At the beginning of his experiments with marionettes Mr. Craig and his assistants constructed one large and extremely complicated doll which was moved on grooves and manipulated by pedals from below, with a small _telltale_ to indicate to the operator the exact effect produced. But this marionette was not satisfactory for Mr. Craig’s purposes. He then directed his energies in an exactly opposite direction, toward simplification. The result was small, but very impressive dolls, carved out of wood and painted in neutral colors,--the color of the scenes in which they moved, to allow for the fullest and most variable effects produced by lighting. Most interesting, too, the manner in which Mr. Craig applied his theories concerning gesture with these little puppets. Each marionette was allowed to make one or two gestures,--no more. But these gestures had to be exact, invariable, and the perfect indication of whatever meaning they were intended to convey. Before inventing the action of a puppet, Mr. Craig would study, for days or weeks, watching various people making the movement and expressing the emotion he desired to portray. Then he would extract from these observations the general and essential qualities of this particular gesture; all else, due to the peculiarities of individuals, was left out as irrelevant for the stage. Hence when Mr. Craig’s puppet moves, it moves simply, significantly and--one more essential--surely. For nothing is left to chance. The gesture, once selected, is produced with infinite care and is made invariable. No whim of the manipulator, no accident of chance, can alter it. One motion of the finger operates the figure, and the result is assured. Naturally a character may be required to exhibit varied succeeding emotions, not encompassed by one or two motions. In that case the figure is taken off the stage and replaced by another similar in appearance but differently articulated for a different purpose. There are sometimes as many as six or eight puppets for one character. Mr. Craig has experimented with his marionettes in many plays, some comedy, some tragedy. It is not recorded whether he has ever given one finished puppet production: it is immaterial. The idea embodied in these little puppets is immense,--a valuable and lasting contribution to constructive dramatic criticism. _The Marionettes in America_ “They come from far away. They have been the joy of innumerable generations which preceded our own; they have gained, with our direct ancestors, many brilliant successes; they have made them laugh but they have also made them think; they have had eminent protectors; for them celebrated authors have written. At all times they have enjoyed a liberty of manners and language which has rendered them dear to the people for whom they were made.” ERNEST MAINDRON