making. (5)\nThe Manufacture of Steel Sheets and Tin Plate (1) Self-explanatory. (XXX)\nArteries of Industry (4) Manufacture of wrought steel pipe from mining ore to shipment of finished product. (XXX)\nThe Manufacture of Lap-Weld Pipe (1) The title tells it. (XXX)\nThe Manufacture of Wire Products (1) The drawing of wire and manufacture of products \u2014 nails, fence, barbed wire and rope. (XXX)\nHot-Rolled Products (1) Rails, structural steel and heavy plates. (XXX)\nMaking of American Wire and Its Uses, \"Blue Center\": A story of wire rope manufacturing.\nStory of Lead Smelting: Self-explanatory.\nStory of Lead Mining and Milling: Drilling, blasting and loading of lead ore; operations at mill.\nRefining and Manufacturing Copper: Self-explanatory.\nThe Story of Abrasives, \"Carborundum industry\": Industrious Diamonds: Showing the part they play in making copper wire.\nThe Jewels of Industry: Story of making of modern abrasives and their use.\nThe Silversmith: How silverware is produced \u2014 from the ore to things of beauty and utility for the home.\n** Beaten Gold: Its manufacture.\nFine Arts in Metals (2) Making sterling silver in the Gorham plant at Providence, RI (XXX)\n\nGroup 79 Paper and Publications\nThe World of Paper (2) Epoch-making advances in the art of writing, printing and papermaking from ancient to modern times. (X)\nWhite Paper (1) Manufacture of paper. (IX)\nNewsprint Paper (1) From standing forest to finished product.\nThe Voice of Business (3) The making of paper from raw material to finished product. (XXX)\nPaper Making (1) Detailed study of the paper-making industry, both wood pulp and rag. For sale only. (58)\nThe Daily Paper (1) Extensive and complicated business of publishing a newspaper. (151)\n\nThe Making of a Great Newspaper (3) Complete process. Made with the cooperation of The New York Times. Gathering the news, transferring the copy from paper to metal and back, etc. (XVII)\nFrom The Romance of the News (2) The story of one of the great news-gathering agencies of the world \u2014 the Associated Press \u2014 and how news is gathered. The Art of Monoprinting (%) Demonstrated by a Sicilian painter. The Making of a Book (S) The various processes through which a book must go from linotype machine to bindery, with the latest improved machinery and up-to-date equipment. Your Book (17) Evolution of the book: how books are made today at the Athenaeum Press. Making a Sales Book (1) From the making of the electrotype to the finished book. The Romance of Making a Modern Magazine (2) The \"Dearborn Independent\" from raw stock to finished product. The Making of Chicago Tribunes (3) Depicting every phase of the making of Chicago Tribunes from timberlands to delivery of complete papers. The Art of Monoprinting (22) The various processes through which a book must go from linotype machine to bindery, with the latest improved machinery and up-to-date equipment.\nThe Record Makers of Business (1 & 2) The manufacture of carbon papers and inked ribbons. (XXX, 29, 149)\n\nThe Absorbing Story of Thirsty Fibre Paper making from felling of trees to the packing of the completed product; manufacture of absorbent paper towels. (XXX)\n\nFifth Edition\n\nAdvertisement\n\nSend a copy of this Booklet\nWilli\n\nIt contains a list of twenty-five Motion Pictures visualizing some outstanding achievements of a great American Industry\n\nAddress\nWestern Electric Company INCQRPQBAT6P * *\nMotion Picture Bureau\n120 West Forty first Street\nNew York, N. Y.\nDC-\n\nIndustry and Engineering Manufactured Products and Processes\nGROUP 80 Miscellaneous Manufacture\n\nStory of Fireclay Refractories (4) Self-explanatory. (142)\n\nThe Romance of Glass (1) Discovery of glass by the Phoenicians; manufacture of glass jars; comparing hand-blowing with modern machine processes.\nmethods for cold pack canning. (XXX, 37A)\nAmerican Bottles Old and New (2) Depicting modern glass, practice, and Owens Automatic Bottle Blowing Machines \u2014 mechanical marvels of the age. (XXX)\n\nThe Story of Bakelite (2) Manufacture and use of one of the most remarkable materials of the present age. (XXX, 16, 127)\n\nThe Story of the Tire (1) Self-explanatory. (59)\n\nMaking a Rubber Tire (1) From the gathering of the rubber gum to the finished product. For sale only. (58)\n\nThe Making and Installation of Culverts (3) Comprehensive picture of this new field of industry (metal culverts). (5)\n\nThe Story of Compressed Air (2) Self-explanatory. (XXX)\n\nStory of Dynamite (2) Manufacture of dynamite from raw materials to finished product. Work of explosives in mining and construction work. Dynamite, A Basic Material of Modern Civilization (6) Processes of manufacturing and use.\nThe Story of Handsaws (1) The manufacture of hand saws.\nThe Meteor (2) The birth and development of the cross cut saw.\nThe Making of a Good Shovel (1) Manufacture of hand shovels from raw materials to finished product. (21)\nGlimpses of the Remington Factory (I) A visualization of all the important processes in manufacture of Remington typewriter. (XXX)\nThe Crossroads (2) Manufacture of the Corona typewriter. (XXX)\nWorld's Records (1 & 2) The story your ink bottle tells \u2014 on manufacture of Carter's inks and adhesives. (29)\nStory of Writing (1) History of recording thought, and story of ink manufacture. (102)\nMan's Greatest Heritage (1) Shows ways and means of recording thought from ancient time to present day and includes development of the alphabet.\nMaking Pencils (1) Manufacture of pencils in a modern factory. (42)\nHow a Dixon Lead Pencil is Made (1 or 2)\nFrom the graphite mines near historic Fort Ticonderoga, to the finished product. (44, 83)\n\nSuds: Washing Through the Ages\nManufacturing of modern washing machines. (149)\n\nSpanish Moss\nGathering and manufacture of mattresses from this moss of the Everglades. (XX)\n\nFor the Feet of a Nation (2)\nComposition and manufacture of linoleum.\n\nOur National Bread Box (1)\nHistory of development of the paper carton with authentic details. (126)\n\nAmerican Matchmaking (1/4)\nMaking matches in large American factories.\n\nT.C. (Your Sixth Sense) (1)\nEffect of temperature on human beings, the origin of the thermometer, and the method of calibration. (XVII)\n\nA Trip Through the NCR Factory (2)\nManufacturing National Cash Registers in the factory at Dayton, Ohio. (1)\nmachining operations of making parts. (99)\nA Movie Trip Through Filmland: A cinema tour of Kodak Park with interesting views of manufacturing film stock from raw cotton and bars of silver to finished strip ready for the camera. (21)\nPrizma: The story of making colored motion pictures.\nThe Story of a Watch: The whole process by modern methods. (XXX. 14 2)\nThe Guardian of Time: Showing the manufacture of alarm clocks. (2)\nTime: A color masterpiece giving the history of man's efforts to measure time, as recorded in the timepieces of all ages. (IV, XX, 56, 156)\nMusic Factories: Showing the manufacture of mechanical musical instruments. (151)\nFine Art of Making Musical Instruments: Making the first saxophone by Sax in his old French workshop; manufacture of modern musical instruments.\nThe Making of a Piano, Pipe Organ and Harp (2)\nWhat do You Know about the Piano? (1) - History and development of the piano by a great authority on old keyboard instruments. Immortalized (1) Musical artists and how their work is preserved for posterity.\nThe Violin Speaks (1) - Structure and manufacture.\nAids to Cupid (1) - Making perfumes in Southern France. Prizma color.\nMy Lady's Perfume (1) - Picking flowers and converting them into perfumes. Factories on the Riviera. (IX)\nHappiness (1) - How good furniture is made. (XXX)\n(For welfare work in industrial plants, see Group 123)\n\nPottery (1) - Art of pottery traced down through the ages; trip through a modern pottery plant. For sale only. (58)\nGroup 80 (Continued) Miscellaneous Manufacture\n\nTitle: The Making of a Piano, Pipe Organ and Harp (2)\nContent: This text discusses the history and development of the piano, as well as the role of musical artists in preserving their work for posterity. It also covers the structure and manufacture of the violin. Additionally, there are sections on making perfumes in Southern France and how furniture is made. (For welfare work in industrial plants, see Group 123)\n\nGroup 81 Industrial Arts Pottery\nTitle: Pottery (1)\nContent: This text explores the art of pottery throughout history and takes a trip through a modern pottery plant. It is for sale only. (58)\nIn a China Shop: Casting and decorating porcelain. (IX)\nMagic Clay: The method of making Rookwood pottery in the workshops near Cincinnati. Beautifully photographed in Prizma color. (Q) Lenox Pottery: Production of fine pottery by modern methods. (2) The Most Ancient Art in History: The growth of the pottery industry in the U.S. (%) Scenes made at the oldest American pottery, Flemington, N.J. (22) The Potter's Wheel: Porcelain for electrical uses. (X) Girard Pottery Makers of the Caribbean: The art of native potters. (%) Sevres Porcelain: Showing the interesting stages of porcelain-making. (1) Porcelain Industry in Czecho-Slovakia: Shows process from common clay to finished hand-painted lustrous china. (134) The Story of the Willow Plate: Unique and artistic presentation of a story (1)\nThe Chinese platter features static figures, with drama enacted by a stationary border. (77)\nUncommon Clay: Manufacture of Pottery. (IX) (See also Group 52)\nGroup 82: Miscellaneous\nHow Museum Groups are Made: Stages in preparation of a group of caribou for the Brooklyn Museum of Arts and Sciences. (22)\nA Modern Miracle Worker: Artist at the American Museum of Natural History works on an artificial magnolia group. (22)\nGroup 83: Literature and Drama\nAmerican Author Series: A series of 12 films that sketch out each author's life and then dramatize one or more of their best-known and beloved works. (113, 151)\n** William Cullen Bryant: Scenes selected to interpret lines from Thanatopsis and The Crowded Street. (1)\nJames Fenimore Cooper: Scenes from the settings of Leatherstocking Tales.\nRalph Waldo Emerson: Scenes connected with his life interpreting his poems.\nNathaniel Hawthorne: Dramatization from The House of Seven Gables.\nJames Fenimore Cooper: A sketch of his life and scenes from The Village Blacksmith.\nHenry Wadsworth Longfellow: Scenes from The Courtin' from the Bigelow Papers.\nHenry Wadsworth Longfellow: A sketch of his life.\nJames Russell Lowell: Brief biography and scenes from The Courtin'.\nEdgar Allan Poe: With the acting out of Annabel Lee.\n\nLiterature and Drama\nGROUP 83 (Continued)\nLiterature and Drama\nMark Twain, scenes made famous by his writings, including The Jumping Frog.\nWalt Whitman, an effort to put the author's philosophy in film form.\nJohn Greenleaf Whittier, illustrating Whittier with lines from The Barefoot Boy and Maud Mutter.\nEnglish Author Series (Series of 10, one reel each): The films visualize a brief sketch of the following authors: The Brownings, Robert Burns, Charles Dickens, George Eliot, Oliver Goldsmith, Sir Walter Scott, William Shakespeare, Percy B. Shelley, Robert Louis Stevenson, Alfred Lord Tennyson.\nAlice in Wonderland (4), Lewis Carroll's child classic produced exactly as the book was written for children and grown-ups alike.\nAlice Through the Looking Glass (5), a sequel to Alice in Wonderland.\nAmerican Literature (1), dramatic situations from Poe's The Goldbug.\nThe Scarlet Letter (Hawthorne, 113, 151)\nThe Ancient Mariner (Coleridge, 6) Modern beginning and ending. (IX)\nAnnabel Lee (Poe, 5) Exquisite production based on Edgar Allen Poe's famous story. (IX)\nAntony and Cleopatra (6) The classic story. (77)\nAs No Man Has Loved (8) Excellent screen version of \"The Man Without a Country.\" (IX)\nThe Atabaska Trail (Sir Arthur Conan Doyle, XXX) Picturization of poem.\nAunt Tabitha (1) Comedy, comparing present-day girl with her aunt.\nThe Barefoot Boy (6) Based on Whittier's immortal poem. Cast includes John Bowers, Marjorie Daw, Tully Marshall, Raymond Hatton. (32)\nBeloved Vagabond (5) Picturization of Locke novel. (VIII)\nBill (3) A gem of screen acting. Motion picture version of Anatole France's Crainquebille. (XIX)\nBluebird (5) From Maeterlinck's delightful story. (128A)\nThe Bond (6) - George Washington Ogden's novel. Acted by Richard Barthelmess and Mary Alden.\nThe Brock (1) - Picturization of Tennyson's poem (XXI)\nThe Call of the Wild (7) - Picturization of Jack London's book. Admirably done (XV)\nThe Child of M'sieu' (5) - Baby Marie Osborne in a story suggested by Browning's Pippa Passes (37, 56, 112)\nA Christmas Carol (1) - Taken from Charles Dickens' story (33, 49)\nCorsican Brothers (6) - From the famous novel by Alexandre Dumas. Enacted by Dustin Farnum (66 A)\nThe Courtship of Myles Standish (5 or 6) - Dramatization of Longfellow's poem. Geographically and historically-correct. (Note: Longfellow's poem furnishes the incident of John Alden and Priscilla amplified by Charles Ray to include the story of the Pilgrims and the voyage of the Mayflower. Valuable for)\nThe Cricket on the Hearth (7) - Charles Dickens' best-known story featuring-\nThe Deemster (5) - Adapted from Hall Caine's novel. (XXI)\nThe Deerslayer (5) - James Fenimore Cooper's famous classic, produced specifically for educational use. (23, 56, 69, 113, 156)\nDoctor Martyn and Son (6) - Charles Dickens' classic, filmed in original English\nThe Enchanted Cottage (8) - Pinero's play, acted by Richard Barthelmess and May McAvoy. A screen classic. (19)\nEnoch Arden - Version of the classic. (112)\nHamlet (7) - Shakespeare's masterpiece beautifully presented. (23)\nHansel and Gretel (3) - The well-known story. (4, 9)\nThe Headless Horseman (6) - Adapted from Washington Irving's Legend of Sleepy Hollow, with Will Rogers as Ichabod Crane. (23)\nHeidi of the Alps (3) - Filmed in Switzerland \u2013 in natural colors.\nFifth Edition, Literature and Drama Group 83 (Continued)\nA Hoosier Romance (5) - From the Riley story, with Colleen Moore.\nThe Hoosier Schoolmaster (5) - Max Fisman in the famous Edward Eg- Hunting Ground of Hiawatha (1) - Exquisite picture poem following Longfellow.\nThe Jack Knife Man (7) - Florence Vidor in a King Vidor production of Ellis Parker Butler's Mississippi River story. (37A, 56, 66A, 69, 113)\nF Jane Eyre (4) - From the novel of Charlotte Bronte. (33, 112)\nJust Folks (2) - Adapted from the poem by Edgar A. Guest. (37A)\nKeeper of the Bees (7) - Gene Stratton Porter's last work. Well done. (VIII)\nKidnapped (5) - R.L. Stevenson's story. (77)\nKipling's Mandalay (4) - From Mandalay to Rangoon down to Irrawaddy.\nLady Windermere's Fan (5) Oscar Wilde's world-famous play. Not the recent film.\nLast Days of Pompeii (6) The classic story.\nThe Little Match Girl (1) Hans Andersen's tale of the ragged child. Df the city streets, done by Madge Evans, with a happy ending.\nLittle Orphant Annie (5) James Whitcomb Riley's classic featuring Lorna Doone (5) Richard B. Blackmore's famous story. (113)\nMacbeth (4) From the famous play by Shakespeare. (112)\nThe Man Without a Country (8) Edward Everett Hale's story. Featuring Men Without a Country (6) A film of historical interest, picturing men who played leading parts in the early history of our country. (66A)\nMaud Muller (2) Idealized version of Whittier's poem. A rich girl reads it to her lover who is poor and afraid to ask her hand in marriage. (XV)\nThe Merchant of Venice: Highlights from Shakespeare's play. (37A)\nThe Mill on the Floss: Picturization of the famous story. (112)\nMy Own United States: From the well-known story by Edward Everett Hale. (V, 49)\nI, Old Scrooge: A wonderful characterization of the miser in Dickens' A Christmas Carol. (XVI)\nThe Only Way: An able rendering of Dickens' Tale of Two Cities. (XXIV)\nM, Paul Revere's Ride: Portraying the famous ride made famous by Longfellow. (49)\nj[ Peck's Bad Boy: Delightful picturization of the famous story by George Barris. (5)\nPeter Pan: Barrie's story done as only the movies could do it. (VII)\nPrince and Peasant: Dramatic story founded on the opera The Dumb Girl of Portici. (XVI)\nI I Rip Van Winkle: Washington Irving's tale of the beloved vagabond. (5)\nScrooge (After the story by Charles Dickens. (49, 155))\nSherlock Holmes (Series of 4 (IV))\nThe Man with the Twisted Lip (The Resident Patient \u00a32)\nThe Beryl Coronet (The Devil's Foot (2))\nSilas Marner (Frederick Warde in George Eliot's classic)\nThe Sky Pilot (Colleen Moore with John Bowers and David Butler)\nSonny (George V. Hobart's play acted by Richard Barthelmess. (19))\nSpartacus (The classic story. (77))\nTale of Two Cities (From the novel by Charles Dickens. (112))\nThe Three Musketeers (Alexander Dumas' historical novel)\nTimothy's Quest (Kate Douglas Wiggin's simple homespun story)\nTreasure Island (Robert Louis Stevenson's epic of adventure. (112))\nVanity Fair (Thackeray's story. (77))\nThe Vicar of Wakefield (A screen version of Goldsmith's classic)\nThe Village Blacksmith (1) From Longfellow's poem.\nThe White Sister (12) Marion Crawford's novel, acted by Lillian Gish. Directed by Henry King and produced in Italy.\nWilliam Tell (7) Based on Schiller's drama. Bears the endorsement of the Government of Switzerland.\nPlant Life\nCarnivorous Plants (hi) How insect-eating plants obtain their prey. (2, 2)\nA Cottage Garden (1) Growth of flowers with stop-motion photography. Prizma color. (156)\nDo You Know Beans? (1) Germination and growth of the bean from planting until plant is on the road to maturity. (49)\nAn Enchanted Garden (%) Analyzed motion pictures of growth and blooming.\nSome flowers of dogwood, etc. (22.3.7A)\nEternal Nature's Cycle of life in growing plants, from pollenization to maturity. (22)\nField and Wayside: How milkweed blossoms hold captive many an insect guest; the tragic end of the snowy tree cricket; the haunts of the common tick; where the lady bug comes from; some common spiders and their lairs; how the goldenrod, despite gall flies, bravely attempts to put forth blossoms. (134)\nKnow a Garden: Prizma photography of famous gardens in New Jersey. (XX)\nNature's Garlands: Beautiful flowers of many varieties in natural colors. (1)\nPlant Life and Habits: Germination of seeds; plants with animal intelligence such as the Venus fly trap and the Mimosa. (XXI)\nSeeds and Seed Dispersal: One of the most remarkable subjects of the kind ever produced on how plants and flowers renew life; exceptional methods of seed dispersal. (1)\nmicrophotography; processes of flower and seed development shown entirely by timed camera exposures. (37, 37A, 49, 113, 151)\n\nSpring: How life begins in the early Spring. Leaves and flowers sprouting. Campers answering call of spring. (22)\n\nA Springtime Miracle: Wild flowers of Yosemite photographed by stop-motion as they are in the process of blossoming (2, 49)\n\nWatching Flowers Grow: Development of blossoms shown by slow-motion photography. (37)\n\nWhere Plants Live: Conditions which account for main plant associations. Wood Wisdom: Structure of various kinds of wood; different qualities of \"hardwood\" and \"softwood\"; cell building in growing trees; development of decay through growth of fungi. (14, 4)\n\nGROUP 85 ANIMAL LIFE Domestic Animals\n\nAnimal Celebrities: Grantland Rice Sportlight. Feats performed by animals. (1)\ntrained horse and various dogs. (XV)\nCats (1) The Cat family in general including lions, tigers, mountain lions, bob cats; habits and pranks of the domestic cat. (XXI)\nKittens (1) Our playful feline friends give us opportunity of studying their interesting traits. (49)\nFriends of Man (1) Dogs of all breeds. (151)\nDog as a Friend of Man (1) Striking illustrations of association which may exist between man and his canine companions. (49)\nDog, Man's Faithful Friend (1) In many countries, dog is indispensable co-operator in man's work. (49)\nDoggies and Pussies (1) Amusing scenes and titles of several family pets.\n** Our Dog Friends (1) Dogs the only actors and many intelligent \"stunts\" demonstrated\n*** Monty Works the Wires (4) A bright wholesome comedy of the life of a sky-terrier as he tells it to his puppy son. (XVI)\nThe Horse: Some of his ancestors: Indian horses and his pony; wild horses of the plains; development of some of the best breeds of today. (XXI)\nThe Horse in Motion: A study of various gaits of horses, at normal speed and then analyzed by means of slow-motion photography. (144)\nNatural Science, 73rd Edition, Group 85 (Continued): Animal Life, Domestic Animals\nThe Horse and Man: Shows the horse's part in the conquest of the New World and in modern American life. Various kinds of horses. (144)\nKentucky Thoroughbreds: The care and training of horses. (113, 151)\nThe Maverick: Autobiography of a horse.\nOur Four-Footed Pals: An intimate study that appeals to all animal lovers.\nOur Four-Footed Helpers: Description of ruminants on which man chiefly depends for food and clothing. (XV)\nOur Farmyard Friends: Domestic animals of the farm are portrayed as the most interesting phase of farm life. Peculiar Pets: Strange associates of man. When do We Eat? A clever canine mother foraging for her children.\n\nGroup 86: Wild Animals\nAmerican Bears: Various bears of the North American continent, photographed by Raymond Ditmars.\nAnimal Appetites: Showing what some of the boarders at the zoo eat.\nAnimals of the Far North: Here is shown an excellent group of animals from Polar regions.\nAt Home with the Polar Bear: Polar bears in their native haunts; capture of two cubs and a bit of their life in the zoo.\nBabies of the Wild Animals: Their nature and habits. For sale only.\nBabies in the Zoo: Wide range of animals covered.\nBare Facts Concerning Bears: Close range studies of conspicuous bears.\nTypes of bruins: the pampered guests of the zoo. (37, 37 A, 49, 112)\n\nBeasts of Prey: Animal subjects in the zoo, photographed with remarkable naturalness at close range; titles good for informational material.\n\nCapturing a Great Anteater: The capture of this animal in South American jungle wilds. (XVI)\n\nElephants in Training: School for circus stunts. (37)\n\nHunting Great Grizzlies on the Alaskan Peninsula: Harold Me- Cracken, famous Alaskan hunter, has brought back for \"Field and Stream\" perhaps the greatest motion pictures of Kodiak bear ever shown. (XXX)\n\nJungle Adventures: Martin Johnson's jungle adventures. A fascinating chronicle. (23)\n\nThe Last of the Bison: Self-explanatory. (XXX)\n\nMonarchs of the Plains: The buffalo, wak, elk and other wild animals. (XXX)\nAnimals' Protections: Elephants, hippopotamus, rhinoceros, crocodile, gorilla, chimpanzee, orang-outang, native bears, animals in Bronx Zoo, rare animals, flying opossum, koaio, panda, Australian monitor, elks in national forests of Montana, moose, wild animals of Borneo, our fur bearing animals, fox-farming, seal industry, smaller.\nAnimals: raccoon, skunk, otter (XXI)\nTwo bear cubs and their playful habits (J, The Educational Screen, Natural Science Group 87, Animal Life, Smaller Animals)\nAn Animal Engineer: the beaver at work - cutting and transporting logs, building house and dam (Y2, The Beaver, An Animal Engineer)\nThe beaver: cutting logs, taking them to home-site, building house of brush and mud and dam (49, The Beaver)\nBr'er Rabbit and His Pals: the rabbit as an example of rodents - his structure and modes of living (XV, One of the Screen Studies)\nChumming with Chipmunks: characteristics of little striped chipmunk\nA Frog Land Frolic: interesting and amusing study of different kinds of frogs and their habits (V2)\n[Life Function of Animals \u2013 The Frog: The life of a frog from egg to pollywog and metamorphosis to full-grown frog. (49, 113, 151)]\n[The Jungle Sluggard: Slowest creature on earth \u2013 the three-toed sloth. Filmed by Dr. Wm Beebe. (XVI)]\n[The Life History of Frogs and Toads: Traced step by step with necessary contrasts drawn. Excellent for school use. Scientifically prepared. (1)]\n[Lizard Lore: Scientifically accurate exposition of habits and characteristics of lizards, the ancestors of the snake. (1)]\n[Nature's Rogues: Habits and life of skunks and weasels. (22)]\n[Pigmy Circus: Turtle, lizard, chameleon, Ceylonese, walking leaf, tree toad, mice. Photographed by Raymond Ditmars. (XX)]\n[Some Cold-Blooded Mexicans: Closeups of Mexican lizards, horned toads, desert tortoises and other curious creatures. (V2)]\nToads: Complete life-cycle of the common garden toad and tree toad.\nTurtles and Tortoises of All Lands: An intimate study by Raymond Ditmars of this strange family of animals. (XXI)\n\nGroup 88: Insects and Bugs\n- The Ant: Underground passages below the ant hill; the physical structure of the ants themselves, and life history of the tiny animal. (VI)\n- The Ant Lion: Life history of the \"Doodle Bug,\" given in an interesting manner. (VI)\n- Ants, Nature's Craftsmen: Life cycle; structure of ant dwellings, and remarkable way in which the ant \"workers\" care for the young as they hatch. (XV)\n- Battle of the Ants: How colonies of ants live and propagate. (22)\n- Beetle Studies: Battle for existence with other insects. (151)\n- The Black-and-Orange Garden Spider: Complete metamorphosis of this familiar spider. (134)\nThe Butterfly: Life history from egg to caterpillar, cocoon, and butterfly. Excellent close-ups. (XXI)\nThe Butterfly: Various stages of metamorphosis from egg to full-grown butterfly. (1)\nBumble Bee: Community life and habits. (28)\nBuzz: A microscopic study of the mosquito by Louis Tolhurst. (1)\nComma Butterfly: Life of this insect from laying of the fluted eggs to beautiful comma butterfly. (22)\nThe Death-Head Moth: Caterpillar, chrysalis, and moth in different stages of growth. (37)\nDespoilers of Jungle Gardens: Life and habits of attas, or leaf-cutting ants. Filmed by Dr. Wm. Beebe. (XVI)\nDexterity and Mimicry of Insects: Study of flies and other insects. (1)\nEccentricities of the Wasp and Bee: Their habitations and modes of life. (1)\nThe Fly: From Tolhurst's \"Secrets of Life\" series. Excellent microscopic study. (VI)\nThe Greenbottle Fly: Work of this insect, one of nature's scavengers, is traced in this reel.\nThe Honey Bee: Scientific methods of handling bees; close-up of queen, drones, and worker bees.\nThe House Fly: Life history, habits, manner of propagating, and method of transporting disease germs.\nThe Hunting Spiders: The trap-door spider, wolf spider, water spider, nursery spider.\ninhabitants of a Hedgerow: Peculiarities of many kinds of insects.\nInsects that Mimic: Giant weevil, cone-headed locust, walking stick, and walking leaf.\nInsects that Sing: Field cricket, dwarf field cricket, house cricket, katydid.\nThe Labyrinth Spider: Life history.\n\nAnimal Life in Natural Science, 75, Group 88\nFifth Edition\n\nThe Greenbottle Fly: This insect's work, one of nature's scavengers, is detailed in this reel.\nThe Honey Bee: Scientific techniques for handling bees are explored, with a close-up look at the queen, drones, and worker bees.\nThe House Fly: Its life history, habits, method of reproduction, and means of spreading disease germs are discussed.\nThe Hunting Spiders: This segment covers the trap-door spider, wolf spider, water spider, and nursery spider.\nHedgerow Inhabitants: The peculiarities of various kinds of insects are examined.\nInsects that Mimic: This section features the giant weevil, cone-headed locust, walking stick insect, and walking leaf insect.\nInsects that Sing: The field cricket, dwarf field cricket, house cricket, and katydid are the focus of this part.\nThe Labyrinth Spider: Its life history is explored.\n[Lace-Wing Fly (1) Interests of aphids and lace-wing flies. (134)\nLair of the Spider (1) The life of a female spider and its hunting methods. (22)\nLife Function of Animals \u2014 The Grasshopper (1) Biological study of grasshoppers. (151)\nLife of a Butterfly (1) Life history. (37)\nLife History of the Monarch Butterfly (1) Every stage of the monarch butterfly's metamorphosis from caterpillar to butterfly. (134)\nThe Life of a Moth (1) A story of the moth, as told by Raymond Ditmars. (XX)\nMarvels of the Insect World (1) Hercules beetle, rhinoceros beetle, Trinidad roach, and scorpion. (37)\nMimicry of Insects (1) Life cycles and habits of insects. (42)\nThe Mosquito (1) Details of every stage in the life history of the mosquito.]\nmosquito and methods for his control. Nature's Handiwork (1) Collection of remarkable views showing various phases in life story of caterpillars, moths and butterflies. Emphasis on peacock caterpillar. (37, 49, 151)\nNature's Tent Builders (V2) Tent caterpillar \u2014 life cycle. (22)\nOrb Weavers (y2) This particular spider building its intricate web, trapping prey and storing it away for future consumption. (22)\nOutwitting the Ant (V2) How ant-lion traps and destroys ants. (22)\nPond and Stream Life (2) Close range study of dragonfly, pond-snails. (22)\nPreparedness Among Ants (%) Community life; industrial activities; engineering ability and military talents. (22)\nSamia Cecropia (1) Life story of the \"giant American silkworm.\" (134)\nThe Scale of Mother Love (Y2) Spiders and the preparation of their egg sacs\n- The Seventeen Year Locust (1) Periodical cicada which emerges after 17 years underground for a short period of aerial life. (144)\n- Silk Worm (1) History, life and habits with beautiful pictures of the various moths. (18, 37)\n- Singing and Stinging (1) Fine microscopic presentation of the life of a mosquito and its destruction. (XVI)\n- Skilled Insect Artisans (1) How a caterpillar weaves its cocoon and develops into a moth. Atlas silk moth; red admiral caterpillar. (22)\n- The Spider (1) Remarkable views of the tiny subject and method of spinning. One of the Secrets of Life Series. (VI)\n- Spiders and Their Victims (1) The spider's battle for existence. (151)\n- Wasps (1) The life cycle of a wasp, with particular attention to nest-building. (XVII)\nBuilding and stocking with spider food. Wild Creatures that Mimic: Close-up studies of leaf-winged insect, the Malayan \"walking leaf,\" Sumatran stick insect, and the American \"walking stick,\" showing how they mimic plants on which they live and how they locomote. A Screen, a Projector, 1000 and One: The Educational Screen \u2014 a necessary combination for any church, school, or club.\n\nNatural Science\nGROUP 89 MICROSCOPIC LIFE\nMicroscopic Life\nFrom Protoplasm to Human Organism: Microscopic study of one-celled life, life-processes in the cell, leading to study of cell structure of the human body.\n\nGetting Acquainted with Bacteria: Essential facts about bacteria; three typical shapes; how they are grown and handled in the laboratory.\n\nHow Life Begins: Microscopic biological study showing the method by which life begins.\nPart I: How life begins in protozoan, yeast, plant (geraniums, sweet peas)\nPart II: How life begins in sea-urchin; life story of swallow-tail butterfly\nPart III: Life story of frog\nPart IV: Life story of a chick and white rat\nA Drop of Water: Examples of life in deep and shallow pond waters\nSecrets of Life series by Tolhurst\nInfusoria: A drop of pond water filmed through high-power microscope - animal and vegetable organisms\nLife Functions of Animals, No. 1: Biological study of amoeba (ideal for classroom use)\nLife Functions of Animals, No. 2: Biological study of the hydra\nLittle Under Water Wonders: A realistic film revealing microscopic pond life\nThe Living World: Microscopic biological study (a sequel to How Life Begins)\nPart I: Composition of protoplasm; difference between living and non-living matter.\nPart II: Characteristic activities of living things.\nPart III: Adaptation of protoplasm to its environment.\nPart IV: Cycles of life and meaning of heredity.\nNature's Sex Problems:\n1. Biological study of microscopic animals. (p. 151)\n Seeing the Unseen:\n Study of minute organisms by means of greatly enlarged models. (p. IV, 56)\n An Unseen World:\n Microscopic life found in water; cell-division, method of feeding and navigation. (p. XXI)\n Some Monsters of the Farm:\n Microscopic studies in motion of the gorgeous eyes of frog, grasshopper, spider and katy-did. (p. 22)\nStudies in Micro-Biology:\n1. Highly absorbing phases of life invisible to the naked eye. (p. 151)\nGroup 90: Birds\nLarge Birds\nAnne's Aigrette: How egrets have been almost exterminated by plume hunters; egrets in a Federal bird refuge, a great cypress swamp in Arkansas.\nBirds of Prey: Sparrows, hawks, condor, eagle. One of the \"Screen Studies.\"\nThe Buzzard: How it lives and rears its young; how strong kill off weaker nestlings.\nFeathered Aviators: The Whooper-swan, the spur-winged geese of South America, the eagle, etc. (37, 37 A)\nThe Menace and Its Destroyer: The strange-looking African secretary-bird. The Ostrich: Study of this bird from hatching to full-grown adult; their habits and use of feathers. (XXI)\nOwls: Different varieties. (XX)\nPeter the Raven: Hatched in cliff nest, but is bagged and sold; becomes sufficiently domestic to enjoy playing tricks. (22)\nPirates of the Air: Chief among the aerial hunters are owls, eagles.\nThe Sparrow Hawk (1) Life history and habits.\nWater Birds of the Gulf States (1) Filmed off the Florida Keys. Terns, gulls, pelicans; splendid study of the heron. (XXI)\nThe White Owl (1) History and habits of these strange birds, photographed at night; nesting habits, methods of hunting and manner of living. (22)\nThe Educational Screen for 1 year, including 1000 and One - (Sixth Edition) \u2014 All for $1.50. (See page 9.)\nFifth Edition\nNATURAL SCIENCE\nGROUP 91 BIRDS Small Birds\nBaby Songbirds at Mealtime (1) Nesting and feeding habits of birds belonging chiefly to the finch and sparrow families; nest of long-tailed tomtit. Well adapted to nature study. (XV)\nCuckoo's Secret (1) Life history of the cuckoo; how it lays eggs in other birds' nests; how young are raised by foster parents; how cuckoo wrecks home of its parents. (22)\nThe Hummingbird: A beautiful picture of a tiny and exquisite mother bird with two diminutive eggs and two downy fledgings. The Rook: How the rook builds its nest, rears young, and kills off obnoxious pests that feed on farmers' crops. Seng Birds as Citizens: Familiar song birds at close range with suggestions for their preservation and encouragement in the neighborhood. Tree-Top Concert Singers: Swallow, robin, titmouse, kingfisher in natural surroundings. Bird Life of Louisiana: Closeups of nests, eggs, and fledglings. Birds of Passage: A beautiful record of the annual migration of birds of northern Europe down the Nile to Abyssinia, made by Bengt Berg, the famous Swedish ornithologist. Birds of the Air: Swallows, sparrows, red-shouldered hawks, nightingales.\nBirds of the Farallones - Wild birds of the Pacific coast in their natural environment. (28)\nBirds: gales, chewinks, redwinged blackbirds, in tinted colors. (XXI)\nFeathers: Beauties of bird plumage, in natural colors. Arranged by American Museum of Natural History. (56, 113)\nInfant Welfare in Birds: Comparison of birds near sea and away from the sea; kittiwakes, herring gulls, guillemots, shearwaters, and black-backed gulls, woodpeckers and their young. (22)\nA Little Love Nest: Unusual bird pictures. (56)\nNational Bird Refuges: Trip on Government patrol boat to Federal bird refuges on Islands in the Gulf of Mexico, off coast of Louisiana; brown pelicans, royal terns, laughing gulls, black skimmers and others. (144)\nChildren of Nature: How young birds are brought up; methods of escape by running, flying, swimming, etc. (1)\nBirds of the United States (49)\nNature's Gliders (1) Study of flight of gulls, gannets, wild swans, cranes and other birds flying.\nOur Common Birds (1) Study of our native birds in their natural haunts.\nFor sale only. (58)\nOur First Flyers (%) Evolution of feathered creatures of today from pterodactyl of prehistoric times.\nMalheur Lake Reservation in Oregon, set aside as refuge for wild fowl and birds of the northwestern states. (22)\nRookeries and Squawkeries (1) Extraordinary bird life on the Guano Islands in Chile. (66)\nRoosevelt, Friend of the Birds (1) Conserving bird life, featuring rare semi-tropical birds, the snowy egret, royal tern, gull pelicans, and others in their native haunts. (XXX)\nFish and Sea Life\nThe Crab Family: Interesting facts about hermit, spider, fiddler crab and other members. (XXI)\nThe Crayfish and the Stickleback: A splendid study of the crayfish and interesting views of \"the fish that builds a nest.\" (XV)\nCuttle Fish: A study of this deep-sea fish and its unique defense. (XX, 37)\nDepths of the Sea: Undersea life; monsters and midgets of the deep. (XX)\nThe Diver: A picture of the land below the sea \u2014 crabs, whelk, sole, ray and other sea maurauders. (22)\nDwellers of the Deep: The New York Aquarium offers most interesting displays of fathomless depths; shows octopus, conger eel, sea anemone, star fish, rosy feather star fish, pipefish, gurnard and other forms of undersea life. (22)\nFish and Sea Life (Group 93)\nFish and Fishing for Everybody: Fish incubation excellent for biology classes. (XXX)\nHydra: Comprehensive study of the structure and life functions of this fresh-water polyp. (49)\nJellyfish: Several interesting species. (37)\nThe Life History of a Pearl: Self-explanatory. (112)\nMarauders of the High Seas: Ferocious sea-dwellers and their deadly methods of attacking victims. (22)\nMarine Parade: Life and methods of travel of undersea creatures. (22)\nMolluscs: From the Pathe Screen Studies. (XV)\nNeptune's Neighbors: Tropical fish taken under ocean by sub-sea (The: omitted)\nThe Royal Chinook: Life history of the salmon. (XV)\nThe Sea: Birds and undersea life dependent upon it; analyzes wave motion and its erosive effect upon sea coast. (22)\nSea Shore: Pictures of seashore taken after tide recedes; shows seashells and other marine life. (1)\nanemones, crabs, snails, and other sea animals; sea urchins, star fish, brittle star, hermit crab and others. (22)\nThe Silvery Salmon: Life and adventures of the gamest fish in the Strange Sea-water Creatures; the sea-urchin, star-fish, scallop, cuttle fish and other species. (1)\nThe Tragedy of the Sea: Views of spider crabs fighting for food; how smaller crabs feed on dead crabs. (22)\nTrout: Artificial propagation of the fish and restocking of streams; good views of work at hatchery. (IV, XX, 28, 156)\nUnselfish Shell: Beautiful sea-shells and articles made from them. Prizma color. (56, 156)\nWater Babies: Creatures that take to the water. (42, 113, 151)\nFilm Lessons in Nature Study: Series of 18 one-reel lessons in:\n(1) anemones, crabs, snails, sea urchins, star fish, brittle star, hermit crab, scallop, cuttle fish\n(1) The Silvery Salmon, sea-urchin, star-fish, scallop, cuttle fish\n(1) spider crabs\n(1) trout, artificial propagation, restocking, hatchery\n(1) beautiful sea-shells\n(56, 156) Prizma color\n(42, 113, 151) Creatures that take to the water.\nSky and Clouds, Worlds Too Small to See, Laws of the Animal World, Our Seaside Friends and Their Country Cousins, Down at our Pond, Butterflies and Moths, Ants, Bees and Spiders, Fish, Baby Song Birds, Birds of Prey, Bird Travels, Br'er Rabbit and His Pals, Four-Footed Helpers, Preparing the Garden (Part 1 and 2), Growing Things, Fruits and Flowers.\n\nAdaptation (1)\n- Of various life forms to their surroundings.\n\nAnimal Camouflage (1)\n- Study of some of nature's most interesting adaptations for protection.\n\nAnimal Intelligence (1)\n- Study of trained animals, showing results of kindness and care.\n\nThe Animal World (Series of 4, may be used separately)\n1. Prehistoric Animals\n2. Large Animals of Sea and Jungle\n3. Birds\n4. Mountain Animals and Those of Cold Regions\n\nBird and Animal Life of Yellowstone Park\n- Self-explanatory.\nBirds and Flowers: Tropical birds and opening flowers. Prizma color.\nCinema Science: Interesting collection of unusual scenes demonstrating the value of motion pictures in science education. (Pages 113, 151)\nCircus Animals: Trained animals put through their tricks; how wild animals are unloaded from the ship. (Page XXI)\nThe Cosmic Drama: A reserved seat at the formation of the universe and the evolution of the species. Directed by Mr. Raymond Ditmars.\nFamiliar Friends: Animal studies. (H51)\nThe Four Seasons: One of the most remarkable nature study pictures ever filmed. Response of animal life to a different environment from one season to the next. Beautifully photographed and titled with real artistry. (Pages 6e)\nFrocks and Frills: How caterpillars, birds, fish, and others camouflage their bodies to match their surroundings. (Page 22)\nHatching and Transformation (1) Development of the chick from incubation to hatching; salmon and halibut in their steps of hatching and growth; metamorphosis of dragon fly and butterfly. (21)\n\nHands vs. Feet (1) Comparison of use of hands and feet by man and animals; monkey, lion, bear, kangaroo, sea lion and others. (22)\n\nNatural Science (Fifth Edition)\nGROUP 94 (Continued) Natural Science Miscellaneous\n\nHeralds of the Spring (1) Shows the thrush, crow, wren, chicks, etc. (22)\n\nLiving Natural History (Series of 42 reels) Covering the whole range of life forms, from simple to complex. Available in 35 mm. and 16 mm. widths. (43)\n\nLow Down (1) Deals with the reptile world \u2014 the tortoise, alligator, lizard, horned toads, poisonous gila monster, rattlesnake. (22)\n\nMain Street in Nature's Wonderland (1) Life among prairie dogs, bees.\nAnd ant lion; how they live, breed, and prey on others. Motherhood in Nature The shepherd instinct in nature. Nature's Armour How animals are protected by heavy skin. Scenes of elephants, hippopotamus, rhinoceros, and crocodiles. Nature's Nurseries Parents and young of fish, spiders, alligators, hummingbirds, dogs, deer, and bears. Path Through the Woods Little wild creatures of the woods, attractive scenes, closeups of birds in nests. The River Aquatic life and bird life shown that live near the banks of the English River. Romance of Life Motion pictures and animation of the origin of life on earth, according to accepted scientific theory. Snakes and Their Habits Rattlesnakes, blacksnakes, copperheads, puff-adder; extracting poison venom for medicinal purposes; how poison fangs operate.\nSome Wild Babies: Depicting family instincts of birds and animals.\nThe Struggle for Existence: Plants and animals that prey upon each other. Studies in Animal Motion: Motions of kangaroo, frog, deer, lamb, gull, sea lions, and others; slow motion photography.\nTurtles and Birds: Green turtles, humming birds, the American eagle, Us Animals Must Stick Together: Flocks of geese, sea lion families, sheep, seagulls, cormorants, and others.\nVegetarians: Animals that live on vegetable matter only.\nA Visit to a Birdshop: Assortment of animal life found there; of particular interest for specimens in aquarium section. Micro-photography excellently and most carefully done.\nWas Darwin Right?: Varied types of our supposed ancestors.\nWilling Captives: Some interesting scenes at the Zoo.\nPhysics (Series 95)\nGeneral Science (Series 9) - Nine one-reel lessons: An introduction to the scientific method. Topics include biological, chemical, and physical facts of daily occurrence, disclosing the laws of matter and of energy in relation to everyday life. (10-5A)\n\nThe Air Pressure in Which We Live - Laboratory experiments to demonstrate atmospheric pressure. (22)\nEinstein's Theory of Relativity - Clear and understandable scientific explanation of principles involved; shorter version a \"popular\" presentation, longer including more scientific illustrations. (2 & 4)\n\nElectromagnetic Induction - Important experiments with elaborate equipment, only a great university possesses. (134)\nElectromagnetism - Fundamental relations of electricity and magnetism. (2)\nExperiments in Electrostatics (134), Elementary laboratory experiments on conduction of heat (22), Experiments in Physics - Sound Waves (1/4), demonstrating principle underlying wireless telegraphy, measuring length of waves (22), Friction Ball (1), experiments with a ball of sulphur, revealing many discoveries in regard to properties of electricity, development industrially (14), Gravitation of Liquids (V2), laboratory experiments demonstrating difference in specific gravity (22), High Frequency Currents (1), demonstrated in Ryerson Laboratory, Magnetism (1), fundamental properties (134.\n\nIf necessary:\nMysteries of Snow (1), Pictures of the romance of snow, Beauty of... (1)\nSnow flakes and different kinds of crystals. (22) Revelations by X-Ray: Electrical action in producing X-Rays and the power of X-Rays to reveal inner structures of opaque objects. (X) Science at Home: Story of the Magnet: Self-explanatory. (151) Science at Home: Electrical and mechanical experiments. (151) The Science of Bubbles: Scientific explanation of the formation, structure and behavior of soap bubbles. (42) Studies in Magnetism: The title tells it. (112) Sunbeams: Composition of light and color; objects studied under varying light conditions. (56) Velocity: Examples of relativity of speed are shown \u2014 that of the sea anemone, of a glacier, a horse, a whippet and man, concluding with that of light and electricity. (22) Physiology, Health and Hygiene GROUP 96 Embryology: Embryology.\nGift of Life (4): Sketches the biology of reproduction from a very simple form to the human being. (XXX, 6)\n\nThe Science of Life (12 one-reel subjects) Made under the direction of the Surgeon General, U. S. Public Health Service. Covers general biology, communicable diseases, and personal hygiene. Series divided into three parts:\n\nPart I deals with general biology:\nReel 1 \u2014 Protoplasm, the Beginning of Life\nReel 2 \u2014 Reproduction in Lower Forms of Life\nReel 3 \u2014 Reproduction in Higher Forms of Life\nReel 4 \u2014 Interdependence of Living Things\n\nPart II treats of communicable diseases. (See Group 103 for separate reels).\n\nPart III deals with personal and general hygiene. (See Group 100 for separate reels). (See also Groups 94, 97)\n\nAnatomy and Structural Physiology\nGROUP 97\nAnatomy and Structural Physiology\n* Blood Circulation (1) Microscopic study of embryo of e\u00b0-g and beating heart.\n[42, 49] of a turtle's heart.\n[2] Circulation of the Blood\nComposition and function of the blood and action of the heart.\n[1] Brain and Nervous System\nDivisions of the brain, different kinds of nerve cells, association centers, etc.\n[X\"VT] How the Fires of the Body Are Fed\nMechanical processes that take place during the digestion of food.\n[ ] How We Breathe\nLungs and how they function in purifying blood;\n[V2] How We Hear\nStudy of human ear and functions of its various parts.\n[%] How We See\nTheory of sight and principles common to eye and vision.\n[5] The Human Body\nDealing with the development, structure, function and hygiene of the human body.\nBlood Vessels and Their Functions; Digestive Tract; The Heart and How it Works; Human Development; Respiratory and Urinary Systems.\n[22, 49] The Human Voice\nDemonstrating functions of nasal passage and other related structures.\nThe organs of the throat in producing sound. (2:49) Inside Out: Story of digestion, done in animated diagrams. (XVn, XXX) Our Bone Relations: Similarity between bony structure in man and some animals. (22) The Valves of the Heart: Actual photography of the valves of the heart in operation. Animated drawings. (113, 151) Fifth Edition PHYSIOLOGY, HEALTH AND HYGIENE 81 GROUP 98 EYES, FEET, TEETH Eyes, Feet, Teeth Come Clean: Picture made by U.S. Army to show soldier the importance of strict mouth hygiene. (38, 149) Fair Day: Film made for children. (4:2, 134) Foot Follies: How to keep feet healthy and happy. Foot Lore: Causes and correction of foot trouble. (151) Good Teeth, Good Health: Mother takes children to zoo as an object lesson. (2: unclear)\nLesson in care of teeth. Doctor shows proper methods.\nClara Cleans Her Teeth: A Story Formed to Interest Children in Daily Brushing of Teeth.\nMouth Hygiene: The Need for Constant and Careful Attention to the Mouth, Teeth, and Health of Gums.\nThe Human Eye: Structure of Eye and Care It Should Receive.\nThe Point of View: Brief Sketch of the Human Eye; Defects of Sight and Corrections Illustrated by Animated Diagrams and Cartoons.\nHow's Your Eye Sight?: Explains Common Ailments of Human Eye, the Causes and Remedies.\nThrough Life's Windows: Shows Structure, Operations, and Functions of the Human Eye.\nTommy Tucker's Tooth: A Simple Narrative Cleverly Presented to Impress Upon Children the Importance of Keeping Teeth in Good Condition.\nToothache: Neglect of teeth. Overcoming it. Importance of teaching oral hygiene in public schools. (103)\n\nYour Mouth: Importance of dental hygiene. Caring for teeth. (XXV, 19, 22)\n\nChild Hygiene: Series of 9 one-reel lessons: Armies of Disease and Armies of Health, Disease Carriers, Health Habits (General, Diet, Teeth, Posture and Feet, Exercise), Eyes, Little Brothers and Sisters.\n\nBabyhood: Babies and their proper care. (56, 113, 151)\n\nBaby's Bath and Toilet: Self-explanatory. (103)\n\nBending the Twig: Impressing upon a child audience the importance of correct habits of daily living and personal hygiene. (1)\n\nBig Gains for Little Bodies: Causes of underweight in school-age children and successful camp experiment to restore them, with before and after. (1)\nBringing it Home: Necessity for Infant Welfare Education (37A, 103)\nThe Error of Omission: Importance and Necessity of Recording Births (1)\nEmbarrassments and misfortunes that may beset an individual whose birth has not been recorded (10, 3)\nThe Hungry Dragon: A Medieval Fairy Tale with Puppets as Actors, Inculating Health Habits for Children (10, 5, 113, 151)\nThe Kid Comes Through: Value of Physical Fitness (10, 5, 151)\nThe Knowing Gnome: An Interesting Fairy Tale Based on Health Facts (1)\nThe Modern Health Crusade: Learning to Fight Uncleanliness and Disease by Applying to the Struggle for Health the Rules of King Arthur's Knights (1)\nOur Children: The Efforts of a Community to Make Itself \"Safe for Babies\" and the Resulting Health Conditions (2, 145)\nThe Health of a Child should be Protected from Infancy to Maturity. (37A, 38, 49, 103)\nSun Babies: Cause, Prevention and Cure of Rickets through Sunlight and Cod-liver Oil. Lecture-type film. (37A, 14, 5)\nTommy's Troubles: An Amusing but Effective Story for Youngsters about Nutrition and Care of the Teeth. (1)\nTrip Through a Children's Hospital: Scenes from the James Whitcomb Riley Hospital for Children. (70s)\nThe Tournament of Youth: Shows how a town realized the need for educating families in health habits; a lesson learned through school children who have been taught Modern Health Crusade. (10 S, 105)\nA Two-Family Stork: Points of Prenatal Care in a Cartoon Animation Story of Two Couples, Both Having Babies. (V2) (51)\nCHILD HYGIENE\nWell Born (2) Narrative in dramatic form on pre-natal care. (37A, 145)\nWhat Shall I Do? Society's responsibility for some means of giving babies a chance when misfortune comes to parents. (19)\nYour Brother's Keeper (1) Peace activities of the Red Cross, instructing mothers in care of children, food selection, First Aid, etc. (134)\n\nPERSONAL HYGIENE\nThe Angel in the Home (1) The use of a safe modern antiseptic. (XXX)\nThe Fountain of Youth (2) History of the bath through the ages, to the present day (XXX, 14, 149)\nGeneral Personal Hygiene (2) Reel 12 of \"Science of Life\" series. General standards of health for the individual. (22)\nHe Who Laughs Last (1) Demonstrates the value of and proper technique.\nFor periodic physical examinations: \"The High Road\" (re-edited edition), \"How to Live Long and Well\" (1), \"The Human Machine\" (1), \"Keeping Fit\" (XXX, 154), \"Overweight\" (1), \"Personal Hygiene for Young Women\" (1), \"Sex education for women; sexual reproduction illustrated with anatomical drawing\" (22), \"Social Hygiene for Women\" (2), \"Personal Hygiene for Young Men\" (1), \"Venereal diseases, etc.\" (22)\nThe End (5) The aspects of social hygiene for young women are shown. (6)\n\nPosture (2) For physicians, physical training instructors, and others who wish to show children how to develop and maintain good posture; ree's may be shown separately. (37A, 145)\n\nWorking for Dear Life (1) Mr. Jones, through an experience with his automobile, realizes the need for annual health inspections. (XXX, 88) (See also Groups 97-8, 109)\n\nGROUP 101 FOOD\nDo You Drink Milk? (1) A visit to a modern dairy farm; care of cattle, bottling of milk, etc. (22)\n\nThe Romance of a White Bottle (1) A fairy story illustrating food elements in milk and their power to build strong bodies. (28, 37A)\n\nNature's Perfect Food (1) The production and supply of milk is set forth, and its importance in the regular diet. (37A)\n\nPast, Present and Future (1) A dramatic story showing health conditions.\nGroup 101 (Continued) Food: Food for Reflection, Need for a hot school lunch demonstrated (69, 144) *** Keeping Out Bad Food: Food inspection system and how it operates. Yeast for Health: Human interest story rendered instructive by means of X-ray photography of stomach and intestinal tract. Well Done: The value of meat in diet (69) Group 102 Exercise: Corrective Exercises Shows conditions and causes of spinal disorders and includes course of gymnastics for their correction (49) Motion Pictures: The largest distributor of exclusive Religious and Educational Motion Pictures in U.S. Write for Catalogue H.S. Brown, Inc. 806 South Wabash Ave. Chicago, Ill. Fifth Edition Physiology, Health and Hygiene\nThe Enemies of Youth (6) Shows that wholesome recreation is necessary in civic and social life. Exercise and Keep Well (1) How municipalities improve the stamina of future citizens by providing facilities for outdoor exercise. A Fat Chance (%) An animated cartoon on overweight; a fat man decides to reduce, goes to the doctor and succeeds by diet and exercise. Garden Gold (1) John Jasper changes from a confirmed golfer to an enthusiastic gardener; community gardens in an American city; benefits they give for health and pocketbook. Individual Exercises for Girls (1) A series of exercises to meet individual needs. (XXXI)\n\nGROUP 103 PUBLIC HYGIENE\nThe Cup of Health (1) The value of sanitary cups. (XXX)\nThe Fly as a Disease Carrier (1) Structure of the common housefly, his role in spreading diseases.\n[Part in carrying disease and suggestions for extermination. Reel 9. \"Science of Life Series.\" (2,2)\nFly Danger (1) Shows nature and habits of flies. Presentation of every reliable method of extermination. (103)\nThe Flying Bandit (1) Diabolical plottings of the fly tribe against human beings; a bug powder puts the fly tribe in consternation. (XVII)\nHouse Fly (1) Life history, habits, manner of propagating and method of transporting disease germs. Well fitted for campaign of cleanliness in homes and communities. (28)\nHow Plants and Animals Cause Diseases (1) Reel 5 of \"Science of Life\" series. Parasitism explained; bacteria and how they feed, multiply, invade live tissue. (2,2)\nHow Disease Is Spread (1) Reel 6 of \"Science of Life\" series. Bacterial infection by use of drinking glasses, etc. Animated map of U.S. showing spread of disease. (22)]\nHow to Prevent Disease (1) Reel 7 of \"Science of Life\" series. Dangers of carelessness regarding water, etc. Pasteurization, quarantine, vaccination. How the Mosquito Spreads Disease (1) Reel 8 of \"Science of Life\" series. Life history of mosquito and prevention of fever. Jinks (1) Animated cartoon teaches need for periodic physical examinations. Life History of Gnats and Mosquitoes and the Malarial Parasite (1) Part played by mosquito in carrying malaria. Mad Dog (2) Prevention and identification of rabies. Malaria and the Mosquito (2) Development of parasite which produces malaria in human body and mosquito; mosquito's habits, process of reproduction and preventative measures. The Modern Pied Piper (2) Methods of rat control and extermination.\nThe Rat Menace (1) Habits and how rats spread disease and damage property. The Fly (1) Splendid microscopic study of the fly. Swat that Fly \u2014 (School Edition) (1) Life history of the fly and how to combat it. The War on the Mosquito (1) Self-explanatory. Waste Disposal in Cities (1) Two principal methods employed for the safe disposal of city sewage. Yours for Health (2) The origin of sanitation, development through the ages, and meaning to mankind today. Protective Social Measures (3) Shows ways and means of dealing with unwholesome factors in community social health. (See also Groups 13, 88)\n\nDISEASE AND ITS TREATMENT\nGROUP 104 Disease and Its Treatment\nA Blessing Born in the Agony of War: A Modern Antiseptic\n\n1. Prevention of Diphtheria by Toxin Antitoxin\nScientific facts concerning the disease, its prevention and cure.\n\nA Fortunate Accident: Film on Cancer\nFilm on cancer.\n\nIn His Father's Footsteps: Unsanitary Conditions and Diphtheria\nNarrative of three periods\u20141863, no cure for diphtheria; 1900, antitoxin the cure; today, a perfect preventive, toxin-antitoxin.\n\nNew Ways for Old: Three Periods\u20141863, 1900, Today\nNarrative of three periods\u20141863, no cure for diphtheria; 1900, antitoxin the cure; today, a perfect preventive, toxin-antitoxin.\n\nOne Scar or Many: Vaccination\nWith special reference to smallpox.\n\nOn the Trail of the Germ: Tracing the Source of Tuberculosis\nShowing how the source of tuberculosis is traced and presenting diagnosis and treatment of this disease.\n\nPeter Meets a Menace: Treatment of Tuberculosis\nTreatment of tuberculosis in narrative form\u2014from the clinic to sanatorium; prevention and open air schools.\nThe Price of Human Lives: Fake consumption cures against proper treatment for tuberculosis. (103)\nThe Public Health Twins at Work: Diseases hailed before court of public opinion and condemned. (6, 3, 7 A)\nThe Reward of Courage: How cancer starts; stages of its development; proper treatment. (7, 103)\nUnhooking the Hookworm: Life history of the worm, and the effects of the parasite on its human victims. Produced for International Health Board of the Rockefeller Foundation. (134, 142)\nVenereal Diseases: Scientific treatment. (XXX, 6)\nGROUP 105 NURSING\nEvery Woman's Problem: How to care for the sick in the home. (134)\nThe Gentle Medicine Man: Unceasing battle of the public health nurse against ignorance and superstition. (151)\nThe Health Nurse: Shows the activities of the county health nurse. (1)\nIn Florence Nightingale's Footsteps: Training of nurses in classroom, laboratory, operating room, medical and children's wards. (49, 134)\nWinning Her Way: Interesting story of methods of public health nursing. (See also Group 104)\n\nGROUP 106 - ACCIDENT PREVENTION\nThe Fall of Man: A safety-first film. Leading causes of accidental death. (XXX)\nThe Hand of Fate: Struggle of the Hand of Fate with the invisible force \"Safety\" working in man's life. (XVII, 84)\nThe High Cost of Hurry: Illustrating many of the accidents which occur in the home, on the street, on cars, in shops, and elsewhere. (28, 10S)\nLive and Let Live: A story of safety in the oil fields. (142)\nThe Outlaw: Story of safety first; visualizing how King Carelessness reigns. (2)\nand his knaves trap one into taking fatal chances. (XVII, 28, 84)\nPlay Safe. Visualizing everyday occurrences that happen to the careless driver and the equally careless pedestrian. (XXX, 127, 142)\nThe Reason Why. Visualizing safe and unsafe practices for the worker.\nSafety Devices. Accident prevention work done by the National Cash Register Co. (99)\nSafety First. Argument for accident prevention. (22)\nSafety Wins. Visualizing the importance of safety in the life of a young man employed in a large steel plant. Love story background. (XXX, 148)\nWhen a Man's a Miner. Produced primarily for the promotion of safety in the coal mines. (127, 142)\nWhen Wages Stop. Safety practices in the oil industry. (14, 2)\nWhy Educating the worker in accident causes and prevention. (See also Groups 66-7, 124)\nFifth Edition PHYSIOLOGY, HEALTH AND HYGIENE Group 107 Fire Prevention The Crime of Carelessness Fire prevention film advocating industrial safety. (103) The Danger that Never Sleeps Fire prevention. (XXX) Fire and Safety Appliance Testing at Underwriters' Laboratories How tests are made to determine fire and accident hazard of appliances. (141) The Fire Demon Causes of number of most prevalent fire hazards; lessons for their prevention. (103) The Keystone Visualization of the basic service to commerce and society performed by fire insurance. (XXX) The Menace Personal responsibility for prevention and control of fire; nature of automatic sprinklers and their operation in controlling fire. An Unbeliever Convinced Teaches lesson in fire prevention. (141) (See also Group 14)\n\nFirst Aid and Life Saving\nGROUP 108 First Aid and Life Saving Before the Doctor Comes: First aid to industrial workers rendered by fellow employees. Diving, Life Saving and First Aid: Fundamental principles. Every Swimmer a Life-Saver: Latest and most approved methods of rescue. (See also Group 99)\n\nGROUP 109 Medicine and Surgery\nFiner Points in Tonsilectomy: Surgical film of operation on tonsils. Goitre Operation: A detailed surgical operation for goitre; each step taken during operation. For sale only. *\n\nGonorrhea in the Male: For medical students and post graduate study along urological lines; pathological, symptomological and therapeutic phases of gonorrhea. (6)\n\nA Model Clinic Plan: Floor plan for small building; advantages; actual scenes of clinic; role of social worker emphasized. (6)\nClinical study of syphilis: techniques in diagnosis and treatment, pathological cases, lesions, YVassermann test, spinal fluid test. (6)\nOrthopedic Cases: presentation of surgical cases from the Hospital of the Ruptured and Crippled. (19)\nOsteoplastic Craniotomy: detailed operation on the brain, step by step, from beginning to end. For sale only. (58)\nPreparation of a Vital Tooth for a Porcelain Jacket Crown: technical film showing porcelain taking the place of gold crowns. (19)\nRoot Amputation: technical film showing how a decayed tooth root should be removed by oral surgery. (19)\nStudy of Diseases of the Nervous System: cases in Montefoire Hospital. (2)\nStudy of the Motor Control of Gait and Posture: cases in Montefoire Hospital and Cornell College. (2)\nAthletics and Sports:\nGroup 110: Boxing, Wrestling, Fencing.\nJiu Jitsu (Japanese art of self-defense) (22) A Lesson in Swordmanship (22) Men and women students at Columbia receiving instruction. (22) Munn's Wrestling (2) The title tells it. (42) Self-defense Without Weapons (x/4) Physical instructor demonstrates athletic tricks for self-protection. (22) World's Championship Wrestling Match between Stecher and Caddock (III) Filmed under auspices of American Legion at Madison Square Garden, New York City. (IV)\n\nPhysiology, Health and Hygiene \"1000 and One\" Athletics and Sports\nGROUP 111 Baseball, Football, Golf\nBaseball Slow Motion Pictures (1) How \"Babe\" Ruth bangs out a home run and how baseball notables behave in action. (23, 37 A, 56, 112, 113, 156j)\nFuture Greats (1) Slow motion of young athletes in baseball, tennis, golf, polo. (XVI)\nFootball illustrates fundamental elements in correct form and emphasizes team work. (49)\nGame of Golf explaining terms used and method of playing. (151)\nGolf in Slow Motion. Drives, putts, etc; two women champions, Cecil Leitch and Alexa Sterling, in normal and slow motion. (XVI)\nGolfing with Bobby Jones. The youthful amateur champion shows his drives and putts before regular and slow motion cameras. (XVI, 37 A)\nGoffing with Jess Sweetser. Slow motion helps in analyzing the champion's remarkable form. (XVI)\nThe Love of Caddying. Creating good will between the golfer and his group. (1)\nDancing (V2). A study in aesthetic dancing made at Denishawn; characteristic dances of primitive and modern races. (22)\nDesha's Tryst with the Moon. A poetic slow motion study of a dancer in moonlit woodland. (XVI)\n[Grace in Slow Motion (1) Slow motion studies of four dances of different types \u2014 each seen first at normal speed, then analyzed in slow motion. (XVI) Le Ballet de Foret (1) Annual \"Dance in the Forest,\" given on Patterson estate; arranged and conducted by Bott School of Dancing. (99) Group 113 Track and Field (2) Athletic Movements Analyzed (1) Slow motion studies: walking, running, jumping, javelin throwing, vaulting, hurdling, etc. (XV) Field Games (1) Olympic athletes demonstrate with slow motion and suspended animation all details of field events. (4, 9) Inter-Allied Games, Pershing Stadium (2) A Sporting Proposition (1) Telephone equipment installers celebrate unique athletic educational field day: also shows installers at work. (154) Tennis in Slow Motion (1) Both normal and slow motion shots of]\n\nThis text appears to be a list of titles of various films or videos, likely related to sports or athletics. There is no need for extensive cleaning as the text is already quite readable and the meaning is clear. However, I have removed unnecessary line breaks and added missing words to complete incomplete titles. If required, the text could be further formatted for easier reading, such as adding commas between items in the lists and capitalizing the first letter of each title.\nJohnston of California and Patterson of Australia. (XVI)\nTrack Meet: Correct form for track events with the aid of slow motion pictures. (49)\nWhat Form Means to an Athlete: Track events including the hammer throw, hundred-yard dash, relay race, pole vault, hurdles, and jiu-jitsu, and exhibition of fine points in boxing. Slow motion. (XXI)\nGroup 114: Camping and Outdoor Sports\nAmerican Boy Out of Doors: The youth engaged in his many sports and other outdoor activities. (1) (23, 56, 113)\nAway Dull Care: Outdoor sports and recreations, done in Prizma color. (1)\nBoy Scouts: A camp in the Catskills, on a vacation trip to Porto Rico: building a bridge. (66 A)\nCamping Adventures: A day in the Great Wide Open Spaces. (151)\nThe Forest King: Camping party's journey into the moose country of Canada. (1) (22)\nHiking the White Mountains, \"14-4\"\nHiking in the Alps with Swiss Boy Scouts, \"42\"\nSummer Time in Minnesota, \"1\" \"61\"\nA City Chap's Vacation in Open Spaces, \"1\" \"IX\"\n\nGroup 115 Water Sports\nElementary Swimming Lessons, \"1\"\nCampfire Girls - Watersports, \"XXX\"\nHigh Diving Analyzed, \"0/4\"\nFifth Edition PHYSIOLOGY, HEALTH AND HYGIENE\nGroup 115 (Continued)\nAthletics and Sports\nWater Sports\nElementary and Advanced Diving Analyzed, \"1\"\nDiving and First Aid, \"1\"\nSwimming (1) Fundamental strokes and teaching methods, illustrated and analyzed with slow motion camera. (49)\nSwimming and Diving (2) Correct form; slow motion photography. (134)\nSwimmers and Swimming (1) Shots of picked \"swimmers displaying the approved forms for most modern strokes. (37 A)\nSwimming (2) Complete lesson in swimming. Slow motion. (IX)\nEderle's Channel Swim (2) Studies of English Channel tides and currents based on film showing first woman swimming the British Channel. (IX)\nGROUP 116 Winter Sports\n***The Chase (2) Ski-jumping amid wonderful Swiss Alpine scenery.\nJust Kiddies and Snow (1) Picturing all sorts of sports with snow. (151)\nA Scout's Letter Home (1) Fun in a Scout's winter camp and lessons on how they take care of their shoes. (XXX)\nKing Snow holds court (1) in White Mountain National Forest; skiing and skating. (37 A, 144)\n\nThe Silvery Art (1) A detailed technique of the art of skiing. Beautiful, entertaining and instructive. (XIX, XX)\n\nFlirting with Death (2) Dare-devil skiing in the Alps. (XIX, XX, 42.)\n\nSno Birds (1) Winter sports in the Adirondacks, done in Prizma color. (XX)\n\nSporting with Jack Frost (1) Winter sports. (151)\n\nThrills and Spills (1) Scenes taken at Pocono Mt. near New York; winter sports. (22)\n\nWhen North Winds Blow (1) A steam-heated flat dweller finds new vigor when he travels to White Mountain National Forest and joins in a winter carnival. (114)\n\nWhite Magic (1) Winter sports in Canada. (42)\n\nGroup 117 Animal Hunting\n\nBear Hunting in California (1) A grizzly bear is captured. (151)\n\nCapturing a Great Giant Anteater (1) Filmed by Dr. Wm. Beebe. (XVI)\nDeer Hunting (1) In the Adirondacks. A Fish and Bear Tale (1) Mostly bears, captured with a lasso. Canadian government film. The Fur Trapper (1) The pioneer of the wilderness, setting his traps in the far north country. Hunting Whales and Walrus (1) The Arctic regions are natural hunting grounds for these animals of the deep. Martin Johnson's Jungle Adventures (5) The title tells it. Sidelights on the Raccoon (1) Coon hunt; animals mischievous and full of curiosity; capture of a \"possum.\" Treeing and Roping Wild Animals (1) Self-explanatory. Group 118 Bird Hunting Bird Dogs Afield (1) Training of hunting dogs and their field test. Prizma color. Hunting in Maryland (3) \"Seeking and finding\" of typical Maryland wildfowl and game \u2014 wild turkey and rabbits; reel 2) ducks.\nFamous Chesapeake Bay and rail-bird; Reel S quail hunting (XXIII).\nMy Own Carolina Bird dog and hunting in the Blue Ridge (IX).\nWild Duck Hunting (%) - How ducks are hunted in Sussex, England (XX).\nWith Gun and Dog (1) - Self-explanatory (XXX).\nQuail and Pheasant Hunt (1) - Self-explanatory (112).\nHunting the Wary Black Mallard on Long Island (1) - Contains much close-up material of birds flying over the hunter's blind (XXX).\nHunting Wild Geese for 'Market' (1) - Self-explanatory (112).\nSee also Group 22.\nDo you want to know what is being said and done in visual instruction? The Educational Screen each month carries the news of the field.\nPhysiology. Health and Hygiene \"1000 ar.d One\"\nGroup 119 Athletics and Sports Fishing\nAngling for Chinook Salmon (%) At falls of Willamette River, Ore.\nFishing with Charlie Howe (1) Humorous titles help in making very interesting and attractive fishing scenes. Fly Fishing in Lakes of Glacier National Park (Interesting fishing film with all the beauty of Glacier National Park. C37A, 61, 121) Fishing in Many Waters (1) Snowing the professional fisherman at 9 tc Fishing Gamely for Game Fish (1) Useful hints concerning modern fishing tackle and how to achieve the best results. (XXX) Inshore Fishing on the Atlantic Coast (1) The work of Canada's Atlantic fishermen. 1 XXXs) Maryland \u2014 The Angler's Paradise (1) Fishing for trout, black bass, and gudgeon in picturesque Maryland streams and Chesapeake Bay. (13 IB) In Quest of the Bronze Back (1) A bass-fishing expedition to Lake Weslemkoon. (_ XXX) Taking Game Fish in the Florida Gulf Stream (Made it V IT v 1)\n[McCracken, one of the best salt water \"fish reels ever photographed.\nGrantland Rice Sportlights (1 reel each) Highlights of the world of sport, contribution made by ideals of sportsmanship to modern American life. Thirty-seven subjects already released, covering many branches of sports.\nKing Basketball (1) Various shots and passes of the game.\nGroup Games (1) Groups of students form classes for games; suggests conduct of circle, line, file and miscellaneous games. (4, 9)\nPlay the Game (1) Teaches the joy of the game for the game's sake. (49)\nSport Calendar (1) Shows different sports that each month brings. (22)\nThrills (1) Thrills encountered in sport and everyday life. (42)\nSee also Groups 100, 102\nPSYCHOLOGY\nGROUP 121 Psychology\nCharacter Analysis (12) Character as written on the face. (22)]\n[1] Childhood: Intimate study of children's feelings and desires. (151)\n[1] Emotion: A study of crowds under conditions of excitement. (151)\n[1] Knights of Now: Narrative for school children on character building; using and explaining the Knighthood of Youth movement in the schools.\n[2] Getting the Most Out of Retailing: Information for retail merchants concerning store management, newspaper advertising, window displays and retail selling. (99)\n[2] Way to Success: A clever little story showing how the good-will method solves a merchant's problem. (149)\n[1] SCEMC\n[122] Group: Scenic Beauty Spots of America: A visit to scenes of rare loveliness in the United States and Canada. (151)\n[1] The Bounty of Nature: Scenic film of rare beauty, showing that nature gives all and withholds nothing. (23)\n[1] Robert C. Bruce Scenic Novelties. 1926-27: Twelve releases.\nTwenty-seven different subjects are included, such as beautiful scenic effects, diverting novelties, and interesting travelogues. (VI)\n\nColor photographs of dawn in various parts of the world suggested by Cadman's \"At Dawning\" (56, 113, 156)\nA Dream of the Sea (1) - Color studies of the sea in all its moods: by moonlight, sunlight, and dusk. (XX)\nEverywhere (1) - Collection of remarkable and beautiful scenes found here and there throughout the world. (156)\nExtremes of Nature (1) - Visiting snow-clad Sierras and fiery volcano, Kilauea, in Hawaii. (151)\n\nFifth Edition\n\nSCENIC\nGROUP 122 (Continued) SCENIC\n\nThe Farewell (1) - One of the best \"Bruce Scenics\"; glorious cloud movements, surf breaking on the beach, and a rippling brook with mountain peaks towering above. (VI)\nFrom the Windows of My House (1) - Recording a great variety of beauties.\n(VI) Gardens of Normandy - Beautiful scenes and pleasure resorts.\n(VI, 42) My Country - A \"scenic appreciation\" of our own land, beautifully photographed.\n(VI, 42) Nights of Many Shadows - A Bruce Wilderness Tale.\n(VI, 42) Nature and Poet - Exquisite nature scenes with titles selected from poems by William Cullen Bryant.\n(IX) The West Wind - Action of the wind upon the windmill, the billowy sea, the River Nile, and similar scenes.\n\nGardens of Normandy: Beautiful scenes and pleasure resorts.\nMy Country: A scenic appreciation of our own land, beautifully photographed.\nNights of Many Shadows: A Bruce Wilderness Tale.\nNature and Poet: Exquisite nature scenes with titles selected from poems by William Cullen Bryant.\nThe West Wind: Action of the wind upon the windmill, the billowy sea, the River Nile, and similar scenes.\nColumbia: the Russian Doukhobors, living simple communal life; their industries (151)\nA Day with the Gypsies: Beautiful English scenes; life of the Gypsies (1)\nHearts of Men: Geo. Beban in a story of an immigrant's struggle to win success in this country for himself and his little boy. (18, 37 A)\nEyes to the Blind: Lecture-type appeal for support of education of the blind in handicrafts. Made for Brooklyn Committee for the Blind. (51)\nHousing Problem: Traces the development of the modern house. (22)\nParentage: Traces the effect of environment upon two boys of different families and makes a decisive score for conscientious parentage. (66A)\nAs the Twig is Bent: \"Parentage\" revised; story of the lives of two boys of different families, showing the effect of home environment. (156)\nLest We Forget (5) Real-life temperance drama, showing how the sins of the father are visited upon the children. The Transgressor (5) A story of punishment and redemption \u2013 the victim before and the law breaker after the coming of national prohibition. Broken Laws (7) Picture of parental responsibilities. Endorsed by many women's clubs and societies throughout the country. Hell and the Way Out (5) Dramatized facts of the establishment, growth, and achievement of the League of Nations. The Twister (1) New Red-Cross roll-call release, showing horrors of cyclones and the necessity of aid. The Woman Worker, Past and Present (2) Contrasts women's industrial activities in the home of a former era with their occupations in modern factories. When Women Work ('2) Significant film on the woman labor problem.\nFrom Whistle to Whistle (3) Story of woman's work from colonial times to the present. Development of standards for women in industry. (XXXI) An American in the Making (1) Immigrant in his native land; in America as an employee of a large steel plant; safety, sanitary and educational facilities placed at his disposal. (142, 148) Factory Welfare (1) Many features of the welfare department of the National Cash Register Co. \u2014 working conditions of women. (99) Punch Press Safety with Increased Production (1) Shows safety devices for operation on power presses and gives increased production records. (84) Soldier's Home (4) Grounds and buildings of the National Military Home at Dayton, Ohio. (99) A Visit to Morgan Park (4) Housing development for employees of the Minnesota Steel Co., Duluth. (148) Welfare Activities of the American Sheet and Tin Plate Co. (1) Self-supporting industrial homes for women workers.\n[148] The Whipping Boss: A dramatic production based on the evils of the convict labor leasing system and the death of a service man as a result of whipping; exposure of the system through American Legion Post [95].\n\nSociology\nGroup 124 Sociology\nThe Arm of Justice: Police methods of detecting and outwitting evaders through Finger Prints (V2) and anthropometry, by which the identity of people is positively established (22).\nProstitution and the Police (2): For groups especially interested in problems of law enforcement relating to commercialized prostitution, produced especially for use with police officers (6). [See also Group 133]\n\nGroup 125 Social Organizations\nBe Prepared (3): The experiences of a fine lad in the varied phases of scouting, depicted in a highly interesting narrative form (XVI).\nBlazing the Trail to Manhood (1): A boy scout film (XXX).\n[The Boy Scout's Story (112,156)\nThe Boy Scout and His Uniform (1)\nThe process of manufacturing a complete outfit for Young Boy Scouts at Camp (1) and their activities and setting up camp (99)\nThe Diary of a Boy Scout No. 1 (1)\nA boy scout's activities in the summer (XXX)\n\nRoosevelt, the Great Scout (2)\nRoosevelt illustrated the theme, \"building bodily vigor for national service\" \u2013 an excellent film for Boy Scouts (XXX)\n\nBoy Scouts of America (1)\nAmerican scouts take a trip to England (151)\n\nKnights of the Square Table (4)\nBoy scouts (77)\n\nMolders of Manhood (1)\nWhat happens at the conferences of the scout executives of the United States (XVI)\n\nScouting with Dan Beard (2)\nThe various activities of the troop directed by Dan Beard]\nA Scout's Diary No. 2: Activities of a boy scout in the winter. Around the Clock with a Girl Scout. Come to Camp (invitation to join summer Y.W.C.A. camps; scenes from two such camps). Land of the Sky: Y.W.C.A. student conference in Blue Ridge Mountains of North Carolina. Middies and Bloomers: Summer camp of the New York Y.W.C.A. Silver Bay: Up Lake George on steamer, with girl activities shown at the famous summer conference resort. The Character Shop: Orange Y.M.C.A. Chicago Y.M.C.A. Hotel. Springfield Y.M.C.A. College. Somebody's Children: Activities of Baltimore County Children's Aid Society.\nThe Spirit of Service (1) A film suitable for use during Red Cross Roll Call.\nSuppose Nobody Cared (1) Picturization of the activities of the Baltimore Alliance, the charitable and social agencies of Baltimore.\nHome at the End (1) Narrative for money-raising of an Old Folks' Home for Men and Women. Adaptable for use anywhere.\nFilm Classic Exchange (134)\nGreatest Source of Reference Films in East.\nLargest Library of Educational and Religious Productions\nincluding Colleen Moore in Riley's \"Little Orphant Annie\"\nFredonia, N. Y.\nFifth Edition\nSociology\nSociology\nGroup 126 Insurance and Fraternal Orders\nChasing the Cure (2) A trip to Modern Woodmen of America Tuberculosis Sanatorium near Colorado Springs. (24, 94)\nEverybody's Friend (1) Story of the use and value of life insurance. (XVII)\n[The Hour Glass (3) An appeal for insurance protection and what one large insurance company does for its members. A Trip to Rock Island (2) Shows historical scenes in and around Rock Island, activities in the Head Office of Modern Woodmen of America, and the publication of the organization's magazine. The Old and the New (2) An animated story of the growth of woodcraft. Contains scenes taken at 1925 Head Camp Meeting, Chicago. On the Go (1) Note book of a Modern Woodmen Forester who encamped on Chicago's Municipal Pier during Head Camp, 1925. The Orphans (1) A one-reel heart interest sketch of unprotected orphan children. Under the Eagle's Wing (2) The Golden Rule as exemplified by the Old Age Pension Law. What Might Happen (1) A simple home folk story of what might happen]\nIf you leave loved ones unprovided for. (XVII)\n\nTravel and Transportation\nGroup 127. Air.\n\nThe Race to Paris \u2014 Special 1927\nA thrilling story of the dramatic and often tragic contest for the first non-stop New York-Paris flight. (VI)\n\nWith Commander Byrd, U.S.N., in America's Polar Triumph (3)\nOfficial record of the first flight over the North Pole from Spitzbergen. (XV)\n\nThe Story of the Airship (1)\nSelf-explanatory. (59)\n\nThe Amundsen Polar Flight (3)\nThrilling record of the first attempt ever made to reach the North Pole by aeroplane. (XV)\n\nFlight of N.C. 4 (1)\nStory of the first Atlantic Aerial crossing from America to Spain. (V, 151)\n\nNew York to London by Air (^)\nDescribing famous overseas flight of the dirigible R-34; views of mooring towers, ship's interior, gang-plank, etc. (22)\n\nWings of Progress (1)\nE.B. Ford Commercial Airplane reliability tour.\nGROUP 128 Automobiles (See Automotive Machinery \u2014 Group 67)\nGROUP 129 Roads and Road Building\nThe Bates Road Test The story of one of the most important road tests in highway history. Of general technical interest.\nBuilding Bituminous Roads How Uncle Sam constructs surface-treated and penetration macadam pavements.\nBuilding Forest Roads Men and machinery at work in the National Forests.\nCrossing the Great Salt Desert Difficulties met and overcome by engineers in building the Mendover road, short cut across the Great Salt Desert\nAround the West by Forest Roads Self-explanatory\nHighroads and Skyroads Building Government roads through the national forests\nImpact of Traffic on Roads Tests made to determine the effect on highways of the pounding tendencies of motor-vehicle wheels.\nImproving old macadam roads with concrete shoulders (XXIII)\nThe Men Who Build the Road illustrates cooperation between the Bureau of Public Roads and the National Park Service in road construction (144\")\nMixed Asphalt Pavements: Modern methods of building high-type motor roads (1)\nModern Concrete Road Construction: Engineering skill in transforming an old dirt road into a modern, efficient highway (1)\nTRAVEL A.D Transportation\nGroup 129 (Continued: Roads and Road Building)\nA Parable of Paving: How money is saved by utilizing existing worn pavements as foundations for new surfaces (XXX)\nProtecting the Nation's Highways: How asphalt surfaces thwart destruction by heavily loaded vehicles (XXX)\nRoad Building in the United States: Methods of building important roads (2)\nMethods of building efficient roads\nTypes of highways as seen by the Pan American Highway Commission on tour of the country in June, 1924. (144)\n\nRoads for All America (6) Picturing the first Pan American Road Congress, the Panama Canal, types of highways, leading men at the Congress,\nThe Road Goes Through (1) How the western road builder overcomes barriers to transportation and builds modern roads of our National Forest and Federal Aid highway systems. (144)\n\nRoads \u2014 From Surf to Summit (1) Scenic wonders of National Forests of Pacific Coast states, now revealed to motorists by means of modern highways constructed under the direction of the Bureau of Public Roads. (144)\n\nThe Road to Happiness (3) Promoting good roads throughout the rural districts. (58)\n\nScenes along the Nation's Highway (1) Good roads throughout the U.S.\nSnow and Ice Removal (1) How Maryland's famous roads are kept open.\nfor traffic during the heavy snows in the western part of the state. (13 4B)\nWhat About Macadam: Approved methods of building macadam roads. Yosemite's New Roads illustrates cooperation between the Bureau of Public Roads and the National Park Service. (14 4)\nGroup 130 Railroads\nAn Electrified Travelogue: Shows how people formerly traveled; then electrification of railroads, how engines are built, etc.; ride on electric locomotive through mountain scenery. (XXIX)\nThe Ford Way of Railroading: Modern methods of railroading as practiced by the D. T. k I. Railroad. (58)\nIron Trail Around the World: The title tells it. (IX)\nKeeping Up Railroad Service: Many phases of railroad operation.\nThe King of the Rails: Evolution of transportation from primitive to modern times; electric locomotive operating in Rockies. (X)\nThe Man at the Throttle (1) Ride beside the engineer of Twentieth Century Limited up Hudson River shore from New York to Albany. A Pullman Travelogue (2) The interesting history and development of the Pullman car. Railroads in United States History (1) Growth of our great railway systems and their economic significance. A Rolling Romance (4) Views along the Baltimore and Ohio routes. The Science of Traveling (2) Traveling a la Pullman. Tale of the Iron Horse (4) Evolution of the modern locomotive. Your Friend, the Railroad (4) Care it takes to move livestock, grain, perishable products and milk and deliver them to consumer in perfect condition. Good instructional material. (106) (See also Groups 41, 71)\n\nGROUP 131 Water\nAcross the Ocean on a Great Liner (1) Story of the comforts and pleasures\nThe Olympic, greyhound of the sea, provides ocean travel. (XV)\nBelfast Shipbuilding: Scenes in great shipyard and launching of ocean liner. (XX)\nCanals in United States History: Motion pictures, maps, and charts tell of canals built, their location and importance, influence on population. (1)\nCargo Ships of the American Mercantile Marine: From construction to journeys all over the world. (151)\nFerries of the Deep: Life on palatial liners of the Anglo-American Marine. (1)\nThe Great Lakes: Important activities of this inland waterway. For sale: A Great Lakes Romance. A boat trip through the upper Great Lakes. (XXX)\nFifth Edition\nTRAVEL AND TRANSPORTATION\nGROUP 131 (Continued)\nTRAVEL AND TRANSPORTATION\nThe Light That Never Fails: Giant coast lighthouse showing how 15,000 candle-power gas mantle and revolving prisms cast powerful light.\nLighting the Sea Lanes to N. Y. Harbor, Tracing the course of an incoming liner in N. Y. Harbor.\nMishaps at Sea, Self-explanatory.\nQueen of the Waves, Evolution of boats from primitive to modern; launching of the \"Queen of the Waves\" at Hog Island.\nThe Steamboat in United States History, Its influence upon the settlement of our country, trade and commerce. Different types of early and modern steamers.\nA Motor Boat Ramble, Through the Trent Canal.\nUnique Happenings in the Shipping World, Glimpses of the experiences and fate of many a ship.\nA Waterway Wonderland, Great Lakes.\nGroup 132 Miscellaneous\nEvolution of Travel, Primitive methods of transportation and gradual changes made to present day.\nThe Spirit of Transportation, Evolution of transportation from canoe.\nTo aeroplane, as portrayed in pageant incident, Annapolis, Md. (XXIII)\nTransportation. Picture history of its development. (142)\nTransportation. Different methods of different countries are shown \u2014 India, China, and in the Arctic. (22)\nHow Dreams Come True. (1) The desire of a boy to own a bicycle.\nBicycles We Have Met. (x/4) Complete history of bicycle from 1819 to motorcycle of today. (22)\nWAR\u2014NAVAL AND MILITARY\nGROUP 133. War \u2014 Naval and Military\nAmerica's Persuasive Force. (1) Uncle Sam's troopers along Mexican Border. (151)\nBattlegrounds of Europe. (7) Self-explanatory. (112)\n** The Big Guns of the Navy. (1) Something of their manufacture from the raw material and much of their use on board ship. (IV, 28)\nThree Gobs. (1) Naval training; diving, torpedo work, and airplaning;\nChina 'Cross the Bay. (2) The duties of our navy in China. (XXX, 147)\nGreat Guns on the Western Front (1) Shows the use of navy guns in a railroad battery during the World War. The Guns of Our Fathers (1/4) Interesting from a historical standpoint, showing the evolution of modern firearms and light ordnance. Hunting the Sea Wolf (1) Bombing German submarines from an Italian destroyer, in the World War. Hunting the Submarine (1) Scenes of the Italian navy combating German U-boats in the Mediterranean Sea. The Making of a Man (1) West Point's activities, shown in Prizma. A Midshipman's Cruise (1) The Midshipmen's annual practice cruise. Modern War Methods (1) Latest chemical usages. Naval Aerial Service (1) Depicting the exploits of all types of airships. Our Army (1) Various branches; the way men live and train; artillery practice; coast defense. (XXI)\nOur Navy: Various branches; battleships in gunning practice, smoke screens, submarine work, etc. (XXE)\n\nOur Navy in the Near East: Work of the navy in the famine regions of the eastern Mediterranean; scenic views of lands visited. (XXX, 147)\n\nSequence of Victory: Great welcome in London, Paris and New York to the heroes who fought and won the World War. (151)\n\nOn Many Shores: Interesting episodes of our troops on their visits to many countries. (XXX)\n\nOur Glorious Dead: The cost of war and a tribute to our martyr heroes. Appropriate for Armistice Day and Memorial Day. (56, 113)\n\nWAR\u2014NAVAL AND MILITARY\nWAR\u2014NAVAL AND MILITARY\n\nGroup 133 (Continued) War\u2014Naval and Military\n\nOver the Bounding Main: The visit of the U.S. Fleet to Australia and New Zealand. (XXX, 147)\n\nA Shake Down Cruise: The trip of the U.S.S. Concord around Africa, (2)\n[\"United States Battle Fleet on the High Seas (1) Recording scenes of the activities of our fleet and a glimpse of life on board a battleship. (37, 151)\"]\nUnited States Naval Efficiency: American Jackies at work on sea. The United States Navy in the Making: Building, equipping and manning a ship. Upkeep and Disposal of Uncle Sam's Ships: Revelation of naval problems. U-35 or Official Exploits of a German Submarine: Motion picture record of vessels destroyed on one cruise during World War. Useful in connection with World War history. While Cannons Crashed: A tale without words of the deadly work in \"The Y\" with the Colors.\n\nFor questions concerning rental charges and booking dates, write directly to your nearest office of the distributing company. Full addresses are given in the Reference List of Producers and Distributors, pages 114-127. Reference numbers to the extreme right.\nThe Educational Screen does not provide films for rental or loan and does not quote rental charges. \"1000 and One Films\" is not a catalog of films distributed through us, but a reference list of available films from hundreds of different distributors. For arrangements to secure a film listed, write to the distributor directly.\n\nFifth Edition\nENTERTAINMENT\nENTERTAINMENT GROUP 134\nJuvenile\nAdopting a Bear Cub: A Funny Study of the Little Orphan Brown Bear of Cascade Alley. (2, 2)\nThe Adventures of Baron Munchausen: German fable. (Ill B)\n\n(Note: The text appears to be in good shape and does not require extensive cleaning. Only minor corrections for formatting and typographical errors have been made.)\nAlice in Slumberland: Animated cartoon parody of Lewis Carroll's classic. Alice visits a motion picture cartoon studio.\n\nAlong the Moonbeam Trail: Careful reproductions of prehistoric monsters woven in fanciful story.\nThe Alphabetical Zoo: A rhyming title for an animal review. Delightful for children. (37, 37A, 49, 112, 151)\n\nBlue Beard: From the well-known story. (112)\nBobbie's Ark: In his dream, Bobbie's wooden animals come to life.\nBridge of Fancy: Featuring Mary McAllister. Full of human interest.\n\nChildren, Here, There and Everywhere: Eager little ones in all climes, East, West, North and South. (49, 66A)\nCinderella and the Magical Slipper: A cast of children interpret the story. (4 & 5)\nThe Dwarf's Nose: A German fairy story. (112)\nThe Fairy and the Waif: Entertaining for children. (112)\nThe Frog Princess (1) Russian fairy tale.\nThe Ghost of Slumber Mountain (1) Story of prehistoric animals; how they lived, fought and died. (IV, 156)\nIn Slumberland (4) Juvenile playlet of fairyland. (XXI)\nJack and the Beanstalk (1) Dramatization of the story that is known wherever there are children. (49, 112)\nKingdom of Hope (2) Featuring Mary McAllister. Suitable for children's programs. (23)\nThe Knight Before Christmas (1) A Christmas story. (56, 113)\nLafontaine's Fables (Series of four 1 reel pictures) Animal Characteristics, also Sympathy; Animal Oddities, also The Man and the Flea; Celebrities of the Zoo, also Justice; Animal Anthologies, also Conceit. (151)\nLittle Brother of the Wild (1) Story of a young boy who makes friends with the animal world. Inspiring conservation film. (22)\nThe Little Boy Who Believed in Santa Claus, A Christmas story.\nLittle Red Riding Hood, Up-to-date version of the well-known story.\nThe Little White Girl, With Mary McAllister, Human interest story.\nMadeline's Christmas, A Christmas story. (56, 113)\nThe Magic Cloak, Fairy story of the magical cloak that enables the wearer to become invisible.\nThe Magic Hour, A little boy dreaming; shows his dreams coming to life.\nMarionettes \u2014 Tony Sarg, Series of one-reel novelty films. (56)\nMr. Santa Claus, A Christmas story. (113)\nModern Mother Goose, A story, enacted by children, combining the well-known Mother Goose rhymes. (66A)\nMud, Entertaining comedy involving mud and hard luck. (XVI)\nNeighbor Nelly, Simple story, based on the theme \"In the garden of our heart, a flower blooms.\" With Madge Evans. (XX, 56, 156)\n[Old Mother Hubbard, Night Before Christmas, The Patchwork Girl of Oz, Pinocchio, Rover's Big Day]\n\nOld Mother Hubbard (From the well-known children's story. (112))\nNight Before Christmas (Splendid picturization of the children's great Christmas story. (XXV, 37 A, 49))\nThe Patchwork Girl of Oz (Picturization of the popular fairy tale. (XXI))\nPinocchio (Adaption of the well-known Italian fairy tale. (49))\nRover's Big Day (Triumph of a homeless dog and 6-year-old boy over the objections of his parents. (XVI))\n\nFor intelligent, impartial, dependable reviews of current films \u2014 theatrical and non-theatrical \u2014 see The Educational Screen every month. It is written for you.\n\nEntertainment\nGroup 134 (Continued) Entertainment Juvenile\nRumpelstiltskin (4) Delightful version of old fairy story. (112)\nSeason of Childhood (2) Features Mary McAllister. Human interest story.\nShades of Noah (1) Animals in alphabetical array, done in Prizma color.\nSleeping Beauty (3) Scenes founded on incidents in fairy tale known to every child. (49)\nSonny Has the Mumps (2) Juvenile comedy. (66A)\nSnow White (4) Though old fairy tale. (42, 66A, 112)\nSteps to Somewhere (2) Features Mary McAllister. Good for children. (23)\n'Twas the Night before Christmas (1) A Christmas story. (112, 113)\nTwinkle, Twinkle, Little Star (5) Fairy tale of a star child and his adventure.\nThe Uneven Road (2) Mary McAllister in a children's story. (23)\nWar of the Wooden Soldiers (2) Army of wooden soldiers which comes to life and engages in battle. (49)\nWhere is My Mother? (2) Good for young and old. (23)\nWhirl Through Squirrelville (1) Plavlet acted by squirrels.\nWinter Christmas (1) The story of a little boy at Christmas. (56, 113)\nWizard of Oz (3 & 5) The old fairy story. Not the one with Larry (See also Groups 83, 135)\nGROUP 135 General\nAt 3:25 (2) Novelty reel showing what happened when the earth stopped and everything stopped going on in Paris. (XIX, XX)\nAtta Boy (6) Difficulties of a would-be reporter who unexpectedly uncovers a real story, featuring Monty Banks. (XV)\nBardelys the Magnificent (9) Historical drama of the court of Louis XIII based on Sabatini's novel. Authentic settings, thrills and romance. (XIII)\nThe Bargain (5) W.S. Hart in a story of the Grand Canyon of Arizona.\nThe Barrier (6) Lionel Barrymore and Norman Kerry in an Alaskan drama of swift action based on a novel by Rex Beach. (XIII)\nThe Drama of the Great Chicago Fire: Frank Mavo and Mabel Ballin head the cast. (XV)\nThe Battling Orioles: Dwellers in an old man's home aid a young lad. (XV)\nBecky: Sally O'Neil and Owen Moore in comedy drama depicting life of a department store worker. (XIII)\nThe Big Parade: John Gilbert in the spectacular war drama. (XIII)\nBlack Gold: Pete Morrison in an adventure story of the Texas oil. (XIII)\nThe Black Pirate: Douglas Fairbanks in the wonderful color-picture of thrilling romantic action suggested by the title. (XXIV)\nBringing Up Father: All-star cast in comedy based on Geo. McManus' famous cartoon strip. (XIII)\nThe Bugle Call: Jackie Coogan in the story of western frontier during Gen. Grant's administration. (XIII)\nButtons: Jackie Coogan in role of page boy on trans-Atlantic liner. (XIII)\nCalifornia (6) Col. Tim McCoy in historical western romance depicting conquest of California in 1846. (XIII)\nA Call from the Wild (5) Dramatic story of a child and a puppy. Fine story of the outdoors. (112, 128 A)\nCall of the Wilderness (5) Featuring Sandow, the dog star. (XV)\nCaptain Salvation (S) Lars Hanson as divinity student. Settings of old New England. (Xni)\nCharlie's Aunt (6) Syd Chaplin's best. (42)\nA Christmas Miracle (i) One of the old French miracle plays. (49)\nChurchyards of Old America (1) Showing epitaphs on old stones dating back two hundred years. (XIX)\nCounsel for the Defense (7) Melodrama of high finance and stern justice, starring Betty Compson and House Peters. (XV)\nThe Country Fair (5) Wesley Barry in a general comedy drama. (23, 112..)\nThe Cracker Jack (6) Johnny Hines. (42)\n[The Crowd: Eleanor Boardman in a great human drama depicting the early life of the modern \"everyman.\" (6) Custer's Last Fight: The title tells the story. (5) Fifth Edition\n\nThe Desert's Toll: Story of a secret mine and outlaws; beautiful outdoor scenes in Bryce Canyon. (6)\nThe Devil Horse: Story of friendship between man and beast. (6)\nThe Discipline: W.S. Hart in a powerful story of early days.\nDon Q, Son of Zorro: Sequel to \"Mark of Zorro\" \u2013 Douglas Fairbanks in thrilling adventures in Mexico and Spain. (11)\nDorothy Vernon of Haddon Hall: Mary Pickford in a charming costume story from Charles Major's book. (10)\nDown to the Sea in Ships: Fine story of old New Bedford whaling. (9)\nThe Eagle and the Fawn: An Indian love story acted out by Crow]\nIndians on Wyoming reservation.