Ten Recreational Parties

by

HELEN DURHAM

THE WOMANS PRESS
600 LEXINGTON AVENUE
NEW YORK, N. Y.

Copyright, 1924, by
Helen Durham

This is a revised and amplified edition of Six Recreational Parties, by the same author. The last three are not parties, strictly speaking, but suggestions for adding variety to larger entertainments.

Printed in the United States of America

Foreword
Peanut Party
Newspaper Party
Balloon Party
Doll Party (Pantomime)
Japanese Party
George Washington Party
Circus Party
Italian Street Scene
Gypsy Scene
Christmas Service

As a recreational director under the War Work Council of the National Board of the Young Womens Christian Associations, I discovered that it was difficult to get simple yet colorful recreational material suitable for the various groups with whom I worked. Game parties, in which straight games were played, became tiresome. Each group, accustomed to the thrill of the movies, sooner or later demanded something more exciting, so I hit upon the plan of combining the most popular games, featuring with them some simple property such as balloons or newspapers, as an entire evening’s entertainment. The Peanut, Newspaper and Balloon Parties are the result of this experiment. Then, after a while, the groups would want to take a more active part themselves. The Japanese, Doll, George Washington and Circus Parties are the outcome of this stage in my recreational experience. These parties are more elaborate than the first; in fact, they require a great deal of preparation and cooperation on the part of the group. After these came the demand for something still more colorful and entertaining. Again I took something familiar, such as a group of songs and dances, and combined them with some idea of the dramatic, costumed and set them in a suitable and attractive background. The result was surprisingly effective in spite of the simplicity of the material and the idea. The Italian Street Scene and the Strolling Gypsy Scene are two examples of this type of entertainment.

The Christmas Service is an example of a still more elaborate attempt at “recreational dramatics,” as one might call this collection. The particular merit of the tableau is that it is very simple to produce, yet very lovely, if well done. The pictures themselves can be planned and worked out before the tableau itself is put together. In one or two rehearsals the music, chorus singing and the pictures can be combined. If the performers themselves catch the spirit of the occasion the effect of the whole is very beautiful and impressive.

Helen Durham.

In which peanuts are featured in a variety of old and new ways.

Invitations: Carefully split a large-sized peanut and fold inside a small piece of white Japanese tissue on which the invitation is written. Tie the peanut together with a narrow orange ribbon. Or write the invitation on an orange-colored card and attach to it several round peanuts, the shells of which have been grotesquely decorated to represent tiny faces. The color, orange, is suggested in the invitations, properties and decorations only because it vividly contrasts with the neutral shade of the peanut.

Properties: Upon arriving, the guests are given small orange-colored paper or tarlatan bags in which they may keep the peanuts won in the various games. At the end of the party there is a final counting and the person having the greatest number of peanuts in his bag wins the prize.

Note: The games suggested need not be played in the following order. This is one arrangement which has proved satisfactory for both large and small groups. The first three games are played at a table around which four or six people sit. A bowl of peanuts and two or three hatpins should be placed on each table before the game starts.

1. GUESSING GAME

At a given signal from the director, each person at the table tries to guess the number of peanuts in the bowl. After all the players have had their chance, the peanuts are counted. The person who came nearest to the correct number receives four peanuts as a reward, which he keeps for the final counting. All the other peanuts are returned to the bowl for the next game.

2. PIERCING GAME

Each person is given a hatpin with which he tries to pierce the peanuts in the bowl. He has three trials. All the peanuts he pierces he may keep.

3. GRABBING GAME

Each person in turn grabs all the peanuts he can hold in his hand. After counting the number grabbed, he returns all of them to the bowl and the next player tries his grabbing capacity. The person grabbing the largest number may keep that number of peanuts as a reward.

4. PEANUT RELAY

Chairs and tables are pushed aside and the players are lined up for a relay race in two, three or four even lines, depending upon the size of the crowd.

Draw on the floor two chalk circles for each relay line, one directly in front of each leader and another several yards beyond, at the farther end of the room. Place one peanut in each circle. At a given signal each leader picks up, with a table knife, the peanut from the circle directly in front of him and runs with it to the circle at the other end of the room. He must then pick up the peanut from that circle and carry it back to the first circle. Then he touches off the next player in his line, who tries to do the same stunt, that is, exchange the peanuts from one circle to the other circle. The winning line is the one which accomplishes this feat most quickly. Each member of it gets three peanuts as a reward; the line which finishes second gets two peanuts each.

5. PEANUT THROWING

From these relay lines swing into one big circle, with hands joined.

Place an empty waste-basket in the middle of the circle. Give each player three peanuts. At a given signal each player tries to throw his three peanuts into the basket. Those that fall on the floor he loses. Those that land in the basket he may reclaim. As a reward he receives twice the number reclaimed.

6. PEANUT PASSING

Line up two even groups facing each other with hands joined. At a given signal each leader, the first person in each line, picks up with his free hand as many peanuts as possible from a large bag at his feet. He passes them to the person next to him, who in turn passes them to the person next to him, and so on. The person at the very end of the line deposits them in a bag at his feet. At the end of two or three minutes a signal from the director ends the game. The peanuts passed by each line are counted and the total amount is divided among the players of the line which passed the greatest number in the given time.

Of course in passing the peanuts the players must not unclasp hands. If a peanut is dropped, two people with hands clasped must pick it up.

7. PEANUT ALPHABET

Retain the players in the same formation as for the peanut passing.

Have two sets of cardboard letters which spell the word “peanut.” Choose any twelve players, six from each side. Line up these teams of six opposite each other. Give a letter “p” to the first player on either side, a letter “e” to the next one, and so on, so that each team spells the word “peanut.” The director then calls off a word like “net.” Each player who has the letter “n” must step out in front of his team, holding up his letter so it may be plainly seen by the director. The person on that team holding the “e” must step out beside him, and so on until the required word is formed. The team that forms the words most quickly wins. As a reward each member of the team and everyone on that side gets a peanut. Use simple words like “pa,” “tune,” “pat,” “pen,” “aunt,” “pun,” “ate,” “pan,” and finally the word “peanut.”

8. MUSICAL PEANUT

Let the crowd break up and seat themselves about the room.

Send someone out of the room. Give to any member of the group a “musical peanut,” which is of course an ordinary peanut. Explain to the group that when the searcher enters, all must sing some popular song, at first very softly, and then more loudly as the searcher wanders in the vicinity of the musical peanut. The searcher is then invited in and, guided by the song of the group, tries to find the peanut. When the peanut is found, the person holding the musical peanut becomes the searcher.

