First came what the editor called a "prospectus," and even Mr. Hayne caught himself laughing when or, as John Derry said afterward: "That means a 'what I'm going to do.'" It was by no means long, and it was followed by a very well written "leader" on the general subject of " boys." There were two booknotices," and a conundrum, but it had evidently not occurred to Andy to bring in any "fun." On the whole, every one of the other editors was glad when it was finished, if only for the sad conviction he had that the "Review" would get the habit of being the best edited paper in the whole school. "Mr. Jefferson Carroll will now read The Spy,'" said Mr. Hayne. 'Skipping all around," was Otis Burr's mental comment, as a faint chuckle came to his ears from Jeff's desk. Jeff was promptly on his feet. Not a breath of anything like a "prospectus" opened "The Spy." Instead thereof, began a high-sounding essay on the great question of "How did the cow get into the Park?" and this was followed by a vivid "report" of the May Queen election. Jeff was wise enough not to speak of any of the young ladies by their real names, but the boy politicians were described as acting under the leadership and direction of the great Pug Merriweather. Not one of them escaped a good taking off, the several criticisms upon them being set down as coming from the wise lips of Pug. As Jeff himself declared, editorially, his list of "local items" would have been longer if he had been given more time to gather them. Otis Burr was almost taken by surprise in being called upon next, for the "Plunger." His face was as red as his hair when he arose, but it almost instantly grew solemn as he began to read a stirring account of the "Fight for a cocoa-nut," in which Jack Roberts was made to figure as at least a regiment and his antagonist as a whole tribe of Indians. Pug Merriweather appeared as a defenseless settler, and the cocoa-nut was described as nearly losing its scalp. Otis had not given all his space to "war," for he followed that with an article severely pitching into a make-believe quotation from some imaginary former number of Andy Wright's "Review." Before he had read a dozen lines of the "extract" itself, Andy was squirming on his seat with vexation, for it was an odd mixture of bad grammar, Irish brogue, and all sorts of broken English, not to speak of slang. Otis gravely wound up with: "The author of this wretched piece of nonsense does not know how to spell, much less how to conduct a 'Review.' He should at once place himself under the care of our gifted friend, Professor John Derry." 66 It was John's turn to squirm a little, for it was plain that he had been mentioned by his friend the editor of the Plunger' as the last boy in school who was likely to be able to teach, even spelling, to Andy Wright. Charley Ferris followed, with his “Journal,” and Joe Martin with his "Register," but they complained of the short notice they had had of publication day. Will Torrance had been waiting as patiently as he could, and when at last his name was called, it seemed to him as if something chilly had come over that school-room. The fact was, he was conscious that everybody had heard enough. He only read, therefore one of the three pieces of poetry he had selected from his own writings for the occasion. It was pretty long, but it rhymed fairly well and paved the way for what Jeff Carroll had suggested to him—a leading editorial article on chickens. There was a suppressed giggle all around the school when he announced his subject, but it died away when he added that he intended to write, this time, about "Our Coop,” and went right on with a decidedly personal description of the young gentlemen around him. It was pretty good fun, but some of the boys failed to see why Will need have been so careful to explain the difference between chickens and geese, and then to add that many people would be unable to see it plainly, after all. He wound up with a notice of an excursion to "the lake," on Saturday,-to-morrow, -by" that ancient and honorable society, the Ramblers' Club," which hardly any of them had ever heard of before. "Young gentlemen," said Mr. Hayne, after Will sat down, "the hour has arrived for closing school. I will examine these papers carefully, and give you my criticisms next week. I must say, however, that I am very well pleased with so good a beginning. It is much better than I expected." All the editors were proud of that, and the boys whose turn was to come determined in their hearts It was easy enough to abuse a thing like that, to beat anything which had been read that day. (To be continued.) AN ITALIAN FISHER-BOY MENDING HIS NETS. EMSS THE GIANT PICTURE-BOOK. (A new style of Tableaux Vivants.) By G. B. BARTLETT. THIS curious novelty can be produced with very little trouble in any parlor, by children, for the amusement of their friends, or in a public hall. A little girl dressed in white is discovered on a couch strewn with picture-books and toys, as if she had fallen asleep at play. She is dreaming of the pictures as they are shown in the great book which leans against the wall in the center at her right. The Fairy Godmother rises from behind the couch, and stands on a cricket above and behind the child. She is dressed in,red (paper muslin or some cheap material), with long pointed waist over a black skirt. Her high pointed hat and her shoes and stockings are red, and she wears a white ruff about her neck and another inside her hat, which has a wide black band and a gilt buckle. She holds in her right hand a cane with a bar across the top, and after saluting the spectators, she sings: Sleep, darling, sleep! My fairy watch I keep, In dreamy visions I call to view Your childhood's friends so tried and true- The Fairy Godmother then springs down from her perch, and opens the picture-book (which will be explained hereafter), taking care to open the cover and fly-leaf together, and a life-sized picture is seen; after waiting a moment she shuts the plain or fly leaf, which she opens again as soon as the picture has been changed; and so on, until the effect produced resembles an actual exhibition of a great picture-book by turning over its leaves. When all the pictures of one story or series have been shown, the Fairy may shut the book, which will be the signal for the curtain to be dropped or for the folding doors in front of the sleeping child to be closed. After all the pictures selected for the evening have been shown, the characters, still in costume, are displayed in one group around the room, or stage, in a semicircle which is opened in the center, to allow the opened book, still containing a lovely picture, to be shown also. After they have remained still in tableau for one moment, the Fairy, who has resumed her place upon the high cricket, waves her cane and sings to some pretty lullaby tune this verse, in which all join; during which the little girl wakes, rubs her eyes, jumps off the couch into the center of the room, makes a bow to each one in order; they return her civility, and all bow to the audience as the curtain falls: Wake, darling, wake! For we our leaves must take, Now, we must explain how the picture-book is made, as it can be used hundreds of times for all sorts of pictures. By a little change of decoration on the cover, it can serve as a history in which historical pictures can be shown-or it can be made to illustrate miscellaneous selections, or some well-known story. Place a long, solid table against the back wall in the exact center, and procure two boards one inch thick, six inches wide, and just long enough to touch the ceiling when they stand upright, leaning against the table. They must fit well, for they must be firmly fastened to the floor as well as to each of the front corners of this table. Having found the exact height of the boards, lay them on the floor and see that they are straight and parallel and just four and a half feet apart. Fasten upon them four strips of board six inches wide and five and a half feet long, one at each end of the boards, one at thirty inches from the bottom, and one six feet above the last-named. The strips must be fastened firmly with two-inch screws to each board, going through one into the other. Tack white bleached muslin on the upper strip and draw it tight by tacking it to the strip next below, then fasten another piece from the lowest strip to the strip which is thirty inches above it. Tack both pieces of cloth also to the outer edges of the long boards, and cover all the cloth and the boards which show, with white or tinted printing-paper; after this is done you will have an opening six feet high and four and a half feet wide. Then raise the whole until it is upright, and fasten it to the table by means of the second strip, which will lean against it, as most tables are about thirty inches high. If there should not be a chandelier near in front, to light it sufficiently, a gas rod with ten burners in it can be placed on the inner side of the upper bar, and fed with an elastic tube, which can be arranged by a plumber at a trifling expense; but unless a very elaborate exhibition is proposed, the ordinary light will probably answer. Shawls or curtains are hung on each side of this frame to the corners of the room, which will allow a passage for the performers; and a chair is placed at each end of the table so that they can step up and down out of the frame, behind which a curtain of dull green cambric is tacked on the back wall. The performers are to stand in a line behind the side curtains, at the right side of the hidden table, ready to step into the frame the moment the fly-leaf is shut and the former occupants have stepped down. The fly-leaf must be made by covering a light wooden frame with muslin, on which printing-paper is pasted. It must be as high as the ceiling and five and a half feet wide, and it is hung on common hinges at the right outer edge of the upright board which forms one side of the frame. Behind these hinges a long strip of board, two inches thick and the height from the floor to the ceiling, is securely nailed, to hold the hinges of the cover so that it can swing freely apart from the fly-leaf without interfering with its motion, for although the fly-leaf is often opened with the cover, it is closed by itself when the pictures are changing, as the cover is only shut when one set of pictures is ended. The cover is like the fly-leaf