The throne and stool shown in the photograph on page 178 were made from beaver board, after designs of Gothic furniture. The design was first drawn on the beaver board; to the design were then glued pieces of rope clothesline, while small rolls of papier-mâché were glued on for the lowest relief. The entire surface was then covered with pieces of unbleached muslin which had been soaked in whiting, glue, and warm water. When this was dry a coat of dark earth-brown oil paint was applied. Lastly a small amount of gold was rubbed over the design. The result resembled rich carved wood. Much can be done with papier-mâché in the making of minor properties, such as croziers, maces, harps, lutes, jewel boxes, helmets, shields, sword handles, and scabbards. Properties should add to the beauty of a scene, never dominate it. They will be much more convincing when they suggest rather than minutely imitate the actual object. A background may be no more than a box hedge and still be most charming. Everyone is familiar with the beauty of woodland settings. Masks of spring, summer, and the harvest time of Shakespearean plays almost demand some such setting. Masks of winter bring us indoors. Possibly the best indoor background is the simple gray curtain of velvet, velveteen, monks’ cloth, outing flannel, or cambric. Against it costumes are seen to advantage and lights of all colors may be thrown against it successfully. Since a mask is a highly conventionalized form of drama, it is possible to use a background painted with appropriate decorative or symbolic designs. An illustration of this is the symbolic pine tree painted on the wall of the temple courtyard for the Japanese _No_ dramas. Screens of various kinds are full of possibilities. In the church or Sunday school, classroom, auditorium, library, or settlement, in the yard, playground, or park, ingenuity, imagination, and taste will always create a fitting background. [Illustration: [Tree]] [Illustration: [Charioteers]] CHAPTER V The Mask with Pantomime, Music, and Dance The wearing of masks made it difficult for the Greek actors to speak their lines. Naturally they came to rely upon gestures quite as much as upon words to carry their meaning to the audience. This interpretation by gesture led to the development of the art of pantomime. The great pantomimists had wit and humor. They knew how to take a story and improve it in the telling. Their hands expressed more than their words, and their gestures were a language that all understood. Masks made it possible for each actor to assume different rôles, and his mimicking was in keeping with the character of the mask he wore.