triumphant crescendo which carries the piece fittingly and dramatically
to its close. It would be difficult to replace this finale except by
other music written for the purpose.

The music is perhaps the most important single element in the play. In
the original version the scene in the chancel was carried by dialogue
but production showed the mistake. From the time that the music begins,
it, with the pantomimic action of the actors is all sufficient to
interpret the mood and meaning of the scene.

A small parlor organ is practically a necessity and can probably be
procured for the cost of the cartage.

A choir of men's and women's voices is best for the singing but a good
quartette will serve.

For the bells, the long tubular chimes which are suspended by one end
and struck with a wooden hammer are the most satisfactory. If they seem
too metallic, try covering the head of the hammer with folds of chamois
skin. If such a set of chimes is not to be had a substitute can be found
in the phonograph, for which there are a number of chimes records.--The
tune played on the phonograph must not be a modern one; Luther's Hymn
"Great God, what do I see and hear?" (A Columbia record) is the best.
The tune can be disguised by lifting the needle occasionally and setting
it down gently on another part of the record. As far as I know, no
phonograph record presents chimes pure and simple. It should be
remembered however that the phonograph record lacks the vitality of tone
and the note of jubilant triumph which a good musician can bring from
the bells themselves.