The Project Gutenberg eBook of Stories Pictures Tell. Book 2

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Stories Pictures Tell. Book 2

Author: Flora L. Carpenter

Release date: May 23, 2010 [eBook #32489]
Most recently updated: January 6, 2021

Language: English

Credits: Produced by Larry B. Harrison and the Online Distributed
Proofreading Team at https://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK STORIES PICTURES TELL. BOOK 2 ***

Title decoration

STORIES
PICTURES TELL

BOOK TWO

By

FLORA L. CARPENTER

Instructor in drawing in Waite High School, Toledo, Ohio
Formerly supervisor of drawing, Bloomington, Illinois

Illustrated with Half Tones from
Original Photographs

RAND McNALLY & COMPANY

CHICAGO        NEW YORK

Copyright, 1918 by
Rand McNally & Co.

Publisher's symbol

Made in U. S. A.

THE CONTENTS

September and October |  | PAGE
    "Shoeing the Bay Mare" | Landseer | 1
    "Angels' Heads" | Reynolds | 13
November, December, and January
    "The First Step" | Millet | 21
    "A Fascinating Tale" | Mme Ronner | 29
February and March
    "A Helping Hand" | Renouf | 37
    "The Strawberry Girl" | Reynolds | 43
April, May, and June
    "The Return to the Farm" | Troyon | 51
    Review of Pictures and Artists Studied
The Suggestions to Teachers |  | 56

THE PREFACE

Art supervisors in the public schools assign picture-study work in each grade, recommending the study of certain pictures by well-known masters. As Supervisor of Drawing I found that the children enjoyed this work but that the teachers felt incompetent to conduct the lessons as they lacked time to look up the subject and to gather adequate material. Recourse to a great many books was necessary and often while much information could usually be found about the artist, very little was available about his pictures.

Hence I began collecting information about the pictures and preparing the lessons for the teachers just as I would give them myself to pupils of their grade.

My plan does not include many pictures during the year, as this is to be only a part of the art work and is not intended to take the place of drawing.

The lessons in this grade may be used for the usual drawing period of from twenty to thirty minutes, and have been successfully given in that time. However, the most satisfactory way of using the books is as supplementary readers, thus permitting each child to study the pictures and read the stories himself.

Flora L. Carpenter

A mare

SHOEING THE BAY MARE

STORIES
PICTURES TELL

SHOEING THE BAY MARE

Original Picture: National Gallery, London,
            England.

Artist: Sir Edwin Landseer (lănd´´sēr).

Birthplace: London, England.

Dates: Born, 1802; died, 1873.

Questions to arouse interest. What is the man in this picture doing? How many have watched a blacksmith shoe a horse? Why does he wear an apron made of leather? From what do the sparks fly? What has the blacksmith in his hand? Why do you suppose this horse wears no halter? What other animals do you see in this picture? Which has the larger ears, the donkey or the horse? Which seems to have the softer coat? Which can run the faster? What do you see on the donkey's back? What kind of dog is that in the picture? Why do you suppose the hound is so interested in what the blacksmith is doing? What else can you see in the picture? What makes you think the man is fond of animals? Where is the bird? Why do you like this picture?

The story of the picture. Here in a building that once may have been a home, we see an old-fashioned country blacksmith shop. The wide door has been made in two parts so that the upper part can be swung open to let in the sunlight. The lower part of the doorway remains closed and is just high enough to keep the horse and donkey shut in. But the dog could easily jump over it should he become frightened by the flying sparks of fire.

The smith is trying a shoe on the hind foot of the beautiful horse, but neither the man nor the horse seems quite satisfied with it. The horse has an anxious look in her intelligent eyes as she turns her head to watch the smith. Though she knows he will do the work carefully she cannot help being a little nervous about it. The dog and the donkey are also very much interested in what the smith is doing, though the dog seems ready to run at any moment. Behind the dog we see the blacksmith's anvil on which he hammers the shoe into shape. Every time the hammer strikes the red-hot iron, burning sparks fly in all directions and the blacksmith wears a leather apron, to keep them from burning holes in his clothes.

On the ground beside the blacksmith is a box in which are the tools the smith must use. It has a handle so that the smith may carry it with him and place it within reach when he is fitting the shoe.

Years ago, when the artist painted this picture, a blacksmith had to make each shoe by hand from a bar of iron. Now horseshoes are made rapidly by machinery and the blacksmith gets them from the factory. They are made in all shapes and sizes and the smith will try several shoes until he finds one that fits the horse's hoof. If it needs to be shaped a little he must heat it red hot before he can bend it. He puts it into the great bed of red-hot coals in his forge, and then blows upon the coals with his bellows to make the fire hotter. His heavy iron tongs are used to take the red-hot shoe from the coals and to hold it upon the anvil while he pounds it into shape. Next he drops it into cold water until it is cool enough to try on. The smith must be a strong man to do his work well, and in this picture our attention is drawn to the great muscles on his arms and the firm strength of his large hands.

It takes great skill to drive the nails into the horse's hoof in just such a way that they will hold the shoe firmly and at the same time not hurt the hoof. Sometimes, but not very often, a blacksmith drives a nail in the wrong direction, and the horse becomes lame. Horses grow accustomed to being shod, and seem to like to have comfortable new shoes put on. How glad they must be in the winter to have their hoofs sharp shod, so they do not slip on the ice!