9. PEANUT BAGS

Before the guests arrive, paper bags containing various numbers of peanuts are strung across the end of the room, about eight feet from the floor. Give each player three peanuts and line them all up about twenty or twenty-five feet from the bags. At a given signal the entire line tries to hit a bag. Each person has three throws. He may have the contents of each bag he hits.

10. PEANUT HUNT

At a given signal the players scurry around, looking for peanuts which have been hidden in all parts of the room. Each player may keep all he finds.

11. PEANUT PRIZE

After the players have counted the number of peanuts won throughout the evening, have them march to music around the room in a big circle. When the music stops, those having less than fifteen peanuts drop out of the circle. The marching continues until the music again stops, when those having less than twenty-five peanuts drop out, and so on until the person having the largest number of peanuts stands alone. As a reward he is given a grotesque doll made of peanuts.

In which newspapers are featured in a variety of ways.

Have the hostesses and guests, upon arriving, dress themselves in newspaper costumes. All sorts of unique ideas can be carried out, such as newspaper duncecaps, bonnets, aprons, frills for collar and cuffs, pleated skirts. It will be found that surprising originality and taste will be shown by some. Have plenty of string, pins and toothpicks at hand, for they will be needed to keep these fragile creations in place. Open the party with a grand march and have the judges immediately award the prize for the cleverest newspaper costume.

Have the players group themselves in a three, four or five line formation, ready to play an adaptation of Bancroft’s “Maze Game.”

1. POLICEMAN AND NEWSBOY

The chaser, who carries a paper club, is called the “Policeman.” The runner is called the “Newsboy.” Have the players stand in parallel ranks with hands joined, thereby making aisles through which the Policeman can chase the Newsboy. When the director gives the order “right face,” or “left face,” the players drop hands and face in that direction, clasping hands with their new neighbors. In this way new aisles are made which alter the direction in which the Policeman is running and which give the Newsboy a better opportunity of escape. The director, who tries to keep the Policeman from catching the Newsboy, must give his orders with alertness and wisdom, so as to prevent the capture. Neither Policeman nor Newsboy can break ranks or tag across lines. It sometimes adds excitement if two Policemen are used.

2. PREFERRED NEWSPAPERS

This game is an adaptation of the familiar “Black and White.”

Line up the players in two even ranks down the center of the floor, with their backs to each other. Call each side after a popular local paper. At a given signal the director shouts the name of either newspaper. The players in the line bearing that name run frantically to the side of the room toward which they are facing. The players on the opposite side turn and try to catch them. Those caught must go over to the other side. The second line-up, uneven this time, proceeds in the same way, awaiting the call of the director.

3. MUSICAL NEWSPAPER

Divide the players again into the same even groups. This game is an adaptation of the familiar “Musical Partners.”

Every player takes a partner from his group, so that each partner has the same newspaper name. They march around the room to music. When the music stops for a moment, everyone must change partners, being sure that the new partner belongs to the same paper. This necessitates hasty shifting and much shouting of identification.

4. NEWSPAPER RELAY

Line up the players in two or three even ranks, giving each player two single sheets of newspaper. At a signal from the director, the leaders race down to the opposite goal and back again, stepping only on the sheets of paper, which they lay on the floor as they progress. The next player in line repeats the process after he is touched off by the preceding player. The line which finishes most quickly wins.

5. PROTECT THE NEWSBOY

Adaptation of the familiar “Wolf and Hind.”

The players form in a straight line with their hands around the waist of the person ahead. At the very end of the line stands the “Newsboy.” The chaser, called the “Policeman,” faces the leader of the line and at a given signal tries to catch the Newsboy. The line, however, tries to keep itself between the Policeman and the Newsboy. The players must hold on tightly to each other, so as not to break the line, thereby enabling the Policeman to dart through and get a better chance at the Newsboy. When that Newsboy is caught he changes places with the Policeman, who takes the place at the head of the line. The new Policeman tries to catch the person at the very end of the line, who has now become the Newsboy.

6. CATCH THE NEWSBOY

Adaptation of “Bird Cage.”

Divide the players into groups of four. Three of each group join hands in a circle and call themselves “Policemen;” the fourth is called the “Newsboy.” Without unclasping hands, the Policemen try to catch in their ring the Newsboy, who may run anywhere in the room. If he is caught he becomes a Policeman and one of the Policemen takes his place.

7. PREFERENCE OF LOCAL PAPERS

Adaptation of familiar “Jerusalem and Jericho.”

The players are in circle formation. The director, who stands in the center of the circle, takes a vote on which of the two local papers the group prefers. The director then explains that if he calls the name of the preferred paper, everyone must repeat the name and bow, but if he calls the name of the unpreferred paper, everyone must repeat the name, but not bow. If anyone bows after the name of the unpreferred paper is called, that person must come into the center of the circle. The director himself bows after both names, thereby trying to get the other players to mimic him. The success of the game depends largely upon the enthusiasm of the director and his helpers.

8. NEWSPAPER FIGHT

Blindfold any two players and give to each a club made of newspapers folded lengthwise. Spread a newspaper on the floor. At a signal from the director, each combatant puts his left hand on this newspaper and with his paper club in his right hand fights his opponent. Being blindfolded, both quickly lose their sense of direction, so instead of striking each other they usually strike the floor. If there are several pairs, each cheered by their followers, the game becomes very exciting.

Decorate the room with balloons, and perhaps crêpe paper streamers. Upon arriving give every guest a crêpe paper cap to which he may attach a balloon for decoration. Give balloons as prizes for each game. All the balloons which are used as prizes may be effectively used as a central decoration in some such way as follows. Have a large barrel hoop, bound with crêpe paper, suspended from the ceiling in the center of the room. To this attach by strings dozens of colored balloons. When a person wins a balloon, give him one of these at once or wait until all the games are over and the final score is taken and then present the balloons as a final ceremony.

1. BALLOON RELAY

Three or four strings should be stretched tightly from one end of the room to the other, about four feet from the floor. An ordinary brass ring hangs on each taut string. To each of these rings attach a bright-colored balloon.

Divide the players into even groups, according to the number of strings. Line them up at one end of their respective strings. At a given signal, the leader of each line starts blowing the balloon on his string down to the other end of the room. After each leader has taken his balloon down to the other end of the room, he runs back to place and touches off the next player in line, who runs down to the balloon and returns it to the original place in the same fashion. The third player in line then takes his turn, and so on. Of course no player must touch the balloon with his hands. A balloon is given as a reward to the player in each line who accomplishes the feat most quickly.