\nThe Early Bird: Johnny Hines in a comedy drama. (6) (37A, 42)\nThe Elusive Pimpernel: An adventure of the scarlet pimpernel from Baroness Orczy's famous novel. (6) (23)\nThe Fair Co-ed: Marion Davies in a gay tale of collegiate life based on George Ade's celebrated work. Recommended for all types of audience. (XIII)\nFalse Trails: Romance of the Canadian Northwest. (2) (23, 37A, 69)\nFaust: Emil Jannings and Yvette Guilbert in a beautiful treatment of Goethe's epic of the middle ages. Made by UFA. (XIII)\nFinding His Job: Love story, also a plea against vandalism and invasion of countryside by city tourists. (XVI)\nThe Fire Brigade: Charles Ray in an exciting story of fire-fighting interwoven with a plea for fire prevention. (XIII)\nFish for Two: The thrilling adventures of a boy and his dog. (1)\nsaves him from drowning. (42)\nFlattery: A Story by Van Loan. Treats a new theme in a new way, with John Bowers and Marguerite De La Motte. Clean and wholesome. Flesh and Blood: Lon Chaney in a strong story of a father's love and martyrdom for his daughter. (18, 42, 56)\nThe Flying Fool: Richard Grace in a thrilling airplane crook drama. (42)\nThe Fortieth Door: A young American scientist rescues a French girl and her father from imprisonment in Egypt. (XV)\nThe Freshman: One of Harold Lloyd's most popular comedies. Excellent for any audience. (XV)\nFour Horsemen of the Apocalypse: Rudolph Valentino in Ibanez' historical romance inspired by the Book of Revelations. (XIII)\nFriendly Enemies: Comedy acted by Joe Weber and Lew Fields, depicting two friends becoming friendly enemies because of different attitudes towards the Fatherland. (19)\nThe Frontiersman (6) Col. Tim McCoy in historical western drama of pioneers.\nThe Frontier Trail (6) Harry Carey \"western.\"\nGarden of Allah (9) Alice Terry in film version of Hichens' famous novel. Made in Europe and North Africa by Rex Ingram.\nThe General (8) Buster Keaton burlesques an actual event of the civil war \u2014 capturing a locomotive in the South and racing North.\nThe Girl from Marsh Croft (6) Adapted from the novel by Selma Lagerlof. Swedish production.\nThe Girl I Loved (7) James Whitcomb Riley story finely interpreted by Charles Ray.\nGirl Shy (8) Harold Lloyd's comedy concerning the timid young man who fell in love.\nThe Gold Rush (9) Charlie Chaplin's most ambitious picture \u2014 of life in Alaskan mining camps. Contains much of his finest work.\nThe Good Bad Man (5) Douglas Fairbanks in a reprint of an early success.\nGo West (7) Buster Keaton comedy. A discouraged eastern tenderfoot on an Arizona ranch loses his heart to a \"muley\" cow that understands him.\nGrandfather's Clock (1) From the song by Henry C. Work.\nGrandma's Boy (5) Harold Lloyd's story of the boy with a cowardice complex who comes out victor over his enemies.\nGrass (7) Story of the nomad tribes of Persia in their struggle with the environment. Elemental drama appealing to all ages.\nThe Greatest Love of All (7) Great love of a humble youth for his mother. With George Beban.\n98 ENTERTAINMENT \"1000 and One\"\nThe Great Love (6) Viola Dana in a version of Mary's lamb story, with an elephant in the principal role. Boy Scouts have an important part doing daily good deeds.\nThe Hare and the Tortoise (1) Modern-Truths-From-Old-Fables Series.\nAnimal actors. (37)\nHeart of Gold (5) Human interest story with Louise Huff. (37)\nThe Heart of a Hero (6) Life of Nathan Hale. (112)\nHearts and Fists (7) Romance of the timberlands, starring John Bowers and Marguerite De La Motte. (XV)\nHe Fooled 'Em All (5) Kindly satire on old-fashioned \"movie,\" with \"Chic\" Sales and Colleen Moore. (156)\nHeritage (4) Story of a street waif who is reunited with his parents\nHer Nobler Love (1) Mary Pickford's first movie reprinted. (56)\nHeroes of the Sea (1) Fishing fleet and bringing in of the catch from the North Sea. (41)\nHis First Flame (5) Harry Langdon comedy. (XV)\nHis Majesty, the American (8) Improbable but exciting adventures of Douglas Fairbanks in a mythical foreign kingdom. (XXIV)\nHis Master's Voice (6) Dog picture. (42)\nHis Promotion (2) Reprint of Johnnie Hines. \"His Secretary\" (7) Norma Shearer and Lew Cody in comedy drama of an overearnest office worker.\nHold Your Breath (6) Comedy drama with Dorothy Devore and Walter Pall.\nThe Homekeeping of Jim (2) Entertaining drama of home life.\nHow Animated Cartoons are Made (%) Work done in cartoon rooms of Bray Productions.\nHow Movies Move (%) Explaining operations of motion picture projection machine.\nHome Wanted (5) The story of an orphan, featuring Madge Evans. (37, 112)\nHot Water (5) The adventures of a bridegroom with his in-laws. Harold Lloyd.\nHutch of the U.S.A. (5) Charles Hutchinson as an American daredevil in the kingdom of Voltania. (56, 113)\nInto the Net (7) Story showing how the police department of a big city functions. (15)\nIn Old Kentucky: James Murray and Wesley Barry in the famous racetrack melodrama.\nIs Conan Doyle Right? Exposing the tricks resorted to by fake spiritualists.\n\"Isn't Life Wonderful\": Elaborate, realistic picture of war-torn Poland. A grim story with special appeal to grown-ups.\nThe Ivory Snuff Box: Detective drama. Directed by Maurice Tourneur, featuring Holbrook Blinn.\nJudge Brown: Boy Stories - Tad's Swimming Hole, The Preacher's Son, Keeping 'em Guessing. Little tricks in magic shown and then exposed.\nKeep Smiling: A boy with a natural fear of the sea wins a thrilling boat race. Starring Monty Banks.\nKeep to the Right: Edith Taliaferro in a story of the brotherhood of man.\nKing Creek Law: Leo Maloney in a story of a Kentucky mountain feud and the brave Federal officer who ended it.\nThe Knight of the Trail (2) - Wm. S. Hart in one of his early playlets: The Limit Game (2) - Wholesome story of life on the western range, picturization of one of the Billy Fortune stories in Saturday Evening Post\n\nLittle Annie Rooney (9) - Mary Pickford in story of New York slum life, with some very boisterous action\nA Little Journey (7) - William Haines in simple comedy. Adaptation of the famous stage success by Rachael Crothers\n\nKing of Wild Horses (5) - \"The Black,\" a wild stallion, and his final devotion to the man who rescues him. Splendid animal subject.\nThe Limit Game (2) - A wholesome story of life as it is lived on the western range. Picturization of one of the Billy Fortune stories in Saturday Evening Post\n\nLittle Lord Fauntleroy (10) - Mary Pickford gives a very fine and strong performance.\nThe picturization of Burnett's famous story \"The Littlest Scout\" (5). Children enact this story of youngsters copying their elders. Interesting for young and old. (2, 3, 37)\nLove's Harbor (5) Thrilling drama of friendship. (23, 56, 69, 113, 156)\n\"Mademoiselle from Armentiers\" (9) All-star cast in absorbing love story laid against the background of World War. Popularly known abroad as \"The Big Parade\" of England. (XIII)\n\"A Man's Fate\" (5) A thrilling sea story, starring Wm. Russell.\n\"The Man Who Played God\" (6) George Arliss gives a fine portrayal of a musician who loses hearing but regains faith by helping others more unfortunate. (XXIV)\n\"The Man Who Played God\" (6) George Arliss delivers a fine portrayal of a musician who loses hearing but regains faith by helping others more unfortunate. (XXIV)\n\"The Mark of Zorro\" (8) One of Douglas Fairbanks' finest films \u2014 high adventure and romance strangely uplifting in its effect. (XXIV)\n\"Mazes of the South Sea\" (5) South Sea picture. (23)\nThe Midnight Burglar: A small child's deeds of charity. - Gloria Joy.\n\nThe Midshipman: Ramon Novarro in a unique picture of undergraduate life at Annapolis. Produced under supervision of U.S. Naval authorities. (XIII)\n\nMike: Sally O'Neil and William Haines in a comedy concerning the family of a section boss living in a railroad box-car. (XIII)\n\nThe Mollycoddle: Douglas Fairbanks in lively society adventures at Monte Carlo. (XXIV)\n\nThe Mountain Girl: Dorothy Gish and Ralph Lewis in an early playlet supervised by D.W. Griffith. (56, 113)\n\nMy Boy Bill: A Bruce Wilderness Tale of an old man and his boy. (VI)\n\nNapoleon: All-star French cast in a historical drama. Authentic settings and details in the life of the great ruler. (XIII)\n\nNever Weaken: A Harold Lloyd comedy. (XV)\n\nNew Toys: Romantic comedy acted by Richard Barthelmess and Mary Pickford.\nNo Children Wanted (4) Neglect of parents towards little girl and their awakening. - Gloria Joy (18)\nOld Oaken Bucket (1) After the poem by Samuel Woodworth.\nOld Clothes (6) Jackie Coogan as an Irish orphan adopted by a Hebrew junk dealer.\nOld Curiosity Shop (6) Good picture for any audience. Clean and wholesome.\nOld Time Movie Show (8) Collection of comedies and dramas made years ago by famous stars \u2014 Mary Pickford, Charlie Chaplin, Tom Mix, Johnnie Hines, the Drews, Colleen Moore, etc. A novelty program.\nPayable on Demand (5) Leo Maloney in a western feature. (56, 113)\nThe Peak of Fate (6) Superb scenery in Alpine heights with an interesting human drama. Suited for school, church or community audiences. (23)\nThe Pinch Hitter (5) Glenn Hunter as a shy country boy. (28)\nPlay Safe (5) Comedy featuring Monty Banks. (XV)\nPoilyanna (5) - Mary Pickford in a typically wholesome and delightful role, from Eleanor Porter's book.\nPrince of Graustark (7) - Ramon Novarro in another of Geo/Barr McCutcheon's famous series.\nA OHT T7TT A/fQ Rent and sell \u2014 Some \"free\" films\n\u2014 flam and non-flam \u2014 Sell in US.\n\u2014 Rent in eleven southern states through New Orleans exchange.\nFilms on industrial, health, religious, entertainment and educational subjects.\nHarclem Picture Industries, Inc.\n610-612 Baronne St. Harcol Bldg., New Orleans\nENTERTAINMENT\nGROUP 135 (Continued)\nEntertainment\nQuality Street (6) - Marion Davies in a faithful and sympathetic production of Sir James Barrie's famous work.\nRex in Black Cyclone (6) - A man befriends a horse and is in turn rescued by the animal.\n** Road to Romance (7) Ramon Novarro as the adventurous young hero of Conrad's famous novel, Romance.\n** Robinson Crusoe (4) From the famous story.\nRomeo's Dad (2) Tom Wise, Gail Kane and Conrad Nagel in a playlet written by Rachel Crothers.\n** Romola (10) Lillian and Dorothy Gish in George Eliot's classic of the Italian Renaissance, entirely filmed in Italy.\n** Rose Marie (9) Renee Adoree in the spectacular picturization of a musical comedy. The plot centers around the Northwest Mounted Police.\n** The Roughshod Fighter (5) Wm. Russell in a drama of Virginia in the days of reconstruction. It is entertaining and educational.\nRover's Big Day (1) The story of a homeless dog in a small town.\n*** The Ruling Passion (7) A realistic comedy of millionaire George Arliss turning garage-man for relaxation. One of the finest films for community.\n(XXIV) Sally, Irene and Mary (6) Adaptation of a successful musical comedy, depicting the romances of three chorus girls. (XIII) Sally Shows the Way (5) A Polly Anna picture. Smiles and their effects on the life of a hardened old lady. (23) The Secret of the Pueblo (5) Neal Hart in a story of the cliff-dwellers. (56, 113) The Seventh Bandit (6) Harry Carey in a feature. (XV) Sharazad (5) Backgrounds for this Arabian Nights romance are the natural settings of Florida with the members of the winter social colony as actors. (134) Shore Acres (5) Version of the stage play. (112) The Sky Raider (6) Romance of the air, starring Capt. Nungesser. (XV) Slave of Fashion (6) Norma Shearer and Lew Cody in a comedy concerning the adventures of a small town girl under an assumed identity in the city. (XIII) Sloth (5) A patriotic subject. (112)\n[The Soul of the Cypress (1) Legend of a dryad and a young musician connected to the cypress. Effective photography. Adapted for community programs. I XIX; The Speed Spook (6) Johnny Hines in a comedy. (42; The Spring Fever (6) William Haines in an uproarious comedy of business and golf. XIH; Steella Dallas (10) Fine acting by Belle Bennett of a mother's heroic and pathetic sacrifice for her daughter's future welfare. Strong. XXIV; Stop, Look and Listen (6) Larry Semon in a story of an indigent theatrical troupe. XV; Suds (5) Mary Pickford as a little laundry drudge who builds castles from soap-suds. XXIV; The Thief of Bagdad (11) Douglas Fairbanks' finest achievement in the realm of fanciful and fantastic adventure from the Arabian Nights. XXIV; The Three Musketeers (12) Rollicking, lively rendering by Douglas]\n(XXIV) Fairbanks in Dumas' great romantic novel.\n(XXIV) Through the Back Door. Mary Pickford as a poor little war refugee who finally finds herself a servant in her own mother's house.\n(XIII) Tillie the Toiler. Marion Davies in comedy drama based on a newspaper cartoon feature by Russ Vvestover.\n(XIH) Tin Hats. Rousing post-war comedy. Adventures of three rookies in the A.E.F. who arrive in Brest on Armistice Day.\n(XXXII A) The Tomboy. Light comedy melodrama. Clean fun for young and old.\n(XIII) The Torrent. Greta Garbo and Ricardo Cortez in a story based on Ibanez's gripping novel of a Spanish opera singer.\n(II) Tricked. Rousing drama of the Northwest. (23, 37 A, 56, 69, 113)\n(XIII) Twelve Miles Out. John Gilbert in action drama based on a famous play of the Coast Guard and rum-runners.\n[The Two Orphans (5) The wanderings, troubles and joys of two orphans.\nTwenty Thousand Leagues Under the Sea (3) An under-sea film. (112)\nThe Understanding Heart (7) Outdoor story of forest rangers in California and Yosemite Valley. (XHI)\nThe Voice of the Nightingale (1) Exceptionally artistic production in color. A dramatic tale of children and a bird. (42)\nFifth Edition\nENTERTAINMENT\n** The Understanding Heart (7) Outdoor story of forest rangers in the big tree country of California and Yosemite Valley.\n*** The Voice of the Nightingale (1) Exceptionally artistic production in color. A dramatic tale of children and a bird.\nThe Waltz Dream (8) Lavish UFA production of Strauss operetta, portraying the romance of a Viennese princess before the War. (XIII)\nWhen the Circus Comes to Town (1) Inspired by circus posters, boys put on a circus of their own. (XVI)\nWhen the Clouds Roll By (6) Doug Fairbanks as a tenderfoot in the west gets involved in lively adventures and a big flood. (XXIV)\nWhen Dawn Came (6) Colleen Moore starring, showing a doctor's return]\nto faith through a blind child. (Line 1)\nWhite Shadows (9) All-star cast in production based on book by Frederick O'Brien and directed by Robert Flaherty of \"Nanook\" fame. (Line 13)\nThe White Sister (6) Featuring Lillian Gish. (Line 112)\nWhite Sheep (7) Story of a pacifist member in family of fighting mountaineers, who finally saves his father from murder charge. (Line 15)\nWhy Elephants Leave Home (2) Entertaining novelty showing many unusual accomplishments of elephants; \"roundup\" of jungle elephants at the Kraal. (Line 15)\nWhy Worry? (6) A comedy with Harold Lloyd. (Line 15)\nWinners of the Wilderness (7) Col. Tim McCoy in historical drama of English colonists during French-Indian Wars. (Line 13)\nThe Winning of Barbara Worth (8) Picturization of Harold Bell Wright's story of the epic of the West. Good work by Ronald Colman and Vilma Banky. (Line 24)\n[The Wizard of Oz (5) The famous extravaganza of Montgomery and The Yankee Consul (7) A Douglas MacLean comedy. Yankee Doodle Jr. (5) Rollicking comedy drama of a Yankee lad who starts out to make good and does it with a vengeance. Young America (5) A human interest story of everyday life, built around the love of an American boy for his dog. Endorsed by the Boy Scouts, schools, churches, etc. Young Mother Hubbard (5) Laughable adventures of a little girl and her orphaned brothers and sisters in search of a home. Your Obedient Servant (4) Adapted from Anna Sewell's story \"Black Beauty.\"\n\n2 Series of unusual interest\nM-G-M Great Events (Entirely in Technicolor) Each in two reels\nSix little dramas based on historical fact. The first is \"The Flag,\" the story of Betsy Ross.]\nProduced all over the world by UFA. One reel each. A few subjects: The Falcon, The Parasol Ant, Tally-Ho, Fishing with a Microscope, A Jungle Round-up, etc., etc.\n\nWRITE FOR FREE BOOKLET \"BETTER MOTION PICTURES\"\nNon-Theatrical Dept., Metro-Goldwyn-Mayer\n1540 Broadway, New York City\n\nRELIGIOUS\nCROUP 136\nReligious\n\nThe Abundant Life- (3) Visualizing world-wide program of Christian Missions at work in the Far East. (112, 158)\nAmerica \u2014 The Canaan of all Nations (1) The people that have become custodian of freedom in a Christian civilization. (2, 3, 66A, 69, 156)\nAmerica \u2014 Enduring Power for Service (1) Half-reel of sermonettes and half-reel on United States. (23, 37A, 69, 156)\nAncient Industries of Modern Days (1) Arts and trades that have survived the centuries; memorials to the truth that work may also be worship. (56, 113)\nAs We Forgive: The Story of Present-Day Life Paralleling Epistle of Paul to Philemon.\nThe Beacon Light: Likened to the light of the soul guiding man to everlasting life.\nThe Birth of a Race: From the dawn of creation to signing of peace treaty at Versailles.\nBlind Bartimaeus: Lessons from miracle that restored his sight.\nB!ood Will Tell: Wholesome story of a little boy accused falsely of picking pockets; home he finds as an outcome.\nThe Bounty of Nature: Scenic film of rare beauty, showing that Nature gives all and withholds nothing. (56, 113)\nBy Their Fruits: Story of a young man who disobeys the Eighth Commandment and learns it is best to go straight. (1 & 2)\nThe Call of Samuel: Story of a little boy named Samuel, whose mother teaches him the story of Biblical Samuel.\nChildren here, there and everywhere, eager little ones in all climes awaiting the leadership of a trusted voice.\n\nThe Chosen Prince (The Dramatization of the lives of David and Jonathan) (XXVI)\nThe Christ Child (Youth of Christ) (37)\nChrist Confounds His Critics (A sincere picturization of John VIII, 3-11 verses. The woman taken in adultery. Made expressly for church use) (1)\nChristian Character (An exaltation of Christian character through training, its influence on a community) (112)\nClimbing Life's Hill (Depicting victory of truth and love over falsehood and hate. Story based on words of John Wanamaker) (112) (The Confession) (For Roman Catholic use particularly) (112)\nThe Conflict (The struggles of the early Church) (112)\nThe Cross of Fire (Story of frontier life showing the power of the Cross) (2)\nThe Dawn of Christianity: A message of hope, brotherly love, and the Kingdom of Heaven. (112, 156)\n\nThe Double Gift: The Shunamite mother and the lesson from the Prophet Elisha. (112)\n\nThe Shunamite and Elisha: The title tells it. (112)\n\nThe Eucharistic Congress: Complete pictures from the arrival of the papal legate in New York to final ceremonies at Mundelein. (37 A)\n\nEyes of the Blind!: Shows the work of Ming Sam School for the Blind at Canton, established by Missionaries. (XXV, 56, 113, 158A)\n\nFaith and the Lord's House: A regenerative picture. (112)\n\nThe Fall of Jerusalem: Picturization of the exile of the \"Chosen People.\" (6)\nFallen Gods (6) Life of Francis Xavier The Fool (10) Screen version of stage play picturing experiences of a man who sets out to live as Christ did. Forgive Us Our Debts (1) The story of the two debtors, Matthew XVIII, 23-25. Made especially for the church service. The Full Surrender (1) The story of Ananias and Sapphira. Germination and the Harvest Nature illustrates the principle of \"Who is Getting Larnin\". Visits to Murphy Collegiate Institute in mountains of Tennessee, and to Mount Zion Seminary in Western Georgia. Fifth Edition RELIGIOUS God and the Man (6) Drama woven around life and work of John God's Good Man (6) From story by Marie Corelli. God's Handiwork (1) The wondrous gifts of Nature the Creator. The Good Samaritan (1) Modern story paralleling the Bible story.\nGospel Stories (2) Selected from the New Testament. (18, 56)\nThe Great Redeemer (5) Drama of spiritual redemption of two convicts.\nThe League of Nations (3, 7A)\nHis Birthright (1) The story of Jacob and Esau in modern parlance.\nHoly Bible Series (30) Thirty one-reel subjects from \"Creation\" to \"Solomon in All His Glory.\" (49)\nThe Holy City (1) Modern Jerusalem in pictures with scripture passages used as sub-titles. (42)\nHushed Hour (5) A picture sermon on the serious aspects of life. (66A)\nImmortality (1) The question, \"If a man die, shall he live again?\" answered by Jesus the Christ. (5, 27A, 112)\nJohnny Ring and the Captain's Sword (4) Accurate delineation of the story.\nJoseph and His Brethren (4) Accurate delineation of the Biblical narrative. \nThe Least of These (6) \"Whatsoever you have done to the least of these \nyou have done unto me.\" (112) \nLest We Forget (5) Heredity and environment play a great part in \nmoulding the life of Jimmy McNulty. (S7A, 112) \nLife of Abraham (6) Story of the Father of Israel from his marriage with \nSarah to his death. (XXV) \nThe Life of Christ from Great Paintings (2) The title tells it. (112.) \nLife of Christ (5) Reproduction of Passion Play. (42, 112) \nThe Life of Moses (5) Story of the great law-giver. (112, 12 8 A) \nThe Life of Our Savior (6.) Story of His life pictured in fitting and \nreverent manner. (128 A) \nLife Immortal (1) Shunamite Mother and the lesson Prophet Elijah \nLight of Faith (4) Its power to cure the woes of mankind. Legend of \nThe Holy Grail beautifully interpolated. (23, 37A, 56, 66A, 69, 113)\nThe Light of the World. Re-edited version of \"The Birth of a Race.\"\nLittle Jimmy's Prayer. A story of faith in answered prayer. (112)\nThe Little Shepherd. The story shows the truth of the fable, \"Honesty is the best policy.\" (66A, 112)\nThe Lord is My Shepherd. Beautiful pictorial exposition of Twenty-Three Psalm.\nThe Lord Will Provide. Modern illustration of Biblical text.\nA Maker of Men. Dramatic story contrasting the life of a man who lives for himself (23, 56, 113, 156)\nThe Man of Galilee. New life of Christ. Biblically correct. (112)\nThe Man Nobody Knows. Picture of the places where Jesus lived and worked. Edited and titled by Bruce Barton. (XVI)\nMan, the Social Builder. The architect of the Christian community, which is the foundation of the Christian state. (23, 56, 113, 156)\nMartin Luther - His Life (8) Outstanding events in the great Protestant Reformation. (37, 86) Memories (2) Condensed version of \"The Stream of Life.\" (113) A Modern Ruth (2) Bible story in connection with a war story. My Rosary (2) Scenes of Bible stories included in the story of Puritan days. Nature, the Majestic (1) Wondrous gifts Nature the Creator has bestowed. Oberammergau (1) Home of the Passion Play and some of the players.\n\n104 RELIGIOUS\nGROUP 136 (Continued) RELIGIOUS\nReligious\nOld Testament in Pictures (Series of 15, 1 reel each)\nThe Creation\nThe Migration of Sacrifice of Isaac\nCain and Abel Abraham and Lot\nIsaac and Rebecca Noah and the Ark\nThe Rescue of Lot Jacob and Rachel\nThe Deluge Isaac, the Boy Jacob and Esau\nAbraham and Sarah Ishmael Return of Jacob\nOne Hundred Forty-eighth Psalm (1) Self-explanatory. (112)\nOpen Thine Eyes (1) The abundant beauties of nature that exist every-where. (5) Our Heritage of Faith (5) Life of the great American missionary, Marcus Whitman. (XVI)\nThe Parish Priest (5) A story of a young clergyman. (5) Especially suitable for The Passion Play. (V, 23)\nThe Passion Play (5) An exact reproduction of the Oberammergau play. (37)\nPersecution (6) The story of Queen Esther. (66A)\nPilgrimage to Palestine Series (See detailed listing of subjects under \"Palestine\" Group 31.) (XV)\nPope Pius X (1) International Eucharistic Congress in Montreal. (113)\nThe Power Within (5) A modern story paralleling the life of Job. (37)\nThe Price (1) A modern application of the story of Ananias and Sapphira. (37)\nProblems of Pin-Hole Parish (6) Missionary photoplay. (112, 158)\nThe Prodigal Son: His return from poverty in Damascus to his father in Bethlehem, with places mentioned in the parable. The Providence of Nature: Beautiful plains and fruitful valleys strikingly illustrate the Biblical truth that \"The Lord Will Provide\" for all His children. Ram Das: Picture of the great \"Mass\" Movement in India towards Christianity under the leadership of Ram Das. The Rich Young Ruler: Dramatization of Matthew XIX, 16-23, \"What must I do to obtain eternal life?\" Sacred Hymns: The title tells it all. Saul the Rejected: The bible story. A Schoolhouse on the Pamlico: Washington Collegiate Institute on the Pamlico River at Washington, N.C. The Servant in the House: From the celebrated play by Charles Rann.\nTheme: \"Love thy neighbor as thyself\" (66A, 112, 12V8A)\nThe Spiritual Law in the Natural World\n1. The Stream of Life: A human drama with a gospel message of faith and regeneration. (6, 112)\n2. To Him that Hath: A story of sacrifice and imprisonment for St. Christopher's Mission. (37A)\n3. The Transgressor: Dr. Shield's latest and best picture. (112)\n4. The Twenty-eighth International Eucharistic Congress: Self-explanatory.\n5. The Twenty-Third Psalm: Experiences of a day in the life of sheep and shepherd. Titles embodying verses of the psalm. (XVI)\n6. The Universal Samaritan: The contrasting races of mankind and nature - the Samaritan that befriends them all. (56, 66 A, 113)\n7. The University of Chattanooga: Campus scenes and student activities at the University and nearby Athens School. (87)\n[The Unwelcome Guest (2) The anointing of Jesus' feet by the sinful woman; The Vatican, a great museum of art and the Palace of the Popes; Pope's garden and other treasurers thrown open for making of this picture (XV). When Dawn Came, A story of faith, especially suitable for Catholic presentation (66 A, 112). Who Loseth His Life, Story of a physician who sacrifices chance of glory in discovery of serum for sleeping sickness. The Widow's Mite, A lesson in unselfishness.\n\nFifth Edition\n\nCOMEDIES\n\nREFERENCE LIST OF WELL KNOWN SERIES OF COMEDIES, NOVELTIES, ETC.\n\n(Given for reference purposes only. In general, we do not recommend comedies unless pre-viewed by the exhibitor or by some one knowing the exact taste and requirements of the community concerned. We urge users,]\nComedies\nThe Adam's Children (1) The fun three brothers and their dog, calf, pony, ducks, etc. (XII, 42, 112)\nJimmie Adams Comedies (1926-27) (1) Six two-reel subjects starring Jimmie Adams. (VI)\nAlice Cartoon Comedies (1 each) Photography and cartoon combined.\nAll Star Comedies (2) Hal Roach comedies featuring a group of actors famous in their field as many feature players. (XIII)\nAndy Gump Comedies (1) Series of cartoon comedies by Sidney Smith.\nJimmy Aubrey Comedies (2) Series of two-reel comedies. (XX, XXVIII)\nMonte Banks Comedies (2 each) Series. (XX)\nBarnyard Animal Comedies (2) Series of eight, two-reel comedies each. (XX)\nBen Turpin Comedies (2) Series of nine. (56, 113)\nBilly Dooley Comedies (1926-27) (2) Six two-reel subjects starring Billy Dooley.\nBobby Vernon Comedies (1926-27) (2) Eight two-reel subjects starring Bobby Vernon.\nBunny at the Races (1) John Bunny in a reprint of one of his famous Cameo Comedies (VI, 42)\nCharlie Chaplin Cartoons (1 each) One release a week. (156)\nCharlie Chaplin Comedies (3 each) Re-releases of four popular favorites: \"A Dog's Life,\" \"Sunnyside,\" \"Shoulder Arms\" and \"A Day's Pleasure.\" (XV)\nCharlie Chaplin Re-Releases (2 each) \"The Adventurer,\" \"Behind the Screen,\" \"Easy Street,\" \"The Floorwalker,\" \"The Immigrant,\" \"The Pawnshop\" (XIII)\nCharley Chase Comedies (2) Starring Charley Chase in comedies of polite society. (Xni)\n[Chrisitie Comedies (2), Series (VI, 42)]\n[Classic Comedies (1 & 2j), Series, especially selected for non-theatrical (VI)]\n[A Dog's Life (3), Re-issue, Charlie Chaplin's most famous early comedies (XV)]\n[Dorothy Devore Comedies, 1927-29 (2), Six two-reel subjects featuring the girl comedy star (VI)]\n[Dough and Dynamite (2), Charlie Chaplin and Chester Conklin in an early Keystone comedy (56, 113)]\n[Felix the Cat Cartoons, 1927-28 (1), Twenty-six one-reel releases of Pat Sullivan's animated cartoon character (VI)]\n[Fortune Hunters (2), A series of ten comedy dramas (XX)]\n[Fox Trot Finesse (1), Mr. and Mrs. Sidney Drew in one of their best comedies. Reprint (56)]\n[Hairbreath Harry Comedies (2), Series, two reels each (XX)]\n[Hair Cartoons (1), Heads of famous personages drawn on the screen (X)]\n[Hall Room Boys Comedies (2 each), Series (XX, 156)]\nLloyd Hamilton Comedies (2 each) Series. (VI)\nO. Henry Comedies (2) Series. (IX)\nHis Prehistoric Past (2) Charlie Chaplin and Mack Swain in an early Keystone comedy. (56, 113)\nHis Trysting Places (2) Charlie Chaplin and Mabel Normand in an early Keystone comedy. (56, 113)\nHome Life Comedies (2 each) \"This Wife Business,\" \"Disposing of Mother,\" \"An Old-Fashioned Flapper.\" Sponsored by Federated Women's Clubs. Written by Mrs. Alice Ames Winters. (IV)\n\nComedies, Novelties, Etc.\n\nComedies\nEarly Hurd Comedies (1 each) Animated drawings combined with human actors, (VI)\nImperial Comedies (2 each) Series. (IX)\nJuvenile Comedies (2 each) Series. (VI, 42)\nBuster Keaton Comedies (2 each) Series. (m)\nKoko Song Car-Tunes (1) Series of one-reel subjects. Koko, the clown, leads the audience in singing old time melodies from the screen. (XIX, 42)\nKrazy Kats (1 each) Series (4-2)\nHarold Lloyd Comedies \u2013 Several of his most popular short comedies:\n- Among Those Present (3)\n- I Do (2)\n- Never Weaken (3)\n- Swat the Lupino Lane Comedies, 1927-2S (2) (VI)\n\nThe Married Life of Helen and Warren (2 each) Series (IX)\nMermaid Comedies (2 each) Series (VT, 42)\nMutt and Jeff Cartoons (1) Series of one-reel subjects. Bud Fisher's best laugh producers. (IV, XX)\nThe Nick o' Time Baby (2) Gloria Swanson in one of her first appearances.\nOne-Third Off (2) Comedy by Irvin Cobb and Grantland Rice, concerning the vicissitudes of a fat man trying to reduce. (XV)\nOur Gang Comedies (2) A unique and universally popular series with a juvenile cast. (XIII, XV)\nOut of the Inkwell Cartoons (1) Series of thirteen. Max Fleischer's animated cartoons. (XIX, XX, 42, 112)\nOut of Luck: Constance Talmadge in an early comedy appearance. (1)\nSnub Pollard Comedies: Series. (XX)\nHal Roach Comedies: 1 and 2 reel subjects. Series. (XV)\nJoe Rock Comedies: 2 Series. (XX)\nLarry Semon Comedies: 1927-2S, 8 two-reel subjects. (VI)\nShoulder Arms: The famous Charlie Chaplin comedy. (XV)\nSid Smith Comedies: 2 each. Series. (XX)\nSnooky Comedies: 8. Series. (112)\nThe Spat Family Comedies: 2 Nine stories of mishaps and errors of these three amusing characters. (XV)\nA Study in Tempo: Shows the methods of creating optical illusions by means of a high-speed motion picture camera. (1) \u2022 (66 A)\nThe Sunshine Spreader: A comedy. (2) (23)\nTit for Tat: Comedy. (112)\nTwisted Tales: Single reel comedies with an unexpected ending. (XX)\nUniversal Comedies: Featuring Neely Edwards, Bert Roach, etc. (XXVII)\nWhy Hesitate (2) - A comedy.\nWill Rogers Comedies (2) - Philosophy mixed with humor.\nWinnie Winkle Comedies (2) - Series of two-reel subjects.\n\nThe Educational Screen assists in selecting film subjects for teaching or suggesting suitable entertainment films for school or community use. Write for film problems. The Educational Screen staff is ready to provide expertise.\n\nFifth Edition\n\nNews Reels, Weeklies, etc.\nNews Reels, Weeklies and Novelty Subjects\n\nAesop's Fables (1) - Cartoon comic series originated by Paul Terry. (XV)\nBray Magazine (1 reel each) - Series of 22. (IV, 22)\nSeries of nature studies (10 in series, 1 each)\nLittle stories, scenics in color (1)\nTwelve one-reel subjects concocted from film oddities gathered from all corners of the world (Curiosities - The Movie Side-Show) (1)\nTen subjects of two reels each (Dog Dramas) (2)\nSeries of one-reel subjects made by Max Fleischer, showing growth of industries, institutions, etc. (Film Facts) (1)\nStudio notes (Film Reporters) (1)\nIssued twice per week (Fox News) (1 each)\nTwelve one-reel subjects consisting of a medley of clever ideas and considerable variety (Lyman H. Howe's Hodge Podge) (1)\nSix one-reel subjects (Keeping 'em Guessing) (1)\nScenics in natural colors (Kelly Colors) (1)\nKinogram News (1) News Reels issued twice a week. (VI, 42)\nMagic Reels (1) Magic tricks shown by ultra-rapid process. (XX)\nMarionnettes \u2014 Tony Sarg (1) Series of one-reel novelty cartoons. (37A)\nMarvels of Motion (1) Thirteen one-reel subjects showing normal, slow and suspended action by Fleischer Novograph Process. (XIX, XX, 42)\nM-G-M Great Events (2J) Dramatic presentations in technicolor based on facts in history of men and nations. (XILT)\nM-G-M News (1) Series produced by the Hearst organization. (XIII)\nM-G-M Oddities (1) Unique educational features produced by Ufa. (XIII)\nHi Mayer's Sketch Book (%) Four delightful and amusing subjects: \"The Family Album,\" \"Turnberg, the Toy City,\" \"A Pup's Tale,\" \"Tripping the Rhine.\" (XV)\nSubjects of animal life novelties and scenic effects recorded by the camera.\n\n(VI)\nPathe News (1 each) Issued twice a week.\nPathe Review (1 each) Especially fine. Issued once a week.\nPrizma Color Subjects (1 series) Series of one-reel novelty and scenic pictures in natural color. (37 A, 56)\nRange Rider Series (2 each) Western dramas; clean stories with action, humor, love and fighting. (XV)\nReelviews (1 series) Thirteen single reels series \u2014 science and travel.\nRoving Thomas Series (1) Four subjects of one reel each: \"Roving Thomas Takes a Trip on a Fishing Trawler,\" \"Roving Thomas at the Winter Carnival,\" \"Roving Thomas in Colorado,\" \"Roving Thomas in the Windy City (Chicago).\" (37 A)\nTony Sarg's Almanac (1 reel each) Series of 12. (IV)\nSearchlights (1 series) Series of thirteen one-reel subjects\u2014 scientific experiments and animal studies. (XIX, XX, 42)\nSing Them Again Series (1 each) Reviving old popular songs. (VI) Stereoscopics (1 each) Four novelty pictures with depth (third dimension). Colored glasses supplied to produce the effect. \"A Runaway Taxi,\" \"Ouch,\" \"Luna-cy,\" \"Zowie.\" Switzerland Series (1 reel each) Series of 10. Topics of the Day (1) Series. Gathers together clever and entertaining things printed in the country's press. No pictures in the reel. Travelogues (1 reel each) Series of 19. Wilderness Tales (1) Robert C. Bruce's beautiful scenics. (VI, 42)\n\nTo Producers and Distributors\nA special department, \"Among the Producers,\" in each issue of The Educational Screen is open to you \u2014 for your story of new productions and activities. Send us your announcements of new releases. Our staff will gladly review for publication in the magazine any announcements of new releases.\n[Fifth Edition, For Children (under 15)]\n\nAmusing, Wholesome\nVery funny, Harmless\nGood, Amusing\nHarmless, Hilarious\nVery Exciting, Very Exciting\nPassable, Impressive\nPassable, Passable\nVery Exciting, Too Exciting\nAmusing, Exciting\nGood, Harmless\nGood, Beyond them\nVery Exciting, Good\nAmusing, Very Exciting\nExciting, Passable\nHarmless, Good\nVery Good, 1 [armless]\nGood but Exciting, Excellent\nPassable, ' Excellent\nFor Youth, Amusing, Excellent\nVery Ft, Passable\nAmusing, Funny, Good, Passable, Exciting, Excellent, Impressive, Notable, Above average, Fair, Amusing, Mediocre, Quite strong, Worthwhile, Amusing, Rather Good, Good, Mediocre, Excellent, Issue, estimate, Pollard, iue, jno, Frederick, slds, Coogan, Film (Star), Joy, Leatrice,hens and The Kellys, The College Boob, Lefty Flynn, Vera Reynolds, title of Film (Denny), LINGING Vine, The, Fraud.\nTACKERJACK, The (Johnny Hines)\nTuisie of the Jasper B (Rod La Rocchi)\nWestern Friends (T. Roy Barnes)\nassert Gold (Shirley Mason)\nsvil Horse, The (Rex)\n.la Cinders (Colleen Moore)\nJcharistic Congress, The (Chicago)\nFamily Upstairs, The (Virginia Valli)\nIame of the Argentine (Evelyn Burney)\nIaminci Forest, The (Antonio Moreno)\nJashino Fangs (Ranger)\nYing Horseman, The (Buck Jones)\nrever After (Astor-Hughes)\nHeaven's Sake! (Harold Lloyd)\nNsco Sally Levy (Sally O'Neil)\nGeneral, The (Buster Keaton)\nGolo (Rod La Rocque)\nCavalcade (needs no \"Star\")\ndr Big Night (Laura La Plante)\nGovernor, The (Pauline Reed)\nHey! Hey! Cowboy (Hoot Gibson)\nIlls of Kentucky (Rin-Tin-Tin)\nIs People (Schildkraut, Sr.)\nDld That Lion (Douglas McLean)\nMust Be Love (Colleen Moore)\nThe Old Army Game (W.C. Fields)\nThe Conqueror (William Boyd)\n[For Children: Under 15]\n[For Youth]\nExcellent, Good, Exciting, Excellent, Amusing, Rather Good, Fair, Wholesome, Excellent, Notable, Good, Worthwhile, Good, Passable, Excellent, Very Good, Good, Very Good, Interesting, Excellent, Good, Good, Funny, Amusing, Amusing, Excellent, Very Good, Excellent, Excellent, Good, Good, Amusing, Passable, Entertaining, Very Good, Notable, Very Funny,\n\n[For Intelligent Adults]\nNotable, Interesting, Passable, Notable, Entertaining, Amusing, Sentimental, Enjoyable, Fair, Worth Seeing, Rather Good, Excellent, \"Western\", Fair, Excellent, Good, Rather Good, Notable, Interesting, Good Western, Amusing, Mediocre, Amusing, Perhaps, Passable, Excellent, Amusing, Very Serious, Notable, Amusing, Entertaining, Rather Good, Mediocre, Interesting, Good, Notable, Amusing,\n\nProducer's Issue.\nThe Last Frontier (William Boyd) XV Nov.\nThe Little Adventuress (Vera Reynolds) XV Jun.\nThe Loves of Ricardo (Geo. Beban) Nov.\nThe Magic Garden (Margaret Morris) VIII Apr.\nMcFadden's Flats (Chester Conklin) VIII a Apr.\nMillionaires (George Sidney) XXVIII Mar.\nThe Music Master (Alec Francis) IX Apr.\nMy Old Dutch (McAvoy-O'Malley) XXVII Nov.\nThe Mysterious Rider (Jack Holt) XIV Apr.\nThe Nervous Wreck (Harrison Ford) XV Deo\nThe New Klondike (Thomas Meighan) XIV Sep.\nOh, What A Nurse! (Syd Chaplin) XXVIII Sep.\nOne Hour of Love (Jacqueline Logan) XXIII Apr.\nOne Increasing Purpose (Edmund Lowe) IX Mar.\n[One Minute to Play (Red Grange), VIII Nov.\nOrchids and Ermine (Colleen Moore), VIII a Apr.\nPrince of Pilsen, The (Geo. Sydney), XV Jan.\nFifth Edition\nFilm Estimates\nCOOCOC\nc o\n^3ci:o^ocCocc=ccCcc_5c = co^c\u00ab2\nxoor?ooocccxco^cc5ocioc^c5cx-jcx^\nSTSO-O-I\noo\u00bbss ;\nu oi? S ins?- a J w c/3 en to a esQ o o au\nCO CO CO (\nBid a m a * ott\nFilm Estimates\nCM O fa ffi > O fa\nfa f>fa fa\nP3P3HHWO\nOOoO^i^oOGOOXOoOi\nOOXOOCrtXO^OOcsOxOi\noofaOhttps://www.loc.gov/rr/askalib/ask-internetarchive.html", "publisher": "Chicago, Beckley-Cardy", "description": ["114 p. 19 cm", "Bibliography: p. [113]-114"], "mediatype": "texts", "repub_state": "19", "page-progression": "lr", "publicdate": "2019-08-20 11:06:07", "updatedate": "2019-08-20 12:22:26", "updater": "associate-richard-greydanus@archive.org", "identifier": "actingplaysforbo00bear", "uploader": "associate-richard-greydanus@archive.org", "addeddate": "2019-08-20 12:22:28", "operator": "associate-saw-thein@archive.org", "tts_version": "2.1-final-2-gcbbe5f4", "camera": "Sony Alpha-A6300 (Control)", "scanner": "scribe2.capitolhill.archive.org", "imagecount": "124", "scandate": "20191010132350", "ppi": "300", "republisher_operator": "associate-melanie-zapata@archive.org", "republisher_date": "20191015164323", "republisher_time": "393", "foldoutcount": "0", "identifier-access": "http://archive.org/details/actingplaysforbo00bear", "identifier-ark": "ark:/13960/t6k152501", "openlibrary_edition": "OL6710100M", "openlibrary_work": "OL7596948W", "scanfee": "300;10.7;214", "invoice": "36", "year": "1927", "external-identifier": "urn:oclc:record:1156011148", "backup_location": "ia906909_18", "oclc-id": "1914013", "ocr_module_version": "0.0.21", "ocr_converted": "abbyy-to-hocr 1.1.37", "page_number_confidence": "91", "page_number_module_version": "1.0.3", "creation_year": 1927, "content": "DO YOU BELIEVE IN FAIRIES?\nEDUCATIONAL PLAY-BOOK SERIES\nACTING PLAYS FOR BOYS AND GIRLS\nBY PATTEN BEARD\nFOREWORD\nWhy Use Plays?\nPrimarily, because they entertain. Girls and boys enjoy the fun of \"dressing up\" and \"making believe.\" This taste shows itself even before kindergarten age in the self-expression of such amusements as House, Store, School, Indian and Circus games.\nPlay-acting is a social interest. It gives scope for school entertainment, club, camp and home amusement.\nIt is an educational factor in child training.\nWhat Play-Acting Teaches:\nTraining of memory.\nTraining of speech.\nBodily discipline.\nTeamwork.\nImaginative creativity. Elementary costume-designing and stage-setting and the decorative value of color. Where Plays May Be Given: Indoors, outdoors \u2014 on stage or platform or in rooms or halls wherever there is a play to give. Simple scenery is desirable and preferably such as boys and girls can make with help themselves.\n\nTraining: A double cast gives every child a chance. From it may be made final selections for the acting after rehearsals.\n\nForeword\nMusic: Phonograph records for dances and musical interludes are helpful. Simplicity, harmony, natural self-expression are the perfection of the play for girls and boys.\n\nBibliography\nA word of thanks is due Mrs. Helen Weil, whose valuable experience as an instructor in voice culture and play-acting has given to this book its helpful bibliography.\n\nPatten Beard\n\nContents\nPage\nThe Child's Play . 9\n[For Spring]\nThe Butterfly . 15\nLittle George Washington . 23 (For February 22nd or Valentine\u2019s Day)\nWhen the Beanstalk Grew Again . 31 (A Fairy Play for Spring or Any Season)\nThe Easter Bonnet . 38 (For Entire School)\n\n[For Summer]\nWe Believe in Fairies . 43\nAn Outdoor Pageant\nThe Making of a Flag . 47\nA Patriotic Dialogue\n\n[For Fall]\nThe Mother Goose School . 54 (For the Younger Children)\nThe Goblins . 60 (For Hallowe\u2019en)\nThe Children\u2019s Bookshelf . 77 (For Book Week)\n\n[For Winter]\nThe Night Before Christmas . 86 (For a Child Audience)\nThe Christmas Stocking . 95\nThe Spirit of Giving\nThe Three Dwarf Brothers . 106 (For New Year\u2019s)\n\nBibliography . 114\n\n[The Child's Play]\nFor social entertainment, for special drill in schools, for camp amusement, for children\u2019s club work, or for other purposes.\nThe acting play provides an outlet for a child's love of \"dressing up\" and \"make-believe.\" It's a game that aligns with the child's mind. In their self-created drama of play, they act out impromptu scenes of Home or Store, Indians or Circus, requiring no audience and few props to bring their self-suggested fun to life.\n\nAdapted for school use, the acting play becomes a natural medium for teaching various things. From reading the story to the final production, it offers opportunities for cooperative discipline and teamwork, as well as training in speech, action, memorization, and creative interpretation. In the process of gathering props and staging the production, there's always something new to learn.\n\nWhen selecting a play for acting purposes, consider the subject and action.\nThe child's play should have simple themes appealing to a child's quick imagination and common interests. Begin by reading the play in a class group. Those who excel in reading may be assigned leading parts with understudies for the best work in the production. This double cast allows for selecting the best work and discipline in teamwork. Though a child may freely express himself, he must be directed, guided, and learn to blend his personality into the artistic whole. Rehearsal dates should be communicated to all participants to minimize excuses and absences. If school time is not used, a suitable time for everyone should be decided upon. Few rehearsals as possible should be given since children's time is limited.\nChildren grow tired of repeated training and perform less well when their interest is dulled by too frequent repetition. For small children, very brief rehearsals are best. The joy of spontaneity is quickly lost. After three rehearsals, the child should be responsible for his part and certain chosen groups, given full responsibility, should have definitely assumed the assembling of properties, stage-settings, the making and arranging of curtain and its drawing. When everyone knows what is expected of him and acts his part in cooperative teamwork, the play has started toward success. Reliable children should be chosen to do the executive work. As soon as the cast is letter-perfect, rehearsal should take place on the stage where the play is to be given. This holds true for outdoor plays as well as those given inside.\nIndoors, the cast becomes accustomed to the space used, grouping, exits, and action. Simple scenery is as effective as \"real stage scenery,\" but it must be arranged with artistic understanding. For background, a soft, neutral-toned curtain may be hung at the rear of the stage. The scene, with this, easily becomes an indoor or outdoor one. To make a quick change from indoors to outdoors without drawing the front curtain, pages, well-drilled, may bring in tree boughs that have been nailed to wooden supports and place these quickly where they should go. These wooden frames are quite light to carry. It is also easy to make scenery from beaverboard. The children themselves can paint it. Where there can be no front curtain, large screens may be made on light wooden frames, using tapestry wall paper for their covering. In sections, pages may.\nhandle these easily and quickly, covering the stage opening.\n\nTitle: A CHILD'S PLAY\n\nAs for costumes, each child will probably make his own at home. It is therefore necessary to make very clear to each one exactly what he should wear. Sometimes it may be advisable to have costumes made under supervision, subject to a uniformity of materials that permits economy as well as harmony. Effective fairy dresses can be made with crepe paper that are sewn to white slips. Elves and dwarfs may wear green tights made from dyed underwear to which stockings are sewn. Slipper soles may be sewn to the flat of the foot of stockings and tied with tapes to make ballet slippers. Bunting that drapes in soft lines is always effective for costumes and comes in bright colors that adapt themselves well to stage use.\n\nWith children, small jealousies crop up in the matter.\nIn costuming a fairy play or a historical one, obtain well-illustrated books from the library and follow their suggestions for accuracy in detail makes for harmony. During scene changes, use the interval of music to give a gifted child a chance to perform before the audience. However, the selection should align with the spirit of the acted play. The phonograph with a loud needle can provide assistance during intermissions. Woodland or garden voices can be simulated using bird whistles. Accompaniment of bird whistles to fairy dance music can be drilled and charming in woodland or outdoor plays. In garden scenes, use artificial flowers such as one may find.\nEvery child should have a role in the play's production and should be responsible for performing this definite duty. The class artist will draw programs or posters, the class carpenters will make standards for trees and frames for movable curtains that pages carry. Those who have no special talents can attend to stage properties. The boy with a printing press may make tickets. At roll call for the play, each should answer concerning his special duty. The fact that outsiders and relatives are to be invited adds incentive to excel in conforming to the best rendering and efficiency. Where the play is given.\nA class's performance for parents and friends may be followed by a benefit open to the public. The children will enjoy both, and the money earned for a worthy cause adds to the importance of the social game. Simplicity is the keynote of the little children's play. In subject, in action, in teaching, its charm lies in the naive art of the child's own interpretation of Everyday and of fairylike Make-believe.\n\nStories of the Plays\n\nThe Butterfly\nThis is a nature play. It offers a chance for tableaux and dancing. Briefly, it tells the story of the butterfly, and as such, it suggests springtime or Easter use in school or church, home or club.\n\nLittle George Washington\nThe famous cherry tree legend worked into a child's play. It may be used for Valentine's Day as well as Washington's Birthday. Omitting the jingle of the Prologue, it may be used on:\n\nThe Butterfly: A nature play offering tableaux and dancing, suggesting springtime or Easter use. The story of the butterfly.\n\nLittle George Washington: The cherry tree legend adapted for a child's play, suitable for Valentine's Day and Washington's Birthday, without the Prologue's jingle.\nWhen Jack's Beanstalk Grows Again\n\nThis play continues the story of Jack, ten years after his beanstalk was cut down, with Jack now grown into a young man. It can be used by schools or clubs for fairy productions during any season. It requires a \"real stage\" for presentation, though a small platform with a curtain may suffice for the little play.\n\nThe Easter Bonnet\n\nThis can be used by a class for Easter entertainment, involving the entire school through some special contribution. Its appeal lies in the springtime \"new bonnet\" story.\n\nWe Believe in Fairies\n\nA pageant suitable for outdoor presentation by schools or camps. It can be used by the younger grades.\nAn end-of-the-year entertainment offering various classes of interpretative dancing, folk dancing, and gymnastic drill, as well as a place for every child to take a special, costumed part in its presentation.\n\nA patriotic children\u2019s pageant in which an entire school can participate. It can be used in camp or home as a celebration of any patriotic day \u2013 Flag Day, Fourth of July or Washington's Birthday. It tells the story of the flag and its meaning through dialogue. Its groups of characters offer opportunities for many to take part in its presentation.\n\nA patriotic children\u2019s play that can be used for school entertainment where some dialogue for younger children is needed at the end of the school year. It requires no large platform or stage.\n\nThe Mother Goose School\nThis little play may be used for school entertainment where some dialogue for younger children is needed at the end of the school year. It requires no large platform or stage.\nA simple setting: multiple children, an entire grade, can participate. Appeals to the child who enjoys \"playing a part\" about school. Suited to First-, Second-, Third- or Fourth-Graders.\n\nTHE GOBLINS\nA Hallowe\u2019en play for school or home use. Provides Hallowe\u2019en fun for children and teaches the lesson of real fun and happy frolic, rather than practical joking. Offers a chance for folk dances by goblins and children.\n\nTHE CHILDREN'S BOOKSHELF\nThis children's dialogue requires little action and can be used in a small hall. Suited to any season. Its special emphasis on good reading makes it particularly suitable for Book Week celebrations for schools, libraries, clubs, or homes.\n\nTHE NIGHT BEFORE CHRISTMAS\nA good Christmas entertainment for a child audience.\nThe Christmas Stocking\nThis is suitable for Sunday School presentations or schools where gifts may later be distributed through the audience by Santa Claus and the children.\n\nThe Christmas Stocking (for Sunday School or Schools)\nThis is adapted for Sunday School presentations or schools where gifts may later be distributed through the audience by Santa Claus and the children.\n\nIt emphasizes the Christmas spirit of giving rather than receiving, a lesson that children should be taught. This can be visualized in a little acted play, where the contrast is made between two children: one who is selfishly thinking only of his own gifts, and the other who is absorbed wholly in thoughts of others.\n\nThe Three Dwarf Brothers\nThis play requires only four actors. It may therefore easily be given by children who have the required ability and used for the benefit of some charity in which a children\u2019s class participates.\nA club or organization is specifically interested. Its staging is simple. It requires no large platform and little action. When a larger cast is desired, the Good Fairy may, at the close, call in Good Wishes, represented by many children bringing gifts. They may dance a New Year's Dance around Stingy, Selfish, and Generous.\n\nCharacteres:\nPapillon: Autumn, Spring, Winter, Summer\nMother Nature: A tall girl dressed in a dark green dress. Leaves are woven into a girdle at her waist and arranged in a flat design.\n\nStaging:\nPlace a dark green curtain at the back of the stage and, against this, arrange a screen of fir boughs to hide the green curtain, as tall as the height of a grown person. There should be a narrow exit through these branches at the rear, as well as exits at right and left. The setting represents an outdoor scene.\nThe crown sits atop her head. Her hair is worn high, in a coil. Spring, a younger girl, slim and small. She wears a loose white dress of gauzy stuff and over this a cape of light green. Small flowers are sewn on her dress and her hair is long and flowing, bound by a green ribbon on which are sewn small pink and blue buds of flowers. She carries a long garland of pink flowers for her dance.\n\nSpring, a young girl, slim and small. She wears a loose white gown of gauzy fabric and over this a cape of light green. Small flowers are sewn on her gown and her long hair is flowing, bound by a green ribbon with small pink and blue flower buds. She carries a long garland of pink flowers for her dance.\n\nSummer, a small boy, dressed in overalls. He wears a sun hat and sneakers. He pushes a wheelbarrow with garden tools. In the barrow is a strip of green cloth to be used as a soft, dark silk mantle, large enough to cover a child who is lying down.\n\nSummer, a small boy. He wears overalls, a sun hat, and sneakers. He pushes a wheelbarrow with garden tools. In the barrow is a large green cloth to cover a child lying down.\n\nAutumn, a girl in a long red dress with yellow leaves sewn upon it. She wears a wide brown cape. Her hair is braided and bound with a ribbon with yellow leaves sewn to it.\n\nAutumn, a girl in a long red dress with yellow leaves sewn on. She wears a wide brown cape. Her hair is braided and bound with a ribbon adorned with yellow leaves.\nA boy in a brown suit, brown stockings, and shoes wears a fur cap on his head and carries a white cape of soft, woolly texture. In his suit pocket is a bag of Christmas snow-sparkle.\n\nA small child named Butterfly, or Papillon, has short hair. Under one dress, which can be quickly removed, he wears another. The first dress is a gauzy yellow one with long winglike sleeves that can flutter. Over this dress are tightly wrapped several strips of soft brown stuff. This goes around each arm, each leg and foot, and the child's body. The strips may be pinned with safety pins and unwound quickly when the grub transforms into a butterfly.\n\nTime represents the change of the seasons.\n\nThe curtain rises to disclose Mother Nature.\nMother Nature bends over the Little Brown Grub at her feet. Papillon is in his brown winding dress. When he moves, he keeps his feet together, using short steps.\n\nMother Nature: Awake, Little Brown Grub! It's springtime. I awake! The red buds on the maple have burst into leaf! [She touches Papillon and rouses him from sleep.]\n\nPapillon [stirring]: What... What is it? [Stretching in a sleepy way.] What is it?\n\nMother Nature: Awake! You must be ready to do my bidding!\n\nPapillon [slowly waking and sitting up]: Yes! I am awake! [Rising.] I am ready!\n\nMother Nature: I have given you a wonderful gift with my waking touch: the power to grow and change, even as the flowers bloom and then ripen into fruit.\n\nPapillon [moving and looking about, in a wondering manner]: Oh! Oh! See! I can crawl! What fun!\nHe moves very slowly about, going around Mother Nature. How do I grow? Mother Nature. That is what you must learn. Papillon. What are the directions? Mother Nature. My bidding is that you go forth to meet the seasons. Papillon. Yes! Yes! I am ready. See, I move! [He continues to move about slowly, looking at the ground.] The Butterfly Mother Nature. Yes! That is it, Little Brown Grub! Papillon. I feel very brisk! [Looking at himself.] See my nice brown dress! Oh, I am happy, very happy. Mother Nature. I have awakened you with a purpose. You are to go abroad over the earth and find the very, very precious gifts that the seasons will give you, and you are to use their gifts to help you grow. Papillon. To help me grow? Mother Nature. The seasons will teach you\u2014and you must grow beautiful! Grow and grow beautiful!\nPapillon: But nothing is lovelier than I am now! Such a nice dress! And see how I can creep about!\n\nMother Nature: You are a good little grub, but you must learn. You will learn as you grow. I can't explain it now. You are too young. Ask the Seasons as they pass. When you have learned what you can from them, come to me again! You have but to call. Just now I have other creatures of spring to awaken and I must open the blossoms, too. I must see that Spring does her work as she should. She wants to do nothing but dance!\n\nExit Mother Nature, disappearing between the trees and shrubbery which she bends and touches as she passes.\n\nPapillon [bending down to the earth to feel it]: Oh, how good it feels! I wonder if this was something I was to learn about? I must speak to Spring about the gift and learn how to grow! (Calls.) Spring! Spring!\nSpring dances, swinging a garland of flowers. She performs a lovely little dance, posing with the garland around Papillon, who tries in vain to touch her.\n\nSpring: See! I am here! Catch me before I'm gone!\n\n(From \"18 ACTING PLAYS FOR BOYS AND GIRLS\")\n\nPapillon: Not yet! Wait a bit! Tell me \u2014 teach me \u2014 how shall I grow? What is the gift Mother Nature gave me? How can I grow \u2014 grow beautiful? (Looking at himself.) Am I not beautiful now?\n\nSpring: [dancing in wider and wider circles away from him] Look at the sky. See the sunlight! Doesn't it tell you something lovely? Learn about it, Little Brown Grub.\n\nPapillon: [looking from the earth up to the sky] Ah, I had not noticed the sky. Yes, the sky is beautiful and the sun golden; I feel its warmth. I must be growing.\n\nSpring [dancing in a wide circle that carries her off the stage]\nI can't stay longer. I must go. Exit Spring.\n\nEnter Summer, wheeling his barrow. He comes on from the right, with a fine air of hustle and activity.\n\nSummer: Hello! Hello!\n\nPapillon: Hello! You are \u2013 who are you?\n\nSummer: I\u2019m Summer! Don\u2019t you see my gardening things? I\u2019ve got a lot of work to do! [He takes a hoe and begins to hoe a row.] Look out! Don\u2019t get in my way!\n\nPapillon [moving slowly out of the way]: But there was something I had to ask you. I want to know how to grow. [He picks up a blossom Spring has let fall and begins to nibble at it.]\n\nSummer [working away]: Time goes so fast! I have so much to do! I have to help every bit of green to grow!\n\nPapillon [eagerly]: That\u2019s just it! I want to know how to grow. I want to learn.\n\nSummer [putting the hoe back in the barrow]: Here,\n\n(Summer hands a seed to Papillon)\n\nSummer: Here, take this seed and plant it in the ground. Water it daily and watch it grow.\nPapillon (taking the green mantle from Summer): What shall I do with this? Summer (hurriedly): You must find out for yourself. Work! I'm gone. (exits)\n\nPapillon (examining the green mantle): What shall I do with this? I shall work over it as Summer bid me. (sits down and begins weaving motions over the cloth)\n\nEnter Autumn (approaching from right, pinching Papillon's shoulder)\n\nAutumn: Didn't you work long enough?\nPapillon: I'm busy with this mantle, Autumn. You hurt me! Don't do that again, please!\n\nAutumn: Hurry, then, and finish your work.\n\nPapillon: Have I grown any?\n\nAutumn: A little! Hurry! Finish your work!\n\nPapillon: I think I'm larger than I was. But you didn't see me at first, so maybe you can't judge. Anyhow, I've learned about the earth and the sky, and I know how to work.\n\nAutumn: But you must finish your work, now that I've come!\n\nPapillon: I don't know what Mother Nature wanted me to find out. I don't know what it is yet.\n\nAutumn: Never mind! There's no time left!\n\nPapillon: [anxiously] But I must!\n\nPapillon: [laying down the work] How shall I finish my work?\nAutumn I change green leaves to red and gold. You must change too. You may turn into something very lovely. Here, take this. She gives him her brown mantle and wraps it around him, lying down to dream about it. A beautiful dream will come to you. It will show you what to do.\n\nPapillon (as he lies down sleepily), I see the sky and the sunlight -- the sky and the sunlight.\n\nAutumn. Close your eyes tight. Dream! Dream!\n\nPapillon (drowsily), I am very tired. I worked hard! (He sleeps,)\n\nAutumn passes from the stage, left.\n\nEnter Mother Nature from between the shrubs, where she left at Spring's coming.\n\nMother Nature. He has done well! (Looking at the Little Brown Grub.) He has done well! He has grown. He has worked.\n\nEnter Winter, right.\n\nWinter. Look out! Here\u2019s snow for you! Here are storms! (Throwing about the snow-glitter and puffing)\nI'll catch you! I'll nip you! He runs about the stage, touching the evergreens and shrubs and throwing the snow-glitter on them. Look out! Hello! I say. As he stumbles against the sleeping Little Grub covered with the brown mantle of Autumn.\n\nMother Nature ( Izarnz7i^/i/). Take care. Winter! Here is a chrysalis! See you do no harm to it!\n\nWinter. A chrysalis! I will cover it with my warm white blanket so that it will be safe from storms and cold. See! Very gently he lays his white mantle over the Little Brown Grub and then passes out, looking hack.\n\nMother Nature bending over the Grub. Dream! Dream! Dream of waking as the flowers! Dream of the sunlight of spring and of the blue of the sky.\n\nTo Winter. Go! Go! Go on your way.\n\nWinter. I go! I go! He passes from the stage, left.\nSpring returns, bearing tall potted plants. She runs back for more, her steps light and dancing. She arranges the plants to conceal Papillon from the audience. Once he is hidden, she carefully unpins her wrappings of brown and discards Autumn's cloak and Winter's mantle, unseen by the audience.\n\nSpring [returns with new and lovely plants]. Behold! Here I come, bringing new and more beautiful flowers! Lovelier! Lovelier! Behold! Here are more\u2014and more\u2014and more! They were never more lovely.\n\nMother Nature. Never more lovely\u2014yet always blooming anew! Always when you bring them, they seem more lovely than ever before.\n\nSpring. And more of them! [She puts plants down.]\n\nMother Nature [bends over the Little Brown Grub, back of the flower screen]. Listen! He stirs in his sleep! There is a chrysalis here. Spring!\nSpring bending over the flowers on the other side. He is still dreaming.\n\nMother Nature (to the Little Brown Grub). Awake! Awake, Little Brown Grub. You have grown! You have worked! You have grown! You are no longer a grub! You have indeed, become beautiful, as beautiful as the flowers and the sunlight! You have found my most precious gift!\n\nPapillon (rising quickly and flinging wide his arms so that the golden winglike sleeves float wide). I have found the gift! The gift! See, Mother Nature, wings, wings, wings! Waving his wings and dancing around the flowers with Spring. I no longer crawl about upon the earth! I have found your gift of new life! New life! See! Wings! Wings! Wings! Wings. (He dances a beautiful butterfly dance with Nature and Spring.)\n\nCURTAIN\n\nLittle George Washington\u2019s\nValentine\n\nCharacters:\n\nSpring\nMother Nature\nLittle Brown Grub (Papillon)\nLittle George Washington, his mother, his father, three little boys (playmates of Little George), Little Martha (a playmate), and George Washington himself are dressed in Colonial models. The children are dressed like their elders. Older boys or girls take the parents' parts in the play.\n\nScene: A garden. The stage is arranged to represent an enclosed garden. To right and left are shrubs, a wheelbarrow, and some potted plants.\n\nTime: When George Washington was small.\n\nThe play opens with the Prologue recited by the Page, who enters from right and stands in front of the Curtain.\n\nPage (recites Prologue):\nIt's February now, you know,\nAnd Winter's here, with ice and snow.\nTo celebrate its holiday,\nWe're giving you this little play!\nPage bows. Exit.\nThe curtain rises to show: Little George playing with a hoop, tossing it up high and catching it. To the left is his Father near the wheelbarrow, taking plants from it. He has a trowel in his hand. To the right is a row of straight tree limbs arranged to stand like little trees. These may be tree twigs on which are fastened green paper leaves that are pointed like the leaves of the cherry tree.\n\nLittle George (coming over toward his Father): What are you busy about now, father?\n\nFather: I have these to plant, Little George. Do not hinder me.\n\nLittle George (lingering): Will they bloom soon, father?\n\nFather (taking plants toward front): If you are a good boy and do your share of caring for them, no doubt.\n\nLittle George: May I help you carry them?\n\nFather: Yes, not now. When I have finished, you shall.\nGet your watering pot and sprinkle for me, Little George. Now?\nFather. I would not have you at my heels, little son. Run and play.\nLittle George [fingering the plants in the harrow]. Aye! I go. [Starting to play with the ball again, stopping and coming back to his Father's side.] Father!\nFather [on his knees with the trowel in one hand and a plant in the other]. Have you not been taught to obey?\nLittle George [going away and looking back at his Father], Aye, father. Yet I am no longer little. Soon I shall have another birthday.\nFather [smiling up at him and putting down the plant]. Even so, George. Thou art going to grow up a good boy, art thou not? No longer little! [Laughs.] I had forgotten thou wast so big!\nLittle George [playing with the ball]. 'Tis nearing St. Valentine\u2019s Day, and my birthday is not far off!\nFather: Aye! (absently)\nLittle George: (ball is tossed over toward the cherry trees and drops by them) Oh! Oh! (runs over to the cherry trees to find ball in the shrubbery back of them)\nFather: What are you doing there? Take care! These are my young cherry trees, George!\nLittle George: My ball! (going among the bushes and coming out with the ball) See!\nFather: Have I not told you that you should not go near these? They are growing well. With one thoughtless moment of play, you might injure them. They are young, easily broken. (looks over the cherry trees) They grow apace. Be more careful, Little George, in your ball play!\nLittle George: Aye, father! I will.\nLittle George: May I play with this? (Goes over to the wheelbarrow and looks at the plants, taking a hatchet from the harrow.)\nFather: Nay, that's mine. It's sharp!\nLittle George: Nevertheless, I could take care. I just want it to play at an Indian game.\nFather: Nay, nay! Put it down.\nLittle George: Might I not have one like it for my birthday?\nFather: If thou wilt be a good lad, there is a little one that I will give thee. Only thou must be careful.\nLittle George: Truly, I will be careful! (Hopping about his Father.) May I have it now? Do let me have it now!\nFather (laughing): Canst thou not wait for thy birthday?\nLittle George: Oh, my birthday is so far off! 'Tis not yet St. Valentine's Day, father!\nMother: Father, aren't you coming with me?\nFather: I come! I come, yet the work here is not done. Look, see how well my cherry trees grow, dear.\nMother: They have grown well, indeed!\nFather: Fine.\nLittle George: Father, may I have the little hatchet?\nFather: You will find it on the shelf in the woodhouse. Remember, it's a birthday gift, even if you get it before the day.\nLittle George exits, left, running.\nMother: What was it, father? What did George want?\nFather: The little hatchet we bought for the lad. Do you not remember?\nMother: It was a birthday gift and it's not yet the day.\nFather [laughingly]: Let the lad have his fun. We.\nLittle George: I'll find another birthday toy later. Mother, I trust he will be careful with the hatchet. He is but small yet.\n\nFather: Nay, not too small. He should know how to use a hatchet. 'Tis a useful thing as a toy. He grows fast and is a large lad for his age.\n\nLittle George re-enters, carrying a small hatchet.\n\nLittle George: [Running to his Mother] See! Mother, see! Is this not fine! It will cut as well as the larger one of father\u2019s! I have tried it in the woodhouse!\n\nTo Father: May I chop wood with it here?\n\nFather: Touch nothing that thou mightest injure, lad!\n\nMother: Do no harm, George! Hurt thyself in no way! Do not cut thy fingers! Remember, thou art a big lad!\n\nLittle George goes toward the left, feeling the hatchet blade.\n\nLittle George: I will show it to the boys. I have them here to play while you are away?\nMother: Go get little Martha. She is a good child. She is gentle in her play. Thy boy friends are too rough, George.\n\nFather: Nay! I will not have those boys playing about among my shrubs and plants. They would likely injure them.\n\nLittle George: I like little Martha, yet I know she would not play with the hatchet with me. A maid ever wants to play simple games.\n\nMother (_going right_): As we pass by her home, I will ask that she come to play with thee. Be a good lad while we are away.\n\nFather: Do no mischief. [Going away with Mother.]\n\nMother and Father go off.\n\nLittle George (aloud to himself): 'Tis a fine hatchet! I will take it in the wood and cut down trees. Aye, I know how to fell timber! I can do it! 'Tis a fine, sharp hatchet \u2014 a fine hatchet! [He goes toward the wheelbarrow and takes from it a garden stick, which]\nHe places the hatchet on the ground and hacks at it. It breaks.\nOh, good! It works right well! Now, I'll try something else. I look around. What can I cut? I see cherry trees. Yes, I could cut those. I could, if I would.\nEnter from the right, the little playmate, Martha, an old-fashioned little girl.\nLittle Martha. My mother let me come to play with you.\nLittle George. Thy birthday is yet a long way off!\nLittle Martha. Aye! Yet was this given me for your birthday.\nLittle Martha. St. Valentine's is tomorrow.\nLittle George. So? Yes, I remember. With this hatchet, I will cut down a big tree and make thee a doll cradle from its timber. Wouldst like a cradle for thy doll?\nLittle Martha. Have a care! Don't cut yourself!\nLittle George [hacking at the harrow]. See how sharp it is!\nLittle Martha. Have a care! Your father wouldn't like that! Come, let us play!\nLittle George. I would rather try my hatchet. See!\nEnter Three Small Boys in Colonial dress.\nFirst Boy: Georgie!\nSecond Boy: Come, play with us!\nThird Boy [seeing hatchet]. What have you? Let's see!\nThe Boys cluster about Little George.\nLittle George: My father gave it to me. -\nFirst Boy: Let me try it!\nAll Boys: Let me!\nFirst Boy [taking the hatchet]: I could cut down a tree!\nSecond Boy: And I!\nThird Boy: And I!\nLittle George: There are none in our garden here, only little trees.\nBoys: These!\nLittle George: Nay, you must not touch them!\nBoys: Oh, the little cherry trees! One of them is quite tall!\nLittle George. Give me my hatchet! I fear my father's anger if you but touch any tree! Nay, nay! (He takes the hatchet from the Boy,)\n\nGeorge Washington's Valentine\n\nFirst Boy. Coward!\nSecond Boy. Afraid to cut a little tree down.\nThird Boy. Georgie is a 'fraid cat!\nFirst Boy. I dare you!\nSecond Boy. Gut it out and you are no coward!\nThird Boy. Aye! Cut down the tallest of the trees! Let's see you do it!\nThey look at him tauntingly.\n\nLittle Martha. Nay, do not, Georgie!\nLittle George. I am no coward! (To Little Martha.)\nLet go my sleeve! (To the Boys.) I am no coward!\nI will show you! (He gives the tree a blow and it falls over.)\n\nLittle Martha. Oh, oh, Georgie! Alas!\nBoys (laughing at him). Now you'll get it! (Exit The Three Boys, calling in turn, \u201cThy father told thee not to!\u201d)\n\nLittle George. Alas! (Crying.)\nLittle Martha (putting her arm about him). It was thy father\u2019s tree!\nLittle George. It will never grow again.\nLittle Martha. Do not grieve. I will give thee my valentine! (Takes valentine from her pocket and gives it.)\nLittle George. I cannot help but think of that little tree! What will my father say?\nEnter George\u2019s Father and Mother from right.\nMother (coming forward). A valentine for thee, my little son! See, I have brought thee one to give to thy little friend. Hast thou been a good boy?\nLittle George (looking at his Father and hanging his head). Father! Father!\nFather. What is it? What is it, son? (Seeing the fallen tree.) Didst thou do that? My little tree! Alas, my fine little tree!\nLittle George. Father! Father! (Crying), I cannot tell a lie. I did it with my little hatchet.\nFather: My son, you are no coward! You told the truth; you couldn't tell a lie! I forgive you! [He puts his arms around Little George.]\nMother: My brave lad!\nLittle Martha: Only cowards lie!\nLittle George: I shall never play with that hatchet again!\nFather: Perhaps that will be your punishment, son!\nLittle George: Alas, your little tree!\nMother: But you will never do the like again!\nLittle George: Never!\nMother: Then run and play with your little friend. Give her the valentine I gave you!\nLittle George [to Little Martha]: Aye! [Taking the valentine to her.] It's for you because I love you: I cannot tell you a lie\u2014I love you!\n[Hand in hand they dance a minuet before the curtain is drawn.]\n\ncurtain\n\nCHARACTERS\nJack-of-the-Beanstalk (now a goodly youth)\nJack\u2019s Mother, a well-to-do woman\nJack's servant Tim, a slow-witted hoy, enters the living room in Jack's mother's fine house. There are two curtained windows at the rear of the stage, between which stands a high, closed cupboard. There are easy chairs and a table. To the right is a door leading into the house, while to the left is a door that goes out into the garden.\n\nAs the curtain rises, it reveals Jack, his head in his arms on the table, sitting close to it. Tim enters with a basket of fruit and vegetables. Upon seeing Jack, Tim does not lift his head, and Jack remains motionless.\nTim: Master!\nJack: [listlessly] Yes.\nTim: Oh, Master, are you grieving again?\nJack: I was thinking. I cannot help thinking about it, Tim. Why did I ever cut down my beanstalk? I don't see why I ever did a thing so foolish!\nTim: But, Master, you were forced to do it. The Giant was after you; you had tried to steal his harp, you know!\nJack: Yes, and I had stolen other things besides. Yet there I had the hatchet. Could I not have spared the beanstalk and yet killed the Giant when he climbed down? I could! But there is no adventuring up there anymore. It is a dull life to live in plenty. I would rather be poor and go adventuring!\nTim: Don't be sad because of wealth! If I had wealth, I wouldn't be like you. Jack [sighing]: I wish I could find more magic beans. Tim: A price for a cow! You have three cows in your fine dairy. A sale is a sale. There might be other magic beans if you sold another cow eagerly. Let me try. Master! I will take the red cow. Jack: Aye, the red cow. Sell her for a hatful of beans. See what comes of it! Oh, Tim, I wish I could do it! But you know my mother. Tim: I will seek the magic beans [exits at garden door]. Jack [looking longingly]: Enter Jack's Mother from house door at right. Jack's Mother: No, Jack, you promised not to go abroad! Why always wishing to go adventuring?\nJack: I was only looking out of the door. Mother!\nJack's Mother: That's right. But come, the little serving maid has gone to market. Help me put away the things Tim has brought in this basket.\n\nWhen the beanstalk grew again (33)\nJack [goes over to the basket and begins to put the vegetables on cupboard shelves]. Beans! Beans! [He seizes a handful and holds them ecstatically]. Beans, Oh! These might be magic!\nJack's Mother [in a matter-of-fact voice]: Not at all, my son! They were picked in our own kitchen garden! We will have them for supper!\nJack: I must try planting them! No knowing! They might have been seeds on my beanstalk. Who knows?\nJack's Mother: Jack! I have asked you never to mention the unhappy beanstalk again.\nJack: Yes \u2014 yes! You are afraid that I'll go adventuring to the strange land again and meet with misadventure.\nJack's Mother: \"Alas, and so I stay, wasting my youth in this house. Did not my adventuring give us this home and our wealth? Jack, my lad! Now, were you indeed to have a beanstalk again, what would you gain by it? Why quest up it again? What would there be?\n\nJack: [sitting down to the table again, head in hands] I don't know. Everything!\n\nJack's Mother: \"Then don't talk any more about it! [She puts dishes on a tray and carries them away.]\n\nEnter Tim, through garden door, dancing, waving his cap.\n\nTim: Master! The butcher bought the red cow for three beans! Here they are!\n\nJack: [jumping up] Let me have them! Are they colored? My beanstalk beans were of varied colors!\n\nTim: [disappointed] Why didn't you tell me to sell only for colored beans? I will sell the black cow. Let me try! I will try again!\"\nJack puts his hand into his pocket and takes out the beans. He might be right. I will try them. (Starts toward garden door)\n\nEnter Jack's Mother from the right.\n\nJack's Mother: Garry the basket into the kitchen for me, son. There!\n\nJack (obediently): Yes, Mother! (Goes out, right, followed by Mother)\n\nEnter from garden Little Maid.\n\nLittle Maid: The silly boy! I saw him sell our good red cow for three everyday beans! I must tell my mistress as soon as she comes. And now, again, I have met him with the black cow! I suppose he will be striking a bargain for her. (Runs toward right and into Jack.) Oh dear! Oh dear!\n\nExcuse me. Sir! I was just going to tell my mistress what Tim has been doing!\n\nJack: But I told him he might! Are they not my cows?\n\nLittle Maid: Yes, Sir! Excuse me, Sir!\nJack (meaningfully). The less said, the better! Little Maid (hastening out of the door). Yes, Sir! Exit Little Maid. Jack (takes beans from pocket again and looks at them). These look like my Beanstalk Beans! They might be! Enter Tim, running. He holds up an empty cap and waves it at Jack. Tim. Master! Master! The butcher said I was a fool to sell the black cow and he wouldn't strike a bargain, so I tried the market man. While I was seeking him, I ran upon a Little Brown Man! Jack. A Little Brown Man! When the Beanstalk Grew Again 35 Tim. Here he is! Here he is, Master! Enter Little Brown Man from door, left, while Tim pushes Jack toward him, eagerly. Little Brown Man. I must have both white cow and black cow too, now! And hold the cap for the beans! Jack. Are they magic beans? Tim. Take them, Master! Try them!\nJack: Are they magic beans? Is it a fair bargain?\nLittle Brown Man: No! No! It is not a fair bargain. I should ask for more. I ask that when your beanstalk comes, you take me there with you \u2014 you let me go up it first!\nJack [excitedly]: No! No! I will do nothing of the sort!\nTim: Nothing of the sort!\nLittle Brown Man: Then you will not find the Princess! It was the Princess of the Beanstalk you were seeking, was it not?\nJack [with interest]: Is there a Princess indeed up there? I never met her, it was only the Fairy I knew.\nLittle Brown Man [sadly]: Then you will not make the bargain and get the Princess. She was enchanted long ago. You might have the adventure of delivering her!\nJack [thinking]: Well, well! A bargain is a bargain. Give me your capful of beans, my man, and you shall go first up the new beanstalk, if you will!\nLittle Brown Man. And we shake hands upon it and seal the bargain! Tim [standing by]. I for witness! .Tack [giving Tim the hatful of beans]. Plant them! We will watch you from the window. The Little Brown Man will wait. Yes, these must be the right magic beans! They look as mine did long ago! [Takes the basket of beans from his pocket and puts them in the cupboard.] No need for everyday good-for-nothing garden beans now! I know the difference! Wait!\n\nLittle Brown Man. Tim has planted them. Watch! Jack [leaning out of the window]. Oh, oh! Do you not see a green shoot coming from the ground?\n\nLittle Brown Man. Yes, yes! [Leans out of the window so that his back shows only his long brown cape.] Jack. Tim! Tim! See!\n\nLittle Brown Man [getting down from the chair]\nJack. I go up the beanstalk first, according to the bargain.\n2 (dancing about joyously). Oh, Oh! But I promised my mother! Alas!\nEnter Jack's Mother and Little Maid.\nJack's Mother. Now, now! And what is this! (looking out at window, astonished) Another beanstalk!\nJack! Jack!\nJack. Oh, Mother, let me go! Let me go!\nJack's Mother. Then I go too.\nJack. The Little Brown Man goes first. It was our bargain!\nLittle Brown Man (eagerly). Yes, yes! I go first! I go first! (dancing about)\nJack. Go then! I wait here!\nLittle Brown Man (catches Jack's hand and his cape falls from him to reveal a beautiful Princess). You have broken the enchantment, Jack. I was only a Little Brown Man till you came \u2013 till someone should plant a new beanstalk with my magic beans and free me.\nJack: Break the spell by letting me go up it ahead of him! [She laughs.] Jack: Oh, my Princess! Now we will go adventuring together to the Beanstalk Land!\n\nWhen the beanstalk grew again, 37 feet,\nJack's Mother [laughing]: And since you don't go alone, Jack, and have such a good companion, I will stay here to wait your home-coming!\n\nLittle Maid: And I will marry Tim. We will be married before we go. I will go with Tim, too!\nTim [entering]: A fine beanstalk, Master! Better than the first. And no ugly giant to come down it!\n\n[Beanstalk Fairy enters from garden door, holding out her wand.]\n\nBeanstalk Fairy: I was waiting to come down! I waited a long time for Jack to find new beans. But at last! And now, if you will all but mount the magic beanstalk, there is a wedding feast waiting, and a palace and happiness and adventure, for you all!\nJack takes the hand of his Princess. She takes Jack's mother's hands, and the Little Maid joins hers to that of her Mistress on one side. Tim takes her arm on the other, and the Beanstalk Fairy waves her wand. There is music to which they dance, leading the way as the curtain falls, they dance out of the door toward the garden singing.\n\nAll around, the magic beanstalk grows in our garden now. The magic beanstalk has come back, somehow! Up, up the beanstalk, all of us will go, And live forever happy In the land that's there, you know!\n\nCharacters:\n- Tomty\n- Toodles J\n- Little boys\n- Nicky's Mother\n- Nicky's Aunt\n- Nicky\n- Bobbet\n- I Little girls\n- Older girls\n\nScene: The action takes place in a backyard where there is a strip of fence and a wheelbarrow, a pile of sand, and some potted plants.\nTomty, in overalls, trowel in hand, whistles a tune as he arranges potted plants in a row.\n\nEnter left, Nicky. She stands, handkerchief to nose, dejectedly looking at Tomty. He goes on with his work but finally stops and looks around at her.\n\nTomty: Hello!\nNicky: [without spirit]: Hello!\nTomty: [happily]: See what my garden's going to be!\nNicky: Not much! [Crossly]\nTomty: Not much of a garden?\nNicky: No.\nTomty: [going over to where Nicky stands]: Say, what's the matter with you?\nNicky: [crossly]: Nothing!\nTomty: What're you holding that handkerchief for? Got a toothache?\nNicky: [kicking the dirt with her toe]: No. No! It isn't a toothache!\nTomty: What is it?\nNicky: A bonnet!\nTomty: A bonnet?\nNicky: Yes, it's a bonnet\u2014a bonnet that's got strings.\n\n[THE EASTER BONNET (play continues)]\nTomty: Hanging on it are strings. Only old ladies and little babies wear strings! Auntie gave it to me, and Mother says I have to wear it for best all spring!\n\nTomty: A fine new bonnet! Why, girls like to have them, don't they? Don't you, Nicky?\n\nNicky: No. Not with strings!\n\nTomty: Strings?\n\nNicky: I mean ribbons.\n\nTomty: I should think it would be pretty with ribbons! Let's see it.\n\nNicky: It's upstairs. I'm afraid I can't get it without being seen.\n\nTomty: Oh, go along. I want to see it. Maybe it is pretty and you don't know enough to know it!\n\nNicky [hesitating]: Well, I'll get it. I suppose I can get it.\n\nExit Nicky [left],\n\nTomty [returning to his plants], Boys can't wear Easter hats \u2013 just girls and ladies. Funny she doesn't like it!\n\n[He whistles,]\n\nEnter right in Toodles, running,\n\nToodles: Oh, I say! Have you gotten your garden started?\nTomty. Would you put this plant here or here? [He holds the plant toward Toodles.]\nToodles. There - that\u2019s best. That\u2019s fine!\nReenter Nicky, left. She carries a big paper bag such as hats come in,\nNicky. Tomty! I\u2019ve got it!\nToodles. Got what?\n40 Acting Plays for Boys and Girls\nTomty. Her Easter hat she\u2019s going to show me. Let's see it! Come in here.\nNicky. Here! [Contemptuously.] Look at it! [She opens the bag.]\nTomty and Toodles [peeping inside]. Oh! Oh!\nNicky. Isn\u2019t it dreadful!\nTomty. Why - why - I like it! It\u2019s pretty!\nToodles. It\u2019s great! Awfully stylish!\nNicky [stamping her foot]. That\u2019s all boys know about it! It is horrid! Whoever heard of wearing a bonnet with strings? They tie under your chin like an old lady\u2019s!\nTomty [taking up trowel and going to the sandpile]. Well, I like it. [To Toodles.] We\u2019ll have to cart this.\nToodles. Put on the hat with the ribbon ties. Let's see it on you, Nicky. No! I'll never wear it. It's your Easter bonnet! And it's a nice one, too. Nicky began to cry. I wish I didn't have to wear it. Toodles. If you don't want to wear it, I have an idea. Nicky. What? Bury it? How? In the sandpile? Then I won't have to wear it. Tomty will do it for you. Nicky all right. Looking about, they won't find it. Tomty covering the bonnet. Nobody will know it's here. See. Nicky standing before the sandpile. Weren't you going to cart the sand away? We won't do that now. The bonnet is all buried deep, it'll stay.\nBobbet, a fashionably dressed little girl, enters, wearing a bonnet similar to Nicky's discarded one and carrying a doll in her arms.\n\nBobbet: Oh, Nicky, I've come to play with you. See my beautiful new Easter hat that Mother bought in the city! She let me wear it to show you! Isn't it lovely? [She poses before Nicky, wagging her head in attitudes.]\n\nNicky [astonished]: Why \u2014 why \u2014 why!\n\nBobbet: What's the matter?\n\nTomty and Toodles [looking at Nicky]: Shall we tell?\n\nNicky [to Bobbet]: You really think it's stylish?\n\nTomty and Toodles: Let's tell her!\n\nNicky: You think it's not the sort old ladies wear? It ties under one's chin. Is it really nice?\n\nBobbet: Nice! Of course it's nice! Would I wear an Easter bonnet that wasn't nice? Don't you like it, Nicky?\n\nNicky [gazing hard at it]: Why \u2014 why \u2014 why \u2014\n\nTomty and Toodles: Let's tell her!\n\nNicky: Well \u2014\nToodles. It's exactly like one Nicky's Aunt gave her, and she wouldn't wear it.\nTomty. And we buried it for her so she wouldn't have to wear it!\nBobbet [horror-stricken]. You buried a beautiful hat just like this! Oh, Nicky! Where is it?\nNicky [pointing to the pile]. There!\nTomty [digging]. I'll get it back.\nToodles. There! There it is! See!\nTomty [unearthing the bonnet]. I call it lovely!\nToodles. So do I!\nBobbet. It isn't hurt, is it? I'll put it on Nicky's head!\n(She puts on the bonnet and ties the strings.) So becoming! So stylish!\nNicky. Funny!\nBobbet. What's funny?\nNicky. Why, I've changed. I like the Easter hat! I guess it's because you've got one just like it.\nMaybe it is the style!\nBobbet. Of course it is!\nVoices, left, calling, \"Nicky! Nicky!\"\nEnter Mother and Auntie.\nMother: \"Auntie, showing your new Easter hat? It's lovely, isn't it, children? Just like Bobbet's! How odd! Nicky: \"Well, I didn't like it at first \u2014 but I do now!\"\" Bobbet: \"You do now!\" Nicky: \"Um-hum! [Contentedly]\" Mother: \"Isn't there a speck of dirt on the bonnet?\" [Exit Mother and Auntie, followed by Bobbet and Nicky] Tomty: \"Here! The plants go this way!\" We Believe in Fairies An Outdoor Pageant Time: Nowadays Scene: A Fairy Ring Characters and Costumes Fairy Queen: Gauzy dress, scepter, crown, wings Dryad and Naiad: Nature sprites in green Scandinavian Elves: Spirits of mirth and good nature Fees and Lutins: Spirits of loveliness and beauty.\nThe Fairy Folk. The Dwarf, The Troll, The Wee Man, expressing friendship, helpfulness, kindness. The Fairy Godmother, a dear old lady like Mother Goose, with cape and staff, who takes an affectionate interest in children\u2019s welfare.\n\nTwo modern children, Billy and Betty, are present. Other groups of fairies are seated about the Fairy Ring as the action begins. The scene should be centered against a background of foliage.\n\nMusic: Phonograph records of \"Midsummer Night's Dream\" and special music for the dances.\n\nThe pageant starts with soft music. The Fairies gather for a convention. The Fairy Godmother, heading the Reception Committee, greets them softly in pantomime. From the shrubbery come the voices of a Boy and a Girl, high and clear.\n\nGirl: Why shouldn't there be fairies?\nBoy: Because they aren't real!\nGirl: But I like to think they are real! Sometimes I almost think I see them, in lovely places in woods or by streams. The Greeks used to think the woods and fields were full of nymphs and naiads. They lived in the trees and by brooks. Don't you think the woods seem to be full of them?\n\nBoy: That was a myth. We had those Greek stories in school.\n\nGirl: And the Northern fairies, you know. What do they call them? \u2014 elves and goblins. They lived in rocky places in mountains! When I see lovely wild mountain places, I almost think I see elves!\n\nBoy: Me too; but it\u2019s just folk lore!\n\nGirl: Then there are the French fairies \u2014 fees and lutins. The stories about them are beautiful. I like beautiful things. Don't you want to believe in fairies?\n\nBoy: Yes. I like the dwarfs, the trolls, the wee folk.\nGirl suddenly appears before Fairy Ring. \"Oh! Look! I told you! Shh! Be careful! Don't frighten them! Don't frighten them away by not believing! [She draws Billy closer.] Boy. No! Let's see them!\n\nFairy Godmother catches sight of the two and advances. \"Oh, Billy! Why, Betty! Won't you come to our convention? It's just starting. The Fairies from Everywhere have gathered to show that they are real! We have met to show what we stand for. Do come! You believe in fairies, don't you!\n\nBoy. Why \u2014 Why \u2014 I always thought fairies were myth and folklore.\n\nFairy Godmother. But they are more, they are real. You see what they stand for every day. Come! You will see. Sit here. [She seats them,]\n\nQueen rises. We are met here today to show what we stand for.\nFairies stand for many things that are truly representative. They represent nature lore and express the charm of woodland, brook, and pool. I'll call a wood nymph first to demonstrate. [Beckons to a Nymph.]\n\nWe believe in fairies.\n\nNymph [steps forward with branches of trees in her hands and dances a lovely interpretative dance].\n\nQueen. Is this not the real spirit of the woods? [She looks to the Boy and Girl, who nod. The rest agree.] Now, I will call Naiad, spirit of streams and pools. [Beckons with wand.]\n\nNaiad [steps forward with lovely, measured dance steps that suggest the laughter of brooks. Her drapery is long and flowing, soft, silvery. She dances. She tires].\n\nQueen. Now, Elves!\n\nElves [romp forward in gay, tumbling mood]. Here we come! Look at our fun! Eh! Look at this! And [unintelligible]\nThey turn somersaults. They play leapfrog. They cut capers and execute a merry folk dance. Wasn't that good? Did you like that? That's what we stand for \u2014 Fun! Elves! Exeunt.\n\nQueen calls after them. Very good, Elves! [Waves wand toward the Fees and Lutins.] Now! Fees! Show us your loveliness and the joy of beauty! Fees and Lutins coming forward. We are the symbols of Truth and Beauty. We are Happiness! We are Joy! We live in flowers! We work magic beauty! [They dance an interpretative dance with golden balloons and rose-colored flowers. They retire.]\n\nQueen. Thank you, Fees! You might dance all night in my Fairy Ring! But we must have the next! Wee Folk, come here!\n\nWee Folk. Here we come, bringing gifts! [With armfuls of bags of gold, boxes labeled \"Treasure,\" Purses of Gold, Magic Boots, and other magic gifts, they come]\nForward to slow music. Place gifts before the Queen solemnly. Execute a slow-measured folk dance and retire.\n\nQueen. So we have seen some of the things that Fairies stand for in the world. I put it to the children: Are Fairies true? Is nature lore true? Is Mirth and good nature real? Is Truth, is Beauty a living thing? Are Kindness, Helpfulness, Generosity true?\n\nFairy Godmother. Why, of course it is all true!\n\nBoy. Why, of course!\n\nGirl. Of course. Fairies are true!\n\nAll Fairies, Children, Queen, Fairy Godmother [together].\n\nFairies are real;\nNature lore is true;\nFairies are Fun;\nFairies are Loveliness personified;\nFairies are Kindness and Friendship in disguise!\nFairies and what they stand for \u2014 they are real!\n\nAll join hands in a lovely fairy dance with suitable music.\n\nCurtain\n\nThe Making of a Flag.\nA Patriotic Dialogue\n\nScene: A small garden.\nTime: Summer time in the year 1776.\n\nCharacters and Costumes:\nBetsy Ross - Colonial dress with full gathered skirt, fitted bodice, kerchief. Her hair is done up and powdered.\nThe Little Maid - Colonial dress.\nThe Little Lad - Straight trousers, short jacket, frilled blouse (Colonial period).\nColumbus, Indians, Puritans, Boys and Girls (Puritan).\nBritish Red Coats, Civil War Group (Blue and Gray), Colored Children, Spanish War Soldiers, Boy Scouts, Boys (in modern soldier dress).\nThe other characters of the pantomime should be dressed in characteristic costumes which may be simplified copies of historic pictures.\n\nLiberty and Justice - Costumes suggested by pictures. Liberty bears a torch, and Justice a pair of scales.\nThe Curtain is drawn, revealing Betsy seated on the bench, sewing. A red, white and blue bunting lies near her on the garden table. A large workbasket is filled with spools, scissors, and other sewing necessities. A little boy, named Lad, is seated near a hush (a low wall), with pebbles arranged in a square before him.\n\nLad: \"See! There is the fortress! It's not a very good one. I could make a better one, if I had wood and tools.\" [Pushing aside the stones.] \"Play with me, Friend Betsy!\" [He rises and goes over to the bench, sits down at her feet, and looks up at her as she continues sewing.]\n\nBetsy Ross: \"Nay, Little Lad, I cannot stop to play. If thou art good, thou canst stay here in my garden with me; I like to have thee.\"\n\nLad: \"Aye, I know. Thou art all alone, too.\"\nBetsy Ross: \"It's a pity that your husband passed away and left you. What was his trade?\nBetsy Ross: He did upholstery work. War-time halted such work.\nLittle Lad: Are you poor then, Betsy?\nBetsy Ross: I do a lot of needlework, as you see.\nLittle Lad: You're always busy with your needle! Making another flag now? Tell me about it.\nBetsy Ross: It's another flag like the one General Washington asked me to make.\nLittle Lad: Oh, tell me about him! I wish I had seen him.\nBetsy Ross: He came with George Ross, my husband's uncle. It was some months ago that I made a flag for them like this one. General Washington, my uncle, and Robert Morris came to see if I would make them a flag as they desired.\nLittle Lad: [eagerly interrupting] Think of making another one!\"\nFlag for General Washington! I wish I could do needlework like you. Yet lads don't do needlework, one\nThou art well known for thy fine sewing, aren't you, Betsy?\nBetsy Ross nodding, I was telling you. Dost thou care to hear the story? I thought I had told it to thee already.\nLittle Lad. Nay! I have not heard it from thee. My mother told me when we moved here to Philadelphia, thou madest a flag for the colonies. Tell me the story. [He bends toward her and looks up at her earnestly,]\nBetsy Ross [looking for scissors] Where have I laid my scissors? Are they in my basket?\n\nThe Making of a Flag\nLittle Lad [rises to bring her the basket, then stands beside her]. So many bobbins as thou hast [Spilling the contents of the workbasket]. Alas, what have I done! Here are thy scissors, Mistress Ross!\nBetsy Ross handing them and picking up the other things to put back into the basket. Betsy Ross snipping with scissors. \"Have a care! Loose not my bobbins!\" Little Lad. \"I have them all. Art thou not going to tell me the story?\"\n\nEnter from right Little Maid. She comes shyly in and drops a curtsy.\n\nLittle Maid: \"I give thee greeting. Mistress Ross! May I come to visit thee, too? I have brought with me my stint, the sampler which I am working. I thought thou wouldst help me with the new stitch, mayhap. Would that I could sew as well as thou. What is it that thou hast in thy hands? Another flag?\"\n\nBetsy Ross: \"Another flag.\"\n\nLittle Maid: \"Canst thou show it to me? Is it like the one that General Washington asked thee to make?\"\n\nBetsy Ross: \"The very same. [Holding up the work.] See, there are thirteen red and white stripes and a...\"\nLittle Lad: What does this mean, a blue field with thirteen stars?\nLittle Maid: Betsy Ross, does it have a meaning? [As she points to the flag with her fingers] Aye, thirteen stars! Why thirteen?\nBetsy Ross: Thirteen colonies. When General Washington first used a flag in Cambridge, it had the British ensign in place of these stars.\nLittle Lad: And now that we fight the British, we have done with their emblem. So have we the thirteen stars.\nLittle Lad: I wish I could fight like my father under General Washington!\nLittle Maid: [sighing] And I!\nBetsy Ross: [sewing] The stripes mean more than that, though indeed that is part of it.\nLittle Lad: The thirteen colonies.\nBetsy Ross: Yes, more than that.\nLittle Maid [sitting down on one side of the bench beside Betsy]. Red means courage. My mother told me so. It is the color of the heart's blood. Little Lad [fingering the white stripe that falls from the lap of Betsy Ross]. The white for purity and truth? Betsy Ross. Even so: the emblems of honor. Little Lad. Gladly would I give my heart's blood and mine honor to fight under General Washington for freedom! Would that I might fight under thy flag! [Remembering]. Thou wast going to tell me its story. Settling himself beside the table, where he places the work basket again. Betsy Ross [pretending to think and tapping her thimble on her forehead]. Let me see. Little Maid. Wouldst thou let me sew on thy flag? Just one stitch or two! I am so small, [laughing].\nI had sewn upon a flag. Will they use your flag when they fight, Betsy? Perhaps! Little Maid. Then I might think that I had done a small thing to help.\n\nBetsy Ross: Some day I will help you make yourself a flag when you have learned to master all your stitches.\n\nThe Making of a Flag\n\nChildren: But tell us the story! We will no longer interrupt you!\n\nBetsy Ross [sewing]. It was one day in the spring this year that I was busy in my husband's upholstery shop. There came a knock at my door and entered Uncle George Ross, who was my husband's uncle, and General Washington himself, and Robert Morris.\n\nLittle Lad [interrupting]: What manner of man was General Washington?\n\nBetsy Ross [reprovingly]: A fine-looking man, even as you will be, when you grow tall and do not interrupt.\nBetsy Ross: I ask your pardon, Little Lad.\n\nLittle Maid: The story, Mistress Ross! Let him not stop you again!\n\nBetsy Ross: They brought with them a sketch of such a flag as they desired. Wait, let me see. If you, Little Maid, will go into the house, you will find a sketch in the oaken chest near the window. It lies there for safe keeping. Go get it.\n\nLittle Maid rises and leaves.\n\nLittle Lad: Why did they ask you to make the flag, Betsy Ross? Because you were so well known for your fine needlework, wasn't it? Your uncle told them, didn't he?\n\nBetsy Ross: Yes, Little Lad, that is so.\n\nReentry of Little Maid.\n\nLittle Maid: Is this it? [Unrolling a small scroll.] It is like your flag, yet the stars on this have six points.\nBetsy Ross: I did change this. They thought the five-pointed star would be too hard to make. [Laughing softly.] It's no harder than the other. I showed them with my scissors how simple it would be to make the stars. General Washington said that I was right when I said in heraldry there was the five-pointed star, never the six.\n\nLittle Lad [forgetting and interrupting again, wiggling as if to shake himself]: Why? Oh, I had forgotten. I meant not to interrupt!\n\nBetsy Ross: I know not. Yet it is so: On General Washington's own coat-of-arms it is so, he said. The crest is one of three stripes and three five-pointed stars. Upon his coat-of-arms is the motto Exitus Acta Probat.\n\nLittle Lad [interrupting, forgetting]: Is it Latin?\n\nLittle Maid [learnedly]: Aye, Latin.\nBetsy Ross: The event justifies the deed.\nLittle Lad: Just as we could break away from Britain, our mother country, due to unjust taxation.\nBetsy Ross: Yes.\nLittle Lad: I would not be too young to be a drummer boy. Then I could be with those who fight under your flag. I would give my life for it.\nLittle Maid: I love your flag.\nBetsy Ross: And I honor it as the emblem of all that it represents: Liberty, the emblem of our nation's honor, the unity of our colonies into one nation, one and indivisible, whose warfare is ever just and true for the defense of its ideals.\nHere, to the music of \"The Red, White and Blue,\" a pantomime passes across the stage from the entrance, left, around the hack of the stage and out at the right, while Betsy Ross holds her flag up.\nChildren stand holding its lower corners. First comes Columbus. He is followed by his men, dressed in manner suggested by pictures in school histories. He holds in his hand a globe.\n\nThe Making of a Flag\n\nFollowing this company comes a group of Indians who look back at the Puritans, a little band of girls and boys in Puritan costume, who move slowly across the stage. Then follow a number of British Redcoats and a group of \"Minute Men\" similar to that shown in \u201cThe Spirit of 1776.\u201d\n\nLiberty and Justice follow. They drop from the procession and place themselves on either side of the Betsy Ross group.\n\nThe next to come is a Civil War group, the Blue and the Gray. Little colored children follow. Then come Soldiers dressed like ours of the Spanish War, followed by Boy Scouts, Girl Scouts and boys dressed in our modern soldier dress. Last comes our soldiers.\nPresent the flag with the Standard Bearer. All pass off the stage, and the music, which has been patriotic throughout the passing pageant, starts up with our National Anthem. Betsy Ross holds the flag, and with the closing verse, Liberty comes forward to read from her scroll the Declaration of Independence, which Justice holds for her.\n\nMother Goose\nDr. Foster\nSimple Simon\nGeorgie Porgie\nTommy Tucker\nJack Horner\nBoy Blue\n\nCharacters:\nPolly Flinders\nLucy Locket\nBo Peep\nMiss Muffet\nMary Who Had A Little Lamb\nMary Who Had A Garden\nThe Ten in a Bed Scholar\n\nTime: School time in Mother Goose Schoolhouse\nScene: A schoolroom in Mother Goose Schoolhouse\n\nThere is a desk at right and there are benches to the left of the stage. Near the desk is a tall stool for the Dunce. There is also a low stool with a water bucket on it.\nA dipper is placed in this.\n\nCostumes:\nMother Goose - the usual tight bodice and full skirt with a white frilled cap.\nDr. Foster - school visitor, long trousers and black coat with long tails. He carries a large bag.\nSimple Simon - a large boy, long trousers and short jacket, with a frill about the neck. He wears a peaked cap on which is written \u201cDunce.\u201d\nGeorgie Porgie - a naughty boy, a plump little fellow in a David Copperfield suit.\nTommy Tucker, Jack Horner, Boy Blue, boys in Mother Goose costumes.\nPolly Flinders, Lucy Locket, Mary Who Had A Little Lamb, Mary Who Had A Garden, Bo Peep, Miss Muffet, girls in Mother Goose dresses.\nThe Ten O\u2019Clock Scholar - a small boy in ragged clothes with a small fishing rod.\n\nThe Mother Goose School\nThe curtain rises to show: Mother Goose standing in front of the bench where the children, except The Ten O\u2019Clock Scholar, are seated.\nScholar are seated. Simple Simon on the dunce stool is yawning. Mother Goose looking over the class with care. No body absent today except our Ten O'Clock Scholar? No doubt he will appear at the usual time, with a note from his mother asking me to excuse him. Now, today there is a fine surprise for you, children! I want you all to do your level best, remember! Pauses emphatically. Dr. Foster, our school visitor, is coming here to examine your scholarship!\n\nSimple Simon in a long drawl. Will he ask me anything please?\n\nMother Goose turning upon him. Certainly! Certainly! And you ought to be ashamed to be sitting on the dunce-stool, Simple Simon, you ought!\n\nOutside is heard a long \u201cba-a.\u201d\n\nMary Who Had A Lamb jumping up and waving her hand. Oh! Oh!\n\nMother Goose. Sit right down! Sit right down!\nMary Who Had a Lamb. Mother Goose. No, Mary! Let the lamb stay where it is!\n\nA knock at the door, very loud and important. Mother Goose. There! I do believe that must be Dr. Foster right now! [She goes to the door and ushers in Dr. Foster.]\n\nEnter Dr. Foster, who beams upon the children and then turns and frowns hard at Simple Simon.\n\nDr. Foster: Good morning! Good morning! Good morning! [To Mother Goose, glancing down at his big rubbers that are muddy.] I hope I haven't tracked in any mud. I'm on my way to Gloucester, you know. It's very, very muddy on the road to Gloucester!\n\n[Looks at the Dunce and walks over to him, walking all around him.] What! A dunce! You don't mean - a dunce! In Mother Goose's School, a dunce!\n\nSimple Simon: I do know lots of things, I do! I caught a whale once!\nDr. Foster: What! What! Oh no! No, you never did. A whaling, maybe.\nMother Goose: I'm sure I do my best with him! [Sighs.] I dare say he will learn \u2014 sometime!\nDr. Foster: Let us hope so. A whale! A whale! Of course not! No, never! Whaling \u2014 I \u2014 I hope!\n[A loud \u201cba-a\u201d is heard off stage again.]\nMary Who Had A Lamb [waving her hand]: Oh! Teacher!\nMother Goose [ignoring Mary's hand]: Dr. Foster will now give you a review. [Another louder \u201cba-a\u201d off stage.] Oh, that lamb! Mary! Mary! I told you not to let it come to school for you again!\nMary Who Had A Lamb [exclaims]: Please!\nMother Goose: What! Must you go after it? Well, hurry! Tie it up when you get home! And don't let this happen again, Mary!\nCommotion among the children as Mary goes out.\nMother Goose: Order! Order! Order! [To Dr. Foster.] You see, Doctor, the child has a pet lamb that\nDr. Foster follows her to school. He absently remarks, \"You don't say! Such intelligence in an animal!\" He walks over to the desk, turning his back to the benches.\n\nGreat excitement on the benches and a suppressed scream from Miss Muffet. Mother Goose rushes over toward Georgie Porgie.\n\n\"Now, Georgie Porgie, what were you doing?\" Mother Goose asks.\n\n\"Georgie Porgie. Me? I was doing nothing at all!\" Georgie Porgie replies innocently.\n\n\"Mother Goose. What were you doing, Georgie Porgie?\"\n\n\"Mother Goose. Yes, you! Were you kissing the girls to make them cry?\"\n\nMiss Muffet jumps up, \"Oh, teacher, it was the spider \u2013 the spider! Again!\"\n\nMother Goose, \"Georgie Porgie, I knew it was one of your tricks. I'll kill it at once.\"\n\n\"I \u2013 I don't know where it went!\" Georgie Porgie protests.\n\nAll the Children jump about, \"There it is! Catch it! Oh, it's gone!\" Miss Muffet jumps up on the bench.\nMother Goose: Order! Order! Never mind the spider! Sit down, everybody. I'm sure I wouldn't want Dr. Foster to report this sort of behavior to the School Board. Would you, children?\n\nDr. Foster [reprovingly]: Boys and girls should not scream over spiders!\n\nMother Goose: Certainly not! Our school learns to be loving toward all creatures, even though it cannot let Mary's little lamb come into the schoolroom.\n\nGeorgie Porgie [to Tommy Tucker, as Mother Goose goes back to her desk and Dr. Foster places the chair for her]: I've got it! [In a stage whisper.] I've got the spider!\n\nMother Goose [seeing the whispering]: What were you whispering about, Tommy Tucker? No whispering! Tell all the scholars aloud what you were saying to Tommy Tucker! Loud, now!\n\nGeorgie Porgie: I \u2014 I \u2014 [Standing and giggling with his friend] I've got the spider!\nI've got the spider! Mother Goose (severely). Put it out of the door! We are kind to all creatures, so we will have this little lesson in kindness right here. Dr. Foster, you see! Put the spider outdoors, Georgie!\n\nTommy Tucker (waving his fist). Teacher!\n\nMother Goose. Well, Tommy?\n\nTommy Tucker. Teacher, may I get a drink?\n\nMother Goose. If you are very thirsty.\n\nTommy Tucker. I ate such a lot of bread without any butter! [He runs to the pail and takes the dipper up while Georgie Porgie goes toward him.]\n\nMother Goose. Georgie Porgie!\n\nGeorgie Porgie. I'm thirsty, too!\n\nMother Goose. Order, children! [Going toward the benches.] Order! Miss Muffet, seat yourself properly.\n\nThere is a pantomime over the water bucket between Tommy Tucker and Georgie Porgie.\nThe two boys: Georgie Porgie indicates Dr. Foster and drops a big toy spider on his coat.\n\nGeorgie Porgie: I let go the spider. Teacher! It\u2019s got away again!\n\nTommy Tucker: It\u2019s on Dr. Foster!\n\nDr. Foster [jumping up and brushing himself excitedly]: Step on it! Step on it!\n\nMother Goose: Order! Order! There! The spider is gone! Be quiet, children! It is killed.\n\nGeorgie Porgie [waving his hand]: Teacher!\n\nMother Goose: Well? What is it now?\n\nGeorgie Porgie [innocently]: I thought you didn\u2019t want to kill it. I was going to put it outdoors!\n\nMother Goose, Dr. Foster [together, severely]: Enough!\n\nGeorgie Porgie: I thought you said \u2014\n\nMother Goose: Quiet! I don\u2019t want to hear another word! Take your seats!\n\n[To Tommy Tucker, who keeps on drinking.] Enough water, Tommy! The boys go to their seats. Now, what\u2019s the matter, Polly?\nPolly Flinders: I have a cinder in my eye!\nMother Goose: You get so many things in your eyes.\nPolly Flinders: [winking hard] It's out now!\n\nMother Goose: Let it stay out. Now we will begin with Dr. Foster's examination. Dr. Foster:\n\nChildren, let me see how much you know. I am the important person who goes about asking little children questions in schools and I'm on my way to Gloucester. Have you heard of Gloucester? Where is Gloucester? Can anyone tell me where Gloucester is? Well, children, I have a prize in my bag, and I'm sure you all would like to have it. Prizes, in fact, for everyone who answers correctly!\n\nMuch excitement among the children.\n\nDr. Foster: Let us begin! A nice little boy might answer first.\nAll little boys rise and answer.\nDr. Foster. I said one!\nAll little boys sit down. Simple Simon jumps up.\nSimple Simon. Sir?\nDr. Foster. What is a dunce a nice little boy?\nMother Goose. Sit right down, Simple Simon!\nSimple Simon. But they all laugh there! I know it!\nDr. Foster. There, there! A nice little girl may answer.\nAll little girls jump to their feet.\nDr. Foster. Oh, I meant one only. Be seated, children!\nAll little girls look disappointed and sit down.\nMary Who Has A Garden waves her hand. Please \u2013\nDr. Foster. Yes, little girl, you may rise and answer.\nBo Peep [to Lucy Locket in stage whisper]. She isn't the nicest.\nDr. Foster [reproving]. Now, now! Little girl!\n\nReenter Mary Who Had A Lamb\nMother Goose. Make up for lost time, Mary!\nMary sat primly, Mary who had a lamb. Dr. Foster, you may tell what you know about King Cole. Mary rose hurriedly, Old King Cole was a merry old soul - he stole some tarts, the merry. Dr. Foster: No! No! The other little girl! Bo Peep. He called for his pipe, and - and - [looks wildly about everywhere and pauses, looking still]. Dr. Foster (encouragingly): Well? Bo Peep: I - I - have forgotten. I think he went up as high as the moon or maybe he was one of the wise men who went to sea in a bowl. Dr. Foster: Oh, I\u2019m sure you must know! Bo Peep [shakes her head], I can\u2019t remember. Dr. Foster: Some other nice little girl, then. All jump to their feet. No! No! The little girl who has the intelligent lamb may answer. Mary: He called for his pipe, And he called for his bowl. And he called for his fiddlers three.\nEvery fiddler had a fiddle. And a very fine fiddle he had. \"Tweedle-dee, tweedle-dee,\" went the fiddlers. There's none so rare As can compare With King Cole and his fiddlers three! Dr. Foster. Good! Good! Without a mistake! Fine!\n\nThe Mother Goose School\n\nNow let us hear from some bad little boy. [He smiles benignantly,] No little boy rises. Dr. Foster. What, no bad little boy here? That's a good thing! Let us hear from some good little boy then! [He pauses to look about.] Little boy who's asleep may rise and answer!\n\nThe children pull the coat of Little Boy Blue, whose head is nodding. Dr. Foster. He may rise and tell me what Tweedledum and Tweedledee were fighting about.\n\nLittle Boy Blue [waking and pushed to his feet]. The cows, sir! Dr. Foster. Oh, not at all \u2014 no, not at all! It was over the cows.\nA rattle! I'll try you again! Since you're interested in cows, you may be able to tell me whose cow is so famous!\n\nLittle Boy Blue [beaming]. Charley Warley had a cow \u2014\n\nDr. Foster. Fine! Fine! You've redeemed yourself! Sit down! Next! We'll have another splendid little boy \u2014 that one over there! [He indicates Jack Horner who sits in the corner.] What is the most famous pie that ever was?\n\nJack Horner. It had plums in it, didn't it? [Smiling and waiting to be prompted.]\n\nDr. Foster. Oh no! Think again! It \u2014 it was made with \u2014 with \u2014 Can't you remember?\n\nJack Horner. Oh yes! Four-and-twenty blackbirds that sat on a hill.\n\nDr. Foster. Well, not exactly. We are not sure they were those blackbirds, but just \u201cfour-and-twenty blackbirds\u201d that sang when the pie was open. Whose did it belong to?\n\nJack Horner. The king.\nDr. Foster: Good! Another little girl, a very nice one. (Points to Lucy Locket.)\nLucy Locket: (Rises and fumbles about.) What's the matter, dear?\nDr. Foster: Well, we'll look for it afterwards. You may tell me about the King of France.\nLucy Locket: Oh, yes, I know: He led them up the hill and down again.\nDr. Foster: Who? Please phrase your answer in proper form!\nLucy Locket: The King of France and twenty thousand men. They went up hill And then went down again!\nDr. Foster: Good! Now, we will go straight around. You need not rise, children! What is multiplication? Answer!\nJack Horner: Vexation!\nDr. Foster: And what are little girls made of?\nBo Peep: Sugar and spice and everything nice.\nDr. Foster: And little boys?\n(Turning.) Simple Simon.\nSimple Simon smiles. Dr. Foster. Well?\nSimple Simon. Pollywogs, whales and little dogs' tails.\nDr. Foster. No! No whales - snails! Remember, snails!\nSnails!\nMother Goose. Simple Simon, sit down! Enough!\nDr. Foster. Next! What did King Arthur do?\nPolly Flinders. He made a pudding - a bag pudding!\nDr. Foster. Correct! Next! What did the lion and unicorn fight over?\nTommy Tucker. Some bread and butter!\nDr. Foster. Oh, no! It was - What was it, next?\n\nThe Mother Goose School\n\nGeorgie Porgie. The crown.\nDr. Foster. Yes, the crown; you got mixed up, boy!\nThey ate white bread and brown. I don't believe anyone gave them butter. Next. Who can tell me what makes one healthy, wealthy, and wise?\nAll seem to think deeply.\n\nSimple Simon waves his hand frantically.\nMother Goose pleased. Simple Simon knows!\nDr. Foster. Simple Simon.\nDr. Foster: \"Please, sir, it\u2019s Dr. Fell.\nDr. Foster: \"Oh, no, Simple Simon! Something better. But there\u2019s no professional feeling that prompts me to say so, of course! Who can tell me what makes one healthy, wealthy, and wise!\nSimple Simon: [waving his hand again very hard] I know!\nDr. Foster: \"Well, Simple Simon, you bright boy!\nSimple Simon: [joyously] Mother Goose.\nDr. Foster: \"Er \u2014 er \u2014 Of course, Simple Simon! But that\u2019s not quite right. Of course, you know she does a great deal for all children. We lay our tribute at her feet! [Bows toward Mother Goose.] But in this instance \u2014\nMary Had A Garden: [waving her hands, first one and then both]. Oh! I know!\nDr. Foster: \"Well?\nMary Had A Garden: Early to bed and early to rise.\"\nDr. Foster: \"Yes! Yes! Fine! Splendid! Grand! [Looking at his watch] Now, I\u2019m afraid I must tear myself away.\"\nI see it is late. I must be going on to Gloucester!\n\nEnter Ten O'Clock Scholar hastily.\n\nMother Goose. Noon! Yes! That's the time this boy arrives, Dr. Foster! We call him our Ten O'Clock Scholar.\n\n[Ironically,] Have you an excuse from your mother?\n\nTen O'Clock Scholar. No, ma'am. I've been fishing.\n\nSimple Simon [to himself], A whale!\n\nTen O'Clock Scholar. I didn't catch anything.\n\nDr. Foster. Well, you can answer at least one question even if it comes late. Tell me, how many miles is it to Babylon?\n\nTen O'Clock Scholar. A crooked mile.\n\nDr. Foster [looking at his watch, absently]. Yes, yes! [Suddenly realizing error,] Oh, no! You made a mistake. It is forty miles and ten. How many miles is that?\n\nChildren all think deeply but make no answer.\n\nMother Goose. We haven't learned to reckon that yet.\nIt comes in the next book of lessons. \nDr. Foster. Well, well. I\u2019m sure it will come! You \nhave all done very well \u2014 all, and I recommend that \nMother Goose promote Simple Simon when he learns \nthat whales are not caught in pails, but in the Atlantic \nOcean. [He looks about for his bag.] My bag? \nMother Goose. Did you have a bag? \nChildren. Oh no ! No, he didn\u2019t have any at all when \nhe came in. \nDr. Foster. My bag! What could I have done with it? \n[Suddenly.] Oh, I must have left it on the road when \nI lost an overshoe. I got the overshoe and forgot the \nbag \u2014 very absent-minded! \nTen O\u2019CLOCK Scholar. I saw the bag near the brook on \nthe road to Gloucester. \nMother Goose. Run and get it ! \nExit Ten O\u2019 Clock Scholar. \nMother Goose. So glad we found it! And now chil\u00ac \ndren, while we are waiting we will sing the song of \nThe Queen of Hearts and the children sing:\n\nThe Queen of Hearts,\nShe made some tarts,\nAll on a summer's day;\nThe Knave of Hearts,\nHe stole the tarts.\nAnd took them all away!\nThe King of Hearts,\nCalled for the tarts.\nAnd beat the Knave full sore;\nThe Knave of Hearts,\nBrought back the tarts.\nAnd vowed he'd steal no more.\n\nTen O'Clock Scholar rushes in with a bag, puffing.\n\nTen O'Clock Scholar: Here, sir!\n\nDr. Foster: Oh thank you, my lad! The very bag!\n\nAnd now for the prizes! See here\u2014here is a pocket marked \"Lucy Locket,\" and here is a pretty bowl for Miss Muffet, And here a fine lot of plums for Jackie Horner, And a knife for Tommy Tucker, and, let's see! Here is a pretty horn to wake up Boy.\nBlue and a little pail for Simple Simon for a whale, Simon. And a handkerchief for Polly Finder, some cockle shells for Mary's Garden and a pink ribbon for the other little Mary's lamb, the intelligent lamb! And a crook for Bo Peep; a watch for the Ten O'clock Scholar so he can come to school on time! There! I must be going! A fine school, Mother Goose! A splendid school! [He gives out the last prize as the children all gather round him.] Exit Dr. Foster.\n\nMother Goose. Recess! Recess, children! Dismissed! Curtain as Mother Goose says \"Attention\" Dismissed!\n\nThe Goblins\nAn October Play\n\nCHARACTERS\nTom, Twick, Harriet, Children\nThe Hallowe'en Witch\nRed, Green and Golden Goblins\n\nCOSTUMES\nGreen Goblin, in green goblin dress, ornamented with green leaves.\nGolden Goblin, in yellow dress, ornamented with yellow leaves.\nRed Goblin in oak red dress, adorned with red oak leaves.\nThe Hallowe'en Witch in dark cape and peaked hat. She carries a broom over her shoulder, and on it is fastened a stuffed black cat.\nTom, a boy in overalls, carrying a pumpkin lantern.\nTwick, a smaller boy with false face and dressed in Hallowe'en rig, with shawl.\nHarriet, a girl in middy dress, with a white sheet draped over her shoulders.\nTime: The evening of Hallowe'en.\nScene: A cornfield. The stage has a dark curtain hung at the back. A large yellow disk upon the curtain represents a full moon. There are tree boughs at rear to represent bushes; at the center of the stage is a cornstack with yellow pumpkins about it.\nThe Curtain Rises to Disclose: Green Goblin hiding behind the bushes, right. Other Goblins on hands and knees peeping from the rear of the cornstack.\nGreen Goblin. Keep back! Hide! I heard nothing.\n\nThe Goblins\n\nGolden Goblin [standing up]. I heard nothing.\n\nRed Goblin [creeping from hiding place]. Only the autumn wind rustling the corn!\n\nGreen Goblin [waving his right arm in command]. Hide! Hide! I hear footsteps! We must not be seen till the right time. I will give the signal, a catcall. [He hides hack of the bushes.]\n\nGolden Goblin and Red Goblin run back to the bushes, left. There is silence.\n\nEnter Tom, Twick, and Harriet in single file, from left, with Hallowe'en pumpkin lantern and Hallowe'en get-ups.\n\nTom [setting the pumpkin carefully down and then throwing himself upon the cornstack]. My, I'm tired! That gate was heavy. Some work, that, getting it hung up high on the telegraph pole! [Laughs.]\n\nTwick [removing false face]. I'm hot! [Fans himself with the false face]. Won't Mrs. Brown have a time.\nHarriet: I'm not sure we ought to have taken it from her tomorrow. It seems rather mean. She hasn't anyone to get it down for her. She'll probably have to hire a man and pay him, and she is poor. I wouldn't like it if I were in her place!\n\nTom: Stuff! Isn't it a joke!\n\nTwick: Just like a girl! She'll have an awful time getting the gate back! That's where the fun comes in, don't you see. Silly?\n\nHarriet: Fun! I don't think it's funny!\n\nTom: You needn't have come along with us!\n\nTwick: Oh, come on! It is funny!\n\nHarriet: If I hadn't come along, you might have gotten into trouble. Besides, I like to dress up and play Hallowe'en spook!\n\nTwick: You didn't keep me from hiding the water.\n\n(68 ACTING PLAYS FOR BOYS AND GIRLS)\nTom: You don't know where I hid the bucket at Jones's place? Harriet: I didn't see you do it. Tom: They won't find their wheelbarrow at Browns'. I won't tell what I did with that or the washing on the back porch. Harriet: You caused a lot of trouble. But that's not funny. Tom: What's Halloween for then, if not for pranks and pretending it's goblins and Halloween witches? Twick: Of course! [Laughs.] They'll have a sweet time finding the things I hid. Harriet: I'm considering going back to set things right. If anyone caused you all that trouble, you wouldn't laugh so hard! Tom: Nonsense! Twick: We're playing the goblins and witches, and the spooks! Harriet: There aren't any. The bushes rustle.\nTwitch jumps as if startled. What's that? Tom peering about. There aren't any such things as goblins, or spooks, or witches. A bit frightened. What was that? A funny noise in the bushes. Don't you think it's time to go home? He gets up and the children form a group, looking about in the darkness.\n\nA catcall comes from the bushes and the goblins jump out and surround the children.\n\nGreen Goblin. Not any goblins, did you say?\nRed Goblin. Am I a goblin, pray?\nGolden Goblin. I should like to know what I look like!\nTom turning to run, is caught by Green Goblin. \"I \u2014 I should say you were a goblin. Shivers.\"\n\nThe Goblins\n\nTwick caught by Golden Goblin. Oh, Oh!\nGolden Goblin to Twick. Now what do I look like?\nTwick squirming to get away. A goblin. Please don't hurt me. I'll be good! Oh, I'll be good.\nHarriet (with the Red Goblin's hand on her shoulder). Please let us go, really. I haven't done anything bad to you, have I? You oughtn't to grab me like that! It isn't polite\u2014and you can't make me afraid, because I'm not.\n\nGolden Goblin But there are such things as goblins.\nRed Goblin V In turn, we've been just waiting to get at you!\nGreen Goblin J You let people believe it was the goblins, and we are the goblins, and we didn't do that mischief! It is absolutely false!\nTom (striking about). Now, look here. You let us go!\nTwick. You let us go.\nHarriet Please, please.\n\nGolden Goblin We heard what you did!\nRed Goblin I (in turn). We saw what you did, too!\nGreen Goblin J You tried to make people say it was the goblins, and we are the goblins, and we didn't do that mischief! It was just a dress-up fun!\nTom Well, we didn't mean anything but fun.\nTwick Just a joke! Nothing at all bad! Just fun!\nHarriet Dress-up fun!\nGreen Goblin [dropping Tom's arm]. Do you think it was fun? [He confronts the children.] Twick [truthfully]. It seemed fun. Tom. Why, yes. A kind of practical joke. Harriet. I wasn't so sure about the joke. I didn't think it was exactly funny, that is, the mischief part. It was fun to dress up and pretend. Golden Goblin: Oh, the dressing up was fun. Green Goblin: I [in turn], all right! We don't mind that sort of play! What we mind is being blamed for mischief we don't do! See! Tom [hanging his head], Um-hum!\n\nTwick. Of course, we didn't mean it wrong, exactly. Harriet. It was just Hallowe'en, you see! Green Goblin: [doubtfully]. Well \u2014 Red Goblin: [thoughtfully]. It has to be made right. Golden Goblin. How would you like to be missing things, hidden or hung on a telegraph pole, all the...\nHarriet: Please don't hurt my brothers. We'll be good! We'll be good!\nTwick: We won't play any more pranks. We mean it!\nGreen Goblin: You mean it? Then I'll give you ten minutes by Hallows' Eve Moon-time. Go straight back and undo all the mischief you have done. Exactly ten minutes by Moon-time, and you promise to come right back here and report afterwards? Promise!\nHarriet: And I? I didn't do anything but dress up, but I'll go along and help the boys. I'd rather do that than stay here.\nGreen Goblin: You're a hostage. You stay here! Boys, promise!\nTwick: I promise.\nTom: I promise.\nTom and Twick run off left.\nGreen Goblin (to Harriet). Come, little girl, you can help. We\u2019ll show you what Hallowe\u2019en is meant for. Just you see! And we\u2019ll be ready when the boys come back. Can you pick up apples and polish them?\nHarriet (eagerly). Oh yes! That is easy. I like to do it.\nThe Goblins\nGolden Goblin. We won't hurt you. We truly never hurt people! We aren't as bad as we're made out, you know.\nGreen Goblin. Don't be nervous.\nRed Goblin. You'll find a hoard of apples under the cornstack.\nGreen Goblin. Bring 'em here!\nHarriet. I'm not nervous. I'm not afraid of you!\nGreen Goblin (impressively). That's because you've done no wrong. It's the people who have something to answer for who are the scare-cats. Go get me the tub that's in the bushes, Green Goblin! Help, Golden Goblin. (To Harriet.) We will bob for apples first! That's fun!\nHarriet. And have you nuts?\nGreen Goblin. Oh, to be sure it's always on Hallowe\u2019en! We roast chestnuts and name them. The one whose chestnut pops first gets the wish he wished!\nHarriet. Oh, that\u2019s fun!\nGreen Goblin [dancing about]. Let's see \u2014 what next? Fortunes? We'll make-believe tell fortunes by numbering beans. If you take a handful from a bag and guess the right number, it will turn to gold.\nHarriet. Only you never do guess just right.\nGreen Goblin [laughing]. But it's fun to play it. HhmaKT [eagerly]. Oh yes!\nGreen Goblin. By the way, you're not afraid of witches are you, little girl?\nHarriet. Oh \u2014 [doubtfully]. I don't know! I might be. Are they really true, too? I\u2019ve only played or read about them.\nGreen Goblin. Because we invited the Hallowe\u2019en Witch to our party.\nHarriet [a bit frightened]. I don\u2019t know whether I ought to stay.\nRed Goblin: But you're the hostage. You have to stay.\nGreen Goblin: Are you afraid?\nHarriet: Well \u2014 I \u2014 I \u2014 I've always been a bit! But -\nGreen Goblin: Just shake hands with her. She's harmless! She won't hurt you! And be sure to say a word to her about her fine black cat. She's tremendously proud of it.\nRed Goblin: I see her!\n(Enter Witch with black cat.)\nGolden Goblin: Here she comes!\nGreen Goblin: Welcome Witch! Here's a nice little girl. I'm sure you'll be pleased to meet her!\nWitch: Gr-r-r! Good evening to you! (Offers a claw-like hand to Harriet, who shakes it gingerly and then gets behind Green Goblin.)\nHarriet: I \u2014 I see your cat! Such a pretty pussy, Mrs. Witch! I \u2014 I \u2014 I like cats!\nWitch: I see you are a nice little girl. But (if)...\n\n(Note: The text appears to be complete and does not require extensive cleaning. The only minor adjustments made were to correct some grammar and punctuation errors, and to add some missing words based on the context.)\nHarriet, you're with the goblins because they've taken you as a hostage in place of your brothers. They've been causing mischief and blaming it on witches and goblins.\n\nWitch [angrily]. I knew mischief was abroad. I felt it in my finger-joints, I did! I knew it! Did you ever know me to play pranks, now? And I just riding about on my broomstick! The idea!\n\nGreen Goblin. Oh, don't get excited, Witch, please!\n\nBy moon-time, it's time those boys were back.\n\nGolden Goblin. Do you have your Magic Mirror, Witch?\n\nWitch. Yes, yes. I have it.\n\nRed Goblin. Look in it and tell us what you see. You might look in and tell us where the boys are.\n\nThe Goblins\n\nWitch [taking a handglass from her pocket]. I will look for mischief. [Chants.]\n\nRumpety-tumpety-tum-to-tee,\nWhere is the mischief, let me see?\nRumpety-tumpety-tum-to-tee,\nLooking-glass! Looking-glass.\nHarriet anxiously coming forward: What do you see, Green Goblin? Witch mysteriously: I see a boy. Harriet: Where? What kind of a boy, Witch? I wish I could see! Witch reprovingly: There - it\u2019s gone! I can\u2019t see anything when others look over my shoulder. Green Goblin: Try again, Witch. Red Goblin: I won't peep. Golden Goblin hiding his eyes: See! I\u2019m not looking! Witch mollified: I see - I see - I see a boy bringing a gate down from a telegraph pole. He seems to have a good deal of trouble. He seems to wish not to break the gate. The gate is heavy for so small a boy. Oh - Oh! There, he has it down! He\u2019s putting it back where it belongs.\nHarriet claps her hands. \"Oh, it's Tom! I'm glad he put it right.\"\n\nGreen Goblin to Witch: \"Pray, dear Witch, try it again. There was more to be seen, I know!\"\n\nWitch: \"Yes, yes! Always more mischief stalking.\"\n\n[Chants again.] \"Tumpety-tump-tee-tee!\"\n\nMore mischief for me to see!\nMirror, mirror, on the wall, Where can it be?\n[Happily.] \"Oh \u2014 Oh, here it is! I see \u2014 I see \u2014 I see \u2014\nthis time I see a smaller boy finding a water pail hidden\nunder a pile of wood. He struggles to put it back as he found it.\nI see him placing the pail back upon a porch. I see him\nhanging up bits of washing that he had hidden in the pail.\nHe hangs them on the clothesline where they belong.\n\nHarriet interrupts eagerly. \"Oh, that's Twickmama all over!\"\nGreen Goblin (to Witch): Do you see anything else, pray?\nWitch: I see the same little boy. He has found a pan on top of a fence post. He is taking the pan back to the porch where he found it. Now he is putting back a chair that he had set on top of a grindstone.\nHarriet: I didn't know he did all that.\nWitch: Such a lot of mischief! No wonder my joints ached and my cat spit sparks!\nGreen Goblin: But it's all being made right. It's all being made right, Witch! Tomorrow nobody will think ill of the goblins and witches, for the mischief is made good.\nWitch: Our one happy evening holiday, just once a year to ride about on a broomstick, an evening for goblins to frisk and spooks to howl harmlessly!\nGreen Goblin: I know! I know! But please don't get excited.\nGolden Goblin: It's all right now, you know.\nRed Goblin: Moon-time's almost up.\nHarriet: They'll be back soon. I'm glad you made them rectify their mischief.\n\nGreen Goblin: It was really unjust to us, wasn't it, Hostage?\n\nThe Goblins:\nHarriet: Yes, very. And so thoughtless of other people's property!\n\nGolden Goblin: Exactly!\nRed Goblin: They won't do it again next year, I'm sure.\n\nWitch: I hope not!\nHarriet: Of course not!\n\nGolden Goblin: Next Hallowe'en we'll all meet here as good friends and have a party.\n\nWitch: A party!\nGreen Goblin: Tonight a party, too!\nRed Goblin: I love parties!\nHarriet: Such fun!\nGreen Goblin: We'll bob for apples first.\n\n(Enter Twick and Tom, panting)\n\nTom: We fixed everything just as we found it!\nTwick: Sure we did. My, I'm out of breath!\nTom: Everything's in its place. You would never suspect anything had been wrong. (Seeing Witch.)\nGreen Goblin (to Tom): Harmless! Just come to have fun with us on Hallowe\u2019en, the real thing, too! (To Witch) Pleased to meet the big boy and the little boy?\n\nWitch: Pleased, I\u2019m sure!\n\n(They shake hands)\n\nHarriet (whispers in Tom\u2019s ear): Admire her cat!\n\nGolden Goblin: The party now! The party!\n\nTom: Kitty! Kitty! I\u2019m sure it\u2019s a lucky cat!\n\nWitch: A very lucky cat. \u2018Twill bring you luck just because you saw it!\n\nTwick: Me too?\n\nWitch: Oh yes, yes, yes! Luck for everyone! Never any bad luck at all.\n\nGreen Goblin: And now everybody take hold of hands and we\u2019ll dance!\n\nGolden Goblin (holding Harriet's hand): Three times around the cornstack and then reverse.\n\nRed Goblin: And then we\u2019ll bob for apples, we\u2019ll bob for apples. Don\u2019t trip over the tub! Watch your step.\nStep 1: Look out for the broom. They dance.\n\nGreen Goblin, Red Goblin, Golden Goblin, Tom, Twick, Harriet. They stop, in chorus.\n\nWhat's the nicest holiday there is in all the year? Witch. Hallowe'en.\n\nCharacters:\nMother\nDaddy\nMaggie ^\nMark\nSnookie j\n\nCostumes:\nDaddy, in the Istor scenes, is dressed up like a genie. He wears on his head a turban.\nMother is in everyday house dress.\nMark, a boy, wears play clothes.\nMaggie, a girl, is in middy dress.\nSnookie, the little sister, wears rompers.\n\nScene: A children's playroom. To the right, covering an entrance, stands a screen. With a hack to it, upon a table, is a small hanging bookshelf. Near it is a large armchair standing upon a wide oriental rug.\n\nDiscovered: Maggie, placing the bookshelf on the table.\nMark is bending over a pile of books and sorting them. Snookie is seated in the armchair with a picture-book.\n\nMaggie: \"Here now! [Looks around.] Where can we hang it, Mark?\"\n\nMark: \"[Looking around the room.] If it were only a bit taller, we wouldn't need to hang it at all.\"\n\nSnookie: \"[Jumping up and down before it and clapping her hands joyfully.] It's to be my very own book-shelf!\"\n\nMaggie: \"Why, you little goosie! You have only three hooks or so to your name! It isn't your bookshelf at all! It belongs to Mark and me.\"\n\nSnookie: \"But I want it, too!\"\n\nMark: \"Well, all right! You can put your books on my side of the shelf; but it's a very small shelf for three people.\"\n\nMaggie: \"If we hang it, she'll be getting on chairs to reach it. We'll have to keep it on the table. She might fall and hurt herself.\"\n\n78 ACTING PLAYS FOR BOYS AND GIRLS\nMark: Well, let it be for now. It can stay on the table.\nMaggie: It looks well there! [Stands back, looking at the bookshelf on the table approvingly.]\nMark: Now everybody go get books to put into it!\n[The children turn to hunt their books.]\nSnookie: I don't know where mine all are! I must see. [Finds a picture-book in a corner and runs to put it into place.] More! [Hunts about.]\nMark: Here!\nMaggie: Here are some of mine.\n[The two come bringing books.]\nMark: What have you?\nMaggie: All the books Aunt and Uncle gave me last Christmas.\nMark: And my birthday Scout Books. [He arranges his books.]\nMaggie: The bookshelf isn't big enough.\nMark: I know it. But I'll make us each one with my carpentry tools.\nMaggie: That would be just splendid!\nMark: Oh, Snookie! More! Snookie brings her books.\nMaggie: Mercy!\nMark: We'll have to fix them on the table, too.\nMaggie: I'll place my favorite books here. Some I care less about than others.\nMark: Same here. But I like all! There are books you outgrow and others you like to reread. Here is Auntie's Midget Series. I liked them once. I don't now. Snookie will, though. Have you read them?\nMaggie: I did once, when she gave them to me and they were new. I like other kinds of books better. I don't care about rereading them.\nSnookie [caressing a second book]: I like to read my stories over, again and again, and again. [She puts the third one on the shelf.] I got them all now! Look!\nMaggie [looking at Snookie's row]: Fine, Snookums! Now, maybe some day Mother will give you your very own bookshelf, when you have more books. [Reads.] Mother Goose, Andersen's Fairy Tales, and Peterkin Papers \u2014 A good beginning.\nMark: I've got it, Maggie! We can put only worthwhile books on the bookshelf. Not others. The sort that we tire of don't go in at all. We can only put in the books that are really good! Books like Snookie's are standard.\n\nSnookie [pleased]: Yes, good, good books! [Pats the covers.]\n\nMaggie: Well, of course, we want only good books on our bookshelf, but how're we to tell which are the good books?\n\nMark: Oh well, we'll find out.\n\nMaggie: Or put in only nice, fresh, new books that look well \u2014\n\nMark: [placing some on the bookshelf beside Snookie's books] . Well, you can't decide that way. A very poor book might have a very fine cover, you know! I'm going to put in some that I like best. Look at this, and this. [He holds up Treasure Island and The Arabian Nights]\nI've read them almost to pieces! And their covers never were very good. Maggie. Yes, I know! I have some like that: Little Women and Rebecca of Sunnybrook Farm, and The Wonderful Adventures of Nils, and Sara Crew. Arranges these upon her shelf.\n\nSnookie. The reason they come to pieces, I guess, is because they've been loved so hard.\n\nMaggie [instructing Snookie]. But you should be very careful of the books you love. You don't mistreat the books you love. Daddy said so! But, then, handling books a great deal wears them out. It's bound to.\n\nMark. I'm careful, but when I was little I wasn't - not till I realized what books meant.\n\nSnookie. I'm going to read some of your books. I'm almost old enough!\n\nMaggie. If you do, you'll have to take care of them and not leave them about on the floor, Snookums! Be careful.\nMark and Maggie discuss their bookshelf. They plan to only put the best books in it and reminisce about the stories they love, such as Arabian Nights. Maggie wishes for a magical lamp and treasure, as well as a new bookshelf. Mark agrees.\n\nMark: That's why Mother gave us the bookshelf.\nMaggie: And we're not going to put any silly books into it. There won't be any room for them on our bookshelf, and we don't want them.\nMark: I put Arabian Nights first on my shelf.\nSnookie: My shelf, too. I know the story about Aladdin.\nMaggie: My! But I wish we had a wonderful lamp and a treasure. And a magic carpet!\nSnookie: I'd say, \"Genie, go get me lots and lots of beautiful books, with lots of beautiful pictures, too.\"\nMark: Oh, I would wish that too.\n\n[The text does not require cleaning as it is already readable and free of meaningless or unreadable content.]\nI've been looking everywhere for that. (Comes to where the children are gathered around the bookshelf.) Fixing up the bookshelf all fine, aren't you?\n\nMark. Only we wonder how we'll get all our books into it.\n\nSnookie. And we don't know how to choose which are good, except the ones we like best. So we wished and (laughing) we wished a genie'd come and help, one like Aladdin's, to bring us only truly good, beautiful, interesting books.\n\nDaddy (laughing). I see! Shall I call a genie?\n\nChildren. Yes! Yes! Oh, yes!\n\nDaddy. Mark, better call him. There ought to be a genie of the bookshelf, if you only know how to call him!\n\nSnookie. Oh look, here's something! Play this is the lamp. (Takes up a publisher's catalog that lies on the floor.) See!\n\nMark (taking the catalog). A book catalog! That'll do! Now then, I stand before the bookshelf and I \u2014 I\nMark: I wish... I hope the genie will come! Daddy (going away): That's it! Wish hard! [Exit.]\n\nMark: wouldn't it be fun if it really could happen! I wonder how long Aladdin had to wait for the genie to appear. Didn't he come at once?\n\nMaggie: Of course! Now wish hard!\n\nSnookie: Come, Genie! Come!\n\nMaggie: Genie of the Bookshelf!\n\nMark: It's just play.\n\nMaggie: Just play.\n\nSnookie: Play fun.\n\n---\n\nEnter Daddy, draped in a white sheet that is worn like a genie's robe of flowing folds. On his head is a turban made from a Turkish towel wound about.\n\nDaddy (bowing low): Your servant! What would you?\n\nMark: The genie.\n\nMaggie: Daddy!\n\nDaddy: I am your genie.\n\nMark: Hush, Snookie. He isn't Daddy. He's our genie.\n\nMaggie: Genie, I want a Treasure! Right away, quick!\nI want a Treasure, the best you can find. Pearls and rubies and emeralds - Mark. And a Magic Carpet, genie! Daddy [bowing very low, impressively]. Children, these gifts that you desire are right here in your very own playroom!\n\nMaggie. Oh, no \u2014 not really! [Laughing.]\n\nDaddy [again bowing low, impressively]. Children, the Treasure is here \u2014 and the Magic Carpet too!\n\nMark. Oh, yes, we play it, Daddy! Excuse me, I meant, genie! Just for fun \u2014\n\nDaddy [solemnly]. Your genie tells the solemn truth. The Treasure is here and the Magic Carpet too!\n\nMaggie [putting her finger on his ring]. Oh! That\u2019s not the kind of jewels I want in my Treasure.\n\nMark [putting his foot on the rug]. And I suppose this is the Carpet?\n\nSnookie. Oh! Oh!\n\nDaddy. No! The Treasure that is greater even than pearls, and emeralds, and rubies, and sapphires, and diamonds.\nDaddy: The diamonds are here, and the Magic Carpet that can transport you wherever you may wish to go is also here, although it's not outwardly such as Aladdin saw.\n\nMaggie: Really? Where?\n\nDaddy: [Goes to the little bookshelf] Behold your treasure that is even greater than Aladdin's pearls and rubies! [Taking from the bookshelf a volume] Behold the Magic Carpet of Imagination, which in a twinkling may carry you whithersoever you wish!\n\nMark: It is so, Maggie. I never thought of it.\n\nSnookie: I want to try it!\n\nDaddy: Let's all try it and see if it isn't true.\n\nMark: I say we go to Bagdad!\n\n[Enter Mother, right, peeping around the screen]\n\nMother: I heard you all having such a good time. What are you doing? Playing a game? [Laughs at Daddy.]\nSnookie: Oh, Mum, Daddy's a genie!\nMaggie: The Genie of the Bookshelf! And we've got a Treasure and a Magic Carpet!\nMark: And he's going to help us select books for our bookshelf!\nSnookie: And we're going to have the best and most interesting ones.\nMaggie: And Mother, you're to sit right down in the chair there and help, too! And you're to write to all the aunts and uncles and cousins and tell them we don't want any more worthless little stories. We intend to plan ahead for standard reading that is worthwhile. And oh, we want The Book of Knowledge. Mark wants biography and science, and I want to know how to make things, to sew and cook, and stories, too, that are ever so good \u2014 that I'll want to keep forever and ever!\nMother: Yes! Yes!\nMark: [showing the catalog] Here, see! We'll go over this and select beforehand the books we want and\nWe'll work towards a real library. Daddy. The genie says he'll help.\n84 ACTING PLAYS FOR BOYS AND GIRLS\nMaggie. Oh, the genie'll go and get them for us! [Claps her hands.]\nMark. We'll be better off than Aladdin and have two genies to help! [He puts his hand in his mother's and looks up at her smiling. She nods.]\nDaddy. Both genies will surely bring you books for the bookshelf! The best books will come to you on birthdays and Christmas.\nMaggie. And don't let the uncles and aunts give us any more useless books.\nDaddy. Such books as are real Treasures, rubies of thought; pearls of treasured knowledge; beautiful stories that are ever green in our memory like the pure color of emeralds; sparkling happiness of hours well spent in reading \u2014 diamonds!\nMother. Such books as are real Magic Carpets!\nDaddy. That's good \u2014\nMother [laughing]. Splendid!\nMark: Some of these books, I shall always like. I'm sure of it, even when I grow up like Daddy.\n\nMaggie: Me too! Even when I get to be a lady like Mumsey!\n\nMother: Arabian Nights, for instance.\n\nMaggie: Oh, yes! And ever so many more.\n\nMark: That everybody wants to own.\n\nMaggie: That everybody loves.\n\nSnookie: Loves almost to pieces.\n\nDaddy: You shall have them!\n\nMark: Oh, genie!\n\nMother: You shall have them!\n\nMaggie: Oh, isn't it splendid!\n\nMark: Great!\n\nMaggie: A treasure, a magic carpet, and two genies!\n\nMark: Let's go right off now on the magic carpet. (He sits on the rug. Maggie leans over the side of the chair and Daddy leans on one arm, while Snookie curls at his feet,)\n\nDaddy: We wish to go to \u2014\n\nMark: Bagdad!\n\nMaggie: (taking Arabian Nights to hand him from the bookshelf) To Bagdad! To Bagdad!\n\nSnookie: Going to Bagdad!\n[Daddy opens the book.] To Bagdad then! On the Magic Carpet of Imagination, in a twinkling, it will transport us through the magic of thought, and we shall be living far away, far, far away from here in the Orient.\n\nSnookie. Hurry! Start!\n\nMother. We\u2019re all ready, genie dear!\n\nDaddy. I think we\u2019ll have to take trips together, too\u2014down Alice\u2019s rabbit hole, maybe; to Fableland with Msop; through the Children\u2019s Garden of Verses with Stevenson; into the Jungle with Kipling; up to the Alps with Heidi; to Dreamland with Davy and the Goblin and the White Rabbit; to Crusoe\u2019s Island with Defoe. But now, now we are off to Bagdad! And here we go upon the Magic Carpet of our Bookshelf\u2019s thought! Imagination is our Magic Carpet. [He opens the story-book and begins it as the curtain slowly falls,]\n\nThe Night Before Christmas\n\nCharacters and Costumes\nSanta Claus, in bright red suit and long white beard, Mrs. Santa Claus, in red dress with white apron. The Holly Elves, in green suits with red trimmings and bright red caps with holly sprigs thrust in.\n\nScene: Santa Claus' Workshop\nTo the right is a large desk covered with letters and long Christmas lists. To the center rear is a pile of wrapped Christmas gifts and an unlit Christmas tree. To the left are big covered baskets showing toys sticking out from their coverings. Letters and envelopes lie scattered about Santa Claus' desk.\n\nThe curtain rises, revealing Santa Claus seated at the desk, busy with Christmas letters. Mrs. Santa Claus bends over him.\n\nMrs. Santa Claus: Oh, please come and have your supper, dear!\nSanta Claus: Supper! Why, look at all these Christmas lists that have come in at the last moment!\nMrs. Santa Claus: Come and have your supper! You'll be able to work twice as well and twice as fast after.\n\nSanta Claus: No, no, I can't stop! Think of it - any children who had counted on me should really find nothing in their stockings Christmas morning! Oh, I'm very, very, very busy, my dear! Don't ask me to stop yet.\n\n[turning] Come in!\n\nThe Night Before Christmas\n\nEnter a Holly Elf with mail bag\nHolly Elf [bowing low]: Some more mail, just arrived by Chimney-Place Air Mail Route, Sir!\n\nSanta Claus [distractedly]: More mail! Well, well, well - more mail! Mercy me! Put it there. [Pointing,] I'll see to it as soon as I can.\n\nAnother rap on the door outside.\n\nHolly Elf: Shall I answer it? I think it's another batch of Christmas lists that have come by the Air Mail.\nAnother Holly Elf enters with a mail sack over his shoulder.\n\nSecond Elf: Mail by the Air Mail Route, Mr. Santa Claus.\n\nSanta Claus: Thank you - yes! Put it there (points) beside the other sack and call my stenographer, please.\n\nThe Holly Elves empty their sacks on the floor near Santa Claus' desk and exit.\n\nMrs. Santa Claus: The stenographer is just hurrying through her supper. Can't I help? Let me help!\n\nSanta Claus: Well, all right! Just go over those new letters for me - there's a dear! And put the lists on file so that the Holly Elves can fill them.\n\nMrs. Santa Claus (seating herself in a large rocking chair): Opens envelopes and places one list after another on a long hill file. These children are asking for such a lot of things! They want everything from radio outfits to automobiles and aeroplanes.\nSanta Claus. Yes, the children are asking for all sorts of things \u2014 they always do! I\u2019m sure I don\u2019t know how we\u2019re coming out! [Holding out a package of lists to Mrs. Santa Claus.] Here, these can be filled out. You might call the Holly Elves and have them pack up the presents and label them. ACTING PLAYS FOR BOYS AND GIRLS Mrs. Santa Claus goes to the table and rings a little bell that is there. Santa Claus. No! No! They\u2019re out in the Christmas Tree Grove. They won\u2019t hear that. Mrs. Santa Claus goes to the door and rings the bell. That\u2019s all right! I\u2019m sure they\u2019ll hear that! [Goes back to her lists and tosses the envelopes into piles, sorting rapidly.] Enter Holly Elves, running. One has an armful of dolls; another has an armful of games and toys.\nSanta Claus, with an armful of wrapped presents, another dragging three sleds, and another carrying a basket, jumps up. Well, well! Now let's see! How are things going in the Christmas Tree Grove?\n\nFirst Holly Elf: We're getting on beautifully! Almost all the presents are picked.\n\nSecond Holly Elf: I just brought these dolls in because they are the very last.\n\nThird Holly Elf: And these are the last games and toys from the plaything trees.\n\nFourth Holly Elf: And these books and candies that are in the basket \u2013 almost everything is picked!\n\nSanta Claus [excitedly]: And all these letters and lists still to fill! What am I going to do? What are we going to do? [Walking back and forth excitedly.] All those children asking for things \u2013 and not finding them on Christmas morning! And they'll never believe in me any more! Didn't we forget something?\nFirst Holly Elf: There was an unusually large crop in the Christmas Tree Grove this year.\nSecond Holly Elf: Dolls were very plentiful - larger and lovelier than ever. French dolls, foreign dolls, character dolls, dolls of every sort! Even the little dolls were most abundant.\nThird Holly Elf: And as for the games and toys, they were unusually plentiful. Few fell from the trees and got broken.\nFourth Holly Elf: Skates and sleds grew splendidly, as well as all other outdoor play things. The sports toys and radios came up beautifully as our new venture. But they, too, have all been gathered.\nFifth Holly Elf: And the books were even better than ever. All the candy bushes bore fine crops of Christmas candies.\nSanta Claus: I really can't understand it.\nMrs. Santa Claus picking up a list from Santa Claus' desk. But I think I understand. I think the real trouble is that the children have been asking for too much.\nSanta Claus stopping short and looking at the lists on the desk. Well, my dear, you may be right. You've filled all the lists just as they came in. Look over there at that big wash basket. Now, all of those toys are labeled to go to one child!\nSanta Claus. I know it. They're going to Johnnie, the wealthy little son of John Elmore McKrae of New York. Didn't he ask for them?\nMrs. Santa Claus. But it seems to me he might share with somebody else.\nSanta Claus. Well, he did ask for a great many things. The whole list isn't there. Some of his things are outside being packed into the sleigh, I remember.\nMrs. Santa Claus looking at the other big baskets standing by.\nAnd here - look here! These are all for acting plays for boys and girls. Tibbit and Tottie Harrison, those rich little children who live in that big house in that millionaire suburb. Santa Claus. I know it! And I love Tibbit and Tottie! They believe in me!\n\nMrs. Santa Claus [picking up a letter]. Now, my dear, just look at this and you\u2019ll see what I mean. [She hands Santa Claus a letter,]\n\nThe Holly Elves draw close to Santa Claus as he takes it up.\n\nFirst Holly Elf. What does it say?\n\nSanta Claus. I\u2019ll read it.\n\nMrs. Santa Claus. Yes, you read it!\n\nSanta Claus [reading]. \u201cDear Mr. Santa Claus, Don\u2019t you know anything about us? There are eight of us in our family and we live at number 1313 Smith Street. There\u2019s a lot of other children in the same tenement, but you never yet came down our chimney to bring any Christmas presents. I don\u2019t understand it.\u201d\nBut I don't care about myself, as I can do without. But I wish you'd bring our baby a Teddy bear. And if there weren't enough toys to go around, you might bring just a little Christmas candy for us to divide.\nHe takes out his pocket handkerchief and stops short. No! No! I'm not going to cry! I'm not! To think that I've gone and passed by the very children that really needed me!\nMrs. Santa Claus [wiping her eyes]. And, you see, there are other letters just like that. I found ever so many and some from very needy little children, who had not warm clothes to wear! All that pile there\u2014\n[She points to a stack of letters lying on the desk.]\nSanta Claus. All I've got to say about it is that those little poor children have to be remembered!\nFirst Holly Elf. They ought to be!\nSecond Holly Elf. Of course, they ought to be.\nThe Night Before Christmas\nThird Holly Elf: They really need presents and play things much more than the rest.\nFourth Holly Elf: And we ought to go right over all the things and rearrange the lists.\nFifth Holly Elf: Let's see! Where shall we begin?\nSanta Claus: Dear! Dear! Dear! Then I shall have to disappoint some children in order to remember the others.\nMrs. Santa Claus: But when some get so much more than others\u2014and the little poor children need so much more than the rich children\u2014\nSanta Claus: Yes! Yes! I know! I know! I know - Those dear little children who need Christmas shall have it! They certainly shall! They certainly shall!\n- And I'll go over all the lists\u2014I shall have to!\nMrs. Santa Claus: At this late hour! Why, it's almost time for the reindeer to be at the door with the sleigh!\n[Looking at the clock,] Dear, and you haven't had even a bite of supper!\nSanta Claus taking up one letter after another. Well, these are the ones I must make right, the One Thousand and One Needy Cases. I wonder how I ever overlooked them. I suppose it was because of the very long lists from the very wealthy little children. I begin to sort the Christmas gifts, taking them out of the big baskets,\n\nFirst Holly Elf [crossing to him]. May I help? You see, I have thought of a way to even things up.\n\nSanta Claus. Oh, please do help! What a help the Holly Elves have always been to me!\n\nFirst Holly Elf. I have thought of a plan.\n\nSanta Claus [eagerly]. Yes, yes.\n\nMrs. Santa Claus [jumping up from her work of sorting Christmas lists]. Quick! Tell us about it!\n\nFirst Holly Elf. You see, there are so many little poor children \u2013\n\nSanta Claus. Yes, so many that I have never known them all.\nFirst Holly Elf: And the other children should be taught to think of others beside themselves. Mrs. Santa Claus: That's the spirit of Christmas. They've only been thinking about what they themselves were to receive!\n\nSecond Holly Elf: Exactly!\n\nThird Holly Elf: The rich children ask for so much that there is not enough to go around.\n\nFirst Holly Elf: That's just it. And it's so much work for Santa Claus to fill out such long lists. I think we might just put all the presents into the sleigh and divide them all up equally, going down every chimney to see if any children are there who might otherwise be forgotten.\n\nSanta Claus: A fine plan. And we'll visit the children in the tenements first, to be sure they aren't forgotten.\n\nMrs. Santa Claus: If I were you, I'd ask the rich children to be sure to ask some poor children to their parties.\nChristmas tree celebrations! Couldn't you send everyone a happy dream suggestion about that? Slip it under the children's pillows when you go down the chimney to fill the stockings!\n\nSanta Claus [laughing]. Why, to be sure I can! To be sure I can! [To Holly Elves.] Run off and pick every single Christmas present that is left on the trees of the Christmas Tree Grove. Pile them all on my sleigh. This year we won't forget anybody\u2014no, not anybody! And I dare say that it will be a very, very Merry Christmas for everybody.\n\nMrs. Santa Claus. For Christmas really is giving and sharing\u2014not asking and getting!\n\nFirst Holly Elf. For Christmas is jolly giving.\n\nSanta Claus [laughing]. Oh, now I'm not worried anymore! Here! [To Fourth Holly Elf.] See if the sleigh is ready. There's so much to do we ought to.\nMrs. Santa Claus: We should start just as soon as we can. Exit Holly Elves, dancing about on their way to the door, Mrs. Santa Claus. I'll put your dinner on now. You really must have a bite before you go! Santa Claus: Yes, yes! In a minute! Do you think that all the children will be happy this Christmas? I want them all to be happy. Mrs. Santa Claus: I think they will; if it's better to give than to receive, the children who have much to share should have a very Happy Christmas. Santa Claus: And the children who have little will have the jolliest Christmas they ever knew. I must go and wrap up the little dreams to put under their pillows! Mrs. Santa Claus: Here, let me help! [She fills a basket with bright tinsel, Christmas candles, Christmas stars, sprigs of holly and mistletoe.] [To Santa Claus.] There, that's ready! Nobody can resist.\nThose Christmas dreams give thoughts of happiness to others. Sleigh bells are heard without. Santa Claus. Here are the reindeers. I must hurry! So much to do tonight! Such lots of little children to visit! Kissing her good-by, really, the dinner can wait! And if I'm hungry, maybe I'll eat Christmas candy, if there's any left over! The Holly Elves come dancing in.\n\nFirst Holly Elf: The presents are all packed.\nSecond Holly Elf: The sleigh is waiting!\nThird Holly Elf: We found ever so many more presents than we thought. They are all in the sleigh.\nFourth Holly Elf: And nobody shall be forgotten.\nFifth Holly Elf: All the little children shall share the joy of Christmas!\nSanta Claus: Merry Christmas! Merry Christmas to everybody!\nThe sleigh bells jingle as the curtain descends on Santa Claus.\nClaus and the Holly Elves, laden with a Christmas tree, baskets, and presents, approach the door, followed by Mrs. Santa Claus.\n\nAt the close of the curtain, many children pass in front of it, laden with toys and Christmas greens. They call to the audience, \"Merry Christmas! Merry Christmas to all!\" They dance down the aisle, greeting the audience.\n\nCHARACTERS:\nDicky\nDolly\nMother\nFather\nSanta Claus\nThe Christmas Holly Elf\n\nCOSTUMES:\nDicky, a boy in a dressing gown and felt slippers.\nDolly, a girl in a bath-wrapper and bedroom slippers.\nSanta Claus, in a regulation red dress with a large pack on his back and a long white beard about his chin.\nThe Christmas Elf, a small boy dressed in a tight green dress, wearing a scarlet cap and scarlet boots. In his hat is struck a sprig of holly with red berries.\nMother and Daddy, both in dressing-gowns, carry a flashlight (Mother) and a toy pistol (Daddy). Costumes of other characters are just what anyone might wear at bedtime on Christmas Eve.\n\nScene: The stage is set to represent a room with a large fireplace at the center, rear. This may be made from a big box and should be large enough to permit Santa Claus to step through. There is a couch to the right of the fireplace. It is covered with a bright cover, and there are gay pillows on it. Before the fireplace is a rug, and at the right, an easy chair. At the left front of the stage is a low table with a cover. At the right front is a chair.\n\nTime: Evening of the day before Christmas.\n\nThe curtain rises to disclose Dolly with a small stocking in her hand advancing from right toward the chimney.\nDicky, holding an enormous red cotton stocking large enough to fit a giant, meets Dolly in front of the fireplace.\n\nDicky [holding up his stocking]. How's this for size?\nDolly. Where did you get it?\nDicky [trying to hang up the long stocking, but it falls down on the rug], I made it myself [proudly] and it's big enough to hold all Santa Claus's whole pack. Think of the lovely things I'll get. More than anybody else!\nDolly. I think it's no fair to ask for more than your share! You ought to hang up your own stocking!\nDicky. You could get more, too, if you'd make yourself a big stocking.\nDolly [hanging up her stocking]. I don't want to. I'd be ashamed to hang up a great big, piggy stocking like that! You'd better ask them about it and whether\nDicky finally managing to fasten his stocking up. I'll keep mine here. Mother and Daddy haven't seen it. They've gone to sleep, I'm sure. I suppose they thought we hung up our stockings hours ago, but I was making mine and couldn't get it done earlier. I was finishing Christmas presents and forgot to do it before. I was holding up a package, reading \"To Santa Claus, with Dolly's love. Merry Christmas!\" Dicky coming over to where Dolly stands beside the table. What is it, a present for Santa Glaus? Dolly, laughing. Yes. Do you suppose he'll like it? You can't guess what it is. Dicky poking the parcel. Bed socks? Dolly letting him feel the parcel. Guess again!\nDicky: A pink sachet? No, it's not that. It doesn't smell of violets or anything. It's candy, maybe?\nDolly: Dancing up and down. No! No! It's a pair of THE CHRISTMAS STOCKING red mittens. I knit them myself! What would Santa Claus want with candy? He has tons of it. And I don't think he'd ever care for a sachet. It's mittens!\nDicky: Well, I'm not going to give him any present.\nDolly: I can put \"From Dicky\" on it, too.\nDicky: Yes \u2014 give it here. I'll write it. (Writes on parcel) Now, where'll you put it, so he'll see it? Put it beside my big red stocking.\nDolly: (crossing to fireplace) No! No! He'd be sure to see it on the table, I think. (Goes back to the table and lays it there, trying various places)\nDicky: What were you doing out there in the dining room?\nI heard you in the room? You find anything to eat?\n\nDolly: I was preparing a tray for Santa Claus. He must be hungry after a cold night ride. I have to go get it.\n\nDicky: He'll never see it there. It would be better near my big stocking! If he thinks I gave him so much, he'll leave me nice presents too! I move the stocking and lay it beside the big one, which falls on the floor.\n\nDolly [re-enters, carrying a tray with sandwiches, a piece of cake, and a glass of milk]: I think he'll like this. [Sets the tray down on the table and sees the parcel is not there.]\n\nDicky: Let me have a sandwich! Just one!\n\nDolly: No! No! You bad boy! Put the parcel back where I left it. You can't have any of the sandwiches.\nDicky: Just one cake. I'm so hungry!\nDicky: [grabbing, unsuccessfully] He wouldn't miss it.\nDolly: Now come, it's late. We oughtn't to stay any longer. It's 'most twelve. He may come any minute!\n[Starts to go.]\nDicky: I'm going to stay. I can hide under the table so he'll never see me! [He hides under the table, but his red felt slipper shows under the cloth.] I shall stay here. I'm all hidden.\nDolly: No, you aren't. Your slipper sticks out. It isn't right to stay, and he won't like it if he finds you.\nDicky: I don't care!\nDolly: Besides, if I leave you here, you'll be sure to eat the sandwiches and the cake. [She carries his slipper away.]\nI shan't give you your slipper until you come out from under the table!\nDicky crawls out from under the table on all fours, reluctantly, and rather angry. Give it here! I want it. My feet are cold! Besides, I might step on a tack!\nHe takes the slipper and puts it on. I could curl up on the couch and pretend to be asleep. He jumps on the couch and curls up, snoring audibly. How's that? Doesn't it sound as if I were asleep?\nDolly. No, it doesn't\u2014not a bit! Come!\nShe tries to pull him off the couch. He won't like it, if he finds you!\nSleigh bells jingle off scene,\nDolly. Hark! I heard sleigh bells! Come, Dicky, come!\nDicky. Let me be. I'm asleep! I want to see him! Go away.\nSleigh bells again jingle, louder,\nDolly. Oh Dicky\u2014please!\nDicky. There now! Hide, quick. He's coming!\nTHE CHRISTMAS STOCKING throws the couch rug over them and holds Dolly quiet! Enter Santa Claus from the chimney. He stops on the rug and dusts his feet off. Santa Claus. Mustn't get any tracks on the rug. Awfully tight chimney! [Lays down his pack upon the rug and looks around.] That's some stocking! Must be a giant's child in this house. Dear me! I thought Dicky and Dolly lived here. Looking again. One stocking looks like Dolly's that I filled last year. Pshaw! Dicky's trying to fool me! Nods thoughtfully. It's Dicky's doing. No giant child here. Dicky snores loudly and regularly. Santa Claus. Children here? Well, it's all right if they're asleep. [In a whisper.] I must be very, very quiet! [Turns to the big stocking.] Why, if I filled a stocking like this, there'd be nothing left for any-body.\nbody else - nothing for the poor children, the little orphans, the children that don't get any gifts when things run short. Some children get too much! [Pulls down the big stocking.] I don't know what to do about it. [Put it in place again.] It might belong to somebody that was oversize, perhaps.\n\nDicky [giggles from the couch].\n\nDolly. Hush!\n\nSanta Claus [crossing to the couch and pulling off the covers]. There! I thought that snoring wasn't real. Well, since you're here, you can explain why you stayed and hid.\n\nDicky. We were hanging up our stockings -\n\nDolly. I didn't want to stay. I was afraid you'd be put out about our seeing you.\n\nSanta Claus I am! I am! [Stalking up and down the stage.] I am! I am! You ought to be abed and - asleep and no peeking!\n\n100 ACTING PLAYS FOR BOYS AND GIRLS\n\nDolly. I know - I know. But please forgive us; I was afraid.\nUp late tying Christmas gifts, forgot about my stocking. When came down, Dicky was here, and we were fooling. Heard sleigh bells, hid. Can't be blamed! Let's see what you brought. Goes to Santa Claus pack, about to open it.\n\nSanta Claus: Hie there! If you don't leave that alone, I've a mind not to leave you anything. I have a mind to go back up the chimney. Why didn't you go to bed the way you ought to? [Crossly.] I'm quite put out! [Going into the chimney.]\n\nDicky and Dolly: Oh, please don't go! I Please don't!\n\nDolly: You see, Mr. Santa Claus, it was really my fault. I - I fixed you up a lunch. You haven't found it!\n\nSanta Claus [coming out of the chimney]: Hey, what's that, Dolly?\n\nDolly: Oh, I'm glad you came back. You see, I fixed you a lunch.\nYou've prepared a nice little lunch. Sit down in this big chair and eat it. You don't need to leave me any games or toys if there aren't enough for the little poor children and orphans. Santa Claus seats himself in the chair and eats. How thoughtful of you, Dolly! Thank you, Dolly! I have everything you brought me last year - the doll, the tea set, the books, the games. Though I've played with them, they're still just as good as new. Dicky pushes in between Santa Claus and Dolly. Did you bring me all the things I asked for in my letter? The Christmas Stocking Santa Claus. Oh, I see! That stocking must be yours, Dicky? Dicky. Yes, it's mine. I could have made it bigger.\nSanta Claus [chuckling, eating the cake]. \"What very large feet you must have, Dicky.\"\n\nDicky [looking at his feet]. \"Not at all! [Crossly.]\"\n\nSanta Claus. \"Do you think that stocking's quite - quite your size?\"\n\nDicky. \"Oh, I didn't suppose it mattered. I asked for so many things! If I'd put up my own stocking, there might have been holes in it. I wear them very hard. Mother says so!\"\n\nPlease, what did you decide to give me? May I see?\n\nDolly [reprovingly]. \"Let him eat his cake. Dicky always wants more than his share!\"\n\nDicky. \"No, I don't.\"\n\nSanta Claus [finishing up the crumbs]. \"Awfully good! I feel as if I'd had a dinner!\" You know Dicky isn't the only child who has asked for more than his share'; maybe he didn't know what it meant.\n\nDicky [poking the Santa Claus pack]. \"Oh, do let me see! [Peeps m.]\"\n\nDolly. \"You shouldn't! Put it down!\"\nSanta Claus (to Dolly). Oh, a present for me! (Picks up the gift on the table.) How wonderful! (Takes out the mittens and tries them on.) Dolly. You like them?\nSanta Claus. They just fit! Thank you! Thank you!\nDicky. It was part mine, too!\nSanta Claus. I suppose you each knit one.\nDicky. Well, not exactly. Dolly did them, but we gave them together. She let me.\nSanta Claus. I see! Well, I'm much obliged, Dicky.\nDicky (in off-hand manner). Oh, that's all right. But, see here, let me have my things, won't you? (Looks into the sack.) There's the radio set I wanted, and the toy aeroplane, and the skates. I can see them. And the bat and the \u2013 oh, yes, the baseball mask. And those must be my candy boxes. (Reaches into the bag to pull them out.) Oh!\nSanta Claus. Wait a bit!\nDicky dancing up and down, I say, Dolly, see all I've got! Oh, I\u2019ve got all there is in the Santa Claus pack!\n\nSanta Claus taking down the big stocking and putting in its place the whole pack. I suppose I might as well \u2014 you asked for almost all.\n\nDicky. Oh, the whole pack! How dandy! [He is overjoyed.]\n\nDolly [reprovingly]. Oh, Dicky!\n\nSanta Claus. Never mind, Dolly. Let him take out what he finds in the pack.\n\nDicky. Oh, Oh, Oh! Look! I\u2019ll pull out this \u2014 a great big, enormous package! [He pulls out with effort a big parcel which almost fills the sack.] Oh! Oh! Oh! Look! [He pulls the package out and finds it labeled \u201cChristmas Greediness.\u201d] Oh! [Taken aback.] Oh!\n\nSanta Claus. That\u2019s what you asked for, you know. You\u2019ve got it! It isn\u2019t a mistake \u2014 no \u201cChristmas Greetings\u201d \u2014 \u201cChristmas Greediness.\u201d\nDicky: But I didn't want that! [Crying] I didn't want that!\nSanta Claus: I can't do anything about it. That's what all selfish children get.\nDicky: But I wanted the other things. All of them.\nSanta Claus: Huh!\nDicky: [Crying] I don't want it! I don't like \"Christmas Greediness.\" I don't care! I'm going back to bed! I'm not going to open it. [Starts, but turns back] I didn't know you could be mean! [To Santa Claus]\nDolly: Oh, hush!\n\nThe Christmas Stocking\n\nSanta Claus: Dicky, I'm sorry. You see, as soon as you looked into that pack, you changed all the toys that were in it. I'm not responsible because you pulled out a big package of greediness instead of a toy; if Dolly had tried, it would have been different. We'll see what we can do. I'll have to call my Christmas Elf to consult about it. He's up on the roof. [Goes]\nA Christmas Elf peeks out from the chimney, calling, \"Come, Christmas Elf, come here! I need your help! The hells jingle and a little Christmas Elf appears, his dress adorned with hells sewn all over it in red and green. Enter Christmas Elf.\n\nChristmas Elf: I'm here!\n\nSanta Claus: There's a little boy here who asked for everything in my whole pack, so I gave him the whole pack. He's crying now because when he started to take out the presents, he found nothing but greediness!\n\nChristmas Elf: Exactly!\n\nDicky: I didn't know I was selfish!\n\nDolly [putting an arm about him]: Don't cry. It's going to be made right. I'm sure.\n\nChristmas Elf: We'll try what can be done. [Puts the package back into the pack.] Now, little boy! Try again!\n\nDicky [crying]: I don't want to be selfish. I hate that.\nI don't care if I don't have any presents. I want the children who have little to enjoy. I want them to have my share. - Christmas Elf. Now that's the Christmas spirit! (To Dicky.) Try again and see what you pull out. (Holding the pack open.)\n\nDicky. Oh! It's another big package! (The other side of the package is turned toward the audience and it reads \"Unselfishness.\")\n\nSanta Claus (patting Dicky on the back). There! Now you see things are quite right. If you hadn't felt that way, the Christmas Fairy couldn't have worked such true magic!\n\nDicky. And there's a letter.\n\nDolly. Let's read it.\n\nDicky (breaking open the letter and reading). Dear Dicky, I am giving you the very biggest thing Christmas can bring. It is the chance to think of others.\nThis is the real Christmas gift. It is better than having many toys and many little gifts that you can break. I invite you and Dolly to go with me and distribute the big gift tonight. - Santa Claus.\n\nDolly. May we? Oh, may we? I know some little poor children I'd like to take toys to. And there are the Smiths who aren't going to have any Christmas - no gifts at all!\n\nDicky. I will take my skates to Billy Smith. His mother is too poor to buy him any.\n\nDolly. Oh, what fun! [Suddenly thinking,] Mother will let us go. We'll have to ask.\n\nA door slams off stage.\n\nSanta Claus. Well, I must go. Don't dare to get caught again. [towards chimney.]\n\nThe Christmas Elf is about to follow Santa into the chimney when the door opens and in comes Daddy, followed by Mother.\n\nDaddy [surprised]. Oh! [Dropping the toy revolver]\nSanta Claus! I thought it might be a burglar! [Laughs.] So it was you!\nMother. So good of you to come and remember the children, Santa Claus!\n\nSanta Claus [laughing]. They were very naughty. They hid.\n\nDolly. And Santa Claus has asked us to go with him and help give out the Christmas gifts. [To her Mother in a whisper,] He's wearing my red mittens \u2014see! [To Daddy.] You'll let us go? Oh, please!\nDaddy. Oh, yes, to be sure! Don't forget to hold on tight, though!\n\nMother. Run and get your coats.\n\nSanta Claus. There are plenty of furs and warm things up on the roof. Mother. [To children,] Hurry! We have to make up for lost time.\n\nDolly. We'll be home in time for early breakfast.\n\nSanta Claus [standing beside the fireplace]. Children and Elf first! [To parents.] Merry Christmas!\nMerry Christmas! I'll take care of the children! Merry Christmas! Mother. Have a good time! Daddy. Yes! Have a good time! Dicky [turning and laughing]. The best time in all the world! [Calling back.] Mother, please hide that horrid old selfish red stocking! Mother. I will. [Laughing,] Santa Claus turns to go up the chimney. All [in chorus]. Merry Christmas! Merry Christmas! Merry Christmas.\n\nCharacters:\nStingy Dwarf, Generous Dwarf, Selfish Dwarf, The Stranger\n\nCostumes:\nStingy, red brownie dress with pocket at waist.\nSelfish, blue brownie dress with pocket at waist.\nGenerous, yellow brownie dress with overalls and pocket bag.\nThe Stranger, long green cape with hood. He wears a glittering dress under the long cape that entirely covers him and fastens down the front.\nThe living room of a rundown house is where the Three Dwarf Brothers reside. There is an entrance on the right, and near it, a couch covered by a worn rug. At the rear, there is a small cupboard and a stove. To the left stands a table with three broken plates and three china mugs.\n\nThe Curtain Rises to Show: The Three Dwarf Brothers seated around the table.\n\nSelfish: I want more to eat!\nStingy: Well, you\u2019ve already had more than I have.\nGenerous: I do wish there was more in the cupboard; but there\u2019s only the bread that we must save for dinner.\n\nSelfish: I must have that! I am hungry!\nStingy: No! I must have it!\nGenerous: Well, if it weren\u2019t for dinner, I\u2019d let you have it.\n\nSelfish: There you go again!\nStingy: You never let us have what we want to eat.\nGenerous: But you see, there is so very little, brothers!\n\nThe Three Dwarf Brothers\nAnd I am the one who looks out for things. The bread must be saved, for greater hunger will come.\n\nSelfish. There you go again. I want it no more. Stingy. I want more!\n\nGenerous. Well, I haven't eaten my second slice. I'll give you each an equal half. Then we will save the loaf for times of greater need. (He very carefully divides his slice into two equal portions and gives one-half to each brother,) There!\n\nStingy (stuffing his down). Give me some of yours!\n\nHe grabs at Selfish's bread.\n\nSelfish. Stop that! This is mine! (He keeps tight hold of the slice and grabs at his mug too.) You'll be taking my milk next! But this is my mug! You have your own.\n\nTo Generous. And you too!\n\nStingy. My mug's the best looking of the lot, and we all got our mugs at the same time. Selfish, you can't have it. Anyhow, it's too good to use; I'm not going to use it.\nI'm going to put the mug away where it will be safe. I'm not going to let anyone else use it. It's my mug. I won't have you two breaking or using it. The mugs are alike, except that Generous has cracked his. Generous. Oh, oh. Brother! I didn't crack mine! But I will let you two use it when you want. You can save your own that are so pretty and new. You know well who cracked it carelessly, but we won't remember that. Accidents will happen. I know you didn't mean it. It will still hold water! We will all use it.\n\nStingy. Yes, that'll do. We can save our mugs and use them.\nKeep them! Complainingly. Nothing more to eat, I suppose. (He gets up and pushes aside his chair.) Generous. Time to clear up!\n\nSelfish. I'm not going to do any work! (He goes to the couch and curls up comfortably.) You can help, Selfish! (Selfish brushes the crumbs from the table with his hand and throws them on the floor.) There! I've done my share! Brother Generous can finish! (He curls up in a chair with a picture-book.)\n\nGenerous. Oh, the work will soon be done! (He clears the table. As he comes to his own plate, he finds a bit of bread still there. This he puts into the cupboard carefully and then he takes up the broom to sweep.)\n\nA knock is heard at the door.\n\nGenerous. Oh! Oh! Brothers, won't one of you go, please?\n\nStingy (pretending to be asleep). Ron! Ron! Ron!\nRon! Ron! Ron! Selfish. I'm busy! A second time the knock comes at the door. Generous. Oh! Such a cold day! Don't let anybody stand at the door in this stormy winter weather! Selfish [goes to Stingy and shakes him]. You go! Stingy. I'm asleep! Go away! [Snores loudly in make-believe.] Generous [darting forward to the door]. Well, I'll go! Nevermind! [He opens the door.] Enter The Stranger, leaning on his staff. Stranger [coming forward, still leaning on his staff]. Good luck and good day to you all! Generous. The same wish to you, sir! It is stormy weather for the New Year to come in on! Come to the stove and warm yourself! You must be cold. Have you come a long way? Stranger. Aye, a long way, and I am already tired. Generous. Stingy, dear, do let the gentleman have the couch.\nStingy snored loudly, Ron, Ron, Ron. Generous, he must be asleep. Take this chair. Selfish, won't you let the Stranger have the comfortable chair? Selfish pretended to be absorbed in the picture-book so as not to hear. Generous, seeing that his brother had refused, put this here by the fire for you! I wish I had something to give you to refresh you! We have no tea!\n\nStranger: A glass of cold water, if you have it handy.\n\nGenerous went to the cupboard. We have mugs. You won't mind using a mug, Stranger? [Pantomimed while he looked at the chipped and broken mug and shook his head, then went over to Selfish, whispering,] \"No,\" holding tight the pocket-bag with the good mug inside.\n\nGenerous [apparently begging for the mug]. I'll soon have it for you.\nBring you the water, sir! Make yourself comfortable by the stove! [He goes to the couchy corner, but Stingy snores loudly and pays no attention to his whispering \"Do let me take your mug. Brother! I cannot offer company a broken mug!\"] Stingy (awakening): Ron! Ron! Ron! No! It's mine. I won't let anyone use it. I Ron! I'm Ron! It's my mug!\n\nGenerous [returning to the closet]: I'm sorry, I have only a broken mug to offer you, Stranger. It is all I have! [Gives him the mug.]\n\nStranger [taking the mug]: I'm very grateful!\n\nGenerous: I have no doubt you are hungry, too!\n\nStranger: A bit to eat would not go amiss! [He smiles at Generous.]\n\nGenerous: I wish I had something to give you, but alas! We are poor dwarfs who live in a tumble-down house. I have but the part of a crust.\nI. Stranger: But you are welcome to the bread, if you will? I will put it on our best plate! He offers The Stranger the crust.\nStranger: The first that I have eaten this New Year! Ah, but how good it tastes!\nGenerous: Wouldn't you be more comfortable with your cape drying by the fire? I could hang it for you. (Taking back the plate and the broken mug) Oh, sir, there are gold pieces here. You do not mean them for me! I would not take any reward for such a kindness. 'Tis but an everyday thing to help a stranger on the road, if he needs shelter and refreshment! (Putting the coin beside The Stranger's hand)\nStranger: It is but your own magic returned to you! Is not generosity always a golden thing? Keep the broken mug, for, so long as you use it, it will be full to the brim with wealth and treasure.\nGenerous stranger: \"I'm the New Year, I came to you disguised as poverty to bestow my gifts on those who deserve them. I have gifts for your brothers as well.\"\n\nStingy: \"A gift, you say? Something for me?\"\n\nStranger: \"Give me your mugs and I'll fill them.\"\n\nStingy: \"Running to the cupboard: Yes! Yes! You shall have mine in a moment!\"\n\nSelfish: \"Here! Fill mine! Fill it to the brim. Give me more than the others have.\"\n\nStranger: \"Here and here! [Returning the mugs to Stingy and Selfish]\"\n\nStingy: \"But there's nothing in mine but sand!\"\nSelfish and nothing in me but pebbles! Stranger [pointing first at one and then at the other]. You are stingy and you are selfish, therefore the magic could not work. The New Year gives you what you yourself are!\n\nGenerous. Alas! Alas! [Sobbing.] My brothers!\n\nStingy. I told you the New Year would bring us nothing happy!\n\nSelfish. I do not want a mugful of pebbles! [He stamps his foot.]\n\nStranger. I am sorry.\n\nGenerous. My brothers!\n\nStranger. If they had been different --\n\nGenerous. Alas! Alas! Alas!\n\nStranger [comforting Generous, draws him away]. You see the trouble is in themselves so I cannot think how to help them.\n\nGenerous. Oh, could you not change them by some happy magic?\n\nStranger. If they did but show a change of heart!\n\nStingy and Selfish [who have been talking together at the other end of the room, come forward to Generous]. Brother!\nGenerous. Yes! I am sorry! I have been a mean brother to you. I will be better this New Year. I will try not to be stingy any more. I will help with the work. Selfish. And I too. Brother! I have been selfish. I will be more thoughtful of you and of others!\n\nStranger (who is a good fairy). Good! Now I can make the magic! [He touches them each with his long staff.] A Lucky Magic now 1 [He smiles at them and at Generous and goes toward the door.] A Happy, Lucky Magic I\n\nStingy. Oh, oh!\nSelfish. Oh, Happy, Happy New Luck!\n\nThe Stranger puts on his cloak and goes.\n\nGenerous. And now we must be truly happy and share and share alike, truly, as brothers should!\n\nThe three put their mugs on the table side by side, and as they tip them, it is seen that all are full of gold.\nWe will rebuild the tumble-down house, and in the New Year we will never turn a deaf ear to need. Selfishness is not welcome here. whoever may wish to drink from our mugs, he will be welcome. All that is given is meant to be shared! Stranger [shutting the door]. Farewell! All. And Happy, Happy New Year! Happy New Year!\n\nBIBLIOGRAPHY\nStratton, Producing in Little Theaters, Holt\nTaylor, Practical Stage Management for Amateurs, Dutton\nWise, Dramatics for School and Community, Appleton\nChalmers, The Art of Make-Up, Appleton\nCook, The Play Way, Stokes\nMitchell, The School Theater, Brentano\nOverton, Drama in Education, Century\nCalvert, The Problems of an Actor, Holt\nStanislavsky, My Life in Art, Little, Brown & Co.\nBates, Art of Producing Pageants, W. H. Baker Co.\nClark, How to Produce Amateur Plays, Little, Brown & Co.\n\nGimball (costumes)\nCostuming a Play: Century, Stone, The Bankside Costume Book, Wells Gardner Trephagen, Costume Design and Illustrations, Wiley & Sons, Calthorp, British Costumes, MacMillan, MacQuoid, Four Hundred Years of Children\u2019s Costumes, Vol. Hi - From the Great Masters, Music and Dancing, Medici, Botsford, Folk Songs of Many People, Women's Press, Burchenal, Folk Dances and Singing Games, Franklin, Dalcroze, Rhythms and Music in Education, Putnam, Everett, Kindergarten and Primary Songs, Beckley-Cardy, Everett, School Marches and Rhythms, Beckley-Cardy, Shafter, Dramatic Dances for Small Children, Burnes, Warner, Kindergarten Book of Folk Songs, Schirmer, Davison, Music Education in America, Harper, Unusually helpful for all grades of teaching.\n\nDeacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide. Treatment Date: Dec. 2007. PreservationTechnologies - A World Leader In Collections Preservation.\n111 Thomson Park Drive \nCranberry Township, PA 16066 ", "source_dataset": "Internet_Archive", "source_dataset_detailed": "Internet_Archive_LibOfCong"}, {"title": "Amateur Movie Makers (Dec 1926-Dec 1927)", "volume": "1,2", "creator": "Amateur Cinema League", "subject": "motion pictures", "description": "PREMARC/SERLOC merged record", "publisher": "Amateur Cinema League, inc.", "date": "1927", "language": "eng", "lccn": "28006138", "page-progression": "lr", "possible-copyright-status": "Library of Congress has determined that this item is not in copyright", "sponsor": "Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division", "contributor": "Library of Congress, MBRS, Moving Image Section", "scanningcenter": "capitolhill", "mediatype": "texts", "collection": ["libraryofcongresspackardcampus", "mediahistory", "fedlink", "library_of_congress", "americana"], "shiptracking": "4", "call_number": "TR845 .A5", "identifier-bib": "0 011 794 277 6", "other_availability": "http://mediahistoryproject.org", "repub_state": "4", "updatedate": "2013-03-27 12:50:00", "updater": "associate-caitlin-markey", "identifier": "amateurmoviemake12amat", "uploader": "associate-caitlin-markey@archive.org", "addeddate": "2013-03-27 12:50:02", "publicdate": "2013-03-27 12:50:06", "scanner": "scribe5.capitolhill.archive.org", "notes": "No copyright page found.", "foldout_seconds": "912", "ppi": "350", "camera": "Canon EOS 5D Mark II", "operator": "associate-mang-pau@archive.org", "scandate": "20130402184309", "foldout-operator": "associate-john-leonard@archive.org", "republisher": "associate-phillip-gordon@archive.org", "imagecount": "714", "foldoutcount": "13", "identifier-access": "http://archive.org/details/amateurmoviemake12amat", "identifier-ark": "ark:/13960/t3pv81r74", "bwocr": "0308", "ocr": "ABBYY FineReader 8.0", "scanfee": "100", "sponsordate": "20130430", "year": ["1927", "1926"], "journal-title": "Amateur Movie Makers", "date-string": "Dec 1926-Dec 1927", "year-end": "1927", "backup_location": "ia905608_23", "external-identifier": "urn:oclc:record:1039503164", "republisher_operator": "associate-phillip-gordon@archive.org", "republisher_date": "20130403180658", "ocr_module_version": "0.0.13", "ocr_converted": "abbyy-to-hocr 1.1.7", "page_number_confidence": "8.57", "oclc-id": "16759779", "associated-names": "Amateur Cinema League", "date-start": "1926", "date-end": "1927", "creation_year": 1927, "content": "[Mme Galli-Curci, The Little Movie: A Moyemjoint in England. Mlywood: Children's Movies by Radio. Amateur Lighting. Free. If you want to learn the latest and best improvements in Amateur Motion Picture Photography, sign the coupon below.\n\nDeVry Corporation, Desk 5, 1111 Center St., Chicago. Please send me your free booklet shown above:\n\nName\nAddress\n\nWhy Not Study Your Hobby?\n\nAmateur Movie Makers presents for sale:\n\nMotion Picture Photography for the Amateur by Herbert C. McKay $2.50\nMotion Picture Photography\nby Carl L. Gregory $6.00\nMotion Picture Projection]\nby T. O'Conor $5.00\nSCREEN ACTING by Inez and Helen Klumjph. $3.00\nPHOTOPLAY WRITING by William Lord Wright $3.00\nMOTION PICTURE DIRECTING by Peter Milne $3.00\nSend your order accompanied by the price of the books you desire\nAMATEUR MOVIE MAKERS\n267 West 17th Street\nNew York City\nWe deliver them to your address postpaid.\n\nTitles for your own personal Movies greatly enhance pictures by preserving the details of the action and make them much more interesting to watch. A specialized title-service is now available for users of 16 mm. film, ensuring a quality title, property finished and mailed 48 hours after copy is received.\n\nSample titles showing various kinds available gladly mailed on request.\n\nAmateur films also spliced, titled, and edited (put in sequence with bad portions deleted).\nAmateur movie makers in New York and vicinity are invited to make the Kodak Corner Store their service station for Cine-Kodak supplies and clearinghouse for motion picture information. Here, you will find interested and interesting salesmen whose knowledge is complete and up-to-date, whose aim is to make not customers but clients. Among recent developments is making movies indoors with artificial lights \u2013 let us demonstrate. Eastman Kodak Stores, Inc. Madison at 45th Street, New York City \"The Kodak Corner\" Motion Picture Service for Amateurs who live in or visit New York. A check or money order should accompany title orders. Stanley A. Tompkins Care of Kirby Incorporated 2 East 23rd Street New York City\n1. Special fast service on the development of Cine film at the Eastman plant in Rochester. (Usual service \u2014 In before noon, ready for projection the second or third day thereafter.)\n2. Complimentary use of the Gillette projectors and projection room for examination of film or showing of pictures to friends.\n3. Criticism of pictures by competent advisers.\n4. Continuous hints, advice, and suggestions on motion picture technique.\n5. Regular notification on new discoveries and inventions, improved processes, etc.\n6. Information on new devices.\n7. Liberal exchange privileges on outgrown efficient equipment.\n8. Free messenger service on films for development and on Kodascope Library reels.\n\nComplimentary to Customers Gillette Camera Stores, inc.\nPARK AVENUE at 41st ST.\n16 MAIDEN LANE\nNew York City\nPROFESSIONAL CAMERA at an amateur price for MOVIE CLUBS & MOVIE MAKERS.\nFilm your pictures on standard size film. Show your club productions in a theatre or large auditorium. Repay your club expenses and secure projecting equipment without delay.\n\nThe INSTITUTE STANDARD Professional Motion Picture Camera costs less than a high-grade amateur camera. The pictures can be shown in any theatre or movie house.\n\nAll metal construction, smoothly finished, lightweight and portable. Complete with carrying case. Variety of models for every taste and purse.\n\nWrite for FREE CATALOG and full particulars Showing four lens mount attachment\n\nNew York Institute of Photography Dept. 18\n14 West 3rd Street, New York City\n\nThe Camera used by Professionals:\nKinamo\n\nThe Lea Kinamo has made thousands of feet of Pathe News Reels. The Navy filmed the Shenandoah's trans-continental flight with it.\nThe Roosevelt brothers took the Kinamo to Tibet. Roy Chapman Andrews had five of them on his trip into the Gobi desert on his successful search for dinosaur eggs. Now Lea has produced a new Kinamo with a spring motor. It can be used on a tripod, cranking conventionally, or held by hand while pushing a button. To appear in your own movies, the Kinamo only needs to be placed on a suitable stand, and after setting the automatic release, the operator walks into the \"set,\" and in 40 seconds, the Auto-Kinamo will start making your picture. According to the winding of the motor, the scene may be limited to ten, fifteen, or twenty feet. Equipped with a scene punch, footage indicator, one-stop movement for titles, animated drawings, etc., two direct view finders, focusing adjustment, and iris diaphragm.\nThe Auto-Kinamo holds 50 feet of standard film and can be loaded in daylight. It is fitted with the Carl Zeiss Tessar f 3.5 lens of 40 mm focus. There is also a removable film gate, and the usual perfect Leica workmanship. All this in the smallest fifty-foot capacity camera made, and the price is only $140.00. See the Leica Kinamo at your dealers or write for further particulars.\n\nCarl Zeiss, Inc.\n485-P Fifth Ave. New York\nPacific Branch\n728 South Hill Street Los Angeles, Cal.\n\nGraflex pictures for the album, the pocket, and the wall. Only \"still\" pictures will do for certain uses and you will prefer the Graflex kind. The big, fast lens lets in plenty of light, and plenty of light means proper detail.\n\nShutter speeds are 1/5 to 1/1000 \u2014 a range that includes the right one for any subject. Focus is sure. The reflecting mirror shows the full-size image.\nUp to the instant of exposure.\n2M x 3.4 Revolving Back Graflex, Series B with Kodak Anastigmat lens/. 4.5 Price $85. Other models $58.50 up. Graflex cameras are now made by The Folmer Graflex Corporation, Rochester N.Y. For sale by Eastman Kodak Company dealers.\n\nAmateur Movie Makers!\nResults Are What Count In Making Your Own Movies\nOur Service Department is armed to give you - gratis - helpful instruction in the use and selection of the right motion picture equipment, criticism of your films, use of our projection room. Use this service at your own will and pleasure.\n\nHeadquarters for\nBell & Howell\nFILMO\nBell & Howell EYEMO (Using Standard Size Film)\nEastman CINE Kodak\nVictor CINE\nPathex (Now Automatic - Equipped with clock spring motor)\nDevry (Using Standard Size Film)\nFilmo and Cine Kodak Films Developed Free\n\nUIU0\u00a3JGHByS \u25bc\u25bc110 West 32nd St. NYC\nAmateur Movie Makers - Official Publication of the Amateur Cinema League\nTo See Ourselves as Others See Us\nVolume I, DECEMBER 1926, Number 1\n\nContents\n\n7 Amateur Cinema League: A Close Up\n8 Mrs. Coolidge and Home Movies: an illustration\n9 Who Started the Fun?\n10 \"Love By Proxy\": the First Amateur Motion Picture Production\n12 Reeling the Sports\n13 Golfing for the Movies\n14 Trouble\n17 The Clinic: Vamped and Revamped By Dr. Kinema \u2014 Titles \u2014 Editing\n18 The Little Movie in England\n19 The Amateur Turns a Penny\n20 Enter the League: a photograph with some comments about the Amateur Cinema League\n22 Scenarios\n24 Colored Home Movies by Radio?\n25 Swaps: Being an Amateur Movie Exchange\n26 What Makes a Film Interesting?\n27 Hollywood Films: Its Children\n30 Police Photographs: a cartoon\n31 Moose Ahead \u2014 Camera!\n32 A Maecenas for the Movies\n33 Rules of the Game\nAmateur Cinema League Directors:\nHiram Dooley, Floyd L. Vanderpoel, Percy Maxim, RF Voorhees, Stephen Hanmer, Lee, Sdenti5t, Ldtrl'oTco, LitChfield\nRoy D. Chapin, Director of Recreation, Chairman of the Board of Directors, Russell Sage Foundation, Hudson Motor Company, Col. Roy W. Winton\nW. E. Cotter, Herbert, Formerly in charge of recreation, Union Carbide & Carbon, Treasurer of the American Radio, Relay League, States Army\n\nAmateur Movie Makers is published monthly by the Amateur Cinema League. Headquarters in Capitol Building, Hartford, Conn., USA.\nSubscription Rate: $3.00 a year, postpaid (members), $2.00 a year, postpaid (non-members), single copies: 25c.\nThe Amateur Cinema League, established in 1926, is a non-commercial association of motion picture amateurs. It aims to:\n\n1. Increase the pleasure of making home motion pictures by aiding amateurs to originate and produce their own plays.\n2. Promote amateur cinematography as a national sport.\n3. Organize clubs of amateur motion picture makers.\n4. Publish a monthly magazine devoted to amateur motion picture making.\n5. Establish an amateur motion picture film exchange among League Members.\n6. Encourage amateur photoplay writing.\nI. Am a non-commercial organization for maintaining home motion picture making on an amateur basis. II. The League does not allow commercial engagement in motion picture production or cinematographic equipment manufacture, sale, or rental for Board of Governors membership. III. Inquiries about membership are welcome. IV. A genuine interest in amateur motion pictures is the only requirement. V. Application form below.\n\nApplication:\n\n1. Words\n2. Action\n3. Make\n4. Better\n5. Movies\n6. Date\n7. To the Amateur Cinema League\n8. Temporary Headquarters, Capitol Building\n9. Hartford, Connecticut\n10. I accept the Amateur Cinema League invitation to become a charter member.\n11. I designate the class of membership below with a cross (x):\n12. My check for $ payable to Amateur Cinema League.\nCinema League payment: $2.20, including a year's subscription to Amateur Movie Makers ($2 if paid before August 12, 1927). Membership fees: $100 for life (no further dues), $50 for sustaining membership annually, $5 for regular membership annually. Upon election, I will be entitled to all League privileges with no duties or obligations other than voluntary assumptions.\n\nCharter Membership\nName:\nJames\nCity, State\nAddress: Amateur Cinema League, Capitol Building, Hartford, Conn.\n\nSix\nAmateur Cinema League\nA Close Up\n\nWith this first issue of our magazine...\nAmateur cinematography becomes a tangible reality. Amateur cinematography is organized. Instead of thousands of us blundering along independently, groping our way without advice or assistance, and wasting effort and money, we have in the pages of our magazine a common meeting place where we may exchange knowledge. Amateur cinematography is a new art. It is different from every other art that was ever developed. A great deal has to be learned because the possibilities are yet unplumbed. We know but a very little about it, but all of us together represent a large total of experience and knowledge. By organizing ourselves, the knowledge of the whole becomes available to the individual. Amateur cinematography has a future that the most imaginative of us would be totally incapable of estimating. When we analyze amateur cinematography, we find it a very much broader art than we had previously imagined.