_Illustrated London News_, 1911. A Javanese Topeng Dalang. _Kind und Kunst._ Vol. III. Illustrations of Puppet Shows. _Scientific American_, 1902. Puppet Shows of the Paris Exposition. _The Marionette._ Vol. I. _The Mask._ Vols. I, II, III, IV, V, VI, VII. _The Sketch_, 1916. Illustration of the Gair Wilkinsons’ Puppets. FOOTNOTES [1] Oh, ladies and gentlemen, patient sitters for portraits, what if the puppets do reverse the usual order of things? Must you not envy them? Think of having your portrait painted first, the portrait of the _ideal you_ by an artist, and then having a complaisant Creator fashioning your features into the nearest possible semblance of what you might wish to be! Think of it. How delightful for you and how simple for the portrait painter! [2] Only the principal male parts were allowed to speak Sanskrit according to the conventions of Hindu dramaturgy. Lesser male and all female parts were spoken in Prakrit. [3] There are many Italian names for the puppets. From _pupa_, meaning doll, is derived _pupazzi_. From _fantoccia_, also signifying doll, we have _fantoccini_, or little dolls. From _figura_, statue or figure, comes _figurini_, statuettes or little figures. _Burattini_ comes from _buratto_, cloth, being made mostly of cloth. _Marionette_ is a modification of _Maria_, the Virgin, meaning little Maries from the early statuettes in churches. Another explanation is found in the tenth century Venetian _Festival of the Maries_. Upon one occasion Barbary pirates carried off twelve Venetian maidens in their bridal procession. The rape of the affianced Virgins was avenged by Venetian youths and thereafter celebrated annually by a procession of richly dressed girls. These later were replaced by elaborately gowned figures carried year by year in the procession--hence Marionetti, little Maries. [4] The research of scholars has discovered in the Ulm versions of the Faustspiel the suggestion for the _Prologue in Heaven_, although in the puppet play it was held in the Inferno before Satan, not before Die Padre. _Faust’s Monologue_ seems patterned after that in the Tübingen play or that of Frankfurt am Main. The metaphysical debate between Faust and Mephistopheles has its prototype in the Augsburg Faustus. The tavern scene may have been drawn from a similar scene in the Cologne play. Similarly the Phantasmagoria of Blocksberg and other arrangements may be traced back to the old puppet show Faust. [5] Mrs. Browne, in any case, has not been discouraged. In 1918 she instructed her class in the dramatic department of the University of Utah in the principles and methods of marionette play, developing possible puppeteers for the future. The next spring we find her assisting Mr. Sarg in directing and staging his little puppet drama, _The Rose and the Ring_.