In the _Adventures of Alice_, it was necessary to have a caterpillar, a frog footman, a Cheshire cat, a pig baby, a dormouse, and a March hare. The Tenniel illustrations for _Alice in Wonderland_ and _Through the Looking Glass_ were closely followed. The students who made these animals tried to give to each one the character which it had in the story. The heads of the caterpillar, the frog footman, and the March hare were first modeled in clay. Molds were then made from these modeled heads. Then papier-mâché heads were made in just the same way as the papier-mâché heads of the true marionettes. To the papier-mâché head of the caterpillar was attached a body. Nile-green silk was used for the upper part and yellow-green silk for the under part. Half hoops of dress cord were stitched to the under side of the back, in order to indicate the segments. A rubber tube for smoke passed through the body from mouth to tail. Because the caterpillar was almost human, he was given hands and arms. The frog footman had a frog’s head, throat, and webbed hands, and the body of a footman. The March hare had the head and forepaws of a hare and the body of a country gentleman. He was made to appear rather simple, credulous and bland. He had great ears, side burns, and an engaging air, which belied his occasional impatience. The white rabbit was brisk and dapper. He was conscious of his shell-pink ears, fetching whiskers, and the large elegant watch which he drew from his pocket with a flourish. Marionette animals such as dogs, cats, and pigs may be made from cloth. Even dragons may be made from cloth. Every animal marionette presents a new problem for your ingenuity to solve. The directions and suggestions which are given in this chapter are meant to guide and to help you. However, it will be your own experiments and inventions which will give you the greatest satisfaction and lead you on to new achievements in the art of puppet-making. [Illustration: [Scenery]] CHAPTER VI Making Your Scenery The stage is made. The puppets have a floor to walk upon. Is anything more required? You say, “Oh, yes, there must be scenery before it will be a real stage.” Who shall plan and make this scenery? Shall this be the work of one pupil or the work of the whole group? All will want a share in it. This means that the large group should be divided into smaller groups and that each group should be made responsible for a scene. Let us suppose you have dramatized Howard Pyle’s _Men of Iron_ and made a play of four scenes. In order to give the same note of unity to the scenery that you are trying to give to your play, every scene must be in harmony with every other scene and with the whole idea of the play.