Betty, the bay mare in this picture, liked to be shod, and as she never wore a halter and could go where she pleased, she sometimes went to see the blacksmith. The story is told that one day while she was galloping over the fields one of her shoes became loose. Betty seemed to know just what to do; it was not long before the blacksmith heard a gentle neigh, and there was Betty with her head over the gate, asking to be let in. Once inside she held up the foot with the loose shoe for the blacksmith to fix. You may be sure he patted her velvety neck, and told her that he knew just what the trouble was and would fix her up all right.

The shaggy little donkey you see in the picture had to wait until the blacksmith had attended to Betty. But he did not care about having his shoes fixed anyway, and so did not mind waiting.

The man who owned Betty was Mr. Jacob Bell, and he was so proud of her that he wanted her picture painted. In fact, once when Betty had had a beautiful colt, Mr. Bell asked Sir Edwin Landseer to paint a picture of the two together. But the artist had such a long waiting list of animals to paint that he did not get around to Betty's turn for a long time. Betty had another colt, but it, too, had grown to be as tall as Betty herself before Sir Edwin Landseer at last came out to see her.

He came on the very day that Betty paid her visit to the blacksmith shop, and so it was there that Mr. Bell took the artist to see her. Landseer had planned to paint the horse out in the green fields; but when he saw her in the blacksmith shop, watching every movement of the smith with such perfect understanding in her great, intelligent eyes, he decided to paint her there.

One can see at a glance that this horse is well cared for; her silky coat makes us wish to pet her. Notice the white star-shaped mark on her forehead.

The hound must have followed the horse, for he does not look as if he belonged in the blacksmith shop. He seems to be a little afraid of the hot tongs placed in front of him, and looks as if he might run away the next time the sparks begin to fly.

That sleepy-looking little donkey must belong to some child, for you can see the saddle on his back. Probably some boy will call for him, and ride him home.

Notice how the light comes in through the upper half of the doorway and falls upon the figures. Can you see where the light from the fire in the forge is shining?

We cannot see the bird in the cage hanging from the roof of the blacksmith shop, but no doubt it sang very merrily on the bright sunny day this must have been. The smith has placed its cage a safe distance from the heat, and where it can get plenty of air and sunlight. No doubt they are great friends, but how the bird must wish to try its wings in a long flight up beyond the treetops and into the bright blue sky!

When the shoe is fixed the blacksmith will open the door and Betty will trot home by herself. No wonder Mr. Bell was proud of a horse that knew so much and was so beautiful. Would you not like to have a horse like Betty?

Questions to help the pupil understand the picture. When a horse needs new shoes, where does its owner take it? What is the name of the horse in our picture? Why did Betty come to the blacksmith shop? How did she let the blacksmith know what she wanted? Does she seem pleased with the shoe he is trying on? How can he make it fit? Why does he heat the shoe red hot? Upon what does he place the red-hot shoe to pound it into shape? On the blackboard draw a picture of an anvil. What does the blacksmith use when he blows the coals to make a hotter fire? With what does he hold the hot shoes? Why does he put them in cold water before trying them on? How does he fasten the shoe on the horse's hoof? Why does it not hurt a horse to be shod? What do you see on the donkey's back? Of what is the dog afraid? What does the blacksmith wear to keep the sparks from burning his clothes? Why is that low gate placed in the doorway? To whom did Betty belong? Who came to paint her picture? Why did he paint her in the blacksmith shop? What makes you think she was well cared for? Why do you suppose she is so gentle and patient? Where does the light in the picture come from? Why do you like Betty?

To the Teacher: Have the pupils memorize the following lines from Longfellow's The Village Blacksmith:

And children coming home from school

Look in at the open door;

They love to see the flaming forge,

And hear the bellows roar,

And catch the burning sparks that fly

Like chaff from a threshing-floor.

The story of the artist. Sir Edwin Landseer had three sisters and two brothers who liked to draw and paint as well as he did. The father was an artist, and he taught them all how to draw when they were very young.

They lived in the country, and often the father went with his children for a walk through the fields. There were two very large fields separated from each other by a fence with an old-fashioned stile for a gate. This stile had several steps, and was built high so that the sheep and cows could not jump over. One day when Edwin was six years old, and so little that he had to be lifted over this stile, his father tells us that "At his request I lifted him over, and finding a scrap of paper and a pencil in my pocket, I made him sketch a cow." After this Edwin came here nearly every day, and his father called these two fields "Edwin's studio."

When Edwin was only thirteen years old two of his pictures were exhibited at the Royal Academy. One was a portrait of a mule; the other, of a dog and puppies.

Edwin painted always from life, not caring to make copies from the work of others. All the sketches he made when he was a little boy were carefully kept by the father, and now if you go to England you may see them in the South Kensington Museum in London.

Edwin, we are told, was a bright, gentle little boy, with blue eyes and light curly hair. At fourteen years of age he became a pupil at the Royal Academy. The keeper there was an old man who grew very fond of the boy. He would look all about for him, and if he could not find him he would say, "Where is my little dog boy?" At this time Edwin had three dogs of his own, which he called Brutus, Vixen, and Boxer. They were his inseparable companions, and so intelligent that they seemed almost able to speak.

For many years he lived and painted in his father's house in a poor little room without even a carpet. All the furniture, we are told, consisted of three cheap chairs and an easel. Later, he had a fine studio not far from a park. There was a small house and garden here, and the barn was made over into a studio.