only that it is decorated with pictures or ornaments at the corners and margin, and if in a large room it might have the title of the story to be shown. These titles can be made on strips of paper eight inches wide and three feet long, with black or colored chalk crayons, and can be changed whenever the curtain is shut. If for the entertainment of little children, the Fairy can tell the stories (which are too well known to require any description here), or she can read any of the stories aloud if she has no gift at story-telling. In the sketches of pictures introduced here, the very effective costumes and properties can be furnished in almost any house with very little trouble or expense, and the skill and taste used in preparing them will add much to the enjoyment. IN the first picture, Cinderella is crouching in the left corner; her head is bowed, and her face is hid in her hands, as if crying at her disappointment in having to stay at home from the ball. The fairy godmother is bending over the prostrate girl, as if about to arouse her from her sad revery, and is pointing up with her stick, which she holds in her right hand. Cinderella wears a loose brown robe, under which is concealed a white muslin dress, richly trimmed with stars and fringe of goldpaper. The godmother's dress and stick are described on the preceding page; the colors of it may be altered if preferred. Second Picture: The same characters as in the first; same positions, excepting that the godmother and Cinderella have changed sides. The loose robe has been pulled off, and Cinderella stands proudly in the center, in a dancing attitude, contemplating with delight her beautiful ball-dress. The godmother is lifting up a large yellow pump kin, as if showing Cinderella that her carriage will soon be ready; and a box lies at her feet, to represent the trap in which the horses are stabled, ready for the trip. Cinderella should be a blonde young lady, with small hands and feet, and a graceful, slight figure. Third Picture: The Prince and Cinderella stand as if about to lead the dance, in the attitude of the old-fashioned minuet; his right hand holds hers high, as she holds her dress with the left. Their left feet are extended, and their heads turned toward each other. The dress of the Prince can be made of light-blue sateen, trimmed with puffs of pink on the shoulders and at the sides; he has loose trunks of pink with light-blue puffs, and pink stockings. Two ladies in court-dresses, similar to those described on the next page, may be introduced, one at each side, to represent other dancers. Fourth Picture: Cinderella in terror is flying from the ball, her old ragged dress on, and a dingy handkerchief tied loosely over her head. Fifth Picture: Cinderella is meekly asking the Prince to let her try on the glass slipper, which he holds, standing in the center. At the left, her angry sisters turn away in disgust, because they could not succeed in wearing the slipper. sisters are dressed very showily, but Cinderella still wears her old brown costume, as she stands at the right of the Prince, with downcast eyes and extended hand. The FIRST PICTURE: A small boy stands looking up into his mother's face in terror; her right hand is raised above him in anger, as if she intended punishing him for selling the cow to so poor advantage. She wears a black dress with very high panier over a gray underskirt; a white kerchief over her shoulders, and a high pointed white cap. Jack wears red stockings, yellow trunks, a loose red jacket trimmed with yellow points. He holds in his left hand a round red cap, which is partly filled with beans, some of which, being strung separately on fine black silk, seem to be falling out of the cap. Second Picture: Jack is climbing up the beanstalk, which is made of a rake-handle or long pole, one end being fixed in the table and the other out of sight in the picture; a cross-stick on which he stands is made of an old broom-handle, two feet from the bottom of the picture; another cross-stick five feet higher he clings to with his hands; and all the sticks are covered with dark cambric. green Third Picture: The Giant is seated at a table; before him is the celebrated hen, and behind her, several golden eggs lie on the table (these are easily made by covering china eggs, or real ones, with gilt paper), while the hen is easily cut out in profile (as only one side is seen), on which feathers are drawn with crayon or stuck with glue. The giant is partly concealed by the table upon which he really kneels, and a large cloak covered with red calico and stuffed with pillows makes him very large; and his head is made by covering a bushel basket with unbleached muslin, on which a face is drawn, red carpet yarn being sewed on the back to represent hair. Fourth Picture: Jack and his mother sit one at each side of a table, contemplating with wonder the hen and the two bags of gold. The table used in all these scenes is only a board ten inches wide, covered with a white cloth and furnished with rough legs which do not show. Fifth Picture: Jack is raising his hatchet to cut down the bean-stalk, and by his side is an enormous golden harp, which is made of pasteboard in profile, covered