\nOur civilization provides us today only the spoken word or the written word as a means of communicating with each other. This word may be spoken to those within sound of our voice, telephoned over a hired wire, mailed in a letter, or telegraphed in dots and dashes. But no matter how transmitted, it is still the spoken or written word. We are dumb when it comes to communicating such things as movement, action, grace, and beauty, which depend on these.\n\nThe motion picture communicates all of these. We are able to transmit what our eyes see, and it is the next best thing to actually being present ourselves.\n\nTherefore, instead of amateur cinematography being merely a means of individual amusement,\nWe have in it a means of communicating a new form of knowledge to our fellow beings, wherever they may be on the earth's surface. An amateur cinematographer in the tropics can convey to an amateur in a cold country precisely what life in the tropics is, and convey to him exact knowledge that is not only vital but cannot possibly be conveyed in any other way. Interesting customs in one country which are indescribable in words, and may possibly be of great importance to know, can be made known to peoples of other countries. Every action that occurs, no matter how far away, may be accurately shown in one's own home under conditions of deliberation, convenience, and comfort. It may not be too much to say that the organizing of amateur cinematography marks one of the greatest advances in general human education that has been made in modern times.\nThe professional cinema cannot do this in the perfect way that the amateur cinema can. Professional pictures must appeal to mass interest, and mass interest does not always embrace the things that ought to be known. On the other hand, the amateur has no necessity for appealing to mass interest. He is free to reproduce and record any action his fancy or a friend's fancy may dictate. These great possibilities, however, are dependent upon one thing. That thing is ORGANIZATION. Unless we join hands in one central organization, we are not getting out of amateur cinematography even a small bit of what it contains. Organization will place the cinema amateurs of the world in communication with each other at once, and all that the entire world possesses is available to each one of us. These ideals and hopes have been what has driven us.\nSome of us animated the Amateur Cinema League into being. It is a purely altruistic organization, and if we continue as we have started, it shall never under any circumstances serve any selfish purpose. Those who have organized it have given of their money and their time with no thought of any financial return. They are satisfied if our League succeeds in its purpose, and if it shall prove to be a help in bringing men and women generally to a better knowledge of each other.\n\nIt is not probable that our Amateur Cinema League will hold meetings, conventions, and functions of that type. But if groups decide to hold informal gatherings, every effort will be made to assist them. Instead, it is the belief of the organizers that the amateur cinematographers of the world should maintain a membership in a central organization. Such an organization would make it easier for amateur cinematographers to connect and collaborate with one another.\nAll that is necessary for each amateur to become a member of a magazine where we may all foregather to our mutual advantage. The rest will take care of itself, and I am firmly of the belief that every one of us will some day be very proud of the effort we have made in organizing amateur cinematography.\n\nWho started the Fun?\n\nThe last thing the First Lady of the Land did when President Coolidge broke camp in the Adirondacks was take her own motion pictures. When the Crown Prince of Sweden passed through the United States on his tour of the world, he made his own motion pictures to show the Royal Family and his friends in Stockholm what he saw in the United States.\n\nThe Duke of York and Roy D. Chapin hold the records in England and the United States for motion picture production.\nThe first movies of their children. Mr. Chapin could not wait eighteen hours after one of his heirs was born before he had the baby's features recorded for his own silver screen. The Duke of York, who is an enthusiastic camera man, filmed his daughter and showed the pictures to the Duchess while she was convalescing.\n\nNeither Shakespeare nor Aristotle contemplated the time when the cradle would be robbed so that the action might be preserved on the screen. Is it possible that Robert Burns thought we might want to see ourselves as others saw us when we were two days old?\n\nIndividual motion pictures have made many professionals amateurs again \u2013 on the silver screen. George Ade discovered, as a little movie fan, that there was more fun watching the facial expressions of his golfing companions in the movies than there were in real life.\nFollowing them around links, how could anyone know how one looks playing tennis or golf, swimming or canoeing without a motion picture? A football or basketball game is over in a few hours but it may live a lifetime on film. The biggest fish caught on a camping trip never gets away if filmed! Should you hunt big game in Africa, you might buy the skins and tusks to bring back home, but a motion picture of a lion chasing you through a jungle, filmed by your trusty guide, would tell its own story. We all know that Vice-President Dawes smokes forty-seven matches with each pipe of tobacco and Galli-Curci can sing, but what does the distinguished presiding officer of the United States Senate do when only his family and friends are around? We know that the famous opera star dances for her husband's motion pictures but we\nA well-known banker in Northern New York invited guests to a house party to take part in an amateur play called \"Katherine the Rum Runner's Daughter,\" which he had written, with his wife starring in the title role. \"Love by Another Name.\"\nProxy is already famous as an amateur production, featuring Miss Mildred Sachse as the leading lady. Every little movie has its own meaning, which is the secret of the fun. It tells a story never told before and may never be told again.\n\nFormerly, Americans went abroad to \"see\" Europe or \"do\" the Continent, but today they travel to see themselves abroad. Nothing can prove better that you paraded the beach at the Lido in fancy pajamas than the individual motion picture. How could you expect to prove that you rode a mule in the Grand Canyon without a motion picture? \"Still\" photographs of such experiences are too frequently made in studios!\n\nHere, there and everywhere, sixteen thousand amateurs are creating their own Hollywoods \u2014 Hollywoods of real people having fun wherever they go.\nMr. Chapin: Every home will have its screen as nature sets the stage for the coming day. In our first issue of Amateur Movie Makers, it might be interesting to speculate on who started the fun, what makes us enjoy our own movies. Was it Shakespeare who made us drama conscious, or Robert Burns who aroused our curiosity to see ourselves as others see us? Neither the mirror, photograph nor family album makes us feel like Romeos and Juliets. Consider the lost love's labor because it was not filmed. In \"The Story of Philosophy,\" the answer to our queries may be found. Aristotle really started the fun. \"Happiness,\" he wrote, \"is multiplied by being shared.\" This joy in amateur motion pictures originates there. But to modern science and industry.\nIndustry we owe our gratitude for placing the mechanism in our hands!\n\nDIRECTOR Eugene McLaughlin Explains the \"Action\" to the Leads of \"Love By Proxy\" while cameraman Ragsdale adjusts reflectors\n\n\"Love By Proxy\"\n\nThe First Amateur Motion Picture Production\nAU NIQUE organization\ncalled the Motion Picture Club of the Oranges,\na body of some twenty youngsters, just out of high school,\nwho decided they wanted to produce an amateur motion picture \"thriller\"\nchiefly for their own amusement,\nhave written, photographed, edited and produced a five reel-photodrama called \"Love By Proxy\". They originated their own scenarios, built their own \"sets\", photographed and spliced their own titles, created their own costumes and make-ups and arranged their own special musical program.\n\nIt is the first time a motion picture has been produced entirely by amateurs.\n\nFrederick T. Hollowell\nPicture dramas have ever been produced by amateurs. When the club showed it before an audience of 600 persons at the East Orange Woman's Club, it \"registered\" 100 percent. Eugene W. Ragsdale, an East Orange youth, has been playing with a camera since he was knee-high to a grasshopper. With the appearance of the first amateur-sized motion picture nearly two years ago, he took one with him on a trip to the Adirondacks, where he \"shot\" some mountain scenes and strips of his friends. They turned out so well that when he returned home, he projected them in his home for the amusement of himself and his schoolmates.\n\n\"Why not do a real photo-drama, just like they do in Hollywood?\" he suggested to them. From that suggestion was born the idea of forming a club, then and there, for the purpose of making their own movies.\n\n\"Love by Proxy\" is the first.\nThe scenario had to be written, which took time. Three members of the club - Miss Eleanor Fox, Ralph V. Child, and Grafton Bernard - collaborated on it. Mr. Bernard suggested the title \"Love By Proxy.\" It sounded catchy and professional. The plot had to be woven around the title. It was serious business. They had high ideals and aimed to do everything just like they did at Hollywood, only better. They went to the \"regular\" movies to get ideas on make-up, settings, exposures, and lighting. They returned with renewed eagerness to carry on with their own production. After many discussions, suggestions, and counter-suggestions, the scenario was completed. The whole plot - with love tangles and misunderstandings.\nBut they hadn't yet shot the actual scenes. They had heard about \"screen tests\" in Hollywood. They needed to have screen tests. The prospective leading lady, despite being undeniably pretty, might not film well. \"Cameraman\" Ragsdale conducted the film tests. That took time. The films had to be developed. But when the test films were finished, they chose the cast. Alfred Fontana was cast as the hero, and Miss Mildred Sachse as the leading lady. Dorothy Sachse, Mildred's sister, was also given a star part, and Marshall was assigned to play opposite her. Other \"heavy\" parts were played by Eleanor Fox, co-author, Ralph Child, Elwood Emmons, and George Clark. They later remembered that the scenario called for a mother, so they persuaded Mrs. Mildred Sachse to play that role.\nmother of the two leading ladies, to play the part. The time had come to choose a director. Eugene McLaughlin, whom the \"film tests\" had ruled out of the cast, therefore got the responsible position of director \u2014 and was supplied with knickers and a megaphone almost as tall as himself. Many obstacles were not anticipated, as will be shown later. But the scenario writers anticipated their scenery \u2014 most of it was outdoors because Marshall Schueler, Our Hero, was so interested in seeing that Cameraman Ragsdale made a good picture THAT HE FORGOT TO GIVE THE \"love scene\" its proper verisimilitude. Not so Miss Mildred Sachse, the Leading Lady! Her motto is: Cling to the neck, let pictures fall where they may.\n\ning difficulties. Since the scenario called for a houseparty at the leading lady's country estate,\nObtained permission to use Mr. and Mrs. Everet Colby's estate Llewellan Park, West Orange, for filming these scenes. Many scenes were taken at Braidburn Country Club, necessary according to the scenario to depict the life of effete suburban-ites.\n\nDeep snow covered the ground of Braidburn Country Club when movie fans were ready to begin making their scenes. Consequently, the story was to take place in winter. They would adapt their natural scenery to the needs of the plot. Winter sports would be included in the social activities of their characters. But alas! Snows melted, and camera work could be pursued only on Saturdays and Sundays. They had to go to school or work other days. Before they were fairly started on the plot, Spring had burst upon them. All their winter sports film had to be discarded.\nscenario had to be revised to adapt the production to summer scenery. But that was fairly easy, although it took time. They simply substituted swimming for tobogganing and garden and flower scenes for snow-shoeing.\n\nInteriors were the most puzzling. They had no Klieg lights, and they were determined to do the production without buying any. Various makeshifts were resorted to. They set large mirrors outside of windows and reflected sunlight into their improvised \"studios\". Extra-strong electric light bulbs supplemented. Since the scenes thus photographed were still somewhat less brilliant than the outdoor scenes, they adapted the plot so that most of the interior scenes portrayed \"night scenes\".\n\nAfter all, love-making and such-like indoor sports usually took place at night.\n\nThroughout the preparation of the production, Cameraman Rags-\nThe moving spirit of the movie, dale, spared no time or patience to achieve Hollywood verisimilitude. Close-ups were freely indulged in when Director McLaughlin wanted to reveal special emotion. The hero's earnest cigarette-smoking conversation with his best friend over coffee at lunch was shown in a close-up when he tried to persuade him to impersonate him at the house party he couldn't attend due to business. When he wanted to indicate that the house party guests were dancing to phonograph music, a close-up of a rapidly-revolving record was flashed.\n\nThe scenario called for train scenes. Heroes had to be shown speeding away on a train or whiling away dull hours in Pullman seats while awaiting arrival at yearned-for destinations. The scenario writers had not anticipated the difficulties.\namateurs getting train scenes. But since they were in the plot, they must be photographed. The influence and \"pull\" of fathers was brought to bear. In this way, arrangements were made for the Chicago Limited, of the Lackawanna Railroad, to make a special stop at a local station in order that the required train scenes might be filmed.\n\nEleven. Reel. The SPORTS of Robert Jordan. A reel of pot shots is interesting, of course. But not nearly so interesting as the titled movie that has continuity and tells a definite story. Continuity and a story presuppose a simply written scenario or a roughly drafted script, and \"doing it first on paper\" only emphasizes the fun of later \"doing it on location.\"\n\nNow, how to go about it? Well, first let's consider a simple, timely situation \u2014 a football game.\nTitle 1: A Gridiron Battle - Varsity vs. Princetown\n\nTitle 2: Our Gang - Off to the Stadium\n\nScene 1: Long view of \"Our Gang\" walking towards waiting auto. Close-ups of each member of the party. Long view of party entering machine which exits down the road.\n\nTitle 3: Going in With the Big Crowd\n\nScene 1: View of party entering stadium, walking towards seats, purchasing programs from vendor. Close-up of Bill squeezing Mary's hand and pointing up the field. Long view of empty field as players rush out for preliminary practice. Views of the stadium crowd, etc.\n\nTitle 4: A Few Celebrities\nPearl S. Morgan, lives up to Mr. Ade's ideals by playing tennis with her facial expressions.\n\nScene 3: Close-up of players, etc. Each close-up should be taken.\nTitle 5. They're Off! Long Varsity scene:\nScene 4. Close view of cheerleaders. Long view of the kick-off interspersed with numerous views of gridiron action. End each quarter with a title announcing the score.\nScene 5. Views of the last few minutes of play. Close-up showing enthusiasm or despair on faces of \"Our Gang.\" Include some comedy here. You know how frenzied spectators act, hat-chewing, etc.\nTitle 6. The Snake Dance\nScene 6. Long view of the victorious dancers. Long view of John D. Rockefeller, Sr., bringing his whole body into his car. \"Our Gang\" exits to the parking station.\nTitle 7. \"And the Score?\" Varsity 21 \u2013 Princeton 7. Of Course!\nTitle 8. The End.\nEach football game presents its own cataclysmic events, so on the spur of the moment you may need to change mentally your script.\nFor example, the assured victory unexpectedly turns to defeat; dramatic climax. Don't miss this. Later, close-ups of tense despair will provide enough comic relief to soften the defeat. In general, the above script will give you ideas for arranging any titled sports movie scenically.\n\nBefore the game, find out the sun direction. Don't get a seat facing it, or your pictures will show flare. Even if it means sitting with the opposing side, locate properly for sun position. A good place is behind one of the goal posts. Remember the never-to-be-forgotten rules about holding the camera steady, following the exposure guide, not panning except cautiously and slowly. Don't make your scenes too long; 5 feet per scene or ten seconds is sufficient for nearly any type of action.\n\nIn conclusion, good luck.\nGeorge Ade wrote to a friend, \"May your side win. Twelve Golfing For The Movies. I have taken many pictures of golfers, and they are interested and often horrified to learn just how they swing the club. The victims of close-ups usually say, 'I never knew I made such funny motions with my mouth.' For two years, most of the humor at the Ade residence in Indiana has come not from the fluent pen of Mr. Ade, but from the countless reels he has taken of his friends. All his life he has clung to the belief that people are funniest when they are not trying to be. Consequently, he has used his motion-picture camera to snap pictures of his friends at times when they were unaware that they are being observed, much less photographed.\"\nFor a long time, he tried to keep his hobby secret, as his friends realized that he was apt to appear on the scene from every wayside tee with his clicking cine-camera, they were ever on their guard. But by the time they had been aroused to the imminent danger that lurked in his tiny instrument, the distorted physiognomies of most of them had been recorded for posterity.\n\nAt the same time that Mr. Ade was making use of his cine-camera merely for the purpose of entertainment, he began to realize that pictures made on the athletic field might serve a more useful purpose. He conceived the idea that his faults \u2013 and those of his friends \u2013 might accurately be recorded on the golf course and then screened later in his home. There his friends gathered with him, and they were able to see just what was wrong with their technique.\nGeorge Ade plays safe. He gives us a special pose to show that he does not play golf with his mouth. Others, including those from Detroit and other cities, have taken advantage of this use of the cinematic camera. Golfers and tennis players are photographing their technique and studying the films at home. The projector can be stopped at any point and carefully studied. He who is conscious of only one fault discovers, when the film is projected, that there are other obstacles which he must overcome before the club championship is within his grasp. Mr. Ade's practice of making films of his friends at play has been adopted in some cases by professional instructors intent upon ferreting out the hidden faults that impeded their pupils. The films made in this manner have been of service, not only to the instructors but also to the players themselves.\nThe instructor affects both the pupil and the motive should be more than just entertainment. Other fields offer equal fertility, such as motion pictures of a friend untangling a knotted string or attempting to lace high boots, providing endless amusement during long winter nights.\n\nThirteen\nWHEN the dear old lady at the head of the Cemetery Improvement Fund or the Current Events Club asks about wonderful moving pictures taken and requests a showing for her Society next Saturday evening, consider carefully before replying. Trouble may ensue.\nIt's not simple to give a public entertainment using a handful of chosen films with a projector and screen, as Governor Nellie Ross of Wyoming poses for fourteen Dr. Kinema reels. You're flattered by the reputation of having done fine work, causing you to forget a solemn promise to your wife to accompany her to the Jones' for dinner next Saturday night. You're so engrossed in the praise of your pictures that you run over in your mind various films, realizing they're unusually fine, yet the long scenes where Bob talks are boring to people who never saw them.\nTo you and your wife, the long picture of Bob is quite entertaining. It is also entertaining to Bob's wife and nothing short of enthralling to Bob. The great unwashed, however, miss these fine points. You decide it might be well to cut out Bob.\n\nThe next step in your downfall is the thought of those beautiful bits in that other film. If one were to cut out Bob and put in those bits from the other film, it would make that reel a masterpiece. If you have an incurable case of optimism, as I do, you resolve on the spot to make the shift. Then you discover that those new bits have no titles. So you seat yourself and with a great show of enterprise, you dash off the necessary titles.\nI. You request a rush job at the laboratory \"just for this particular occasion.\" I often ponder what they think of us with our \"special\" rush jobs. Your mind is now completely inflamed. New ideas keep tumbling in upon you. It occurs to you that it would add enormously if you took some additional local scenes. There are not enough of them, and they would be so tremendously appreciated by the local audience. You thereupon dash downtown and involve yourself in additional financial difficulties to the tune of $12.00, buying two fresh reels of film. Then you let business go hang and chase about madly making these additional exposures.\n\nGovernor of Connecticut, The Hon. John H. Trumbull.\nYou receive a frightful sum of money for special handling and delivery postage stamps, and you get the films and title list from the developer. You think you have completed everything and can rest. However, you are grossly mistaken. Before falling asleep that night, you consider at least twelve rotten bits in the film where you panned too zealously and wriggled the camera when you took your finger off the button. You decide to eliminate these bits. When you get to this task, you discover that you don't have enough empty reels. To hold the various parts of the film you have chopped up, you buy several more of the little tin can things at a dollar fifty each. With these, you are confident that you are free to cut your film up and subdivide it to any amount. After dinner, you cut and cut. In a half hour, you find that you have insufficient film.\nI have done a great deal of cutting. Things have become involved. In a few moments, you realize that you are in a perfectly hopeless state of confusion. Bits of film and reels lie around everywhere, and for the life of you, you cannot remember which is which. It is at this point that you discover that editing a cinema film is a new indoor sport \u2014 a combination of chess and poker. Between films that are wound on the reel backward, films that are wrong side up, and films in which it is impossible to say whether they are wound on backward or forward, you have become quite temperamental. You speak unfairly sharply to the children, and you hear mother explaining that father is very tired and worried over his business.\n\nAfter having recourse to the old pipe to settle your nerves, you gradually get yourself unsnarled and your films back in order.\nYou have received the sequence you desired. Wondering how the new exposures and titles will appear, you find that the exhibition you have undertaken has been extensively advertised, leading to an altogether different notion regarding the enterprise than you started out with. Instead of casually producing a little cinema entertainment and basking in the praise of your admiring friends, you find yourself faced with a big theatrical venture, and the whole endeavor rests heavily on your inexperienced shoulders. Conscious of the fact that you are becoming increasingly frightened, Friday arrives, and the entertainment is to be on Saturday night. That night, you project your new films and find that they are great. Excitement ensues, and you sit up very late editing and splicing the new films.\nSaturday afternoon, Mrs. Jones invites you and your wife to an early dinner and suggests going to the Hall together at eight o'clock. This idea saves valuable time as you must have everything done by six o'clock to load the car and get ready for dinner. Unfortunately, you had arranged a foursome at the golf club for Saturday afternoon, which must be abandoned. Instead, you spend the lovely summer afternoon in your library splicing titles in a movie film. At five, you see the end.\nsight. The film has reached a condition suggesting a syrup by this time, and every splice has been made with a shaving brush. At five-thirty, your wife appears. In a voice with a note of strained reserve, she suggests that you come and get dressed. The last fifteen minutes become a horrid scramble. All your well-laid plans have been smashed to bits. Instead of screening everything to be certain that nothing had been spliced in wrong side up or hindside before, you must now put your trust in kind providence. A miserable feeling of dread possesses you, and you wonder why on earth you ever allowed yourself to get into this wretched business.\n\nAt the Jones, you try to be sparkling but cannot make the grade. You are frightfully distracted. Instead of sitting quietly, you fret and worry.\nAt a Tuck dinner, you realize you should be in your library working on your film. The hall is filled with people when you arrive. It's beastly hot, and you drip perspiration and wilt your collar hopelessly, hunting for tables and boxes upon which to mount your screen and projector. Then you discover your projector's electric cable isn't long enough to reach the only available lamp socket. But someone fixes this. Too hot and wretched and harried to find out how, you make a few remarks about the difference between amateur and professional moving pictures, and how the amateur brand will be entirely lacking in sob stuff, but that you hope nevertheless it will be interesting.\nYou call for the lights to be put out and proceed to business. Discovering that your pictures are one-tenth as bright as at home, you focus and strain your eyes, and your wife whispers hoarsely that the pictures are not nearly bright enough. Realizing that giving a cinema exhibition in a public hall is vastly different from giving one in your living room, the first film goes splendidly. In a sweaty, steamy atmosphere that hopelessly beclouds your glasses, you feel things are not as bad as they might be. Reel number one breaks no splices, has no titles upside down, and no pictures hindside before, and at the end, it is greeted with enthusiastic applause. Excitedly, you thread in reel number two.\nThe lights are out, the switch is on, and you are off again on a reel that is even better than number one. Silence gradually lays a mantle over the entire place. There is no enthusiasm. There are no admiring murmurs. Instead, there is plain, two-inch-thick, case-hardened silence. The reel ends. There is no applause. You then begin to grasp what the professionals mean when they say of a new plan, \"You never can tell.\"\n\nReel number three is next threaded in in moist silence. You ask that the lights be put out and you start your projector. It runs, but it fails utterly to project anything. It is inky black. You are unable to see a blessed thing in the murk and you are afraid to move for fear you will tip the whole business off its box. In a weak voice, you ask for the lights again for a moment.\n\nYou quickly discover that your projector is out of film.\nYou never had a lamp fail to light before, but now one isn't working. You're hot and steam your glasses as you fumble around in the dark to remove the old lamp and replace it with a new one. You remember the spare lamp the dealer mentioned when you bought your projector and manage to find it, wrapping discarded. Overheated and dripping with perspiration, you struggle to put the new lamp back in place and start the projector again. The same black screen greets you.\nCaptain Jean Baptiste Noel, official photographer of the Royal Mt. Everest Expedition, takes movies of the peaks on Manhattan Island. The lights have been put out again, and once more in a week. You call for them to be lit. Realizing there is absolutely nothing to do but fish out the second lamp, a kind soul with good eyes asks to see it. He gazes fixedly for a moment and then makes the intensely interesting pronouncement that it has only part of a film, the other part being down in the bottom of the glass bulb where he rattles it around as proof of his diagnosis. By this time, your audience is talking, which is always a very bad sign, and you are feeling like a disconcerted pickpocket. What with the long hours of overwork in getting the films.\nYou're not ready for the frightful heat, the dinner that sits badly, and the shock to your nervous system. You now feel as though you've indulged in a shot of bad home brew. Beaten, you possess enough strength to recognize it's better to acknowledge it. So, you falter up to the screen and make a few sorry remarks, offering an explanation as weak as dishwater. You promise to repeat the exhibition with a basketful of new lamps the following Saturday evening if there's anyone willing to sit through it.\n\nA sympathetic soul in the front row remarks it's too bad, and you catch your disapproving wife's stern eye. You now know that public exhibitions are frightfully different from parlor exhibitions when it comes to motion pictures.\n\nTherefore, I am led to re-\nMark, fellow amateurs, when you are asked to give a public entertainment, give careful thought to many things. I had five tested lamps, miles of electric cable, bags of two-way sockets, plugs, and everything for a grand and glorious feeling after going through nine reels the next Saturday evening.\n\nTHE CLINIC\nVamped and Revamped \u2014 B3\n\nDr. Kinema, an amateur consultant for AMERICAN MOVIE MAKERS, will discuss problems in amateur cinematography that many of us encounter in our picture-making adventures. The doctor has made two requests of our readers: first, that they forward plenty of questions; second, that wherever possible, they send with those questions what they believe to be the correct answers.\nDoctor Kinema does not want to fill the Clinic with his own ideas. He invites all members of the AMA-TEUR Cinema League and all readers of Amateur Movie Makers to make contributions to his department. Please send in questions, answers, and discussions to Doctor Kinema, care of Amateur Movie Makers, Capitol Building, Hartford, Connecticut. A special article by Doctor Kinema appears elsewhere in this issue.\n\nEditing:\nDo not overlook the immense advantage of editing your amateur film. It makes all the difference between success and failure. Many amateurs are inclined to overlook this very important matter. They \"shoot\" a roll of one hundred feet and when it is received back from the finishing, they rush it into the projector, and the film is judged in its raw state. Even a professional film would be discouraging if done that way. Your film probably has many editing needs.\nThe text is already clean and readable. No need for any cleaning.\n\nThe text is about the issues with the quality of a film, specifically mentioning jerky blank spaces between shots, shaky portions, too fast panoramas, hurry close-ups, grey over exposures, black under exposures, and poor quality generally. The text suggests that if the film had been edited, the issues would be resolved and there would be an immediate improvement and increased satisfaction and pleasure. Nothing is more discouraging than anticipating the return of a film and feeling disappointed after projecting it.\nNext to properly editing one's film, the most important thing is to title it. A lot of scenes, strung together, ever so good photographically, convey only a small fraction of the message that it does, when titles explain what the scenes are. It requires an extraordinarily good film to be interesting without titles, and an indifferent film without titles is a \"total loss,\" nine times out of ten. Titles are perfectly easy to obtain. All that is necessary is to write them out and order them. They will be in your hands in ten days, all nicely arranged in the order you wrote them. Splicing them in their proper places is good fun, and a marvelous method of getting one's mind off one's troubles.\nAmateur filmmakers face challenges in composing titles and splicing films. Titles, with their snap and brightness, significantly enhance a film. While one can create their own titles, ordering them is simpler. Titles are not costly and come with an attractive border, enhancing a film's finished look.\n\nIs it Forward or Backward?\n\nEvery amateur encounters issues splicing and rearranging film in their early days. Until they master the technique, scenes may appear upside down or in reverse. In some instances, they cannot distinguish the beginning from the end of a film fragment to be added to a reel.\n\nThere is a solution. Hold the two films to be spliced together and examine the light passing through them. If both films have their shiny sides facing you, they are ready to be spliced.\nBoth sides up, that's the way they should be spliced in order for the end of the old to lead into the beginning of the new. Usually, the action will indicate which is the beginning of a bit. But if it is a landscape, there is no action, and one must have another means of knowing which end is which.\n\nSeventeen\nThe Little Movie\nin ENGLAND\n\nThe Little Movie Movement moves slowly, very slowly indeed, wrote V.P. in a recent issue of the Christian Science Monitor. One wonders why. It is so obviously needed. There is such an open and easily accessible place waiting for it in the world of cinema, and success seems so sure. One only needs to glance back through the history of the Little Theater movement to see how genuine a contribution the amateurs can bring to art. Consider the Abbey Theater, and how the two Fays contributed.\nBrothers began it with only ambitious amateurs for artists. Consider the Moscow Art Company, and Stanislavsky's story of the family theatrics. It is possible for any family with a cinematographic taste to buy a little camera and projector, and for any theatrical group of screen aspirants to do likewise. The apparatus is cheap, the use of it is cheaper, the opportunities for experiment are priceless, and the sincere and studied work that would undoubtedly come from such uncommercial experiments would feed the screen as the stage has been fed. Sooner or later, the movement is bound to gather momentum. In London, it has just received a preliminary push from a little group of players known as the Gate Theatre. They presented at a festival matinee not long ago a home-made motion-picture called \"Shadow.\" Now this is interesting, for here is a little group making their own films.\nThe theater turned its attention to making a little movie using its equipment. A disinterested spectator commented, \"This first attempt was not very serious and is not to be taken very seriously, but it has its significance.\" The significance was particularly notable for the Amateur Cinema League in New York, as it echoed the strides taken in the United States. The directors of the Gate Theater, whose playhouse was a garret almost opposite the Garrick Club, decided to amuse their subscribers with a special matinee in honor of the first season's success. They found fifteen unused minutes in the program two days before the performance. One director, Miss Molly Veness, wrote a highly melodramatic scenario, casting herself as the Wife.\nPeter Godfrey, another director, produced the scenario with him as the Villain. Wilfred Walter, an \"Old Vic\" veteran, volunteered for the husband role. The rest of the Gate Theatre's cast was the crowd, and the stage and lighting equipment of the garret were used. The bill for all this was approximately \u00a312 for electricity. Two days later, a camera outfit and 3s. 6d. for \"Shadow\" were put on the screen.\n\nGodfrey explained all these details in the history of this film to us in a running commentary that accompanied the picture. Many other things in the picture were also explained, as much of both the photography and plot of \"Shadow\" was obscure. Many incidents in the scenario had been improvised on the spot. Some of the outdoor scenes, cleverly filmed.\nTaken from the street below, scenes were lost from the windows of the garret due to over-exposure and cruelly criticized by their expositor. Some studio scenes, however, taken in the theater and lit by the theater's lights, were excellent. And this is the point. For Mr. Godfrey is an expert in stage lighting, and some of his Gate Theater play productions this year have made his fellows blink their eyes. So this \u2013 the excellence and interest of the lighting and setting and composing of some of the later interior scenes of \"Shadow\" when the extempore director got his hand in \u2013 is the point, and the reason for writing seriously about this merry melodrama made for fun by a company of mountebanks.\n\nFor it is by such modest means that the little theater, especially the little theater in America, has flourished.\nNot the little movies flourish only, fed by young enthusiasm? The Gate Theater's miniature expressionistic production last winter of \"From Morn to Midnight\" was so successful that Godfrey was invited to make a full-size production for the West End. He did, though I'm told, not with entire success as the proportions were still too little for the big playhouse. Now he plans to try and make a motion-picture of the play, possibly with the idea of presenting it as a preliminary sketch to some professional producer who will invite him to develop it into professional proportions. And possibly the result will be entirely unsatisfactory. No matter. The project opens up possibilities, and it is not presumptuous to imagine a Gate Theater entirely of the screen \u2013 not of the stage playing with the screen \u2013 organized to compose, play, and produce films.\nThe motion picture field, hitherto confined to the realm of professionalism, is now being invaded by an insistent and ever increasing amateur demand, made possible through manufacturing genius. What was accepted yesterday as a device requiring professional and scientific skill to operate, is today a simplified mechanism of such compactness and reproduction quality as to adapt itself to home use. Following an urge to produce before an audience of subscribers miniature motion pictures which can be developed and enlarged, eventually developing and enlarging the art of motion pictures, James J. Montague stated in the N.Y. Herald Tribune, \"It won't be much trouble. When we get motion pictures by radio, the young people will have to think up some other reason for not staying home.\" B.J.H. McNabb, The Amateur Turns to a Penny.\nEnthusiastic welcome. It bids well to become as popular as the phonograph, the automobile, or the radio. The activity of public acceptance of this popularized art has doubtless been covered in other pages of this magazine. I will come to the point of the topic assigned to me \u2013 the serious aspect of amateur movie equipment.\n\nTo itemize the applications of amateur or semi-professional cinematography means to go on indefinitely. With each thought and each possibility, other avenues of usage appear until one actually wonders how civilization has progressed without the cinematic camera.\n\nHere are only a few of the many thousand uses to which the new 16mm equipment (for the amateur) has been employed with outstanding success.\n\nIndustrial \u2013 The manufacturers of tractors have found selling far more effective through staging a practical demonstration of\n\n(Note: The text seems mostly clean, but the last sentence is incomplete and may require further investigation to ensure accuracy.)\nCutting and handling timber, from the felling of the tree to the finished product in the mill. Great giant timbers in an almost impassable forest \u2013 cut, hauled, and handled like so many toothpicks. Demonstrations in localities of prospective buyers could have been made, but, by using the cinematic camera and projector, an interesting, actual, performing story in life-like reality was projected in the comfortable offices of their prospective buyers and in a manner far more agreeable to both parties than milling through mud and weather to see the tractors actually perform. Trucks, automobiles, washing machines, motors, batteries, street cleaning and ditching machines, are all among the wide variety of industries which have found practical commercial uses for the smaller equipment. The cost of a product may never be fully understood by the consumer.\nA salesman, equipped with a cinematic projector, can quickly and effectively showcase the qualities of an average trade. In the prospect's own place of business, they may witness a tour through the plant and have actual visualization of the processes.\n\nScience receives its share of praise for the cinematic camera. It is a remarkable advantage when we consider the knowledge previously confined to the eye witness or a textbook.\n\nImagine, if you will, the interior of one of our country's great technical institutions. Surrounded by a limited number of witnesses, a wise scientist, with microscopic precision, conducts an experiment. The preparation of which required many years in the gathering of rare materials and will probably never be reproduced over another long period. Heretofore, the transmission of such knowledge was limited.\nThe importance of recording detailed experiments for scientific knowledge depended upon the memory of a few witnesses. Records may have been kept, but the visual, physical action and application could not be recorded. Today, a super-speed cine-camera with telephoto or microscopic lens records every move and its result, which can be repeated over and over again. The actual experiment, in the minutest detail, can be re-enacted in every laboratory or before every scientific body in the world, if necessary. A moment's reflection on this one angle readily points out the fact that the amateur motion picture is assuredly of great advantage to science, where learning is most dependent upon detailed experiments and the accurate and complete preservation thereof. Consider further, the inadequate illustrative reproduction when drawn from memory, as compared to the everlasting and instant reproduction of the experiment through film.\nThe metropolitan dairy attracts public favor and patronage through educational films, showcasing the entire process in slow motion surrounded by the actual environment. A small herd of satisfied Jersey cows grazes in a meadow skirted by cool shade trees. In the evening, the cattle file into separate well-bedded stalls in the stables. Automatic milking machines operate, riveting the attention of the uninitiated. Moonlight and the fresh milk, carried in sanitary cans and loaded into great motor trucks, are transported to the central dairy. Each can of milk is carefully sampled amidst scientific surroundings of a well-equipped facility.\nIn a laboratory, the Chief Chemist analyzes and tests each specimen before the product is accepted. Great vats and scientific processes follow. Bottle cleansing and sterilization operate with almost human intelligence. All is far beyond the expression of words. Huge carts of bottled product are conveyed to waiting delivery trucks. Each truck has its own refrigeration compartment. The morning quiet in the city streets is punctuated by the silent moving vehicles.\n\nJesse L. Lasky, New York, N.Y.\n\u2014 \"The particular phase of the movement to which you refer, namely that of the development of amateur motion picture dramatics, is also interesting to me and my associates. Doubtless you know that our sincere wish is to encourage eligible young people to think seriously of motion picture acting as a career.\"\nLast fall, the Para-mount School took definite shape, fostering and increasing young people's interest in the technical work of making motion pictures. This benefit extends to the industry as a whole, as enthusiastic young amateurs may potentially recruit valuable additions to its acting and directorial forces.\n\nGovernor JoJin H. Trumbull of Hartford, Conn., expressed his interest in amateur movies and his willingness to assist in furthering the movement. Arthur Brisbane of New York also offered his support for Mr. Maxim's endeavors.\nCharles P. Taft, Cincinnati, Ohio - \"Count me in as an organizer.\"\nT. A. Willard, Cleveland, Ohio - \"You may put me down for my share of any expenses necessary to make me a member of this organization.\"\nAugustus P. Loring, Jr., Boston, Mass. - \"I am heartily in accord with the idea and if there is anything I can do to further the same, I shall be very glad to do so.\"\nThe Biltmore Hotel, New York City - \"Who's greetings were read at this first meeting of the American Civil Liberties League.\"\nMme. Galli-Curci - \"It is certainly a very interesting movement and I shall be happy to become a member of the A.C.L. With all good wishes for the success of this genial idea.\"\nWalter Pritchard Eaton, Shefield, Conn. - \"I think that the formation of such a society might, indirectly, affect the professional men of the country.\"\nMovies enhance the better. meeting.\n\nCarl Laemmle, New York, N. Y.\n\"\u2014 The interest shown by amateurs in all branches of the picture business cannot help but reflect itself in moving picture theatre attendance, and that, as everyone knows, is the life of the business. Interest will be stimulated by the thousands of people who are using these small cameras and home projectors.\"\n\nWill H. Hays, New York, N. Y.\n\"\u2014 I am much interested in this matter. For years I have been a camera man \u2014 long before I went into this work \u2014 and with the possibilities of motion pictures in the amateur field, my enthusiasm has doubled. The fact is I possess nothing that I value more than the motion pictures I have been able to take of my boy with a small movie camera. There are so many phases of pleasure and usefulness in amateur motion picture photography that one has to\"\u2014\nCommander E.F. McDonald, Chicago, III: \"There is no question in my mind that the home moving picture projector will have a very vital influence in the home, second only to the radio.\n\nJesse Lasky, New York, N.V.: \"The particular phase of the movement to which you refer, namely that of the development of amateur motion picture dramatics, is also especially interesting to me and my associates. Our sincere wish to encourage eligible young people to think seriously of motion picture acting as a career took definite shape last fall when we established the Paramount School. Anything which fosters or increases interest among young people in the technical work of making motion pictures is bound to be of ultimate benefit to the industry as a whole.\"\nAnd it is not too much to suppose that from these enthusiastic young amateurs the motion picture industry may possibly recruit valuable additions to its acting and directorial forces.\n\nFrom Everest Quarter They Gathered at The Biltmore Hotel, New York, on July 28th \u2014 They Who Were To Be The Nucleus of The Amateur Cinema League.\n\nGovernor John H. Trumbull, Hartford, Conn.\u2014\"I am greatly interested in amateur movies and will be very glad to assist in any way I can in furthering the movement.\"\n\nArthur Brisbane, New York, N.Y.\u2014\"I shall be very glad to do anything I can to be of use to Mr. Maxim in connection with the matter that interests you.\"\n\nCharles P. Taft, 2nd, Cincinnati, Ohio. \u2014 \"Count me in as an organizer.\"\n\nT. A. Willard, Cleveland, Ohio.\n\u2014 \"You may put me down for my\"\nAugustus P. Loring, Jr., Boston, Mass. - \"I am heartily in accord with the idea and if there is anything I can do to further the same, I shall be very glad to do so.\"\n\nCalli-Curci - \"It is certainly a very interesting movement and I shall be happy to become a member of the A.C.L.\"\n\nWalter P. Eaton, Shefield, Conn. - \"I think that the formation of such a society might indirectly affect the professional movies for the better.\"\n\nCarl Laemmle, New York, N. Y. - \"The interest shown by amateurs in all branches of the picture business cannot help but reflect itself in moving picture theatre attendance and that, as every-\"\nOne knows that the business is vibrant. Interest will be stimulated by the thousands of people who use these small cameras and home projectors.\n\nWill H. Hays, New York, N.Y. \u2014 \"I am much interested in this matter. For years, I have been a camera man \u2014 long before I went into this work \u2014 and with the possibilities of motion pictures in the amateur field, my enthusiasm has doubled. The fact is, I possess nothing that I value more than the motion pictures I have been able to take of my boy with a small movie camera. There are so many phases of pleasure and usefulness in amateur motion picture photography that one has to be careful lest his enthusiasm runs away with him.\"\n\nCommander E.P. McDonald, Jr., Chicago, III. \u2014 \"There is no question in my mind but that the home moving picture projector will have a very vital influence in\"\nThe home is second only to the radio. Twenty-one scenarios by J. Of all the motion picture sequences we have struggled with in the past six years, none, to me, flares out so vividly as the river crossing scenes in \"The Covered Wagon.\" To my mind, the sequence is the most perfect my cameramen have ever filmed. It is not an artistic sequence. No art was intended. All the scenes were filmed in \"straight-away\" photography. Beauty would have detracted from the stark realism of the venture. Here might be rule number one to the new owner of a motion picture camera. Never, under any circumstances, attempt to make action beautiful. Eliminate all fancy lighting effects or trick angles. Artistic photography has its place, of course \u2014 in scenic shots, in close-ups or in garden scenes \u2014 but in dramatic action, never. The filming of the river crossing scenes involved:\n\n1. Location scouting and preparation\n2. Casting and rehearsals\n3. Camera setup and testing\n4. Filming the actors wading through the river\n5. Filming the covered wagon crossing the river\n6. Filming the actors reacting to the crossing\n7. Post-production editing and sound design\n\nRule number one: Never attempt to make action beautiful. Eliminate all fancy lighting effects or trick angles. Artistic photography has its place, but in dramatic action, never.\nIn \"The Covered Wagon,\" the sequence might serve as an example of how amateur photographers should operate in shooting their own sequences. Several days before we were ready to photograph the river fording scenes, Karl Brown, chief cameraman on the picture and now a Paramount director, visited the location and made test shots of the river and of the trail leading down to it. These tests were to determine five things: the kind of film to use, the filters to use, the exposure, the angles, and the lighting on the river at that particular time of day. In all, thirty-two tests of about fifty feet each were made. After shooting each test, a slate was marked with all the information and that slate photographed. Thus, when the negative was developed, printed, and projected, first the test was flashed upon the screen and then a shot of the slate was displayed.\nFollowing the process, I have cleaned the text as follows:\n\nGiving all necessary information for that shot, Brown determined the best angle, twenty-two ames glases, the best film, filters, and lighting for the actual shooting of the sequence. In photographing any important event which cannot be remade, such as a dangerous river crossing, it is advisable to experiment with test shots. For instance, if you desire to photograph an Armistice Day parade, it is best to go along the parade street several days previous to the march and at the same hour of the day to make test shots. In this manner, you will know just what lighting you will have, how to set your lens, and the best possible angles to photograph. Number your locations on the sidewalk or curb with a piece of heavy crayon. Therefore, in the test shot angle...\nNumber three shows up better than angle number two. You will have no difficulty locating that spot on the day of the parade. All photographers should prepare a shooting continuity beforehand - just as with the filming of an actual motion picture. Then there will be no regrets afterward that some particular shot was missed, and the scenes will hitch together properly. Following is an excerpt from the river crossing sequence in \"The Covered Wagon\":\n\nScene 240\nExterior. River. Long shot \u2014\nFade In\n\nOn part of the Wingate wagon train stopped on camera side of the river. Some wagons are fording the river, while others are already across. In several places in the foreground, household goods have been dumped at one side, wagons moving away from the camera.\nScene 241 (Exterior. River. Medium Shot)\n\nOgle and two men lift out a walnut bureau. Ethel Wales enters and steps to him, asking, \"What are you doing?\" He replies, \"We've got to lighten all these wagons.\"\n\nScene 242 (Exterior. River. Close-up)\n\nOgle finishes speaking. Ethel Wales says, \"Well, you'll dump something besides my mother's walnut bureau!\" Ethel Wales keeps on, \"I've got rose cuttings and flower seeds in there! Not to mention other things I need to make a home.\"\nScene 243: Exterior. River. (Medium Shot)\n\nEthel Wales speaks as men virtually throw the bureau into the wagon. She settles and stands satisfied.\n\nScene 244: Exterior. River. (Fairly Long Shot)\n\nOn a portion of the wagons and cattle crossing the river. Trouble ensues. A man rides his horse up the embankment and out of the scene.\n\nScene 245: Exterior. River. (Medium Shot)\n\nEthel Wales is at the wagon. Lois Wilson (her daughter) walks in, weary and wan, already much worn from the last day's trip. Ogle and the men get out of the wagon and fasten the rear end. A man rides in with dripping horses and tells Ogle he is wanted. Ogle hurries out, perhaps mounting his horse at one side.\n\nScene 246: Exterior. River. (Fairly Close Shot)\n\nAccident near middle of stream with a general mix-up.\n\nScene 247: Exterior. River. (Medium Shot)\nScene 248: Exterior. River. Long Shot. Across the river, Ogle is seen swimming his horse out that way.\n\nScene 249: Exterior. River. Medium Shot. Where the train turns to one side to ford the river, wagons keep on going across as before, among them the Ogle wagon with Miss Wilson and her mother in the seat.\n\nScene 250: Exterior. River. Fairly Close Shot. Of the accident.\n\nScene 251: Exterior. River. Long Shot. At a slightly different angle than scene before last, the Ogle wagon is already in the scene.\nScene 252, Exterior. River. Long Shot.\nFade in.\nWagons approach from the other side with stock and other wagons. The last caravan member has left the other side. Ogle wagon, driven by Miss Wilson, is well on its way to the bank on this side.\n\nScene 253, Exterior. River. Closer Shot.\nOgle wagon with mules in deep water, the water up to the wagon box. Miss Wilson and her mother have evidently faced danger in crossing.\n\nScene 254, Exterior. River. Long Shot.\nAs the wagons continue to approach the camera, the Ogle wagon gets closer. Fade out.\n\nAt the beginning of the sequence, there is a scene of:\nWagons coming from the opposite side of the river. The last wagon of the caravan has left. Ogle wagon, driven by Miss Wilson, is making its way to the other side with its stock.\nIf you have no fade-in device on your camera, two feet of black film will suffice. Finished film, unexposed but processed, will do the trick. You will often find several feet at the beginning and end of your roll when it is returned to you.\n\nThe first scenes in nearly all sequences are typically a long shot. This is partly to establish the surroundings before moving on to medium shots and close-ups. For instance, scene 240 shows a general view of the river, the people involved in the action, and the location as a whole.\n\nIn scene 241, we transition to a medium shot, and in scene 242, to a close-up. Originally, this is the order in which motion pictures should run: long shot, medium shot, close-up, and then working back.\n\nHowever, no motion picture strictly adheres to this order. The art form allows for flexibility and creativity.\nThe scene angles and distances depend entirely on one's actions. But if one can follow that order without losing dramatic suspense, one's picture will have a better sense of balance.\n\nThe Lady Who Wanted to Uplift the World was very pleased. For here at last was a means of keeping the family all at home together every night. One can get all the excitement of going to the movies without the effort of traveling down town, and can have lemonade out of one's own icebox at intermission.\n\nAunt Elizabeth can come in and give the preliminary news reel by word of mouth, and Sister Maybelle can see Dickie Barthelmess in her own parlor, on a film that has been reduced to fit the family projector. Moreover, she and the boy friend can sit on the sofa in the dark while Father is too busy running the projector to notice.\n\"whether all her attention is fixed on Dickie. \u2014 Kathleen Halladay, The Boston Post. \"The Caliph at Home\" Other times, other manners. And, one might add \u2014 other costumes. Nowhere was this more apparent than at the last Bohemian Club encampment. Ten years ago everybody was running around camp with cameras. This year the grove was full of motion picture machines. Even Harry Howland had the amateur motion picture bug. Surely we leap from one wonder-fad to another these days.\" \u2014 Charles Caldwell Dobie, San Francisco Bulletin\n\nTwenty-three Colored Home Movies\nIn Hartford, Connecticut, there is an inventor who has achieved world-wide recognition through his knowledge of noise and silence. His uncle, also an inventor, developed the most powerful explosive for armor piercing projectiles. His father invented a gun which can fire six hundred rounds per minute.\"\nThe third member of this paradoxical family, Hiram Percy Maxim, inventor of the Maxim silencer, known as \"Daddy\" by nineteen thousand amateur radio telegraphers worldwide, organized the first aero club of America and is now pioneering an Amateur Cinema League. Someone has said that we are responsible for our own actions but cannot foresee the reactions. The Maxim family is a family of action, and the reactions following their inventions and vision continue to add fame to the name. Every night, while most of us are asleep, thousands of ears are listening for radio messages from all parts of the world. In the early hours of the morning, many messages end with these letters: 'G N O M.' It is not unusual for amateur radio operators in Australia or Africa to send messages.\nOr they exchanged messages with Mr. Maxim at night. They have a worldwide brotherhood and they always ended their messages with these letters, which stand for \"Good Night, Old Man.\"\n\nProfessional radio owes much to these amateurs, and it was largely through the genius of Hiram Percy Maxim that they organized a number of years ago the American Radio Relay League.\n\nAbout two years ago, Mr. Maxim was photographing sound waves in his laboratory, and became interested in amateur cinematography. From his laboratory, he began to take pictures of his family and friends in action. Here he conceived the idea of forming an international organization of men and women who are interested in making their own motion pictures. He made inquiries in Hartford and found that in that city alone, there were fifty other \"movie makers.\" They held a meeting.\nAt his home, the Amateur Cinema League was first projected. Recently, at a luncheon in New York City, the national organization was launched. Letters were read from an amazing group of prominent men and women, professionals in their own field, who are, however, amateur motion picture directors, stage managers, actresses, and actors.\n\n\"You are going to see the day when radio-transmitted colored motion pictures will be shown not only in theaters, but in your own homes. When that day will come, cannot be said, but it was predicted to me by a man upon whose judgment in such matters I put faith.\"\n\nHowever, this is just one vision Mr. Maxim had regarding amateur cinematography. Mr. Maxim believes that the day is not far distant when amateur movie makers will be exchanging films.\nThe amateur radio operator experiences great ease and enjoyment as he communicates with distant friends. I talk frequently with my radio acquaintances in Europe and Australia. I would like to see the films that amateur movie makers are creating in those parts of the world. I would particularly like to see a film from an amateur in the South Sea Islands. Other Americans would likely share this interest. I am equally sure that he would like to see my film 'This Little Connecticut of Ours.'\n\nWhile Maxim's father and uncle were devoted to making noises, Hiram Percy's efforts have been primarily focused on eliminating them. His principal mission in life could be described as his indomitable efforts to make them.\nMr. Maxim, born in Brooklyn 57 years ago, developed a flair for studying sound early in life and specialized in acoustics at the Massachusetts Institute of Technology, graduating in 1886 as the youngest student in his class. He would likely not attach bombastic importance to his inventions, given his genius for mechanical things. The principle of his silencers, he describes, is the result of any material substance moving. There may be a reason why he sought to silence noises from his past. Perhaps he grew tired of the constant disturbances during his youth and had ample opportunity to experiment with his silencing devices.\nThe substance, exceeding the velocity of sound through the air, applies to exhausting gases from engines and firearms. His problem was to devise a means of holding back these substances at the proper moment to prevent their disturbances from annoying human ears in the open air. The silencing device holds them in prison until they have lost their ability to disturb the free air beyond the velocity of sound. This is the principle. However, it is not all so simple. But if the rest were told, there would be no use for his patents.\n\nMr. Maxim has the characteristic curiosity for scientific information. Although his rather lengthy explanation is omitted here.\nunruly hair is turning white. The flame in his piercing eyes has not abated one iota. He has the insatiable appetite of a youth when it comes to learning about new things, new inventions, new ways of doing things. In ordinary conversation, his manner is as eager as that of a boy with his first sled. He hangs his nose glasses over his right ear until something requires close ocular scrutiny, and then his hand reaches for his spectacles as automatically as if it moved by electricity.\n\nThis is the man who has undertaken the leadership of the Amateur Cinema League and who will devote to it the same energy and enthusiasm that he gave to the American Radio Relay League.\n\nAmateur Film Exchange\nAmateur films available for exchange.\nOne of the chief functions of the Amateur Cinema League is to establish a safe and workable amateur film exchange. This will not be undertaken until a procedure has been worked out to ensure absolutely safe transportation and return of valuable films. The League desires to have a list of films whose owners are willing to exchange under conditions of absolute safety. Will you not send such a list to the editor of Amateur Movie Makers as soon as possible?\n\nBelow are listed some films and their owners:\n\nNAME: Hiram Percy Maxim.\nADDRESS: Capitol Bldg., Hartford, Conn.\nFilm 1: Fishing Trip - A canoe trip through the Moose River Country from Jackman, Me., 800 ft., two reels.\nFilm 2: Development of an Old Farmhouse Into a Country Home - A record of the development of an old farmhouse in Lyme, Conn. 400 ft., one reel.\nField Day, 1925. at Dobbs- Field day at The Masters School, Dobbs Ferry, NY. 400 ft., one reel.\nEuropean Trip \u2013 The record of a trip to Paris and London, 1925. 1200 ft., three reels.\nWinter in Connecticut \u2013 A series of winter scenes in various parts of Connecticut. 400 ft., one reel.\n\"Mag the Hag\" \u2013 A play by three Dobbs Girls. Taken early in the history of amateur cinematography and a very funny example of early amateur photo plays. 400 ft., one reel.\nLog of the \"Sea Gull\"\u2013 A motor boating picture, with scenes at the start of Bermuda Race, Harvard-Yale boat races, around New London and Long Island Sound. 800 ft., two reels.\nSummer in Connecticut \u2013 A series of scenes in various parts of Connecticut in summer. 400 ft., one reel.\nNAME: W. R. C. Corson.\nADDRESS: 127 Oxford St., Hartford, Conn.\nTrip to Bermuda \u2013 Shows scenes of Bermuda.\nI. Automobile Tour Films\n1. Film of Bermuda, St. George, Hamilton, Sea Gardens, beaches, etc. (350 ft., one reel)\n - Shows canals, rivers, bridges, Rotterdam, Dordrecht, Middleburg, Delft, The Hague, Lezden, Alkmaar, and Amsterdam (1200 ft., three reels)\n2. Auto Trip in France\n - Shows Paris, Cevenne Mountain region to Carcassonne, Pyrenees region to Pau, and return to Paris via Bordeaux (1200 ft., three reels)\n\nII. What Makes a Film Interesting?\nOne of the shocks of my young life came when I put together recently eight hundred feet of film. It recorded an automobile tour through six states which had been very interesting and enjoyable. And yet when this film was projected, it was found to be thoroughly uninteresting. I have shown it several times to various audiences, but the reaction was always the same. What, then, makes a film interesting? This question has puzzled me for some time, and I have come to the conclusion that there are several factors which contribute to the interest of a film.\n\nFirst, there is the visual appeal of the subject matter. A beautiful landscape, an interesting city, or an unusual object can hold the attention of an audience for a long time. Second, there is the human interest factor. People are always interested in other people, and a film which shows the daily life and customs of a foreign land can be very appealing. Third, there is the element of adventure and excitement. A film which shows daring feats, dangerous stunts, or thrilling experiences can keep an audience on the edge of their seats. Fourth, there is the emotional appeal. A film which evokes strong feelings of joy, sadness, or excitement can leave a lasting impression on an audience. Finally, there is the technical excellence of the film itself. A well-made film, with clear images, good sound quality, and smooth editing, can enhance the interest of even the most ordinary subject matter.\n\nIn conclusion, a film which combines these various elements can be truly interesting and engaging for an audience. It is the filmmaker's task to capture these elements on film and present them in a way that will hold the audience's attention and leave a lasting impression.\nI analyzed the film in detail, hoping to locate its weaknesses. It was a disappointment that failed to elicit anything more than polite remarks. Some suggested it was a lack of continuity that was my trouble. I considered this but discounted it, as there was a clear continuity as we traveled through various states and compared the roads and road signs. Then someone said it was a lack of people, and that pictures needed to be interesting by showing them. Mine had not done so.\nI gave careful consideration to the places in the film. After considering this, I was also forced to discount this, as my best film, one which never fails to evoke enthusiastic admiration, is almost wholly of places and almost nothing of people. Then somebody else said that the film lacked a \"compelling idea.\" I am not quite certain that I know a \"compelling idea\" when I see one, and I have no confidence in my ability to find a compelling idea for every film I make. I know I have made several interesting films, and I seriously question whether they have compelling ideas.\n\nOne thing I do know, and that is that most of this film was over-exposed. In consequence, almost none of the pictures are sharp and snappy photographs. Instead, they are soft and inclined toward the grey and hazy. This in itself is enough to dampen enthusiasm. No matter how interesting the content, the poor image quality detracts from the overall impact of the film.\nInteresting if an action is dim and grey, it is not inspiring. Another thing I noticed was that I had taken a great many scenes in which there was little or no motion or action. In the cases of those in which there was action, I noticed more interest was manifested by my audience. Still another thing I noticed in studying the reason for the lack of interest in the picture was the unfortunate selection of views that somehow I had been led to make. I recall passing many real picture opportunities which I let go, because it is so hard to stop a smoothly running car and go back and take a picture. When I did shoot a scene, it was not frequently enough an interesting one. For example, I found myself taking ordinary street scenes in various towns, just because they showed these towns. All towns look very much alike as far as what is depicted in the text.\nI came to the conclusion that the uninteresting eight hundred feet of film were due to the fact that I had taken too many scenes that did not inherently appeal. My appeal was lost for various reasons. One reason was that I had bought a new camera and was not familiar with it, resulting in the use of too large stops and overexposure. I had several beautiful views, such as those around Princeton University, but lost them all due to overexposure. I had a series of leaden grey pictures, which with a stretch of the imagination could be discerned as beautiful in the original. I have in mind another sort of scene.\nA scene consisted of a little girl, a dog, and a puppy. The puppy gamboled about the little girl and played awkwardly with her. The picture was only fair, being overexposed, but every time it flashed on the screen, there was a murmur from the audience and remarks such as, \"Isn't that too cunning.\"\n\nIf all the film were of scenes like this, overexposed or not, the film would probably have a different reputation. And yet, what is there about an ordinary puppy jumping about that is interesting? There is something interesting, however, which I call \"appeal.\" The clumsy, enthusiastic, silly actions of a little puppy dog appeal to us and we say it is interesting.\n\nOn the other hand, gas stations, ferry houses, and street scenes, which are ordinary, do not appeal. Continuity, of course, must exist in some form, but continuity is not the issue here.\nIs almost always present in spite of us. Beauty exists in many of them, extraordinary beauty in some, good cinematography in all, but only that thread of continuity suggested by the title. So I say, continuity is not the whole thing. One thing is always of absorbing interest, regardless of continuity. Cinematography, steadiness, illumination, or anything else. It is pictures of the people in the audience. They will look at them over and over again, hour on end, sitting bolt upright in their chairs with their eyes glistening. There need be no special action. Just the normal motions of ordinary life are enough to set an audience into spasms, if the pictures are of themselves.\n\nHollywood Films and Its Children\nBy Myrtle Gebhart\n\nThe big stars of Hollywood are busy making films of their kiddies. Yearly records of the tots are kept.\nmade as they grow up, and are kept in the family movie album. Some day, doubtless, some of these children will be famous themselves, and we may then be allowed a glimpse of these \"secret\" films. Towards the future I turn an ear and methinks I hear the following dialogue, occurring about the year 1940, the scene being the magnificent projection salon in the sumptuous home of the Harold Lloyds:\n\n\"We've just seen the latest Famous-Goldmayer Super-Special-Extra Jewel $10,000,000 production. The programme's over, announcer says. Let's put on one of the films we took of you, Gloria, when you were a tiny tot.\"\n\n\"Oh, dad. Don't, Gloria exclaims in irritation. \"The notions fathers get these days. That antique thing! Why, there's one you made when I was only six.\"\nmonths old and, dad, I didn't have very much on. Besides, mother's clothes looked dowdy. All the hair the women had then \u2013 they called it 'bobbed,' didn't they, mother? It must have been a lot of bother. So much nicer, Gloria purrs. To merely brush back our ultra-short-cuts the way we do now with a slap-bang.\n\nAgainst Gloria's objection, father Harold presses a button. With the scenes that now flash on the screen before them, there are no words, such as accompanied the motion picture of a moment before, broadcast from a central projecting station into thousands of homes, its dialogue synchronized to the action so expertly that the voices emanated perfectly cadenced, from the lips of the shadow actors. No, this poor little reel is a memory-glance, bringing vividly back before them the life of 1926 ... a film record of Mildred Gloria Lloyd's.\nI'll wager this scheme will occur in many homes of former movie actors or producers or business magnates of the mammoth motion picture industry, or those retired from active work, living luxuriously upon vast estates, in 1940 or thereabouts. Or perhaps a loved little one will be gone and the film of her babyhood will keep her not only enshrined in their hearts, but there at will, in her shadowed reflection, before their eyes. For the majority of the actors who are parents, they are keeping a film record of their young ones' childhood, of their games and studies, their growth from year to year. I wonder how the kids will like it? It would be interesting, I'll admit, to see chubby, cotton-haired me toddling around on plump little legs. Still, I don't know. Some of these baby-pictures I'm not keen about displaying.\nI have cleaned the text as follows:\n\nPlaying and I've noticed strong men of the movies blush nervously when proud mothers insist on showing the interviewer how Thomas looked as an infant, wrapped in a dimple and well, very little else. I believe the idea, over which Hollywood's parents are so enthusiastic now, isn't going to prove a great hit when the baby actors are grown up and these childhood celluloids are flashed on the screen.\n\nFor the present, however, the kiddies are having great fun playing in home movies - under the direction of their actor-parents, and in making their own little films with the vest-pocket sized cameras given them to record for future reference their youthful activities.\n\nThe children of Hollywood don't have to set \"outposts\" to watch for intruding parents while they indulge in their favorite game. No cry of \"Jiggers, dad's here.\"\nFor they have been given as their toy the machine which has put Hollywood on the map with a blaring of trumpets, and which earns their fathers' livelihood: the camera. These family productions are simply made, without the manifold hubbub of a studio. The audience consisting of neighborhood children, who assemble to watch the proceedings and make remarks, sometimes flattering, again derisive.\n\nBob Talmadge Keaton\nCourtesy of the Boston Sunday Post.\n\nTwenty-seven. Indeed, the children of H.B. Warner once complained that they had acted all afternoon \"without any audience.\" To which their father, who once knew lean seasons, replied: \"so has your old man, many a time.\"\n\nAs the Beerys live on a 35-acre ranch, about 45 minutes drive from Hollywood, the kids have a wide range for \"location.\" Mostly they do Westerns, though\nsometimes they put on grand costumes and film a smart society drama \u2014 with a tall accent on the \"h\"; very grandiloquent gestures, sweeping bows, and much chest heaving. Of course, there's always a hero and a villain. Because \"Pidge\" and his pals, at their present ages, can't see much reason for the existence of the feminine sex \u2014 except mothers \u2014 one of the boys has to dress as a girl. It is then only temperament that threatens to disrupt the infantile organization. \"Pidge\" has the director's greatest asset, however: a bribe invariably works \u2014 the promise that the heroine, in this one, in return for \"crying and looking silly,\" may be a bad Indian in the next one scheduled.\n\nReally, I hardly believe that Jack Holt \u2014 also a junior, but \"Tim\" to his friends \u2014 belongs in this group of \"amateur actors.\" Having outgrown such childish cavortings, he is a real actor.\nactor now as he imitates his father in wheedling for Western toggery and begs himself into being taken along on location, the director of \"Forlorn River,\" for Paramount, needing a little boy in the picture, decided the only way to keep the ever-present Timmy from asking so many questions was to give him a job. So the youngster receives a salary and will appear in the completed film. Not so, Suzanne Vidor, daughter of Florence, who lives next door to Timmy and who hasn't yet \"graduated.\" Suzanne is a very correct little lady who likes social affairs. The two children often make films together, though Timmy scorns Suzanne's tea parties without. They're multiplying. \"It's a real nice little story you thought up\" (Courtesy of the Boston Sunday Post).\n\nJack Holt, Jr., and Suzanne Vidor.\nTimmy commented, \"But why two teas in it? One's more than enough. I'm not one of those tea-cup actors.\" If you had seen Suzanne's grave little smile that lit up her eyes and flickered across her cherubic face, you wouldn't blame Timmy for \"falling\" to the lure of the ingenue-vamp. Ridicule it though he did, he posed with the tea cups and dainty sandwiches. I was strictly ordered not to make any \"romance yarn\" out of this. The heroine of the duo rarely gave the hero a shy smile - only when she wanted him to play the gentleman-actor - but instead mostly reprimanded him severely and reminded him to wash his hands and ears and be careful of his manners.\nJean Hersholt, another Junior, who is 11 and attends a military academy, has decided that his profession will be acting. He has a veto against disagreeable villain roles, as his father expertly enacts them. In fact, Jean is proud of his dad as a man and father, but feels squeamish when he takes the other kids to see Jean, Sr., on the screen. It is an embarrassing situation. The regular thing is to hiss the villain, but when the villain is your pal's pop \u2013 and he's paying for your tickets besides \u2013 a fellow feels under a sort of handicap. So Jean, Jr., wishes his dad would be a hero, like he will be himself when he grows up.\n\nTwo William Juniors. Another major in the making is William Seiter.\nAnother Junior, a 15-year-old son of the director, and his pal, Will Rogers, both attended military school and during vacations, as their homes adjoined. The Seiter youngster has decided to be a director like his father for two reasons: he could wear white knickers and shout through a megaphone.\n\nTo Joe Talmadge and Bob Talmadge, sons of Buster, the film record of their playtimes kept by their father is an annoyance to be endured as just another of those queer whims which fathers get.\n\nJoe Wants to Be a \"Cop\"\nJoe, 4, has chosen his profession; he is going to be a policeman. Bob, 2, hasn't decided yet.\nJoe's penchant for hunting bugs indicates he will become an entomologist. When given moments of peace alone on the lawn, he manages to collect an alarming array. The Keaton kiddies' constant companion is \"Trotsky,\" a huge Irish stag hound, gentle with children, allowing them to maul him to their hearts' content, but furiously dispositioned toward strangers.\n\nJoe had a grand idea recently. He thought, if he had to go through with this movie business at home, he might as well have plenty of company to share his trials. He's no actor to \"hog the camera.\" So he proposed to Uncle Joe Schenck a picture with Daddy Buster, Aunt Norma, John Henry Seiter, Jr., Will Rogers, Jr., and himself.\nHis brother and Trotsky in the cast, with mother directing and nurse as camera-lady. Grandma Peg Talmadge seconded his motion like a good yes-lady, but expressed a doubt that Trotsky would consent to co-star with any one, particularly inexperienced actresses like Norma and Constance. The kiddies of Hollywood enjoy more or less play-acting for the camera at home and their parents get great fun out of projecting these little home-made movies for their friends' amusement. Anyone has any definite ideas what makes a film interesting (concluded from page 26)\nAmateur picture interest: It would be helpful if amateurs discussed what makes a picture interesting or uninteresting in these pages, allowing the rest of us to benefit from their views.\n\nAmateur Titles\nHave you read page 17? In the interest of the Amateur Cinema League, we are most anxious to develop our Title Department. Sub-titles can now be purchased. We want to make it possible for amateur movie makers to supply them to our readers. Will you help by sending the editor some of your best sub-titles?\n\nTwenty-nine\n\"Love by Proxy\" (concluded from page 11)\nUp close shots were taken of the locomotive's drive wheels to indicate inexorable power and fate-ful separation of lovers. Scenes were even taken of the leading man \u2013 emotion written with amateurish exaggeration on his face.\nIn a diner, a man tried eating lunch while the blurry landscape dashed past the train window. Creditable attempts were made at all the tricks of the professionals, and although some amateurisms were inevitable, the final result - a piece of pioneer work in cinematography - was tremendously interesting locally and demonstrated universally what the possibilities are in amateur motion picture art. The Motion Picture Club of The Oranges is eager to try another production. They are already discussing seriously a project to make their home-made films an intermittent feature in local professional motion picture theatres. Several photoplay managers in the vicinity of The Oranges have applied for permission to show \"Love By Proxy\" in their theatres. They want to make local talent films a part of their feature programs. While developing plans for another production.\nThe Motion Picture Club of The Oranges is now holding weekly business meetings with all the earnestness and self-conscious dignity of an ambitious society. It may be the forerunner of a nationwide group of amateur clubs devoted to the study, development, and encouragement of amateur, and perhaps professional, motion pictures.\n\nThe Amateur Turns a Penny (continued from page 19)\nImmaculate whiteness as deft deliverers dart into side yards and up stairways. The picture closes with a little breakfast scene \u2014 a happy father, mother, baby, and a bottle of milk on the table.\n\nThirty. Will PHOTO Philadelphia Cops, When They're Ought NWPIH6 -New Item\nCartoon from The New York World, courtesy of Mr. Johnstone.\n\nBaby reaches for a second helping and the picture fades out.\nA close-up of a baby - a great smiling sunbeam of American childhood - you just simply cannot forget that brand. You're sold. You may advertise and select words with the ring of a bell, but there is no message carrying vehicle that can compete with that which the eye sees.\n\nThe cinematic camera and projector is the sequel to a well-defined adage - \"Seeing is believing.\"\n\nIn athletics and sports, the amateur cinematic camera has of late proved even more valuable than the element of continuous oral review of a popular event or meet. Today, the slow motion picture places the coach or trainer at greater advantage in being able to point out to each participant his shortcomings\u2014or affords the comparison of professional technique or action to the semi-professional or amateur. So vast has been this appeal that a visitor to almost any athletic event is likely to find a cinematic camera in use.\nlocation of golf, tennis, baseball \nor football, will witness innum- \nerable amateur cinematographers \n\"shooting\" their friends in action. \nHow really effective this form \nof self-education actually is may \nbest be understood by mention- \ning here the experience of a pub- \nlic speaker. For many years he \nhad unconsciously cultivated a \nmost unbecoming gesture. Close \nfriends endeavored to point out \n(continued on next page) \nMOOSE Ahead -CAM ERA! \nBj) C. E. Skinner \nMOOSE trails along the \nlakes and creeks on the \nHudson Bay slope are \nas plentiful as the paths in \na well-used cow pasture. But \nthe moose, exceedingly wary, is \ndifficult to approach. For ten \nlong days Pete and I had been \npaddling many miles a day, mak- \ning settings of flashlight cameras \nin the hope of snapping a bear, \na wolf, or a moose. I always \ncarried with me my little cinema. \nI was ready to go into action at \nWe were ascending a creek, requiring three or four miles of paddling for every mile as the crow flies. The creek meandered through an alder swamp and had not been visited by men for a year. Moose trails were everywhere. Everything was still except for the occasional noise we made poling the canoe through alders which overhung the stream and could not be avoided.\n\nSuddenly, Pete whispered that moose were in the water above us. He had seen a few hairs floating on the surface. It was quite certain that we must round several bends in the creek before there would be any possibility of seeing him. The sun was getting low, and many questions arose in my mind. Could we approach without making noise? Would a turn of the wind give a hint of our presence, as had happened several times?\nI. Had we found only a muddy creek? Would the light be right, or would a turn bring us directly into the sun? Or would the moose be in such heavy shadow as to make a picture nearly impossible?\n\nI had instructed Pete that if a moose were sighted, he was to get the canoe moving in the proper direction and then cease paddling to avoid spoiling the picture with the motion of the canoe.\n\nWe proceeded with increased caution and finally, on rounding a bend, saw a cow moose in the water \u2013 about twenty-five yards away. Only her head and shoulders were visible. The fading light was in the right direction \u2013 and the stage was set as if by prearrangement. Instantly, the camera was in action. The moose, perceiving the canoe rounding the bend, gave one surprised look and made for the bank, which rose six or eight feet above the water.\nShe had difficulty climbing out at a point which could not have been better selected for my purpose. After reaching the bank, she gave a leap, stood broadside for a few seconds and then disappeared in the brush. Meanwhile, Pete had been saying \"The calf is on the right \u2014 the calf is on the right,\" and as soon as the cow disappeared, I swung round and found the calf struggling to get up the bank. Unfortunately, in this case, it was directly into the light. Nevertheless, I located it in the finder and kept the camera going until he also disappeared into the brush. I had been through the Submarine Zone and had turned out for air raids. Most of Pete's life had been spent in the north woods and he had been over the top many times in his three years in France. But this was a new kind of thrill for both of us.\nWe were as excited and pleased as two school boys after a raid on a melon patch. We had been successful in the most difficult of all hunting\u2014where all the conditions for shooting must be present, as well as many others, such as direction of light, background for the picture, time enough to get action on the screen, and proximity to get a reasonably large picture. Now I can bring back the scene at will both for myself and my friends.\n\nIf you don't believe such hunting is both difficult and exciting, try it for yourself.\n\nThe Amateur Turns a Penny (concluded from page 30)\n\nTo him, the counter effect his ill-adapted gesture created, but to no avail. One afternoon, as he was delivering an address at a political ceremony, a friend in the audience \"shot\" him. Later, he projected the picture at a house party, and there, on the screen, appeared:\nThe much-discussed gesture became prominent in its repetition. The result was immediate and permanent. The consciousness of seeing himself as others saw him did more than the combined efforts of his many friends.\n\nIn the home - It is needless to dwell upon the uses of the cinema camera and projector in the home. The historical recording of its members - the filing of animated records of our loved ones, guests, and pleasant moments - are all pleasurable and important. And yet, through the experiences of others, we come upon unique practices which open still newer avenues of entertainment and pleasure.\n\nFor illustration - there was a father and mother whose only child, a daughter, married and moved to another city. Their lives had been very close and the distance between them was keenly felt. However, through the use of the cinema technology, they were able to maintain a closer connection and experience new forms of entertainment and pleasure.\nThe cinematic camera and projector have completely faded away. Both families purchased cameras and projectors, as well as hundred-foot films, which were \"shot\" at regular intervals. An exchange of the films taken at both homes has created a closeness of almost side-by-side living.\n\nThe cinematic camera and projector are fast becoming an essential utility in the average intelligent home. The elements of pleasure and entertainment are secondary to the actual value in the more serious things, which no other form of communication can possibly produce.\n\nA Maecenas for the Monies, by Roy Walter Winton\n\nThe seven arts of tradition, although they may have sprung from the soil or \u2014 if you prefer the romantic viewpoint \u2014 may have descended from Olympus, did not attain respectability unaided. Patrons, supporters, protectors, defenders of the faith have guided and sometimes elevated them.\nThe eighth art of the photoplay is the hardest of them all. Born in a nickelodeon, it spent its childhood literally on the streets, moving from one temporarily vacant building to another with too little in its purse to be given a lease, and driven from its makeshift stages and odorous auditoriums by the needs of commerce. It has come to its amazing adolescence owing no debts to protectors and forced to obey none of the conventions of polite society. What dignity it has reached has been achieved through standards it has created for itself out of experience, condemnation, and the lack of charity of the cultivated world.\nThe soil from which the photoplay sprang was mostly asphalt, and the Olympians added no romance. Yet a new art came into the world. It has earned its own bread and made its own tools, and its experiments with beauty have been limited by a stern practicality. Unless a new idea could pay its way, it had to be abandoned.\n\nThe photoplay merits a sportsmanlike fairness of viewpoint from the intelligent. It has made its way unaided into the life of the public as no art has done. An objectively critical examination will show that it is, in all honesty, an art; that it does express beauty through a new medium, which is the essential thing to give it that title. The beauty it expresses may very likely be naive and may lack the subtlety that appeals to a nicely discriminating taste, but the photoplay is past the doubtful period.\nPseudo art and beauty are authentic and established means of externalizing concepts. Patrons have made it possible for the accepted seven arts to be busy with creation and have helped set artistic standards. They have brought a controlling taste to frequently rebellious creators, and older arts have reached their present place through the combined efforts of artist, patron, and public. The photoplay lacks the conservative influence of the patron and is an affair of artist and public alone. This has emancipated the photoplay from the restraint of patronage, a restraint that artists have always resented but which has kept the broad stream of their expression from licentious independence and has subjected them to the discipline of conservatism and the standards of a taste not wholly deteriorated.\nMined by artist and public, the full development of any art requires enthusiastic creation, public approval and critical appreciation. Patrons have been the most effective critics and have brought an understanding and objective viewpoint to all art. There seems to be a small likelihood that the photoplay will acquire patrons who will serve it as they have served other arts. Patrons acquire a place chiefly because of a very practical and material contribution to artists who require aid. Their influence upon the development of any art comes only after they have, by a generous support in time of need, won the right to make themselves effective in moulding creative effort. The photoplay has established first hand relations with the public and has no need of subsidies. It has been profitable as no other art has been. It can snap its fingers at financial difficulties.\nConservatism ignores all standards but its own. It is the most liberated art. The photoplay may be as free and as direct as possible in its contact with the public, but it requires the influence of restrained and cultivated taste and standards that are more complex and more exacting than those of the general public. The photoplay, if it develops into a great art, must have a criticism of understanding and a criticism of appreciation divorced from craftsmanship. The art of cinema, failing disciplining patronage, must look to its amateurs who are both artists and patrons. The amateur brings the understanding of the artist without the artist's urge to earn a living; he brings the detachment of the patron without the patron's direct power to disciple.\nThe discipline of photoplay making can come from the amateur, establishing a standard for this art. Not necessarily high brow or puerile, but brought into being by a non-professional with more than a casual interest. The Amateur Cinema League aims to aid in the development of photoplay amateurs, believing a new and great art requires them. The amateur can become the patron of the Twentieth Century Movies, with Maecenas coming from non-professional experimentalists of the Little Cinema.\n\nRules of the Game\nOfficial Constitution and By-Laws of the Amateur Cinema League\n\nArticle I \u2014 Name\nThe name of this organization is Amateur Cinema League.\n\nArticle II \u2014 Purposes\nThe purposes of the Amateur Cinema League shall be:\nThe increase of pleasure for amateur cinematographers through aiding in the origination and production of amateur motion pictures; the advancement and promotion of interest in amateur motion picture photography; the organization of clubs for amateur cinematographers; the publication of a periodical for information and entertainment for League members; the mutual exchange of films made by amateurs worldwide for temporary showing; the stimulation of community photoplays written, directed, and acted by members as amateur enterprises; the representation of amateur cinematographers in legislative affairs; the maintenance of fraternalism and high conduct standards among members; and the promotion of other related interests.\n\nArticle III \u2014 Divisions.\nArticle I - Membership: Any person interested in amateur motion pictures is eligible for membership in the Amateur Cinema League. Applications for membership shall be submitted to the Executive Committee, and a majority vote of this committee shall elect to membership. The Committee may refuse election to any applicant.\n\nArticle IV - Meetings: Meetings shall be held as directed in the By-Laws.\n\nArticle V - Amendments: This Constitution may be amended at any time by a vote of a majority of all members present at any meeting of the Amateur Cinema League. The call for which shall have specified the proposed amendment. No amendment shall be included in the call for the meeting unless proposed by at least ten members.\nApplicants who, in the opinion of the organization, would be undesirable members, may be refused membership. Any applicant who is denied membership has the right to a review by the Board of Governors, upon the recommendation of a minority of the Executive Committee. The Board of Governors has the discretion to reverse the decision of the Executive Committee.\n\nThe Board of Governors, on the recommendation of the Executive Committee, may elect individuals as honorary members for life. No more than fifty such elections may be made from any one state.\n\nMembers of all classes are entitled to the regular publications of the organization.\n\nAny member may resign by written communication to the Managing Director. Resignation is accepted if all dues and other debts have been paid.\nUpon the written request of ten or more members stating cause, the Board of Governors shall consider expelling a member from the League. If sufficient reason appears, the accused shall be advised of the charges against them. They shall have the right to present a written defense and appear in person before a meeting of the Board of Governors or their authorized representatives, receiving notice at least thirty days in advance. Not later than their next meeting thereafter, the Board of Governors shall consider the case. If, in the opinion of two-thirds of the members present, satisfactory proof of the accused's undesirability has been established and they have not tendered their resignation, expulsion shall ensue.\nThe Managing Director shall notify members of the expiration of their memberships at least thirty days in advance. Members in arrears shall be carried on the League records for ninety days, but if they have not renewed their membership by that date, they shall be dropped.\n\nClasses of membership and dues:\nMember of the Amateur Cinema League: $5 a year.