Sir Edwin was not a very good business man, and he left the management of all his affairs to his father, who sold his pictures for him and kept his accounts.

Landseer was only sixteen years old when he exhibited his wonderful picture called "Fighting Dogs Getting Wind." A very rich man whose praise meant a great deal at that time bought the picture, and Sir Edwin's success was assured. After that so many people brought their pets for him to paint that he had to keep a list, and each must wait his turn.

It was about this time, too, that he painted an old white horse in the stable of another wealthy man. After the picture was finished, ready to deliver, it suddenly disappeared. Search was made for it everywhere, but it was not found until twenty-four years afterwards. A servant had stolen it and hidden it in a hayloft. He was afraid to sell it, or even to keep it in his home, for every one would recognize the great artist's work.

At the age of twenty-four, Landseer became a member of the Royal Academy, which was an unusual honor for so young a man.

The story is told that at an evening party in the home of a well-known leader of society in London where Landseer was present, the guests had been talking about skill with the hands. One of the guests said that no one had ever been found who could draw two things at once. Landseer remarked, "Oh, I can do that; lend me two pencils, and I will show you."

He then quickly drew the head of a horse with one hand, at the same time drawing a deer's head and antlers with the other hand. Both sketches were so good that they might well have been drawn with the same hand and with much more study.

Landseer made a special study of lions, too, and painted many pictures of them. The great lions at the base of the famous Nelson Monument in Trafalgar Square, London, were modeled by him.

Although Landseer painted so many wild animals, birds, and hunting scenes, he did not care to hunt or shoot. Sometimes he would hire guides to take him into the wildest parts in search of game. But these guides felt thoroughly disgusted with him when, a great wild deer bounding toward them, he would merely make a sketch of it in his book.

Landseer knew how to use a gun, however, and sometimes did use it with great success. But it was the study of live animals that interested him most. He often said that to kill a bird was to lose it.

He believed that animals understand, feel, and reason just like people; so he represented them in his pictures as happy, sad, gay, dignified, frivolous, rich, poor, and in all ways just like human beings.

Landseer did and said all he could against the custom of cutting, or "cropping," the ears of dogs. He said that nature intended to protect the ears of dogs that "dig in the dirt," and man should not interfere. People paid a great deal of attention to what he said, and the custom lost favor.

In 1850 the honor of knighthood was conferred upon Landseer. He was popular alike with patron and peasant, and no English painter has ever been more appreciated in his own country.

Landseer died in London in 1873, at the age of seventy-one.

Questions about the artist. What can you tell about the artist who painted this picture? Where did he live when he was a boy? How many brothers and sisters did he have? Where did they often walk with their father? What separated the two fields? How many of you ever saw a stile? What animal did Edwin sketch first? Where was "Edwin's studio"? What became of the pictures Edwin drew and painted when he was a boy? Tell about the keeper of the Royal Academy and Edwin; tell about Edwin and his picture of an old white horse; tell about his fine new studio. How did Sir Edwin Landseer think animals felt and understood? Tell how he went hunting. How well could he draw with his left hand? Why did people like him? Why do you think he was a great artist?

ANGELS' HEADS

Original Picture: National Gallery, London,
            England.

Artist: Sir Joshua Reynolds (rĕn´´ŭldz).

Birthplace: Plympton, Devonshire, England.

Dates: Born, 1723; died, 1792.

Questions to arouse interest. What do you see in this picture? Why do you think these heads look alike? How do they differ? How many are looking up? Which one is looking right at you? Where are the others looking? Where does the light come from? Where does the ray of light strike each head? Which looks the happiest? the most thoughtful? Which one seems to be singing? Which one do you like best? why? How many know a little girl with blue eyes and light hair who looks something like one of these?

The story of the picture. Far back in a beautiful yard, so large that it was almost a park, was a house so fine that people drove past just to see it. In this house lived a nobleman, his wife, and one lovely little daughter. Their names were Lord and Lady William Gordon, and the little girl's name was Frances Isabelle Gordon. Perhaps you have already guessed that she was the little girl we see in this picture. And this is how she happened to have her picture painted: The artist, Sir Joshua Reynolds, was a great friend of Lord and Lady Gordon and used to visit them very often. He would ride in a splendid carriage which was gilded and carved on the outside and decorated with wonderful pictures painted by himself. He had a coachman and footman, too, and when he came riding up the long driveway, little Frances must have run out to see the great carriage, for no one else had one like it.

Soon Sir Joshua Reynolds and Frances Isabelle became great friends. He could tell such good stories! And then he liked to play games with her, and above all he liked to tease her. But she did not mind his teasing, for she could run away from him when she did not like it.

Sometimes he would invite her to ride home with him in his carriage. Then he would show her his studio where he painted, and let her play with some of the toys he always kept ready for his little friends. Very likely her mother would tell him to send her home in an hour. How she must have enjoyed the ride back all alone in the big carriage, with the tall coachman and footman sitting so straight! No doubt she pretended she was a great lady riding in state, and sat very still and proper.

Sir Joshua Reynolds loved this little girl very much, and he was glad indeed when one day her mother brought her to have her picture painted.

