an inspiration. It consisted of broad sheets of light yellow
wrapping-paper, discarded by Sam's mother in her spring house-cleaning.
There were half-filled cans and buckets of paint in the storeroom
adjoining the carriage-house, and presently the side wall of the stable
flamed information upon the passer-by from a great and spreading poster.

"Publicity," primal requisite of all theatrical and amphitheatrical
enterprise thus provided, subsequent arrangements proceeded with a fury
of energy which transformed the empty hayloft. True, it is impossible to
say just what the hay-loft was transformed into, but history warrantably
clings to the statement that it was transformed. Duke and Sherman were
secured to the rear wall at a considerable distance from each other,
after an exhibition of reluctance on the part of Duke, during which he
displayed a nervous energy and agility almost miraculous in so small and
middle-aged a dog. Benches were improvised for spectators; the rats
were brought up; finally the rafters, corn-crib, and hay-chute were
ornamented with flags and strips of bunting from Sam Williams'
attic, Sam returning from the excursion wearing an old silk hat, and
accompanied (on account of a rope) by a fine dachshund encountered on
the highway. In the matter of personal decoration paint was generously
used: an interpretation of the spiral, inclining to whites and greens,
becoming brilliantly effective upon the dark facial backgrounds of
Herman and Verman; while the countenances of Sam and Penrod were each
supplied with the black moustache and imperial, lacking which, no
professional showman can be esteemed conscientious.

It was regretfully decided, in council, that no attempt be made to add
Queenie to the list of exhibits, her brothers warmly declining to act as
ambassadors in that cause. They were certain Queenie would not like
the idea, they said, and Herman picturesquely described her activity