Increasingly the church is coming again to use religious pageantry and plays for instruction and worship. In the earlier history of religion the dramatic expression of religious aspiration and feeling was almost universal. The dramatic impulse is deeply grounded in human nature, and may be made to appeal to the highest attributes of reverence and devotion.

Children should usually themselves be the actors and not mere spectators. In acting Bible stories they learn how intimately the past is linked to the present, and how the struggles of to-day after truth, courage, love, are like the struggles of the patriarchs and prophets. The stories become more vivid, their charm grows, as we study them in action—our own action. And when we have finished the production of a Bible play a portion of the most beautiful of all literature is ours forever.

In a portion of the plays they act out, the children should, under wise leadership, devise and prepare their own parts and lines. Along with these spontaneously planned representations, however, should come a fair proportion of carefully prepared simple artistic plays adapted to the age and understanding of the child and calculated to teach the lesson desired. Besides teaching their own particular lessons, such plays will serve as a model and standard for the children in preparing their own presentations.

It is the purpose of the present volume to offer a collection of shorter Bible plays of high standard, great beauty, simplicity, and careful adaptation. All of these plays have been used many times over with groups of children in church schools, and their value thoroughly proved. The editors offer the book to the church public believing it will be a helpful factor in the field of religious education.

COSTUMES

The costumes used in these Bible plays have been largely copied from Tissot's illustrations of the Bible.

A straight piece of bleached or unbleached muslin, seamed at the sides up to arm-hole, with a slit for the neck, has been found the simplest foundation costume.

Variations on this are:

A girdle.

Sleeves.

Fringes.

A cloak of contrasting color, of the same pattern as the slip, but open in front.

Several yards of material of contrasting color, thrown over the head or shoulders, or draped.

Strips of cloth, four to six inches wide, sewed the length of the costume. Black strips against white make an effective costume.

For the head use a square of white cloth bound round with a thick, dark cord.

For women the cloth may be lighter. They may wear two girdles instead of one, with the material puffed out between the girdles. Their veils also should be of lighter material; over these a heavy mantle may hang, if desired.

Barefoot sandals or Japanese sandals will do for the feet, if antique sandals cannot be made. In many cases it is preferable that the actors go barefoot.

For bracelets, crowns, scepters, fans, buy sheet copper or brass, tin shears, and cut as desired. These will last forever.

For soldier costumes, make brilliant, short tunics. Belt these in with a twelve-inch strip of brown buckram, which, in turn, is tied on with a bright cord. Use cone-shaped caps.

Egyptian costumes may always be indicated by a belt with a broad flap in the center, reaching from waist to hem. For headdresses, use striped cloth; draw the two front ends under the cloth and pin at the back of the head.

For Babylonian costumes, take several yards of material; sew fringe to the ends and one side; pin one end of the goods at the back of model; wind goods about waist of model so as to form a skirt, and pin to end of goods; carry the rest of the goods around, under right arm, over left shoulder, about neck, over right arm; tuck in and hold in place by a three-inch belt. For head-gear use tall caps rather resembling a sugar loaf. Use heavy white canvas; this may be painted or fringed.

Try to use strong, bright colors, with white and black and brown. Avoid navy blue, turkey red, baby blue or pink. Try to use the same color-values.

SCENERY

A sea-blue curtain is the one essential.