Angels

Angels' Heads

There were no photograph galleries then such as we have now, so there was no other way to have one's picture taken. The great artist put his piece of canvas on an easel and mixed his colors. Then he told Frances Isabelle just where to sit. Although Sir Joshua Reynolds painted very rapidly, she had to sit still for a long time, and come several days, before the picture could be finished.

First he drew her looking straight at him watching him arrange his paints. Then he began to make sketches of her in different positions, but he liked her so much in all, that he could not decide which one to use. Finally, he thought of painting them all in one picture. Then, as little Frances looked so lovely and so like an angel, he decided to add the wings and clouds and call his picture "Angels' Heads."

You see at that time, not having any photographers, no one thought of showing a person in different positions all in one picture as we do nowadays. People were very glad then to have one good picture of their friends.

Imagine how pleased and delighted Lord and Lady Gordon must have been with these five pictures instead of one, and all so like their little girl! The angel heads seem to be floating in the clouds, their faces lighted up by the bright ray of sunlight which is reflected in the golden hair of each. For Frances Isabelle had the most beautiful golden hair and the bluest of blue eyes.

The head at the lower left-hand side of the picture is serious and thoughtful, as if some hard question had to be answered. The one just above seems quiet, as if listening to the two other angels, who are singing happily. These four have quite forgotten us, but the little girl who looks straight at us seems to be right here in the room, watching us and wondering about us. A happy, healthy little girl, she looks as if she would like to run and play with us. Such a sweet, winsome face! No wonder Sir Joshua loved her very much.

People came from far and near to see this beautiful painting when it was finished. Finally, years later, Lord and Lady Gordon gave it to the city of London to hang in the National Gallery of paintings for all to see. There it still hangs, and people who go to London always look for it, and find it just as lovely as ever.

Questions to help the pupil understand the picture. Of whom is this a picture? Where did she live? How did she happen to have her picture painted? Who painted it? What kind of a carriage did he have? What did he sometimes ask her to do? Why did she not go to a photographer to have her picture taken? How long did it take Sir Joshua Reynolds to paint her picture? Why did he paint so many pictures of her? Why did he call the picture "Angels' Heads"? How many faces are looking at us? Where do they seem to be? Which one is the prettiest? Did Lord and Lady Gordon like this picture?

The story of the artist. Sir Joshua Reynolds's father was a teacher in a private school, and to this school Joshua was sent as soon as he was old enough. Even when a very little boy Joshua liked to draw. He liked so well to draw that it was very hard for him to study in school. He always saw so many things to draw that he could not wait until after school, but drew them on the back of his lesson papers.

One day he drew all over his number paper, and when he handed it in, his father could not read the numbers on account of the drawing. His father was disappointed because his son's paper did not look so neat as the other boys', and so he wrote at the top of the paper, "Done by Joshua out of pure idleness."

Joshua had five brothers and sisters who liked to draw just as well as he did, and who could all draw very much better than he could.

It took so much paper and so many pencils for all his children, that finally the father told them they might draw on the walls of the halls. These walls had been whitewashed and the children used burnt sticks for pencils.

At first the older brothers and sisters used to help little Joshua by guiding his hand, but he soon learned to draw as well as they. His first drawings had been so funny that they had laughed at him. Now they praised him instead.

When he was only eight years old Joshua drew a picture that every one praised very much. It was a picture of the schoolhouse. His father was so pleased when he saw it that he said, "This is wonderful!"

In the little town where Joshua lived the people went to church on Sundays, of course, and sometimes also during the week. One day, Joshua went to church. At first he sat very still; but the sermon was a very long one, and finally he grew so tired he could not listen another minute. He thought he would like to draw a picture of the minister, but he had nothing to draw it on. Then he remembered that he had a pencil in his pocket, and that he could draw the picture on his thumb nail. That is just what he did.

The church was near the river, and after church Joshua went down to the river bank. Finding a piece of an old sail, he carried it to a boathouse, and here, from the picture on his thumb nail, he drew on the piece of sail the portrait of the minister. Then he painted it, using common paint such as is used to paint boats. Joshua was only eleven years old, and had finished his first oil painting. His father had wanted him to be a doctor, but after seeing this picture he decided to let Joshua have his own way and be a painter. He sent him to a good teacher, and lived to see his son a great artist.

Questions about the artist. Who painted this picture? What did Sir Joshua Reynolds like to do when he was a boy? Who was his teacher? How did he spoil his number paper? Why was his father disappointed? How many brothers and sisters did he have? On what did they draw? With what did they draw? How old was Joshua when he drew the picture of the schoolhouse? What did his father say when he saw this picture? How did Joshua happen to paint a picture of the minister? On what did he make his first sketch? Where did he finish the picture? On what did he paint it? What kind of paints did he use? What did Joshua's father want him to be when he grew up? After he had seen this picture, what did he say Joshua might be? Why do we want to remember him?

THE FIRST STEP

Artist: Jean François Millet (zhän frän´ swä´ mēlĕ´´).

Birthplace: Gruchy, France.

Dates: Born, 1814; died, 1875.

Questions to arouse interest. What do you see in this picture? What is the father doing? Who holds the baby? What is the baby trying to do? Why is the picture called "The First Step"? How many have a baby brother or sister who is just learning to walk? What has the father been doing? Why do you think so? Why did he stop? What is on the ground beside him? How is the man dressed? Where do these people live? What separates the house from the garden? What can you see next to the fence? Why do you think it is not a very warm day? Why do you like this picture?

