Mutilated bust. Black stockings are drawn over the arms to the required height

The light can be thrown on the stage from the front alone, which gives a most artistic effect to a complete statue.

To light a mutilated statue, however, a twelve-inch-wide slit must be made in the side-pieces of the screen nearest the background from top to bottom. Outside these slits are placed two strong standard lamps with good reflectors, so arranged that the light from them is thrown on to the background behind the figure, for if a mutilated statue were lighted from the front, shadows of the blocked-out parts would be thrown on to the background, with grotesque, not to say comic, results.

Above the front of the screen a framework must be placed, from which curtains can be hung, arranged to draw back as far as the edges of the black screen only, thus hiding the lighting arrangements, etc., from the front. The making of the pedestals is a very simple matter.

Ceres, with the horn of plenty, manufactured from white paper

For a foot pedestal the small box is simply covered with white paper neatly pasted down at the edges, and it is ready for use.

For a bust pedestal, a bigger packing-case - consisting of three sides only - is stood up on end, and after having had a circular piece sawn out of it, as shown in the illustration, just big enough to admit the upper part of the statue's body, must be covered with white paper.

The statue kneels inside the box on cushions, which may be placed on a hassock if it is necessary to raise her higher. She will thus appear to the audience as a bust placed on a pedestal. By drawing a pair of black stockings over the arms, and side lighting, she is at once transformed into a classic fragment.

The girl performers chosen for statuary should be either statuesquely beautiful or of the petite type, for which not only small, delicate features, but pretty rounded arms, are a necessity.

The awakening of Galatea. If the sculptor appears in this tableau he should be dressed to represent a living man

Melody, holding a lyre in her hand

The "Bust" getting inside the pedestal, which is made from an oblong packing case covered in white paper

A dimpled child as Cupid, wreathed in roses and clad only in a little short tunic, with a white bow and arrow and little quiver hung over one shoulder, posed in the act of loosing a shaft, would bring immense applause.

The whitening of the statues is a most important matter. The only thing in the writer's experience which will really turn a human being to the colour of white marble is Clarkson's Pagliacci Cream, which costs 3s. 6d. a box. A stick of cocoa butter must be provided to remove the cream.

The statue, having been garbed in classic raiment, with the help of a couple of narrow sheets, a good supply of steel safety pins, and some wide white tape, should be partially whitened with Pagliacci Cream before being placed upon the pedestal and receiving the final touches of white upon her face. This operation entails the shutting of her eyes, which must be kept closed throughout the tableau, while her eyelids are whitened, and eyebrows and eyelashes carefully coated with cream, so as to block out all colour.

If the statue is to appear mutilated, now is the time to draw on the stockings in order to block out the arms.

If a bare foot is to appear - and this gives a very realistic effect to the statue - it should not be whitened until the statue is actually on the pedestal, or in walking thither she will leave traces upon the floor.

There are numberless picturesque poses which can be chosen for statues to assume.

"Diana Off to the Chase," copied as closely as possible from a picture postcard ; " The Four Seasons"; "Fame," holding aloft a laurel wreath made of laurels whitewashed ; "Faith, Hope, and Charity," one or two tiny children being introduced in this tableau ; " Motherhood," hugging to her a tiny child wrapped in a white sheet, with only its little bare feet hanging out, so that those only need be whitened. " The Awakening of Galatea" is effective, but the sculptor, in smock and coloured scarf, should not be made up as a statue.

For the Dresden china figures a man and girl of similar height should be chosen, and posed on two pedestals a few feet apart. He bowing low and taking off his hat, she curtseying ; he pleading on one knee, she rebuffing him; he bowing, hand on heart, she proffering a rose - all these poses would make a pretty series. The curtains should be drawn for a moment while the statues change their poses.

Black and white pierrot and pierrette tableaux - both figures dressed in white duck, wearing dish-frills for ruffles, and pompons made of black darning-wool - should be very flippant in character and illustrate the story of one little affaire de coeur in a series of half a dozen poses.

To whiten pierrots' and pierrettes' faces, a little white grease paint, instead of Pagliacci Cream, might be used, rubbed well in with the hands, and then thickly powdered. Their lips might be painted red, and they could have their eyes open.

The finishing touches to a mutilated statue. Whitening the closed eyelids and eyebrows with cream. The eyes must be closed throughout the tableau