2. BALLOON TOSSING GAME

Keep the players in the same formation. Each group is given a large sheet which they hold by the edges parallel to the floor. At a given signal the director tosses a balloon into the center of the sheet. Each team tries to keep this balloon tossing in the air by moving the sheet up and down. No one is allowed to touch the balloon save the director. Even if it falls to the floor the director must pick it up and put it back in place. The group which keeps the balloon moving the greatest number of minutes wins. Each player of that winning group gets a balloon as a prize.

3. MUSICAL BALLOON PARTNERS

Give each person a colored balloon, being careful that there is an even number of each color. The two people having the same color march together. An extra person, who marches alone, is given a balloon of any of the colors used. When the music stops, everyone must quickly change partners, choosing a new one who carries a balloon of the same color as his own. This gives the extra person an opportunity to get a partner, who, however, must carry a balloon of his color. When the music again starts, the new person left without a partner marches alone, waiting his chance to get a partner.

4. BALLOON VOLLEY BALL

Stretch a piece of colored string across the room. The object is the same as in volley ball, that is, to keep the balloon off the floor on your own side and make it touch the floor on your opponents’ side. Use either one or two balloons, depending upon the number of players. Of course use only the simplest rules of volley ball, thus making the game suitable to play in the average room. Each player on the winning side gets a balloon.

5. BALLOON SNATCHING

A large balloon is placed on a chair, or preferably on a small stool, anywhere on a line which is halfway between two even lines of players. At a given signal a player from each line walks forward to the balloon. Each tries to snatch it and run back to his place without letting his opponent touch him or the balloon. If he arrives safely it counts one for his side. The next two players then try the same stunt. After each pair of players has tried the stunt, each member of the line having the largest score gets a balloon.

6. TABLE BALLOON

The players are seated at a table. The object of the game is for each side to bat several balloons back and forth without letting them drop on the table. If a side fails to return the balloon while it is in midair, it counts one against them. Players may rise to bat the balloon when it is necessary but they must immediately sit down again. Each player on the winning side gets a balloon.

7. BALLOON DANCING

This introduces the game element into social dancing.

Give to each person a colored balloon, being sure that there is an even number of balloons of the same color. Each dancer must find and dance with a partner with a balloon of the same color. When the music stops, everyone must find a new partner with a balloon of the same color.

Give to each couple a balloon. At a given signal all start dancing, at the same time keeping their balloons tossing in the air. If a balloon falls to the floor it counts against that couple. The couples who keep their balloons in constant motion throughout a dance receive a balloon as a prize.

The invitations may be written on pieces of colored paper cut in the shape of tiny dolls. Have the guests come to the party dressed as dolls or children and the hostesses as nursemaids.

1. DOLL DRESSING CONTEST

Place the guests at small tables on which there are bits of colored crêpe paper, scissors, string, pins, needles and thread. Give everyone a tiny penny doll to dress. It is a good plan to have on exhibition one or two dolls already dressed in crêpe paper, to furnish ideas to the guests. Very cleverly dressed dolls can always be bought from the Dennison Company, 26th Street and Fifth Avenue, New York. One of these makes an excellent prize for the person who makes the best doll costume. Usually people, whether old or young, if given a few suggestions will enter into the spirit of the game and the most ingenious and attractive creations will be made.

2. CHILDREN’S GAMES

Play the simple, familiar games such as “London Bridge” or “Drop the Handkerchief,” “Going to Jerusalem” and so on.

3. MIDNIGHT IN THE DOLL SHOP

Entertain the guests by dramatizing some children’s story, or staging a pantomime such as the following.

Midnight in the Doll Shop
A pantomime by Barbara Wellington.

Scene: A doll shop with counters running along left wall, back-stage and right.

Characters, from stage right to left:

• Right—Brownie, French Doll, Tin Soldier.
• Back—Chinese, Indian, Jack-in-the-Box, Dinah, Golliwog, Dutch Girl.
• Left—Two Rag Dolls.

The clock strikes twelve. Curtain opens on dolls lifeless on counters, in characteristic attitudes. Brownie is sitting cross-legged; the French doll is holding her skirt and peeking up at the soldier; the soldier holds his gun, stiffly; the Chinese has his arms folded, hands in sleeves; the Indian stands with tomahawk raised; Jack is in his box with cover shut; Dinah’s hands are on her hips; Golliwog’s arm is around her; the Dutch doll has a pail on her arm; the rag dolls lean limply against each other.

All slowly come to life. Jack pops out of his box and goes through jerky exercise. A dumb-bell drill may be used (music 4-4 time). At the finish, Indian raises tomahawk over Jack with threatening attitude. Jack pops back into box; cover shuts. Indian does war-dance of seeing enemy, giving war cry (silently), fighting battle, and smoking peace-pipe.

He ends by chasing the rag dolls down-stage and around to the right and center, taking his place where they were. The rag dolls do a limp dance exactly alike, leaning against each other and flopping heavily at each step. They finish by dropping down up-stage right, with feet straight out before them.

Jack-in-the-Box pantomimes clapping and the tin soldier sends him into his box again by aiming his rifle. Then, wound up by French doll, he marches forward stiffly to center-stage. She works his arms and head and makes him embrace her, then winds him up for dance step of progressing across stage, toeing out with both feet, and then in. She does a ballet dance kick-step as she watches him. Finish off-stage.

Golliwog and Dinah try to imitate them in the same positions on stage, and burlesque the steps. They turn it into an old-fashioned cake-walk and as they finish up-stage right, Dinah waves her bandana and drops it.

The Chinese doll shuffles forward and picks bandana up, goes back to get his tub, scrubbing board and iron, and proceeds to launder handkerchief, center-stage, facing audience. He turns scrubbing board over for an ironing board. Finishes, folds handkerchief and hands it to Dinah with bow. Goes left.

The Dutch doll comes forward, sees imaginary water splashed onto the floor and holds up her hands in horror. She gets pail, and kneeling, scrubs vigorously, facing left center and then right, on knees in each new position. Then, trying the floor with her sabot, she puts away her pail and does a Dutch wooden shoe dance. Finishes right.

The Brownie, who has been mimicking everybody as he sat on the counter, right, hops down and does a clown dance, ending with a cartwheel, left.

As each doll finishes his stunt he takes his place in a semicircle at back-stage.

All swing into dance. As orchestra sounds cock-crow, all break line and scramble back to original places.