\nSustaining member: $50 a year.\nLife member: $100 in one payment.\nFounder member: $1,000 in one payment, if paid on or before August 12, 1927.\nHonorary life member: No dues.\nAll members joining prior to the first annual meeting shall be designated as charter members.\n\nNo person not a member of the League shall be eligible to hold any office or appointment in the League, except for paid employees salaried at less than $2,400 a year.\nArticle II \u2014 Management\n\nThe business and affairs of the League shall be managed by a board of twenty-three governors, including the President and the Managing Director, all of whom shall be members of the League. The temporary Board of Directors that managed the League during its organization shall be known as the Board of Pioneer Directors. Members of this Board of Pioneer Directors shall retain, during the entire time of their membership in the League, the honorary title of Pioneer Director and shall be entitled to sit, without vote, at any meeting of future Boards of Governors.\n\nThe Board of Governors shall be made up of one person from each of the twelve Federal Reserve Districts of the United States, one from the Dominion of Canada, and eight persons.\nThe first annual meeting of the League shall elect thirteen governors, chosen as heretofore provided, and the Board of Pioneer Directors shall elect eight governors at large. These twenty-one governors shall divide themselves into three classes at their first meeting after election: the first class to serve for one year, the second class for two years, and the third class for three years. At each annual meeting thereafter, the League and the Board shall elect seven governors, those chosen territorially to be elected by the League and those chosen at large by the Board, subject to territorial limitations, who shall serve.\nFor three-year terms, the President shall invite each member in good standing, sixty days prior to the annual meeting, to send nominations for governors to be elected by the League at the meeting. The President shall send, with these invitations, a list of the present Board, indicating those whose terms are expiring. The Managing Director shall prepare a ballot containing the names of persons thus nominated within thirty days by at least ten members of the League and shall present this ballot at the annual meeting. In the event of failure to receive such nominations, the Board shall have the power to fill the vacancies. The Board of Governors shall make its own rules and possess all the powers and perform all the duties prescribed for such boards by the statutes of the United States.\nThe official headquarters of the League may be located in any state, except as specifically limited or extended by these by-laws. The official headquarters of the League shall be in New York City. The Board shall have the power to fill vacancies in its own number until the next meeting of the League. No person who is commercially engaged in the production of motion pictures or in the manufacture, sale, or rental of cinematographic equipment shall be eligible for membership on the Board of Governors. Governors shall serve without compensation from the League in any capacity, except that they may be reimbursed for legitimate expenses in attending meetings. The Board of Governors may delegate any or all of its powers to the officers and committees of the League.\nThe League's Board of Governors, appointed by the Board, can delegate powers and obligations except for meeting annually to receive reports, elect officers, and approve, disapprove, or initiate policies. The Board of Governors will delegate sufficient powers to an Executive Committee to manage its affairs between meetings, with powers being those specifically set forth in these by-laws or those that can be lawfully delegated. The Board of Governors or the Executive Committee, acting on its behalf, may authorize any officer, including the Managing Director, to perform any acts or functions prescribed for specified officers or committees whenever necessary.\nGovernors must provide justification to the Board or Executive Committee for reasons of death, absence, disability, or other causes. Governors are responsible for staying informed about conditions and activities in their respective districts and within the League as a whole. Governors elected territorially should be prepared to report to the Board of Governors and represent the needs and desires of League members in their districts. Governors elected territorially have the power to appoint committees and assistants within their districts to help them perform their duties, but no such appointment creates a financial obligation against the League unless specifically authorized by the Board of Governors. The Board of Governors may appoint committes as it sees fit.\nAll committees appointed by the Board of Governors shall keep records of their proceedings and transmit them to the Board of Governors through the Managing Director. The Board of Governors, at its discretion, may deem additional committees necessary and prescribe their duties. Upon the written request of twenty-five percent or more of the members of the League residing in any one of the twelve Federal Reserve Districts of the United States or in the Dominion of Canada, or upon the written request of twelve or more members of the Board of Governors, the Board shall consider the matter if there is sufficient reason for removing a Governor from office. The Governor shall then have the right to present a defense.\nArticle I - Justification and Removal of Governors:\n\nA governor, upon being charged with misconduct, shall provide justification for his actions and appear in person before a meeting of the Board of Governors, receiving notice at least thirty days in advance. Not later than its next meeting thereafter, the Board of Governors shall consider the case. If, in the opinion of two-thirds of its thirty-four members, a satisfactory proof of his undesirability has been established and the matter has not been adjusted to the satisfaction of the complainants, and his resignation has not been tendered and accepted, the office may be declared vacant, and he may be replaced by another governor, as provided for the election of governors.\n\nArticle III - Executive Committee:\n\nThe Board of Governors shall appoint an Executive Committee at each annual meeting of the Board, whose powers:\nThe committee consists of the President, three members of the Board of Governors, and the Managing Director. The members serve until their successors are appointed. The Executive Committee has the power to fill vacancies caused by death, resignation, or disability until the next meeting of the Board of Governors. It may fill these vacancies only from members of the Board of Governors or by the appointment of a newly qualified President or Managing Director, who must, ex-officio, be members of this committee.\n\nArticle IV \u2013 Officers\nThe officers of the League are a President, two Vice-Presidents, a Secretary, a Treasurer, and a Managing Director. The President and Managing Director are, ex-officio, members of this committee.\nmembers of the Board of Governors, as heretofore provided. The Vice-President, in the absence of the President, shall exercise the power of a governor at any meeting of the Board of Governors. The President shall be elected by the Board of Governors. The President shall have general supervision of the affairs of the League, under the direction of the Board of Governors. He shall preside at all meetings of the League, of the Board of Governors and of the Executive Committee as far as possible. He shall be ex-officio a member of all committees of the League, of the Board of Governors and of all sub-committees of the Executive Committee. The term of office of the President shall be two years. The election of a member of the Board of Governors as President shall constitute a vacancy in his seat on the Board, and the election to fill such vacancy shall be held in the same manner as provided for the election of original members of the Board of Governors.\nThe position on the Board to be filled as heretofore provided. The President shall have the usual powers and duties of such an office. A president whose term of office has expired shall hold office until his successor is regularly elected and has qualified.\n\nThe Vice-Presidents shall be elected by the Board of Governors and shall be designated, at the time of their election, as First Vice-President and Second Vice-President. Vice-Presidents shall not have the power of governors except as heretofore provided. The term of office of Vice-Presidents shall be two years. Vice-Presidents shall have no powers, duties, or responsibilities except when either of them acts in the absence of the President. In the absence of the President or in the event of his inability to perform any or all of his functions, these functions shall devolve upon the First Vice-President.\nVice-President: If the officer is absent or incapable, functions shall devolve upon the Second Vice-President. In the event of absence or inability of the President and both Vice-Presidents, functions shall be performed by a member of the Board of Governors chosen by the Board or by the Executive Committee acting for the Board, until the absence or inability terminates or new presiding officers are chosen. The Secretary and Treasurer shall be elected by the Board of Governors for a term of two years and shall perform the usual duties of those officers, except where those duties are, by these by-laws, specified to be performed by the Managing Director or other employee. The powers of these officers shall be those conferred upon them by the Board of Governors.\nThe Board of Governors may fill vacancies in these offices between meetings with appointments by the Executive Committee. Appointees serve until the Board elects a new Secretary or Treasurer. The Board appoints a Managing Director for a term of two years, and such other employees as it deems desirable. All appointments of employees are made by the Board from persons recommended by the Managing Director. The Managing Director is subject to removal only by an affirmative vote of the majority of Board members. All other League employees may be removed by the Managing Director. The compensation of all employees is fixed by the Board. The Managing Director is the general manager of the League's affairs.\nThe Managing Director, in accordance with the President and the Board of Governors, will oversee all League affairs, including publications. He will perform other duties assigned by the Board of Governors. A vacancy in the Managing Director position will be filled by the Board of Governors or the Executive Committee, subject to Board revision. The Managing Director may delegate his powers during absence to an approved League employee chosen by him. His entire work time will be dedicated to League affairs. The Board of Governors may delegate Secretary and Treasurer functions to the Managing Director as deemed desirable. If the custody and disbursement of funds are involved.\nArticle V:\n\nThe annual meeting of the League shall be held on the second Wednesday of May in every year. The Board of Governors may call other meetings at thirty days' notice at such times as they deem proper. The Board of Governors shall meet annually to transact such business as may be before it or as may be prescribed by these by-laws. The date of this annual meeting shall be two days before the annual meeting of the League. Special meetings of the Board of Governors may be called by the President with written notice stating the specific object or objects thereof, mailed to each governor at least three weeks prior to the date.\n\nThe Managing Director, in the hands of the Board, is required to give a suitable bond, the expense of which to be borne by the League.\nArticle I \u2014 Meetings\n\nThe President shall call special meetings of the Board of Governors upon the written request of seven governors. The Executive Committee shall hold at least one meeting every ninety days, and the President may call special meetings of the Executive Committee on five days' notice. The members of the Executive Committee may call a meeting of that body with a written request to the President.\n\nThe place of the regular meetings for the League and the Board of Governors shall be determined by the Board of Governors. The place of the regular meetings for the Executive Committee shall be determined by the Executive Committee. The place of special meetings shall be determined by the authority capable of calling such special meetings.\n\nArticle VI \u2014 Quorum\n\nFifteen members of the League shall constitute a quorum for the transaction of business at all meetings.\nTwelve members of the Board of Governors shall constitute a quorum at meetings of the Board of Governors. Three members of the Executive Committee shall constitute a quorum of that body.\n\nArticle VII \u2013 Divisions\n\nWhenever the Board of Governors shall establish divisions of the Amateur Cinema League, it shall, by addition to these by-laws, define the purpose, scope, and operation of such divisions.\n\nThe Amateur Cinema Dramatic Division is hereby established and shall carry out the purpose set forth in Article II of the Constitution, to stimulate the production of community photoplays. Its further purposes shall be the creation, in communities, of a greater consciousness of the motion picture and its proper use in community life, the increase of intelligent appraisal and appreciation of motion pictures in general; the encouragement of the development of local talent in all branches of motion picture work; and the promotion of a spirit of friendly competition among the various communities in the production and presentation of photoplays.\nArticle I and Article VIII provisions for an outlet for writing, motion picture acting, and camera work talent. Membership composition as set forth in Article I of these by-laws. A section of the League's periodical dedicated to the Amateur Cinema Dramatic Division, providing sample scenarios, sets, and other aids.\n\nArticle VIII - Miscellaneous\n\nThe Board of Governors has the power to alter membership classes and dues, as previously stated in Article I of these by-laws, but their actions are subject to League confirmation at the next annual meeting thereafter.\n\nThe League's funds will be deposited in designated banks or trust companies.\nThe funds shall be acted upon and drafted only by the Board of Governors or the Executive Committee on their behalf. These funds are subject to draft only on the signatures of the League's officers or employees, who will be selected by the Board of Governors or the Executive Committee acting for the Board of Governors. The selected persons will notify the depositaries, over the signature of the President, of the officers or employees whose signatures are to be honored.\n\nAll notices required by these by-laws must be in writing and shall be personally delivered or mailed to the persons to whom they are required to be sent, at the address entered in the League's records as supplied by the person concerned.\n\nThe Managing Director may employ any clerical force in his office as he sees fit, without the need for their specific appointment.\nThe Board of Governors must grant authority to the Managing Director for the maximum number and total maximum cost of employees in each instance. The Managing Director shall prepare annual reports for the annual meetings of the League and for the Annual Meetings of the Board of Governors. Unless otherwise specified in these by-laws, the League's actions will be determined by a majority vote of its members, with a quorum present. The Board of Governors and the Executive Committee's actions will be determined similarly for those bodies. The League's fiscal year is the calendar year. Copies of minutes from the Board of Governors meetings.\nThe Managing Director shall send this to all Board members. On questions of order and procedure not determined by the Constitution or these by-laws or by special rules of order adopted by a two-thirds vote of the League meeting, a Board of Governors meeting, or an Executive Committee meeting, the provisions of the Working Code appended to the Revised Cushing's Manual shall constitute the Standing Rules of Order. Special rules A, B, C, D, E are included and adopted.\n\nThe regular order of business at League, Board of Governors, and Executive Committee meetings is as follows: Roll Call, Consideration of Minutes, Special Orders (if any), Reports of officers, Reports of Standing Committees, Reports of Special Committees.\nAppointments and elections. Unfinished business. New business. The above order or any part of it may be suspended by a two-thirds vote at any meeting. The result of all elections and appointments of officers shall be published by the Secretary in the next issue of the League's chief official publication printed after the canvass of the vote.\n\nArticle IX \u2013 Amendments\nThese by-laws may be amended through additions, eliminations, changes or rearrangement and renumbering by the Board of Governors or by the Executive Committee acting for the Board. But such action of the Executive Committee shall be effective only until the next meeting of the Board of Governors which shall confirm or reject the amendments.\n\nArticle X \u2013 Ratification of Organization\nAll acts of the Board of Pioneer Directors under whose management the League was organized, its constitution and by-laws are hereby ratified.\nThe by-laws have been produced, and their first officers chosen, membership secured, organization expenses incurred, and policies and activities established, are hereby ratified and confirmed up to and including the date of the first actual meeting of the first Board of Governors to be elected as prescribed by these by-laws. The Board of Pioneer Directors is hereby authorized to continue in office until the first Board of Governors has met and organized.\n\nBell & Howell Page Helping You Make Your Own MOVIES\n\nFor twenty years, the Bell & Howell Company has been making and standardizing motion picture equipment for the professional industry. This vast experience is now at your service to help you make better personal movies. This month, you will want the helps shown on this page.\n\nBell & Howell CHARACTER TITLE BOARD.\nTitles of your own make - interesting in their immediate individuality - signatures of your guests - their hands shown actually writing as they sign - pictures drawn to suit your own thoughts - cartoons, scenes, etc., cut from newspapers and magazines pasted on margins of cards, and your own inscription to accompany. This device makes possible the real enlivenment of your films and is essential to every amateur cinematographer's equipment.\n\nCharacter Title Board outfit complete, consisting of camera mount, automatic prism compensating focuser, title card holder, two especially designed electric light bulbs with reflectors, conveniently mounted on magnolia base, white ink, pen holder, two ball point pens, and 12 Bell & Howell special blank title cards, all included in attractive leather carrying case $45.00\n\nThe Bell & Howell COMBINATION REWINDER and SPLICER.\nConsists of the following devices in one unit:\n1. Reel or spool holder.\n2. Splicer.\n3. Cement, cement and water bottles.\n4. Geared Rewinder.\nScraper Blade.\nOak Base, on which the above are mounted.\nWith this combination, rewinder and splicer, you can edit your films \u2013 cut out unwanted portions, insert sub-titles and gain just the continuity you want, to make your movies more interesting on the screen.\nThe splice made by this machine is absolutely transparent and velvet smooth \u2013 a perfect continuation of the film.\nThe price of the Bell & Howell combination Rewinder and Splicer unit for 16mm film (the kind you use) is $14.00.\nMark the coupon for further particulars, or enclose money order for direct shipment, satisfaction guaranteed.\nHow to Make Your Own Motion Picture Plays\nDon't Fail to Get This Book\nHow to Make Your Own Motion Picture Plays\nThis book was prepared for the amateur producer. It tells him in simple, non-technical language everything needed to know about making a motion picture drama. It contains actual and compiled scenarios of twelve clever little plays, written just for the amateur producer. No owner of a personal motion picture camera should be without this book. Order it with this coupon. Return it after five days and get your money back if not satisfied. We are the sole distributors.\n\nMAIL THIS COUPON\nBell & Howell Co.\n1828 Larchmont Ave. Chicago, IL\n\nAttached find $1.50 (Money Order) for postpaid copy of book \"How To Make Your Own Motion Picture Plays.\"\n\nSend further information on Rewinder and Splicer.\nAddress\nCity State\n\nCine-Kodak B Carrying Case.\nCombination Carrying Case for Cine-Kodak B.\nHandy Accessories for the\nAmateur Movie Maker\n\nGenuine leather Carrying Case for Cine-Kodak Model B is a convenient valise for the amateur movie maker. It protects the camera from dust and dirt when he's afield for pictures. The Combination Case holds not only the Cine-Kodak but also space for two extra rolls of film.\n\nCine-Kodak Model B Carrying Case $7.50\nCombination Carrying Case for Cine-Kodak B $10.00\n\nThe Carrying Case for Kodascope Model C makes the outfit - small as it is - even handier to take with you for evening movies wherever you go. It makes a mighty compact kit - only 6x7x8 inches.\n\nCarrying Case for Kodascope Model C $4.00.\n\nCrood titles make your personal movies even more interesting. We photograph and process them for you like the one illustrated. Send your copy to the.\nEastman Kodak Company: 3 cents per word, minimum title cost 25 cents, minimum charge per order $1.00.\n\nEastman Kodak Company, Rochester, NY. Kodak cny 1 inch.\nDallmeyer.\nTelephoto Lenses.\nWith a kit of Dallmeyer lenses of various focal lengths, the usefulness, choice of subjects, range of light conditions, and quality of each and every minute negative made with a Bell & Howell \"Filmo\" are marvelously increased. Also Dallmeyer Ultra Speed Lenses; 1\" and 2\"; f/1.9 \u2013 OPEN HOUSE for all Amateur Movie Makers. Specialists in motion picture equipment for 19 years, Herbert Huesgen Company have a real service to offer amateurs as well as professionals.\nThe Right equipment for every need, and competent suggestions as to its use.\n\nFilmo Cine-Kodak, Eyemo Victor DeVry\nComplete Accessories for all Makes\nPortable Lamps for Indoor Movies, including the KIRBY\nCutting - Titling\nProjection Room for Customers' Use\n\nHerbert & Huesgen Co.,\n18 East 42nd Street, (near Grand Central)\nNew York\n\nNow you can take\nCaption right pictures indoors\nSafely!\n\nwith\nThe Kirbylite\nRevealing new and fascinating possibilities for your motion picture camera.\nYour living room becomes the studio in an instant by plugging the Kirbylite into any electric light receptacle.\nThere is no danger of burns or fire.\nThe lamp house remains cool to the touch.\nThe Mazda lamp employed will not overheat wires nor blow fuses.\nPhotograph cherished scenes of dear ones, from baby to grandmother, in their natural environment.\nThe familiar surroundings of the home\nAssure pictures are natural and true to life. Kirbylite movies provide new forms of entertainment in the filming of Amateur Dramatizations, The Children's Party, Family Reunions, Bridge Night. An ideal illuminant also for the Artist, Sculptor, Surgeon. The scientific design of the lens and reflector, an exclusive Kirbylite feature, makes possible the required high intensity of light.\n\nKIRBYLITE with 500 watt Mazda bulb stand and 12 foot electric cord with plugs and switch $42.75\nKIRBYLITE Special Tripod $12.00\nAvailable through your dealer and at every Eastman Kodak Store.\nDistributed by Eastman Kodak Stores, inc.\n356 Madison Avenue\nNew York\n\nA Cine-Kodak for Novel Effects\nTHE Cine-Kodak, Model A, is a sturdy, professional-like, hand-cranked outfit that qualifies at once for novel effects, or advanced cinematography.\n\nWith its Kodak Anastigmat f/i .9\u2014\nthree times as fast as the f. 3.5 - this outfit not only copes with unfavorable outdoor light but also brings the indoor movie to the indoor screen. There's also the slow motion attachment for those lazy, lingering Prices movies that hold an audience spellbound. It's ideal for wildlife studies. The long-focus lens for telephoto effects, interchangeable with the 1.9, will prove indispensable. Like a spy glass, this 1.45 lens brings the distant view close up. Great for sport pictures from the sidelines.\n\nCine-Kodak, Model A, gives a professional touch to amateur accomplishments.\n\nCine-Kodak, Model A, 1.9 Lens (with tripod)\nInterchangeable long-focus, f. 5 Lens\nSlow Motion Attachment\n\nYour movies as the professionals do\n\nEastman Kodak Company, Rochester, N.Y.\nDavie Press, Inc.\nWith Bell & Howell Cameras and Equipment, a workman in any line is no better than the tools he uses. The same is true of amateur movie photography. Your pictures can be no better than the equipment you use to produce them. There is only one standard of perfection by which amateur movies can be judged. That standard is visible daily \u2014 on the screens of best theatres everywhere. Your very own pictures can be as clear, beautiful, and flickerless. This is why and how.\n\nBell & Howell professional cameras are used in making nearly all the feature movies you see. The twenty years of experience as chief camera and equipment manufacturers to the movie industry are now packed into Bell & Howell FlLMO equipment for the amateur.\n\nThe FlLMO camera, illustrated here, is peculiar in design.\nBecause this design is the only one that can include the features unique to FlLMO. The spy-glass viewfinder, interchangeability of lenses, adjustable speed, optional slow motion picture mechanism, ease of operation and other superior features of FlLMO are made possible by this exclusive design - a result of 20 years of practical motion picture experience and leadership in the professional field.\n\nMake your movies like the professionals do - with Bell & Howell Cameras and equipment. You will then come closest to obtaining professional results. Write to us for illustrated literature describing the FlLMO Camera and Projector and containing a brief Bell & Howell history. Ask for booklet \"What You See, You Get.\"\n\nBell & Howell Company\n1828 Larchmont Ave, Chicago, Illinois\nNew York \u2014 Hollywood\u2014 London\u2014 Established 1907\nAmateur Film Makers\nJanuary 1927\nThe Bell & Howell Automatic Film Camera, shown here, is a 4.2-pound camera that provides every feature necessary for taking the finest personal motion pictures. You can hold and operate FlLMO with one hand, if necessary. There is no cranking, no focusing for distance, nothing that can possibly complicate operation. You have, for instance, the spy-glass viewfinder (found only on FlLMO). This enables you to catch moving objects squarely in your picture as easily as looking through a field-glass. What you see, you get. This, and other important features, are exclusive to FlLMO, because FlLMO is made by Bell & Howell \u2014 who, for 20 years, have made practically all the professional motion picture equipment.\nmovie cameras and equipment used by leading motion picture producers of the world. In real movie-taking ability, FLMO is matched only by the famous Bell & Howell professional cameras \u2013 which cost up to $5,000 each. The spy-glass view-finder, interchangeability of lenses, adjustable speed, optional slow motion mechanism, ease of operation and other FLMO features were first found necessary in taking professional pictures you see at best theatres. They are therefore necessary for taking good amateur pictures. Only FLMO, of all amateur movie cameras, has them.\n\nThe FLMO Projector, for showing your pictures, has similar points of superiority. Mail the coupon for descriptive, illustrated literature which tells the whole story.\n\nBell & Howell Co.\n1828 Larchmont Ave., CHICAGO\nNew York, Hollywood, London\nEstablished 1907\n\nAutomatic Camera and Projector\nJEEBEESSST\nBell & Howell Co.\n1828 Larchmont Ave., Chicago, III.\nPlease send me the name of the FLMO dealer in my city and a copy of the descriptive FLMO booklet, \"What You See, You Get.\"\nName:\nAddress:\nCity:\nQuestions of utmost importance for every amateur movie maker \u2014\nWhich equipment is best suited to my needs?\nHow can I get the most successful results with my camera?\nHerbert & Huesgen Company can help you answer both these questions.\n19 Years specialization in Motion Picture Equipment for the amateur and professional places a vast experience at your disposal.\nImpartial aid in the selection of an outfit is assured by their complete stock of all leading makes of cameras, including:\nFILMO\nCINE-KODAK\nEYEMO\nDEVRY\nVICTOR-CINE\nAlso all Accessories and Such Specialties as KIRBYLITE\nDALLMEYER LENSES\nFor Indoor and Telephoto Movies\nSend for Special Catalogs.\nItems that may interest you:\n\nHerbert & Huesgen Co.\n18 East 42nd St., New York (near Fifth Avenue)\n\nProjection Rooms for Customers\n\nThe Kirbylite: Revealing new and fascinating possibilities for your motion picture camera.\n\nYour living room becomes the studio in an instant by plugging the Kirbylite into any electric light receptacle. There is no danger of burns or fire. The lamp house remains cool to the touch. The Mazda lamp employed will not overheat wires nor blow fuses.\n\nAn ideal illuminant also for the artist, sculptor, surgeon, as well as a companion for the Movie Camera or Graflex.\n\nThe scientific design of the lens and reflector, an exclusive Kirbylite feature, makes possible the required high intensity of light.\n\nKirbylite with 500 watt Mazda bulb stand and 12 foot electric cord with plugs and switch - $42.75.\nBefore buying a movie camera, send for this free book \"New Facts on Amateur Motion Picture Photography\". Learn how to take perfect motion pictures with the ease of a snapshot. Why standard theatre size film takes better movies, why three viewfinders are better than one, why daylight loading is essential, and why no tripod is needed. Major scientific expeditions and news reel men are adopting the DeVry.\n\nDeVry offers the famous Standard - Automatic 35 mm. movie camera.\nardor Theatre Size: film) Automatic movie camera. Under \u00a33300. Here is a camera so simple, so easy to operate, that any child can take perfect negation pictures. You can shoot from any position without the bother of a tripod. Just point the camera \u2014 press the button and you're taking movies.\n\nWith the De Vry, you can take 100 feet of standard theatre size film without reloading . . . and you are taking movies of feature film quality, because standard film takes perfect pictures. Yet the price is only \u00a3150.00. Constructed of finest materials, will last a lifetime.\n\nThe films of the world are available for you to show in your home if you own a De Vry standard film camera and projector. You are not limited to the comparatively few films reduced to \"off-standard\" size.\n\nMail Coupon for New FREE Book\nThe De Vry Corporation\n1111 Center Street, Dept. 000\nChicago, Illinois.\n[Please send your new book \"New Facts on Amateur Motion Picture Photography.\" I understand this places me under no obligation. Name Address City, State\n\nA Trick Fadeout (illustration, p. 2)\nForward! (editorial, p. 4)\nCorrespondence: Waste Work (editorials, p. 5)\nVenice (photograph, p. 6)\nAround the World with a Little Movie Camera (p. 7)\nChampions in Eighteen Holes (amateur scenario, p. 9)\nThe Clinic: Vamped and Revamped by Dr. Kinema - Technical advice and suggestions (p. 11)\nThe Tower of the Dead (p. 13)\nSwaps (amateur movie exchange, p. 15)\nTrouble (p. 16)\n\"The Thrillproof Age,\" An Amateur Presentation at New Haven (p. 17)]\nBy Sports Like These Are All Their Cares Beguiled;\nPar Shooting!\nThey Tell the Story\nNed Wayburn and his cast, an illustration\nConcerning Amateurs: Gossip about amateur movie makers\nSome Secrets of Screen Magic\nDon't Wait\n\nAmateur Cinema League Directors\nPioneer President: Hiram Percy Maxim, Hartford, Conn.\nTreasurer: A. A. Herbert, 1711 Park Street, Hartford, Conn.\nManaging Director: Roy W. Winton, 105 W. 40th Street, New York City\nRoy D. Chapin, Chairman of the Board of Directors, Hudson Motor Company.\nC. R. Dooley, Manager of Personnel and Training, Standard Oil of N.J.\nLee F. Hanmer, Director of Recreation, Russell Sage Foundation.\nEarl C. Anthony, President of the National Association of Broadcasters\nW. E. Cotter, Floyd L. Vanderpoel, Scientist, Litchfield, Conn.\nStephen F. Voorhees.\nArchitect: New York City.\n\nAmateur Movie Makers is published monthly in New York City by the Amateur Cinema League. Subscription Rate: $3.00 a year, to members of the Amateur Cinema League, $2.00 a year, postpaid; single copies, 25c. On sale at newsstands and photographic dealers everywhere in the United States.\n\n:p/right, 1926, by the Amateur Cinema League. Title registered at United States Patent Office. Advertising rates on application. Forms close on 15th of preceding month. Editorial and Publication Office: 105 West 40th Street, New York City.\n\nOur Amateur Cinema League is really making a very wonderful start. It is, of course, too early to make any positive promises but if interest and backing by our fellow amateur cinematographers spells success then we are going to be very successful.\nOur membership approached the thousand mark by December 1st, and we had not yet started recruiting extensively. Those of us who had taken on the task of establishing a League were greatly impressed by the spirit that emerged as soon as we distributed our first circular. In it, we detailed our plans. By return mail, we began receiving signed membership applications and remittances.\n\nThis was encouraging, but what was more significant was the fact that many took the trouble to write a letter of encouragement and express their appreciation for our efforts. Several went so far as to send checks larger than necessary for membership and instructed us to apply $5.00 towards the membership fee and use the remainder.\nWe feel pleased that the League idea will benefit most here. Pioneers naturally take great satisfaction in such developments, feeling our efforts have not been in vain and that they are appreciated. This also indicates a fine spirit of fraternalism among amateur cinematographers. Starting an organization and publishing a new magazine requires an amazing amount of hard work. If it were a business, we would raise the necessary funds. However, it is an amateur organization, and we can only start with the money from membership, advertising, and what friends are willing to advance. This necessitates employing voluntary labor for much of the work.\nWhat needs to be done, and only permits us to hire those whose full-time employment is required. Amateur radio began on this basis and has been successful. With the spirit already manifest in amateur cinematography, we are sure it will also be equally successful.\n\nIf we all realize that it is OUR League and OUR magazine, and that everything we do comes back to us, enabling us to print a better and bigger magazine and to undertake additional activities, it will help tremendously. For the present, the policy of the Directors is to proceed cautiously in the matter of expenses and make every effort to build the magazine up so that it will be self-supporting at the earliest possible date. Every member can help. They can write about their amateur cinema experiences for our magazine. They can send us suggestions.\nThey can purchase our advertisers and secure additional advertising for us. They can buy copies of \"Amateur Movie Makers\" at news stands and send these copies to friends who ought to be in the game. They will not only be helping us with news stand people but also adding possible members. They can impress the dealer who sold them their amateur cinema equipment to ensure our magazine is sold in his store to all of his customers and that it is his duty to encourage joining our A.C.L. This is really not much to do, but if we all do this little thing and keep doing it, it would make a very big difference to us at Headquarters. If our Amateur Cinema League becomes a conspicuous success, one of the good investments.\nAt this time, it is important to secure a supply of the first issue of our magazine and preserve them. In ten years, they will be worth their weight in gold. Only a limited number were printed, and unless history completely fails to repeat itself, there will be a great demand for copies of these early numbers. We have seen this happen in other cases.\n\nSince we became organized, several very interesting expectations of the public have come to our attention. They anticipate our influence on the art of cinematography, on the writing of good scenarios, and on the production of good pictures. There will, no doubt, be many important developments resulting from this foregathering of thousands of amateurs in the pages of our magazine. It is evident that the enterprise upon which we have embarked will be far reaching. Our Directors have many plans which they will unfold.\nAnd put in operation as soon as our resources permit. If every member can but realize that a very small effort on his part will expedite the work of the League, there will be many interesting developments in 1927. This is OUR League and OUR magazine, and it is up to us to make it or break it. Let us all assist in making it. -- Hiram Percy Maxim\n\nWe wish to apologize to many League members for having delayed our replies to their letters of encouragement, approbation, suggestion, and help. We, to whom your directors have entrusted the organizing and administrative chores of the Amateur Cinema League, have been exceedingly busy. We take that much credit. We hope that the results will please you. Membership is now close to a thousand and more applications are coming in with every mail. The magazine is an essential part of our efforts.\nThe accomplished fact carries a substantial amount of advertising, every cent of which is paid at full rates openly established and from which no reduction has been granted. The service jobs of the League have not yet been undertaken. We believe that the magazine is a service job in itself, and you will be patient for a while until the others can be undertaken wisely and adequately.\n\nWe are sorry for the delayed replies to your letters. But we know you prefer that we should work rather than that we should write. Every letter is being answered as rapidly as time permits, and all will be answered eventually.\n\nWe do thank you most heartily for your fine spirit of encouragement, loyalty, willingness to aid, and helpfulness that you have shown in writing to us. We go forward more courageously because we know that you are with us with all.\nPresidents Hiram Percy Maxim and Roy W. Winton: Waste Work in Art\n\nArt is often a vagabond. It goes farthest when, like Topsy, it just grows. Painters have a phrase \"waste work,\" meaning painting done not to order, not to sell, not even to exhibit, but attempted and concluded for experiment, for practice, or for the pure joy of doing it. Not infrequently, the highest type of creative effort comes from this waste work because the pressure of the practical is removed.\n\nThe photoplay has suffered from immediate commercialization. It would be difficult to find an instance of an entire motion picture drama or comedy produced without regard to its box-office value. Much excellent experiment has been performed to improve technical methods, and this experiment has been carried on at a prodigious cost.\nTo producers, but it has been a by-product in making photoplays that would reward both experiment and proven technique with financial return. Until very recently, waste work in motion pictures has been a practical impossibility. Production has been professional and carefully designed to make profits. Only commercial companies have been engaged in this art, however imbued with the spirit of artistic adventure their directors may have been, that spirit has been limited in its flights by probable profits and losses. So the art of the cinema has lacked the element of freedom from practicality that would appear to be essential to the more complex and subtle development of any medium for expressing beauty.\n\nThe recent modifications of motion picture equipment that have put small machines into the hands of amateurs will liberate the cinematic art.\nFrom the stern restrictions of commerce, experiments in camera work, subject placement, title writing, lighting, and choice of esthetic material are being made by nearly twenty thousand home motion picture makers. All of this is, if you will, waste work done for the pure joy of it. With many amateurs, it has not yet passed the stage of a hobby. The fire of artistic creation is yet to come to many who regard their motion picture cameras as delightful scientific toys. Yet the inquiries received by \"Amateur Movie Makers\" indicate that there are serious and enthusiastic amateurs consciously wielding the tools of a new art.\n\nBut this is waste work from the point of view of cinematography only. It will be argued that the motion picture does not become an authentic art until it reaches the plane of the photoplay. This very sound objection does not\nThe amateur's contribution should be invalidated. Twenty thousand individual experiments are underway, and there are regularly organized companies of amateurs engaged in photoplay making. These companies, for the most part, follow in the footsteps of great professional producing organizations, working to bring their standards up to professionally accepted levels. They have not yet grown wings.\n\nThe next quarter century will witness an amazing renaissance of artistic creation in the United States. The chief medium of this expression will be the motion picture. The great handicap to the development of the eighth art has been the absence of non-commercial experimentation. The Little Cinema fills this gap. Without vast reserves of money or mechanical facilities that have sometimes made professional experiments too easy, The Little Cinema provides an essential outlet for innovation.\nThe essential quality of expressing beauty in a new form through the photoplay is brought by organizations such as the Moving Picture Club of New Haven. This art form requires the vital factor of spontaneity to take its rightful place among its seven elder brothers.\n\nFive\nSix\n\nAround the World with a Little Movie Camera\nBy Gardner Wells\n\nThe most interesting thing about foreign countries is the difference from the United States. Keep this in mind when you unpack your little movie camera, whether it be in London, Rome, or Cairo.\n\nTraffic congestion in London bears an uncanny resemblance to similar snarls in New York and Chicago. However, a London \"Bobby\" is unlike any cop you will ever see on this side of the Atlantic.\n\nIf you must have a London street scene, get the \"Bobby\" in it.\nA Ford automobile in Cairo is not strikingly different from the ones that swarm over the highways of the United States. But the Galli Galli man who comes every evening to the terrace of Shepherd's with his miraculous feats of the hand is like no trickster you have ever seen at The Palace or The Hippodrome. Furthermore, there's no sense in filming a lot of beautiful architecture. If that's the sort of picture you want, you will do much better to buy a still camera and have slides made from your plates. They will be infinitely more pleasing to the fond friends to whom you will be showing your pictures a year hence. Your motion pictures should show action! If you want the architectural landmarks of the world as a background, or the snow-capped Himalayas, very well \u2014 but be sure to get some action in the picture for the foreground.\nThat doesn't mean you should have a lot of your party bustling about! Wait until there are some picturesque natives in the picture to give it some color. If you would return to the United States with some singularly interesting pictures, film the countless fakers you will encounter if you plan to visit the Near East. Andre Roosevelt, a cousin of the late President, went into India last winter and filmed the famous Indian rope trick. In this trick, a Hindu holy man hurls a rope into the sky upon which a native Indian youngster shinnies into the heavens, out of sight of the visiting Occidentals who sit spellbound.\n\nAs a matter of fact, when Mr. Roosevelt reached Cairo, where he had his films developed, he found that the trick was simply one of hypnotism \u2013 that the Indian faker threw no rope into the sky, that no little boy climbed into the heavens.\nThe Galli Galli man comes to Shepherd's in Cairo every evening with three little chicks and three little brass cups. He places two chicks before two cups and struggles with the third chick as if extracting something from his body. Whatever he extracts, he places beneath the cups. The third chick he puts on the ground before the third cup and then lifts all three cups to reveal he has extracted three chicks of almost the same size from the little chicken.\n\nThis feat has fascinated the White Man from the west for many years. However, the little movie camera reveals it is based on the same principle as\nevery other sleight of hand trick -- the hand is quicker than the eye. It cannot fool the camera, however, and the film shows the Galli Galli man slip the three little chicks beneath the brass cups at the precise moment that he places them on the ground. All his struggle with the third little chick is simply part of the stage business.\n\nCustoms regulations of the United States and England are the strictest in the world. The United States will allow you to take as much film from its shores as you desire; but that same film, if exposed abroad, is dutiable at two cents a foot when you return. Why the government has reached the conclusion that the value of amateur movie film, once it has been exposed, has been so enhanced is something no one will ever know. As a matter of fact, I suppose statistics prove that the great majority of it has been exposed.\nThe laws regarding movie film in England are complicated. England has tried for many years to have film manufacturers build a plant in the country, but have not succeeded. As a result, England is obligated to import all its film from the United States. British lawmakers believe that making conditions unpleasant for visiting amateur filmmakers may remedy their situation.\n\nThe law requires that you bring an empty camera into England. Additionally, you must swear that the camera has been in your possession for at least twelve months. If your camera contains film, you must send it to the authorities.\nBonded film in bond must be measured for duty. Express is expensive. Duty is high. If you claim to have had the camera less than twelve months, it is also assessed generously - generously, that is, from the British perspective. You are liable for a one-pound fine if found bringing film into England in your baggage. If you make enough fuss, you may get the fine returned. However, you must have the film sent for measurement, which takes a week. Consequently, unless you are simply passing through England on the way to the Continent, it will be cheaper and more expeditious to buy film in London.\n\nIf you swear that you are only passing through England and intend to take no movies while there, there are no formalities to be gone through at all.\nNot necessary to list your films on your declaration. There are practically no restrictions in France, nor in any other European countries. There is a duty, but it is only slight and not apt to bother tourists. A small token of your appreciation to the customs inspector will work wonders. Technically, of course, the films are subject to duty. If you antagonize the inspector \u2013 and there is always some bright soul who insists on doing so \u2013 you will pay dearly. Remember, it's \"the voice with the smile\" that wins. Russia is a very glaring exception to everything that has been said in this article. If you value your life, don't take a moving picture camera into Russia. Hanging is a mild penalty for such a grave offense.\nJapan occasionally becomes zealous in inspecting American baggage and films are taxable during these periods. However, these periods of enthusiasm from the Japanese last no more than a week. It may be worthwhile for the amateur movie maker to know some information I have gathered during several around-the-world voyages with the James A. Boring Travel Service.\n\nThere are virtually no restrictions in England on what pictures you can take. If you have a movie camera that requires a tripod, you must obtain permission from the London police to set it up on the streets. Otherwise, you can move quite freely and film whatever you want, except for places like Westminster Abbey.\n\nIn France, no one seems to care where you make pictures.\nThe museums are run by the government, and theoretically, you aren't supposed to take pictures within those grounds. Nevertheless, a slight greeting in the form of ten-francs to practically any of the officers who are posted about seems to set immediate rest any fears they may have had concerning your purpose in the museum.\n\nThe theory is that he who makes motion pictures in the Forum at Rome or in Pompeii is forthwith drawn and quartered. But as a matter of fact, you can try the Continental procedure of handing the diligent officer a slight token and then proceed to make films at your leisure. Be a bit careful about this, however. Do not let any of the other officers observe you passing money to one of his comrades.\n\nA good plan, when you see one of these officers coming in your direction, apparently to check on you, is to...\neject you is to dash forward in his direction, extending your hand as if to greet a long-lost friend. In that extended hand, conceal five-lire. The feeling of your warm hand and the Italian currency seem to warm the cockles of the Italian officer's heart. Germany is particularly sensitive in the matter of restrictions on tourists. They realize that it is the tourists, as much as anyone else, who will help pay their debt, and consequently, every courtesy is extended to them.\n\nEight\nCHAMPIONS in Eighteen Holes\nAn Amateur Scenario\n\nB>) Katkleen Halladay\n\nScene 1. Close-up of Annabelle Gilbert, a modern American girl in her early twenties, smiling at the photographer.\n\nTitle: To Take Annabelle to Dinner Would Knock 18 Holes in a Twenty Dollar Bill \u2014 But Most Men Were Willing to Take a Chance.\n\nScene 2. Medium shot. On the scene:\n\n(Continued on page 27)\n\nAnnabelle Gilbert, a modern American girl in her early twenties, smiles at the photographer. Title: To Take Annabelle to Dinner Would Knock 18 Holes in a Twenty Dollar Bill \u2014 But Most Men Were Willing to Take a Chance.\nAnnabelle, seated on a suburban home's veranda, takes stock of her stockings. She frowns, knowing she ought to darn them but hoping she won't have to. Drawing the third stocking over her left hand and arm, she compares the color with the pair she has on. Poking her finger through a hole in the toe, she says:\n\nTitle: \"A Hole in One!\"\n\nScene 3. Medium shot. Same setting on veranda. Anna's frown changes to a thoughtful expression. She picks up a sheet of note paper, takes a pencil off the table, crosses her legs, and places a copy of a magazine on her knee. Beginning to write on slips of paper which she tears off, she re-reads each note as she writes:\n\nTitle: Annabelle Decides to Take Herself and Not Her Stockings Seriously.\n\nScene 4. Medium shot. As she writes on each slip, she re-reads what she has written.\nScene 5. (She writes) BE GREAT ACTRESS.\nScene 6. (She writes) MARRY CHAMPION GOLFER.\nScene 7. (She writes) HELP Papa run his business.\nScene S. (She writes) MARRY POOR Man and maybe make him president.\nScene 9. Annabelle puts the slips into a golf bag, which was leaning against the swing, jostles the heavy bag and draws out a slip, which she re-reads, gleefully. Reproduce Scene 6. 'MARRY CHAMPION GOLFER.\nScene 10. Close-up of Phil Burnside, a solid citizen in his early twenties, who knew he would make some girl a good husband.\nTitle: Phil Burnside, Owner of a Sporting Goods Store. Gets His First Handicap.\nScene 11. Medium shot. Phil runs up the veranda steps and approaches Annabelle, holding a golf ball in his right hand. He smiles but Annabelle is provoked because he is always carrying his Rotary Club advertisements into his courtship.\nScene 12. Medium shot. Anna tries to knock the ball out of Phil's hand, but she has tried this before and Phil has learned to withdraw his hand and save the ball. He grasps it proudly in his hand. (Fade into next scene.)\n\nScene 13. Close-up. Phil's hand, gripping golf ball with the inscription: PHILIP BURNside EXCELS IN SPORTING GOODS.\n\nScene 14. Medium shot. Phil tries to kiss Annabelle. She backs away quickly and teases him by looking from him to the slip of paper she holds. He tries to snatch the slip, but she crumples it in her hand and says:\n\nTitle: \"If You Win the Northfield Golf Tournament \u2014 Perhaps \u2014 I Will Consent!\"\n\nScene 15. Medium shot. Phil protests that he is not in form and is very obviously giving a business excuse for not wanting to enter the tournament. Annabelle isn't so modest.\nPhil protests, not knowing the best way to get what he wants from a woman. He acts abused.\n\nTitle: You Think More of Your Old Store Than You Do of Me!\n\nScene 16. Medium shot. Further protests from Phil. He's no man to be bossed altogether by a woman. He tries to take her hands but she puts them in the back. Phil searches his pockets for a small white kid jewel box, about the size of a golf ball, containing an engagement ring. Golf balls tumble out of his pockets and roll off the veranda. Anna-belle is disgusted. Phil turns his pockets inside out and more balls and the jewel case tumble out, rolling off the veranda into the shrubbery. Phil notices the disappearance of the jewel case. He discovers a hole in his coat pocket and coat lining and fears he lost the ring before reaching the house.\nTitle: \"Great Scott \u2014 I've Lost the Engagement Ring!\"\n\nScene 17. Medium shot. Anna-belle is inclined to take him at his word as Phil searches excitedly for the ring box. Everything might have been all right but at this moment Arlene appears. Henry Howland comes up the walk, laughing as he picks up one of the balls and throws it to Phil, who dodges it, disapprovingly. Fade into Close-up of Henry.\n\nTitle: Henry Howland is the Type of Young Man Women Usually Like and Men Suspect. Rather Interesting, But Would Raise a Rumpus at Breakfast if the Coffee Were Cold.\n\nScene 18. Medium close-up. Henry greets Annabelle warmly. Phil gives them one disgusted look and leaves without ceremony, still searching for his ring. When a woman is going in for psychology, she's not to be trifled with. Turning to Henry, she makes another quick decision.\nTitle: Annabelle Takes a Chance. \"If You Win the Northfield Tournament I'll Marry You.\"\n\nScene 19. (Henry is nervous.) Henry protests that he doesn't play anymore. Annabelle finds Henry's modesty endearing, even though it's annoying. They sit together in the swing. Annabelle insists that he play. Henry lights a cigarette, impatiently.\n\nTitle: Henry Makes 18 Holes in Record Time.\n\nScene 20. (Henry burns Annabelle's coat.) Medium shot. Henry wriggles around and unconsciously burns a succession of holes in Annabelle's coat, hanging on his right over the side of the swing. They smell burning cloth. Annabelle jumps up, grabs her coat. They put out smouldering spots. Annabelle counts from one to eighteen. Stamping her foot, she enters the house, exclaiming:\n\nTitle: \"I Don't Know Why I Ever Thought You Could Win at Northfield. You Couldn't Even Qualify as a Caddy!\"\nScene 21. Exterior: Phil's sporting goods store. Dorothy Burnside, Phil's sister in her early twenties, comes to the door. Dorothy is attractive in a muslin frock she made herself. Fade into close-up of Dorothy.\n\nTitle: Dorothy Burnside, Phil's Sister\n\nDorothy introduces Charles Gardner, owner of a chain of sporting goods stores and a champion golfer, who purchases a golf bag and some balls in Phil's store. He directs Dorothy to send them to his hotel. As he leaves, she receives a telephone order for golf knickers and heavy shoes from Anna-belle for Father Gilbert. Henry enters the store, down on the world, and is asked by Dorothy to deliver the packages. Calling at the Gilbert home, Henry...\nScene 29. Long shot. Sonny Gilbert comes out of the house, sees the new golf bag, finds some clubs and drags them to the front lawn. Sonny is ten years old and no naughtier than most children.\nTitle: Fore! Sonny Gilbert Makes His Own Golf Course.\nScene 30. Medium shot on the lawn. Sonny digs 18 holes in the lawn with a new club.\nTitle: Mother Gilbert, a Golf Widow, Makes Her 18 Holes in the Kitchen.\nKitchen in the Gilbert home. Sonny enters. His face is dirty and his suit torn. His mother is frying doughnuts. She shows him the round centers-cut from the doughnuts, which she has fried for him. She covers them with powdered sugar, so they resemble golf balls. Sonny devours a couple of centers, fills his arm.\nScene 32: Medium shot. Veranda. Sonny appears with doughnut centers. He sees the golf bag, takes out the balls, substituting doughnut centers.\n\nTitle: Sonny Creates a New Handicap.\n\nScene 33: Medium shot. Sonny driving: awkwardly towards the veranda. Here he finds the kid's box which Phil lost. He decides it is a golf ball with a nail in it.\n\nFade into next scene.\n\nScene 34: Close shot. Sonny tries to open the box, but gives up in disgust and throws the box on the ground with his balls and continues play.\n\nIn the following seven scenes, Father Gilbert uses his professional golf vocabulary in denouncing Phil Burnside's store for not delivering the knickers his daughter ordered. Phil rushes to the Gilbert home, picks up the golf bag, hurries to Gard--\nSonny is at Gardner's hotel. In the meantime, Gardner has discovered that not only his bag has not arrived but also a silver trophy he had won at a previous match is missing. He orders the house detective to look for it and rushes for a train to the Portland match.\n\nScene 42. Medium shot. Sonny on the lawn at the side of the house. You can see Annabelle sitting close to the window. Sonny accidentally throws a ball through the window and knocks Annabelle cold. Now the poor girl can't go to the Northfield match and see Henry play.\n\nFade into next scene.\n\nScene 43. Sonny decides it would be more diplomatic to cease golfing. Medium shot. Veranda. Sonny discovers the box Phil has left. He opens it and finds Gardner's cup.\n\nTitle: Phil Decides to Come Back and See Whether Annabelle Won't Listen to Reason.\n\nScene 44. Medium shot of Phil coming up the steps. He sees Sonny holding Gardner's cup.\nGardner examines the box and the paper around it, certain it's the one he took from Gardner's room. He takes the cup from Sonny and sets off for the hotel.\n\nScene 45. Medium shot. Outside entrance to the Carlton Hotel. Phil asks the men at the door if they know (Continued on page 27)\n\nThe Clinic\nDr. Kinema, an amateur consultant for Amateur Movie Makers, has been retained by the organization. The doctor will discuss common problems in amateur cinematography. He requests readers to forward questions and, where possible, send correct answers along with them.\nDoctor Kinema does not want to fill the Clinic with his own ideas. He invites all members of the AMA-TEUR Cinema League and all readers of Amateur Movie Makers to make contributions to his department. Please send in questions, answers, and discussions to Doctor Kinema, care of Amateur Movie Makers. 105 West Fortieth Street, New York City. A special article by Doctor Kinema appears elsewhere in this issue.\n\nMovies of Stills\n\nWhen making up a reel of pictures taken on a cruise or vacation, one often wishes they could include some pictures of still photographs showing places that were not taken with the movie camera. Again, when compiling a reel of family pictures, one may wish to include some early photographs showing Daddy at various ages or some pictures of Nancy taken before the advent of amateur movies. It is possible to do just this.\nTo complete the movie record in every detail, if the picture is a good size, place it in a good bright light, accurately frame it in the camera gate, load the film, and run off 5 or 6 feet. Since there is a difference between the picture seen in the finder and that registered on the film when working at close range, if the picture is old and yellow or faded, make a good black and white copy before attempting to photograph it on Cine Kodak film. This is generally a job for a professional photographer at least, as making the copy is concerned. Most camera lenses will not give sharp images of objects closer than three or four feet.\nfeet from the camera it follows that for most of the pictures which one wishes to copy, it is necessary to get a lens which will focus objects sharply when they are only 12 inches from the camera. Here again, it is absolutely necessary to frame the picture in the camera gate itself as the finders are useless at such a short distance. When properly done, very excellent results are obtained even from faded, yellow pictures.\n\n\u2014 Stanley A. Tompkins\n\nMore Close-ups\n\nIf you study the cinematography involved in motion picture productions which you see at prices ranging from $4.40 to 10 cents, you will observe that the professional producer long ago learned something that the amateur seems less quick to seize upon. It is the value of close-ups.\n\nYou can't have too many close-ups in your home motion picture productions, whether film or digital.\nThey are travel pictures, domestic scenes, or productions which you have planned and filmed with great effort and care. They make a picture infinitely more personal \u2014 infinitely more interesting \u2014 than a lot of unbroken, full view shots. What is more, closeups give the film a professional touch. Your camera may need a slight and comparatively uncostly adjustment so that it may be focused for these close-ups, but you will find such adjustments worth while.\n\nStories \u2014 Not Specimens\nTake your movies with interest. Put your family and friends in story form. Do not film them in a thousand and one disconnected poses and then store them away like canned specimens. Recently, a number of successful attempts have been made by amateurs to photograph somewhat lengthy productions. These were, as a rule, taken for public presentation by some.\nAmateur cinema-tographers often use film clubs or produce films to raise funds for charities. Beyond these productions and the filming of specific businesses or individual hobbies, the usual domain of the amateur cinematographer is home and travel pictures. However, a group of good friends can film various situations, splice them together in proper sequence and scenario form, and the results are amazing.\n\nOne of the things we amateurs need is a means for fading down at the end of a scene and fading up into the next scene. We also require it between the ends of our titles and the beginning of the following scene. We can sometimes obtain a little fade effect from the titles we get from Kodak, but as they are not intended as fade-outs and are purely accidental, we only get them by chance.\nGood fade effects. Some have a tendency to give the effect that the title is on a board and it falls backward in its fade out. The vignette device on the camera to give fade down when we take the picture does not meet the case. It is entirely satisfactory where the tripod is used, and conditions permit a formal setup. Most of us amateurs work under conditions that do not permit elaborate preparation before the exposure is made. In the majority of cases, we either must or we prefer to simply pick up the camera and \"shoot.\" But when a 400-foot reel has been assembled out of selected good scenes, such as in films represented by \"Our Yachting Cruise,\" \"Our Canadian Motor Tour,\" \"Beauty Spots in New England,\" etc., we encounter the great need of something to avoid the harsh jump from one scene to another.\nThe scene transition is not pleasing to the eye and is not artistic. It has a marked effect in obscuring the beauty of scenes that are really worth a better presentation. The fade-down and up must be accomplished by something we put on the film after editing it. This is necessary because the last few frames of a scene are always bad due to the unavoidable wobbling of the camera when we lift our finger to stop it. The first frame or two of the next scene are also liable to be defective. Both must be cut out in the editing. Therefore, the necessity for being able to edit and splice in, add scenes and subtract them, and yet always be able to put in a fade out. Possibly, an automatic vignette device might do. One way is to ink over two frames.\nframes at the splice and then shade off both ways for four or five frames each side of the splice with a camel's hair brush. But this requires great skill to get a smooth effect. It is almost impossible. It is very difficult indeed to avoid a motled looking fade down. Furthermore, in 400 feet of film where there may be from 80 to 100 different scenes, there are too many fade outs to paint by hand, and it becomes entirely too much labor.\n\nIf, on the other hand, we could buy a thin bit of film or something which was black in the middle and tapered off to transparency at each end, and could be pasted on our film at the splice between scenes, we would have the problem solved \u2014 provided, of course, it would run through our projectors satisfactorily.\n\nHere is a great opportunity for the manufacturers to provide an accessory. We are always in need of such a thing.\nAmateur cinematographers would buy hundreds and thousands of these little fade-outs if they were practical and moderately priced.\n\nAbout Splicing:\nFinding the correct place to splice the film for titles is as essential for truly satisfactory results as any other phase of amateur cinematography. When you are looking for a place to splice titles into your film, first project it. As soon as the scene which you wish to title begins, throw out the clutch on the projector and stop the film. Notch the edge of the film where the title is to be spliced, preferably with a small pair of scissors with blunt ends. This procedure can be followed until the whole film has been reeled.\n\nWhen the film has been rewound\u2014and to do this work expeditiously, one should have a combination rewind and splicer\u2014one may run it off slowly, with the edges running parallel.\nSplice films lightly through thumb and forefinger. As a notch passes through the finger, stop it and splice in a title. Arrange titles for quick work. Occasionally, you may have difficulty splicing films so that pictures appear right side up when projected on the screen.\n\nWhen you begin to splice several films together, start with the one you want to project first and run the first part on a large 400-foot reel with the top of the picture toward the right hand and the emulsion or dull side uppermost. When the first scene or scenes are all on the reel and the end is cut for the splice, the last full frame will have its bottom toward the left hand. Splice the top or \"head\" of the next scene to the bottom or \"tail\" of the preceding scene, making sure that the dull side is aligned.\nThe film's right side up if heads are spliced to tails. If not rewound, bottoms come together, indicating the need to rewind before splicing. Splicing heads to tails eliminates any reference to the action as a guide.\n\nThe Tower of the Dead\nHow an Amateur Filmed\nA Cremation in Bali\nBy Myron Zobel\n\nI was filming a cockfight on the little island of Bali, in the Java Sea. It was the exact and thrilling moment when the winning bird was about to strike home with its cruel and winning spur.\n\nSuddenly, my Balinese guide came rushing forward and touched me on the arm. \"Master!\" he exclaimed in breathless, broken English. \"Five thousand rupiahs!\"\nA Balinese cremation! Something which had never before been recorded on motion picture film, a ceremony so rare that it can be seen only in the farthest ends of the earth and then only by him upon Dame Fortune's beaming.\n\n\"How do you save it?\" I inquired, without turning my head, for, rare as the sight may be, I had no intention of losing the climax of the cockfight until I had been assured there was some grounds for the guide's excitement.\n\n\"Orang Blanda have spoken,\" he said. The White Man had told him. That was good enough for me. There are so few Orang Blanda on the tiny island just east of Java that one is confident they speak the truth to one another. That meant there was no time to be wasted. I seized my camera, threw a half dozen rolls of film into a car, and dashed off.\nFor the cremation ceremonies. So hectic is the movement, so dramatic the rush and sway of mud-stained bodies, and so phrenetic is the ecstasy of the friends of the deceased, no standard camera with tripod and equipment could be brought into action in time to catch the thrilling mob. No set-up of heavy gear and tackle could record anything but a fleeting glimpse of a shifting panorama. But with my little movie camera which I held in my hand, focused with a glance of the eye and cranked with a press of the button, I was able to follow every twist and turn of the ceremony with ease. I stood before the House of the Dead, with its five white lanterns as the symbol of death, and \"shot\" the five shrouded bodies as they issued forth on the shoulders of half-naked, screaming youths.\nThe pallbearers tore this way and that, now splashing through mud and now rushing through tropical underbrush. They swung and circled and crossed and recrossed their tracks. It was an effort to deceive the departing soul in order that it might never return to plague the village or the friends whom they had left behind.\n\nAnd now, amidst the bursting of firecrackers and exultant yells, came the Tower of the Dead. The huge structure was covered with tinsel paper and gaudy ornaments. It towered thirty feet into the air and swayed like a chip on the brawny shoulders that bore it. In a topmost niche of the Tower reposed the five bodies, now headed for the funeral pyre.\n\nThe tower swept by me like a mighty Juggernaut, and with my camera still grinding merrily in my hands, I leaped behind the shelter of the trees.\nI avoided being stepped on by the excited pallbearers. I feared they might take offense or find some evil magic in the little black box I pointed steadily in their direction. Might not mine be added to the already large pile of bodies in the top of that decorated hearse? I shuddered at the thought.\n\nMy fears were soon allayed, and I saw that quite to the contrary were the emotions inspired by my amateur movie camera. The Balinese, with their natural love of ostentation and display which is inherent in every native breast, actually doted on the impression they were making on the white man. And they figured\u2014not incorrectly\u2014that the box in my hand was just another admiring eye. So they preened themselves and posed for me. The Tower of the Dead was dragged up and down the road before my lens in order to be filmed.\nI. The bodies were handed down from the tower and carefully washed in holy water by the priest and sprinkled with flowers. I feared to look upon the ghastly remains but forced myself to photograph the ceremony. Long lines of girls and women came bearing vessels of holy water on their heads or urns containing the sacred fire. The men set down the gilded Tower and rushed to the nearest stream to wash their sweating naked bodies and cleanse themselves from the contamination of death.\n\nA Cock-fight in Bali\n\nII. The bodies were handed down from the tower and carefully washed in holy water by the priest. I photographed the ceremony from a spot of vantage on the altar steps. Long lines of girls and women came bearing vessels of holy water on their heads or urns containing the sacred fire. The men set down the gilded tower and rushed to the nearest stream to wash their sweating bodies and cleanse themselves from the contamination of death.\n\nThe bodies were now handed down from the tower and carefully washed in holy water by the priest. I sat upon the altar steps and photographed the ceremony from this vantage point. Long lines of girls and women came bearing vessels of holy water on their heads or urns containing the sacred fire. The men set down the gilded tower and rushed to the nearest stream to wash their bodies and cleanse themselves from the contamination of death.\nI myself went to do it. Nothing at all was visible but crumbled bones. The bodies had been dead for months \u2013 saved until a propitious day for burning and until a time when sufficient dead had accumulated to jointly bear the high cost of cremations.\n\nAt last, after long and mystic blessings by the priest, the holy fire was touched to the little structure that bore the bodies. So dramatic had the spectacle now become and so intense was my desire to film every bit of it that I leaned too far out of my precarious scaffold and plunged headlong to the ground. I was saved from injury, and my camera and film from destruction, by the prompt action of the natives below the altar who rushed forward and caught me \u2013 just in time.\n\nIt was growing dark and only the flames which now lapped the altar.\neagely up the tower and along the little funeral pyre that bore the bodies. In the failing light, I enabled me to record the final passage of the cremation. But eventually the last spurt of fire flashed heavenward and the flimsy structure of paper and bamboo crashed crackling to the ground. Tired and dirty, with torn clothes and bruised body, I sank back into the seat of the automobile.\n\nThe family and friends of the deceased would wait all night about the smouldering fires so that the last ashes could be scattered next morning on the waters of the nearby stream.\n\nFourteen\n\nAMATEUR FILMS AVAILABLE FOR EXCHANGE\n\nOur Amateur Film Exchange\nAMATEUR FILMS AVAILABLE FOR EXCHANGE\n\nOf the chief functions of the Amateur Cinema League is to establish a safe and workable amateur film exchange. This will not be undertaken until\nA procedure has been implemented to ensure absolutely safe transportation and return of valuable films. The League requests a list of films and their owners willing to exchange under conditions of absolute safety. Please send this list to the editor of Amateur Movie Makers as soon as possible. Below are listed a few films and their owners:\n\nNAME: George R. Lafleur\nADDRESS: St. Petersburg, Fla.\nMiscellaneous Family and Travel Scenes - 1,400 feet, \"and all good.\"\n\nNAME: Dr. Charles W. Bethune\nADDRESS: 520 Franklin St., Buffalo, N. Y.\nScenic, Western New York - Niagara Falls, trip through Niagara Gorge, Letchworth Park, Williamsville Glen, etc. - 400 feet.\nWatkins Glen and Panama Rocks, also Lake Chataqua, 400 feet.\nMedical Films - Karyokenesis (indirect cell inversion), Ehrlich Slide Chain theory and inversion process.\nAnimated drawings, approximately 300 feet. Also, a number of films for physicians and medical societies interested in specific diseases, approximately 1,900 feet, 800 of which are still in preparation.\n\nName: William F. Collins.\nAddress: Indianapolis, Ind.\n\nDeep Sea Fishing - Three reels of pictures taken in the province of Nova Scotia, which will be a nucleus for later additions on the same subject. The reels are not yet complete in themselves, but will be complete within a short time.\n\nName: W. R. C. Corson.\nAddress: 127 Oxford St., Hartford, Conn.\n\nTrip to Bermuda - Shows scenes on ship and on island including St. George, Hamilton, Sea Gardens, beaches etc. 350 ft., one reel.\n\nThrough Holland by Motor Boat - Shows canals, rivers, bridges and people and such places as Rotterdam, Dordrecht.\nThe Hague, Delft, Lez-en, Alkmaar, and Amsterdam. Three reels, 1200 ft. (Auto Trip in France) Paris, the Cevenne Mountain region to Carcassonne and the Pyrenees region to Pau. Three reels, 1200 ft.\nXAME: Miram Percy Maxim\nADDRESS: Capitol Bldg., Hartford, Conn.\nFishing Trip - A canoe trip through the Moose River Country from Jackman, Me. Two reels, 800 ft.\nDevelopment of an Old Farmhouse Into a Country Home - A record of the development of an old farmhouse in Lyme, Conn. One reel, 400 ft.\nField Day, 1925, at The Masters School. Dobbs Ferry, N. Y. One reel, 400 ft.\nEuropean Trip - The record of a trip to Paris and London. Miscellaneous Family Scenes. Includes a trip to Eastern Shore, Maryland. One reel, 400 ft.\n\"Mag the Hag\" - A play by three Dobbs Girls.\nEarly in the history of amateur cinematography, there are some amusing attempts at amateur photo plays. 400 ft., one reel.\n\nMiscellaneous Family Scenes \u2014 Including some good diving pictures. 400 ft., one reel.\n\nWinter in Connecticut \u2014 A series of winter scenes in various parts of Connecticut. 400 ft., one reel.\n\nMiscellaneous Family Scenes \u2014 Taken at a country place in Lyme, Conn. 400 ft., one reel.\n\nAutomobile Trip \u2014 Includes a trip from Hartford to Maryland Eastern Shore, Washington, D.C. and compares road signs of different States. 800 ft., two reels.\n\nLog of the \"Sea Gull\" \u2014 A motor boating picture, with scenes at the start of Bermuda Race, Harvard-Yale boat races, around New London and Long Island Sound. 800 ft., two reels.\n\nA Suggestion\nTo the Editor of Amateur Movie Makers:\n\nI note that one of the objectives of the League will be to establish a system of inter-League exchanges and loaning of films. It is suggested that a list of films available for loan be kept and circulated among the members. This would facilitate the interchange of films and enable members to see each other's work.\n\nAnother suggestion is that a regular schedule of meetings be established, with a regular program of lectures and demonstrations. This would provide an opportunity for members to meet and exchange ideas, as well as learn new techniques and processes.\n\nFurthermore, it is suggested that a library of books and magazines be started, with a regular exchange of publications among the members. This would provide a valuable resource for members to learn from and be inspired by.\n\nLastly, it is suggested that a regular newsletter be published, containing news of the League, reports of meetings and events, and articles of interest to amateur movie makers. This would help to keep members informed and engaged with the League and its activities.\nFifteen\n\nTROUBLE: Don't Hang up Your Film Making up your mind in the beginning that you are going to have trouble whenever you undertake to give an exhibition before an audience of more than eleven persons. Eleven is the critical number. If the audience is less than eleven, nothing ever happens. If it is eleven or more, something always happens.\n\nWe had a cinema party at our house the other day so my wife might show the wives of certain neighboring amateurs that her husband could put it all over the other husbands when it came to taking motion pictures. My collection of films was discussed at length one evening at dinner, and we decided what films would make the best program. Incidentally, I was flattered to the glowing point at the discussion of my films.\nI discovered that my discerning but sometimes critical better-half was quite favorably impressed with my cinema technique. The films to be shown were selected and the evening set. Twenty-five people were to be invited \u2013 considerably more than eleven. I thought of several million different things I wanted to do to my films. I knew those films well and all their defects, and I hungered to cut out the over-long shots, the obviously over-exposed bits, and to put in those better titles I had been thinking about for some time. As we all do under similar circumstances, I set myself to the job of making all these changes, gave up several important matters \u2013 business and social \u2013 and worked every evening from then until the date of the party. The new titles came in the nick of time as they always do.\nBy Dr. Kinema: I had all the film spliced in by the time I was beginning to feel fed-up about amateur cinematography. The evening arrived, and before we knew it, the house was overrun with people. The question of where twenty-five people were to sit in our living room occupied half an hour of very loud conversation. The entire house was ransacked for chairs. The stout lady who had taken up a position three feet distance from, and directly in front of, the projector lens was induced to move over, and the pictures were started.\n\nThe first picture was a series of shots of friends and neighbors which I had strung together on a continuity idea that was about as thin as a piece of tissue paper. Everyone present knew everyone shown on the screen. Most of those shown on the screen were acquaintances.\nFor those who have not yet reached the stage where they give exhibitions, let me state that this kind of a picture is always a complete knockout. If an exhibition is to start with a rush, show a picture of friends and neighbors of the friends and neighbors. It throws everyone into hysterics, and no matter what comes later, the evening is a howling success. Inside twenty seconds, my audience reached the squealing stage. The ladies did most of the squealing. Mrs. Jones and Mrs. Smith were shown entering a scene and seating themselves in chairs. The dear ladies in the audience almost went off the handle at the spectacle. I wonder why we regard a friend's appearance on the screen so hilariously funny? Certainly Mrs. Jones and Mrs. Smith did not intend to be funny. Walking up to a chair and sitting down.\nSitting in it in quite an ordinary manner is hardly an action that can be considered comic. But we amateurs go off into gales of laughter if we know the people. Well, my first film left them all weak and moist, and my wife and I exchanged glances of elation. Film No. 2 was another with a lot of local color, and it was going big when I felt something move across one of my feet. Every experienced amateur knows what this means. My suspicions were aroused instantly. It was very dark, but one glance was enough to disclose the interesting fact that there was a heap of film on the floor about the size of a barrel.\n\nThe little spring wire belt on the lower wind-up wheel of my projector had broken. What to do? What to do? Twenty-five people present, and all of them having a wonderful time and the belt on the projector broken!\nI remembered the reels have a little V groove in one of the round holes in the side, located inside the central hub. If I could find this little V slot and get a lead pencil into it, I might be able to crank the reel and wind up the film. I poked around in the dark and found the hole, starting to crank. By the time the reel ran out, I had rewound almost all of the film, getting it wound up before anyone noticed anything was amiss. Examination of the projector revealed an interesting fact: the lower belt had gone missing. The next morning, I found it on the floor on the other side of the room.\n\nI expected the next reel, a collection of landscapes I had arranged for this occasion, to knock everyone flat. I threaded it.\nThe staid editorial writers of the New York Herald Tribune had apprehensions, but none of the 14 ladies and gentlemen, who had to be either one before they were considered, went down through the ages as the cast of \"The Thrillproof Age.\" They were going to Hollywood with the six reels, neatly bound with blue ribbon and sealed. Not that there weren't enough plaudits forthcoming from the rioters who stormed the Lawn Club at New Haven on December 4 to be the first to see the six-reel thriller. Yale University did not have a monopoly on blue ribbon in the state of Connecticut.\nThey all concluded that Hollywood offered practically nothing in the way of advancement compared to New Haven. The Vamping Scene by Kenneth E. Nettleton\n\nFurthermore, Hollywood can boast of no club that will compare to the Motion Picture Club of New Haven, now in formation. Great oaks, such as that club, grow from little acorns, like the story of the merry widow and her seven suitors, which eight home movie fans of New Haven filmed last winter.\n\nOf course, there were intermediate stages in the development of the oak, such as \"The Thrillproof Age.\" Filmed last August, September, and October at odd moments, as odd as married business men and married women with dishes and children to wash necessitated.\nThe story is about three flappers who believe they are thrillproof. The first scene was laid in an exclusive summer hotel. To ensure exclusiveness, a private home with very large grounds was appropriated. In the next scene, the flappers drove off to an inn in Maine. It was there that three young bachelors decided to give them a thrill and attacked the inn with two veteran guides of the Maine woods.\n\nUnfortunately, the planned onslaught came at the precise moment when two rum runners from the Canadian border sought to settle some minor differences with the innkeeper, giving force to their arguments with lead. Nevertheless, the pandemonium that followed gave everybody a chance to run in and out of a lot of doors and jump out of a window.\nLotsof windows. Following what might be termed a general exodus, a general disappearance in the woods occurred, in which practically everybody got lost. All of which takes only a few paragraphs to tell but sixteen hundred feet to film, what with eighty-six art titles, titles, and scenes taken months before the filming began and spliced in to great advantage. \"People have asked what difficulties were encountered in the filming of \"The Thrillproof Age.\" That's a story in itself. Inasmuch as the picture was produced primarily for the amusement of the players and with no fixed scenario to follow, it didn't even seem that there would be the usual problems of location changes and scheduling conflicts. The plot having been built up around the players and the locations which were available, it didn't seem that there would be the usual problems.\nfinding talent and locations. Nevertheless, as enthusiasm spread and more people began clamoring for parts, the players' lines continued on page 31.\n\nThrillproof? Seventeen Gillette \"By Sports Like These An With The Little Movie Beguilement Eighteen Gillette imera, however, their permanent Gillette Nineteen a By Sports Like These An All Their Cares Beguiled; With The Little Movie Camera, however, their beguilement becomes permanent. Nineteen Eighteen Par Shooting! This article was to have been a technical thesis \u2014 one of those erudite expositions of advanced cinematography. Such an article simply would not write itself, nor indeed would it allow itself to be written \u2014 that is, not by me. I have been trying for months to describe, in workaday language, not only the fundamentals upon which the success of presentable pictures depends, but also the subtle, elusive, and often intangible qualities that make a film great. These are the things that cannot be taught in a classroom or learned from a textbook. They are the things that come from experience, intuition, and a deep understanding of the medium. And so, instead of a dry and technical treatise, I offer you this personal account of my journey into the world of filmmaking. It is a story of passion, perseverance, and the power of the moving image.\nDepends on but also the unusual devices and methods which make possible truly professional results. This article is for the consumption of him who has reached that stage in his career as an amateur cinematographer when he is about to film his Super-Special, All-Star Production. Statistics prove that everyone reaches it \u2014 usually after the second roll of film has been exposed and one has come to regard himself as a camera-man of no little talent.\n\nPresuming that at least two rolls have been used, I suppose it can be taken for granted that the reader has assimilated the fundamentals of motion picture photography \u2014 correct exposure, steadiness, and length of scenes. But as for the picture which you intend to exhibit with the preface: \"Look, friends, this is what I have accomplished with my little movie camera!\"\n\nContinuity is the first issue to consider. It is the unbroken sequence of events in a film, from one shot to the next. It is essential that the action in one shot matches the action in the next, and that the continuity of time, space, and character is maintained. This can be achieved through careful planning and preparation, such as marking the position of actors and cameras between takes, and ensuring that props and costumes remain consistent.\n\nAnother important consideration is the framing of shots. This refers to the way in which the subject is positioned within the frame, and the relationship between the subject and the background. Good framing can help to convey the intended meaning or mood of a scene, and can make the subject stand out more effectively.\n\nLighting is another crucial aspect of filmmaking. The right lighting can bring out the best in a scene and make it look more professional. It is important to consider the type of lighting that is best suited to the scene, and to use it in a way that enhances the mood and atmosphere.\n\nSound is also an essential element of filmmaking. Good sound can help to bring a scene to life and make it more engaging for the audience. It is important to consider the type of sound that is required for each scene, and to use it in a way that enhances the visuals and supports the narrative.\n\nFinally, editing is the process of selecting and arranging the best shots and sequences to create a cohesive and engaging film. It is important to consider the pacing of the film, the flow of the narrative, and the relationship between the different elements of the film. A well-edited film can make even the most mundane or ordinary subject matter look interesting and engaging.\nTo be considered, whether you are taking pictures around the house, recording a vacation trip, or filming a home-made play, you must have a definite idea of the story your picture is to tell. Put the story down, either in the form of a scenario or a working chart of titles. This chart need not be exact, but it will save a great deal of unnecessary cutting later and help to economize on film.\n\nTwenty dollars. Margaret Hutcheson.\n\nFor the actual filming of the picture, if any of the scenes are to be interiors, you will need two good lights. Choose the Mazda type that plugs into any ordinary electric light socket, as this eliminates changing fuses. Then mark off a definite space for your scene of action and explain the boundaries to your actors so they will not get out of the range of the camera.\nFor the outside shots, choose a bright, sunny day and film your scenes in the shade to avoid glare and halation from any white objects in the picture. Carefully consider two important details to raise your production to the professional class: composition and background. Volumes have been written on composition, so it is futile to elaborate on it here. Suffice it to say that a little artistry in arranging scenes and grouping subjects is essential in a finished production. The choice of suitable backgrounds will give your pictures a pleasing stereoscopic effect, where foreground objects stand out clearly. This is accomplished by selecting a background that contrasts in color and appearance with the principal object.\nTo be photographed, it is advisable to choose a background of trees when filming a group of people in light sports clothes. A close-up of a very dark brunette would show best against a light grey or blue wall. Mechanical smoothness can be obtained using the new iris vignetter. With it, you can fade out from one scene and fade into the next. Irising out from titles also adds to the professional quality, as it eliminates the jerkiness that has always been objectionable.\n\n'ITLES, which you have made personally or have ordered, are cut into the film after the processed film has been returned from the laboratory and you have completed your first feverish inspection. This is the time to make whatever changes are necessary in the continuity, cutting out all defective footage.\nUse a straight splice for this work to ensure a minimum of flashing. Each reel should be headed with a superimposed art title. If these mechanical details seem tedious, seek a dealer who should do it for you at a small cost. Naturally, you will want to preserve for posterity such a production. You can do this by saving the original as a master film and having a duplicate made for projection. This duplicate may be finished in plain black and white, or, if the film is one suited to color, really marvelous effects may be obtained by tinting or toning. Toning means coloring the shadows and leaving the highlights white, while tinting means coloring the entire film. It is, of course, possible to use several different colors in the same reel. Finally, the picture is completed and you admit to yourself that it is a world-beater.\nfamily and friends are gathered for the premiere. You mount the rostrum of your own hearth to deliver the conventional curtain speech. For half an hour, you tell of your early struggles, the uphill climb, the impossible barriers and the multitudinous problems which confronted you in producing this, your first professional home movie. At last, the lights go out. Projection proceeds amid exclamations of delight and commendation. From the ladies, \"Such artistry!\" From the gentlemen, \"Par shooting!\" From yourself, \"Not so bad at all!\"\n\nThey Tell The Story\nThere may still be a few skeptics whose belief it is that the Amateur Cinema League had its origin in the great American habit of joining something. For their benefit and for that of the more charitable, the following comments from every part of the United States are published. They came unsolicited.\nThe case of letters came accompanied by a membership application with checks ranging from five to one hundred dollars. Some came with money not only for membership charges but for the use of the League as it saw fit. They tell the story better than any analysis of them could.\n\nThe New York Herald Tribune, on its editorial page of December 4, said:\n\nAmateur Cinematography\n\n\"When a pastime has become so popular as to warrant the publication of a magazine devoted solely to its interests, it must be recognized as a factor in the life of the people. Such a pastime, or hobby, amateur motion picture making has become. For the first number of \"Amateur Movie Makers,\" a monthly magazine, published by the Amateur Cinema League, has just appeared at Hartford, Conn.\n\n\"One wonders what harmless and delightful the new photo-\"\nGraphy must at first seem to be. But will it, or will it not, stimulate the ambitions of thousands of young people to become professionals of the screen? It can be argued, of course, that it will act as a safety valve to such aspirations. The young person, especially the young female person, who feels the Hollywood urge may be satisfied, or even disillusioned, by starring in the homemade film. But alas! we are confronted by a deadly analogy. Does a young person aspire to write or paint, and does he produce a story or picture admired by devoted relatives and friends? Promptly he puts the precious work in his suitcase and sets out for a center of literature and art to win the fame for which he is obviously destined. Will Hollywood soon be besieged by fresh thousands of young persons, most of them young male persons, each bearing a\n\n(Note: The text appears to be complete and does not require cleaning. However, if there are any OCR errors, they are not apparent in this text.)\nA reel of amateur film neatly bound with a blue ribbon and figuratively sealed with the plaudits of the folks at home? Well, there is no stopping the spread of the new picture taking and no doubt it will do more good than harm. But we urge upon the older relatives and friends of young persons who begin to experiment with amateur cinematography that they become at once the severest critics as well as dearest pals of the youthful actors and actresses.\n\nWriting from Dublin, Ireland, Clifton Adams, official photographer for the National Geographic Magazine, said: \"I am just now finishing a photographic survey of Ireland. The article will be by a famous Irish novelist, Donn Byrne, and is scheduled for an early number of The Magazine. I'm keenly interested in the A.C.L., and want to be an active member. Would you allow me to join?\nJ. E. Brulatour of New York wrote: \"I am very happy indeed to be one of the original members of this organization as I am very much interested, and know that it will attain tremendous scope and be of great benefit to amateur users of the motion picture camera.\" Carl Louis Gregory, editor of the Camera Magazine, said: \"I have published an article regarding the Amateur Cinema League in the Camera Magazine and expect to receive a large number of inquiries for particulars and membership applications.\" Charles E. Bedeaux: \"I wish to call to your attention a serious need for a service in connection with the Amateur Cinema League.\"\nI refer to the editing of films after they have been developed, which at present is not existing with amateur cinematography. The average user of amateur moving pictures is deprived of his full enjoyment and at times boring his friends because his films are not properly edited with suitable titles.\n\nJ. D. Barnum, publisher of the Syracuse, N.Y. Post-Standard, wrote: \"May I express the belief that a great work can be done by your organization if you make an appeal to your members to send in films of all kinds of outdoor life. Many owners of small movie cameras have been taking pictures on their outings in Europe and world trips, and such material properly edited will afford better films for the average household than the material that is now being released through the\"\nestablished libraries of professional films. Another distinctive service to build up would be to solicit your members for films of big events in their territory, to be incorporated in a weekly or monthly sport news film. It would be impossible to reproduce extracts from all the letters which have been received. A few of the others who wrote were: Calbot Field of Hope, Arkansas; Harry C Avilson of Memphis, Tenn.; Frieda Kalb of Beverly Hills.