By the fourth or fifth rehearsal, if the actors can interpret their part naturally and convincingly, they will be ready to put on their costumes. Here many surprises await them. As an illustration of this the shepherdess in the play by that name made, for herself, a very correct little bodice. When she appeared on the shadow screen her silhouette was very disappointing. In order to give the right effect, a short length of cheesecloth was slashed six or seven times at the ends, and then drawn tightly around her, and the slashed ends were tied together down the front. You can see her in the illustration, as she kneels on the bridge manipulating one of the fighting sparrows in the first scene of _The Indian and the Oki_. The long heavy braids of this shepherdess were made of yarn. Any ordinary lantern or an electric light with a reflector may be used for lighting the screen. A screen 7 by 12 feet will require a 400-watt light placed about eighteen feet behind it. If you have very little space behind your screen, your lantern may throw a large disk of light. You can avoid this disk by fastening to the front of the lantern a piece of asbestos with an opening cut to the same proportions as the screen. There are many possibilities of using color in a shadow play. A safe rule to follow is either to use color throughout a play or not to use color at all. A sheet of colored gelatine placed in front of the light will diffuse color over the entire screen. The time of day can be suggested by color: pink for early morning, yellow for noon, yellow-orange for the late afternoon, blue or blue-green for night. In the second scene of _The Indian and the Oki_, yellow-orange gelatine was used to indicate the late summer afternoon. Under the cardboard kettle a red bulb, partly concealed by sticks and twigs, suggested fire. The depths of the sea can be suggested by covering the light with green gelatine and using cut-out shells, seaweeds, and water plants as scenery. Water sprites and fanciful sea creatures would be at home in such a setting. Music is a beautiful accompaniment for shadow plays, especially for Christmas and Easter celebrations. Imagine a shadow play in six scenes built about the Nativity according to the gospels of St. Matthew and St. Luke. _Scene I—The Annunciation_ “The angel Gabriel was sent from God unto a city of Galilee, named Nazareth, to a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin’s name was Mary. And the angel came in unto her, and said, ‘Hail, thou that art highly favored, the Lord is with thee; blessed art thou among women.’” (St. Luke, I: 26, 27, 28.) _Scene II—The Angel and the Shepherds_