Tableau, as in the beginning.

Doll Dance

1. 8 measures.

Introduction—4 measures—dolls take places in line.

(Omit 28 measures of music.)

2. 8 measures.

(Omit 4 measures of music.)

3. 16 measures

(Omit 24 measures of music.)

4. 8 measures.

Repeat 1.

5. 8 measures.

Repeat 2.

Interlude. 4 measures.

6. 8 measures.

7. 6 measures.

8. 8 measures.

A Japanese Party may be made very attractive and picturesque if Japanese costumes, properties and music are featured.

Write the invitations on Japanese paper fans and ask the guests to come in Japanese costume. Light the room with low-hanging Japanese lanterns and decorate it with Japanese screens, hangings and flowers. Artificial cherry blooms, which look surprisingly like the real ones, can be made in the following way. Out of pale pink French tissue paper cut little circles about one and a half inches in diameter and make a pin hole in the center of each circle. Slip these circles on bare branches, creasing them around the branch so as to give the effect of a budding blossom. The hostesses, who are in Japanese costume, should preside over the tea trays. Have the guests sit in small groups on the floor and be served tea and rice cakes in Japanese fashion. By way of entertainment the story of Puccini’s opera, “Madame Butterfly,” can be told in some such charming way as the following.

THE STORY OF “MADAME BUTTERFLY”

A girl, dressed to represent Madame Butterfly, tells the story of the opera while appropriate bits of the score are being played.

Use an end or corner of the room and decorate it to represent a Japanese garden or interior. A Japanese screen as a background, one or two low-hanging lanterns, lighted, a rug and several vivid cushions on the floor, some cherry blossoms or a low bowl of Japanese flowers make a very suitable and effective setting. Madame Butterfly, dressed in a pale gray or wisteria Japanese kimono and brilliant obi (sash), enters with short, pattering steps. She wears a chrysanthemum in her hair and perhaps she carries a Japanese fan. She kneels upon the cushions and bows in oriental fashion to her audience. After the prelude to the opera, she begins the tale of Madame Butterfly. The story must be simply and vividly told, bringing out its pathos and charm. When she finishes she bows again to the audience, rises and makes her exit with the same little pattering steps.

Oriental bow: Kneel on both knees and bend directly forward so that the head almost touches the ground; then slowly assume an erect position.

If the narrator can sing one or two selections from the opera, especially the famous solo “One Fine Day,” of course it adds tremendously. It is very important that the music harmonize with the words, which necessitates careful selection and practice. Probably only an accomplished musician with a feeling for atmosphere can successfully do this.

The following song and dance can follow Madame Butterfly’s story.

JAPANESE SONG AND DANCE

Music. Geisha Dance, by Eduardo Marzo in “Dance Songs of the Nations,” John Church Company, publishers, New York. Words of the song by Margaret Lacy.

To be sung by the dancers themselves, or by one or more soloists while the dancers go through the steps.

Stage this song and dance in the same setting that was used for the Madame Butterfly story. Before the dancers appear, place bright cushions, one for each dancer, on the floor in a semicircle. Have eight or more dancers enter from each side with little pattering Japanese steps, take their places behind their cushions and bow in oriental fashion to the audience. They are dressed in bright-colored Japanese kimonos and sashes, with chrysanthemums in their hair. Each carries a fan which is held stiffly in front of her chest, with the forearm pressed slightly against the body. The head is held to the side in a prim little fashion such as one sees in old Japanese prints. Every gesture is formal and studied. (This is the Japanese pose referred to in the dance.)

Japanese Dance

For the introduction any number of measures may be played while the dancers enter and take their places.

Figure 1—16 measures.
Starting on the first word of the song, “In,” make the following motions, keeping time with the music.
(a) Sway to the R side.	1 meas.		through word “grew.”
Sway to the L side.	1 meas.
Sway to the R side.	1 meas.
Body and head held erect.	1 meas.
			4 measures.
(b) The same motions, but starting L, that is,
Sway to the L side.	1 meas.		through word “bamboo.”
Sway to the R side.	1 meas.
Sway to the L side.	1 meas.
Body and head held erect.	1 meas.
			4 measures.
Repeat through word “glance.”			8 measures.
Interlude—Japanese pose.			4 measures.
Figure 2—16 measures.
Walk with the quick little Japanese pattering steps described above around the cushions to R, coming back to place on word “below.”			4 measures.
Repeat (b) of Figure 1 through word “fro.”			4 measures.
Walk in the same fashion as above around cushions to L, coming back to place on word “true.”			4 measures.
Repeat (b) of Figure 1 through word “bamboo.”			4 measures.
Interlude—Japanese pose.			4 measures.
Figure 3—16 measures.
Repeat (a) of Figure 1 through word “glee.”			4 measures.
Nod head slowly forward.	1 meas.		through word “see.”
Raise head slowly.	1 meas.
Repeat.	2 meas.
			4 measures.
Repeat (b) of Figure 1, through word “too.”			4 measures.
Same nodding motion repeated twice, through word “bamboo.”			4 measures.
Interlude—Japanese pose.			4 measures.
Figure 4—8 measures.
Repeat (a) of Figure 1, through word “sweet.”			4 measures.
Repeat (b) of Figure 1, through word “feet.”			4 measures.
Interlude—All dancers kneel slowly forward and down on both knees without losing balance or bending body, and slowly sit back on their heels in oriental fashion.
Figure 5—16 measures.
Repeat (a) of Figure 1, through word “below.”			4 measures.
Repeat nodding motion of Figure 3, through word “fro.”			4 measures.
Repeat (b) of Figure 1, through word “true.”			4 measures.
Turn head slowly to R side.	1 meas.		through word “bamboo.”
Turn head slowly to L side.	1 meas.
Hold head, face forward.	2 meas.
			4 measures.

As the dancers sing the prolonged “O” of the last two measures they bend their bodies forward so that their heads almost touch the floor. Repeat the music until they rise and exit with the same little pattering steps.

PANTOMIME OR PLAY

“Cat Fear,” a fanciful Japanese comedy in pantomime by Marion N. Gleason,[A] or any other Japanese play or pantomime, may be added in order to make a complete evening’s entertainment.

The guests are invited to come in Colonial costumes. The host should be dressed to represent George Washington; the hostess, Martha Washington. Feature these two people as much as possible in the receiving line, as leaders of the minuet and grand march, and as master and mistress of the ceremonies throughout the evening. When it is time for the program to begin, have George Washington himself announce that he is going to present to his guests all the various types of American girls who live or will live in this country.