\n\nConcerning AMATEURS:\n\nBest of all, do we like the story of the prosperous mid-western city that had reached that stage in its civilization where no further progress could be made without a magnificent church\u2014a fitting edifice in which its citizenry might gather to pay thanks to God for His many blessings. That this church might be truly expressive of the city's prosperity and piety, it was decided to call for designs from the leading architects of the country. The designs were to be submitted to a committee, composed of the mayor, the president of the board of trade, and the rector of the cathedral. The designs were to be judged on their merit alone, without regard to the architect's reputation or the cost of construction. The winning design was to be announced at a public meeting, and the architect who designed it was to be awarded a gold medal and a purse of five hundred dollars. The city council was to appropriate the necessary funds for the construction of the church. The citizens were invited to contribute toward the cost, and many responded generously. The work of building the church was begun, and it was completed in two years. It was a magnificent structure, and all were proud of it. The church became the center of the city's social life, and its services were always well attended. The city continued to prosper, and its people were grateful for the blessings they had received.\nThe American descendants decided to create a handsome gesture by having their distinguished English ancestor's portrait hang in a conspicuous place in their home. They selected the best features from various leading cathedrals of the Old World for this purpose. The pastor was dispatched with a home movie camera to film these cathedrals and returned with the footage for the vestrymen and prominent architects to view. The film was projected multiple times, and plans were drawn based on the combined best features.\nTrait painters were consulted but each agreed that portraits made from photographs were rarely satisfactory. They seemed to lack that indefinable something which gives a portrait an atmosphere of the living. Then came a bright young man with the suggestion that possibly from a motion picture, a portrait might be painted which would counterfeit the painting made from life. An amateur camera was purchased, the English ancestor was filmed by one of the family who had gone to Great Britain for the summer, and the portrait, we are told, has been most pleasingly completed.\n\nThose family scene films,\nReserve those family group films \u2014 the ones you made last summer showing you and the family splashing happily in cool brooks, the ones you are making these winter nights as you cluster before flaming hearths. They may save you thousands of dollars in alimony.\nJustice May recently ordered the Supreme Court of Brooklyn to allow a young Brooklyn dentist to use portable films as part of his defense, which he claimed proved the absurdity of his wife's cruelty charges. For half an hour, Justice May watched movies the dentist and his friends had made, showing him and his wife enjoying summer suns. Afterward, the learned justice expressed the opinion that motion pictures could be valuable in legal entanglements, particularly for reviving the past.\n\nFrom Berlin comes news that another royal family has joined the ranks of amateur cinematographers. Princess Hermine, second wife of the former Kaiser, has formed a company with her five children.\nA former marriage's woman - and is making movies for the entertainment of the exclusive little villa at Doom. She is apparently her own press agent. She reports that the one-time dictator of Germany occasionally takes a part, stellar or inconsequential, as the occasion demands. Field Marshal Von Mackensen, the first outside critic to have seen the production, is reported to have been carried away with enthusiasm. More press-agentry, no doubt, but those with an eye to business in these parts have been heard to whisper that five or six reels of these films, released for the public's gaze, might make some enterprising producer a pretty fortune.\n\nShip Ahoy!\nAn Resolute, which sails from New York on its around-the-world cruise on January 6, will be the first marine motion picture club to come to this department's attention.\nThe Motion Picture Club of Orange, producers of \"Love by Proxy,\" has begun filming its second production this month in Orange. This year's production will be made on 35mm stock, but tests, screen tests, and experimental titles are first tried on 16mm film. Work has begun on a Club film library which will contain subjects on both standard and sub-standard film, including news reels.\n\nPaul F. Johnson of Altadena, California, will demonstrate his latest method of getting effective titles to the members. He makes a double exposure - first of a view such as mountains, very much under-exposed, and then of the title board, at normal or somewhat less exposure. He has made one title this way, quoting his son as authority, \"it looks like a million dollars.\"\nevents, scenics, sport pictorials and feature films \u2014 all made exclusively for the club by its members.\n\nNew officers of the club have been elected. Marshal Schueler is president; Alfred Fontana, Vice-President and Treasurer; Mrs. Mildred Bernard, Secretary; Eugene W. Ragsdale and Russell Erwin, Production Staff.\n\nTalking Home Movies\nWH. BRISTOL declares\nthat in Waterbury, Conn,\nhe has a means of making\nthe characters in a home movie film\nspeak for themselves, with the sounds\ncoming directly from the lips of the performer.\nOf which department hopes to hear more anon!\n\nPoetry\nSO far as this department is aware,\nWalter D. Kerst of Jersey City, N.J.,\nis the first amateur to photo-dramatize poetry.\nHe has made one short subject based on\nJoyce Kilmer's poem, \"Trees,\"\nand attempted to synchronize it with\nRasbach's musical score of the poem.\nHe has also\nI have cleaned the text as follows: He has been experimenting with the tinting and toning of film. \"Of course,\" he writes, \"one can always attach a revolving disc of colored gelatine sheets in front of the projector or lens, but the effect is, at least in my case, not as good as when the film is colored. For example, in editing my last vacation film, there was a sequence I wished to use showing a pony trail trip in the mountains from early morning until night, with a final shot of a majestic, snow-capped mountain peak with the alpenglow \u2013 that beautiful, indescribable tint of rose color, just before the sun sets \u2013 on its snowy hood. Of course, with fitting exposure, one would get across to his audience a feeling of the progression of the day from morning till night, even if the film were left black and white throughout. But think of a sunrise suffused with a delicate pink glow, and as we transition from one scene to another, the colors of the landscape gradually change, enhancing the visual experience for the viewer.\nNear noon, feel the brilliant yellowish glare of the sun as it beats down directly overhead; then, late afternoon, with shadows lengthening and turning to a delicate violet; then, just before sunset, the shadows deep blue and the highlights a delicate rose; and finally the deep blue-black of night.\n\nLast year I had an iris diaphragm and color filter holder made for my camera. I find the circling in and out effect invaluable, as it does not make the change from scene to scene so jumpy and abrupt. Speaking briefly of orthochromatism, the present 16 mm film, due to its lack of color-rendering ability, loses many beautiful sky and cloud effects, and hence, certain color filters are a great help.\n\nEddie Cantor, \"Snoots\"\nRaymond Griffith\nAnd the least enthusiastic of the little movie fans is Al Jolson. He has bought an amateur camera.\nFannie Hurst, finding her impressions too myriad to be released on paper alone, has taken to making home movies.\n\nJohn E. Mitchell of The New York World's London Bureau expresses slight cynicism about amateur cinematography. Writing to the dramatic editor of a New York newspaper, he said:\n\n\"You don't happen to know, do you, what is delaying the little movie movement? It is long overdue. Now that Mrs. Coolidge is making her own movies, can spring be far behind? Here is the real opportunity for the little theatre people.\n\n\"The initial cost of the movie camera is admittedly a long step, but with this prosperity we've been hearing about, I should think even the Elm Street M.E. Social Guild could make it. And an amateur motion picture camera doesn't mean only films for the wealthy.\"\nMuch frozen capital can be obtained for cameras. Seven wen I y-four can always be readily hocked, and second-hand they bring very good prices. Then there's the lighting. But the simple solution to that is to take all your pictures outdoors on bright days until you are ready to invest in Kleig lamps.\n\nThe advantages of the amateur motion picture over amateur theatrics are obvious. In the first place, no one will forget their lines on the opening night. There won't be any lines, and furthermore, the movie will represent the best of the rehearsals. The first night of a little theatre is usually worse than the worst rehearsal.\n\nThe movie can be shown as many times as relatives and former friends can be dragooned into seeing it, instead of merely on the nights when all the cast can be rounded up.\n\nAs for scenery, the little\nBut mostly, consider the psychotherapeutic value of a little movie movement on a Nation that has lost interest in being Mrs. Fiske and Mr. Drew but wants very much to be Pola Negri and Douglas Fairbanks. What would a little movie movement have done for Merton? Nothing good, probably, but he would have had a nice time.\n\nAnd finally, consider ART. You and I know what the Washington Square players have done for the theatre of New York. I've forgotten exactly what it was they did, but it was very important, wasn't it? Who knows but what an Eugene O'Neill of the movies is waiting to revolutionize the Silent Drama through his daring experiments with a little movie? And who cares? Personally, I don't, but maybe you do, seeing as how you have to go and look at the Silent Drama.\nTo the learned critic was added: \"To be right truthful about it, this notion strikes me as being about as silly a one that has come out of Fleet Street in months. Think what would befall the poor reviewer if little, privately made movies ever came into vogue and were presented for public showings. As it is, the row is not hard enough to hoe already! If Mr. Mitchell clings to this perfectly insane obsession, let him give expression to it in England, where nothing much matters in the movies anyway.\"\n\nRegarding Hollywood:\n\"Own your own theatre\" is the slogan in Hollywood, reports the Associated Press. Officials of the big companies are quoted as saying that fully two-thirds of the executive and personnel talent own their own projection machines. Some have gone so far as to have small theatres built in their own homes.\nTonio Marino has a fully-equipped theatre in his house. He takes pictures not alone for fun but to study the technique of his make-up and acting. Marion Davies has two such theatres, one in her Beverly Hills home and one in Santa Monica. Others who are amateur and professional cinema magnates are Louis B. Mayer, producing head of the Metro-Goldwyn-Mayer studio, Fred Niblo, Mae Murray, Lillian Gish, Claire Windsor, and Conrad Nagel. HE Motion Picture Club of San Diego, growing out of a benefit performance which Art F. Gaynes filmed last winter with the assistance of an amateur theatrical club, stands on the brink of a great adventure \u2013 its first official film. The scenario has not yet been chosen but Mr. Gaynes is casting about for talent.\n\nCharity drives, even the usual Christmas ones, were conducted this year without the usual pomp.\nAmateur movie cameras have been reported from practically every city in the country to be contributing to the subscription of vast sums of money for various charities. They were particularly useful in taking movies of impoverished families to graphically impress the urgency of their needs upon large groups of men and women. In Hartford, Conn, amateur movies were used to raise money for the Community Chest. Pictures were taken of Hartford's charity organizations by a number of amateurs, and the best films were consolidated into two films of 400 feet. These films have been offered to members of the League who want help in organizing drives of this sort.\n\nIn building up a Family Album of amateur motion pictures, I need a film showing the grave of my father, the late, Sir Hiram.\nStevens, Maxim. His grave is in the cemetery at West Dulwich, London, England. If any amateur who happens to be in London could make a 16mm exposure of this grave for me, I would be very glad to pay the costs.\n\nHiram Percy Maxim, Hartford, Conn.\n\nTwenty-five\nSome\nSECRETS of SCREEN MAGIC\nBy Dvigkt R. Furness\n\nMotion pictures were called \"action pictures.\" Their name would give the amateur movie maker more of a hint of the secret of screen dramatization.\n\nMotion is characterless. Action is the soul of drama. Motion the physicist can describe with formula and graph. Dramatic action involved a subtle analysis of human motives and emotions.\n\nThe stage relies largely on the \"lines\" of the players. Dialogue is reinforced with suitable action by the players. The plot unfolds both to the eye and the ear. The screen must tell its story through action, not just motion.\nThe story is not just for the eye alone, but possesses such reality that the ear unconsciously contributes its part. In drama, action is not only the stage business of its characters, but the sum total of its theme. It is the delicate thread that runs through the continuity and reveals, through scenes, settings, characters, and titles, the story the producer intends to tell.\n\nTo capture this elusive quality and securely preserve it in the dancing silver grains of cinematic film, the producer must carefully scrutinize his scenes. Backgrounds must collaborate with the players. Settings can suggest the sunlit happiness of childhood, the full noon contrasts of maturity, or the lengthening shadows of old age. Locations should be chosen with careful consideration of what is to transpire before them.\n\nCostumes, too, should align with the action and the character. Not that they should be inauthentic.\nTwenty-six details contribute obviously to the unfolding plot. A tobacco pouch tag on a cowboy's shirt, a carefully folded handkerchief protruding from a dandy's pocket, knitting in a grandmother's lap - these are the unconscious touches that add to the general ensemble of a costume.\n\nAn amateur producer will be fortunate if his photographic experience includes a knowledge of pictorial composition, such as the preparation of prints for exhibition calls requires. To the uninitiated, the arrangement of a picture may not be satisfying yet the reason not apparent. The amateur pictorialist can analyze defects of composition and find remedies for them - an experience that will stand him in good stead in filming scenes for his screen drama.\n\nMonotony of action is sure to bore.\nThe importance of tempo in cinema and the term \"pace\" in screen dramatization, coined by David Wark Griffith, controls the audience's pulse in film. The pace of a motion picture is revealed in the cutting room. Comedies have brisk action with many short scenes, while love scenes move at a more leisurely pace, aided by fade ins and fade outs. Producing an amateur drama offers full liberty for self-expression.\nHis ideals are unhindered by the restrictions of \"what the public wants,\" which the box office hangs over the professional producers' heads. So, if in his production the amateur movie maker seeks harmony between action and setting, correlation between player and background, pleasing composition, flawless costuming, it is for his own satisfaction when his drama or story is retold to his friend on the silver screen.\n\nSwaps (Continued from page 15) and show films taken by another. My reason for writing this letter is to suggest a somewhat different, additional service which the League could render to its members: This is the lending of films, not merely for showing purposes, but so that duplicates may be made of a fellow-member's film, to fill in and complete one's own pictures. One or two examples may make clearer my meaning:\n\na) A member, let us say,\nis missing a few scenes for his production. Another member may have filmed those scenes. By lending his film, the first member can make a duplicate and incorporate those missing scenes into his own picture.\nA camping trip in one of the National Parks results in several hundred pictures of his party in camp, on the trail, and of the scenery they see. A lack of film, a bad storm, or some other cause prevents him from getting pictures of the scenery along one or two days' trails, leaving a gap in what can otherwise be edited into an interesting and complete record of the trip. Through the League, he might borrow a film taken by some other member who visited the same Park, have a duplicate printed of that part of the film which covers the section he missed, splice it into his own film \u2014 and the gap is filled.\n\nA member visits some important athletic contest, such as the Yale-Harvard football game, and takes movies of the game. Through the League, he might borrow a film taken by some other member who attended the same event, have a duplicate printed of that part of the film which covers the missed section, and splice it into his own film \u2014 thus filling the gap.\nTourists should be aware that carrying a movie camera can be tiresome. If you grow weary, approach the nearest officer and ask them to carry it for you. In the Near East, taking pictures in mosques is not permitted. In Morocco, it will be difficult to get close to any holy places, let alone take movies there. In Cairo, filming is allowed in the yard but not inside. Attempting to do so will result in ejection, which may be uncomfortable.\n\nRegarding supplies, you will find a list of places to purchase film supplies in your film box. You can have your film developed at any of these locations as well. If you are on a cruise, you will not have the opportunity to get these films developed before leaving the town in which you take them.\nThe plant takes nearly ten days to develop. Hang on to your film until you return or have it sent to your last point of call on the Continent or in England. Films that cost $6 in the United States cost anywhere from $7 to $9 abroad. If you have the facilities, buy as much film as you can here before you leave. They will pack the film in tins, sealed with adhesive tape, for use in the tropics at an additional cost of 15 cents a roll. You can take films packed this way anywhere in the world. If you expose them in the tropics, however, don't put them back in the cans. Have them developed at the nearest station and sent to you at some point of call. But remember\u2014the thing that is interesting about foreign countries is the thing that is different from home. And the thing that is interesting about a movie is...\nThe picture is interesting as it depicts motion. Swaps (Continued from page 26) A number of telephoto views, taken by some members of a number of the most interesting plays, have duplicates made and fit into this picture, making it twice as interesting; while some of his own long shots might be equally useful to the maker of the close-ups. I believe the above will suffice as examples to make clear what I have in mind, and would suggest that the League add such a service to its program.\n\nChampions in 18 Holes (Continued from page 10) Gardner is not where he is. The man tells him Gardner has gone. Phil looks at his watch and shakes his head.\n\nTitle: There Isn't Another Train. Phil Decides to Take a Chance on Driving to Portland With the C.P. Scene 46. Medium shot. Near the entrance of the hotel.\nPhil is arguing with a friend to drive him over to Portland. They finally start off.\n\nScene 47. Medium shot. On a road in the country. Phil and his friend are having engine trouble.\n\nTitle: Phil Can't Reach Portland Now Until Morning.\n\nScene 48. Medium shot. Outside Portland Country Club. Phil and his friend arrive. Phil is holding the cup and looks as though he has been up all night getting there. He starts across the lawn.\n\nTitle: The Match Is Over and a Tardy News Photographer Looks For the Champion.\n\nScene 49. Long shot. Phil comes to a group of people.\n\nDo you know?\n\nWe have the most complete line of amateur movie apparatus in The Financial district.\n\nA Demonstration Room in which to demonstrate Arc Lights-Flood lights etc.\nA Projection Room where you are welcome to show your Films. A projector.\nFrom W. C. Cullen, 12 Maiden Lane, New York City; Tel. Cortlandt 8424:\n\nFilms finished in Rochester and returned to our office on The Third Day. You will receive our special movie catalog and be placed on our mailing list to receive information on all the latest movie developments. If you mail us your name and address.\n\n(Concluded from preceding page) Gardner stops to look for Phil. The news photographer with a Graflex hurries into the picture. He sees Phil with the cup, takes two or three hasty shots and rushes away. Phil is too preoccupied to wonder what it's all about. Gardner comes into the picture dejectedly.\n\nTitle: Gardner's Loss Makes Him So Miserable He Looks as Though the Dentist Had Drilled Eighteen Holes\nScene 50: Close shot of Gardner and his friends. Gardner takes out the doughnut centers Sonny has put into the bag and shows them to the other men, who find it very funny.\n\nTitle: At the Northfield Match, Henry Is the Winner.\n\nScene 51: Medium shot in the clubhouse. Henry is being showered with congratulations. He enters a telephone booth to tell the news to Annabelle.\n\nTitle: The Next Morning.\n\nScene 52: Medium shot. Veranda. Annabelle is in the swing. She seems to have recovered. She takes the crumpled paper from her blouse. She is going to marry a champion golfer.\n\nA girl friend rushes up to her, waving a paper. She is talking excitedly.\n\nTitle: \"Phil Burnside Won at Portland. Here's His Picture Holding the Cup.\"\n\nScene 53: Close shot of Annabelle and her friend scanning the newspaper.\nAnnabelle Would Have to Marry Two Champion Golfers\n\nScene 54. Long shot. Several friends arrive. They all talk at once. Henry drives up in a big private car with one of his golf admirers. Everyone makes a fuss over him. Anna-belle can't get anywhere near. Here Phil appears, still clutching the cup. The crowd takes him for a hero while he protests and tries to explain that it was a mistake. Anna-belle fidgets on the outskirts of the crowd.\n\nTitle: Annabelle Decides She Could See More of a Sea Captain Who Traveled for a Cigar Company When He Was Ashore Than She Would of Her Champion Golfer.\n\nScene 56. Medium shot. Anna-belle sees that it has ceased to be her party. She puts the slip of paper she has been holding under a golf ball on the table. The golf bag she has placed the slips in, is still by the swing. She makes a decision.\nTitle: Marry a Poor Man and Maybe Make Him President.\n\nScene 57. (Medium shot.) Henry breaks away from his admirers and faces Annabelle expectantly. But she is only mildly interested in him. He wonders if she has a preference for Phil. He thinks for a minute and then exclaims:\n\nTitle: \"Annabelle, That Picture of Phil Was a Fake. He's No Champion and I Am.\"\n\nScene 58. (Fairly long shot.) The crowd parts around Phil. They don't listen to his explanation.\n\nTitle: Sonny Proves To Be a Good Caddy.\n\nScene 59. Sonny comes up with his hands full of balls, including the white box. Phil looks down at Sonny and sees the soiled box. He takes it, opens it, and finds the ring. He puts the ring on Annabelle's finger, and the crowd cheers. In the background, you see Henry exit.\n\nTitle: Any Girl Could Love\nScene 60. Medium shot, interior of Phil's store. Henry enters and begins to talk to Dorothy. He feels as though he has nothing left to live for. Darn women. They don't know their own minds. Dorothy tries to convince him to go to work. Fade into next scene.\n\nScene 61. Close shot. Henry leaves, determined to make good.\n\nTitle: Henry Does 18 Holes Again.\nMedium shot. Henry outside local garage. He has just taken a tire off a car and is examining the inner tube. He counts the holes and starts to patch the tube. The owner of the car is dressed in golf clothes and is impatient to get away.\n\nTitle: A Real \"Hole in One\" \u2013 the Ambition of Every Golfer. Phil Wins Again.\nScene 62. Medium shot on the Gilbert lawn with all the characters grouped on Sonny's golf course. Gardner and others are present.\nPhil and Dorothy are putting. Dorothy and Henry hold an inflated inner tube of an auto tire as a hazard for them to putt through. Father and Mother Gilbert and Annabelle are at the receiving end. Sonny eats a doughnut, and Annabelle has the silver trophy, holding it flat on the ground to catch the balls as they are putted. Gardner misses, but Phil puts the ball through the tire, and it rolls into the cup because Annabelle caught it. They all cheer the champion.\n\nThe Tower of the Dead (Continued from page 14)\n\nThe cremation was over. Perhaps another year would pass before its like would be witnessed again on Bali -- or for that matter, on the earth. But in the quiet of my study, that scene re-enacts itself at my behest again and again. All I need is a little white space on the wall, a projector, and my precious rolls of film to relieve the experience.\nOnce again, the flashing hours, when flame and smoke mingled with the cries of a primitive people.\n\nTrouble (Concluded from page 16)\nI hoped to wind up this projector satisfactorily through the lead pencil route. This film had been built up from selections made from numerous reels. They were pictures I had taken during the past two years. Not only had I selected the best scenes I had ever taken for this reel, but I arranged them in a sequence which I believed would add very much to the interest. I had never screened the reel before in its existing form.\n\nIn arranging the scenes, I had cut them all out of the various reels in which they had been assembled and hung them up on a string stretched across the room. In this way, I had some 57 strips of film of various lengths, all hanging from the string. I had shifted them back and forth to create the desired sequence.\nI had arranged the films in an order I believed would create the most interest. I had taken them down one at a time and spliced them with their titles. I recalled noticing during the hanging process that some of the film curled up sideways quite a bit and seemed to acquire ripples and various other disorders. I paid no attention to it at the time.\n\nAfter this landscape film began, I had to pick up the slack using a lead pencil. I was aware that the focus was completely out of adjustment. To keep the lead pencil cranking and to readjust the focus proved to be quite a challenge, but I managed it. I had no more than refocused it when it jumped out of focus again. I had to readjust it back to where it was in the first place. This ran along a little\nWhile focusing on the film, I kept having to go back and make adjustments. No sooner had I gotten one in focus than it jumped again, requiring me to return to the original. I was becoming quite busy, constantly running the lead pencil at the right speed and chasing the focus up and down. This continued for the entire film, leaving me a nervous wreck by the end. The focus of the next reel was quite steady, allowing me to keep the lead pencil on the job and complete the program. This went on until all the reels had been run through. I sighed with relief as the exhibition was voted a great success, but no one knew the struggles I faced in holding it together. This could not have happened before a small gathering. But just the moment\nThe number of people in the audience reaches a crowd, and you can count on it that everything that can go wrong will go wrong. My difficulty with the focus was due to the fact that the film had been hung up. It had curled up sideways, and in going through the projector, it had not flattened out, resulting in bad focus. The lesson to be learned is: don't hang up your film on a string and let it curl, but instead keep it wound up in a reel where it stays flat. The next lesson to learn is to take those little spring wire belts out and put new ones in after they have had a certain amount of use. Otherwise, they will lie in wait for you until you attempt to give an exhibition before more than eleven people, and then they will break right in the middle of things.\n\nProfessional camera.\nFor movie clubs and movie makers, film your pictures on standard size. Show your club productions in a theatre or large auditorium. Repay your club expenses and secure projecting equipment without extra cost.\n\nThe INSTITUTE STANDARD Professional Motion Picture Camera costs less than a high-grade amateur camera. The pictures can be shown in any theatre or movie house.\n\nAll metal construction, hand-finished, light-weight and portable. Complete with carrying case. Variety of models for every taste and purse.\n\nWrite for a free catalog and full particulars showing jour lens mount attachment.\n\nNew York Institute of Photography, Dept. 18, 14 West 33rd Street, New York City.\nThe Bell & Howell Filmo camera, Lea Kina-mos, DeBrie, etc. Accessories. Expeditions equipped. Fifteen years of highly specialized experience at your service. Address Cine Department. Bass Camera Company IOQ N. DeBorn Street - Chicago A finishing laboratory where the amateur receives personal, professional attention. Standard size negatives developed. We make either standard size prints or reduced prints for use in 16 M.M. projectors. Also titles of all kinds. 130 West 46th Street New York City Tel. Bryant 4961\n\nTwenty-nine\n\nThe Clinic (Continued)\n(Continued from page 12)\n\nThe procedure is the same whether there is action in the film or whether it is a bit of scenery. One word of caution may be necessary. When splicing duplicate prints and originals together, the duplicate prints must be carefully aligned to avoid mismatched frames.\nmust be spliced into the reel with the shiny side up, or the action will be reversed left to right on the screen of the two projectors. Stanley A. Tomkins, Amateur Movie Clubs\n\nA Aristotle's dictum quoted in the first number of AMATEUR MOVIE MAKERS that happiness is multiplied by being shared evidently struck home to a lot of League members.\n\nI have received a substantial number of inquiries about the best way to organize Amateur Motion Picture Clubs. Although my specialty is Trouble and this department is a Clinic to study Trouble, and although the best way to organize anything varies so completely with local circumstances that no approved solution exists, nevertheless I offer these suggestions:\n\n1. Secure a suitable place for meetings and screenings, preferably with good lighting and acoustics.\n2. Establish a regular schedule for meetings and screenings.\n3. Encourage members to bring their own films to share.\n4. Provide equipment and facilities for developing and editing films.\n5. Organize workshops and classes on various aspects of filmmaking.\n6. Encourage social activities and camaraderie among members.\n7. Establish rules for screening films, such as time limits and content guidelines.\n8. Encourage constructive criticism and feedback.\n9. Provide opportunities for members to collaborate on projects.\n10. Encourage members to attend film festivals and other industry events.\nOne enthusiastic and determined Amateur Cinema Leaguer is required to start a local club. Their first step is towards their local cinematographic dealer, whose interests are naturally invested in an increase of amateur motion picture making. This dealer, and all of them are remarkably friendly and helpful, will likely have a projection room of some kind or can devise one for the meeting. Thirty\n\nYour dealer will know who has amateur equipment and who buys film. His list is the best available in your locality. To increase his list, if it is small or incomplete, the Managing Director of the Amateur Cinema League can be contacted - see the index page of this magazine for his address - to send you the names of League members in your city.\nHe may be able to help you get other users of equipment listed for you. Your dealer will cooperate with you in sending out a carefully written notice to those you want to join you. This is suggestive only:\n\n\"You are very likely 'reeling your own' in your new sport of motion picture making without much help or encouragement except by long-distance correspondence with the Amateur Cinema League or the manufacturers. You may have overlooked the fact that \u2014 (local dealer) \u2014 would like to help you and that there are a lot of us in \u2014 (name of city) \u2014 in the same boat as you.\n\n\"It is proposed that we get together and form the \u2014 (name of city) \u2014 Amateur Motion Picture Club. \u2014 (local dealer) \u2014 has very generously offered the \u2014 (-place of meeting) \u2014 for our use in organizing. He has authorized me to invite you to meet with us \u2014 (date) \u2014 at \u2014 (hour).\"\nFor your first meeting, arrange to have at least one good amateur film of not more than three reels for showing. Ask the dealer to talk on some phase of picture making and have someone else talk on some other phase. Ask the dealer to have various accessories available to explain and demonstrate. Get your group enthusiastic by these means before you undertake organization.\n\nThen put your plan before the group to organize, to elect officers (president and secretary are enough), and a program committee. No dues are necessary until your club begins to plan things that cost money. Arrange for about two meetings a month and get the program committee busy.\n\nThe program for at least six months in advance should be carefully worked out. Each meeting should provide: (1) Showing of films by club members.\nSpecial topics for presentation by one specifically chosen member. These may include \"Trouble,\" \"Lighting,\" \"Exposure,\" \"Titles,\" \"Editing,\" \"Accessories,\" \"Indoor Photography,\" \"What Next,\" and similar topics. General discussion of the meeting's topic. Action to increase membership and bring new motion picture amateurs into the game.\n\nAt least twice a year, the program should provide a luncheon or dinner. Membership in the club should carry with it the right to bring family members to meetings. Members should be urged to bring friends in order to interest new people.\n\nYour officers should be carefully selected. Get workers rather than talkers. The talkers are valuable on programs and in meetings, but good executives are often silent fellows. Have a number of films shown at each meeting so that everyone in the club can have a turn.\nA chance to get his films criticized. Arrange for each exhibitor in advance and run a roster to ensure none is overlooked. However, be sure to have one good, properly edited and well-titled film at each meeting. At your first meeting and at succeeding meetings, suggest that all of your members apply for membership in the Amateur Cinema League to share its benefits and services.\n\n-- Dr. Kinema\n\nThe Thrillproof Age\n(Continued from page 17)\n\nThe ambition, as well as the plot, expanded. Then came the difficulties.\n\nFirst and foremost was the problem of getting the cast together. A dozen married people cannot spend every Saturday and Sunday for three months in one line of endeavor. Weekend house-parties at the summer homes of the various members of the cast helped some. Splicing helped more. For instance, an armed robbery scene required only four actors, but it took six weeks to shoot due to scheduling conflicts. We had to wait for the availability of the school hall for the bank interior scenes, and the church for the robbery scene. The scene where the robbers escaped in a car required a different location each time, as we couldn't keep using the same street twice. The scene where the robbers were chased through the woods required a large cast and took several weekends to shoot. But with careful planning and a lot of splicing, we managed to complete the film.\nA smuggler chased around the corner of a log-cabin in November, close on the heels of one who passed around the same corner in August. A villain who threw knives at the side of a barn found, when the film was projected, that the knives were striking all around the head and arms of the fair heroine.\n\nThe seasons changed with inconsiderate rapidity. Trees which were heavy with foliage in August, when the first scenes were taken, were singularly bare in November. Consequently, November scenes had to be confined to backgrounds in which woody plants were evergreen or where there was no foliage at all.\n\nIt was difficult to insert spoken titles. Some titles were concocted after the action had been filmed. Enough footage of various members of the cast in conversation had been taken for the Amateur Movie Maker project.\nA Few of the eighty-six titles:\n\nA. Kenneth E. Nettleton Presents\nThe Thrillproof Age\n\nCast:\n- Flappers\n- Madge Marjorie Tilton\n- Leila Ehvood T. Nettleton\n- Leonora, Mrs. Kenneth E. Nettleton\n- E. (Mrs. Kenneth E.) Nettleton\n- Attaches: Tim Pigott, Vince Nettleton, Guy McMaster\n- Bachelors: Elwood Nettleton, Russell Lomas, Donald Nettleton\n- Chaperon: Mrs. Charlotte (Sigurd) Hagen\n- Cousin of Chaperon: Kenneth E. Nettleton\n- Innkeeper: Sigurd Hagen\n- Thirty-one\n- Roller Wall Screen\nSize: 42 inches x 42 inches\nA new improved roller wall screen, made of heavy duck with a well-silvered surface assuring brilliant reflecting qualities. Quickly ready for lowering \u2013 just like an ordinary shade. Mounted on board $C00\n\nTIRAN PANORAM and TILTING TOP for use with Pathex, Cine Kodak and Filmo. Can be locked at any angle. Quick release on handle when necessary to shift position or to swing camera around quickly.\n\nThe CINOPHOT AUTOMATIC EXPOSURE METER for use with Cine Kodak and Filmo Cameras. Automatic \u2013 scientifically exact under all light conditions. Gives correct diaphragm setting for sun and twilight, outdoors, studio, natural or artificial light. Adjustable for individual vision. Always ready for use.\n\nPrice: $110, West 32nd St, New York, NY.\n\nWhy Not Study Your Hobby? Amateur Movie Makers presents for sale: Motion Picture Photography Equipment.\n[Rapy for the Amateur by Herbert C. McKay $2.50\nRapy by Carl L. Gregory $6.00 Motion Picture Photography\nMotion Picture Projection by T. O'Conor Sloane $5.00 Screen Acting by Inez and Helen Klumph $3.00 Photoplay Writing by William Lord Wright $3.00 Motion Picture Directing by Peter Milne $3.00\nSend your order accompanied by the price of the books you desire\nAmateur Movie Makers\n267 West 17th Street\nNew York City\nWe deliver them to your address postpaid\nMEN WANTED To Learn Motion Picture Operating Earn $2,000 to $4,000. Quickly learned. Short hours. Best equipped School in Michigan. Projectionists for movie houses and road shows.\nClasses For Amateur Movies\nMovie Operators School\n61 Sproat Street Detroit, Mich.\nSmugglers\nAllen Parker\nSydney Gould\nLeonora's motto was \"Save the surface and you save all!\"\nMadge had a skin you love to touch\"]\n\nNote: The text has been cleaned by removing unnecessary line breaks, whitespaces, and price tags. The text has also been formatted to improve readability. The original content has been preserved as much as possible.\nTouch because her heart was near the surface. Leila believed the good die young, so she aimed to reach a hundred.\n\nThe following continuity may be interesting to other amateurs. It shows what can be done with myriad subjects which may have been filmed and can be cut in.\n\nScene \u2014 Chaperon of flappers talking with her older cousin about bachelors whom she is to meet.\nTitle \u2014 Are bachelors thrilling?\n\nScene \u2014 Same as last.\nTitle \u2014 You bet. \u2014 Elwood is a reporter. Always jumping off burning roofs or being pulled out of the ocean.\n\nScene \u2014 Cut in fire scene taken in Philadelphia last spring. Engines on way to fire \u2014 building in flames. Cut in life guards and rescue at Atlantic City taken at Atlantic City on summer vacation.\n\nScene \u2014 Chaperon and Cousin talking.\nTitle \u2014 Russ is an athlete. Played football at college.\n\nScene \u2014 Cut in Yale \u2014 West.\nPoint football game this fall. long shot Inside Yale Bowl. Shot of teams coming on field. Shot of kick off. Shot of one play.\n\nTitle) \u2014 And Don. He figured in the Evelyn Arden divorce case last winter.\n\nScene \u2014 Cut in of extra strips of film from short production taken by the same cast last winter in which Evelyn Arden was leading lady.\n\nAll of the following action is supposed to be on a river in Maine.\n\nScene \u2014 Long shot of falls on Naugatuck River at Seymour, Conn, cut out identifying scene.\n\nScene \u2014 Close-up of falls and surface of water above.\n\nScene \u2014 Close-up of Elwood (bachelor) and Linda (flapper) in canoe on small pond in Cheshire, Conn, but apparently on surface of river near falls.\n\nScene \u2014 Another close-up of falls and rocks below.\n\nScene \u2014 Bachelor tries to kiss flapper to settle bet with other bachelors \u2014 Canoe upsets \u2014 struggle in water.\nScene: Close-up of falls.\n\nScene: Bachelor and flapper swimming towards shore, apparently missing going over falls.\n\nScene: Bachelor building fire and hanging up part of his clothes to dry. Flapper throws over shoes and some other articles of clothing for bachelor to hang up.\n\nBachelor steps one side to take off high hunting boots. Stop camera and fill boots with water. Start camera \u2014 continue action and dump about gallon of water out of boot.\n\nScene: Close-up of fire \u2014 stick over fire has broken \u2014 clothes apparently fallen in fire and burning \u2014 damp burlap bags substituted to make smoke.\n\nScene: Shot of fire (about 20 feet distant). Bachelor rushes up \u2014 dressed in flannel shirt and boots \u2014 tries to beat out fire with stick \u2014 holds up charred remains \u2014 calls to flapper. Flapper appears in silk garments and skirt of pine tree boughs.\nThirty-two individuals: Cal. R. A. Gillman, Dallas, Texas; Thomas Roberts, Eastman Kodak Stores, Inc., New York; Dr. Frederick M. Law, New York; J. C. Van Horn, Philadelphia, Pa.; H. B. Tobias, Stonehurst, Pa.; Theodore F. Smith, Pittsburgh, Pa.; Ray M. Hart, Sterling, Ill.; Raymond W. Stephens, Los Angeles, Cal.; J. F. Metten, Philadelphia, Pa.; Walter S. Rogers, New York; Z. V. Rogers, Pittsburgh, Pa.; P. W. A. Fitzsimmons, Detroit, Mich.\n\nThirty-two Eastman Accessories\n1. Kodascope Rewind\nThe Kodascope Rewind is geared up to give quick action in rewinding 16-millimeter film. It saves time and energy, and during a long show, it enables the operator to rewind easily one roll while a second is being projected. It is almost indispensable for the orderly splicing of short lengths of film.\nFilm should be loaded into long rolls.\n\nKodascope Rewind with splicing block, film cement, and water bottle. $7\n\n\"Silver\" screen is an essential part of every personal movie outfit. The Kodascope screens listed below are treated by a special process to give maximum detail and brilliance in the pictures. Any of the four models can be conveniently carried.\n\nNo. 0 Screen, 22' x 30\", with cover, mounted in frame. $10\nNo. 1A Screen, 30\"x40\", with cover, mounted in frame. $15\nNo. 1 Screen, 30\" x 40\", Tollable, in case 25\nNo. 2 Screen, 39\" x 52\", Tollable, in case 35\n\nNo. I A Kodascope Screen\n1-foot Kodascope Reel and Humidor Can\n\nOHRORT strips of film should be spliced into continuous rolls for convenience in showing and storing. The Kodascope Reels and Humidor Cans keep 400-foot lengths ready for projection, keep them properly conditioned.\nEditioned so that they won't crack and ensure good films for years to come.\n400-foot Kodascope Reel and Humidor Can. . . . $1.50 At your dealer\nEastman Kodak Company, Rochester, NY,\n\nDon't Wait\n\nA word to the reader of this magazine who is not an owner of a little movie camera!\n\nYou are losing two things \u2014 a lot of fun and all too many opportunities which will never again present themselves. You and your children are growing older every day. Too soon will come the day when your children will no longer be children but will be full-grown men and women. It is not a pleasant thought. It is nevertheless true.\n\nThings are happening every day. Manners and customs are changing with the passing of the years. What better way is there to record the history of today than with the little movie camera?\nAnyone can learn to operate a home movie camera in incredibly short time. There are a number of makes to choose from. Don't let the children get any older before you film them. Those films, made casually today, will grow priceless with the advance of time. Don't let that wedding pass without a moving picture of it. Imagine how precious would be a motion picture of the weddings of your forefathers in Crinoline days. Think of the fun you could have with your children if you had films made in your own childhood.\nAre you sailing this month on one of the Mediterranean cruises, an around-the-world voyage or to the tropics? Are you going to Florida, California or anywhere else on the globe that is not your home? Or will you spend the winter at home, ice-skating, romping about in the snow with your children, dabbling in amateur theatrics and otherwise making merry?\n\nIt matters not whether you are man or woman, an experienced operator of a home movie camera or not, don't be without one of these little machines. If you are going away, get one a little while before your departure so that you can accustom yourself to its operation. You will find them wherever you go, and you will regret being without one.\n\nIf you have not been convinced by a perusal of the pages of this magazine that you are missing out on a lot of good fun, ask some of your friends who have one.\nYou will not find one of them who is disappointed with the possibilities of the little movie camera. If you do, nine times out of ten it is the fault of his camera. Consult the nearest reliable camera dealer. We will be glad to advise you as far as possible. Write AMATEUR MOVIE MAKERS and we will put you in touch with some of the cinematographers who live near you.\n\nBell & Howell Accessories\nCover Every Requirement in Producing Professional Results for Your Own Movies\nNote these and mail the coupon for detailed information\n\nThe Halldorson Cinema Arc Lamp\nThis lamp gives you the lighting necessary to take movies indoors.\nYou will need it to take the interior scenes so desirable at this season\u2014and in producing your own Picture Plays. The Halldorson:\n1. Gives steady blue-white light of highest intensity.\nActinic value.\n2. Semi-automatic twin arc burns on 10 or 20 amperes, 110 volts. (Attach to ordinary light socket.)\n3. Heat resisting, fire-glass sparse shield absolutely prevents sparks from dropping on floors or rugs.\n4. Simple to operate \u2014 requires no experience.\n5. Remarkably compact \u2014 folds into beautiful leather-finished case, 5x11x14.3 inches in size.\n6. The most practical portable arc available. Built for continuous service.\nDistributed by Bell & Howell exclusively\nPrice: Complete, $65\nTaylor-Hobson Cooke 25mm/mFl. 8-Speed Lens\nThe Bell & Howell Iris Vignetter\nThis is but one of 12 to 14 special lenses you can use on the Bell & Howell Filmo camera to get special effects such as \"fade out\" in a gradually closing circle\u2014or \"fade in,\" the theatre \"fade out\" in a movie.\n[Effects or meet unusual conditions. Lenses range from the wide angle nearest the camera, if it fits, to the long range 6' telephoto, closed with a handy control lever. This lens gets closeups of action a mile away. Mark coupon for special avoid monotony in introducing or closing your scenes. Price, $15.00.\n--Mail This Coupon-- ---- ---- --\nBELL & HOWELL CO.\n1828 Larchmont Ave., Chicago, IL\nPlease send complete information on Halldorson Lamp, Special Lenses, projector Vignetter, Character Title 'Writer, Rewinder and Splicer, Film Library. (Check items which interest you -- see this and opposite page.)\nName\nAddress\nCity State]\nFor twenty years, the Bell & Howell Company has provided professional motion picture producers around the world with cameras and equipment. From this extensive experience, we have developed the Bell & Howell Standard Professional Camera, the automatic Eyemo, and Filmo for amateurs. Our experience allows us to produce such cameras and accessories as listed here each month.\n\nNew: Bell & Howell\nCharacter Title Writer\n\nCreate your own artistic character titles, animated cartoons, signatures, and numerous other professional camera tricks with this fantastic new accessory.\n\nComplete outfit includes: automatic prism compensating focuser, camera mount, title card-holder, and two specially designed electric light bulbs with reflectors.\nConveniently mounted on magnalia base \u2013 lamp cord with push button switch, white ink, pen holder and ball pen point, 12 Bell & Howell special title cards \u2013 all included in attractive leather carrying case. Price complete: $45.00.\n\nPasting an appropriate newspaper or magazine illustration on the side of a card and writing in your own title produces unusually interesting effects.\n\nWith the Character Title Writer, you can show your own hand or anyone else's in the very act of writing the title.\n\nBy adding a line or two at a time and sloping the camera in between, you get the true professional \"animated cartoon.\"\n\n\"Own Your Own Library\"\n\nAnnouncing the new Bell & Howell service to all 16 mm cinematographers at little more cost than raw film\n\nYou can now own your own film of Lillian Gish, Marion Davies, Antonio Moreno and others.\nMany others in stardom's realm. No deposit. No rental charge. You can purchase them outright. The cost is nominal. Films made in Hollywood where professionalism is most active and projection is of the world's greatest and best. \"Own Your Own Film Library\" produced by the Wm. Horsley Film Laboratories on Sunset Blvd., in Hollywood. The only exclusively 16 mm film production plant in the industry. Remember \u2014 100 feet of 16 mm film is the equivalent to 250 feet of the standard 35 mm film. Use the coupon on the opposite page to ask us more about this new service.\n\nReleases Now Ready\n\nStars of the Screen \u2014 No. 1. Metro-Goldwyn-Mayer Studios and Stars: Marion Davies, Lillian Gish, Antonio Moreno, Norma Shearer, Alice Terry, John Gilbert, Renee Adoree, Lon Chaney, Joan Crawford, and Charles Ray.\n\nStars of the Screen \u2014 No. 2. Metro-Goldwyn-Mayer Studios and Stars: Ramon Navarro,\nClaire Windsor, William Haynes, Mae Mur-ray, Conrad Nagel, Bobby Vernon, Vera Stedman, Natalie Joyce, Neal Burns, and several others.\nNo. 3. Christie Studios and Stars \u2014 including Bobby Vernon, Vera Stedman, Natalie Joyce, Neal Burns, and several others.\nNo. 4. The World Famous Hollywood Bowl \u2014 includes two or three beautiful scenes of the Bowl \u2014 Easter Sunrise Service, Children's Easter Drill, etc.\nVaudeville Serzes-No. 1. Alberts'-Polar Bears \u2014 The World's Greatest Arctic Wonders \u2014 Trained Bears from the Land of the Midnight Sun.\nNo. 2. Spanuth's Trained Baby Elephants \u2014 The Youngest Trained Elephants in Captivity.\nNo. 3. Pickert's Seals \u2014 The Marvelous Schooled Alaskan Wonders.\nNo. 4. Tetsuwari Japs \u2014 Mikado's Royal Japanese Acrobats.\nJANUARY RELEASES\nNo. 5. Fisher's Animal Circus \u2014 A Great Highly Schooled Animal Show.\nNo. 6. The Great Vulcano Act \u2014 World's Greatest Sensational Surprise Act.\nNo. 7. Cycling Girls \u2014 Vaudeville's Foremost.\nNo. 8. Arabian Nights \u2014 Novelty Act \u2014 Oriental Fantasy.\n\n1. Reel or spool holder, 4. Geared rewinder, 2. Splicer, 5. Scraper Blade, 6. Oak Base.\n\nWith this combination rewinder and splicer, you can edit your films\u2014cut out unwanted portions, insert sub-titles, and gain just the continuity you want, to make your movies more interesting on the screen. The splice made by this machine is absolutely transparent and velvet smooth\u2014a perfect continuation of the film.\n\nPrice of Bell & Howell combination rewinder and splicer unit for 16 mm film: $14.00.\nFor further particulars or send money order for direct shipment, satisfaction guaranteed.\nBell & Howell Co.\n1828 Larchmont Avenue, Chicago, Illinois\nNew York, Hollywood, London\nEstablished 1907\n\n$105 sells 3$ x 4)4 Revolving Back Graflex, Series B (illustrated), with Kodak Anastigmat.\n$260 is the price of 3$ x 4)4 Revolving Back Graflex, Series C, with Cooke Anastigmat f.2.5. Other models from $58.50, complete. Visit a dealer or write for a catalog.\n\nFor year-round use, a Graflex.\nWeather changes from month to month. Yet day after day, regardless, you can get extraordinary pictures with a Graflex.\n\nKodak Anastigmat fA-5 and Cooke Anastigmat f.2.5 are big, fast lenses. When light is weak, as in winter, open the iris and let in more.\n\nEquip yourself with a Graflex now and enjoy its advantages during the season of short days and dull sun.\nGraflex cameras are now made by The Folmer Graflex Corporation, Rochester, N.Y. For sale by Eastman Kodak Company dealers.\n\nSEPT Cameras have been favorably known for years. Used by explorers, scientists, journalists, professionals, and amateurs.\n\nTake motion pictures, time exposures or 250 snapshots with one loading. Push a button \u2014 no winding, no double exposures. Uses 16 feet of standard width film, supplied by Eastman Kodak Company.\n\nIts small size (3\" x 4\" x 5\"), light weight (4 lbs.), make a tripod unnecessary.\n\nWrite for a free copy of our exposure tabulation.\n\nPrice\n\nWYKO Projector, for still pictures, using standard width film. For home use, educators, lecturers and industrial and commercial advertisers. Eliminates heavy, fragile and expensive glass slides. Operates by hand or electric control. Uses United States Rubber Company's film.\n\"Royal\" portable cord for electrical connections. Enlargements can be made at trifling cost without alteration of machine.\n\nWyko Projector (corporation, 130 West 46th St. - New York, NY)\nDealers Everywhere\nSpecial Art Titles: Opening, scenic, trick, animated $1.50 up. Your own cut used if desired.\nSlicing In ink., editing, etc. Service $2.00 per hour.\nQuick Service\u2014Satisfaction Guaranteed.\nRalph R. En\u043ee, 117 Park Avenue, New York City\n\nGenuinely Helpful\nAmateur movie makers will find Kodak Corner service genuinely helpful.\nOur experts will gladly explain any point about camera or projector that may puzzle you.\nOur friendly criticism of your films may mean improved results.\nOur suggestions may open fields of movie-making that are entirely new to you.\nOur information on new developments is correct and complete \u2014 making movies indoors by artificial light, for example.\nAnd of course our stock of movie cameras and projectors, along with accessories and supplies, is up-to-date with the calendar. Cine-Kodak films forwarded for processing \u2013 no charge. Eastman Kodak Stores, Inc. Madison at 45th, New York City\n\nTitles for your own personal Movies greatly enhance pictures by preserving the details of the action and make them much more interesting to watch. A specialized title-service is now available for users of 16 mm film, ensuring a quality title, property finished and mailed 48 hours after copy is received. Sample titles showing various kinds available, gladly mailed on request. Amateur films also spliced, titled, and edited (put in sequence with bad portions deleted), according to your directions for a service charge of $2.00 per hour. A check or money order should accompany title orders.\n\nStanley A. Tompkins\nFor Non-members:\nCare of Kirby Incorporated, 2 East 23rd Street, New York City\n\nWe have placed this message at the end of the book intentionally. We wanted you to see and read the magazine first - to experience for yourself how it successfully meets the needs and interests of everyone interested in Amateur Cinematography.\n\nLike it? Then remember that the magazine represents only a small part of the service that the Amateur Cinema League offers its members. Here is what the League proposes to do:\n\n1. Increase the pleasure of making home motion pictures by aiding amateurs to originate and produce their own plays.\n2. Promote amateur cinematography as a national sport; organize clubs of amateur motion picture makers.\n3. Publish a monthly magazine devoted to amateur motion pictures.\n4. Establish an amateur motion picture film exchange among League members.\nAmateur Cinema League: Application for Membership\n\nEncourage amateur photoplay writing. Maintain home motion picture making on an amateur basis. The League is non-commercial. No person commercially engaged in the production of motion pictures or in the manufacture, sale, or rental of cinematographic equipment is eligible for membership on the Board of Governors. The only requirement for League membership is an interest in amateur movies. Whether you currently own amateur equipment or not (if you're interested, you're eligible).\n\nUse the application blank below. You'll find it worth its cost many times over.\n\nAmateur Cinema League\n105 West 40th Street\nNew York City\n\nI accept the invitation of the Amateur Cinema League to become a charter member. I have designated below with an (x) the class of membership in which I desire to be enrolled. My check for $ payable to Amateur Cinema League.\nCinema League $2.00 for year's subscription to Amateur Movie Makers. Charter Membership $1000.00 if paid before August, $50.00 annually, Member $5.50 annually. Immediately upon election, entitled to all League privileges, no duties or obligations other than voluntary assumptions. Name. Street. City. State. For camera versatility: Cine-Kodak, Model A, .1.9. Hand-cranked Cine-Kodak, Model A, imparts professional quality to every amateur movie. Equipped with lightning-swift.\nThe Kodak Anastigmat/i-9 makes fine indoor pictures of family doings and home scenes. Outdoors, the i.9 provides almost complete independence from light conditions. Its great speed - three times that of the f-2-S - ensures good results even on dark days.\n\nWhen you want sports pictures or go far afield to hunt with the camera, there's the long-focus Kodak Anastigmat/-4.5. Quickly substituted for the 1.9, it brings distant hockey players, polo ponies, wild life up close with telephoto effect. And there's a slow motion attachment that can always be handy for excruciating comedy or serious motion study.\n\nCine-Kodak A gives the amateur cinematographer complete camera versatility - at moderate cost. Those who now have the Model A, equipped, can exchange this lens for a 1.1 if a faster lens seems desirable. The cost of the i.9 lens exchange is $80.00.\nYour dealer will be glad to arrange this for you. The camera itself will need to be sent to Rochester.\n\nCine-Kodak, Model A, 1.9 Lens (with tripod)\nInterchangeable Long-Focus, 0.45 Lens\nSlow Motion Attachment\n\nAt your dealer's,\nEastman Kodak Company, Rochester, N. Y.\n\nAmateur Movie Makers\n\nPRICE $25.75\n\nFEBRARY 1927\n\nCompleting a Real Pleasure\n\nThe projector stand and curtain stand, both a convenience and ornament to any home. Always set up ready for use. Folded as shown in picture only when going on a trip and your space is limited. Think of it, movies on the lawn, only an extension cord needed. No hooks, nails or tables to look for.\n\nPrice of Curtain Stand and Curtain with cover $30.00\nPrice of Projector Stand $18.00\nPrice of Ten Reel Humidor, attachable to stand $12.00\nAn exclusive feature is a reel that holds the loose end of your film up to 400 feet with a simple turn of a pin. This feature comes at no extra charge. 7 inch reel, $0.75 each. A booklet with more details and other interesting accessories sent upon request. With any direct order, please provide your dealer's name.\n\nA. C.HAYDEN COMPANY\nBrockton, Mass., USA\n\nPlease send free booklet.\n\nAddress\nCity\nState\n\nA Safe Light for Indoor Movies\nThe Kirbylite\nReveals new and fascinating possibilities for your motion picture camera. Your living room becomes the studio in an instant by plugging the Kirbylite into any electric light receptacle. There is no danger of burns or fire. The lamp house remains cool to the touch. The Mazda lamp employed will not overheat wires nor blow fuses.\nAn ideal illuminant for Artist, Sculptor, Surgeon, Movie Camera or Graflex. The scientific design of the lens and reflector, an exclusive Kirby-lite feature, makes possible the required high intensity of light.\n\nKIRBYLITE with 500 watt Mazda bulb stand and 12 foot electric cord with plugs and switch $42.75\n\nKIRBYLITE Special Tripod Available through your dealer and at every Eastman Kodak Store.\n\nEastman Kodak Stores, Inc.\n356 Madison Avenue\nNew York\n\nWholesale Distributors THROUGH THE TELEPHOTE\n\nAmateur Movie Makers will heighten the pleasure of home movie making by publishing the following articles, among others, in its early issues. With everything in the motion picture field getting \"bigger and better,\" Amateur Movie Makers feels that none of us will be satisfied unless...\nFied until our magazine is the \"biggest and best.\" Your cinema friends will want to read these coming features. Will you help both your friends and the Amateur Cinema League by bringing this page to the attention of prospective member-subscribers?\n\nSuggestion Through Shadows \u2013 By Paul Leni, famous German artist who designed the settings for the \"Cabinet of Doctor Caligari,\" now in this country and engaged in creating a sinister Gothic atmosphere for the Universal Pictures Corporation production of \"The Cat and The Canary.\"\n\nA Scenario for Amateurs \u2013 By George Kelly, famous dramatist and author of \"Three Faces East,\" \"The Show-Off,\" \"Craig's Wife,\" \"Torchbearers\" and \"Daisy Mayme.\"\n\nLiving Natural History \u2013 By Raymond L. Ditmars, Curator of Mammals and Reptiles of the New York Zoological Park, who tells\n\n(Note: The text appears to be mostly clean and readable, with only minor formatting issues. No major corrections or translations are necessary.)\nThe fascinating story of ten years of filming the world's strangest denizens so they can be both seen and heard.\n\nThe Talking Home Movie - By William H. Bristol, inventor, of Waterbury, Connecticut, who has made this dream a present reality.\n\nEducation and the Movie Amateur - By Herbert C. McKay, Motion Picture Editor of Photo-Era and authority on cinematography, who forecasts the place which the amateur movie maker will have in using motion pictures in education.\n\nMovie Makeup - By Eugene W. Ragsdale, Director of the Moving Picture Club of the Oranges, who gives a practical exposition of this problem from the amateur's viewpoint.\n\nCruise of the Franconia - By Harry S. Drucker, famous newsreel photographer, who is covering this world tour, now in progress, for Amateur Movie Makers.\nSpecial correspondent and cinematographer.\n\nProjection Problems by Carl Louis Gregory, Dean of the New York Institute of Photography, who contributes the valuable article on exposures to this issue of Amateur Movie Makers.\n\nProcessing by Divight R. Furness, representative of the Board of Education of the Methodist Episcopal Church, who explains this important problem in amateur cinematography.\n\nTo ensure for yourself the regular visits of Amateur Movie Makers bearing these practical gifts, you have only to join the Amateur Cinema League today.\n\nDallmeyer Tele-photo Lenses are made in four focal lengths.\n\nFascinating new uses for your \"FILMO.\" Close-ups of distant views can be made easily with Dallmeyer Telephoto Lenses; interchangeable with regular lens.\n\nWith these and a Dallmeyer lens.\nUltra Speed Lens (f-1.9). Increase marvelously your range of subjects, light conditions, and the quality of each minute negative. Send for Catalog of DALLMEYER Telephoto and Ultra Speed Lenses. A Special Motion Picture Department has been maintained for 19 years handling all leading makes of Amateur and Professional Cameras and complete motion picture equipment. HERBERT & HUESGEN CO. 18 East 42nd Street, New York One. For Non-members Only. The opposite page shows you what Amateur Cinema League members are getting this month in suggestions for more pleasure with their personal movies. Amateur Movie Makers opens news vistas of satisfaction from home motion picture making. It comes each month to Members of the Amateur Cinema League. Amateur Movie Makers, like the Amateur Cinema League, is not a commercial undertaking; it is of, by and for Amateurs.\nThe Amateur Cinema League's magazine represents only a small part of its services to members. Here's what the League does:\n\n1. Increases the pleasure of making home movies by aiding amateurs in originating and producing their own plays.\n2. Promotes amateur cinematography as a national sport.\n3. Organizes clubs of amateur motion picture makers.\n4. Publishes a monthly magazine devoted to amateur motion picture making.\n5. Establishes an amateur motion picture film exchange among League members.\n6. Encourages amateur photoplay writing.\n7. Maintains home motion picture making on an amateur basis.\n\nThe League is non-commercial, and no person commercially engaged in the production of motion pictures or in the manufacture, sale, or rental of cinematographic equipment is eligible for membership on the Board of Governors.\nThe only requirement for League membership is an interest in amateur movies. Whether you currently own amateur equipment or not is non-essential \u2013 if you're interested, you're eligible. Use the application blank below today. You'll find it worth its cost many times over.\n\nTo the Amateur Cinema League\n105 West 40th Street\nNew York City\n\nI accept the invitation of the Amateur Cinema League to become a charter member and have designated below with an (x) the class of membership in which I desire to be enrolled.\n\nMy check for $ payable to Amateur Cinema League is enclosed in payment for the dues, $2.00 of which is for a year's subscription to Amateur Movie Makers.\n\nCHARTER MEMBERSHIP\n\n[ ] Founder $1000.00 is one payment, if paid on or before August [ ] $100.00 in one payment (No further dues.)\n[ ] Sustaining $50.00 annually.\n\nIndicate class of membership:\nMembership is understood to be granted with all League privileges upon election. No duties or obligations are connected, except for those voluntarily assumed.\n\nName:\nStreet City:\nState:\n\nAmateur Movie Makers\nOfficial Publication of the Amateur Cinema League\n\"To See Ourselves as Others See Us\"\nVolume II, FEBRUARY 1927 / Number 2\n\nContents\n\nThrough the Telephote [1]\nOur Pen Wielders [4]\nEditorials [5]\nTemples of the Quick, a photograph [6]\nSlow Movies for Quick People by Gerald Stanley Lee [7]\nFlying with a Camera by Porter Adams [9]\nOldest of the Arts, a genealogy for the Movies by Carl S. Oswald [10]\n\"The Great Yonkers Jewel Robbery,\" an Amateur Scenario by Jerome Beatty [12]\nSwaps, Amateur Film Loan Exchange [15]\nWhite Movies: The Clinic (conducted by Dr. Kinema)\nRoom Mates: A \"Colgate Classic\" by Howard E. Richardson\nTravel by Scenario by Charles Morgan Seay\nHow Movies Win Golf Trophies by C. Bond Lloyd\nCloseups\nExposures: A Hard Problem Made Simple by Carl Louis Gregory\nIndoor Movies by Margaret Hutcheson\nThrough a Wide Angle Lens: National Comment on the Amateur Cinema League\n\nAmateur Cinema League Directors:\nPioneer, President, Treasurer, Managing Director\nHiram Percy Maxim, A. A. Hebert, Roy W. Winton\nHartford, CT 1711 Park Street, Hartford, CT 105 W 40th Street, New York City\nEarle C. Anthony, W. E. Cotter, Lee F. Hanmer\nPresident of the National Association, of Broadcasters\nRussell Sage Foundation.\nFloyd L. Vanderpoel, Scientist, Litchfield, CT\nRoy D. Chapin, C. R. Dooley.\nChairman of the Board of Directors, Manager of Personnel and Training, Stephen F. Voorhees, Hudson Motor Company. Architect, New York City.\n\nAmateur Movie Makers is published monthly in New York City by the Amateur Cinema League.\n\nSubscription Rate: $3.00 a year, postpaid (for non-members); $2.00 a year, postpaid (for members); 25c for single copies.\n\nOn sale at newsstands and photographic dealers everywhere in the United States.\n\nCovers designed by the Amateur Cinema League. Title registered at the United States Patent Office.\n\nAdvertising rates on application. Forms close on 15th of preceding month.\n\nEditorial and Publication Office: 105 West 40th Street, New York City.\n\nFor Your MOVIE Library\nAn Interesting Travel Picture of New York\nFour reels, each 100 ft. long, showcasing day and night life in the Big City. Reel 1: New York Skyline, Statue of Liberty, Battery Park, Lower Broadway, Trinity Church, Woolworth Building, City Hall, and Municipal Building. Reel 2: New York Skyline, Washington Square, Washington Arch, Wall Street, Sub-Treasury Building, Morgan's Bank, and Stock Exchange. Reel 3: Theatrical District (Broadway), Night Scenes of Broadway, New York Public Library, Park Avenue, Lower East Side, and Metropolitan Museum of Art. Reel 4: New York Skyline, New York Bay, Pennsylvania Station, Grand Central Station, Fifth Avenue, Soldiers and Sailors Monument, Grant's Tomb, St. Patrick's Cathedral, Central Park, City College, and Cottage of Edgar Allan Poe.\nThe safety film is complete with titles and will fit either Filmo or Kodascope Projectors. An interesting and instructive addition to your home movie program. $7.00 each. Per Set Complete $27.50.\n\nThe Nu-TIRAN PANORAM and TILTING TOP. For use with Pathex, Cine Kodak and Filmo. Can be locked at any angle. Quick release on handle when necessary to shift position or swing camera around quickly.\n\nU/IU9\u00a3JGHByS\n110 West 32nd Street, New York, NY.\n\nOur Pen Welders\n\nPorter Adams is president of the National Aeronautic Association of the United States, with headquarters in Washington, D.C.\nJerome Beatty is Assistant to the President, Will H. Hays, of the Motion Picture Producers and Distributors of America, New York City.\nCarl Louis Gregory is Dean of the New York Institute of Photography, and an authority on the technique of photography and cinematography.\nMargaret Hutcheson, Moving Picture Manager of the Gillette Camera Stores in New York City, has wide experience in the practical problems of amateur motion picture photography. Gerald Stanley Lee gained national distinction with the publication of his book \"Crowds.\" His latest book is \"Rest Working,\" and he is president of the Coordination Guild, which recently established a school in New York City. C. Bond Lloyd is the author of \"Golf Visualised,\" the most widely read golf manual, and is associated on the staff of the Chicago Golfer. He is a pioneer consulting motion picture engineer, specializing in slow motion golf studies. Hiram Percy Maxim is President of the Maxim Silencer Company of Hartford, Connecticut, President of the American Radio League, and President of the Amateur Cinema League. Carl L. Oswald writes and contributes to various publications.\nLectures on photographic topics, especially lenses and color photography, is given by Howard E. Richardson of Colgate University, Hamilton, New York. He is currently on the staff of Agfa Products, Inc., New York City.\n\nHoward E. Richardson is the Director of the Colgate Motion Picture Club and has had practical moving picture experience.\n\nCharles Morgan Seay of New York City is a pioneer in the motion picture industry in every phase of its development. He is an author, director, and practical consultant. His book \"Motion Picture Directing for the Amateur\" will soon be published.\n\nSEPT Cameras have been favorably known for years. Used by explorers, scientists, journalists, professionals, and amateurs.\n\nTake motion pictures or 250 snapshots with one loading. Push a button \u2014 no winding, no double exposures. Uses 1602 feet of standard width film, supplied.\nThe Eastman Kodak Company presents:\n\nWYKO Projector, for still pictures, using standard width film. Suitable for home use, educators, lecturers, and industrial and commercial advertisers. Eliminates heavy, fragile, and expensive glass slides. Operates by hand or electric control. Uses United States Rubber Company's \"Royal\" portable cord for electrical connections. Enlargements can be made at trifling cost without alteration of machine.\n\nWyko Projector Corporation\nDealers Everywhere\n\nEditorials\n\nDouble Time!\n\nThe Amateur Cinema League concept is gaining popularity! Every day brings new evidence of a surprising public interest in what we are doing. Our mailbox is filled with new ideas. It is clear that there has been a distinct need for such a product.\nFor an institution such as ours,\nThe professional cinema has been educating the public for twenty years. In all this time, the public had no means of its own to express itself. Our Amateur Cinema League provides this means, and it is very evident that the effect of twenty years of cinema education is about to manifest itself. It is not at all an extravagant thing to look ahead and see our organization with a hundred thousand members, and our magazine with a hundred thousand more non-member readers.\n\nWe started out with the general idea of getting together and providing a clearing house for our amateur experiences, so that the knowledge of all would be available to each. This, and lending films to each other, was about the limit of what we expected to undertake for some time to come. But, just the moment the clearing house was provided,\nA veritable flood poured in upon us, making us the means by which countless new associations, clubs, and the like are to be organized. These new organizations will bring a large number of people together who otherwise would never have known each other. The study of cinematography, and all the activities related to it, is destined to come in for that peculiar form of enthusiastic analysis that is characteristic of the non-professional or the amateur. We are evidently destined to exert very much influence on the literary and artistic side of dramatic cinematography. As a class, we represent the educated and cultivated people of the land, and our literary, dramatic, and artistic ideas are about to speak for themselves. The two numbers of our magazine that we have already issued have opened the floodgates.\nOur work increases by leaps and bounds. Throughout it all, there is a very distinct spirit of enthusiasm and fraternalism. This is the thing that spurs us on at Headquarters. It is this spirit that leads us to ask for cooperation from our membership, knowing it will be given ungrudgingly. Memberships are pouring in. Each new member is anxious to do something to help. Nothing would help us so much as for each one to buy as many copies of our magazine from the news stands as possible to distribute among friends who should be a part of this new non-professional cinema movement. One of our difficulties is that the public at large does not yet know enough about us. We at Headquarters have no easy way to tell them. It is a simple matter for you to do it. You could help spread the word.\nA Man made an article and found it to be good. He showed it to his friends who also thought it was good and told him so. The man then sold it to one who wanted it, receiving money in return and profiting. His friends later criticized him for commercializing his product, claiming it was no longer art. Puzzled, the man created another article similar to the first and showed it to his friends at a later time. They again praised it as good.\n\n\"This is the same article that I knew was good.\"\nA man spoke of two articles he had made, one sold and was considered commercial, not art. He decided to keep the other for friends. When they discovered he hadn't sold it, they told him he was an amateur if he were an artist, his work would sell. Disappointed, the man questioned what was Art and Trash. Shortly after, he died from overconsumption of Ruskin, Pater, Morris, Elbert Hubbard, and H.L. Mencken. A mortician, too busy to determine his own status, buried him.\nA Good Movie is a Good Movie, no matter who turns the crank.\n\nBy quick people, I mean those who are addicts of hurry\u2014men, women, and even children who cannot stop, who feel driven in what they do, and who can't help using more energy than they need. If tomorrow morning as I took my daily walk down Fifth Avenue, I saw several people walking just ahead of me with silver quarters and half-dollars leaking out of their pockets and rolling round the walk, or with ten-dollar bills blowing off of them and skittering up the street, I would wave around and catch anything that was coming my way that I could. But I believe, or at least I like to believe, that after a minute or so of walking just behind them, something in them would catch my attention.\nmy better nature would lead \nme to catch up to them, touch \nthem on the shoulder and call \ntheir attention to what they \nwere doing. I couldn't stand \nit \u2014 being a New Englander \nfrom the same town as our \nfrugal President \u2014 I couldn't \nstand it more than two or three \nblocks, watching them wasting \ntheir substance so. \nWhat is more, everybody \nstanding by who saw me step- \nping up to them and touching \nthem on the shoulder and sav- \ning them from throwing away \ntheir money in this way, would \nunderstand me and understand \nwhy I did it. \nBut if I stepped up to a man \non the Avenue \u2014 a man I had \nwatched walking in front of me \nwith a furious and wasteful \nenergy for ten blocks \u2014 and \ntouched him on the shoulder \nand said to him \"My dear sir, \npardon me ! You haven't no- \nticed it, but you are throwing \nyourself away!\" I would have \nto dodge quickly. \n*\"Rest Working \u2014 A study of Re- \nLaxed Concentration: Some Observations on Gland Balance, Body Balance and The Right to Let One-self Go. Obtainable from The Coordination Guild, Northampton, Massachusetts. $2.50 postpaid.\n\nPerhaps I have escaped from somewhere. All I know is that hardly a day passes on Fifth Avenue that this is not the one thing of all others I catch myself longing to do. If I could ever feel enough encouragement on Fifth Avenue to be my real self, I would probably do it.\n\nThe fate of every child, every family, and every nation today turns on vision\u2014on visualization. It is not the statesmen nor the teachers nor the parents but the movie-makers today who are shaping the world.\n\nWhen people have a thought or a theory of what they would like to be, they drop it. When they really see it and visualize it, they pursue it.\nAn amateur movie maker, if he is interested in himself, can create himself through film. He has the power to invent himself, even creating his own children and shaping them as he desires. A lady I passed by the other day, stepping out of Louis Sherry's, caught my attention with her expensive coat. I found myself drawn to see what kind of face wore such a coat.\nI didn't need to go out and look. I knew without looking half a minute what her face would be like by watching her feet. Her feet worked. I knew that her face would work just the way her feet worked. No matter how leisurely-looking and costly her coat was, instead of having the kind of face emotions played across, she had a face in which emotions habitually strained and worked. Watching her walk from behind, I could tell what even her smile would be like. She spilled out enough energy and scattered it all around her on the walk, radiated out on the air about her enough sheer energy in five blocks from Sherry's to St. Thomas's church, to get herself over to Brooklyn and back.\n\nIf I was being a real gentleman\u2014a truly simple ideal human being\u2014I would have realized with great presence of mind at once that\nThe thing for me to do with this poor lady, considering what was happening to her, was for me to step up to her as if she had dropped something. I would touch my hat, apologize, and say, \"Pardon me, madam, you have dropped your composure!\" Then I would hand it back to her - if I could - as if she had dropped her purse.\n\nOf course, her composure - her power of composing herself - had much more value to her than her purse could hope to have, but she would thank me for returning her purse - for telling her she had lost it, but if I had tried to tell her in her hurry that she had lost her head, that she was really blocking the Avenue, down the street, just throwing herself away, I would have been arrested.\n\nI wouldn't want anyone to think I have always been like this - hardly a safe person to be allowed loose on the street.\nI may waylay people any minute and make a lunge of missionary spirit at them. It is only since I have been making a special study of coordination, and of how health and efficiency and charm in all normal persons necessarily turn on one's learning to take positions, one balances or falls into, instead of held or tense positions, that I have begun to be dangerous and belong to the suppressed classes. It is hard to have trained one's eye so that one keeps seeing all these things in people that must be so much harder for them to bear than they are for me to look at.\n\nNaturally anyone can see how it is. I am becoming a dumb helpless shut-in even on the street. Day after day I go up and down in it cooped up in a perfect turmoil of wishing I could get people to see how they look.\n\nIf I had a carte blanche from\nThe Creator and I could begin tomorrow morning, as my regular job, going up and down the world getting people a little acquainted with themselves. I would divide my job into two parts. I would see to it at once that arrangements were made for providing everybody at a practicable price with two machines.\n\nThe first machine would be a machine for letting people see how they look from the outside \u2014 a machine for letting people see themselves as Others see them when they do things. The other machine would be a machine for getting people to notice how they feel inside when they do things \u2014 a machine for getting people to take in, body and soul, what is actually going on in them while they do things \u2014 a machine for knowing what one is about.\n\nI would have these two machines (having a carte-blanche you see) made very small.\nPeople would come out from a tea dance at The Plaza and float down Fifth Avenue. The first thing that would happen is that all people one saw had been accurately informed by their inside-outside machines exactly what they were. There wouldn't be any effort between Central Park and the arch at Washington Square in sight. The people, with machines about the size of a pea or like a pituitary gland, had one half containing their outside-looking machine and the other half their inside-looking machine. This allowed them to conveniently have these machines with them at all times for an inside-outside peek at themselves. The first thing to occur on Fifth Avenue when these machines were installed in people would be this: People would come out from a tea dance at The Plaza and float down the Avenue. There wouldn't be any effort anywhere between Central Park and the arch at Washington Square. All that had happened was that all the people one saw had been accurately informed by their inside-outside machines exactly what they were.\nWho came out from the dance in the Plaza, after experiencing the poised and floating feeling that people have and must have in dancing, would have it fresh in their minds what human beings were intended to be like and would not forget it. As anybody must see who knows about dancing, the floating feeling, that makes dancing at once the best exercise and the best rest there is, comes largely from the fact that one does and has to do more balancing of the body in dancing than one does in walking. The essence of dancing is rhythm, and rhythm is balance in motion.\n\nNaturally, it follows that any independent and free man who has learned in dancing how he likes the feeling of floating insists on feeling as he likes to feel and as he has a right to feel when he walks. Naturally, the best way to do this is through continued practice and mastery of the art of dancing.\nThe best way to make walking enjoyable, like dancing, is for a man to train himself intensively in maintaining the same balancing degree in walking as in dancing. Young women, who are too tired to walk a block, can dance thirty miles in a night, and boys will almost go without meals to skate all day. The reason is that there is hardly anything one can do in this world that requires less strength and is more fun with a human body than taking a free hold of it with a relaxed neck and then balancing or floating it about. The great majority of people waste half their strength every day by doing their walking, standing, and sitting in ways that keep them unbalanced.\nThe average business man gets tired and practically sick from doing the light physical work of sitting at a desk because he strains himself, holds himself in place, and holds parts of his body hard instead of learning how to let them balance lightly or fall into place. For the most part, the average civilized man today is doing the same thing with his body as he does with coal when he throws away eighty-seven percent of its motor value. He is using thirteen percent of his body's motor value and letting eighty-seven percent go. Because of the way he holds himself, sitting tires him, and it often tires him to sleep. I have come to believe, as I face what our civilization is doing to hurry and drive people, that this is a major contributor.\nOnly as fast as we really succeed in making arrangements for seeing ourselves inside and out, in soul and body at the same time, can we hope to live in what can be called a civilization. All real sport, all real religion and all true art in this world are based, like games of children, on the joy of the sense of balance and rhythm in what we do and what we think and feel. Until all our people have learned, as a matter of course, in their daily lives, to balance themselves in their actions, we cannot claim to be a civilization.\nStanding and sitting and walking to balance their minds, right. FLYING with a CAMERA by Porter Adams. Aviation offers greater opportunities to the amateur movie maker for action and pleasure than any other branch of human activity with which I am familiar. And, like that of aviation, the future of the amateur movie seems to me to be limitless. I believe that the next two years are destined not only to add much to the comfort and happiness of human life, but to do much towards tightening the bonds of international understanding and good will.\n\nThe amateur movie maker is greatly in evidence in aviation circles. In the short time that I have had my own outfit, I have obtained an excellent record of the best air events in the country, starting with the Curtiss Marine Trophy race in the Spring.\nThe National Air races at Philadelphia, Los Angeles, and the Schneider Cup race at Norfolk. Few reels in an amateur film library could be more thrilling than these records of intrepid birdmen. The amateur movie camera itself has proved ideal for taking moving pictures from aeroplanes in flight. Its smaller size and lesser resistance to air pressure make it much easier to handle in an open cockpit than professional machines. Similarly, it is easier to manage, as best results are secured when the camera is held in the hand, thus eliminating the vibration which results when the camera is resting against the airplane structure. Steadiness is an essential factor. Care must be taken in looking through the finder to make sure that a strut, tail surface, or other part of the aircraft does not obstruct the view.\nThe aircraft do not obstruct some of the desired picture. The popularity of the amateur movie with the flying fraternity was humorously evident recently by the remark of a veteran news-reel camera man who was standing in front of the hangars at Hampton Roads with Commander A. C. Read and myself, as we were taking pictures of the little red Italian monoplanes flashing by in the Schneider Cup race.\n\n\"The amateur movies must be raising the devil with bootlegging,\" he said. \"Everyone seems to be spending the money for film that they used to spend for liquor.\" Things may not be so good, or so bad, as this, but it is certain that the amateur movie camera has taken to the air with the flying machine.\n\nWhen I bought my outfit, however, it was not without challenges.\nI have misgivings about the probable results of my efforts, but the first roll I took was the best I ever secured. My pleasure in amateur cinematography has not been confined to aviation alone. I have taken motorboat races, golf games, farm scenes, and many other subjects, each of which can be reproduced anytime, as the old automobile ads used to say \"by a mere twist of the wrist.\" In addition to the personal enjoyment I obtain from amateur movies, as president of the National Aeronautic Association, I have had the pleasure of helping develop its film library of professional standard size aeronautic films. With the cooperation of the Army Air Corps and the Bureau of Aeronautics of the Navy, the Association has been supplying its seventy, odd chapters with films for meetings. The Association also has a remarkable five-film collection.\nThe professional standard film shows the progress of aeronautics from the early Wright flights to the present time. I am having this reduced to sixteen millimeter size and providing an additional projector so that we can furnish film and projector complete to chapters with no facilities. The amateur movie camera has not only taken to the sky but also brings the far reaches of the air, where only the aviator ventures, to the very heart of America's homes.\n\nNine\nOLDEST OF THE ARTS\nA Genealogy for the Movies\nBy Carl L. Oswald\n\nIt is generally assumed that the motion picture, and particularly motion picture acting, is a strictly modern development and, in every way, a new art. I believe this assumption to be a fundamental error. It is true that motion picture acting, as we generally speak of it, has been a development of the modern era. However, the roots of the motion picture can be traced back much further than most people realize.\n\nIn ancient Greece, for example, there were performances of plays that incorporated elements of what we would now recognize as motion pictures. These performances, known as \"shadow plays,\" used a flat surface with figures cut out of leather or other materials that were manipulated to create the illusion of movement.\n\nDuring the Middle Ages, there were also experiments with optical devices that could project images onto a screen. One such device, known as the \"magic lantern,\" was used for entertainment and religious instruction.\n\nThe first true motion pictures, however, were not created until the late 19th century. In 1872, Thomas Edison demonstrated a device called the Kinetoscope, which used a series of photographs on a rotating disk to create the illusion of movement. This was followed by the invention of the projector, which allowed motion pictures to be shown to large audiences.\n\nDespite these early innovations, motion pictures were still a novelty and not yet considered a true art form. It was not until the 1910s and 1920s, with the rise of feature-length films and the development of sound, that motion pictures began to be taken seriously as an art form.\n\nToday, motion pictures are a major industry and a powerful medium for storytelling and expression. But their roots reach back much further than most people realize, to the ancient Greeks and the inventors of the Middle Ages.\n\nTherefore, the motion picture is not a strictly modern development, but rather an evolution of older artistic traditions. It is a testament to the human desire to create and to tell stories in new and innovative ways.\nThe motion picture industry's massive structure was brought into being through the mechanical development of the motion picture camera and projector by Jenkins and others. However, these inventions merely serve as a new medium for one of the oldest arts in the world, pantomime.\n\nPantomime, in the form of dances and historical pageants, constitutes the connecting link between the often mysterious social origin of ethnological groups and the later process in which the important events of tribal existence were recorded by rock-carvings and other primitive forms of writing.\n\nIt is true that much of the history of certain groups was compiled and transmitted by wandering minstrels under various names. For example, the \"begats\" of certain religious texts were likely passed down in this manner.\nCaesar were originally transmitted from generation to generation through certain individuals in each group, whose position was that of a father, not a historian. This sort of combined high priestly and purely imaginative poetry never attained the prominence of recognition as a distinct art - although the troubadours of the Middle Ages were a recognized and often honored class. On the other hand, pantomime continued to flourish and indeed grow during the Dark Ages when the comparatively infant art, the drama, dating from the height of power that was Greece, was totally submerged by the wave of bigotry and intolerance which engulfed the civilized world. During this second period and up into the Renaissance, pantomime persisted.\nmime finds the form of reception and \"mystery\" of JigSOUP&jop&gs, and the Greek form of spoken drama with its later modifications, only appearing again long after that. Even to this day, pantomime persists in practically undiluted form in such countries as Siam, where interminable pageants reviewing the history of the country are given. In present-day pantomime, in its original form, survives and flourishes, particularly through the efforts of such gifted exponents as Pavlova, Ruth St. Denis, Isadora Duncan, and others, aided by the wonders of modern stagecraft and excellent music of our best composers, and gorgeous settings by our most gifted artists. Why has pantomime persisted through the ages while other art forms have, almost without exception, prospered or failed and at times becoming almost extinct?\nPantomime, of all the arts, is the one which carries a direct appeal in action, expressing the basic emotions in a manner which levels the barriers of alien tongues and widely separated intellectual receptiveness. The same applies with full force to the motion picture. It requires but a casual examination of pictures of ten years ago, as compared with those of today, to see that the trend has been, consciously or unconsciously, toward fewer and shorter subtitles. In fact, a few pictures of which the most notable was \"The Last Laugh\" have been presented to the public without titles of any kind beyond the main title. Of the many criticisms of \"The Last Laugh,\" both favorable and unfavorable, I do not recall one in which the charge of incoherence was made. The motion picture, therefore, is not, as is constantly being stated, a silent art.\nFor the majority of modern practitioners of the art through the medium of motion pictures, I hold no brief. They are the youngsters who, having been given a new and powerful medium of artistic expression capable of swaying the minds of millions, have frequently used this toy with abandon. But there is a brighter side. Examples of splendid direction, intelligent writing, and capable acting are becoming more numerous each year. It is my belief that the proper recognition of the motion picture as a medium which requires its own literature will be the final step in the attainment of a proper acceptance by its sister arts.\nMediocrity will always be a thorn in the side of motion picture pantomime, as it is a detriment to all other arts. It is no fairer to condemn The Big Parade because of Scarlet Sins than it is to condemn The Last Supper because of some hideous daub dug up from an East Side paint shop.\n\nThe motion picture has grown. Now it must develop. It possesses both the oldest and the newest set of traditions of any art. Its appeal extends far beyond that of any other art and even encroaches on that of the press. The leaven of all art lies in the activities of its amateurs. The Little Theatre movement brings new ideas and a fresh viewpoint to the stage. Its importance lies rather in this fact than in the success or failure of any individual effort.\n\nThe Amateur Cinema League will bear a similar relation to it.\nThe motion picture and the leaven of a fresh viewpoint are bound to show results as the movement gathers headway. The proponents of the motion picture have had a tendency to assume an attitude suspiciously like inferiority when they discuss their chosen art in its relation to the other arts. This attitude is apparently based on the assumption that the motion picture is the extremely youthful and incorrigible sister of the drama. As has been pointed out, the situation is quite the reverse, and now is the time for the motion picture to stand forth squarely on its merit as a universal medium of artistic expression in which are inherent potentialities quite beyond those of any other art and, possibly, equal to those of all the other arts combined.\n\nTwentieth Century Pantomime\nEmil Jannings Enriches the Oldest Art in \"The Last Laugh\"\nEleven. The Great Yonkers Jewel Robbery.\nAn Amateur Scenario by Jerome Beatty\n\nWe're all set to go into motion picture production when the grass gets green in Yonkers \u2013 which might also do for the title of a ballad. We've used reel after reel of film for desultory shots of our children, the neighbors' children, visiting relatives, beach scenes, back yard scenes, dogs, cats and Shetland ponies, and now we're ready to step forward and make a movie show.\n\nThis movie show is going to include in its cast a number of the children, dogs and cats in the neighborhood, a dozen or more of our friends, and goodness knows who or what else. We're going to try to get it on five hundred feet of film and hope to hold the production cost, including titles and cutting, to $50.\n\nThe story is called \"The Great Yonkers Jewel Robbery\" and it is offered freely to all who want to try it. When you shoot it, use five hundred feet of film and keep production costs under $50.\nThe name of your own town instead of Yonkers - this in fairness to Yonkers. One jewel robbery of this kind is all it should be asked to stand for.\n\nWe have tried to concoct a simple comedy that can be shot in one day, and we're going to make a party out of it. The story goes back to the sure-fire \"chase\" idea, which was the basis of early motion pictures, and has combined it with the \"U.S. Cavalry to the rescue\" motif, which is not original with this writer.