The story of the picture. One bright day in the early fall of the year, when the leaves of the trees were thickest and the woodbine on the fence was just beginning to turn red, a little child was fretting to go outdoors. He was tired of staying in when all was beautiful outside, and he wanted his mother to stop her work and take him out into the sunshine, to the garden where his father was working. And by and by that is just what she did. Putting on her own cap, and a bonnet on the child's head, so there would be no danger of his taking cold, she carried him out to the old fence.

When the father saw them coming through the gate he dropped his spade and started to meet them. The little boy began to wave his arms, impatient to reach his father. Then the mother thought this would be a good time to let him try to walk. Placing him on the ground, she holds him safely while the father holds out his arms invitingly.

See, the baby has stepped forward! Now the mother will let him try to walk alone, keeping close behind, and ready to catch him if he should fall, until he reaches his father's arms. How proud they will be when their baby takes his first step all alone! He has been creeping and crawling for a long time, but now he is big enough to stand on his feet.

This family of hard-working peasants have little time for play; they must work to keep up their home. The father, as you see, has been digging potatoes with that heavy spade. He will put them in his wheelbarrow and take them to the house. Perhaps he will have enough to last him all winter, and some to sell, too.

The potatoes he wants to keep he will bury in the ground. In those days very few people had cellars in which to keep their vegetables. Instead, they would dig a great hole in the ground, line it with straw, and then put the potatoes in, covering them with straw and earth. Then, instead of going to the grocery to buy potatoes as we do, they went out into the yard and dug them up.

Learning to walk

The First Step

No doubt the father made this fence, the spade, the pitchfork, and even the wheelbarrow we see in the picture, while the mother, we are sure, made all their clothes except the wooden shoes. Perhaps the father made them.

In those days the mothers could not go down to the store to buy the goods for their clothes as we do now. Instead they spun thread out of flax or wool, and then wove it into cloth on a great loom something like the small looms we use in school to make rugs and hammocks. This they usually did during the winter when there was less work to do, for there were so many more things that had to be done during the summer than during the winter.

In summer they had to take care of the fruit just as our mothers do. But they did not know anything about canning it,—they would cook it a long time and make preserves or else they would dry it. They dried most of their fruit, making it just like the dried apples, peaches, and apricots we buy at the store.

In France, where this picture was painted, the women worked out in the fields just like the men. So you see how very busy they must have been. And yet they always found time to love and care for their little children.

We do not know even the name of this baby, or of his mother or father. The artist, Millet, thought that of no importance at all. He did not even care to show us their faces, any more than he would care to show us the buttons on their clothes. The important thing is the love and tenderness of this mother and father as they stop their work to guide, help, and encourage their baby in taking his first step. All his life the baby will find them never too tired or weary to help him when he needs it most.

Peasants like these, we know, lived in France, and as a rule they were very poor, although the two in our picture seem thrifty and comfortable. The trees, even the grass growing up beside the fence, seem sturdy and strong like the peasants to whom they belong.

We feel the strength of the father's extended arms, so ready and able to protect this baby. The mother, too, will do her share. Even the trees seem to bend toward these three as if to assure them of their protection.

This is a simple, homelike picture, whose chief beauty lies in its strong appeal to our feeling of sympathy with, and interest in, these honest country people.

Questions to help the pupil understand the picture. What has the man been doing? With what did he dig the potatoes? Where will he put them? Why does he not put them in the cellar? How will he keep them all winter? How will he bury them? Who made these peasants' clothes? the wheelbarrow, the spade, and the pitchfork? Why did they not buy them? How did the mother make the cloth for their clothes? When did she do this? What must she do during the summer? How did they keep their fruit? Why do you think they are a happy family?

The story of the artist. Jean François Millet was the son of French peasants who must have been very much like the father and mother in this picture. But a picture of Millet's boyhood would not be complete unless it included his grandmother. You see, that dear old lady rocked him to sleep, played with him, and kept him happy all day long while his mother, like all French peasants, worked out in the fields with his father.

It was she who was the first to discover that her little grandson liked to draw. His first drawings were copies of pictures in his grandmother's old illustrated Bible. He would listen to stories read to him from the Bible and then he would take a piece of chalk and draw a picture of what happened in the story.

Soon he began to draw large, bold pictures which covered the stone wall of their house. The grandmother was much pleased! She found a new story to read or tell him nearly every day.

Of course his father and mother saw the pictures as soon as they came home, and encouraged the boy as much as they could. The father liked to draw, too, but he could not see why Millet should be making up pictures from imagination when there were so many real things to draw. So he called his son's attention to the trees, the fields, and houses in the distance, and soon the boy began to draw these, too.

One Sunday when Millet was coming home from church he met an old man, his back bent over a cane as he walked slowly along. Something about the bent figure made Millet feel he would like to draw a picture of the man just as he looked then. Taking a piece of charcoal from his pocket, he drew a picture of him from memory. He drew it on a stone wall, and as people passed that way they recognized the man. All liked the picture very much, and told Millet so. His father, too, was delighted, and decided that his son should have a chance to become an artist.

One day the two went to an artist who lived in a neighboring town and showed him some of Millet's sketches. The artist was amazed, and at first would not believe the boy had drawn them. You may be sure he was glad to have this bright boy for a pupil. But Millet studied with him only two months, when he was called home by the death of his father.

