Both kinds of puppet-show flourish in France, and have there been lifted to a more elevated plane of art; and both kinds retain their popularity in Italy, altho in an humbler form. The French are inveterate artists; and they are like the Greeks in desiring to do all things decently and in order. The Italians have, perhaps, a stronger native gift for the drama and they are ready to enjoy a simpler and more primitive puppet-play. It is from Italy that we who speak English have derived our Punch and Judy. Mr. Punch is a direct descendant of that favorite figure of robust Neapolitan farce, Pulcinella; and so is the French Polichinelle. And in Italy to-day the true marionettes have an even broader popularity than the Punch and Judy figures. The Italians who have lately flocked to America in their thousands, until New York now contains more of them than Venice, have imported in the original package the legendary puppet-show setting forth the romantic stories of the Middle Ages and of the early Renascence. We look upon Mr. Punch as comic; but the Italians take their pleasure seriously and the marionettes in their puppet-shows to be seen in New York are truly heroic, and not infrequently highly tragic. [Illustration: Roman puppets Greek and Roman puppets Puppet of Java] In the interesting discussion of 'Medieval Story,' in which Professor W. W. Lawrence of Columbia University has traced the influence of various ideals of the Middle Ages upon our modern social organization, he has a striking description of the marionette performances which the exiles of Italy have brought with them to America. "Any one who walks thru the Italian quarter of New York City in the evening may notice over a doorway an illuminated sign, 'Theater of Marionettes.' If his curiosity tempts him inside, into the low room crowded with enthusiastic spectators, he will see, on a rude stage, a group of puppets almost as large as life, representing knights and ladies, acting out a little drama in response to the jerking of strings fastened to their arms, and of iron rods firmly fixed in their heads. The warriors are gorgeously attired in shining armor and plumed helmets; and the ladies have wonderful costumes of bright colors, with a great deal of embroidery and decoration. An Italian in shirt-sleeves in the wings at the side of the stage speaks their lines for them, with all the elocutionary flourishes which he can command. Fiercely immobile as to expression, but most active as to arms and legs, these manikins march about, soliloquize, make love, and debate in council. But it is their battles which arouse the greatest enthusiasm among the audience; and, indeed, these are fought in a way that is a joy to see. Then it is that heroic deeds are done--tin swords resound upon tin armor, helmets are battered about and knocked off, dust rises from the field, the valiant dead fall in staring heaps. At such moments the spectators can hardly restrain themselves