The supreme moment arrived when the fair cooks spread a table-cloth upon the ground and invited the company to gather about it.

Each guest then unwrapped his or her own mysterious contribution, which was proudly displayed. One brought a country nosegay for the central ornament of the "spread," composed of flowers stiffly arranged and of a combination of colours that set at defiance all the laws of taste. Another contributed home-made candies, a third, olives and pickles, while the hostesses delighted their friends with an incomparable chowder, fish-balls light as thistle-down, a tongue cooked to velvet, and salads, biscuits, cakes, etc., to please an epicure.

The coffee was made in true picnic fashion in the presence of the company at the wide hearth, which made a fairly good substitute for a camp-fire.

After the feast each guest was given a long, pointed stick which was used for roasting apples and toasting marshmallows-and later on, corn was popped over the bed of glowing embers. Then the banjos were played, and all joined in singing popular songs.

At another winter picnic each young woman guest was requested to bring a box containing luncheon for two and to place her visiting-card within it. The guests arrived wearing duck skirts, straw hats, knickerbockers, etc., and played games, and tried their luck at a fishpond improvised in one corner of the room, where "fortunes," not favours, were caught on the hook, cleverly adapted to the fisherman by the person representing "Truth, at .the bottom of the well"—or pond, in this case.

As the supper hour approached, the young men were given a number of beans, and the "luncheon boxes"

were auctioned off. The cards within the boxes determined the partners of the purchasers.

THE "CORDON BLEU" DINNER

The feasts given by Mme. du Barry to Louis XV. seem like fairly tales, with the marvellous table rising up through the floor, already laden with its dainties. Upon one occasion, they had a discussion about the relative merits of men and women cooks, each defending and advocating his or her own sex.

To prove her argument, Mme. du Barry invited the king to a dinner so perfect in all its appointments, according to the fashions of the day, and so delicious, that the monarch admitted himself beaten and thereupon instituted the order of the "Cordon Bleu," which was at first restricted to women cooks.

A novelty in the matter of entertainments called "Historical dinners" was introduced last winter among the opulent.

One was a duplicate of the dinner given by du Barry when Louis decorated her cook with the blue cord.

A free translation of the menu might read as follows:

I'

CHAPTER XXVIII

Tableaux

GENERAL DIRECTIONS

T is possible to give very effective and interesting tableaux where two rooms are separated by

portières or folding doors, but if possible the sides of the one representing the stage should be curtained. off by screens, technically called "flies," and footlights are almost indispensable.

These may be made of tin, or bottles of uniform height holding candle-ends, and masked by tissue-paper frills on the side next the audience. A strong lamp should be placed at right and left of the stage so as to be screened from sight, but to throw its light full upon the

actors.

The shadows are the things that mar successful effectiveness. The lights, therefore, should fall from the top, sides, and at the foot. A dark curtain stretched about six feet at the rear of the place occupied by the actors throws them into relief, and its neutral tone harmonises the colours of the picture.

The illusion of distance and perspective is given if a gauze curtain or one of black tarlatan hang in front of the stage and inside the curtain.

A stage slightly raised above the spectators-about three feet, perhaps—gives great advantage and may be

built very cheaply by laying on squared joists or even old boxes a few boards, which, covered with green baize, will answer for grass-plot or carpet.

If a drop-curtain be desired, a light wooden frame should be made by a responsible carpenter and attached firmly to the front part of the stage. The curtain is nailed to the top piece, while at its lower edge a metal rod should be run through the hem, at the back of which rows of rings are attached. Through these, cords are passed and run over pulleys, attached to the upper part of the frame.

A pyramidal form is usually aimed at in disposing groups for tableaux, and the best effects are the simplest. The more natural the attitude and expression, the more pleasing.

Upon occasion, coloured lights add much to the interest and dramatic illusion. Imagine, for instance, a tableau of Joan of Arc bound to the stake, straw heaped at its foot, her hands clasped upon her breast, her eyes uplifted to a cross held high by a priest or monk, while another man leans over to apply the torch.

Just before the curtain falls, if a red light be thrown upon the straw and then flashed rapidly over the whole scene, the effect will be very striking.

This red fire is easily made. Burn in an iron pan the following mixture, to which is added a little spirits of wine: Five ounces of dry nitrate of strontia, an ounce and a half of sulphur, five drachms of chlorate of potash and four of sulphuret of mercury, all of which are powdered. Mix all thoroughly on paper before transferring to the pan. A polished reflector fitted to the pan will enable one to direct or concentrate the light.

If for such a tableau as the three witches in Macbeth a ghastly look is required, mix common salt with spirits

of wine in a metal vessel and set it over a spirit lamp. The spirits of wine ignites and a weird light is produced. Of course, all the other lights should be extinguished.

The subjects for tableaux are inexhaustible. Famous paintings have been represented with such fidelity that it seemed as if the familiar canvases had been touched into life by some supernatural power. Picturesque incidents from our own early history would be appropriate for any of our national holiday entertainments. "John Alden and Priscilla," "The Burning of a Witch in Salem," "The Marriage of Pocahontas," "The Sailing of the Mayflower"-the homesick little group watching it from the shore-are a few suggestions that will readily occur to any one.

One of the most charming entertainments may be given if some one read aloud a poem or a story with well-modulated voice, correct accent, and intelligent interpretation, while the illustrations are given by successive tableaux, as when one turns a page to find a picture.

It has been found by those experienced in trying to win public interest in some benevolent scheme that nothing is so sure to attract as a series of tableaux. Amateur acting often leaves much to be desired and challenges comparison with professional talent, but amateurs of tableaux may have the whole field to themselves and be quite assured of appreciative and sympathetic audi

ences.

DRESDEN CHINA

There are few prettier forms of the tableau than groups imitating statuettes of Dresden china. The gaily flowered dresses and the daintiness and grace of nose make exceedingly charming effects.