with gilt paper. SERIES NO. 3. FIRST PICTURE: The merchant is taking leave of his daughters; Beauty is in the center winding a scarf around the neck of her father, while her proud sisters stand one at each side with extended hands, as if urging their father to bring them rich and costly attire. Beauty looks down, as if too modest to ask for any gift but a rose. BEAUTY AND THE BEAST. The sisters wear silk dresses of as brilliant color as they can find, with long trains and square necks, which are easily contrived by sewing a square of white muslin upon the dress waists of their mother's dresses, the skirts of which will do for court trains. Their hair is rolled over a cushion, powdered, and dressed with feathers or flowers, which can be borrowed from bonnets. Beauty wears a plain loose waist of white muslin over a plain black skirt. Her hair falls loosely. The father has a square-cut suit (to arrange which, fold the skirts of a sack coat away in front to form square corners, which, with the lapels, must be faced with white paper-muslin. The vest is covered, and also lengthened a quarter of a yard in front, with the same, and large flap pockets are added. Pantaloons rolled to the knee do very well for breeches, with long stockings and low shoes, and a felt hat can be pinned into a chapeau by turning up one side and fastening the other corner into a point. Second Picture: The father is plucking the rose from a bush which stands in the center, covered with paper roses. The Beast, with uplifted club, seems about to destroy the old man, who stands with knees together and hands down in a comic attitude of despair. The Beast wears a fur cloak or mat over his shoulders, pinned around his waist and reaching to his knees below the tops of long pink stockings. His arms may be bare, and he wears over his face a mask, which may be bought at a toy-shop, or made of brown paper. Third Picture : The father introduces his daughter to the Beast, who stands as if bowing low at the right. Beauty is at the left, drawing back, and making a courtesy. She is dressed as before, with the addition of a shawl pinned over her shoulders, and a red handkerchief over her head. Fourth Picture: Beauty's return home, in which scene she is embracing her old father, who seems in raptures; they are in the center while the proud sisters stand one at each side, one looking off in anger, and the other gazing with envy at the happy pair. Beauty has a rich silk dress of a style similar to that shown in the first picture. Fifth Picture: Beauty is asleep in her chair in the center, while her sisters bend over her in triumph, one holding a vial containing the sleeping draught, of which they have administered a dose in order to make her overstay her time, and break her promise to the Beast. Sixth Picture: Beauty stands weeping over the body of the poor Beast, which is represented by a roll of dark shawls, around which the robe of the Beast is wrapped, as his head and feet would be concealed by the sides of the frame: her face is covered with her hands and she seems overwhelmed with grief. Seventh Picture: A handsome prince is kneeling at the feet of Beauty, who is overjoyed to find in him her faithful Beast, restored to his form and rank through her fidelity and truth. His dress can be arranged with a lady's velvet basque with an opera cape across the shoulders, a pair of white satin breeches made of paper muslin, white long hose, and low shoes with large bows; a sash may cross from the left shoulder to the waist, in case the basque is too small to meet neatly in front. Wigs can be made of black and white curled hair, sewed upon a skull-cap, made of four conical pieces. Beards can be contrived by fastening the same articles, or white llama fringe, on a wire frame, which goes under the chin to each ear, around which it is fastened. KATE AND JOE. Do you know a nice girl named Kate, who lives up-town in New York? I do. And I know her broth-er Joe. Ev-er-y sum-mer, Kate and Joe leave the city and go to vis-it their aunt, who lives in a big house in the coun-try. And on pleasant days, their aunt lets them go in-to the vil-lage near by to get the let-ters at the postof-fice. They start ear-ly, and walk through the fields, and the pret-ty green lanes, in-stead of a-long the hot, dust-y road. Joe is not so big as Kate, but that is not his fault. He grows just as fast as he can, but as Kate is three years old-er than Joe, he can not catch up to her yet, nev-er mind how hard he may try. But he tells Kate that he is a BOY, any way, and he can take good care of her. So some-times, when they start down the lane, she takes his arm just as if he were a big man, and then Joe feels ver-y proud. One day when Kate and Joe were go-ing to the vil-lage, they saw a dog who was bark-ing at a very lit-tle girl. The lit-tle girl cried with fear. But Joe came on just in time to say, in a ver-y loud voice, "Stop, sir!" and the dog. stopped at once and crawled a-way. Joe thought it was be-cause he was a BOY, but the real rea-son was that the dog saw a man com-ing with a whip in his hand. Next they saw an-oth-er dog, and what do do-ing? He was jump-ing af-ter a but-ter-fly! you think this dog was But the but-ter-fly did |