The music then swings into a plaintive Indian tune and an Indian girl dressed in a striking costume of brown leather enters. She bows to George Washington, to his lady and to his guests and passes down the center of the room and away. George Washington then announces that a Puritan girl will be presented next. The music changes to “Auld Lang Syne,” and a lovely girl in Puritan costume enters, bows shyly to her host and passes in a demure manner down the center of the room. A Colonial girl and her escort come next. They dance the minuet for the guests. One by one the various types of girls who have lived in this country present themselves. The program can be made elaborate or simple, depending upon the number of characters used. The modern American girls may be omitted or others substituted, according to occasion. Those suggested are described below in detail. If one wishes to add others, see the Fashion Review, “Down Petticoat Lane,” published by The Womans Press, from which the idea of this party has been taken.

AMERICAN GIRLS

Striking brown Indian costume, beaded and fringed; brown stockings, leather moccasins, and beaded head-band with bright red feather at the back. Stands at opening in characteristic Indian pose, head up, body erect, arms folded across chest. Comes down room with familiar Indian loping step, bows to guests and exits.

Simple gray Puritan costume; white cap, kerchief, cuffs and apron, white stockings and black shoes.

Bows shyly to the audience, walks forward with hands demurely clasped, makes a quaint courtesy to George Washington and exits.

Girl in Colonial costume of bright satin: tight bodice, lace kerchief, pannier skirt; white stockings, black pumps with silver buckles; powdered hair or wig.

Gentleman in brocade or satin coat, vest, ruffled stock and frill, knee breeches, white stockings, black pumps with Colonial buckles, and powdered wig.

They enter together, bowing to each other, then to audience, and come to the center of the room. They dance the Colonial minuet,[B] and exit at farther end of the room.

Girl in high-waisted costume of Empire period: short, puffed sleeves, neck cut low off shoulders, long train; poke bonnet of satin to match gown, either worn or carried by streamers; high-heeled satin slippers to match gown; hair parted and done high in back with curls at each side.

Gentleman in tight-fitting satin trousers, satin coat of darker color, brocaded vest, ruffled stock and high silk hat.

They enter and dance Gavotte.

Girl in wide, old-fashioned hoopskirt costume; tight basque, lace kerchief, ruffled pantalettes, poke bonnet, white lace mitts and small parasol.

Gentleman in light broadcloth trousers, long-tailed coat, plain double-breasted vest of a contrasting color, high stock, high silk hat and burnsides.

They stroll in together. When they reach the center of the room the music changes to Jump Jim Crow from “Maytime” by Victor Herbert. The man sings the song to the girl and they dance together.[C]

Girl in old-fashioned bustle costume of silk: long full skirt with very stiff petticoats underneath, tight bodice, leg-o’-mutton sleeves; elaborately trimmed hat of the period, perched high on the head; black silk mitts and parasol.

She enters with quick steps, courtesies to host and hurries down the room.

Girl in light, ruffled dress and large floppy leghorn hat covered with flowers. She carries a ruffled parasol and flowers in her arms.

She enters, smiling left and right, courtesies in a rather flirtatious manner, presents a flower to her host and saunters down the room.

Girl in short khaki riding skirt and blouse, red handkerchief around neck, broad-brimmed western hat, high boots, belt and pistol.

She dashes in, waves hat to the audience and to host and rushes out through audience.

Lovely girl in dance frock; stockings and evening slippers to match. Carries a bouquet of flowers.

Enters with partner as if entering a ballroom and bows to the host. They dance some of the latest steps.

Girl of athletic type in gym costume of dark blue bloomers, white middy, black tie, black stockings and white sneakers.

She carries a basket ball which she dribbles down to center of room.

Tall striking-looking girl in handsome evening gown with stockings and slippers to match; bright velvet evening wrap with handsome fur collar. Carries huge black ostrich fan.

She enters with great poise and assurance, displays her gown like a manikin and exits down the center.

Beautiful girl in white satin bridal gown with long court train and white tulle veil caught with orange blossoms. Carries huge shower bouquet of white roses and lilies-of-the-valley.

Attendants in organdie dresses of pastel shades; tarlatan hats to match gown; small nosegays of pink roses.

Bridesmaids enter by twos, followed by the bride. The wedding procession passes down the center to the end of the room, where the bridesmaids group themselves in a semicircle around the bride. The other performers enter and come forward to congratulate the bride. The music changes to a march. George Washington gives the bride his arm and together they lead everyone, performers and guests, in a grand march. At the close of the march George Washington may make a little speech to the guests, saying that he hopes everyone has enjoyed his party and that they will come again next year to help him celebrate his birthday.

A Circus Party may be made just as elaborate or just as simple as one wishes. If one is planning to give an elaborate affair, detailed suggestions can be found in “A Circus,” published by the Womans Press.[D] The following plan has been worked out to meet the demands of those who wish to give a rather simple circus party.

A typical circus barker stands at the outer door. In professional lingo he invites the guests to come inside. “Ladies and gentlemen, right this way, right this way! The cleverest collection of comical characters that ever came to town! Right this way, ladies and gentlemen, right this way! Nothing finer in the world! Don’t fail to see it. Right this way!”

The room in which the circus is held should be decorated to look like a circus tent, if possible. Stretch a piece of old canvas across the ceiling so that it gives the effect of a tent roof. At each end of the room arrange booths where refreshments are served. Pink lemonade and ice-cream cones should be in one, and perhaps “hot dogs” in another. Have peanuts distributed by venders throughout the crowd. Try to arrange all sorts of side shows. Display in one the freaks, such as the armless woman, an Albino, the dog-faced boy, the bearded lady, the tallest man in the world and others of Barnum and Bailey fame. Be sure that there is a good barker to “ballyhoo” them and to point out the peculiarities of each. Have one or two fortune-telling booths, perhaps a Gypsy palmist and a Turkish crystal gazer.

All sorts of throwing contests can be arranged to attract and amuse the crowd. For instance, in one booth have a row of cocoanuts suspended from the ceiling on strings. Give everyone three chances at hitting a cocoanut. If anyone succeeds he may keep the cocoanut as a prize. Or have a broken china booth where each person may take three chances at breaking any bit of crockery he wishes.

Or a game known as “Hoop-la” amuses people immensely. In the center of a roped-off ring place several prizes on small blocks of wood. The object of this game is to ring these blocks with ordinary embroidery hoops, which should exactly fit over the blocks. The person who throws a hoop so that it circles the block completely, gets the prize on that block.

