“Well, Belangere mounted the steps pretty well that time. But don’t forget to take a stitch in her left leg; she still has a tendency to pivot.” “Yes, I’ll do it and I’ll lengthen her back string; I think that’s it ... and take away some of Aggie’s hump.” From the sublime to the absurd, no doubt. But there are the puppets hung up ... quietly and sternly gazing, each little character. No, they are not absurd, patiently, almost scornfully awaiting the subtler grasp of some master hand to bring out the rare potentialities sleeping within them. Awkward, silly dolls they may appear in a clumsy hand, but even we amateurs who serve them faithfully sense more than this in them. So, while we pull the strings and move these singular, small creatures in measured gestures we feel that we are handling crude but expressive symbols of large, fine things. THE MAKING OF A MARIONETTE The puppets used in the Cleveland Playhouse are neither realistic, humorous, nor clever. They are very simple, somewhat impressionistic and quite adequate and effective for certain types of drama. They appeal to the imagination of the spectator. Under favorable conditions one forgets their diminutive size, their crude construction, even their lack of soul. [Illustration: PATTERNS FOR THE MARIONETTE BODY DRAWN BY THE SCULPTOR, MR. MAX KALISH] These patterns for the marionette body were drawn by the sculptor, Mr. Max Kalish, especially for figures which were shown with little clothing on. If the dolls are to be dressed it is better to make separate upper and lower arms and legs, and to join them flexibly or stiffly, as the action of the particular puppet requires. The material we have used is soft white woven stuff (stockings from the ten-cent store!), which can be painted with tempera any color desired. The patterns shown allow for a good seam. The front and back are alike, also right and left limbs. Each marionette will need some adjusting which one discovers as one works along. We have used a narrow tape to join the arms and legs. The dolls are stuffed with soft rags or cotton. The limbs must be stiffly filled out and firm, the chest also. The lower part of the torso should be left softer. In the hands we insert cardboard to stiffen the wrists. We use lead to weight the dolls. Small shot is good for filling up the hands and feet. Larger pieces of lead are used for the torso, lower arm and lower leg. No lead is put in the upper arm or upper leg. The reasons for this will be discovered as soon as one practices manipulating the figures. Care must be used to have the body properly balanced and to have the feet heavy.