Miss Horniman staged _The King’s Threshold_ at her own expense, and she both designed and made the costumes. The costumes for the coming performances of _On Baile’s Strand_ are also her work and her gift and her design. She made and paid for the costumes in _The Shadowy Waters_, but in this case followed a colour-scheme of mine. The colour-scheme in _The Hour-Glass_, our first experiment, was worked out by Mr. Robert Gregory and myself, and the costumes were made by Miss Lavelle, a member of the company; while Mr. Robert Gregory has designed the costumes and scenery for _Kincora_. As we gradually accumulate costumes in all the main colours and shades, we will be able to get new effects by combining them in different ways without buying new ones. Small dramatic societies, and our example is beginning to create a number, not having so many friends as we have, might adopt a simpler plan, suggested to us by a very famous decorative artist. Let them have one suit of clothes for a king, another for a queen, another for a fighting-man, another for a messenger, and so on, and if these clothes are loose enough to fit different people, they can perform any romantic play that comes without new cost. The audience would soon get used to this way of symbolising, as it were, the different ranks and classes of men, and as the king would wear, no matter what the play might be, the same crown and robe, they could have them very fine in the end. Now, one wealthy theatre-goer and now another might add a pearl to the queen’s necklace, or a jewel to her crown, and be the more regular in attendance at the theatre because that gift shone out there like a good deed.