Or have a tub or watering trough full of water, on which small shallow dishes are floating. The object of the game is to throw coins onto these dishes. The money that lands in the dish is doubled and returned to the person but any which falls in the water he loses. (Of course this game should not be played if the party is an invitation affair.)

A dart contest is always popular. Tack at the back of a booth a pack of playing cards. Give each player five small wooden darts with a sharp point in the end of each. The object of the game is to hit with these darts three cards of the same kind, that is, three Jacks or three Queens. If a player hits the three cards of the same kind in five trials he is given a pack of playing cards as a prize. Such games always attract people, especially if at each booth there is a lively barker who will amuse the crowd and keep things going.

To add atmosphere have all sorts of comical circus characters wander through the audience—clowns, a rube and his wife, a big fat Irish policeman, Charlie Chaplin, Sis Hopkins and others. Let them play all sorts of tricks on each other and on the crowd. Have balloon and confetti venders everywhere, dressed in bright costumes.

THE BIG SHOW

Of course no circus party can be complete without a Big Show. This also may be made just as simple or as elaborate as one wishes. Suggestions for a few acts are briefly described. If one wishes to give a more elaborate program, detailed directions can be found in “A Circus” mentioned above.

Stage the Big Show in the center of the floor and have the audience stand or sit around this ring. Use the barker who stood at the entrance as the ringmaster. In the most extravagant professional lingo he should announce each act, pointing out its marvels. There should be a band to help create the circus atmosphere. If a real band cannot be had, a kazoo or a vocophone jazz band makes an excellent substitute. Vocophones are papier-mâché instruments the size and shape of regular band instruments but made in such a way that by blowing or humming through the mouthpiece a most melodious and voluminous sound comes forth. They may be purchased from A. Schoenhut Company, Hagert and Sepviva Streets, Philadelphia, Pennsylvania, eight instruments for twelve dollars. Kazoos, small musical mouthpieces, are only a few cents apiece. Dress the musicians themselves in regular brass-buttoned uniforms such as bandmen usually wear, or dress them as a colored minstrel group with white duck suits, huge bright-colored ties and blackened faces. They should lead the parade and play the piano whenever such type of music is needed.

PROGRAM

The Parade.

All the performers used in the circus should enter, headed by the ringmaster, who leads his group around the ring several times and out through the opposite exit. First comes a jazz band followed by the clowns, who prance from side to side tormenting the other performers and doing all sorts of queer antics for the crowds. The freaks should follow them, and then the wild animals, led by their animal trainer, the acrobats, the jugglers, bareback riders and the rest of the circus outfit. After the parade the ringmaster may detain the freaks in the ring to display the peculiarities of each.

Animals.

If you can rent or make any animal costumes, be sure to have an animal act. It always amuses the audience if it is cleverly and realistically done. Have the ringmaster, who acts as animal trainer, put the animals through all sorts of stunts. He should have a long whip which he snaps vigorously as he shouts his orders. The lion and the tiger may play ball with each other, keeping up a constant roar as they toss the ball back and forth. The polar bear may ride a bicycle, the monkeys may have a boxing match. The act may be ended by having all the animals dance around on their hind legs to some lively fox-trot music.

Clowns.

Be sure to have a clown stunt. Use all sorts of clowns, tall and short, fat and thin. Have some of them do some tumbling or pyramid stunts, familiar to any gym instructors, and have others mimic them in a ridiculous fashion. They may end the act with a dance.[E]

The other numbers on the program can be any special stunts that lend themselves to circus burlesque. Two others from “A Circus” have been included below to show the type of thing which is always popular at a circus and which will not take any special time or work in preparation.

JATO, THE JAPANESE JUGGLER

Judged to Have the Jump on All Jugglers.

The act should be performed by two people who are able to put a lot of burlesque into it and play it successfully to the gallery. Jato, the juggler, dressed in Japanese kimono, balances his Japanese wife on his upturned feet. Of course she merely sits on his feet, balancing herself with the tips of her toes safely on the floor, but bowing and smiling as though it were a most difficult stunt. Then, with the aid of an invisible wire suspended from the ceiling, Jato balances such articles as chairs and tables on his nose. He must hook them cleverly to the loop end of the wire, as he arranges them in place, so that for a time the audience is in ignorance of how he does the trick. Finally, Jato carelessly leaves an object hanging in midair and thus discloses his secret. His wife quickly snatches it away as he bows to the amused audience. The old trick of lifting a supposedly heavy weight, which is finally allowed to bounce on the floor, may be included in this act.

DAISY, THE DARING AND DAZZLING TIGHT ROPE WALKER

Displaying Unrivaled Skill and Recklessness.

A tight rope stunt can be worked out by one, or even two girls, dressed in fluffy tarlatan costumes with tight bodices and short full skirts. Stretch a rope tightly across the floor. On it the performer makes her way across the ring, going through all the gestures and balancing movements of a real rope walker while the orchestra plays very melodramatic music. When she reaches the center, have the music stop while she makes a daring turn, presumably in midair. The orchestra starts up again with a bang. Of course there is much applause from the audience. She may even dance along the rope, finishing her stunt with a quick pirouette turn and a dainty jump to the floor. With many elaborate bows to the audience and to the ringmaster she leaves the ring.

As a finale have all the performers prance around the ring several times to lively music, throwing confetti and serpentine at the audience. This procession will make a very gay and appropriate ending for the Big Show.

Be sure that everything pertaining to your evening’s entertainment is gay, colorful and circus-like. Try to have the audience and performers catch the spirit of fun and jollity that makes a circus party go.

Note: This is a side show or interlude in a larger entertainment rather than a party in the usual sense of the word.

The setting is a gay, sunny Italian street or corner in the market place. Across the center-back is a fruit stand piled high with vegetables and fruits and bunches of hanging bananas. At one side is a two-wheeled pushcart; at the other, a wooden bench. When the curtain goes up everything suggests the happy, lazy activity of an Italian street on a bright summer day. The fat, good-natured looking fruit dealer, in gay peasant costume, is selling vegetables to a chattering peasant woman who carries a huge basket on her arm. A handsome Italian youth lounging on the bench is being persuaded by a pretty Italian flower girl to buy her flowers. “Fiori, belli fiori, un soldo al’uno” (Flowers, flowers, one cent apiece), she urges. He feigns amused indifference and goes on smoking his cigarette. An Italian boy, sitting on the floor against the wheel of the pushcart, is playing a harmonica, utterly oblivious to his surroundings. An old bent-over vender, pushing his cart across the back of the stage, cries, “Tomati, potati, e pepperone freschi” (Tomatoes, potatoes and fresh peppers). Two pretty Italian girls stroll by.