At first it seemed as if they needed him so much at home he would never be able to go on with his studies. But soon the good people in the little village collected a sum of money and gave it to Millet, telling him it was for him to use to go to Paris and study. Millet was almost a grown man by this time, and you may be sure he was grateful and that he worked very hard while in Paris. But people did not like his pictures, and he was very poor. Other artists painted pictures of beautiful people dressed in fine clothes and living in rich homes, and so nobody cared for Millet's poor, humble peasants, dressed in their working clothes and doing the work they had to do.

It was not until Millet was an old man that people began to appreciate his work. Now most of those fashionable artists of his time have been forgotten, while the paintings of Jean François Millet have become more and more valuable.

Questions about the artist. Where did the artist live? Who took care of Millet when he was little? Why was his mother away from home so much? Who was the first one to see his drawings? What did he draw? What did he use to make the drawings? Who helped him? how? How did his father help him? Tell about the old man leaning on a cane. Where did Millet draw his picture? Who saw it? What did they say? Where did his father take him to study? What did the artist think when he saw Millet's sketches? Why did Millet go home? What did his neighbors do for him? Where did he go then? Why was he so poor there? Why did not people like his pictures? What do people think of his pictures now?

A FASCINATING TALE

Artist: Madame Henriette Ronner (rön´´nẽr).

Birthplace: Amsterdam, Holland.

Dates: Born, 1821. Still living, 1916.

Questions to arouse interest. In what room are these kittens? Why do you think so? Where is the mother cat? the kittens? What are they looking at? Why do you think the mouse does not know that the kittens can see his tail? Which one do you think will catch the mouse? Which one has the sharpest eyes? Which one looks frightened? Which one looks surprised? Why do you suppose they did not catch the mouse before it tried to hide? If they keep very still, what will the mouse think? What will he do? What will happen then? What is on the table beside the kittens? What may happen to the ink bottle if the big cat jumps? What is the color of these kittens' fur? How many of you have a pet kitten at home? Which one of these would you rather have? Why is the picture called "A Fascinating Tale"?

The story of the picture. Early one morning two plump little kittens started out in search of adventure. The library door was open, and both little kittens heard a queer rustling noise on the big library table. Up on a chair they jumped, then up on the table, just in time to see a little mouse darting under some papers. The mouse thought the kittens would not know where it was if it kept very still; but there was its tail in plain sight.

The kittens were so frightened they did not know what to do. They tried to remember all their mother had taught them about catching a mouse, but they could only watch that tail, scarcely breathing for fear it would move. The mother cat came just then, hunting for her kittens. When she saw them keeping so still she knew there must be something the matter.

In the picture she is all ready to spring upon the mouse as soon as he moves, so she can be sure to catch him. How confident she looks, and how pleased she is that the kittens found the mouse and will help her catch it! The kittens are so excited it is doubtful whether they can help very much; but if she can persuade one of them just to touch that tail, then all will be a scramble. More likely they will all keep so still that the mouse will think he is alone and come out.

kittens

A Fascinating Tale

Which cat do you think will catch him? The little white kitten is the more daring of the two, as she stands there, paws braced wide apart, all ready to spring either toward the mouse or away from it. She is quite undecided which to do. The little black kitten wants to see all that is going on, but at a safe distance.

How those books and papers will be scattered about when the old cat jumps for the mouse! The ink bottle is in a very bad place, although the inkstand looks as if it were a heavy one and would be hard to overturn, even if the cat does jump on it.

Did you ever watch a cat catch a mouse? My! how fast that mouse will have to run if he is to get away! Notice the long, graceful, curving body of the mother cat, and how she holds her head alert as she plans how to catch the mouse.

Although these three cats are all still for the moment, we are made to feel that each is about to do something, and we wonder just what that something will be. Notice the different colors of the cats' fur and of the books placed carelessly in a row. Let us think how this table will look in just a few moments.

A FASCINATING TALE

Books and ink, and kittens three

In this picture we can see

All upon a table wide.

What is that from them would hide?

Little mouse, your tail's too long;

It's your fault; if they do wrong.

All these books will surely fall,

Ink stains soon will cover all.

Did you think that you were hid?

Or perchance of them were rid?

Don't you know your tail's in sight

Of those kittens' eyes so bright?

You are wise to keep quite still,

For they're watching with a will.

Maybe you can make them think

It's the cord that ties the ink.

Mother Cat looks very wise;

She will know it by its size.

She has taught her kittens, too,

Just exactly what to do.

Which will get you? Have a care,

For to lose you they'll not dare.

Though they're frightened, we can see

With her help it's you must flee.

Ah, you moved it! Such a fuss!

All the things are in a muss!

And they caught you, as I thought;

You're a nuisance, so they ought.

Which one did it? I can't tell.

All I know is, something fell.

But they all look very proud,

And their purr is very loud.

Questions to help the pupil understand the picture. How did the kittens happen to find the mouse? How did they get up on the table? Where did the mouse try to hide? Why was that not a good place? What were the kittens afraid of? Who came to help them? What did she do? How does she look? Which kitten is the more daring? What is between the black kitten and the mouse? What will very likely happen to the books and papers? Which way do you think the white kitten will jump? the mother cat? Which one will catch the mouse?

To the Teacher: Encourage the children to talk about their own pets at home, and to draw pictures of them. The drawings may not be good in themselves, but such practice will make the children more observant, and so prepare the way for better drawing later.