\n\nSince the members of the cast will be the most important persons in the audiences to whom we exhibit the picture, we shall emphasize personalities and use close-ups wherever possible.\n\nWe shall gather the crowd together at breakfast some Sunday. There we shall outline the story and explain the types necessary for the leading characters, and they will be selected by secret ballot.\nBallot: One can vote for himself for a star part, if he sees fit. The director and photographer will be selected by the person paying the bill, with no voting allowed on that. The Great Yonkers Jewel Robbery.\n\nSynopsis:\n\nMrs. Jones wears her jewels morning, night, and noon, defying her husband's protests. Determined to teach her a lesson, Jones returns from the office early one afternoon while Mrs. Jones is giving a children's party in her yard. He sneaks into the garage, dons overalls and a mask, and dashes out to rob his wife. She faints. In the ensuing excitement, Jones bumps against a baby carriage containing his own baby, which starts rolling down a hill into the street. He follows to catch it, with the crowd in pursuit.\n\nA boy who has seen Jones in the garage tells Mrs. Jones.\nShe regains consciousness to find her husband trying to rob her. Furious, she encounters a robber named Mike McLuke. Seeing an opportunity, Mike dons a mask and demands her jewels. Believing him to be her husband, she slaps him and tears off the mask, revealing a real robber. They engage in a battle.\n\nJones recovers the baby carriage after numerous close calls and returns just in time to save Mrs. Jones and apprehend the robber.\n\nSetting: A house with a large sunny yard and garage. The runway to the garage should slope towards the street. Any convenient side streets should be used to avoid collecting a crowd.\n\nProps: Necklace, diamond rings, and other jewels for Mrs. Jones. Overalls and caps for Jones and Mike. Handkerchiefs for masks.\nBaby carriage, baby and big doll to double for the baby. Two or three automobiles. Toy pistol for Jones. Newspaper. Eccentric clothes for grown-ups. Old silk hats, frock coats, gowns ten years old, aprons, sunbonnets. Borrow from the neighbors all you can.\n\nCharacters:\nMrs. Jones: young, athletic. Her \"big scene\" is her fight with Mike. She must put up a good rough and tumble battle for her jewels.\nJones: just another husband.\nMike McLuke: a tramp. As tough looking as make-up will permit. Dirty face. Uncombed hair.\nJimmy: a boy about seven years old. He is the one who tells on Jones.\nEccentrics: For the chase after the baby carriage. Dress up the men and women in the old-fashioned clothes.\n\nSuggestions: The fewer people in the cast, the less film you will use. It is for you to decide the size of your party.\n\nExcept in the first scenes of\nChildren at the party: Maintain absolute seriousness. Actors should not smile or look into the camera. Director should stop photographer for retakes if actor does. Ensure ample light on each face. Avoid hats if possible. Don't follow scenario line by line. Rehearse scenes, observing through camera finder to determine optimal framing.\n\nScene of first hold-up: Jones gives up, kisses Per- and starts baby carrier. Probable need to change Scene 4: Back of Mrs. Jones. Adjust to fit her head showing.\nYour yard, garage and slope. She wears a necklace and holds it over her shoulder. Don't try to act as both director and photographer. We see Jones walk toward the street. He slaps a newspaper against his leg in irritation. She reaches back and toys with her necklace.\n\nThe picture: a close-up of Mrs. Jones.\nMAIN TITLE: The Great Yonkers Scene 5. In front of Mrs. Jones,\nJEWEL ROBBERY: Head and shoulders. She calls to her husband, smiling.\nPhotographed by J.J.P. He stops and turns, scowling.\n\nCast of Characters:\nScarf 7: Close-up, Mrs. Jones.\nTitle 1: She places two jeweled hands on her hips, homing them towards her husband. Then throws him a kiss.\nMike - Scene 8: Close-up. Jones says, \"Bah!\" and gives a wave of derision to everyone else in the picture.\nTitle A: That Afternoon Mrs. Jones gave a party. The Joneses were a jovial couple. Scene 1: Long shot of Jones characters. Leave out, home showing entire house and eccentrics who are present. Baby carriage on porch. Jones, in sports clothes, is seen on the steps in the sunshine. Jones, wearing jewels, comes out of the house in a carriage near the front door. Jones waves toward a slope that leads down. Title 2: A couple of darn fools. Long shot taking in which is a good thing. Entire lawn with children and pets. Otherwise, there would be mothers and Mrs. Jones. No Story. Scene 1: Long shot of Jones characters. Leave out home showing entire house and eccentrics who are present. Baby carriage appears later in chase. Jones is in sports clothes but Mrs. Jones comes out in a carriage near the front door. Jones waves toward a slope that leads down.\nScene 1: Mrs. Jones argues with someone on the street. - Mrs. Jones calmly walks into the nood shop with her. Sunshine, beside a newspaper. Scene 10: Close-up showing Mrs. Jones and the person.\n\nScene 2: Full length of Jones and mothers drinking tea near baby. Mrs. Jones shows paper at carriage. She touches their feet. Jones points to pearl necklace and speaks.\n\nScene 3: Close-up of Mrs. Jones' head and shoulders. Mrs. Jones is Scene 12: Close-shot of two mothers looking down at Jones, indicating that he certainly is telling him something.\nHe rises, coming into picture. Top of the news-paper shows. He is angry. Points to paper. She, unmoved, toys with her necklace. Many diamonds on her hand. He just takes a picture. Have everybody speaking. Doing something. Title 3: \"And here's still an child demonstrating a mechanical doll which frightens a cat.\" Let one child be eating too much cake. Let a couple of kids be scrapping. Get a good shot. He finishes title. Mrs. Jones, stubbornly shaking her head, plays with her baby in the buggy\u2014 an intimate shot, showing that.\nScene 13: Some of the mothers, including Mrs. Jones, are grouped together. One is telling a spicy bit of gossip with many gestures. Get their heads as close together as possible. Pan around from one to another. They're smiling and wide-eyed. It is hot stuff.\n\nScene 14: Shoot past them to Jimmy, who is approaching quietly.\n\nScene 15: Close shot of Jimmy who drops to hands and knees and crawls behind the chair opposite the woman who is telling the story.\n\nScene 16: Back to the women who are listening eagerly.\n\nScene 17: Close up. The woman telling the gossip looks down. Stops suddenly. Claps hands over her mouth. Is horrified.\n\nScene 18: Shot of all women. They notice the gossip teller. Look down.\n\nScene 19: Close up of Jimmy. Peeking from behind the chair. Grinning.\n\nScene 20: Longer shot. He jumps up and runs.\n\nScene 21: Pan around faces of all women. They're looking shocked.\nFrom one to the other, horrified, mouths opened. Jimmy evidently heard something he shouldn't. One speaks.\n\nTitle 6: \"If he ever tells his Mother what we said about her\"\nTitle 7: To Teach his Wife A Lesson.\n\nScene 22: In front of Jones' house. Choose a location that cannot be seen from the party. Jones steals up the walk and back to the garage. Let him walk up to the camera into a close-up so we see who he is and that he is on a secret mission, then away to the garage.\n\nScene 23: Inside garage. Jones gets overalls and cap. Make sure the light is good.\n\nScene 24: Jones steals around behind the garage and starts to don overalls (Take enough footage to supply scene 26).\n\nScene 25: Close shot Jimmy, who is hiding behind a tree or brush. He peeks out wondering what it is all about.\n\nThirteen\nScene 26: Jones dons overalls.\nScene 27: Mike peers from behind tree or house, dressed in overalls (opposite garage).\nScene 28: Long shot of party with garage in background (as seen by Mike).\nScene 29: Close up of Mike's face, peering with anticipation.\nScene 30: Close up of Mrs. Jones' necklace as she fingers it with jeweled fingers.\nScene 31: Full length shot of Jones in overalls, takes out handkerchief.\nScene 32: Close up of Jones' face as he ties handkerchief around lower part, looks around, looks on ground.\nScene 33: Close shot of toy pistol lying on ground.\nScene 34: Full length, Jones picks up pistol, takes deep breath, starts.\nScene 35: Long shot from Mike's point of view, Jones comes running out from behind garage.\nage waving pistol. Children run to their mothers. Women in center of panic group. They are near baby carriage. Jones goes toward them, pointing pistol.\n\nScene 36: Jimmy comes out of hiding place. Stands up. Looks. Scratches head. Can't understand what the dickens it is all about.\n\nScene 37: Close-up Mike. He is puzzled. Says, \"Well, I'm a son-of-a-gun!\" Someone is stealing his stuff.\n\nScene 38: Medium shot of Jones approaching group. Goes up to Mrs. Jones. He is near baby carriage. He demands jewels. She is in panic.\n\nScene 39: Shot close as possible showing Jones standing beside baby carriage, and Mrs. Jones. She holds tight to necklace. He flourishes gun and demands jewels.\n\nScene 40: Close shot Mike. Disgusted. Speaks.\n\nTitle 9: \"He's A Disgrace To THE PROFESSION!\"\n\nScene 41: Mike finishes title.\nScene 42: Close shot of two or three terror-stricken women.\nScene 43: Close shot of a little girl. Her dog or cat is near her, along with a box. She grimly places the animal under the box, sits on it, and dares the robber to take it.\nScene 44: Fairly close shot showing Jones' hip touching the baby carriage, moving it slightly. Shot from the front of the carriage, showing the baby inside. The baby should be smiling and playing.\nScene 45: Jones reaches for the jewels. Mrs. Jones pushes him.\nScene 46: Back of baby carriage. Jones bumps into the carriage, causing it to start rolling downhill. (Remove the baby and put it in a safe place before shooting scene. Substitute doll.)\nScene 47: Jones still reaching for the jewels. Nobody knows the baby carriage has started.\nScene 48: Close up. A woman screams, turns her head. She has seen the baby carriage.\nScene 49: Carriage is rolling down toward the street. Autos are passing.\nScene 50: Medium shot. Jones sees carriage. Drops pistol. Starts after carriage. Everyone follows except Mrs. Jones, who starts to faint.\n\nScene 51: Mrs. Jones collapses.\n\nScene 52: Long shot. Past Mrs. Jones. Jimmy comes running up. Picks up pistol.\n\nScene 53: Long shot. In the street below the house. The baby carriage is rolling down the street toward the camera and the crowd, led by Jones, follows. Let crowd rush past the camera. (The rolling of the carriage can be accomplished by a good push just before the camera starts. The street scenes that follow need not necessarily be shot on a sloping street but an attempt should be made to keep the carriage moving at a good rate of speed in all shots. A black or grey thread attached to the carriage and pulled by someone out of camera range may be necessary in some shots.)\n\nScene 54: Close up, baby in carriage.\nScene 1: Shot of a baby in a carriage clapping hands. Having a great time. (Shoot this from the side of a moving open automobile on a level pavement. Carriage runs alongside car. Ensure there is plenty of light on the baby's face. Have someone push the carriage. Have baby far enough forward in the carriage so you won't pick up legs of the person pushing it. Rehearse this, looking through the finder in the camera, until you get it right. Shoot enough of this for three or four close-ups to be cut in subsequent scenes. Run car-riage as fast as is safe. Be very careful. Don't kill any babies.\n\nScene 55: Shot from the back of a moving car of a crowd, Jones in lead, running toward the camera. Jones tears the handkerchief off his face.\n\nScene 56: One of your extras on the sidewalk (He might be wearing a silk hat and old suit). Another eccentric runs up (Might be a woman in Mother Hubbard, with a corncob pipe).\nScene 57: Close-up of two heads. She yells into his ear. He can't understand.\n\nScene 58: Longer shot. She knocks off his silk hat with her cane and turns to join the chase. He picks up his hat and follows.\n\nScene 59: Policeman on beat (Use your regular cop). An eccentric runs up to him and says, \"Robber stole jewels \u2014 kidnapped baby!\"\n\nScene 60: They run after the crowd.\n\nScene 61: Mrs. Jones has regained consciousness. Jimmy is talking to her, excitedly. Pointing to garage. Showing pistol. Telling about Jones. She is furious. Says, \"Are you sure?\" He says he is.\n\nScene 62: Mike McLuke, with a handkerchief over the lower part of his face, starts across the yard toward Mrs. Jones.\n\nScene 63: Jimmy and Mrs. Jones. Jimmy sees him. Says, \"There he is now.\" Mrs. Jones rises in her anger, thinking this is the intruder.\n[Scene 64: Mike enters. He says, \"Give me those jewels.\" Mrs. Jones slaps him twice and removes his mask.\n\nScene 65: Close-up of Mrs. Jones' hand holding the mask. Shoot this against her skirt. Her hand comes down into the scene as she tears off the mask. She holds it tightly.\n\n--SWAPS--\nAmateur Film Loan Exchange\nHave you listed your films?\n\nThe Amateur Cinema League is rapidly building up a Library File of amateur films, which their owners will be willing to lend to other League members once a system has been worked out to ensure safe transportation and return of these valuable records.\n\nHelp the League to build this record of available material, which promises to be an invaluable addition to the possibilities of the amateur cinema. Send in a list of your films.]\nName: Charles E. Bedaux\nAddress: 17 Battery Place, New York City\nFilm: Harpooning Trip on the West Coast of Florida\n\nName: Film Mutual Benefit Bureau\nAddress: Miss Sophie K. Smith, Executive Secretary, 4 W. 40th St., New York City\n\nFilm: Sled Dog Days \u2013 New England Sled Dog Race, February 1926, North Conway, N.H. (Two reels)\n\nFilm: The Trail of the Pioneer \u2013 Scenic pioneers in Kentucky Mountains (Two or four reels)\n\nFilm: The Flag That Went Down Flying \u2013 Story of presentation\nCaptain Paul Jones, prior to sailing for France on the Ranger: two reels.\n\nName: W.F. Collins.\nAddress: 904 Test Bldg., Indianapolis, Ind.\n\nDeep Sea Fishing in Nova Scotia: three reels, 1,200 feet.\n\nName: H.S. Shagren.\nAddress: 1384 W. 6th St., Cleveland, Ohio.\n\nNovelty Film: performances of Marionettes or puppets, some slight of hand with animated shadows and moving titles. One reel, 400 feet.\n\nToned or Colored Scenes of Niagara Falls, parks and boulevards of Cleveland, the Zoo, beach scenes, etc. of special interest to fans who like to do afterwork on their films. One reel, 400 feet.\n\nName: H.G. Simpson.\nAddress: 215 Security Bldg., Pasadena, Cal.\n\nPasadena to Victoria, B.C.: showing Columbia Highway, Mt. Hood Loop, Redwood Highway, etc. Two reels, 800 feet.\nBig Bear Lake - 400 feet. Tournament of Roses, Old Missions, etc.\n\nNAME: James R. Cameron.\nADDRESS: Manhattan Beach.\nForty 400-foot reels covering England, Scotland, Paris, Ostend, War Front in 1925-6, Holland, Italy, Germany, Switzerland, Norway. Detailed list later.\n\nNAME: Talbot Field.\nADDRESS: Hope, Ark.\nWatermelon Festival.\n\nNAME: Floyd Dennis.\nADDRESS: 516 Ash St., Penndleton, Ore.\nFamous Pendleton Roundup \u2014 Indians, cow-girls, roping, bull-dogging, etc. Three reels.\n\nScene from the 'Pendleton Roundup' Swap\nFifteen Gillette\nThe Amateur Movie Maker Records Winter Thrills As Cooling Reminders for Hot Summer Days.\n\nWhite Movies\nUnderwood & Underwood\nGillette\nSixteen\n\nConducted by Dr. Kinema\nDr. Kinema is the amateur consultant of Amateur Movie Makers. The doctor will discuss problems in amateur cinematography that many of them face.\nus meet constantly in our adventures in picture making. The doctor has made two requests of our readers: first, that they forward plenty of questions; second, that wherever possible, they send with those questions what they believe to be the correct answers. He does not want to fill the Clinic with his own ideas Therefore, he invites all members of the amateur cinema league and all readers of Amateur Movie Makers to make contributions to his department. Please send in questions, answers and discussions to Doctor Kinema, care Amateur Movie Makers. 105 West Fortieth Street, New York City.\n\nApologia\n\nThe well-equipped hospital has its clinics, and so does our magazine. But in the hospital, the clinics must not be allowed to crowd out the operating room, the patients' wards, or the other indispensable service agencies. So in Amateur Movie Makers, the Clinic must make room for the operating room, the readers' questions and discussions.\nMakers should not crowd out editorials, articles designed to show readers how to have more fun and receive greater benefit from amateur equipment, and other service and entertainment features of the magazine. Only a part of the valuable material received from our members this month could be used. From those whose questions have been deferred, we beg patience and hope they will join us in our pleasure at the fact that the Clinic seems to be fulfilling our ideal of unselfish service to amateur cinematographers of America.\n\nDr. Kinema.\n\nProgress:\n\nThe growth of home motion picture making in 1926 is indicated by the following statement and forecast for 1927 from L.B. Jones, vice president of the Eastman Kodak Company.\n\nAmateur motion picture makers throughout the world consumed 8,000 miles of 16mm film.\nThis film was made in 1926, equivalent to 20,000 miles of standard professional film. To provide a more graphic visualization of this film footage, one portable home projector working continuously would need a little over three years to screen all these pictures. With 40 individual frames of these small pictures, amateur cameras clicked off a staggering total of 1,700,000,000 different pictures during the year. The great majority of amateur films comprise the most vibrant cross section of family life ever recorded and now regarded as priceless by many fond parents. In 1926, approximately 35,000 motion picture cameras were sold by all manufacturers.\nAmateur movie makers, trained in 1926, and with additional amateur movie cameras in use this year, it is believed that 1927 will see a doubling of footage of amateur movie film.\n\nScenarios\n\nAmateur movie makers are getting excited about scenarios. The photoplay ambition has struck them, and they have seen the excellent results obtained in the Oranges, New Haven and San Diego by groups of amateurs who have produced photoplays from start to finish. They realize that the little cinema is a reality.\n\nHome movie makers are getting gregarious and they are getting to know each other through the Amateur Cinema League. The League receives letters daily expressing delight at this mutual acquaintance. The solitary filmer wants to branch out and to get a group to work on a group production. This is sound and excellent. Hence the urge for scenarios.\n\nWho has one or more suitable scenarios?\nAmateur Movie Makers want to continue responding to the genuine need for scenarios by publishing the best ones that can be secured. The League wants to have a list of available scenarios that members will be willing to lend to each other.\n\nTypical inquiries coming to us on this subject include that of Ray Ham, 622 North Division Street, Appleton, Wisconsin. He writes, \"could you help me get a few scenarios that would not require many actors and could be taken in this section of the country?\"\n\nWrite Amateur Movie Makers brief summaries of scenarios you may have written or secured for amateur production, and if possible, send a copy of the complete scenario.\n\nSeventeen\nAn Indoor Stunt\n\nWhile artificial lighting equipment for the amateur cinematographer is now available, a stunt has been devised using indoor settings.\nThis text appears to be in good shape and does not require extensive cleaning. Here is the text with minor corrections:\n\nThe following will interest owners of Cine-Kodaks Model A and Kodascope Model A, 220. Fully timed portraits (head and shoulders) have been made indoors at night using the light from the 200 Watt Lamp of the Kodascope with the Cine-Kodak lens at its largest aperture\u2014f.1.9.\n\nThe reproduced picture is a \"still,\" made at the same time that the \"animated\" portrait of the young lady was taken with the movie camera. It shows the relative brightness of the image to that of the projected \"movie\" images on the home screen. The exposure given to secure the still was approximately the same as that which the individual \"frames\" in several feet of movie film received.\n\nThe Kodascope was set on a table and raised about a foot higher than the head of the subject by placing a box under it. The light was not adjusted.\nThe Kodascope lens, if focused on the head, would require being so far away that the light intensity would be significantly diminished. The Kodascope lamp house was therefore swung back as far as possible, and a Kodascope Portrait was secured in place with a wire. The beam of concentrated light from the 200 Watt lamp came only through the small condensing lens, part of the Kodascope's optical system. The light covered the head and shoulders, bringing the subject to three feet away. For a pleasing portrait lighting, the Kodascope was tilted by placing a book beneath one side, directing the light to the face at an angle and creating shadows that extended slightly downward.\nThe movie camera was four feet from the subject, and a f.1.9 lens was used at its widest opening for the close-up. The young lady conversed with the photographer, who directed her to move her head slowly from profile to full face position to get some \"action\" in this intimate and charming portraiture. The amperage control knob on the Kodascope's rheostat was set to a point that brought the needle indicator to 4 on the ammeter. A more brilliant light can be secured by \"stepping up\" the amperage, but manufacturers advise against this practice as it reduces the lamp's life length. The Kodascope light can also be used in daytime in conjunction with the window light. Placing it farther away, it will illuminate the shadow side of a subject or can be manipulated to give \"line\".\nThe following statement has been received in reply to the discussion of iris vignetters in the January issue of Amateur Movie Makers, under the Clinic head of \"Wanted\":\n\nThe Bell & Howell Iris Vignetter has been designed to obviate the need for a tripod-mounted camera, as the Filmo Camera is essentially designed to operate without one. The camera can be held in the right hand and operated without using the left hand at all. The thumb and first finger of the left hand can then be pressed against the front of the camera or placed on its side.\n\nK. W. Williams\nVignetters Again\nAround the base of the vignette if more convenient. Whichever is done, the left hand can then press the camera against the forehead, which then steadies the camera. The little handle of the Bell & Howell Iris Vignette can be screwed into one of the four holes provided so that it will come in any position convenient to the little finger of the left hand to operate it. This will permit moving the iris lever slowly and evenly until entirely closed, and the \"fade in\" is accomplished. The \"fade out\" is secured in the same manner, except by reversal of this operation.\n\nH. H. Roemer.\n\nThe Amateur Invents\n\nThe prophecy has frequently been made in these columns by our contributors that the advent of the amateur would bring new developments to every branch of cinematography. A striking example of the truth of this forecast is found in the story that follows.\nA. C. Hayden, a new life member of the Amateur Cinema League, is a successful manufacturer from Brockton, Mass. He became interested in amateur cinematography about a year and a half ago. Having purchased the best equipment available, Mr. Hayden felt a need for various devices to simplify operation and increase the fun of his hobby. Unable to find these on the market, he, being an inventive genius, set about designing and creating them himself. His factory was equipped to make mechanical goods.\n\nAmong the ingenious refinements he evolved was a portable folding stand for his screen. Then he designed a stand for the projector with adjusting screws so that the picture could be centered on the screen, both sideways and up and down. Not satisfied with this, he felt he wanted a case for his reels and also a device for winding them.\nHe built a humidor case with a thick piece of felt in the bottom to keep films in condition for a month or more. He attached this to the projector stand, using the top as a work table. Next, he designed a reel for holding loose ends of any length of film. Later, he contrived a small table tripod with a panoramic attachment, which he found eliminated chance from panoraming and produced perfect pictures for him. To complete this proof of far-sighted prophecy, it is only necessary to add that after Mr. Haden had taken his equipment to the homes of various friends and to clubs and meetings, he received many favorable comments and expressions of desire for similar devices from other amateur cinematographers. Therefore, he devoted himself to manufacturing and marketing these accessories.\nPart of his factory manufactures these inventions for other amateur cinema fans. While this is the first story we have published on the development of practical equipment from an amateur perspective, the logic of the situation is so obvious that Amateur Movie Makers has no hesitation in repeating the forecast more emphatically: the amateur will be a big factor in the advancement of every phase of cinematography.\n\nThe Newest Thrill\nOutstanding among the latest technical projection developments in the moving picture field is the \"magnascope,\" which is now bringing one of the biggest thrills in the history of screening to the spectators of \"Old Ironsides\" at the Rivoli Theatre in New York.\n\nQuoting Frank Vreeland in the Evening Telegram, \"Just as the Constitution surges into view, the screen suddenly expands.\"\nThe towering, majestic frigate expands to gigantic size, bearing right down upon the spectators and ready to pour itself into their laps. The standard screen of the theater, on which most of the picture is shown, is only twelve by eighteen feet. Just before the magnascope is employed, the curtains are drawn back to reveal a screen thirty by forty-nine feet. The film is then projected on this enormous surface by means of the magnascope attachment, with crashing dramatic effect. The exact nature of the device has not been made public. However, Amateur Movie Makers' experts say that the basic principle is the use of a wide-angled lens in the projection.\n\nIn that still unmapped territory of colored home film, moving pictures by radio, and other refinements, there will probably be home magnascopes, whereby viewers can project their own films on large screens.\nCan a tiger be converted into a spring, and Jimmy's scooter into a \"Century\" locomotive? Lighting methods for ensuring well-timed motion pictures indoors were recently demonstrated at the first indoor moving picture lighting show reported in this country, held in New York City through the cooperation of the Eastman Kodak Stores and the Kirbylite makers.\n\nThe setup for taking two or more subjects consisted of two lights, one on each side of the actors. The first was eight feet away, and the other six, each tilted down at a 45-degree angle. The closer light supplied concentrated lighting, and the other subdued the shadows and showed facial contours to good advantage. Silver screens were used as reflectors. The camera was set between and back of the lights at eight feet with the diaphragm set at F.4.\nFor photographing a single figure, the setup consisted of one light at a forty-five degree angle, set five feet from the sitter and at a height twelve inches above the sitter's head. The silver screen reflector was held directly opposite the light and at the sides of the subject's face to illuminate the shadow side. The camera, set a few feet from the subject, took the pictures with amateur visitors as actors. The quality was reported to be exceedingly good. Experimental variations of these arrangements can be made, but with the above grouping, success is assured.\n\nNineteen universities have entered the amateur motion picture production field with the filming, now in progress, of a complete amateur film.\nThe students of Colgate University in Hamilton, New York produced this photoplay. Other universities will likely follow Colgate's lead, and the day is not far off when undergraduate movies will gain fame and popularity.\n\nThe idea for this first \"Colgate Classic\" originated from the desire to create a closer bond between the University and its alumni. Since only a minority can return to the scenes of their college days, the moving picture offered the alluring possibility of taking the university to the alumni. This solution was long considered out of the question, as no one at Colgate had any experience with motion picture production. However, recently, the secretary of the Alumni Corporation, Mr. R. E. Brooks, learned of the possibilities of amateur motion pictures.\nStudents were located in the university who were ex- \nperienced in this wonderful new development in cine- \nmatography. At last it was felt that the magic carpet \nof fildom could be brought to Colgate to bridge the con- \ntinents and erase the years, which now separate its \ngraduates from their Alma Mater. \nProduction decided upon, the first plan was to pro- \nduce a one-reel picture, showing the important news \nevent of the year, such as Alumni Day, the Colgate- \nSyracuse football game, and other happenings which \nform a part of old Colgate tradition. Arrangements \nwere soon made and the newsreel was started. It in- \ncluded views of several new buildings which the Uni- \nversity has recently added, with spliced-in close-ups of \nthe old \"profs\" whose faces, familiar to thousands of \nformer students, would recall old times more vividly \nthan any description. When half finished we came to \nThe realization that this would not provide a whole evening's entertainment. The Story of the First C by Howarc. THE GALLERY. Twenty. Of course, there were the film libraries to fall back upon in an emergency. A good comedy or perhaps a short drama could be obtained, but such interest and enthusiasm had been awakened among the students that we decided to film a photoplay ourselves, to go with the other reel. Then our troubles began.\n\nFirst came the scenario. A few tried to write something suitable, but the idea was new and they had no conception of what was needed. No one was found who even knew what a scenario was, but all were willing to learn. So, after picking a plot suitable to the conditions, a scenario was evolved for this play which will serve as a basis for Colgate students in future years.\n\nThis done, a director had to be found.\nProfessor R.F. Speirs, of the English Department, had done all the dramatic direction for Colgate stage productions. With intensive study of the difference between stage and movie production, he soon became proficient as a movie director. And then the cast. From all those who wanted to be in the picture, we had no difficulty in picking someone for each part. The principal hardship was to choose between the many who would have been good for the parts but who came in numbers too large for us to use. At last, the cast was decided upon.\n\nFinally came the actual filming. The first location was on a mountain about a mile from the campus. After getting test scenes several days in advance and finding them very good, the cast started with confidence for the scene of the \"initial performance.\" Announcements of\nScenes requiring several hundred students brought out nearly the whole student body eager to \"get in the movies.\" The production is not yet completed at this writing, but will be finished and shown for the first time on February 8th.\n\nColgate CLA Lege Photoplay Production by Richardson\n\nAt a banquet of the Alumni Corporation in the Commode Hotel, New York City, this \"grand premiere\" will come only one month after plans were first made for the picture. The short time made the work more difficult. Several times it was necessary to wait for good weather, and other times for the sun to reach the proper angle. The plot also had to be molded to suit conditions. Final touches to be given the film will include making titles and tinting or toning the film. Night scenes, taken in daylight, will be tinted in methylene blue to give the proper effect.\nThe effects and snow scenes will be colored with an iron tone, bringing out the shadows in a light blue with pleasing softness. Fireside scenes will be done in amber, and each type of scene will have its own appropriate tint. The titles will be made by projecting one frame from the positive film onto bromide paper to make a negative enlargement. When black printing is put on this enlargement and photographed with a movie camera, the film will be developed negatively, giving a positive picture with white letters. All these titles will eventually be made at the university, although at present the equipment does not facilitate proper handling. The film will therefore be completed at the laboratories of the Eastman Kodak Company in Rochester, New York.\n\nThe plot of \"Room Mates\" concerns two friends, Phil Whitmore and Robert Shaw.\nThe opening scene shows the log cabin in Canada where they are spending their vacation. The action reveals the character of the two boys. Bob is carefree and thinks of nothing but having a good time. Phil, on the contrary, is very practical and conscientious.\n\nAfter the farewell scenes at home, the boys are shown arriving at Colgate. Their first experience is a tour of the campus which brings in all the old landmarks, famous in Colgate tradition, the new sites, and recent additions.\n\nBack in their rooms, the boys unpack. Bob sees a girl's photograph, belonging to Phil, which interests him. Phil will not tell him who it is, to tease him. Later action shows that the girl is often in Bob's mind.\n\nLittle incidents continue to show the difference between the two boys. Phil is studious and interested in academics.\nBob thinks only of pleasure. It's not until his Junior year that Bob meets the girl from the photograph. At a skating party, she, Helen Brown, and Phil have a quarrel and separate. Bob, seeing an opportunity, introduces himself. It's he who sees her off on the evening train. The two roommates quarrel when Bob returns to their room, but the incident is soon forgotten.\n\nAt the end of the Senior year, Bob is shown to have few friends and a record of wasted opportunity. Phil, in contrast, is well-educated, liked by all, and leading the friendly rivalry for Helen's hand.\n\nTheir return home is significant. Phil is forgotten in his home town and no one meets him. Bob, who has graduated with honors, is greeted by his mother and father and the girl he has admired for so long. Then, skipping a few weeks, Bob is seen in his new offices.\nThe principal parts of the picture will be taken by Richard B. Mason of Miami, FL, John B. Roll of Springfield, NJ, and Beatrice A. Mosher of Hamilton, NY. As a result of the fun and training secured in taking this first picture, it has been decided to make the filming of a photoplay an annual activity of Masque and Triangle, the Colgate dramatic club. With the practical experience of producing \"Room Mates,\" and some additional instruction, a close approach to professional standards may be expected for the production of the next \"Colgate Classic.\"\n\nRehearsal for \"Room Mates\" A \"Colgate Classic\"\nThe universities of America have definitely entered the amateur motion picture production field.\nThe filming, now in progress, of a complete amateur photoplay by the students of Colgate University at Hamilton, New York. Other universities will undoubtedly soon follow Colgate's lead, and the day does not appear to be far off when undergraduate movies will gain fame and popularity.\n\nThe original conception of this first \"Colgate Classic\" was brought about by the desire to create a closer bond between the University and its alumni. Since only a minority can return to the scenes of their college days, the moving picture held forth the alluring possibility of bringing the university to the alumni. This solution was for a long time thought to be out of the question, as no one at Colgate had ever had any experience with motion picture production. Then recently, the secretary of the Alumni Corporation, Mr. R. E. Brooks, was instrumental in making it a reality.\nFormed possibilities of amateur motion pictures. Students, experienced in this new development in cinematography, were located at the university. It was felt that the magic carpet of film could be brought to Colgate to bridge continents and erase the years, which now separate its graduates from their Alma Mater.\n\nProduction decided upon the first plan, which was to produce a one-reel picture showing the important news event of the year, such as Alumni Day, the Colgate-Syracuse football game, and other happenings which form a part of old Colgate tradition. Arrangements were soon made and the newsreel was started. It included views of several new buildings which the University has recently added, with split-in close-ups of the old \"profs\"; their faces, familiar to thousands of former students, would recall old times more vividly.\nThe Story of the First College Photoplay Production by Howard E. Richardson\n\nWe came to the realization that a half-finished production would not provide a whole evening's entertainment. The problem of obtaining a suitable film for an emergency existed. A good comedy or short drama could be obtained from film libraries, but the students' interest and enthusiasm had been awakened. We decided to film a photoplay ourselves, to go with the other reel. However, our troubles began.\n\nFirst came the scenario. A few attempted to write something suitable, but the idea was new and they had no conception of what was needed. No one was found who even knew what a scenario was, but all were willing to learn. After picking a plot suitable to the conditions, a scenario was evolved for this play which will serve as a foundation.\nAs a basis for Colgate students in future years. After establishing this, a director had to be found. Professor R.F. Speirs, of the English Department, had done all of the dramatic direction for Colgate stage productions. With intensive study of the difference between on-location stage and movie production, he soon became proficient as a movie director.\n\nNext came the cast. From all those who wanted to be in the picture, we had no difficulty in picking someone for each part. The principal hardship was to choose between the many who would have been good for the parts but came in numbers too large for us to use. At last, the cast was decided upon.\n\nFinally came the filming. The first location was on a mountain about a mile from the campus. After getting test scenes several days in advance, and, following this, filming commenced.\nThe cast performed very well, starting with confidence for the scene of the \"initial performance. Announcements called for several hundred students, bringing nearly the whole student body, eager to \"get in the movies. The production is not yet completed, at this writing, and will be finished and shown for the first time on February - at a banquet of the Alumni Corporation in the Commodore Hotel, New York City. This \"grand premiere\" will come only one month after plans were first made for the picture. The short time made the work more difficult. Several times it was necessary to wait for good weather, and other times for the sun to reach the proper angle. The plot also had to be molded to suit conditions. Final touches to be given the film include making titles and tinting or toning the film. Night scenes.\nTaken in daylight will be tinted in methylene blue to give the proper effect. Snow scenes will be colored with an iron tone which brings out the shadows in a light blue with pleasing softness. Fireside scenes will be done in amber, and each type of scene will have its own appropriate tint. The titles will be made by projecting one frame from the positive film onto bromide paper to make a negative enlargement. When black printing is put on this enlargement and photographed with a movie camera, the film will be developed negatively, giving a positive picture with white letters. All these titles will eventually be made at the university, although at present the equipment does not facilitate proper handling. The film will therefore be completed at the laboratories of the Eastman Kodak Company.\nThe plot of \"Room Mates\" in Rochester, New York, revolves around two friends, Phil Whitmore and Robert Shaw. The story opens at their log cabin in Canada, where they are on vacation. The scene reveals the characters of the two boys: Bob is carefree and only thinks about having a good time, while Phil is practical and conscientious.\n\nAfter the farewell scenes at home, the boys arrive at Colgate. Their first experience is a campus tour, which brings in all the old landmarks, famous traditions, new sites, and recent additions. In their rooms, they unpack. Bob sees a girl's photograph belonging to Phil, which intrigues him. Phil refuses to tell him who it is, tension building. Later action shows that the milkmaid is often on Bob's mind. Little incidents continue to highlight the difference between them.\nBetween the two boys, Phil is studious and interested in getting an education. Bob thinks only of pleasure. It's not until his Junior year that Hob meets the girl of the photograph. At a skating party, she, Helen Brown, and Phil have a quarrel, and Bob, seeing an opportunity, introduces himself. He is the one who sees her off on the evening train. Two roommates quarrel when Hob returns to their room, but the incident is soon forgotten.\n\nAt the end of the Senior year, Hob is shown to have few friends and a record of wasted opportunities. Phil, in contrast, is well-educated, liked by all, and leading the friendly rivalry for Helen's affections.\n\nTheir return home is significant. Phil is forgotten in his hometown, and no one meets him. Bob, who has graduated with honors, is greeted by his motley and father and the girl he has admired for so long. Then,\nBob is seen in his new offices where he has a line position. Helen visits him there, and the clinch and fade out are practically unavoidable. The principal parts of the picture will be taken in Miami, Florida: Richard B. Mason; Springfield, New Jersey: John I. Roll; and Hamilton: Beatrice A. Mosher. As a result of the fun and the training secured in taking this first picture, it has been decided to make the filming of a photoplay an annual activity for the Masque and Triangle, the Colgate dramatic club. With the practical experience of producing \"Room Males,\" and some additional instruction, a close approach to professional standards may be expected for the next \"Colgate Classic.\"\n\nTwenty-\nTravel: By Scenario\nBy Charles Morgan Seavey\n\nThe movie-wise traveler plans a scenario for his trip before he starts.\nA tourist guide provides the basis for continuity in a travel route. The travel scenarist studies this guide and the detailed information it contains, selecting special points to film that bring out the highlights of the trip. The result is a systematic plan for the travel picture, such as the one included later in this article. When you reach certain places, you may find something more interesting to record than what you have noted in your scenario. Take it and substitute the scene for the original. You will still be working along organized lines. Without such a plan, scenes taken at random will probably be a jumble and can seldom be put together and made interesting. A successful travelogue must be made with some degree of foresight as to photography, titling, and assembly. A lot of preparation is required.\nScenics without the association of the human element rarely hold an audience's attention. Even exceptionally beautiful pictorials, well titled, will pall after a few hundred feet. Therefore, humanize your travelog by using members of your party and people met upon the trip.\n\nKeep a record of each scene. This can be done by carrying along an ordinary ten-cent child's slate and a couple of pieces of white chalk. Number your scenes consecutively, or any way you like best, by marking the number or symbol on the slate. At the end of each scene, have someone hold the marked slate up so that you can photograph it by turning about an inch or so of film. Be sure and make a record of each slate marking in a book kept for that purpose, and with it all the data regarding each particular shot.\nTitle, its length, etc. When assembling the film, you will see the Twenty-two number photographed on each C.U. village character. Get this scene, where it belongs, and the while others engage him in conversation. Utter some picturesque saying he utters for the title. Try and secure group shots. If possible, always get some action close-ups. These placed judiciously between the scenics will add interest and exhibition value. In making scenes, whether close-ups or ten to twenty-five feet away, be sure that there is some contrasting background. For example, Ogunquitt, Maine, Congregational Church with Christopher Wren tower and Paul Revere statue. Close-ups, or the great elm tree, La Fayette, reported as resting under it at one location.\nNever have more than 10 feet of Maine's Rock Bound coast show twenty percent of the skyline. Shoot the village and have that broken if possible. Make your stuff short and snappy, done without the subject's knowledge. If your travelog is well photographed, titled, and crisp, it will not only prove interesting in a home, but also equal local constable to enter into the spirit of the demands of the average reader. Joke with some such title as \"He asks for the time, (an old gag but will get a laugh.) What do you want to know for?\"\nA travel film of such a kind will anywhere show how these can be written - be 10 ft. Ionf Yard. Peppering a trip. The Ellis Mansion, built in 1682. Get some technique used in this example to tell its history and can be applied to any trip, using most picturesque phrases for titles. In this instance, we are in Annisquam, Mass. planning to film a return trip. Get shots of fishing boats and groups of fishermen, quaint sayings for titles. Point out some inn, and have fishermen White Mountains. \"New England Motor Trails,\" issued by the only tavern in New England that the Women's Club of Boston has promoted. George Washington never stopped at.\nProvided the material for the construction of homes in Gloucester, Mass. (Middle Street, pre-Revolutionary). Fishing fleet. Mileage House of Seven Gables. Long shot. Date of leaving- town, also points of interest:\n\nDestination: Duxbury, Mass.\n\n1. John Alden home, 1653. Landing of Boscawen, N.H. The Atlantic Cable from Brest, France. Photographed by a group of natives.\n2. Gross Footage: Old Lyme, Conn. Boscawen, N.H. Famous Artists colony. Get some 10 foot shot of the village. C.U. into scenes if possible. 7 foot shot (close up) of the stone marking the location of a dozen of their beautiful summer houses.\n3. Daniel Webster's first law office. His places. First year's fees said to be less than Farmington, Conn. One of the most beautiful towns in New England. Famous girls'.\n10 foot shot beautiful homes on Ocean Bluff Road. Atwater Kent's, Hartford, Conn. \"At Water's Edge.\" 10 ft. Blowing 10-foot shot City Hall, one of Bull-Cave and Spouting Rock. Congregational Church, Christopher Wren model, to be the best. 10-foot shot insurance across Kennebunk River. High tide office buildings, where more insurance for reflection of same in water is issued than any city in the world.\n\nAmateur movies have played a big part in making the golf champions of today and will train the tournament stars of tomorrow, according to C. Bond Lloyd, of Chicago, golf expert, author, and consulting motion picture engineer who has specialized in slow-motion golf studies.\nSeventeen years ago, Mr. Lloyd conceived the idea of taking golf movies to show the correct and incorrect ways of playing golf. He believed much could be learned by showing the methods of experts, and likewise, moving pictures of beginners would enable them to analyze and correct their faults. Walter J. Travis was the first expert to join Mr. Lloyd in proving his theory. One dollar a foot was the price paid for this first film. Evidence that the gap between golf and moving pictures had not yet been bridged was the classic remark of the operator to Mr. Travis, which Mr. Lloyd and his cronies still chuckle about. \"Hold your caddy high in the air, Mr. Travis,\" said the operator, \"so I can see if it will show in the picture.\"\n\nBut so successful was this first effort that it marked the beginning of golf instructional films.\nBobby Jones, Francis Ouimet, George Von Elm, Jess Sweetser, Chick Evans, R.A. Gardner, Glenna Collett, Cecil Leach, Alexa Sterling Frazer, Walter Hagen, Willie MacFarland, Walter J. Travis, Al Espinosa, Jock Hutchinson, Gene Sarazen, Al Watrous, Alex Morrison, and many other prominent golf players have used Lloyd's film library for training. The effectiveness of film in golf instruction lies in its impersonality. Golfers can watch themselves first at standard speed and then in slow motion to identify errors.\nFor himself in this mechanical analysis. The instructor can point out the defects in the player's game impersonally, as if the pictured golfer were a third party. Another mechanical advantage lies in the fact that the pictures may be run over and over again for re-study. Or they may be stopped at any particular frame for intensive examination. Conversely, the perfect form of the great players can be studied and analyzed. The value of movies to them has lain in the fact that they can, through slow motion pictures, discover the small faults which, in the upper ranges of stardom, often mean the difference between defeat and the trophy. Here again, the impersonality of the motion picture is an asset, for golf stars, not unlike those of the theatrical world, do not always welcome criticism and suggestion from others.\nThe movies can see the point for themselves and, once shown a fault, can soon correct it. Describing his technique in this specialized field, Mr. Lloyd advises the use of plenty of footage. (Continued on page 39)\n\nWeekly-Threep\nItillis I lililillitii Milliillll i IlIiiSlllP\nThe Home Movie Closeup \u2014 Find Papa.\nBy C. D. Batchelor\nCourtesy New York Evening Post.\n\nEducation\nTo Will Hays and a host of his colleagues of the Motion Picture Producers and Distributors of America, Dr. Nicholas Murray Butler has offered the facilities of Columbia University with the suggestion that a new set of courses be established in the vast institution of which he has been president for twenty-five years. The offer, the result of a survey made by professors of the university, will be considered by committees appointed by Dr. Butler and Mr. Hays. (24 courses)\n\"The motion picture industry is a stupendous engine, releasing a new set of forces on the world for the amusement, entertainment and instruction of millions,\" said Dr. Butler. \"The word industry only partially describes it. I prefer to call it a profession. We have only scratched the surface of its possibilities. We cannot predict what will be offered to us within the next twenty years. The importance of such an undertaking is unpredictable and stupendous.\n\nDr. Butler laid particular stress on the importance of the motion picture as a social force which is equal, he said, to its importance as an artistic and intellectual instrument.\n\nWhen laymen, like myself, go to the motion picture theatres and see with amazement what can be done with motion pictures, we begin to get an insight into what is\"\nThe accomplishments have been really beyond belief. The most vivid pictures of great historical or human events are present daily. \"The motion picture wants its future to be in the hands of men of vision,\" said Mr. Hays in reply. \"It wants its members to know all the arts, all the sciences, and the literatures your background courses offer. We want men with a general philosophy of life, not men to fill jobs. We want men who have been taught not facts, but how to handle facts. We want men who have been taught not to make money quickly, but who have conceived of business as an instrument of social service. Our business is built largely upon personnel. Take away our directors, our actors, our writers and we have nothing left but a highly organized production, distribution, and exhibition machine.\nThe development of any art is limited only by man-power, and man-power is produced only through opportunity. Your offer helps make that opportunity.\n\nHome Movies by Rail\n\nThe amateur motion picture camera having become almost a standard piece of baggage among its tourists, the Raymond and Whitcomb Company has contracted with the Kodascope Libraries to provide films for exhibition on its all-Pullman trains. A recreation car, with a seating capacity of 49, has been provided with a projector, and amateur cinematographers are permitted to project their own films while en route across the continent. The films which the company rents and exhibits are projected from the rear of the car on a translucent screen, and music is supplied by a Victrola.\n\nMention was made last month by this department that the Motion Picture Club of [unknown]\nThe Oranges will film its next production on 35 mm. film. Eugene W. Ragsdale, founder of the club, states that if the picture is a success, extra prints will be made on 16 mm. stock for release to those with amateur outfits. The club begins the third year of amateur movie making with the announcement that its annual dues will be doubled and that its technical staff will consist of two cameramen, two scenario writers, one title artist, a make-up and costume artist, two property managers, and a film editor. \"The Motion Picture Club of the Oranges\" assures us it is working for the betterment of amateur movies and is ready to help fellow amateurs who seek help.\nWe would like to form film clubs and hear from other amateurs. Amateur Reviewed \"The Amateur Camera Man\" had his innings with the National Board of Review of Motion Pictures at its annual national conference with Colonel R. W. Winton, Managing Director of the Amateur Cinema League, as interpreter for the thousand delegates who heard him on January 28th in the Waldorf Hotel, New York City.\n\nThe Water's Fine!\n\nRecognition of the importance of the amateur movie maker comes on apace with the announcement, in February Photoplay, of the establishment of a new department in that magazine to be known as \"The Amateur Movie Producer.\" It is planned to make this a department of service to the makers of home and community movies.\n\n\"Thousands of families and clubs now own small motion picture cameras of their own,\" the announcement stated. \"The making of these films is a growing hobby and a source of enjoyment for many.\"\nThe invention of personal movies is proving to be one of the greatest innovations in home entertainment and education. It is on track to equal radio in popularity. The new department will be filled with practical advice and suggestions. If you don't own a camera of your own, Photoplay will tell you how to earn one without costing you anything. An announcement of a prize contest will be made in its March issue.\n\nWe hear faint bells tolling the knell of an American custom that has long been bewailed. It is that, common among physicians, surgeons, and dentists, of collecting out-of-date periodicals for the consumption of their patients who must sit hour after hour awaiting those awful words, \"The doctor will see you next.\"\n\nFrom Chicago comes word that Dr. S. W. Fahrney has installed a projector in his reception room, and an attendant has but to play a film for patients while they wait.\nThe film runs for sixteen minutes of entertainment. Dr. Fahrney takes his own pictures. This innovation hopefully spells death to the magazine-cluttered tables of our dentist's office!\n\nNew Peril for Rum Runners\n\nThe high sea bootlegger must not only fear the guns of the U.S. Coast Guard, but it would seem he must now dodge the amateur movie maker as well. Lieutenant N.G. Ricketts, U.S. Coast Guard, may no longer be engaged in tracking the floating blind pigs in his duties on the Coast Guard Cutter Modoc. But he writes that his ship never puts to sea without his amateur movie equipment. Lieutenant Ricketts regrets that he cannot get together with other amateurs more often. Perhaps the Modoc will prove to be the first unit in a \"floating division\" of the Amateur Cinema League. A Floating Dark Room.\nEvery traveler will be interested in the outcome of the newest experiment reportedly being conducted by the Eastman Kodak Company. They will install a developing service for cinematic Kodak film on the SS Carinthia during its world tour on March 29, 1927, under the auspices of the Raymond & Whitcomb Company. An expert will be on board, and cine films will be developed for a charge of $2.00 a roll. Shots of shuffleboard games taken on the ship will be viewed in film a short time later in the salon by the shufflers and their fellow voyagers. Forays ashore to fascinating scenes will likewise be re-lived a little later on the steamship screen. Some enterprising amateurs may film a round-the-world scenario, which will unfold reel by reel en route, with a final \"grand premiere.\"\nThe experiment begins just before the ship docks at the home port. It originated from an amateur's desire for such travel-service, but its extension, Amateur Movie Makers, depends entirely on the outcome of this initial trial.\n\nFrom Rockford, Illinois, comes word that the amateur movie maker, in his endless quest for new fields to conquer, has sought the depths of the sea. Lieutenant Governor Fred E. Sterling, editor of the Rockford Register Gazette, holds the distinction of being the first amateur cinematographer known to this department to make movies on 16 mm film beneath the water.\n\nDuring a recent visit to California, Texas, Colorado, and Louisiana with the Illinois Legislative Terminal Permit Investigation Commission, he made movies of the submarine gardens.\nA glass-bottomed boat at Catalina Island. We have been informed that the detail and clarity of the film are phenomenal. A diver, moving among schools of fish and underwater plants eighty-five feet below the surface, shows Mary Fielding and Edgar Williamson, Jr., stars of an Orange Motion Picture Club production, on the lieutenant governor's screen as clearly as the objects in his many other films.\n\nUntil he bought an amateur movie camera last year, Lieutenant Governor Sterling had never operated a camera of any kind. His first experience with the camera came from making 4,000 feet of film in England, Ireland, Scotland, France, and Italy. He did not project any of this footage until he returned home to Illinois.\n\nWanted: The Amateur Cinema League requests the correct address of Mr. Richard Williamson, one of its earliest members.\nA dress was listed in its files as 1135 Michigan Avenue, Chicago \u2013 an address which, according to postal authorities, does not exist. C.P., writing from 1 Wilton Road, Windsor,Conn., requests 25 to 75 feet of film showing seals wallowing in the surf off Seal Rocks near San Francisco. He is willing to pay six dollars for the spool of film and at the same time offers to make exposures around New England for anyone who may want them. Doctor in the House?\n\nTo help unite the legion of physicians and surgeons who are using the moving picture in advancing their profession, Dr. Herman Goodman, of 18 East 89th Street, New York City, has extended an invitation to them through Amateur Movie Makers. Assist in the formation of an organized group of medical cinematographers for mutual service and collaboration.\nDr. Goodman offers to project his technical films for other members of the profession. He suggests using lights commonly found in offices, such as the air-cooled mercury vapor arc in quartz, for motion photography.\n\nTwenty-six\n\nA Hard Problem Made Simple\nBy Carl Louis Gregory\n\nDetermining the proper amount of exposure is one of the hardest problems for amateur movie makers. The simplest solution is the use of a good exposure meter. Many persons object to using a meter.\nThere's no need to clean the text as it is already readable and the content is relevant to the original context. Here's the text with minor formatting adjustments for better readability:\n\nThe bother of carrying it about and the fact that it requires a certain amount of manipulation in order to arrive at an approximation of the necessary exposure. There seems to be some deep psychological reason which gives many amateurs and most professionals a deep aversion to the use of an instrument of any kind for calculating exposure. Perhaps it is because they feel that it should be a sort of automatic or intuitive mental process and that it is a weakness to employ a calculator, just as an expert in mental arithmetic would scorn the use of an adding machine to perform simple arithmetical problems. Nevertheless, even if the exposure meter is discarded after one attains experience in estimating exposure, it is the simplest method of learning to estimate exposure correctly. Some of the amateur cameras are provided with a simple meter which simplifies this process.\nThe accurate estimation of exposure without a meter requires memory training and educating the eye to estimate light strength. One must firmly master a simple system of estimating exposures and continue practicing until it becomes second nature, or remain baffled and mystified by the exposure problem. In using reversible 16mm film to get the best results, a much closer approximation to the correct exposure time is necessary than when making ordinary negative films. The latitude of the reversible film is not nearly as great as that of the ordinary direct negative process. Latitude in exposure means the amount of under or over exposure the emulsion can receive and yet produce a satisfactory positive.\nWhere prints are made from negative film, a great variation in negative density can be compensated for by using a weak or strong printing light. A thin negative printed by a weak light and a dense negative printed by a strong light will give two positive prints of nearly equal density. However, when the reversal process is used, an under exposure affects only a small portion or thin layer of the emulsion, and in reversing, the remaining silver bromide, unaffected by the slight exposure, is converted into a dense positive image with no detail, except in the highest lights. On the other hand, where the exposure has been excessive, almost all the silver bromide is reduced and dissolved away in the first treatment of the negative, leaving only a slight residual silver salt, which can only make a very thin image.\nThe tail is lost in the highlights, and only the deeper shadows are visible. From this, we see, especially when the film is to be reversed to a positive, that the exposure must be very nearly correct to make a pleasing picture on the screen. How then, since correct exposure is necessary, can we estimate closely enough to have at least a majority of our exposures correct?\n\nIn the first place, we must have some sort of concrete conception of the factors influencing exposure. If we can fix in our mind a few simple fundamental principles regarding light, we can arrive at a basis which will give us a sort of mental yardstick by which we can measure the strength of the light. To most persons, light is a very intangible thing. That light can be measured, just as we measure solutions in a graduated cylinder, seems never to occur.\n\nHere are the fundamental principles of light and exposure:\n\n1. Light is a form of electromagnetic radiation, which travels in waves. The human eye can detect light in the wavelength range of approximately 400 to 700 nanometers.\n2. The amount of light that reaches a surface is measured in lux or lumens. One lux is equal to one lumen per square meter.\n3. The sensitivity of a film or digital sensor to light is measured in ISO, which indicates the amount of light required to produce a normal exposure. A higher ISO number means the sensor is more sensitive to light.\n4. The duration of the exposure is measured in seconds or fractions of a second.\n5. The size of the aperture (the opening in the lens) affects the amount of light that enters the camera. A larger aperture lets in more light, but also results in a shallower depth of field.\n6. The distance between the camera and the subject affects the amount of light that reaches the sensor. The inverse square law states that the intensity of light decreases as the square of the distance from the source.\n\nBy understanding these principles, we can estimate the exposure settings needed for a given scene and adjust our camera accordingly. This will help us ensure that a majority of our exposures are correct.\nMany have pondered the use of cameras and lenses. For the light image formed by the lens to imprint itself onto the sensitive silver emulsion of the film, a certain amount of light must pass through the lens. If we hold a graduated cylinder under a small stream of water, it takes a long time to fill, but with a large stream of water, it fills quickly. The iris diaphragm in the lens determines the size of the light stream that passes through it. If the light is strong, it is necessary to make this diaphragm opening small to prevent too much light from passing in a given time. Conversely, if the light is weak, we open the diaphragm to allow more room for the weaker light to enter. Remember, all cinematography lenses have the size or speed of the diaphragm opening.\nThe engraved F stop on the lens mount ensures equal exposure regardless of the lens used, with the same F number. This F number is not an actual size but a relative one. In different lenses of varying focal lengths, the actual diameters of the stops for the same F number will differ. The reasons for these size differences are simple: the focal length and diameter of the lens are the only factors influencing the image's brightness under equal light conditions. Combining these two factors into a single mathematical term results in the formula for the lens's brightness or the amount of light it lets in.\nThe single term of light that passes through the lens is determined by dividing the focal length by the diameter of the lens opening, resulting in the F number or value of the diaphragm opening. All lenses require the same exposure when stopped at the same F number under the same light conditions. Having established this equality between all lenses and the need for a certain amount of light to impact the photographic emulsion, we must establish a system for recognizing the variations in light strength under different conditions.\n\nAlmost all photographs are taken with the aid of sunlight, which is virtually unchanging in strength for practical purposes. However, there are numerous factors or conditions that alter the amount of light that reaches the camera.\nThe amount of light comes from the sun, and the light reflected by the objects we photograph is crucial for comparison. We will use the most favorable sunlight condition as a standard: the summer sun under clear atmospheric conditions in open country, with objects not too far away and not too close to the camera. At the standard taking speed of 16 exposures per second with a half-opened shutter, the duration of exposure with the motion picture camera is one-thirtysecond second. This sets the exposure duration. Variations in the amount of light reaching the film must be made solely by adjusting the diaphragm opening. The various diaphragm openings, as inscribed on the lens mount, are:\nThe following text describes the relationship between the size of a camera diaphragm opening and the amount of light admitted. It provides instructions for achieving a correct exposure under standard lighting conditions.\n\n1. Each diaphragm opening admits half as much light as the preceding one with a smaller numerical value.\n2. In reverse order, each lower marking admits twice as much light as the preceding smaller opening.\n3. Under optimal conditions, a 30-second exposure at f/11 provides the correct exposure.\n\nUnder the best average conditions, one 30-second exposure at f/11 gives the correct exposure.\nEstablished a standard of measure by which we can estimate less favorable conditions. Winter-time conditions cut the actinic strength of the light in half. Therefore, under practically the same conditions of clear atmosphere in the winter time, we must increase the exposure using the next larger stop, or f/8. If the sunlight is hazy or faint due to a haze that is nearly always present in our latitude in the winter time, the strength of the light is again cut in half. Thus, in average winter conditions in the open, f/5.6 is necessary. If there are distinct clouds in the atmosphere but still not heavy, the light strength is cut in half and to compensate for the weaker light, we must open the diaphragm to f/4. Again, if it is quite cloudy and dull, still another half of the light strength is taken away and we must still further open the diaphragm.\nCompensate by opening to F 2.8. If the day is extremely dull and cloudy, make further compensation and use the next larger stop or F 2. Obvious that without a very fast lens, it's useless to try to take pictures when it's very cloudy. In order to estimate correct conditions which cut down the direct rays of the sun, memorize these factors in their proper order and allow one large diaphragm marking for each factor which applies. Memorize these factors: 1st \u2014 Bright summer sun. 2nd \u2014 Bright winter sun. 3rd \u2014 Faint or hazy sun. 4th \u2014 Bright clouds. 5th \u2014 Dull clouds. 6th \u2014 Very dull clouds. Thus, in summer time, omit bright winter sun factor altogether and in spring and fall, compensate by dividing or halting the factor or dividing the diaphragm setting.\nThe diaphragm should be set halfway between scale markings. A few subjects provide stronger light than standard conditions. On the seashore and in deserts; on water and under other conditions where surroundings are very light in color, reflecting an unusual amount of light, we can conclude that the light is twice as strong as with the standard condition. Therefore, the exposure can be cut down to the next smaller stop.\n\nThere is still another class of subjects that reflect a greater amount of light than open water or white sand, or ordinary snow scenes. In this class come large snow fields in high altitudes; glaciers, airplanes against the sky and similar subjects. For these, the exposure may again be reduced by half; or by a factor of one-quarter of the standard condition.\nThere is still another class of subjects which reflect the maximum amount of light. These are white cloud forms in direct sun and foaming surf in full sun light. With these subjects, the diaphragm opening becomes so small that a filter with a factor of four or more should be used in their taking. Or, if the diaphragm can be reduced in size enough, they require only one-eighth the standard exposure.\n\nThree classes of subjects require special consideration in photography. (Continued on page 40)\n\nINDOOR MOVIES\nBy Margaret Hutcheson\n\nThe secret of taking good interior movies with amateur equipment lies, first, in selection of a suitable background, then a knowledge of how much area can be covered with the particular light or lights used, and finally in placing your camera near the scene of operation so that the central figures will show in the finder of the camera.\nFirst consider taking interior scenes without artificial light. Choose a room with white or cream walls if possible. Dark walls are difficult to photograph as they absorb light. Ensure the picture-taking inspiration comes on a bright, sunny day. Remove shades and curtains and make the scene of operations in direct sunlight if possible. Guard against deep contrasts of sunlight and shadow, which would result in an overexposure of the sunny side of all objects and an underexposure of the shadow sides. This condition can easily be overcome by improvising a reflector. Any large white surface, such as a piece of beaver board, cardboard, or your motion picture screen, will do. Let some light reflect onto the shadow sides.\nPlace the reflector as close to the subject as possible without it appearing in the finder, and hold it in such a position that the rays from the window will strike against it and reflect back to light up the shadow side of the subject. With this set up and the diaphragm of your camera open to F 3.5, it is possible to cover two persons.\n\nIf your picture-taking inspiration strikes you during a dark day or on an evening, you will need two good lights. There are practical lights, designed for this purpose, which are easily handled, give good results when intelligently used, and can be secured at reasonable cost.\n\nWhether your \"studio\" is the drawing room or the garage, mark off the scene of action with definite boundaries, and place the camera so that all action will be in the field of the finder.\nPlace one light eight feet in front of the extreme left hand limit of your scene, about eight feet from the floor and tilted so the brightest rays are on the most important object. Place the other light directly in front of the right hand limit of the scene, also eight feet away and six feet above the floor, tilted to throw its rays directly on central objects. Leave ordinary room illumination burning. Although the average electric globes have no photographic value in taking moving pictures, if left on.\nThey will help neutralize the brilliance of concentrated lighting and soften shadows. I have based all the above instructions on the use of cameras equipped with an F. 3.5 lens, as most amateur cameras are. If, however, you have a camera to which a F. 1.9 lens can be adapted, more satisfactory results will be obtained and a greater area can be covered. This also provides a simple means for widening your range of possibilities on practically the same cost basis as multiplication of lights. These observations cover taking indoor movies in a general way, but it is impossible to give exact instructions to meet all conditions. If you take a roll of film and follow these instructions, using common sense in making necessary adjustments and variations, you should obtain satisfactory results.\nIn no other field does experience prove to be a more practical and valuable teacher than in taking indoor movies. After you have taken several interiors, you will be placing camera, lights, reflectors, and subjects to meet local conditions. Results will then improve with gratifying rapidity.\n\nC/urography\nLet no prospective member delay joining the Amateur Cinema League because of a tendency towards an intricate signature. The appeal comes from League workers that each new applicant signs the membership blank in a way that it can be deciphered at headquarters. Charter membership cards have in the past been delayed in dispatching in several instances because of puzzlement over the true significance of the indicated symbols.\n\nWhich again brings up the point \u2014 Have you got a new member?\nThe League is growing fast, but only as fast as leavened by the yeast of its present loyal membership. Through a wide angle lens, National Comment on the Amateur Cinema League To those of us who have joined together to do the work of organizing amateur cinematography with the realization that there can and should be no other direct return to any of us except heightening the fun of the game and the real pleasure of cooperation with the other cinema enthusiasts of the nation, it comes home with keenly appreciated force that these altruistic aims are approved and applauded so generously by the press and in the flood of letters received daily at the headquarters of the Amateur Cinema League. No less a national authority in the newspaper world than the New York Times ended the year by welcoming editorially the League and its Magazine.\nThe Movies Reaching Out: Whatever may be said of the vulgarity of the movies, in the business itself there are many individuals who look upon it as an art, a bond between nations, and an international language. This may be the first step toward making it an art. It has made its own way so successfully that no patrons have had to encourage and at the same time restrain it. Other arts have been fostered by protectors, men of wealth and taste, and while they have enabled the artist to live and pursue his work, they have also enforced a wholesome discipline. The photoplay, art or no art, is beholden to no patron. What it has achieved of beauty is the result of experiments which had to be made.\nPay their own way. No interference and no help came from the cultivated minority. The great public paid for what they liked and refused to support anything else. Perhaps some fine things have been lost because sensitive appreciation was lacking. But from the free relation between the movie and the public, there is beginning to come something more subtle than ardent approval. Criticism which is conservative, restraining and discriminating - the great need of the movies - is now heard at intervals.\n\nThis month has seen the first publication of a magazine to organize a non-commercial association of motion picture makers, the Amateur Cinema League. In the main, it expresses the wish for assistance of the thousands who like to take their own moving pictures. A film exchange for the League members will be maintained, and the periodical will be full of all\nPeople who have regarded the commercial movie as the true heir of the nickelodeon, born for no greater heights, bring their complex and exacting standards to the Little Movie. Their understanding, once focused on amateur work, will be valuable to the commercial movie. It will be detached, as the criticism of those in the business cannot be, and it will be keenly interested, as the amateur is in the work of the professional.\n\nThe point of view of the actor who considers movies an art is expressed by Emil Jannings. Before he came to this country, he was asked what he hoped to accomplish here that could not be done in Germany. He had seen American films which commanded his respect. He felt the strength of the American film industry.\nThe organization and method, and he wanted to swim with that great current. But he also hoped for an exchange of creative power between Germany and this country. Perhaps some of our film stars will return with him to make pictures. New developments are bound to come from an alliance among the most intelligent and cultivated minds interested in both big and little movies.\n\nThe magazines of the nation have similarly given unstinted welcome to the League and to Amateur Movie Makers. Photo-Era said, \"I heartily recommend that you lose no time in joining the Amateur Cinema League.\"\n\nHerbert C. McKay, A.R.P.S., thus addressed the great army of cinematographers who monthly follow his expert discussions of motion picture photography, under the editorship of A.H. Beardsley, who has pioneered in the magazine field for the amateur.\nMotion picture enthusiast, and as a technician and professional, Mr. McKay wrote the following advice to the League members: The hobby which amateur cinematographers have chosen for the love of the work has great possibilities in the line of service to mankind. In my mind, the motion picture is destined to hold a place even more important than that held by printing. The professionals and technicians of the motion picture hope that every member of the League will realize that the motion picture is a serious thing, that it is an art, and that it deserves the respect and honor we give to those things in life which are of more than transient importance. Theatre Magazine extends open arms to the movement and its representatives in its January issue: \"In this age of rapid motion, a whirligig of new ideas is being constantly introduced.\"\nThe alert-minded folk, satiated with old fads and hobbies, seek new worlds to conquer. One of the newest ideas at the moment is amateur cinematography. What a fascinating field the amateur motion picture camera opens up to the Little Theatres! It offers them a permanent record of their triumphs. Their plays tour neighboring communities via the silver screen, while the cast members, unable to travel, engage in their regular occupation. The next logical step - the Little Movie Movement - to augment the Little Theatre Movement. We believe the pioneering motion picture club of the Oranges will be the forerunner of countless others. Amateur Movie Makers aim to do for amateur movies what Theatre Magazine has done for the theatre.\nThe outstanding national magazine FILMO TOPICS encourages entry into an worthy organization for every cinematographer. It is founded upon unselfish principles and for the sole purpose of education and fraternity. John Robertson, one of the world's greatest directors, shares his secrets for making a one-reel amateur movie in Thotoplay. Delight in its simplicity and instructive value; you cannot afford to miss it. Thotoplay Magazine, the world's greatest motion picture publication, began, in its March issue, a department dedicated to advice on making amateur movies. It offers $2,000 in cash prizes for the best single reels of any size made by amateurs. Watch the magazine for details.\nHints and instructions to help you win in Cash Prizes for Amateur Monies. Get Photoplay Magazine for details on the newsstands now! 25 cents or write to Photoplay Magazine, 750 N. Michigan Ave., Chicago, III.\n\nCullen's Movie News\nForget Tonight.\nWe have the most complete line of amateur movie apparatus in the financial district. In stock now:\n- Complete stock of the new Filmo Library films.\n- New Filmo Character Title Outfit.\n- Complete line of telephoto lenses for the Bell & Howell Filmo Camera.\n- Complete line of fast lenses for the Bell & Howell Filmo Camera.\n- New Filmo Arc Light, Gelb Light, Kirby Light, etc., for serious indoor work.\n\nRemember:\n- Films left with us are finished in Rochester and returned to your office on The Third Day. No charge for this special service.\n- We have a Projection Room where you and your friends are welcome.\nA projector at your disposal for showing films. Is your name on our list to receive information on all the latest movie developments? From W. C. Cullen, 12 Maiden Lane, New York City, Tel., Cortland 8424. Continued from page 30. Analyzing a common interest in the greater pleasure of home movie entertainment.\n\nCamera Craft, through Thurlow Weed Barnes, stated, \"There is no question but that such an organization, by providing a common meeting ground for the exchange of ideas and films, will stimulate tremendously this new art.\"\n\nCamera Craft, through Thurlow Weed Barnes, added, \"There is no doubt that such an organization, by providing a common meeting ground for the exchange of ideas and films, will stimulate tremendously this new art.\"\n\nAmerican Photography, through its motion picture editor, Karl A. Barleben, Jr., stated, \"The magazine certainly looks good, and I have no doubt but that it will in a very short time become a big success. It interests me greatly, and I shall keep an eye upon it.\"\nThe new Amateur Cinema League is gaining popularity. Hiram Percy Maxim, world-famed inventor, enthusiastic cinematographer, and pioneer president of the League, predicts that this association of home movie makers will become one of the largest amateur organizations in the world. The New York Herald Tribune's editorial comment is characterized by keen but sympathetic raillery. A recent contribution to this esteemed organ, titled \"Scanning the Home Film,\" read:\n\nA correspondent has gently reproved the Herald Tribune for overlooking the essential value of amateur motion pictures in our recent glance at new photography. 'The true appeal of home movies lies in the intimacy they provide.'\nHe highlighted the importance of securing comparable family records for future generations. It was this recognition that gave us confidence in predicting that the new picture taking would do more good than harm. However, we were previously restrained from discussing this aspect of the subject due to a thought that it was only human nature to shrink from. Now, we are compelled to address it. Delightful and important as the home-made film will be to the family itself and its future generations, what of the guest or stranger within the gates? Instead of a handful of vacation snapshots now displayed for his entertainment, will reel after reel of the family vacation record be screened for his amusement?\n\n\"We repeat that amateur cinematography will undoubtedly do more good than harm. But the consequences for privacy are worth considering.\"\nA firm week-ender is advised to begin accustoming himself to the thought of what lies ahead, so that he can build up a suitable fortitude to withstand it. Among other publications that welcomed the League and Magazine were: The Exhibitor's Daily, The Film Bulletin of the Film Mutual Benefit Bureau, The Editor, and the Women's Home Companion.\n\nTake Movies at Home\n\"SUPERLYTE\" Midget Photo Lamps\nWill Do It\n500 Watts\nHand Lamp - $10\nComplete with Stand and Special Cinema Bulb, ...\nConsult us for Expert Advice on Light\nOrder through your SUPPLY DEALER\n\nThe Max Mayer Go.\nM.M.Films\n\nPrinted by Contractor Reduction ART Titles Negatives Developed\n\nFrederick F. Watson Film Laboratories Inc.\nJNew 33 West 60th Street Columbus 9750\nPictures preserve details of actions and make them more interesting to watch. A specialized title service is available for users of 16 mm film, ensuring a quality title and mailed within 48 hours of copy receipt. Sample titles showing various kinds available upon request. Amateur films spliced, titled, and edited (put in sequence with bad portions deleted) according to your directions for a service charge of $2.00 per hour.\n\nStanley A. Tompkins\nCare of Kirby Incorporated\n2 East 23rd Street\nNew York City\n\nThirty-two\nThe Professional Touch in Personal Movies\nEastman Accessories that better the Home show\n\nBetty's Birthday Party\nOOD titles add a professional finish to your pictures, making them doubly interesting.\nCine-Kodak Titling Scroll: collapsible, fitted with a built-in chalk container. Complete and compact, can be taken to location for making titles during filming. $2.50\n\nCine-Kodak Kodascope Rewind: quick for 16mm film rewinding, silently rewinds one reel while projecting another. In 16mm film editing, indispensable. Includes splicing block and film cement bottle. $7.00\n\nImportance of V/F in successful projection: use of proper screen essential. Maximum picture-quality unattainable with ordinary canvas or cardboard screens. Eastman.\nScreens are scientifically designed and \"silver\" surfaced to enhance the quality, brilliance, and detail of the projected picture.\n\nNo. 0 Screen, 22\" x 30\", with cover, mounted in frame. $10\nNo. 1A Screen, 30\"x40\", with cover, mounted in frame. $15\nNo. 1 Screen, 30\" x 40\", Tollable, in case 25\nNo. 2 Screen, 39\" x 52\", Tollable, in case 35\nNo. I A Kodascope Screen\n\nAt your dealer\n\nEastman Kodak Company, Rochester, N.Y.\n\nMake the most\n\nKodak Corner salesmen are here to help amateur movie makers in New York and vicinity make the most of their outfits \u2014 get even more satisfactory results.\n\nBy being ready at all times with today's development information on movie making indoors, at night with artificial lights, for example. And suggestions about outdoor lighting effects \u2014 all easily made.\n\nAnd latest movie outfit literature.\nFree Eastman leaflets, for example. And all movie attachments and accessories, as well as complete stocks of cameras and projectors. Cine-Kodak film forwarded for processing without charge.\n\nEastman Kodak Stores, Inc.\nMadison at 45th St.\nNew York City\nASK WX.Cullen\n12 Maiden Lane\nNew York City\nCORTLAND 8424\n\nAbout Getting\nA Lice Terry\nREELS OF MOVIE STARS\nTo be shown on your own 16mm Projector\nA High Grade 16mm Service for Amateurs\nFade in Fade out Art Titles - $1.00 each\nSpecial Art Titles:\u2014 Opening, scenic, trick, animated $1.50 up.\nYour own cut used if desired.\nSplicing in titles, cutting, editing, etc.; Service $2.00 per hour.\n\nMovies:\u2014 family reels taken. Will also make movies in your home; children's parties, etc.\nQuiet Service \u2014 Satisfaction Guaranteed.\nRalph R. Enos\nTheir bodies merged into a single whole, is there any chance whatsoever for us to live in a nation where sport will be virile, based on the universal manliness and integrity of all the people? In which the arts will be a part of the lives of all, and religion - that is, goodness - will be as lively, contagious, and alluring as sin.\n\nA few weeks ago, in an address I gave at Atlantic City before the National Congress of The Playground and Recreation Association of America, I undertook to bring out the idea that most normal people, given a little corrective training, could learn to rest as well as work. I ended my address by pointing out:\nSince most of us spend more time working than playing, if people learned to rest while working, they would rest more. I have received letters from delegates in various parts of the country since I returned from this address, asking me how they can do it and how they can encourage others to do the same. I suggested they read my book \"Rest Working.\" However, an author can only tell people to read his own book. Another solution was to inform them about The Coordination Guild and our preparations for training coordination teachers and establishing branch training centers. However, this would be too slow. Another thing for me to do \u2014 anyone with common sense would say \u2014 is to provide practical methods and encourage a culture of rest while working.\nWith movie sense, one must see what that way is. The thing for me to do, instead of fuming up and down Fifth Avenue with all my unexpressed emotions about getting people to see how they look in this country, was to connect at once with the thirty thousand or more families that have home moving picture machines and let them express my emotions for me!\n\nThe cinema is impersonal, quiet, and matter-of-fact. It doesn't moralize or tease like a teacher, doctor, mother, husband, or wife. No one gets mad and talks back to a cinema. Millions of people who would not take it from me, who would have me arrested on the Avenue for reminding them they are throwing themselves away, would take it quite sweetly from a machine.\n\nSo here's to The Movie-Makers! I hold my breath when I think of it! I invite, I implore, I commandeer!\nHereby appoint these people, with their vision-engines and see-us-as-others-motors, as a Committee of Thirty Thousand - an informal National Committee, stationed in a thousand towns throughout America, to let people see how they look.\n\nThe advantage such a Committee of Thirty Thousand will have of not being too personal, of doing its work by machinery, will soon make the Committee the most imaginative and quietly creative, the most popular and ingratiating in this country.\n\nAs free amateurs, we on the Committee of Thirty Thousand will have the advantage of doing what we do.\nI like, and of thinking up thirty thousand ways of doing our work, but speaking for myself and of how I would like to do my own work on the Committee, I am free to say that the \"First Person\" cinema is the one that suits me best and that I would use the most. My idea would be, if I were an inspired millionaire for instance, and made myself tired every day just sitting at my desk and perhaps made other people tired, my idea would be to have installed in my office, like a ventilating fan opposite my desk, my own little first person cinema \u2014 my own private machine for spying on me while I worked and showing me how I pushed and jerked at my work and how I looked and felt while I sat at my desk throwing myself away. If I were a thirteen-year-old whose mother was always nagging me about the way I work.\nI enter a room, taking up the matter quietly when my mother isn't around. I use my own private first-person cinema and see how I really look. Then, I practice and get used to my appearance and feelings as I move. I work out details, compare my various selves, and select the one I like. I find my better moments and worse ones in parallel-column pictures side by side, wanting to be different. I have a machine for making myself want to change. On top of making me want to be different, my first-person cinema spies on me.\nBut besides all this, as I practiced being different, it would fit me with practical pictures and comparisons of all kinds. But it is not for me, in an article like this, to make suggestions. I can already see the Committee at work, or rather at play, across the country - thirty thousand people, with their free, disinterested, enthusiastic eyes and the eyes of their eyes - all those cheerful little click-machines, all going about everywhere, shedding vision and flooding light upon the violent things we nearly all of us do and keep doing every day in this jerk-and-hurry civilization,\u2014 always working feverishly when we play and pushing ourselves instead of floating ourselves, when we work.\n\nThe Great Yonkers Jewel Robbery (Continued on page 14)\n\nA hand slowly unclenches in terror and drops the mask. Fingers.\nScene 66: Close-up of Mrs. Jones, trembling with fear.\n\nScene 67: Close-up as possible of Mrs. Jones and Mike. He reaches for her necklace.\n\nScene 68: Mike's legs. Jimmy dives into them and throws him. He knocks Jimmy away and gets up.\n\nScene 69: Mike and Mrs. Jones struggle. Jimmy runs for help.\n\nCamera follows him as he runs out of yard.\n\nScenes 70 etc.: Add additional scenes to the chase, bringing in friends who haven't appeared yet. Introduce each with a good close-up. Cut in shots of the baby having a great time on the ride, and shots showing the chase after the carriage, coming toward the camera and passing it. If these scenes are numerous, break into them with a shot of Mike and Mrs. Jones fighting for the jewels.\n\nScene 71: From street intersection, shoot carriage and crowd chasing it toward the camera. (Say \"action\")\nScene 72: From the same spot, pan around to the left and show an auto coming on intersecting street from the West at a fast rate toward the camera.\n\nScene 73: Pan further to the left and show another auto coming at high speed from the South.\n\nScene 74: Pan further to the left and show another auto coming at high speed from the East.\n\nScene 75: Close up of a baby in a carriage having a good ride.\n\nScene 76: The baby carriage, with the crowd probably thirty feet behind it, bumps into the auto coming from the South just as that car stops. The cars from the West and East stop opposite each other, close together, with the carriage in between. The crowd follows and piles into the three-walled room made at the street intersection.\nFilm your pictures on standard size film. Show your club productions in a theatre or large auditorium. Repay your club expenses and secure projecting equipment without extra cost.\n\nThe INSTITUTE STANDARD Professional Motion Picture Camera costs less than a high-grade amateur camera. The pictures can be shown in any theatre or movie house.\n\nAll metal construction, gently finished, light-weight and portable. Complete with carrying case. Variety of models for every taste and purse.\n\nWrite for FREE CATALOG and full particulars showing journey lens mount attachment.\n\nNew York Institute of Photography\n14 West 3rd Street, New York City\n\nBASS has compiled, for free distribution to sportsmen, a very interesting catalog of Cinema Apparatus. Describes the Bell & Howell Filmo camera and accessories to gladden the eye.\nBass Camera Company IOC) N. Dear Bor.n Street - Chicago, A Finishing Laboratory. Fifteen years of highly specialized experience. Address Cine Department, 130 West 46th Street, New York City, Tel. Bryant 4981.\n\nAmateur and professional services. Expedition equipped. Standard size negatives developed. We make either standard size prints or reduced prints for use in 16 M.M. projectors. Also titles of all kinds.\n\nAll the tricks used in filmmaking are made available to you. Most feature movies you see at the best theatres are produced with Bell & Howell Cameras and equipment. This has been true for 20 years. Bell & Howell know best what you need to give your personal movies the qualities found in feature films. The accessories listed on this and opposite page have been used in filmmaking for decades.\nWith this wonderful new accessory, produce your own artistic character titles, animated cartoons, signatures, and dozens of other tricks of the professional camera man. Obtainable only from the Bell & Howell Company or Filmo dealers. Mail the coupon for complete information on those that interest you.\n\nCharacter Title Writer\nProduce your own handwritten titles or anyone else's in the very act of writing. Add a line or two at a time and stop the camera in between to achieve the true professional \"animated cartoon.\"\n\nFilm Storage\nThis Storage and Carrying Case is specially designed for preserving films. Strongly built and beautifully finished in black imitation leather. Furnished in three sizes: Size for eight 400-ft. reels (16 m/m in cans) - $15.00; Size for sixteen 400-ft. reels (16 m/m film in cans) - $17.50; Size for twenty-four 400-ft. reels (16 m/m film in cans) - $20.00.\n\n25mm Fl.8-Speed Lens, Taylor-Hobson Cooke. One of 12 to 14 special lenses for the Bell & Howell Filmo camera to achieve special effects or meet unusual conditions. Lenses range from the wide angle, exceptionally fast F1.8, to the long range 6' telephoto lens. (The Bell & Howell Iris Vignetter is also mentioned but its description is incomplete.)\nclose ups of action a mile away. Mark coppon for special lens circular. You've seen the movies at the theatre \"fade out\" in a gradually closing circle \u2014 or \"fade in,\" the circle gradually opening. That's the effect you get with this Iris Vig-netter. It fits over the camera lens in operation and is opened and closed with a handy control lever. An invaluable device if you want to avoid monotony in introducing or closing your scenes. Price, $15.00.