The boy who painted the tapestry for this scene went to books and to the old tapestries in the art museum for his inspiration. He produced the effect of rich tapestry by painting directly on the beaver board, with thin vertical strokes of pure color. Another student produced the effect of stained glass by making a design on tracing paper, painting it on both sides with water colors, and then fastening it to the window opening in the back drop. Manila, Haytol, or oak tag paper may be used instead of tracing paper; you can make them translucent by brushing both sides with a little linseed oil after the water colors are dry. A light placed behind these stained-glass windows brings out their designs and colors. In the fourth act, which is the tournament scene, the time of year is late summer, the time of day is late afternoon. On the back drop was painted a landscape of the surrounding country, hills, trees, and a distant castle. The sky was painted a pale gold to signify the success of Myles in the combat. The royal box and fence were painted a dark earth brown. The box was enriched with gold and colorful hangings. These directions are not meant to be followed. They are merely offered as suggestions, to assist you in meeting the problems your play may present. Every boy and girl ought to feel free enough, in every phase of his work, to express his own ideas. This should be equally true in arranging or writing a play, in making a marionette, in planning and constructing properties and scenery, and in experimenting with lighting. Few pleasures in life compare with the pleasure of creating something. In planning your scenery, much depends upon the plan and the type of stage you have chosen. No matter what the play or what the stage, you can make no mistake if you keep your backgrounds simple. Some of the greatest artists use no scenery. They produce their effects simply by means of curtains and lighting. Begin your experiment by using curtains. A light gray curtain for a back drop and the sides of your stage can give many charming effects, as you will discover when you begin experimenting with colored lights. [Illustration: _Scenes from the Marionette play, "Men of Iron."_ ] Few things will show your judgment and good taste more than your scenery, which must be first, last, and always, a background for the marionettes. This means that it must be either lighter or darker than the puppets, so that they can be seen against it. It must be so simple that the eye can follow the marionette easily, and not be lost in the detail of the background, which will happen if there are too many colors, and the colors are not of the same value. The scenery should not be an end in itself, but should be a beautiful setting for the marionettes, and by its fitness give an added sense of the beauty of your play. [Illustration: