[6] At the same time a less successful and quite unfinished dress rehearsal of another drama was performed; but this play on which the manipulators had labored for many months was abandoned because of too great difficulty in manipulating ... and because of other complications which shall be nameless. [7] Mr. Alfred Kreymborg informs me that _Lima Beans_, one of his amusing little poem-mimes, was played by puppets in Los Angeles, under the direction of Miss Vivian Aiken. Mr. Kreymborg has written that he considers “the only possible approach to a Synthetic stage is derived from the marionette performance.” Of the puppeteers in Los Angeles, one would like to hear more. [8] Mr. B. Pollock, 73 Hoxton St., London, writes: “I still publish Juvenile Plays and also supply foot lights and tin slides which are used with the theatre. I have now been carrying on the business for forty-two years and my father-in-law about thirty-eight years before me.” [9] Mr. G. Bernard Shaw has written of England: “The old professional marionette showmen have been driven off the road by the picture theatre. I am told that on the Continent where marionettes flourish much more than here, they have suffered the same way from the competition of the irresistible pictures. And I doubt whether they will recover from the attack. I am afraid there is no use pretending that they deserve to.” How consoling to turn to Mr. Gordon Craig, who has prophesied optimistically in _The Marionette_: “Burattini are magical, whereas Cinema is only mechanical. When a framework of a film machine is one day found by curiosity-hunters in the ruins of a cellar and marvelled over, the Burattini will still be alive and kicking.” _Index_ Ache, d’, Caran, designs silhouettes for _Chat Noir_, 98–99. Actors, used with marionettes, in Italian church festivals, 51; in medieval French churches, 82; in Germany in seventeenth century, 123–125. Aiken, Vivian, 183. _Alice in Wonderland_, in Chicago, 178. America, marionettes in, 163–191. American Indians, use of articulated images in ceremonials, 164–170. Ames, Winthrop, interest in marionettes, 184–185. Ananda, annual performance in temple, 30. Anatole, M., founder of the Vrai Guignol, 107–108. Antinoë, excavation of marionette theatre in, 16–17. Antiquity of puppets, 15. Antwerp, underground theatre in, 141–142. _Apotheosis of Bacchus_, representative Greek show, 19. _Apuleius_, quoted on Greek puppets, 18. Ariosto’s _Orlando Furioso_ in Sicily, 71–76. Aristophanes’ _The Birds_ in puppet performance, 105. Arlecchino, Italian puppet character, 22, 57. Baden-Baden, puppet show of Ivo Pühony, 134. Bali, Wayang plays in, 28. Belgium, puppets in, 140–142. Bergerac, Cyrano de, duel with ape, 84. Berlin, production of _Doctor Sassafras_ and _Two Dancing Chinamen_, 134–135. Bertrand, French showman, 86–87. _Birds_ of Aristophanes produced, 105. Black, John, 182.