Living statuary is the most troublesome and difficult of all parlor entertainments, yet one of the most beautiful and satisfactory; and the directions given here are from one who has made hundreds of experiments, and found out how to do the work in the most comfortable as well as most effective way. If the American girl has learned a little light carpentering, she will have no difficulty in preparing her stage; but, as she is more than likely to know nothing about it, the American boy must hold himself ready with hammer and nails to do all the rough work required.

"All who take part in living statuary must have fine figures, large arms, and as classic features as our American type allows; and they must also know how to stand perfectly still, which is the hardest part of the work.

"To whiten the face is the first thing; and nothing is so good for this as the round balls of ' velvet chalk,' which must be rubbed on dry. Flour can be used, but is by no means as good. This chalk is sometimes mixed with glycerine ; but rubbing on dry is the only successful method of whitening smoothly, completely, and comfortably. After using, this must be rubbed off when dry, and the face must not be wet, but must have a good coat of gelatine or vaseline, and no inconvenience or roughness need follow.

"For most performances the best cast consists of two very tall ladies, one a little shorter, and one of medium height, one large, muscular man, and one girl about ten years old. These performers can personate all the parts, as they resemble each other so closely when whitened, that little is gained by changing the performers in the various groups. The man may wear a suit of cotton tights, or a white, close-fitting, merino, woven shirt, with cotton gloves sewed into the sleeves. He wears around the waist a kilted skirt reaching to the knee, made of white sheeting, and a close-fitting cap made of canton flannel. He will need two cotton sheets to be draped from the shoulder in various ways.

"For a Roman costume make a slit ten inches long in the middle of the sheet, through which the head is placed. The sheet is then drawn around until the corner is in front; the two sides are then looped up to each shoulder, and fastened with a round piece of pasteboard by tapes.

"The child wears a short frock or night-dress thrown over a tape around the waist, long white cotton stockings, cotton gloves sewed into the sleeves of the frock, and a tight cap of cotton flannel.

"The ladies wear white plain tight-fitting waists very high in the neck, fastened behind, the sleeves of which are made of the legs of white cotton stockings, to which white cotton gloves are firmly sewed after they have been adjusted to the arms by sewing on the under side. No other method of whitening the arms is of use, and it was by this discovery that the success was first insured, for these sleeves show the muscles to great advantage, and still preserve the needed whiteness when in tension.

"The caps are made of canton flannel, large enough to cover the hair, which is drawn into a bunch at the back of the head, like the knot of Diana. Braids, bands, and waves are made of cotton wadding, to put on with pins, when it is desirable to alter the coiffure. They wear white stockings and white slippers, or sandals made of a cork sole, and scant skirts. In draping, the first sheet is tied around the waist with tape, so that the end which has the hem touches the ground, the rest of the sheet hanging over in front. The lower portion of this sheet thus forms a close skirt, and is drawn close behind, and fastened. The left-hand corner of the front part of the sheet is taken to the right shoulder, and fastened; and the right-hand corner of the sheet is brought to the waist, and fastened there. Beautiful folds will result, which can be much improved by stroking them down with the hand. A large knot is then tied in the corner of another sheet, which is pinned on the right shoulder; and the sheet is then drawn around the knees, and fastened to the waist behind, thus surrounding the figure, and forming long, graceful, straight folds, like those on the ancient Greek statues. A little study of drapery, and careful attempts to imitate that of statues, will soon enable persons of taste to arrange beautiful groups, as, when the figures take their positions, the drapery assumes new and graceful folds of itself; which is another reason why the same persons can so successfully fill so many varied roles.

"Statuary is very effective in all performances as a grand contrast to the glittering scenes which it should follow; and it is also useful in connection with other pieces, as it may be used for the ornaments in court-scenes, as well as in the studios, and may be utilized for the adjuncts to thrones, as well as for objects of interest in the garden-scenes. Abundance of good subjects may be found in any book of plates of statuary: so it will be only needful to give a few examples here of various styles, prefaced by some general directions."

The Pedestal. — Two tables four feet long stane in centre of the stage, with another table of the same size placed upon them in the centre : a box two feet and a half long stands on top of this table, and another box stands on the floor, in front and in the centre of the two tables which stand together. The pedestals thus formed, draped with cotton sheets, serve for all groups.

Light and Background. — The best light is a very light blue; and a beautiful effect may be produced with common gaslight by showing them on a dark stage, and slowly turning up the light. They must always be shown against a background of black curtain or of any plain cloth. A plain black shawl serves very well, if prepared in a parlor, as is often the case. Well carried out, there is no more charming study, or attractive performance, than that of living statuary.

Properties. — The smaller properties may be cut from pasteboard or thin wood, and covered with white cloth or paper: those used in the above scene are as follows, —

Rake, hat, chain (made of loops of canton flannel), scales and olive-branch (cut from white pasteboard); cross, eight feet high, five inches wide; crossbar, two feet and a half long; tablet, a board two feet and a half long, one foot wide, covered with white cloth; pencil; basket of flowers; three tables and two boxes draped with cotton sheets. Old sheets free from starch and ironing-folds are best for statuary.