[_Music of “Adeste Fideles” instantly begins, ff.; the curtain comes down; then rises again to show_ MARY _coped and crowned; then after one chord all begin to sing—all on their knees. At end of first verse_ GASPAR _rises, then_ MELCHIOR, BALTHASAR, ZACHARY, TWO SHEPHERDS, ABEL, MARTHA, DAVID, SERVANTS, ANGELS—_each one by one comes up, genuflects at dais, and kisses the_ CHILD’S _foot and_ MARY’S _hand. Meantime_ JOSEPH, _kneeling at side, censes them. At end of last chorus, as last line begins_, MARY _stands, and as she makes Sign of Cross with_ CHILD, _all cross themselves_. CURTAIN. [Illustration] APPENDICES I. THE SCENERY The stage on which the play was acted was about four feet in height, twenty-four in width, and twenty-four in depth. It was furnished temporarily with footlights consisting of gas-tubing pierced by seven burners shaded with tin head-lights permanently fixed, two side-lights also permanent, and two incandescent burners behind the back-scene. As substitutes for all these except the last, oil lamps are suggested, hung or standing and guarded with wire; for the last, a strong acetylene light. The scenery throughout consisted of these things only—a permanent back scene, hung from a roller, constructed of opaque, dark, grey-blue paper pierced irregularly with very small holes; six wings, three on a side; two dark curtains hung on a wire to slide backwards or forwards across the back-scene, about a dozen dust-sheets and a quantity of brown paper and cotton-wool. (It must be remembered that the object was not to produce startling stage effects, but rather a soothing and suggestive background.) These extremely simple accessories were employed as follows: _First Scene._—The curtains were drawn back out of sight altogether behind the backmost wings. The floor was entirely and irregularly covered with dust-sheets, and, to aid the appearance of irregularity, various objects, such as footstools and blocks of wood were placed beneath them. The wings were managed in this manner. Each of them was a light framework of about three feet in width and ten in height. One side of them (that presented to the audience in this scene) was covered with large sheets of brown paper of all shades, deliberately crumpled and bulging, and, here and there stained with paint. Upon the upper side of each irregularity was gummed a flat thick piece of wide wadding, following the curve of the paper, to represent fallen snow. These six wings, placed of course not parallel with the back-scene but slightly towards it, provided three exits on each side, two of which only were used.