The story of the artist. Madame Ronner, the woman who painted this picture, was very fond of cats, as you can easily imagine. She had a very large cage made for her pets, with wire over the top and glass for the sides. She had the sides made of glass so that she could always watch the cats when she painted, no matter in what part of the cage they happened to be; and of course the top was of wire so they could have plenty of air. The floor of the cage was well cushioned, and there were several hanging bobs for the cats to play with.

Her father was an artist, and he, although blind, was her only teacher in drawing and painting. She would describe her pictures to him, and he would criticize and tell her how to improve them.

When she was only sixteen years old she exhibited her first picture, which she called "Cats in the Window." The picture received a great deal of praise and was sold immediately. Every one supposed she would paint more pictures of cats, because she could paint them so well, but for some reason she began to paint dogs instead. Her dog pictures won much popularity also and for many years she supported herself and her blind father by her paintings of dogs.

After her father's death she married and moved from Amsterdam to Brussels, where she again became interested in painting cats. It was then that she did her best work. One of her best pictures painted at that time was "A Fascinating Tale."

Madame Ronner had so much care and trouble all her life, it is a wonder she could paint such bright, happy pictures. She was very poor much of her life, and had not only the care and support of her blind father but later on of an invalid husband and several little children. Still with it all she must have found time for a frolic with these fluffy little kittens, to have known just how to paint them at their best.

Her little children must have liked to play with them, too.

Questions about the artist. Who painted this picture? Who taught her to draw and paint? How could he, when he was blind? What other animals did Madame Ronner paint besides cats? Which did she paint the better? What makes you think she must have liked cats? Where did she put them when she wanted to paint them? Why did the cage have glass sides? Why did it have wire over the top? the soft cushions on the floor? What did she have for the cats to play with?

A HELPING HAND

Original Picture: Corcoran Gallery, Washington,
            D.C.

Artist: Emile Renouf (rẽ n[=oo]f´´).

Birthplace: Paris, France.

Dates: Born, 1845; died, 1894.

Questions to arouse interest. Of what is this a picture? Where are this man and little girl? Where do you think they are going? What do you suppose the man does for a living? why? How is he dressed? What makes you think he loves the little girl? For what is the long pole with the rope around it used? How is the man guiding the boat now? What do you see ahead that he is trying to turn away from? What is the little girl doing? How is she dressed? Why do you think she cannot help very much? What kind of a boat is it? What else do you see in the boat? in the picture? Why is it called "A Helping Hand"?

The story of the picture. When we go fishing for a few hours or half a day we think it great fun, but a real fisherman, who earns his living that way, has to work very hard. Fishermen usually start out at four or five o'clock in the morning, and do not come home again until late at night. Sometimes they go away for several days, fishing night and day.

Very probably this little girl is not awake mornings when her father eats his breakfast and starts out. He wears a rain-proof hat and heavy coat, for one never can tell what the weather will be out on the water. He must take a good lunch with him, too, for he is sure to get hungry. The mother will see that the lunch is ready.

When the wind is blowing in the right direction he puts up the heavy pole you see in the center of the boat, lets out the sail, and tightens the rope. Then, with a good wind, how fast he can go! He knows just where each kind of fish likes to stay, and goes straight to the very best place. Here he drops his heavy iron anchor into the water. This anchor is fastened to the boat and keeps it from drifting. Sometimes the fish do not bite at all, and he has very few to carry home after his hard day's work. Then again his great boat is filled full of shiny fish. "Fisherman's luck," that is called.

He probably uses that net with the long wooden handle to help him catch the big fish. He may have used it also to catch his minnows for bait. No doubt he catches all the minnows he needs before he starts, because they live in the shallow water near the shore and it is easier to catch them there.

Some fishermen use very long nets, something like those you see on a tennis court, only wider and stronger. It takes several men to manage them. The fish get tangled up in the net, and then it is very easy to catch them.

Little girl and a fisherman

From a Thistle Print, Copyright Detroit Publishing Co.

A Helping Hand

A flat-bottomed boat is the best for fishing, they say. You can move about in it without much danger of tipping over, and it holds more. The fish often think it is a wharf or a good cool place under which to hide, and you can catch them easily.

Very likely this little girl has never been out with her father on one of his long trips, for it would be much too tiresome for so small a girl. It would seem, rather, as if he had finished his day's work, and was taking his little daughter with him on some short errand. Perhaps they are on their way home, and there is something in that sack the mother needs. Just now there is no wind, or it is not in the right direction, for they do not use the sail.

Can you see the other oar? It must be in the bottom of the boat. The man must row hard with the oar he is pulling at or they will run into that great rock you see ahead.

It looks as if those little sailboats far off in the distance are standing still. Perhaps they have no oars, and are waiting for the wind to come up and blow them home. If they were anchored the sails would be rolled up and put away. A good sailor must take good care of his boat and sails. If a sail is not stretched out in the sun and allowed to dry after a heavy dew or rain, it will rot and soon fall to pieces.

A sailor knows how to tie a very tight knot which is called a "sailor's knot." He needs to know how to tie this, for if the knots are not tight and his rope should come untied, or anything give way when there is a heavy wind, the boat would very likely be overturned.

