-mecum for youth from
the ages of six or seven to sixteen or seventeen. It opens with Nursery
Rhymes and lullabies, progresses through child rhymes and jingles to
more mature nonsense verse; then come fairy verses and Christmas poems;
then nature verse and favorite rhymed stories; then through the trumpet
and drum period (where an attempt is made to teach true patriotism,) to
the final appeal of "Life Lessons" and "A Garland of Gold" (the great
poems for all ages).

This arrangement secures sequence of sentiment and a sort of cumulative
appeal. Nearly all the children's classics are included, and along with
them a body of verse not so well known but almost equally deserving.
There are many real "finds," most of which have never before appeared
in any anthology.

Mr. Stevenson has banished doleful and pessimistic verse, and has dwelt
on hope, courage, cheerfulness and helpfulness. The book should serve,
too, as an introduction to the greater poems, informing taste for them
and appreciation of them, against the time when the boy or girl, grown
into youth and maiden, is ready to swim out into the full current of
English poetry.

HENRY HOLT AND COMPANY
PUBLISHERS NEW YORK

TWO BOOKS BY CONSTANCE D'ARCY MACKAY

COSTUMES AND SCENERY FOR AMATEURS
A Practical Working Handbook with over 70 illustrations and full index.
258 pp. 12mo. $1.75 net.
A book that has long been needed. It concludes chapters on Amateurs and
the New Stage Art, Costumes, and Scenery, but consists mainly of simple
outline designs for costumes for historical plays, particularly
American Pageants, folk, fairy, and romantic plays--also of scenes,
including interiors, exteriors, and a scheme for a Greek Theatre, all
drawn to scale. Throughout the book color schemes, economy, and
simplicity are kept constantly in view, and ingenious ways are given to
adapt the same costumes or scenes to several different uses.
HOW TO PRODUCE CHILDREN'S PLAYS
The author is a recognized authority on the production of plays and
pageants in the public schools, and combines enthusiastic sympathy with
sound, practical instructions. She tells both how to inspire and care
for the young actor, how to make costumes, properties, scenery, where
to find designs for them, what music to use, etc., etc. She prefaces it
all with an interesting historical sketch of the plays-for-children
movement, includes elaborate detailed analyses of performances of
Browning's _Pied Piper_ and Rose