appear to have been the case. Costumes were costly: Henslowe's accounts indicate that for an elaborate costume made of silk, velvet and gold lace more was often expended than for the original play for which the costume was designed. When due allowance is made for the purchasing value of money in Elizabethan times (variously estimated at from six to seven times that of today) the cost for a single elaborate costume appears to have been as high as six or seven hundred dollars-a considerable amount even in these days of lavish expenditure. A few items from Henslowe's inventory will show the care taken in the costuming: One mauve gown of calico for the Queen. One carnival hat. Five pairs of hose for the clown, five jerkins for them. One pair of yellow cotton sleeves, one ghost's suit and one ghost's bodice. One hat for Robin Hood, one hobby horse. One murrey jerkin and one white leather jerkin. Two leather antique coats with bases for Phaeton. Four friars' gowns and four hoods for them and one fool's cap, coat, and bauble. One Senator's gown, one hood, and five Senators' capes. Six green coats for Robin Hood and four knaves' suits. Two white shepherd's coats and two Danes suits and one pair of Dane hose. One black satin doublet laid thick with black and gold lace. One red scarlet cloak with silver buttons. One white and orange tawney scarf, spangled. Dido's robe. One yellow satin gown embroidered with silk and gold lace for women. One orange tawney velvet gown with silver lace for women. In the days of Garrick, at a time when Shakespeare was considered a great dramatist but somewhat unpolished— a gifted barbarian-Shakespearian roles were played by actors attired in the costume of the day-knee breeches, shoes with buckles, wigs, rapiers, and three cornered hats. Hamlet must indeed have presented a melancholy sight under such conditions. The entries in Henslowe indicate much greater care in consistent and appropriate costuming in Elizabethan times than in succeeding eras. There was probably no archæo logical exactness as in the best modern plays, but some care was undoubtedly taken. Danish suits are mentioned and other entries show costumes deemed appropriate to Turks and Italians. Different peoples were dressed in different costumes and it is of small importance whether or not these distinctions were exact. They at any rate served their purpose with the spectators. We may conclude then that the Shakespearian stage presented many incongruities, traditional and unavoidable. The stage was not intended to create a perfect illusion; the audience could never forget that it was a stage. Stage properties and costumes were, however, as elaborate and accurate as circumstances would permit. Christmas Carols and Christmas AL By Harriet K. Ransford LL who have read Washington Irving's fascinating volume "The Sketch Book," will remember the interesting account there given of the Christmas festivities at Bracebridge Hall. Christmas customs and Christmas festivities are, many of them, of immemorial antiquity. Christmas was, of course, originally a pagan festival, which the early Christian church made use of for religious purposes. Many of the quaint customs which have come down to us are, therefore, of no religious significance, but they are doubly interesting because of their pagan origin. Of the religious observances connected with Christmas none is more interesting than the singing of carols through the streets early on Christmas morning. The singers went from house to house, rendered their music, and accepted the refreshments or money offered by the householders. Carols of this sort related to the nativity and were cheerfully religious in their nature. There was, however, anoher type of carol; this was sung usually to a dance tune and described the bringing in of the boar's head, or celebrated some other aspect of the Christmas feast. The carol printed upon the cover of this, the December CHAUTAUQUAN, belongs to this latter class of compositions. It is first found in the book of "Christmasse Carolles" printed by Wynkyn de Worde in 1521, in a form which differs somewhat from the version we have used. The modified version is one which, for many years has been sung at Queen's College, Oxford, in which place the "words are sung," says Hone, "to the common chant of the prose version of the psalms in Cathedrals." A part of a middle English Christmas carol of a sacred nature is here produced in the quaint old spelling of its time. It is a very pretty poem: Thys ender nygth I saw a sygth a ster as brygth as day A maydyn song: unto hur son gane sing: My son my lorde my father dere syth all ys at thy wyll, I pray the son graunte me a bone yff hyt be ryght & skylle: may ever come be mery on thys day, to blys them bryng & I shall syng by by baby lullay. My mother shene of hevyn quene yor askyng shall I spede, so that the myrth dysplease me nott yn wordys nor in dede, syng what ye wyll so that ye fullfyll my ten commaundements ay, ay yaw for to please let them nott sesse In that interesting and valuable work entitled "Popular Music of the Olden Times" by W. Chappell is an extended and scholarly selection of ancient English songs, carols and ballads. Accompanying the words of these are modernized versions of the original music. Many of these old airs are very quaint and beautiful. Some still serve as the basis for modern songs. Perhaps the most famous and certainly one of the oldest songs which has come down to us is the "Ballad of Green Sleaves," to which reference is made in the "Merry Wives of Windsor." This beautiful melody, supposedly of Irish origin, has served for various songs of widely different character in different periods of English history. Originally a love song, it today serves in a modernized version as a Christmas carol, and is sung in churches on Christmas morning. Because of its beauty and its interesting history, it is here reproduced with the modern words. (See following page.) Those who wish to trace its history and read it in its various versions may do so in the work of Mr. Chappell to which reference has been made. Christmas legends and superstitions have been collected by John Ashton in a large handsomely bound volume entitled "A righte Merrie Christmas!!!" This volume is a mine of quaint and out-of-the-way information. The customs relating to Christmas throughout the various parts of England have here been collected with a careful hand. From the vast collection of curious information which he has made we can make but a few selections. One is in connection with the famous Glastonbury Thorn, which is supposed to blossom on Christmas day (old style) contrary to the habits of other thorn trees. Mr. Ashton gives the following account: THE GLASTONBURY THORN Even the vegetable world contributed to the wonders of Christmas, for was there not the famous Glastonbury Thorn which blossoms on old Christmas day? Legends say that this was the walking staff of Joseph of Arimathæa, who, after Christ's death, came over to England and settled in Glastonbury where, having planted his staff in the ground, it put forth leaves, and miraculously flowered on the festival of the Nativity; and it is a matter of popular belief, not always |