This action goes on in pantomime until way in the distance “O Sole Mio” can be heard. The boy with his harmonica stops his playing and runs in the direction from which the music comes. The music grows nearer and a group of strolling Italian street musicians enter. They are dressed in the bright costumes of the troubadour type. Some of them are playing stringed instruments. The singers carry tambourines. One of the girls in the group, who is evidently a dancer, catches sight of the handsome Italian youth and goes over toward him. Two peasant girls who chance to be passing by stop and watch her. The fruit dealer, his customer and several other passers-by stop and listen to the music. From “O Sole Mio” it changes into the well-known solo from “Il Trovatore,” “Oh, I Have Sighed to Rest Me,” sung by one of the men in the group. Without a pause, two others, a man and a woman, sing the duet from the same opera, “Home to Our Mountains.”

The crowd applauds with great enthusiasm, and the music begins again in a gayer strain. “Fickle Is Woman,” from “Rigoletto,” is sung with spirit. The men sing the first line, the women the next, and so on, alternating, until the last refrain, “Borne on the Breezes,” which is sung together. From that they swing into “Finiculi, Funicula,” which pleases the crowd immensely. The music changes to a lively Italian dance rhythm. The dancer who has been trying to attract the attention of the Italian youth strikes her tambourine and dances a wild, spirited dance, without taking her eyes off him. She ends the dance with several fast turns down-stage, stopping directly in front of him. The crowds applaud, the youth rises and together they dance the Tarantella to gay Tarantella music. Some of the singers and several of the onlookers join them, dancing and singing “La Peppinetta.” They dance round and round in a glad carefree fashion, laughing and throwing flowers at each other.

The music swings back into “Finiculi, Funicula,” which everyone sings and applauds wildly. The musicians collect their pennies from the crowd and start off, singing “O Sole Mio,” the song with which they entered. Some of the crowd follow, others wander off. The Italian youth watches the dancer for a minute and then resumes his lazy pose on the bench. The music grows fainter and fainter in the distance. The peasant woman continues her bargaining with the fruit dealer. The boy takes his place by the pushcart and goes on playing his harmonica. Gradually the street resumes its accustomed lazy atmosphere, which had been interrupted for a moment by a group of strolling players.

LA PEPPINETTA

From “Songs of Italy,” collected by Marzo, published by Schirmer, New York.

Milan (Lombardy). Sung by the group or by the dancers.

This dance is arranged for four or more couples, a solo dancer and her partner. To be effective it must be staged with the proper Gypsy atmosphere and the larger the group the better. Have the Gypsies seated and lying around the stage in a rough circle. When the curtain rises they are talking, laughing and humming songs. Almost instantly a Gypsy man enters, dragging after him a Gypsy maid, whom he throws into the center of the circle. The captive gradually raises her head and, seeing the curious gaze of the group around her, decides to win them by her dancing. As the music starts and she begins to dance, some of the Gypsies in the group take up tambourines and play them in time to the music; others sway back and forth or hum snatches of the tune.

Music. Danse de la Gipsy, by C. Saint-Saëns, from the Opera “Henry VIII.”

Steps.

Figure 1—16 measures.
(a)		Starting with R foot, run 5 steps toward one group of Gypsies.	1 measure.
		Step forward on L foot, step backward on R foot and drag L foot back to R toe.	1 measure.
		Turn and repeat whole toward another group of Gypsies.	2 measures.
(b)		Step with R foot and make half-turn toward R, count 1.
		Step with L foot and make half-turn toward R, count 2.
		Step with R foot and make half-turn toward R, count 3.
		Step with L foot and make half-turn toward R, count 4.
		Hold position, standing on L foot with R foot extended at side and head flung back, looking over R shoulder, counts 5 and 6.	1 measure.
Repeat (b) twice.			2 measures.
Hold final position and swing R arm in arch in front of body and out to R at shoulder height.			1 measure.
Repeat (a) and (b), bringing feet together at end of final measure.
Figure 2—18 measures.
Progress around circle, keeping back to center, with following step, hands on hips.
(a)		Step L foot diagonally across R, bending both knees.
		Step R foot back and to the side, step L foot behind R, step R to the side.
Repeat 8 times.			3 measures.
(b) Step to R and pirouette with arms circling overhead.			1 measure.
(c) Repeat (a).			3 measures.
(d)		Run 5 steps, starting L, toward one of the groups of Gypsies. Step forward on R foot and hold R hand out as though in supplication.	1 measure.
		Repeat 3 times, advancing toward a different group each time.	3 measures.
Repeat (a) for one measure.			1 measure.
(e)		Step L foot across R, bend L knee and extend R foot at side, then sweeping R arm across body in circle, raise body to standing position with feet together.	1 measure.
Repeat (e).			1 measure.
Repeat (a) in double time.			3 measures.
Pirouette in center of stage with arms circling overhead and pose with feet together, arms stretched out overhead and head flung back.			1 measure.
Figure 3—34 measures.
(a)		Step R foot to side, bring L foot to R heel, change weight to L foot, change weight to R foot. (This should be done on the toes with a slight bend in the knees.)	1 measure.
		Repeat to L.	1 measure.
(b)		4 mazurkas, starting R.	2 measures.
		Mazurka: Slide R foot diagonally forward R; bring L foot up to R heel and step on it, raising R knee high with R foot pointing down at L knee.
		Step forward R and hold with L foot at R heel, counts 1 and 2.
		Step back on L foot, count 3. Drag L foot back to position in front of R toe and then place weight on L foot, counts 4, 5, 6.	1 measure.
Step back L, dragging R foot to position. Step back L, dragging R foot to position. 1 measure.
(c)		Pirouette L, hands circling over head, and hold pose, standing with weight on L foot, L hand on hip and R arm extended over head.	1 measure.
		(An experienced dancer may substitute a leap-turn for the pirouette.)
		Pirouette R and pose.	1 measure.
		Pirouette L and pose, swinging R arm across body and back to position over head.	2 measures.
Repeat (b) through (c) three times.			24 measures.
Figure 4—12 measures.
(a)		Hold final position of Figure 3 for 2 counts, then drop on R knee, with body and head turned toward R and bent over R knee and L leg extended straight out behind. L arm swung back following line of L leg, count 3. Rise to standing position through 3 counts of music, swinging R arm forward and over head.	1 measure.
		Repeat to L.	1 measure.
(b)		Hold 2 counts in standing position, replacing hand on hip.
		With 5 two-steps forward, starting R, progress in a small circle around stage.
		Note: The two-steps should be done with the knees slightly bent and a swaying motion from side to side.	2 measures.
Repeat (a) and (b).			4 measures.
(c)		Step R and pirouette, 2 counts.
		With 20 large steps, starting R, run around circle, keeping back to center.
		Step R in center of stage and pirouette, ending with arms stretched out over head, and head flung back,	4 measures.
Figure 5—22 measures.
Four couples jump up from the group and take places in four corners of a square around the solo dancer. Man joins solo dancer as her partner for this step. This action must be spontaneous, as though the solo dancer had excited the rest so that they could no longer keep still.
The girls stand with their backs to the center of the circle. The weight is on the L foot and the R foot is extended toward partner. The R hand clasps partner’s R hand, the L arm is flung straight up over head.
The men stand facing the center of the circle in the same position as the girls.
The solo dancer and her partner take the same position as the rest of the group, standing in the center of the stage.
Hold position for 2 counts, then, swinging L arm down at side and keeping R hands joined, exchange places with partner with 4 running steps, starting R.			1 measure.
Repeat back to place.			1 measure.
Hold original position for 2 counts, then, placing hands on hips, with 5 two-steps, starting R, each girl advances toward the man in the couple on her L, each man advances toward girl in the couple on his L, while the central dancers dance around each other.			2 measures.
Take both hands of new partner and with feet together and bodies stretched away from partner, heads flung back, swing partner around in place.			4 measures.
Repeat whole, using two-steps to return to original partner.			8 measures.
Men stand in place facing center of stage, with arms folded and held high, watching the girls dancing around them.
Girls with hands on hips dance around partners with 11 waltz steps, starting R, and a pirouette L in front of partner.			4 measures.
Girl pirouettes R in front of man, who holds position, then man takes girl’s L hand in his L hand and lets her fall back over his R arm, while she supports herself with her R foot on the ground, her R knee bent and her L leg extended in the air.			2 measures.
As music ends, all exeunt laughing, singing and striking tambourines.