\n\nThe Halldorson Cinema Arc Lamp\n\nThis lamp gives you the lighting necessary to take movies indoors. You will need it to take the interior scenes so desirable at this season\u2014and in producing your own Picture Plays. The Halldorson:\n\n1. Gives steady blue-white light of highest actinic value.\n7. Semi-automatic twin arc burns on 10 or 20 amperes, 110-volt. (Attach to ordinary light socket.)\n[Heat resisting, fire-glass spark shield absolutely prevents sparks from dropping on floors or rugs. 4. Simple to operate \u2013 requires no experience. 5. Remarkably compact \u2013 folds into beautiful leather-finished case, 5x11x14.3 inches in size. 5 The most practical portable arc available. Built for continuous service. Distributed by Bell & Howell exclusively. Price: $65.00 Bell & Howell 1828 Larchmont Avenue, New York, Hollywood, London Professional Movies Bell & Howell equipment and accessories [See back cover for description of Filmo Camera and Projector] \"Filmo Library\" Own your own library. The new \"Filmo Library,\" introduced last month, was so enthusiastically received that our West-coast laboratories worked night and day to fill orders. New capacity has been added \u2013 and results are going to make every film enthusiast's dream come true.]\npersonal movie fan howl with joy. Look over the new releases listed below\u2014 get your order in early if you want to beat the rush. The best entertainment in the world \u2014 right in your own parlor.\n\nThe only exclusively 16 m/m film production plan 1 in the world. The WM. Horstey Film Laboratories on Sunset Boulevard, California. Operating under Bell 6s Howell Contract. Your Own\u2014 At little more cost than raw film.\n\nJanuary and February Releases\nSTARS OF THE SCREEN SERIES- Continued\nS5 \u2014 Universal Studios and Stars No. 1 $6.50\nS6 \u2014 Universal Studios and Stars No. 2 $6.50\nS7\u2014 Warner Bros. Studios and Stars $6.50\nS8 \u2014 Fox Studios and Stars $6.50\n\nVAUDEVILLE SERIES- Continued\nThe children adore them\nV5 \u2014 Fisher's Animal Circus \u2014 a great, highly schooled animal show $7.00\nV6 \u2014 The Great Vulcano Act \u2014 World's greatest sensational surprise act.... $7.00\nV7: Cycling Girls - Vaudeville's foremost bicycle performers\nV8: Arabian Nights - Novelty Act\nV9: Barnold's Dogs - Greatest Standard Canine Act. Entire play enacted by Dogs and monkeys dressed like people\nV10: Carnalla Troupe - World's most marvelous feminine gymnasts\nV7: Belmont's Mannikins - Tiny Stars from Toyland\nV12: Pony Ice Ballet - World-famous acrobatic ice comedians with Rose and Honey, ice skate tricksters\nNatural History Series\nN1: California Alligator Farm - $6.50\nN2: Cawston Ostrich Farm - $6.50\nAdventure Series\nA1: Catching Big Fish in Pacific Waters - $6.50\nA2: Whaling in the South Pacific - $6.50\nBigger and Better Things Coming\nWatch for them!\n\nFor ease in \"finding\" long range shots,\nThe Bell & Howell Duplex Finder Unit\nInstallation is instantaneous. The\nflanged holder of the Duplex Finder\nslips between the finder flanges.\nThe regular Filmo finder tube holds firmly in place. This new attachment simplifies viewfinding with long range lenses, making it sure and fast. Find the wide-angle view in the regular finder, then shift your eye quickly to the Duplex and see the narrowed field as the lens sees it. Obtains those quick long shots you've been missing. Price: $4.50.\n\nThe Filmo Focusing Microscope\nThis new Bell & Howell unit provides exact focus for any of the twelve lenses which may be used in the Filmo Camera. It also serves as a lens test for accuracy. Operation is independent of the camera. Simply screw the camera lens into the microscope and focus the image on the ground glass in the adjustable eyepiece. Shows proper focus for sharp detail to every side and corner of the picture. Then replace the lens in the camera and \"shoot.\" For better results with all lenses, The Bell & Howell Combination.\nWith this combination rewinder and splicer, you can edit your films - cut out unwanted portions, insert sub-titles, and gain the continuity you want, making your movies more interesting on the screen. The splice made by this machine is absolutely transparent and velvet smooth - a perfect continuation of the film. The price of the Bell & Howell combination Rewinder and Splicer unit for 16mm film is $14.00.\n\nBell & Howell Co.\n1828 Larchmont Ave., Chicago, 111.\n\nPlease send complete information on Halldorson Lamp, Special Lenses, Dris Vignetter, p Character Title Writer, Rewinder and Splicer, Film Library, Film Storage Case, Duplex Finder Unit, Focusing Microscope. (Check items which interest you - see this and opposite page.)\nAmateur Movie Makers, 105 West 40th Street, New York City. For sale:\n\nMotion Picture Photography for the Amateur by Herbert C. McKay $2.50\nMotion Picture Photography by Carl L. Gregory $6.00\nMotion Picture Projection by T. O'Conor Shane $5.00\nScreen Acting by Inez and Helen Klumph $1.00\nPhotoplay Writing by William Lord Wright $3.00\nMotion Picture Directing by Peter Milne $3.00\n\nSend your order accompanied by the price of the books you desire.\n\nThe Cine Minature\nPublished six times a year for the improvement of cinematography among amateurs. Each issue is a complete book on its particular subject. 15c per copy \u2014 90c per year.\n\nLeonard Cordell\nPublisher\n1636 No. Washtenaw Ave., Chicago, IL.\nDealers: Hire us for our proposition.\n\nWanted: Men to Learn Motion Picture Operating. Earn $2,000 to $4,000. Quickly learned. Short hours. Big pay. Best equipped School in Michigan. Projectors for movie houses and road shows.\n\nClasses for Amateur Movies.\nMovie Operators School\n61 Sproat Street, Detroit, Mich.\n\n[Continued from page 35]\n\n[...]\n\nScene 77: Medium close-up of crowd with Jones reaching down for baby. They're totally exhausted. One man gets Jones, thinking Jones is a robber. Jones tries to explain.\n\nScene 78: Close-up. Jones picks up smiling baby. Gives thanks that it's all over. Looks and sees.\n\nScene 79: Jimmy running toward camera, all out of breath.\n\nScene 80: Close-up. Jimmy and Jones and baby. Jimmy telling terrible news. Jones says, \"My God!\" Fights off people who try to intervene.\nScene 81: Long shot. Jones places baby in carriage and starts pushing it on the run, crowd following in another chase.\n\nScene 82: Mike and Mrs. Jones fighting. She knocks him down.\n\nScene 83: Medium shot. Mike's scowling face. Have him move right into the camera, as close as your lens will permit.\n\nScene 84: Close up Mrs. Jones. Her face is dirty. Her hair is flying. She is terrified. Mike's hands come under the camera and clutch her throat.\n\nScene 85: Medium shot. Mike and Mrs. Jones. He has her by the throat.\n\nScene 86: Jones, pushing carriage on the run. Jimmy beside him. Crowd following. Running up street toward the camera which is moving. Shoot from the back of the auto moving ahead of them.\n\nScene 87: More fighting by Mike and Mrs. Jones.\n\nScene 88: Shoot from the street in front of Jones' home. Pick up Jones and crowd, follow them.\nScene 89: Medium shot. Mike and Mrs. Jones fighting. Crowd led by Jones in background.\n\nScene 90: Jones leaves carriage, jumps at Mike and knocks him out with one punch.\n\nScene 91: Close shot. As he falls, Jimmy drops on him. Sits on his chest.\n\nScene 92: Long shot. Crowd backs of Jones, who holds Mrs. Jones in his arms. They are standing near baby carriage.\n\nScene 93: Close up. Jones and Mrs. Jones. She takes off necklace and rings and hands them to him. He drops them in baby carriage. Holds up hand, swaps.\nYou can purchase or rent a movie outfit anytime. But you cannot produce motion pictures of certain events all the time. We specialize in the production of amateur and commercial movies on 16mm. and 35mm. film, indoors and outdoors, at night as well as in daytime. Titles made and splicing done at small cost. Contact Irving at 6816 or write to Zenith Cinema Service, Otto Hangartner, Manager, 5011 N. Sawyer Ave., Chicago, for sale\u2014 New Taylor, Hobson, Cooke lens f. 3.5, with Ooerz glass filter, for Filmo. L.T. Webster, 1203 Post Road, Scarsdale, N. Y. Send your films to us. Processing of motion picture film in all branches. Prompt personal service. Specializing in 16 mm. printing. Reduction of 16 mm. prints made from 35 mm. negatives.\nContact 16 mm prints made from 16 mm negatives. We can develop 16 mm takes into 16 mm negatives, enabling you to order as many positive prints as desired. Information furnished on request. Combined Film Laboratories, Inc. 430 Claremont Parkway Hew Thor City Tel. Bingham 2100 What do you want to know? We are amateur motion picture users ourselves and see things from your viewpoint. Permit us to help you acquire that perfect technique. Gillette Camera Stores, Inc. Park Avenue at 41st Street and 16 Maiden Lane Thirty-eight \"Never again.\" She holds up hand, same oath. Around entire cast holding up arms, \"Never again,\" shaking heads. Very solemn.\n\nScene 95: Close up, baby playing with jewels. If you can, get him to raise hand, \"Never again!\" THE END\n\nIn closing: This scenario is a suggestion. Use your own originality when you adapt it.\nShoot all scenes of the fight between Mike and Mrs. Jones at the same time. Make this rough and tumble. If you don't want a long story, shorten the chase. When we make this in Yonkers, we'll have three reflectors. These will be boards, about two feet by five, on which has been tacked white cloth. We shall stand these on end, supported from the back like an easel, to reflect light into faces when they are in shadows. The cutting of this picture will be most important. In that, you can express your own genius. Don't let the scenes run too short, yet cut at the right spot so they will match properly. If, after you have the picture cut, it somehow doesn't seem to tell the story, write more titles and cover bad action with snappy words. Make your actors act. It's better that they over-act than not act at all.\nAnd play it all in deadly seriousness. Here's hoping it's a good party.\n\nHe uses a light meter, although he feels he doesn't really need it. A telephotic lens has proved a valuable item of equipment. He has found the super speed camera especially satisfactory, although the double speed type has given good results. He warned against showing too much sky and has found that both front and rear views are valuable. In projecting the pictures, he recommended a type of projector which will allow stopping the film to make proper analysis and, then, for retracing or reversing the film so that the pupil can get an immediate re-impression.\n\nA symposium of golf movies, showing famous players one after the other, has also proved a whole golf education in one lesson. Writing of such an exhibition.\nMr. Lloyd's films, according to Jack Hoag in the Chicago Evening Post, \"After carefully watching the swing of these great golfers and having the pictures run backward and forward or stopped so that you could study each detail of stroke, these are the outstanding points of their play, as observed by the writer.\n\nFirst and most important was the absolutely still head until after the ball was hit. In most cases, the head was the last thing to come through, although they all faced the line of play at the finish of the stroke.\n\nThen there was a complete absence of sway, and the better the golfer, the less suggestion there was of any side motion at all. The drag back of the club-head, which the pictures showed, the writer is more inclined to view as a fad rather than as an essential part of a correct swing. Many of them...\"\nboys were advocates of a straight left leg to hit against, so that the body did not move forward as they hit the ball, and all of them kept the right leg straight on the back swing although the right knee was not locked in the joint.\n\nGolfing and cinematography have indeed been united, and the day appears to be here when a golf outfit is not considered complete without the amateur motion picture camera with its friendly, truthful recording eye.\n\nToday you may wish to photograph excitement on the rink. Tomorrow's tempting subject may be a quiet scene in the shade. Both are within the scope of the Graflex illustrated below. It can do just about everything that is photographically possible.\n\nShutter: The lens is the big, fast,/4.5 Kodak Anastigmat. Focus is sure; the reflecting mirror shows whether the image is sharp.\n\n2x3 inch Revolving Back.\nGraflex Series B is an ideal camera for the traveler. $85, complete with Kodak Anastigmat f/2.5 lens. Visit a dealer or write to Rochester. Graflex cameras are now made by The Folmer Graflex Corporation, Rochester, NY. For sale by Eastman Kodak Company dealers. Thirty-nine. The Automatic Pathex Camera, Motor-Driven Pathex Projector, and four magazines of Pathex film $11.50. Due to its remarkable simplicity and ease of operation, you can take better movies with a Pathex Camera \u2014 at lower cost. It is designed and built with all the skill, experience, and precision of the world's pioneers in motion pictures \u2014 Pathe. Pathex Automatic Camera is equipped with f/3.5 Anastigmat lens. It takes but 5 seconds to load the camera. Aim at the scene you want. Press the button. That's all. Your film is developed free in the Pathe Laboratories. Daylight loading magazines.\nPathex non-inflammable film only $1.75. Pathex Projector is as strong, simple, and certain in operation as the camera. It is driven by an electric motor and operates on ordinary house current. Pathex is sold at leading camera, music, sporting goods, radio and department stores. Write for booklets covering Pathex Cameras, Projectors, and catalog listing the film classics obtainable from the famous Pathex Library!\n\nPATHEX, inc.\n35 WEST 45TH STREET\nNew York, NY\n\nExposures\n(Continued from page 28)\n\nBright subjects are easily remembered. The other subjects, in which the amount of reflected light is cut down very considerably, require more judgment and practice in estimating into which class they fall.\n\nIn the standard class are: people in the open, landscapes with near but not close-up objects, racetrack scenes, scenes around docks, a light-colored background.\nBuildings and objects of similar nature, which do not cast heavy shadows, belong to the first class in which the light is reflected. The next class consists of street pictures where buildings significantly obstruct light or are dark in color, or close-up shots taken under standard lighting conditions or on the shady side of buildings but well illuminated by reflected light. These require the next larger stop or twice the standard light condition. Objects taken close-up should always receive twice the exposure given to the same subject at a greater distance under the same lighting condition. For subjects with dark backgrounds or shaded by light foliage or dark-colored buildings or where there is much shade, or street subjects where the shade prevails, or subjects all in shadow, belong to the subsequent classes.\nThe shade requires four times the exposure or two points more than the standard light condition. For close-ups, dark porches, scattering trees, or dense woods, eight times the exposure or three diaphragm markings larger than standard light conditions are required. In woods where trees are denser than scattered, in camp scenes with surrounding trees, or in street scenes with unusually tall buildings, 16 to 32 times the exposure of the standard conditions are required (four or five diaphragm markings larger than standard light conditions). Whenever the subject reflects less light than this last classification, even under most favorable conditions, some method of artificial lighting must be used to obtain satisfactory pictures.\nI feel that this may appear quite formidable and confusing to the average amateur on first reading, but on the other hand, a very little study will show that there are really only eight classifications of subjects to learn and the dozen intensities which can be easily memorized. Once memorized, and the standard condition fixed in mind, you need never worry about not having any exposure meter with you. The only mathematics required is multiplying or dividing by two as many times as indicated by the classification of the subjects and the factor indicated by the light strength.\n\nShould the taking speed of the motion camera be varied, the variation in the exposure setting is according to the ratio which the taking speed is to the normal taking speed.\n\nEXPOSURE TABLE FOR 16 MIN. CAMERAS WITH 180\u00b0 SHUTTER OPENING OR GREATER\nf32: White clouds in full sun; open sea or white surf in full sun. Use two to four filters and open diaphragm to f22 or f16.\n\nf22: Snow fields in high altitudes in full sun; snow-covered mountains; aeroplanes flying; glaciers in full sun. Use filter and open diaphragm in proportion to filter factor.\n\nf/6.3: Sandy sea shore; marine views; snow scenes in high altitudes with people or darker objects; yachting scenes; distant views.\n\nf1.1: Standard class as referred to in text. Street scenes in the open; landscapes; games; nearby views; all medium or light colored objects in the open; shore and water scenes which include bees, buildings or other large objects.\n\nf1.4: Close-ups in sunlight; subjects with dark backgrounds or shaded by light foliage; dark colored buildings; street subjects where light is cut off by buildings.\nf5.6 - Subjects in shade with predominance of shade; near subjects with dark backgrounds; any subject all in shade but illuminated by sky or reflection from white buildings. f4, f4.5 - Close-ups in shade or on north side of building; under porches; subjects among fairly open scattering trees. f2, f3.5 to f1.9 - In deep woods, camp scenes in woods, in shade in skyscraper streets or deep ravines or canyons.\n\nLIGHT FACTORS WHICH INCREASE THESE CLASSES:\nZERO FACTOR. Bright summer sun. NEXT LOWER MARKING. Faint or hazy sun. NEXT, Bright cloudy. NEXT, Dull cloudy. NEXT, very dull cloudy. For spring and summer time half way to NEXT and winter time all the way to next larger F marking.\n\nC. Lazell Northrop Press. NY.\n\nFor the Unusual in Home Movies:\n\nThe unusual in home movies is easily achieved with Cine-Kodak, Model A, and its ultra-fast f. 1.9.\nlens \u2014 one of the fastest lenses prac- \ntical for cinematography. \nFor the serious study of motion \nor for bizarre comedy, the slow- \nmotion attachment is on or off in \na jiffy. \nWild bird and animal life, sports \nof all kinds from the side-lines, and \ndistant objects are brought close \nup with the long focus y.4.5 lens, \nwhich is quickly and easily inter- \nCine-Kodak, \nSlow-Motion \u2014 Telephoto Effects \nInteriors Without Artificial Light \nExteriors on Dark, Dull Days \nchangeable with the f. 1.9. \nUnder adverse lighting condi- \ntions, they. 1.9 lens catches with \nclarity and sharpness the action that \ncannot be successfully obtained \nwith a slower lens. Interiors with- \nout artificial light, and exteriors on \ndull, cloudv days \u2014 even in the rain \n\u2014 are possible. \nUnusual home motion pictures, \nprofessional in quality. \nCine-Kodak A, \u2014 able, durable, \ndependable \u2014 truly a versatile \ncamera. \nPrices \nCine-Kodak Model A, .1.9 Lens (with tripod) $225\nInterchangeable Long-Focus,-4.5 Lens - - $45\nSlow Motion Attachment - $20\n\nTake perfect pictures on the first try with travel movies, as they cannot be retaken. The only personal movie camera with features used on professional cameras for clear, sharp pictures under all weather, light, and distance conditions is Filmo, illustrated below.\n\nWhy it pays to pay more for this camera:\n\nFirst, consider the lens in the camera you buy. It is of first importance in taking perfect pictures. Filmo is regularly equipped with a highest quality anastigmat, Taylor-Hobson Cooke, 25mm F 3.5 aperture lens. No lower-priced movie camera offers this level of quality.\nThe camera offers such a lens. You can use other lenses on Filmo as well \u2013 twelve of them \u2013 from the exceptionally fast F 1.8 to a 6-inch telephoto which captures close-ups of action at great distances. No other camera using 16 mm film has this feature.\n\nFilmo has the original special type of viewfinder used in taking professional movies. It is the spy-glass viewfinder, which excludes all light except from the object being photographed. It is speedy and accurate. What you see, you get.\n\nOnly in the Filmo design of camera can you get a special mechanism for taking slow motion pictures. An invaluable aid to golfers and others who have occasion to analyze motion.\n\nWith the Filmo fast lens and the adjustable, accurate speed control, you are sure to get clear pictures, even on dark, cloudy days. This factor alone may be worth more to you than the entire Filmo cost.\nWhen you are ready to make your own sub-titles, splice and edit films, produce \"fade-ins\" and \"fade-outs,\" create animated cartoons, and achieve other effects familiar to you on the theatre screen, remember that Bell & Howell is the only manufacturer of personal movie cameras providing complete equipment for producing these effects. For 20 years, Bell & Howell Company has made the professional cameras and equipment used almost exclusively by leading motion picture producers worldwide. This vast experience is now at your disposal, through Filmo Camera, Projector, and equipment. There is also the Fyemo Camera, using standard 35 mm film, for those who prefer it. Either Filmo or Ey&mo is a lifetime investment. Both have the same exclusive features. Don't let a slight additional first cost stand in the way of future years of use.\nName:\nAddress:\nCity:\n\nBell & Howell Co.\n1828 Larchmont Ave., Chicago, IL\n\nComplete information requested on Filmo equipment using 16mm film and on Eyemo equipment using standard 35mm film. Please include name of nearest dealer and check propriety square.\n\nAmateur\n\nMovies are:\nTHE BELL & HOWELL\nAutomatic\n\nDesigned as precisely as a fine, strong watch. Operates automatically (two speeds) by a self-regulating spring motor. Weighs only 5 lbs. Easier to use than a \"still\" camera. Loads and unloads in daylight. Each 100 ft. roll of film takes 4000 individual views. Has the fast and accurate spy-glass viewer.\nWith a high-quality imported Taylor-Hobson Cooke F3.5 lens, interchangeable with 12 other lenses for special purposes. No cranking, no tripod, no focusing for distance. Mail coupon for complete description.\n\nWhat You See, You Get. Your Own Movies.\n\nBell & Howell cameras and equipment are used almost exclusively, worldwide, in producing the feature motion pictures you see in best theatres everywhere. This has been true for 20 years.\n\nThis explains why you can expect professional results from the Bell & Howell Filmo equipment for the amateur. It represents the world's greatest and longest actual motion picture manufacturing experience. The name \"Bell & Howell\" is a byword in Hollywood, New York, and wherever professional movies are made.\n\nThe peculiar Filmo camera design comes from this long professional experience.\nWith Filmo experience, you can have the exclusive spy-glass viewfinder, interchangeable lenses, adjustable speed, optional slow motion picture mechanism, and the ease of operation that only Filmo has. Filmo equipment allows you to get every effect known to professional pictures, such as fade-ins and fade-outs, animated cartoons, close-ups of distant scenes, and more. Bell & Howell Company is the only manufacturer making complete equipment to achieve these effects. Now comes the \"Filmo Library\" which you can purchase outright and own at little more cost than raw film. The finest home entertainment for every occasion, produced exclusively for Bell & Howell in a mammoth plant in Hollywood. See our two-page ad in this issue for Filmo accessories. A leading dealer near you handles Bell & Howell Filmo equipment and Library. Mail the coupon for his name.\nThe finest 16mm film Projector made. Operates automatically, attached to any electric light socket. Runs backward, forward, or stops on a single picture. Shows movies from postcard size up to 7x9 ft. Every working part easy to get at. Easy to adjust and clean. \"Nine to one\" shuttle movement produces absolutely flickerless pictures. Clutch engages film mechanism while motor is running. On or off, forward or backward, by simple lever control. Mail coupon for complete description.\n\nBell & Howell Company\n1828 Larchmont Avenue, Chicago, 111.\nPlease send me your new book on taking personal movies \u2014 also further description and illustration of Filmo Camera.\nName:\nProjector\n\nSpecialties for the Amateur E:\n\nA Movie Travelogue of New York\nComplete in four reels, containing motion picture views all around New York, from the Battery to the Bronx, from Wall Street to the bright lights. A valuable and interesting addition to your movie library. Each 100 ft. long, on 16 mm. safety film. For Filmo or Kodascope projectors.\n$7.00 each reel. Four reels, complete set $27.50\n\nCinophot\nThe Ideal Exposure Meter for the Movie Camera\nPatented by Dr. Emil Mayer\nScientifically exact under all light conditions. Gives correct diaphragm settings for sun and twilight, outdoors, studio, natural or artificial light. Adjustable for individual vision. Always ready for use.\nThe Cinophot saves\nThe DREM: A compact, efficient enlarger for motion picture film such as Sept, Kinamo, Leica, and Ansco Memo Camera. Enlargements up to iy^x^/j or smaller. Reflecting mirrors in lamphouse permit using a 25 watt lamp, yielding sufficient illumination for very short exposure and satisfactory results. The focusing of the F. 5.6 lens is done by the quick-working focusing mount, and all movements and adjustments are simple. Price: $19.25 (includes lens, lamp, and connection cord).\n\nThe Fotolite: A valuable accessory for Cine Kodak or Filmo Cameras, for home portrait or indoor movies. Uses a 500 Watt Mazda lamp in a specially designed (patented) reflector. Single Fotolite Reflector, with folding stand and 10 ft. of cord, plug, and control.\nDouble Reflector as Edison base, each $3.25\nCase to hold above, outfit $7.00\nDe Luxe Combination Lock FILMO Case\nHolds Camera, telephoto lens, eyepiece and 2 rolls film. Has regular combination lock same as a safe. Combination can be changed to suit customer. Price $22.50. If you will return us your old Filmo case, regardless of model or condition, we will allow you $7.50 for it on price of De Luxe Case.\n\nThe Nu Tiran\nPanoram and Tilting Top\nFor use with Cine Kodaks and Filmo Cameras\nCan be locked at any angle\nQuick release on handle when necessary to shift position or to swing camera around quickly.\n\n110 West 32nd St. Opp. Gimbels\nEmotion Picture ^Department\nOne\nSEPT Cameras have been favorably known for years. Used by explorers, scientists, journalists, professionals, and amateurs.\n\nTake motion pictures, time exposures.\nWYKO Projector:\n\nWYKO offers 250 snapshots with one loading. Push a button \u2013 no winding, no double exposures. Uses 16.5 feet of standard width film, supplied by Eastman Kodak Company. Its small size (3\"x4\"x5\"), light weight (4 lbs.), make a tripod unnecessary.\n\nWrite for a free copy of our exposure tabulation.\n\nPrice\n\nWYKO Projector:\nFor still pictures, using standard width film. For home use, educators, lecturers, and industrial and commercial advertisers. Eliminates heavy, fragile, and expensive glass slides. Operates by hand or electric control. Uses United States Rubber Company's \"Royal\" portable cord for electrical connections. Enlargements can be made at trifling cost without alteration of machine.\n\nWyko Projector Corporation\nDealers Everywhere\n\nAmateur Movie Makers last month expressed the hope that each issue would be \"bigger and better.\" You will find this March issue bigger and better.\nWe feel that the improved format of Amateur Movie Makers is not only of greater quality, but also bigger in size. This new format conforms to accepted standards and allows us to provide additional editorial matter. You will appreciate the increase in articles compared to last month, the radical increase in illustrations, the introduction of artistic headings and borders, and the adoption of a rotogravure-effect section, which will make the publication more beautiful and varied.\n\nIn April, Amateur Movie Makers will take another important step towards excellence by adopting a policy of brilliantly colored covers.\n\nSpecial issues are in the works, dealing exhaustively with the most popular subjects among the nation's moving picture amateurs and lovers. The Travel Number of Amateur Movie Makers,\nIn preparation is the first issue, coming just as you plan your summer trips. From its travel articles and illustrations, find scores of fascinating suggestions for where to take your cin\u00e9 camera this summer. Special features include: \"The Movie Makers Paradise\" by Carveth Wells, world-famed explorer; \"The Heir of the Flathead\" by Harry E. Maule, of the Country Life Press; \"Reeling the Rockies\" by Walter D. Kerst; and \"A World Survey of Amateur Movie Making\" by J. A. Koerpel of the Agfa Raw Film Corporation. Helping the amateur in practical fields is another serious aim of Amateur Movie Makers. Forthcoming issues will carry valuable articles on amateur movies in: THE SCHOOL, by Herbert Walsh, secretary of the Committee on Visual Education in the New York Public Schools, and J. J. Zmrahl, District Superintendent.\nSchools, Chicago.\n\nThe Church, by Cecil Stokes, who developed a successful church film service in New England.\nCommerce, by Mich. E. Toepel, expert of the International Motor Company.\nThe Military Service, by Dr. Herman Goodman and Captain Louis Frohman.\nTheatres, by Eric T. Clark, Manager of the Eastman Theatre, Rochester, NY, and Edgar Bohlman, of the Laboratory Theatre, Brooklyn, NY.\nThe Home, by Dwight R. Furness, of the Board of Education of the Methodist Episcopal Church.\nAnd other articles will discuss the relation of amateur motion pictures to medicine and surgery, architecture, charitable fund raising, law and public safety, community advertising, and a score of other practical problems of our complex modern life.\n\nAmateur producing clubs which will soon be reviewed are: \"The Little Screen Players\" of Boston.\nAmateur Movie Makers will feature articles on \"The San Diego Amateur Moving Picture Club\" by Arthur F. Gaynes and \"The Purity Players\" by S. Winston Childs. The organization is planning a survey on how amateur motion pictures are used in the country's thousand or more little theaters. Discussion on technical problems will continue. In April, a photo-play review department will begin. Fiction is coming to Amateur Movie Makers. Our amateur scenarios will continue, but with this difference: we will first publish short stories for your enjoyment, and in the following issue, convert them into practical scenarios, both to give you working material and to show you how it can be done. After studying these examples, you will know how to turn your favorite stories into working scenarios for your amateur productions. All of these features will be included.\nThrough the Telephote 2\nOur Pen Wielders\nEditorials\nScreen Models for a Twentieth Century Lionardi, a photograph\nMovies and Art, Screened Models for Modern Masterpieces - Joseph Lee\nCreating a Film Library - W. Sterling Sutfin\nShadows as a Movie Motif - Paul Gulick\nA Held Up Hold Up, An Amateur Scenario - Helen Fisher Price\nHow the Roosevelt Films Were Saved - Frederick F. Watson\nThe Intellectual Film - as seen by Gilbert Seldes\n\n(Note: The text appears to be a table of contents from an old magazine, likely published by the Amateur Cinema League in March 1927. No significant cleaning was required as the text was already quite clean and readable.)\nIN DEFENCE OF PRODUCERS: Florence M. Cutter, Walter D. Kerst, Eugene W. Ragsdale, Raymond L. Ditmars, Dr. Kinerna\nMovie Makeup for Amateurs: Eugene William Ragsdale\nLiving Natural History: Raymond L. Ditmars\nThe Clinic Conducted by Dr. Kinerna\nThe Amateur Cinema Camera Man: Roy W. Winton\nCloseups\nProcessing: What It Is and How It Is Done: Dwight R. Fumess\nSwaps: Amateur Film Loan Exchange\nAMATEUR CINEMA LEAGUE, INC., DIRECTORS\nPioneer President: Hiram Percy Maxim\nEarle C. Anthony: President of the National Association of Broadcasters\nRoy D. Chapin: Chairman of the Board of Directors, Hudson Motor Company.\nTreasurer: A. A. Herbet\nManaging Director: W. E. Cotter\nC. R. Dooley: Manager of Personnel and Training, Standard Oil of N.J.\nRoy W. Winton: 40th Street, New York City\nLee F. Hanmer\nDirector of Recreation, Russell Sage Foundation, Floyd L. Vanderpoel, Scientist, Litchfield, Conn. Stephen F. Voorhees, Architect, New York City\n\nAmateur Movie Makers is published monthly in New York City by the Amateur Cinema League, Inc.\nSubscription Rate: $3.00 a year, postpaid (members), $2.00 a year, postpaid (non-members), 25c. single copies\nOn sale at newsstands and photographic dealers everywhere in the United States.\n\nCopyright, 1927, Amateur Cinema League, Inc. (Title registered at United States Patent Office)\nAdvertising rates on application. Forms close on 15th of preceding month.\n\nEditorial and Publication Office: 105 West 40th Street, New York City\n\nFor\nSAFE LIHT INDOOR MOVIES\nThe KIRBYLITE\nRevealing new and fascinating possibilities for your motion picture camera.\nYour living room becomes the studio in an instant by plugging the Kirbylite into any electric light receptacle. The scientific design of the lens and reflector, an exclusive Kirby-lite feature, makes possible the required high intensity of light. Remove the lens and you have a broad light more efficient than any other 500 watt light. Truly the most versatile light available.\n\nKIRBYLITE, as illustrated with a 500 watt Mazda bulb stand and 12 foot electric cord with plugs and switch. $42.75\n\nKIRBYLITE Special Tripod Available thru your dealer and at every Eastman Kodak Eastman Kodak Stores, Inc. 356 Madison Avenue New York\n\nWholesale Distributors Oti*<& Htl\n\nFlorence M. Cutter is inherently gifted to muzzle moving picture, or any other, platitudes. She is the sister of Hiram Percy Maxim, inventor of the Maxim.\nMrs. George Albert Cutter, in private life, is from Dedham, Massachusetts. Raymond L. Ditmars is a world-famous scientist who has created during the last ten years the most wonderful collection of moving pictures of every branch of animal life in existence. He is officially Curator of Mammals and Reptiles at the New York Zoological Park. Dwight R. Furness was on the staff of the United States Government School of Photography at Rochester during the war and is a student and technical investigator of photographic and cinematographic methods. He is now in charge of publicity for the Board of Education of the Methodist Episcopal Church, Chicago. Paul Gulick is an outstanding writer for professional motion pictures. He is intimately in touch with the new developments in the technique and artistry evolving in the commercial field.\nWalter D. Kerst, an amateur cinematographer from Jersey City, N.J., worked as a Director of Publicity for the Universal Pictures Corporation in New York City. Enthusiastic about amateur moving pictures, he has made significant strides in mastering its technique. He frequently contributes to current magazines and papers on cinematography.\n\nJoseph Lee, a philanthropist, author, and leader in national social work from Boston, is the president of the Playground and Recreation Association of America. Recognized as the father of the playground movement in America, he authored \"Constructive and Preventive Philanthropy\" and \"Play in Education,\" considered the finest books on the values of recreation.\n\nHelen F. Price, an author, scenario writer, and amateur cinema enthusiast from Johnstown, Pa., not only writes her scenarios but also.\nEugene Ragsdale directs and is cameraman for the Oranges Motion Picture Club, recently beginning production of photo-plays on a professional basis. He is one of the earliest amateur cinematographers in the field, and his experience in amateur production will be valuable to Amateur Movie Makers.\n\nW. Sterling Sutfin is Assistant Foreign Publicity Manager of the Remington Typewriter Company, NY, with an exhaustive technical background in amateur cinematography.\n\nFrederick F. Watson is a professional expert in motion picture developing and printing. He heads the Frederick F. Watson Film Laboratories, Inc., New York City.\n\nRoy W. Winton is Managing Director of the Amateur Cinema League.\n\nOur leaders will share their fascinating experiences and provide you with valuable insights.\n\nYou will share the experiences and insights of our leaders.\nReceive the expert help of these contributors and many others regularly by becoming a member of the Amateur Cinema League or by subscribing to Amateur Movie Makers.\n\nEditorials\n\nBuilders Wanted!\nThe foundation has been laid. Our League is the recognized voice of the amateur motion picture makers of America. This newest national recreation will be kept on an amateur basis. There will be no crowding out of those of us who look to cinematography for our relaxation and our pleasure by those who would prefer to put everything in life on a commercial basis. The preservation of the amateur point of view is assured since the Amateur Cinema League is a going concern.\n\nIf we are dilatory as a group, we shall declare a holiday for a season and sing praises over the foundation which we have created. If we are progressive.\nWe shall at once get to the real business of building an edifice on that foundation. The structure to be built is already outlined. There is an amateur film exchange, a scenario department, a service for local clubs, a photoplay department, and a fully equipped headquarters ready to give members an instant response to inquiries. If this edifice is to be built, money must be forthcoming. The Amateur Cinema League can get money only by an increase in its membership. Amateur Movie Makers is a clean magazine conducted according to a straightforward and open policy. It is not a commercial publication enterprise. It will make profits, but these profits must be used to increase the direct service of the magazine itself to the membership of the League. It must never be asked to yield a profit.\nWe need funds for the League's other services. Those of us at headquarters want to focus on service tasks. We require the support of our membership and those interested in amateur motion picture making, whether they are members or not. We cannot undertake planned things unless we are reasonably certain they will be carried out. We do not want to start anything we cannot finish. In simple terms, we need more members in the Amateur Cinema League, and we need them now during the charter membership period. Charter memberships can be secured at no extra cost before May 1. After May 1, they cannot be purchased at any price. The roll of pioneers in this new activity of personal motion picture making.\nThe movement which is destined to affect the course of human history so profoundly will be fully made up on the morning of the twelfth of May of this year. Many of you who read this intend to join this movement. You are waiting, with commendable caution, to see how it turns out, how long it will last, and how soon it will get into the hands of commercial interests and out of the hands of amateurs. You are protecting five dollars carefully. By that caution, you are tying the hands of your amateur organization. We are forced to mark time with many of our major projects. It is up to you to see that this movement turns out as you would like to have it turn out. It is in your hands to make it or to mar it.\n\nThe Amateur Cinema League pioneer charter members have started this worthy and valuable and serious endeavor.\nA viable association of ours. It is yours whether you come into its membership or not. You are getting the benefits of it. Let it serve you more fully. Balance your caution against our need. Have confidence that a board of governors, such as we have, will keep this organization an amateur enterprise no matter what may happen in the future. Come with us and let us all put something fine on top of our excellent foundation.\n\nAn amateur should not be measured by his millimeters. The question of standards is obsolete in this great new American occupation of personal movie making. Professional film is film used for professional purposes. Amateur film is film used for amateur purposes. Film widths are beside the point. Thirty-five millimeter film has been used by professionals and amateurs alike.\nAmateurs use various film sizes: 28mm, 16mm, and 9mm. They get good results with all sizes. Different widths are suitable for different purposes. The intelligent amateur and professional know this. They obtain good pictures when they use the appropriate film width for the specific purpose in mind.\n\nThese remarks also apply to reversed negatives and contact printing. Both have their place and produce excellent results when used with intelligent knowledge of their best applications.\n\nAnyone using a personal or home motion picture camera is using an instrument that is not quite as simple as a carpet sweeper and not quite as complex as a linotype. It requires operative intelligence. It is not an instrument for the moron.\nHand, it does not require years of training. Science and industry have made the motion picture camera available to a large number of personal users, but they have not produced a product that a six-year-old child can use with perfect results. Maybe they will later. What they have given us is an amazingly adequate and effective means of pleasure and satisfaction. We may be correspondingly grateful.\n\nThe editor of Amateur Movie Makers receives many discussions of the advantages of one width over another and of one printing process over another. Many trained professionals and well-informed amateurs have positive views based on experience, which may be narrow or broad depending on the individual case. Naturally enough, many of these discussions turn on some phase of movie making.\nunsatisfactory results that have been obtained be- \ncause people ask for help chiefly when they are not \ngetting first class pictures. Ninety-nine persons out \nof the hundred who have got good films with all \nthese methods are inclined to keep still and to be sat- \nisfied silently. We do not hear from them. But we \nknow they exist because we occasionally find some- \none who writes in to tell us about it. \nWe are getting confirmed in the opinion expressed \nin the first number of this magazine, which is that \ngood results in cinematography are dependent upon \nthe care and intelligence of the cinematographer. All \nthe equipments available will serve him if he gives \nthem careful usage. \nAmateurs are not classified in millimeters. \nFive \nQ \npj \nC \ng \nB \no \npej \nQJ \nw \no \nin \nX \nH \nM \nuj \nH \nH \nUJ \nE \nH \nX \nBj \nCD \no \nen \nc \nQ \nO \nw \nUJ \nw \nei \na \nU \nA MILLET FROM THE MOVIES \nThis scene from 'The Big Parade' might have served as a model for the painter of the Gleaners.\n\nMovies and Art\nScreened Models for Modern Masterpieces\n\nAmateur movie making is America's newest recreation and is making rapid strides towards becoming one of the greatest leisure time activities of the nation. Amateur Movie Makers felt it would be particularly appropriate to bring to its readers the men and women who are now enjoying this recreation and which will soon bring happiness to millions, a message from the man who is the unquestioned leader in every phase of the whole national recreation movement. The man is Joseph Lee, famous philanthropist of Boston.\n\nMore than any one other man's, the vision and philosophy of Mr. Lee have molded the present intelligent development of this movement.\nAppreciation of our nation for the vital necessity in every life of play, recreation, leisure time activity, call it what you will. It is largely due to Mr. Lee and to the great national organization of which he is president, the Playground and Recreation Association of America, that today our country realizes recreation is as necessary to our lives as work has always been recognized. In other words, Mr. Lee and the forces he drew about him a quarter of a century ago saw that the United States in its industrial obsession was rushing to a mechanistic annihilation. Largely through their efforts, this national menace has been averted. America, while progressing industrially more rapidly than before, has learned to take time to live humanly. We call this humanizing activity recreation.\n\nTo amateur movie makers, it means long hours of filming and editing.\nHappiness comes from outdoors and indoors, recording beauty, humor, pathos, triviality or history, through the magic of the moving picture camera. To others, recreation may mean motoring, golf, following the hounds, music, painting, drama, social service, any one of the thousand things which are different from the daily tasks required by necessity. And the amateur movie maker, with his camera's eye, can and does share all these with their enthusiasts. He has the additional power of preserving all their joys and his own for the years to come.\n\nWhen we asked Mr. Lee what appealed to him most in amateur movie making as a recreation, it is delightful to note that he immediately applied its possibilities to one of his own hobbies \u2014 art. Although his chosen life job has been, against countless odds, to help other people successfully, he found in amateur filmmaking a creative outlet for his artistic side.\nThe man, born to a leading Boston family, wealthy and cultured, has never forgotten how to play. He has dedicated his entire life and most of his fortune to the cause of recreation. In his hours of relaxation, he finds personal happiness in the study of abstract beauty. Through his leadership, millions of American children know the joy of playgrounds and swimming pools, and millions of adults enjoy tennis courts, bathing beaches, municipal golf links, art museums, community orchestras, and the thousand other expressions of the seven recreation hungers which he helped the nation make articulate. Yet this man, who has made life happier and richer for countless fellow citizens, turns from this gigantic task to refresh himself at the altar of art, and finds, as he says below, \"the human figure.\"\nI have never done any amateur movie work, but have been advised to do so by a very competent artist who is interested in my own struggles to represent action with a pencil. Personally, I think that the human figure, especially in motion, is the most interesting object in the world, though it is not much appreciated by our modern artists, except the Spaniards. But for a long time, photography was rather a hindrance than a help in the study of this subject. The very fact that it showed what the eye itself could see made it less appealing to artists seeking to capture the essence and emotion of movement. However, in catching a little of this beauty on paper or on canvas, the motion picture may have a big part. Though not yet an amateur cinematographer, in the light of the inspiration expressed in his article, it is clear that it cannot be long until he is one of us.\nThe movie provides a more authentic visual experience than attempts to reproduce motion through still images. The human figure in the film appears almost as the eye sees it, allowing many people to develop a true artistic appreciation for it and become interested in its reproduction. What they will learn to create from it will not be a copy of a single photograph, but rather the blended effect of multiple images, which is the desired outcome. It is not even a copy of the film's presentation that we seek. Most people are familiar with Rodin's famous walking figure, but as Rodin himself has stated, its position is:\n\nTHIS SCENE OF ELEANOR BOARDMAN\nMIGHT WELL SERVE A GAINSBOROUGH OR A ROMNEY\n\nWhat one sees is not a single picture but many blended together, and it is this effect that we wish to reproduce.\nOne which no human being ever took. The two legs are in the position in which we see them, but they never take these positions at the same time, although we think they do. The artist must still act on what he sees, not on what science tells him are the facts. And above all, he must act on what he feels, how it feels to walk and skate and dance and push a gondola, even more than on what he learns from watching someone else. But the movie will give us the data for expressing what we feel as the single photograph could never do.\n\nOf course, there are many other advantages in taking moving pictures, but this one seems to me of especial value.\n\nGeorge Bellows would not have needed a model for a war lithograph if he had this \"shot\" of Jack Gilbert in \"The Big Parade.\"\n\nEight - A Film Library\nBy W. Sterling Sutfin.\nIt is only a matter of time before film libraries become a part of every modern home. The proper place to keep your films is in book-shelves, together with your books. The standard tin humidor cans are not particularly attractive, but it is a simple matter to make them so by applying a coat or two of one of the new quick-drying lacquers to the covers of the cans, using any color you care to select. The film cans may then be labeled (as books are labeled), in any original decorative manner you choose. If you want to go to the trouble, an index of scenes pasted on the inside of each cover will often be a convenience in locating some particular \"shot.\" The film cans, if stood on end in the book-shelves, have a tendency to roll out. This is easily remedied by affixing a cleat or two to the shelf. Let your friends browse through your film collection.\nLabel your film cans and let them choose the titles they want to see from your library. Do not show too many films. Although people are willing to sit through several hours of pictures at a theatre, the home atmosphere is quite different, and films lasting more than half an hour are likely to become boring to at least a few members of your audience.\n\nWhen showing a film for the first time to those who appear in it, run it off at least twice or even three times. If your guests are not as enthusiastic as you think they should be, particularly men, do not confuse their apparent lack of enthusiasm with lack of interest. Most of us have a feeling that it is not quite proper to let others observe our \"Narcissus complex\" at work!\n\nThe importance of storing films properly.\nStore films in humidor cans to prevent emulsion from drying out. Film manufacturers warn against this, but users of motion picture apparatus often ignore these warnings. After developing films and running them off to satisfaction, but before splicing into 400 foot rolls, place them in a cake-box or tightly covered metal container. Include several sheets of moistened blotting paper or a sponge in the bottom, ensuring no water touches the film. An unused cigar humidor is also suitable for film storage until ready to splice. Drying films out makes splicing more difficult, as the emulsion becomes hard to scrape without damaging the film stock. When ordering titles, write them one day and set aside before reading.\nYou will find that some scenes have gained \"sparkle\" while others, which looked good when you wrote them, are woefully dull. It is absurd to spend hours studying scenes before photographing them and then spend only five minutes writing a set of titles. To avoid useless confusion when editing and assembling films, it is a good plan to splice together the set of scenes you want to follow for each sub-title. Then splice on the sub-title. Make little rolls of these strips and slip a rubber band around them. When you assemble the film as a whole, you will find it a simple matter to splice these little rolls into their proper places, and nine times out of ten you will find ways to improve the continuity at the last minute.\n\nThe use of a combination splicer and rewind is a real help and saves fully 50 percent of your time in editing.\nIf you don't use a rewind, it's convenient to use any thick book, such as a city telephone directory, and hold the loose ends of the film between the pages for splicing.\n\nRegarding assembling films, you will find that you have two classes of audiences: those who appear in the pictures and don't care whether the photography is good or bad; those who don't appear, don't know the people appearing, and merely want to see an interesting and well-photographed film.\n\nCut your films ruthlessly. Do not include in a film you want to show as an example of amateur cinematography any scenes that are not up to your own high standard of excellence. Keep a supplementary reel of these scenes, which, though interesting to you and those appearing, would not interest an \"outside\" person. Any scene worth including should be of a high standard.\nKeep taking photographs, even if the results aren't suitable. Do not destroy these scenes, it can be embarrassing. Keep them all in supplementary reels to show to interested parties. At the beginning and end of a reel, splice on about three feet of light-struck film to avoid the irritating glare from transparent film. Place rubber bands around your film reels before putting them in humidor cans to prevent the films from unrolling and becoming frayed and broken. Use a small piece of adhesive tape to secure the film end, but a rubber band is better. By following these systematic methods, your film library will soon become compact and well-ordered.\nAnd in its own way more interesting and valuable than your library of printed volumes.\n\nNine suggestions in \"The Cat and the Canary\": Shadows as a Mom Motif.\n\nShadows as a Dramatic Motif in \"The Cat and the Canary\"\n\nTime was when American directors, cameramen, and even unimaginative producers made a fetish of camera angles. The cameramen of eight or ten years ago virtually camera-angled this interesting \"modern\" discovery of European moving picture technicians to death. Now it comes back on us as a new dramatic motif, and the foreign cameraman, the foreign director, are receiving credit in American public prints not only out of all proportion to its importance but to the detriment of the pioneers who actually started this cycle in the United States.\n\nThey say it takes seven years for a fashion in clothes to repeat itself. It may be the same in moving pictures. Possibly we are facing a repeat.\nAmong the directors who have introduced camera angles in moving pictures, Paul Leni is one of the most promising. The success of \"The Cat and the Canary,\" which he has recently finished at Universal City, is crucial for Carl Laemmle. This producer, known for his intuition, has a strong faith in hunches, one of which is Paul Leni. However, none of Leni's past performances guarantee his success as a moving picture director. In Berlin, he was renowned more for his impressionistic painting than for any other achievement. Artists who have been most successful in painting or other fields are generally not the same ones who excel in moving pictures.\nWriters or theatrical producers, have been indifferent successes when they lend their names to moving picture productions. The fact was that they had centered their attention so much on the art nearest their hearts that it lacked the fluidity and adaptability required by moving picture technique. But this did not deter Mr. Laemmle. Paul Leni had other abilities which qualified him just as well as his knowledge of composition and color for the task of directing. In addition to that, Leni had embraced heart and soul the American viewpoint, a thing which so few Europeans were willing or able to do. Leni, for instance, demanded as his first production a typically American piece. He got it. He wanted to direct it in a typically American manner rather than with European technique. This also met with hearty acquiescence on the part of Mr. Laemmle.\nMr. Laemmle was given an American assistant in Robert F. Hill, with whom he could consult, and between them, they evolved a mystery picture that gives every promise of outrivaling its stage prototype. I was in California while this picture was being made, and I took a very keen interest in observing Mr. Leni's methods. I was amazed to find that he had introduced an entirely new motif into pictures\u2014shadows. How many times have you seen a camel caravan throwing grotesque and lengthening shadows on the desert sands, or a figure casting a doomful shadow ahead of it, as in \"The Phantom of the Opera\"? These are effective bits in every well-directed picture. But Leni is directing an entire picture in shadows. It has taken a little longer, but its results are amazing.\nOfficials at Universal City have crowded the little projection room where the \"rushes\" are looked at every morning to marvel at the shadow development of \"The Cat and the Canary.\" One might add another dramatic motif to the play. It is true that it is responsible for some of the shadows. This second motif is Gothic. I was amazed to find that every article of furniture, every lamp, bracket, curtain gable, and architectural feature of \"The Cat and the Canary\" sets was built with a very distinctly Gothic design, which lends a strangely sinister atmosphere to the backgrounds. The effect of a simple chair-back, for instance, thrown against one of Leni's expressive wall spaces, is vibrant with mystery and when combined with pantomimic acting of the kind that Leni is requiring of his cast, it becomes intensely expressive of mystery.\n\nAt the very first,\nLeni and Hill noticed that attempting to carry the dramatic action in this dual way, through the actual figures and the shadows of those figures, was resulting in imperfect lighting of the faces. Right away, the technicians got busy, and a little well was dug in every set at a place where it would be hidden from the camera, but of sufficient proximity to the players, so that flood lights could be thrown on the faces of the characters. The shadow from this auxiliary light being thrown directly up towards the ceiling is never recorded on the backgrounds. It took a week to experiment with this kind of thing, but when it was in working order, the executives noticed a new strength in facial pantomime without any resulting interference with the grotesque shadows which are part and parcel of \"The Cat and the Canary.\"\nAn example of this type of lighting and the Gothic motif can be seen in the accompanying illustration. It shows Martha Mattox carrying a lamp, walking down a long Gothic hallway pierced by numerous Gothic arched windows. Notice, if you please, that Leni has placed his lights in such a way as to throw a dark shadow of Miss Mattox ahead of her. The effective scheme wouldn't work in this event and so a little arc lamp was utilized to light up her face. It works perfectly for this purpose, without dimming the effect of the shadow. Another of Mr. Leni's ideas is graphically exhibited in this picture. Notice the candelabra with several burning candles in the immediate foreground. Leni has made use of striking objects of art, furniture, and even individuals in this manner.\nA portion of the object appears in the foreground as if the camera had been set in the middle of the room and the scene had been shot without removing an apparent obstacle to its clear view of the scene. This effectively carried out the idea that the camera is actually in the scene itself and is silently observing the drama unfolding before the eyes of the 'spectator.\n\nIn pictures made in Europe, Leni's remarkable facility for creating impressionist sets had stamped him as a genius of this school. There is absolutely nothing of this type about \"The Cat and the Canary.\" Every effect which might have been achieved by grotesque sets, by extreme disproportion of objects, and by novelty of camera angles, has been distinctly eschewed. Instead, effects of this nature have been created by imaginative methods.\n\nTake, for instance, still Number 2. By\nA shadow thrown on an irregular surface distorts the figure, creating a dramatic and impressionistic effect. Leni frequently utilizes the angle of the floor and wall to execute this jointed shadow concept, replacing European set building techniques. Furniture is sometimes inserted into this angle to add double or triple bends to the shadows. Notice the presence of the Gothic doorway in this still. It appears in every scene and set.\n\nSeveral foreign directors have failed in America, and their failure is largely attributed to the lack of mechanical organization, particularly the cameramen they use. It's worth noting that Leni, despite being a foreign director, has succeeded in America. (Continued on Page 38)\nHere's one for snowy weather, or Bimini Beach, for that matter. It is one ideal answer to the question \"what shall I do with my amateur movie camera in winter?\" This short and snappy scenario should also recommend itself to amateurs, as it can all be shot outdoors and on one roll of film. It has been done by a group of amateur movie fun lovers in Johnstown, Pennsylvania. Besides all the fun they had, when shown at the Johnstown Library hall, it raised a substantial sum for a local charity. If your camera has been lying idle, awaiting the call of Spring, get it out and call your friends together for a \"production party.\" If there's snow to work in, so much the better. Note the contrast which the white background gives to the accompanying illustrations.\nCast of Characters: Dorothy Atwood, Tom Worth, Mrs. Atwood, Betty Atwood, Mrs. Stuyvesant, William Stuyvesant, Jim Roland, Three Fisted Mike, Dicky the Dip, Mrs. MacDonald, Robert Livingston, The Constable, The Chauffeur, The Horse.\n\nTime \u2014 The Present. Place \u2014 Any town.\n\nPart 1 \u2014 As it was planned.\nPart 2 \u2014 As it happened.\n\n1 \u2014 Street scene. Atwood home on one side.\n2-4-6 \u2014 Steps of Atwood home.\n3 \u2014 Street scene. Similar to 1 but taken looking in another direction.\n5 \u2014 Across the street from the Atwood home.\n7 \u2014 A stretch of country road.\n8-10-15-18 \u2014 In front of the Atwood house.\n9-15 \u2014 Another stretch of country road.\n11-13 \u2014 In the woods.\nScenes 1-18:\n\nScene 1, 2, 4: School books, preferably one lot done up in strap.\nScene 4: Lorgnettes.\nScene 6: Large bandanna handkerchief, revolver, cap, gun, and horse with saddle.\nScenes 7, 8: Two automobiles, two revolvers, and other bandit's equipment.\nScene 9: Horse and saddle, watch, large handkerchief.\nScene 10: Same as 7 and 8. Also jewelry, hand bags, etc.\nScenes 11, 13: Field glasses, note book.\nScene 14: Two revolvers.\nScene 15: Same as 9. Also revolver, handcuffs, and star for constable.\nScene 16: Two automobiles.\nScene 17: Three revolvers, handcuffs, and constable's star.\nScene 18: Two automobiles, handcuffs.\n\nTitle: Part I. As It Was Planned\nScene 1: Street scene in front of Atwood residence.\nTom and Dorothy walk down the street, school books in hand. They turn in at the Atwood residence and pause to talk when they reach the steps.\n\nScene 2. At the steps of the Atwood residence.\nClose-up of Tom and Dorothy.\n\nScene 3. Another street scene in front of the Atwood residence.\nView looking in a different direction than in scene 1.\n\nMrs. Atwood and Mrs. Stuyvesant are seen walking together. They stop at the entrance to the Atwood home.\n\nTitle. An invitation for an afternoon drive.\n\nCUT-IN. Insert close-up of Mrs. Atwood giving invitation.\n\nBack to scene.\n\nMrs. Atwood says \"good-bye\" and starts up the path to the house.\n\nScene 4. At the steps of the Atwood residence.\nTom and Dorothy are still talking. They look up as Mrs. Atwood approaches and Tom speaks to her. Mrs. A., without replying, lifts her lorgnettes to her eyes.\nTom looks at him disapprovingly and enters the house. Both T. and D. look downcast, and Tom says dejectedly: \"I wish I could make your mother like me.\"\n\nTom and Dorothy look up and across the street. They see Jim Roland and wave to him to come over.\n\nScene 5. Across the street from the Atwood home.\n\nJim waves in reply, says goodbye to a man he is walking with, and starts across the street.\n\nScene 6. At the steps of the Atwood residence.\n\nJim enters and is greeted warmly by his friends. They hardly had a chance to start talking when Dorothy, suddenly becoming much excited, grabs Tom by the sleeve and says: \"I know how we can win mother over \u2013 remember she invited Mrs. Stuyvesant to go for a drive. We'll plan a fake hold-up, and Tom can come to the rescue.\"\nAll become excited and Tom says, \"The idea is a fine one.\" He shouts, \"Title. Jim can be the hold-up man.\"\nCUT-IN. Insert picture of Jim disguised as a hold-up man.\nBack to Scene.\nAnd adds Dorothy, \"Title. Tom can come to the rescue on my horse.\"\nCUT-IN. Insert picture of Tom riding down the road on horseback with a gun across the saddle.\nBack to Scene.\nThe plan is agreed upon. They shake hands and part.\nEnd of Part I.\n\nTitle. Part II. As It Happened.\nScene 7. A stretch of country road.\nIn the distance, the Atwood car can be seen approaching slowly. A second car appears in the rear, passes it and then turns across the road and stops in such a position as to block it. Mike and Dicky jump out, Mike remarking as they do, \"Title. We'll take their jewels and hold the girl for ransom.\"\nBack to Scene.\n\nThe Atwood car drives up.\nScene: Mike stops the Atwood car. He waves his revolver and shouts, \"Hand over your jewels.\" The occupants get out: Dorothy, Mrs. Stuyvesant, her little boy, Mrs. MacDonald, Mrs. Atwood, her granddaughter, and the chauffeur. Mike collects their valuables while Dicky covers them.\n\nScene 8: In front of the Atwood car.\n\nScene 9: Another stretch of road. Jim, disguised as a hold-up man, waits anxiously. He looks for the Atwood car, checks his watch, and seems restless. In the distance, Tom is seen. Jim signals to him that nothing is in sight.\n\nScene 10: In front of the Atwood car.\n\nAfter Mike collects the valuables, he drags Dorothy off to the side of the road while Dicky remains behind.\nScene 11. In the woods. Robert Livingston, a naturalist, walks slowly and takes observations with his field glasses. He stops suddenly as he hears screams in the distance. He raises his glasses, looks, and sees: Scene 12. Mike dragging Dorothy down the side road. Scene 13. Same as Scene 11. Livingston exits running. The Rescue Thirteen How The Roosevelt Films Were Saved By Frederick F. Watson\n\nTheodore Roosevelt was one of the first great men recorded thirty years ago by that new invention, the motion picture. From that first rather crude film, taken when he was Assistant Secretary of the Navy, until his death, his brilliant career was faithfully recorded on the gradually perfected cellulose film, now a common part of our daily lives.\nThe existence of Roosevelt's public life closely paralleled the development of moving pictures, making his films a cross-section of motion picture history. From this collection, a history of motion pictures could be written. Everyone has become so accustomed to the impression that great men and women filmed by motion pictures have been immortalized in cellulose for all time, that when the Roosevelt Memorial Association began several years ago to assemble all existing Roosevelt films, it was initially believed to be a simple collection task. However, it was soon discovered that this was far from the truth, and the very films that had once entertained amateur movie makers in America contained valuable historical footage.\nAmateur Movie Makers will cooperate with the Roosevelt Memorial Association to promote the use of films in their own homes with projectors. The films are already in 35 mm. film and are distributed for the Memorial Association by the T.M.C. A. Motion Picture Bureau at 120 West 41st Street, New York City, and 1111 Center Street, Chicago, Illinois. For distribution details, contact George Zehrung, director, at either address. If users of narrower width films express a sufficient interest, the Association is prepared to have these films reproduced for them.\nRoosevelt into your own home, for yourself and your children, through the magic of the \nmoving picture, write to the Editor, Amateur Movie Makers. If response to this oppor- \ntunity then warrants, the Roosevelt Memorial Association will ta\\e steps to meet it. \nAnd note which reel, or reels, would be most interesting. The titles of the ten \nnow ready are: Ho. 1, \"T. R. \u2014 Himself\", Ho. 2, \"Roosevelt, Friend of the Birds\", \nHo. 3. \"Roosevelt, the Great Scout\"; Ho. 4, \"The Roosevelt Dam\"; Ho. 5, \"The \nPanama Canal\"; Ho. 6, \"Roosevelt at Home\"; Ho. 1 , \"Roosevelt, Big Game Hunter\". \nHo. 8, \"Roosevelt's Return Through Europe\"; Ho. 9, \"T. R. Comes Back\"; Ho. 10. \n\"The River of Doubt, Roosevelt, Scientist and Explorer.\" \nThe \nONE OF THE OLDEST FILMS IN EXISTENCE \nFirst Moving Picture of Theodore Roosevelt, Then Assistant Secretary of the \nIn the early days of moving pictures, disorganization had been so great that films made during this period were of a multitude of kinds, sizes, designs, and manufacture. The invaluable collection which Miss Caroline Gentry had made for the Roosevelt Memorial Association included films \"shot\" in many places all over the globe and in perhaps ten or twelve different makes of cameras. The apertures, or individual pictures, were far from the sizes we use today. Some were comparatively small; some so small as to present seemingly insurmountable difficulties for reproduction on modern film stock to save them from being lost through natural disintegration. As for using or showing them, especially the early films, that was hopeless.\nThey ran into the perforations; others were so high they overlapped each other at the frame line. The position of the frame lines varied in a similar manner. Some were placed on the sprocket hole.\n\nNavy\n\nTHE INTELLECTUAL AND THE MOVIE\nAs Seen By Gilbert Seldes\n(Reprinted in part by special permission from the Saturday Evening Post, copyright, 1927, by the Curtis Publishing Company.)\n\nAnother popular form of entertainment has lived and grown to greatness in complete ignorance of the highbrows\u2014the moving picture. The enormous financial investment, the $500,000 annually paid down for seats in America, has made the movie what it is today. The only critics who have counted at all are the ones in the daily papers, and their criticism began too late and is often far from intellectual. The intellectual had to attack the moving picture in another way.\nHe has consistently belittled super-spectacle films, such as The Ten Commandments, and praised the simplicity of old-time Westerns, serials, and other thrillers. In 1920, a German film called The Cabinet of Caligari was shown at the Capitol Theater in New York for a week, and intellectual interest in films really began. It was an extraordinary film then, and still is; it is the only film I have ever heard hissed. It was the first attempt at a purely artistic film and happened to deal with the hallucinations of a maniac, giving free play to a wild and fantastic story in an unreal and highly imaginative setting. Its failure was total; not until six years had passed, in 1926, did it find success.\nIn the meantime, another German film - \"The Cabinet of Dr. Caligari\" - was seriously revived to exceptional success in a small theater. The film \"The Last Laugh\" had made an unusual impression and a reasonable financial success in New York, but failed abysally elsewhere. The typical report came from a city in Kansas where the movie critic of one of the papers advised only the half-wits to stay away from the theater, and the theater was completely empty on the second day of the showing. Although the original picture was told without captions, they were inserted for road exhibitions but failed to help \"The Last Laugh\" at all. With these two pictures and three or four experimental films made in Paris, and with the prospect of artistic, intellectual, or censored content.\nFilms from Russia, France, and Germany revealed a nucleus for a film repertory. A small theater was secured by the Film Guild, which interspersed some of these unpopular films with revivals of certain great successes, such as Griffith pictures, old Chaplins, Jannings and Pola Negri films from abroad. It has been operational for about a year with notable success. A monthly magazine dedicated to the art of films \u2013 not a movie magazine, this time \u2013 is promised by the directors. Another group \u2013 Film Associates \u2013 held some showings of odd and unusual films last year and proposes to produce and show such films. A second small theater for superior films is in operation on lower Fifth Avenue, in New York. Everyone involved understands that the key to making these small movie houses effective is to:\nTie them up with groups in other cities. The Little Theaters have already provided the houses; all you need to do now is send out the films. This will mean something entirely new in the film industry\u2014films made for a comparatively small number of spectators\u2014and just as the Little Theater movement had an effect on the commercial theater, the little movie houses may have an effect on the movie industry. According to the trade journals, some directors have been impressed by the technique of The Last Laugh. How much more would they be impressed if a movie made for a small audience, with no highly advertised stars and a minimum of expense, should turn out to be a bit\u2014as has happened frequently with plays? In Paris, there is at present one house devoted to unpopular films; in Germany, films for special audiences are not uncommon; London has a similar setup.\nFifteen: In Defence of PRODUCERS: A Discussion of the Possibility that the Eggs Preceded the Hens by Florence M. Cutter\n\nGive attention to one who comes to the defense of the movie producer. Poor, prosperous, and maligned movie producer! It has become good form to name him as the answer to the eternal question \"What's wrong with the movies?\" Yet, he is not the culprit but merely the goat.\n\nIf you or I were out to get our bread, butter, and jam in his job, we would do exactly as he is doing. In order to get back his enormous outlay in the manufacture of his pictures and in addition, to eke out the bare upkeep of his palaces and yachts, he has to attract millions of twenty-five cent pieces. This is done more easily by giving the folks what they want.\nThey want more than they are old enough to enjoy by offering them. I am not a movie fan. I am one of that army who go to the movies a second time too soon after having gone a first. Such carelessness usually brings on a resolution never to go again, which holds, until one has a guest in the house whom one would entertain without vulgar temptation!\n\nThere is a well-known neurologist who has recently strung together his memoranda and published the whole under the title \"The Doctor Looks on Love and Life.\" The most illuminating chapter of the book he has labeled \"Adult Infantilism\" \u2013 illuminating, because, though the author does not touch on the theatres or movies, the reader nevertheless has it flashed to him that here at last is the answer to the question of what's wrong with the movies. What is an adult infant?\nAn adult infant is not a moron. The moron is one whose mental development has been arrested. The adult infant, on the contrary, stopped growing emotionally around the age of thirteen, fourteen, or fifteen. It must be emphasized that the adult infant is no sort of moron. The breeds are utterly different. The adult infant may possess, and often does possess, a superior mental equipment. New Year's Eve is the holy festival of the adult infants. The big banker who can get enjoyment out of standing on a cluttered table, tooting a horn, while throwing about bright bits of colored paper, is an adult infant, even though his big business is due to his brains of similar dimensions. I am inclined to believe that the moving spirit (usually feminine) behind many a showy social function, though proving herself to be an able organizer, is an adult infant.\nAn executive is an adult infant. Epithets and brickbats will be my portion for having put this in print, but since I have already incurred that risk, I will run the whole gamut by adding that I am also inclined to believe that the college alumnus who gets hoarse at football games, is \u2013 well, he acts like one, anyway! In a pinch, you see, my courage oozes away.\n\nThe neurologist-author goes on to say that the number of adult infants in the United States is appalling. He even goes so far as to state that they make up a far larger proportion of the population than exists in any European country. I do not agree with the doctor on this point; I believe the French have far more adult infantilism than we have. But I do agree with him that the malady is growing. To convince myself of this, I have but to consider the titters. When I was a young girl\nIn the Gay Nineties, tit-terers came out in noticeable force only at second-rate theatres. Even at such houses in those days, there were not many of them in the whole audience. Not but that a very few of the breed could put an utter blight on any situation involving pathos.\n\nTitterers are unable to distinguish between comedy and essential pathos. I couldn't myself when I was thirteen, fourteen, or fifteen. I well remember standing by and watching a man who had become unstrung by grief, and appreciating the funny faces he was making!\n\nTitterers have increased so in numbers since that day that they now make up a large proportion of the audiences in high-priced metropolitan theatres. I have been told that they utterly spoiled the big moment in \"Young Woodley,\" that tender exposition of adolescent emotion which was an outstanding success.\nThe last theatrical season's plot revolves around a young soul encountering an unexpected sex revelation. The titters found it salacious. Separating titterers from those with moisture in the eye and a lump in the throat, one would likely find the titterers outnumbering the grown-ups. In a high-priced metropolitan theatre, what would be the proportion in outlying districts where the movie house is the only theatre? Titterers may have their uses in speeding along the \"little theatre\" movement. Could something similar be done for the movies?\n\nThere is a large movie house in the next town that caters to all tastes to keep going. On Monday, Tuesday, and Friday, it screens:\nday and night, the management presents satisfying pictures to the adult infants who make up a large part of the audience. \"Sex,\" of course, runs rampant, and why shouldn't it? To a very large number of thirteen, fourteen, and fifteen year olds, sex is the one really intriguing note in the whole gamut. For Wednesday and Thursday nights, however, the management tries to find pictures to entertain the grown-ups, but it has hard work, for there are so few. Producers have been known to make them \u2013 but they are not encouraged to continue. If you were a movie producer, would you try to stamp out adult infantilism? You might, if you thought you could succeed \u2013 but in the meantime, you would go on grinding out ruthless happy-endings, and comedies built around the ubiquitous custard pie.\n\nBy Walter D. Kerst\nStill Movies\nif 'II' v -IT\nSTILL\nThe wise amateur movie maker emulates the professional director or camera man in making still photographs of action being filmed. In commercial moving pictures, these \"stills\" are used for publicity in newspapers, magazines, for exploitation in theatre lobbies, and in a score of different ways. The amateur is likewise rapidly discovering his own need for such still photographs in connection with his moving pictures. If he has secured unusual films, local newspapers are interested in reproducing such news photographs as may be contained therein, and also in making layouts for Sunday feature stories of the amateur camera man's experiences. The special magazines, which are related to the subject filmed, are interested in securing illustrated articles based on the amateur's film record of their special interest.\nProductions have received ample publicity through local newspapers and national magazines if good still photographs are offered. Stills are also required for exploitation of amateur productions during public showings. In summary, still photographs are essential for those seeking maximum enjoyment and profit from amateur cinema.\n\nAny camera will suffice for securing still pictures, with the quality of the camera depending on the desired finish. Several cameras are now being manufactured that may interest amateur moving picture makers, as they use moving picture film instead of rolls for making one picture at a time, or as it was once called, still movies. In these cameras:\nShort strips of 35mm film are used. Due to the small size of the film, the cost is therefore reasonable. And from 50 to 250 individual snapshots can be recorded on these strips of film. The pictures are small, but excellent quality enlargements can be obtained. Examples of both indoor and exterior photographs made with these \"still-movie\" cameras are illustrated on this page. Light weight.\n\nMovies\n\nNext comes the powder movie makeup for amateurs\n\nThe art of makeup is a complete study within itself and a small library could be written on this interesting subject. However, I shall only deal with the essentials of straight movie makeup as applied by screen stars of legitimate productions, which can be easily replicated.\n\nBy Eugene William Ragsdale\n\nEighteen\nThe average amateur player gives little thought to applying make-up correctly in motion picture productions. Correct make-up is as important as correct costuming. The question of why make-up is used in motion pictures is commonly asked by amateurs. There are many reasons for this. Since motion picture film cannot be retouched like in still photography, these details must be attended to. Apply the foundation using the correct shade of grease paint and powder. For instance, notice the faces of people in news pictures taken without grease paint, and you will wonder why their faces appear so dark. It is merely the red corpuscles beneath the skin that photograph darkly. Remember, it is for this reason that make-up is used.\nReason why red is avoided in movie make-up and never used on the cheeks. Scars, moles, and blemishes will be very much apparent unless grease paint is used. The beautiful complexions of our screen favorites, which we all envy and admire, can be traced back to the make-up box. Some stars never use make-up because they have such beautiful skin, free from all blemishes. I'm told Lillian Gish and Mary Pickford never use make-up unless doing character parts. But we all cannot have beautiful complexions and therefore must resort to a substitute\u2014 the make-up box.\n\nIn choosing your make-up, go to some reliable manufacturer of cosmetics. An elaborate make-up box is not necessary unless one is studying character work. It is difficult to say how a skin will look under the glare of arc lights, as used in film production.\nSome skins reflect more light than others; therefore, less make-up is required for motion picture work. A short screen test of yourself will soon allow you to determine how to vary your make-up accordingly. Every member of the Motion Picture Club of Oranges who is cast for a part in a picture must have a complete make-up box, and each is given instructions on applying the correct make-up. The make-up box should consist of: theatrical cold cream, yellow grease foundation, yellow powder, a green and crimson liner, lip rouge, masquerade or cosmetic, chamois stumps as used by artists, a large powder puff, cheese cloth, and a small mirror for \"on location.\" Some make-up boxes come already equipped with a mirror. A light yellow, such as Stein's No. 27, or a stick of pale-flesh grease paint like Bernners 1/2, is the most suitable foundation.\nA young lady should apply a pale-flesh powder if using foundation. The man selects a slightly darker shade, such as Stein's No. 28. If it's too dark, use Stein's No. 27 or Bernners No. 5 instead. A yellow powder is used by the man. For a large face, use a dark shade of grease paint to make it appear smaller. If troubled by a double chin, paint it pink to throw it into shadow and make it less noticeable. For a prominent nose, blend a soft flush of pink down the top to flatten it. If the nose is too thick or flat, blend a soft flush of pink down the sides. Highlighting the nose and chin only affects the full face view. The profile can only be altered by...\nApply nose putty, available at cosmetic dealers. Before applying makeup, secure hair with a towel or skull cap. This allows for better work and prevents hair from coming into contact with grease or powder. Begin by applying cold cream to the face, massaging it well into the skin's pores. Remove excess cream using a soft cloth, ensuring all residue is gone. Apply yellow foundation in wide streaks to the forehead, sides of the face, chin, and neck. Blend foundation over entire face and neck by massaging smoothly. Do not be alarmed by initial appearance as makeup will enhance features. The beautifully painted face in the mirror.\nThe next step is making the eyes appear beautiful, especially in motion pictures. Apply the correct shade of liner in the space between the eyelid and eyebrow. The objective is to bring out the white of the eye and make it more brilliant. A very blond person with light blue eyes should use brown or crimson in this space. Blend the color with the tip of the little finger. The darkest portion should be at the lid of the eye, fading gradually off into the foundation to the edge of the brow and outer end of the eye. A dark-haired person with deep blue, green, or hazel eyes should use either green or purple in this space. A decided brunette can use a dark blue liner. A very light blue would not be practical as it would photograph very light, thus adding no contrast with the eye.\nThe edges of the eye can be darkened with mascara or cosmetic. If your heroine must shed tears, avoid using mascara. Mascara will run and blur your make-up if moisture reaches it, causing it to get into the eyes and irritate them greatly. Use cosmetic as a substitute. Placing a small blurred dot of red in the inner and outer corners of the eye makes them appear more expressive.\n\nAfter the accents are applied, Nineteen.\n\nAmateur Movies Made Mo Through Bell & Howell Cameras, Proj Exposure Meter\n\nWith this Meter, movie makers are sure to determine the correct stop number at which to set the lens under all light conditions. An excellent supplement to the exposure chart furnished with each Filmo Camera. Simple to use. Only the film, light and shutter speed need to be taken into consideration.\nAccessory for Filmo Camera:\n\nA particularly useful accessory for interiors, late evening scenes, and super-speed pictures is the focusing microscope. Price: $2.75. Refills for meter (6 to a box): 25c.\n\nFocusing Microscope:\nThis unit provides exact focus for any of the twelve lenses which may be used in the Filmo Camera. It also includes a lens test for accuracy. Operation is independent of the camera. Simply screw the camera lens into the microscope and focus the image on the ground glass in the adjustable eye-piece. Shows proper focus for sharp detail to every side and corner of the picture. Then replace the lens in the camera and \"shoot.\" Price: $12.00.\n\nSpecial T-H.C. Focusing Mount for Regular 25mm, F 3.5 Lens:\nThis unit supplies the growing demand for the regular Filmo lens in a self-contained focusing mount. With this mount, focusing is done by unscrewing the front element of the lens only.\nAuxiliary lens dials are undisturbed when adjusting focusing position. Lens focuses from infinity to two feet. Self-contained Taylor-Hobson Cooke 1\" lens in Micrometer Focusing Mount \u2013 including credit for return to factory of regular Filmo Universal Focus 1\" lens (in good condition): $10.00\nNu-Tiran Tilting and Panoraming Head\nFor holding the camera steadily in place for uniform tilting and panoraming (moving up and down or sideways). The tilting device is quickly and easily operated. Panoraming device is operated by a crank. There is also a lever for quick pans. Fits either Triax or Type E tripod legs. Price: $12.00\nTriax all-metal folding Tripod, pressed steel, black enameled, weighing but 18 ounces: $5.00\nScene Card Binder\nFor recording field and title data\nA vest-pocket size, black leather, loose leaf binder containing\n50 numbered cards with spaces for recording date, roll number, stop number used, footage of film, light conditions, etc. Indispensable for correct titling when returning from a trip. Photograph each page number as you change subjects, keeping data on each. Price cards for binder. (See inside front cover for description of Automatic 1 6mm Camera and Projector)\n\nThe amateur movie accessories and materials listed here have grown out of many years of professional experience and leadership. Bell & Howell cameras and equipment are used in making most feature movies you see at best theatres\u2014and have been for twenty years. This vast, specialized experience has naturally resulted in amateur equipment which will obtain professional results for you. Mail the coupon for detailed information.\n\nHow to Make Your Own Motion Picture Plays\nDon't Fail to Get This Book.\nThis book tells the amateur producer, in simple non-technical language, everything needed to make a motion picture drama. It includes twelve clever little play scenarios. No owner of a personal motion picture camera should be without this book. At your dealers for $1.50.\n\nBell & Howell\n1828 Larchmont Avenue,\nNew York, Hollywood, London\n\nTwenty\nAccurate and Interesting\nTor, Accessories and \"Filmo Library\"\nMarion Davies, Lillian Gish, Conrad Nagel, Claire Windsor\n\nFilmo Library\nCurrent Releases\nAn ever-increasing variety of subjects are being made available to you in this library. Own it.\nYour own library \u2014 at little more cost than raw film. These films become yours to do as you please. Splice them into your own films, rearrange them in variety programs \u2014 or leave them as they are. Fine entertainment in any form. Filmophone \"musical movies,\" a stunning innovation for the home soon to be announced by Bell & Howell. Watch this space.\n\nScreen Star Series\nInimate.character sketches of favorite screen personalities specially posed for Film Library.\n\nS-7 \u2014 Warner Bros. Studios and Stars: Introducing John Barrymore, Mae Marsh, William Seiter, Harry Meyer, Monte Blue, Ernst Lubitsch, Baby Priscilla Moran, Marie Prevost, Alice Calhoun, Dolores Costello, and Irene Rich. Price $6.50\n\nS-8 \u2014 Fox Studios and Stars: Tom Mix on his horse, Tony Shirley, Francis McDonald, Harry Goodwin serenading Bessie Love.\nVaudeville Series:\nS-9 - Tournament of Roses - Beautiful flowered floats and events at California's big New Year's day celebration in Pasadena. $6.50\nV-9 - Barnold's Dogs - A complete play acted by dogs and monkeys dressed like people. $7.00\nV-10 - Cornelia Troupe - A spell-binding exhibition of strength and daring by feminine gymnasts. $7.00\nV-11 - Belmont's Manikins - Fine entertainment for children and grown-ups alike. Tiny Stars from Toyland. $7.00\nV-12 - Pony Ice Ballet - World-famous acrobatic ice comedians and skate tricksters. Lots of fun. $7.00\n\nNatural History Series:\nThe animal kingdom brought to the home in an entertaining way.\nN-1: California Alligator Farm - Witness these living \"suitcases\" in their natural elements. Observe the 98-year-old great grand-father opening his jaws. The o-weeks-old youngsters take swimming lessons. Price: $6.50\nN-2: Cawston Ostrich Farm - Mr. and Mrs. newlywed ostrich perform the latest dance. A history of mi-lady's \"beauteous plumes.\" Price: $6.50\nN-3: Pelicans of the Canadian Northwest - A home study of the famous bird \"whose beak can hold more than his belican.\" Price: $6.50\nN-4: Trapping Big Tuna Fish - Demonstrating that these monsters of the deep are not always found \"in cans.\" Price: $6.50\n\nAdventure Series\nThese films will satisfy your craving for out-of-the-way places and unusual things. Stirring events of both entertaining and educational value.\n\nA-1: Catching Big Fish in Pacific Waters - Major Hammond and his dog Peggy go after the big ones. Sea gulls in thousands.\nA-2 \u2014 Whaling in the South Pacific\nThe Norwegian whaling steamer \"Mexico\" embarks to seek the giants of the sea. A whale is sighted, harpooned, and a terrific battle ensues. See the whale conquered, blown up with air, and marked with a flag for pick-up later. Then the stripping of blubber and disposal of the whale. $6.50\n\nU.S. National Park Series\nThe natural beauties of our rugged mountain, forest, and geyser country brought right into your parlor. Just like a vacation trip.\n\nP-l \u2014 Grand Canyon. Yellowstone Park\nArtists cannot paint this marvelous scenery as it is \u2014 but this film brings it all to you in vivid detail. $7.00\n\nP-2\u2014 Geysers of the Yellowstone\u2014 The largest geysers in action. Only motion pictures can do justice to these.\nremarkable demonstrations of natural forces at work and play. See and marvel. Price: $7.00\n\nEducational Series\nEL - Golf Lesson - Harry Cooper demonstrates how to use a driving club. Here's your chance at a private polishing up on the grand old game. Price: $9.00\n\nAsk for list of former Filmo Library releases\nA \"big fish\" story that produces the evidence.\nThe best way to bring ostriches into the house.\nA 30-horsepower alligator takes the kiddies for a fast ride. A scene from our Natural H story Series.\n\nThe Eyemo Camera using 35mm Film\nFor those who prefer to use standard, 35mm film for their movies, there is the Bell & Howell Eyemo Camera. It is used by professional studios and nearly all exploring expeditions. Went to the Pole with Byrd, Amundsen and Ellsworth. Mark coupon for descriptive circular.\n\nCompany\nChicago, Illinois\nEstablished 1907\nBell & Howell Co.\n1828 Larchmont Avenue, Chicago, Illinois\nPlease send the following:\n- Booklet containing complete description of accessories for Filmo Camera and Projector\n- Circular describing book \"How to Make Your Own Motion Picture Plays\"\n- Complete list of Filmo Library Releases\n- Circular describing Eyemo Standard camera\n\nName\nAddress\nCity\nState\n\nTwenty-one Amateur Movies Made More Accurate and Interesting\nThrough Bell & Howell Cameras, Projector, Accessories and \"Filmo Library\"\n\nExposure Meter\nWith this meter, movie makers are sure to determine the correct stop number at which to set the lens under all light conditions. An excellent supplement to the exposure chart furnished with each Filmo Camera. Simple to use. Only the film, light and shutter speed need to be taken into consideration. A particularly useful accessory when taking interior scenes.\nThis unit provides exact focus for any of the twelve lenses used in the Filmo Camera. A lens test is also included. Operation is independent of the camera. Simply screw the camera lens into the microscope and focus the image on the ground glass in the adjustable eye-piece. Shows proper focus for sharp detail to every side and corner of the picture. Then replace the lens in the camera and \"shoot.\" Price: $12.00\n\nSpecial T.*H. C focusing mount for Regular 25mm, F 3.5 Lens\n\nThis unit fulfills the growing demand for the regular Filmo lens in a self-contained focusing mount. Focusing is done by unscrewing the front element of the lens only. Auxiliary lens dials are not disturbed when adjusting focusing position. The lens focuses from infinity down to two feet.\nSelf-contained Taylor-Hobson Cooke 1 \"inch lens in Micrometer Focusing Mount \u2013 including credit for return to factory \u2013 V \"UniversalFocus\" lens (in good condition) $10.00\nNu-Tiran Tilting and Panoraming Head\nFor holding the camera steadily in place for uniform tilting and panoraming (moving up and down or sideways). The tilting device is quickly and easily operated. Panoraming device is operated by a crank, There is also a lever for quick pans. Fits either TriaxorTypeE tripod legs. Price $12.00\nTriax all-metal folding Tripod, pressed steel, black enameled, weighing but 18 ounces $5.00\n3I&59 Scene Card Binder\nfor recording field and title data\nA vest-pocket size, black leather, loose leaf binder containing 50 numbered cards with spaces for recording date, roll number, stop number used, footage of film, light conditions, etc.\nIndispensable for correct titling when returning from a trip. Simply photograph each page number as you change subjects, keeping data on each. Price cards for binder (See inside front cover for description of msssa). Automatic 16mm/m Camera and Projector. The amateur movie accessories and materials listed here have grown out of many years of professional experience and leadership. Bell & Howell cameras and equipment are used in making most feature movies you see at best theatres\u2014and have been for twenty years. This vast, specialized experience has naturally resulted in amateur equipment which will obtain professional results for you. Mail the coupon for detailed information.\n\nHow to Make Your Own Motion Picture Plays\nDon't Fail to Get This Book\n\nHow to Make Your Own Motion Picture Plays\nby Jack Bechdolt\nA user guide for making a motion picture drama is necessary for anyone owning a personal motion picture camera. This guide provides simple, non-technical information about creating a motion picture drama, as well as actual and complete scenarios for twelve plays written specifically for amateur filmmakers.\n\nFor those without this book, a personal motion picture camera owner should obtain it from their dealers for $1.50 or by sending for a descriptive circular.\n\nFilm Library\nCurrent Releases\nAn ever-increasing variety of subjects are being made available to you in your library at little more cost than raw film. These films enable you to do as you please. Splice them into your own films, rearrange them in a variety program, or use them as they are. Fine entertainment in any form. Filmophona \"music movies,\" Mm.\n[telling about upcoming innovations for the home to be announced by Tell & 1 1, Ell Watch 1, - ,, \u201e\u201e ,.\nSCREEN STAR SERIES\nADVENTURE SERIES\niVoacd'iorV'Filmo Library. value.\nIthiiiKi. Stirrin in\nVAUDEVILLE SERIES\nA-i\u2014 Courtrunrt nitf ruu in iwiiii- Wo toraj Mojoi llnmrn and hiitduic Peggy goes after the Mm ones. Sea gull follows the bolt. I then the lit, 400, 500 and 700. They rig like hungry wolves. A thriller, Price $6.16\n- Whaling in the South Pacific tin tea \" Mexico embarks on icek the gland of the ni i wl will\nisn't He'il, ll.ir|*ined. I'm 11 It'll ill. Lull I, , ,. See the whale later. Then the stripping of buttbei and disposition of the Price $6.\nU.S. NATIONAL PARK SERIES\nV-IO\u2014 Cornolln Troupe\u2014 A silll lin