"After the parts had been written out and learnt by heart, the rehearsals began, and continued during the whole winter. Most of the actors could only be brought to a certain point of proficiency, and there they remained; but some, especially the actor of the first part, richly repaid the trouble taken with him, and won, both at the performance and afterwards, the highest praise. But what delighted me most was to observe the moral effect of this dramatic industry of the young people on the life of the village. The common councillors related, with joyful surprise--what had been unheard of in the memory of man--that this winter there had been no fighting, nor the least ill-behaviour. The lads no longer sat in the taverns, drinking; they practised their parts at home, neighbours and acquaintances listening to them. Although women were excluded from the stage, the young ladies and peasant women being represented by the boys; yet the women and maidens were called upon to co-operate in other ways. "For many things were to be procured for the theatre--decorations, costumes, and orchestra. The newly-built wing of the bath-house was chosen for the theatre; this wing contained the dining-room and the adjoining dancing-room; the first, a long room, the other somewhat smaller and a square; there was an opening in the wall from one room to the other, in the form of an arch. The dancing-room was to be the stage, and before the arch hung a curtain: the dining-room was for the spectators. A platform and benches gave more than a thousand seats, and a gallery attached to the wall opposite to the curtain served as boxes. The plan of the stage arrangements was devised by a genuine artist, the painter Disteli, of Solothurn, known by his pictures of Swiss battles; the union took charge of the execution of it. It begged the common council to signify what trees might be cut to supply the necessary timber; crowds went out; the trees fell under the strokes of the axe; the lads harnessed themselves to them, putting on the tinkling-bells of the sledge-horses, and exultingly dragged the stems down the steep hill-path to the saw-mill. Then came the carpenters of the village, assisted by a sufficient number of men; in a short time the theatre was ready. The decorations were much aided by the misfortune of a play-manager, who, with his company, had for a long time been giving representations in a neighbouring city, but then had been obliged, by the pressure, not of the public, but of creditors, to go away, leaving behind him the whole of his theatrical properties. The scenery, therefore, was in the custody of the city, and the theatrical union succeeded in hiring, for a moderate sum, what was necessary--a room, a street, a wood, and even a dark prison. The costumes were designed by the painter Disteli; he coloured not only the particular dresses faithfully, according to the attire of the time and place, but contrived how it might be most cheaply carried out, by using the