COSTUMES

Girls: Short, bright-colored skirts and blouses; bare legs; scarfs tied over the head; beads, earrings, bracelets, etc.

Men: Long dark trousers, bright-colored shirts, and scarfs tied around the hips.

Time. Christmas Eve.

Place. A dimly lighted hall or church.

Persons in the Tableau.

The Setting. A dark curtain background.

The audience is seated in a dimly lighted hall, at the windows of which long Christmas tapers are burning. When everything is still, far outside in the distance “Adeste Fideles” is heard. The song comes nearer. A group of singers dressed in choir robes enter and pass up the center aisle, singing in a glad, spirited fashion.

They group themselves in a semicircle in front of the stage, kneeling as they sing the “Amen.” The lighted tapers which they carry throw a lively, warm light on their young faces.

The curtains part, revealing the tableau of the Three Wise Men, their gifts of gold, frankincense and myrrh. They enter from the right and slowly move across the stage toward a great light, singing.

Tune: Traditional Melody

The singers down in front sing the chorus:

The King bearing gold sings:

The chorus chants:

The King bearing frankincense, sings:

Chorus chants the refrain:

The King bearing myrrh sings:

The chorus chants:

All three Kings sing:

The chorus chants the refrain and the Three Wise Men go off to the left in the direction from which the light came. The curtains close and choir sings:

Tune: Carol, by R. S. Willis

They swing from the “Amen” of this hymn to another old familiar one, “While Shepherds Watched Their Flocks by Night.” The curtain rises, revealing the tableau of the Shepherds. The persons in the picture pantomime the action as the chorus sings the words.

The curtains close on the “Amen.” The chorus sings:

Tune: Old Traditional German Melody.

After the “Amen” the chorus sings “Sleep, Holy Child,” as the curtain rises on the tableau of the Nativity.

English version by Frederick H. Martens; tune: Old French Noël, arranged by Herbert Tones.

The curtain closes as the chorus chants with bowed head the “Amen.” The singers rise and turning toward the audience sing “Joy to the World.”

Tune: Antioch.

The music changes to the same processional to which they entered. The chorus, with lighted tapers held high, pass down the aisle and away, singing as they go.

Adeste Fideles.

The “Amen” is heard way in the distance. The tableau is ended.

SETTING

Across the width of the stage is a dark curtain which hangs in deep folds. It opens in the center on a space wide and deep enough to stage each of the three pictures. Across the back of this space there should be a dark, midnight-blue, starry background against which each picture is set.

DESCRIPTION OF THE PICTURES

The Three Wise Men

The first picture is of the Three Wise Men on their way to Bethlehem. They are dressed in oriental robes and turbans. The first carries a pot of gold; the second, a jeweled casket filled with frankincense; the third, an incense holder filled with myrrh. As the curtains part, they enter from the right. Their gaze is fixed on a great light which streams from off-stage, left, on their upturned faces. They move slowly across the stage and toward the light as they sing “We Three Kings of Orient Are.”

The Angel and the Shepherds

The second picture is of the Shepherds watching their flocks by night. When the curtains part, two shepherds are seated at the right of the picture, half reclining against a rock. At their feet another lies asleep. A little to the left-center of the picture, two others are stretched on the ground. Suddenly there is a great light off-stage, at the left, and an angel robed in white appears from the direction in which the light comes. The shepherds sink back in fear and awe. The angel raises her left hand in token of peace, and turning toward the light, points with her right hand toward Bethlehem, where the Christ is born. The shepherds gaze a moment and then start to rise and follow, as the angel moves away in the direction of the light.

The Nativity

The last picture is the Nativity of the Manger. In the center sits Mary bending over the Christ Child. Behind her stands Joseph. Kneeling in front of her and a little to her left are the Three Wise Men, to her right the same shepherds to whom the angel appeared. The Wise Man at the extreme right of the picture stands with bowed head; the other two, at his left, kneel, one with outstretched hands, the other with head and shoulders bent low. At the extreme left of the picture a stalwart shepherd leans upon his staff, his gaze fixed in wonder upon the Child. At his right, one companion kneels; the others are prostrated on the ground. All the light in the picture seems to radiate from the Child, casting a beautiful radiance on the face of the Virgin. The figures stand immovable, wrapped in worshipful awe, as the choir sings “Sleep, Holy Child.”