The little girl looks as if she were putting all her strength into those tiny hands that cannot near go around the oar. How pleased her father seems to be to have her try to help him! He knows she is doing the best she can, and he lets her think she is helping row the boat. It must help him somewhat, just to know that she is trying so hard and wants to help.

She must slip about on that seat every time the oar moves, for her feet do not touch the bottom of the boat. She will be tired when she reaches home, and warm too, no doubt.

They will not lose their hats even if the wind does blow, for the little girl's bonnet is tied under her chin, and her father has pulled his rubber hat tight over his head. Often, when he is out fishing on the deep sea, the spray dashes over the fisherman's boat, and he is glad to have a rubber hat and coat to wear.

The little girl wears a large handkerchief around her neck, fastened under her arms. What do you think is in the pockets of her apron to make them puff out so? It must be in the summer time, or she would surely wear a coat and rubber boots. What a big, heavy boat it is! No wonder it takes such a large oar to row it.

Questions to help the pupil understand the picture. Tell something about a fisherman's day. When does he start? How does he go? Where? How does he keep his boat from drifting while he fishes? What is meant by "fisherman's luck"? What is his net for? What makes you think the fisherman is going home now? Why does he not use his sail? Why does he have a flat-bottomed boat? How does a good sailor care for his boat and sails? What is a "sailor's knot"? Of what use is it? Why does the fisherman wear a rubber hat and coat? How many think the little girl is helping? Why do you think her father is so pleased to have her try? What has she on her head? around her neck? What time of the year do you think it is?

To the Teacher: The children might be allowed to draw or cut out a sailboat and a fisherman's hat.

The story of the artist. Very little is known about the boyhood of the man who painted this picture. His paintings were usually of fisherfolk, and of boats on the water. We know that in 1886 he came to America and spent one year in New York City. It was during this time that he painted his picture of Brooklyn Bridge, now in the museum in Le Havre, the town in France where he died. "A Helping Hand" is the most popular of his pictures, and may be seen in the Corcoran Gallery at Washington, D.C.

Questions about the artist. Who painted this picture? What class of people did he like to paint? What did he paint during his visit to America? Where may this picture be seen?

THE STRAWBERRY GIRL

Original Picture: Wallace Collection, London, England.

Artist: Sir Joshua Reynolds (rĕn´´ŭldz).

Birthplace: Plympton, Devonshire, England.

Dates: Born, 1723; died, 1792.

Questions to arouse interest. What do you see in this picture? Where do you think she is going? What has she on her arm? What is it for? Why do you suppose she stands so still? Do you think she looks frightened, or shy? What has she on her head? How is she dressed? How is she holding her hands? Why would she not carry strawberries in her apron? What can you see behind her? How many of you like this picture?

The story of the picture. We all know the story about the great artist, Sir Joshua Reynolds, and his picture called "Angels' Heads." We know, too, how very fond of children he was, and how much they liked to go to see him.

Having no children of his own, perhaps he would not have understood them so well if his little niece had not come to live with him when she was a very little girl. Her name was Theophila Palmer, but every one called her "Offy." When her father died the family was left very poor, and so Sir Joshua Reynolds wanted to help her mother, who was his sister. He offered to adopt Offy as his own little daughter and to take her home to live with him and his sister in his great house in London.

After living on a farm out in the country all her life, you can imagine how excited Offy was when it was finally decided that she should go. Her uncle came for her in that same big coach or carriage in which little Frances Isabelle Gordon liked so much to ride.

What a fine time she must have had playing in the great yard with Sir Joshua, and with the children who came to him to have their pictures painted! Very often she would go home to see her mother and sister. Then Sir Joshua would send his carriage to bring them all back for a visit with him. What fun it was to show them all around the great house and yard! There were fine, large trees in the yard, and behind the house was a small garden with a strawberry patch at one end.

One bright spring morning Offy woke up with a beautiful plan in her head. She would surprise her uncle. He had been so very busy she felt sure he had not looked at the strawberry bed for several days, and did not know the berries were ripe. She would take her little basket and pick it full of the largest ones for him.

Little girl

The Strawberry Girl

It was great fun hunting for them, and her basket was almost full when suddenly she heard steps. It was her uncle and two strange men who walked with him. She did not have time to hide, but stood there with her basket on her arm, waiting to hear what they would say.

At first she thought her uncle was going to scold her, and that is why she looks so shy and half afraid. But no, Sir Joshua soon guessed why she was picking the strawberries, and he was very glad he could offer some to his friends. One of the men called Offy "the little strawberry girl," and kept her with him all the rest of the day.

Sir Joshua seemed to like to look at her that day, and she was not surprised the next morning when he asked her to bring the basket and come into his studio, for he wanted to paint her picture. She had had her picture painted several times before, and knew just about what he would want her to do.

But this time he had a surprise for her. It was a large mirror which he placed in such a way that she could look in it and see every stroke of his pencil and brush as he painted her. He had her stand just as she did when he surprised her out in the strawberry patch.

As she watched him paint he talked to her about the garden and the strawberries. Then she told him how she used to gather wild strawberries out in the country, and that she and her sister and brother started very early in the morning because they wanted to find them while they were still wet with dew. There was one place not far from their house where there were many rocks, and one that was very large. The very largest, sweetest berries grew in the shade of this great rock. The children used to try to see who would reach it first; then they would divide the berries they found, for there were only a few of them, and all wanted a taste.

As Offy told about the rock Sir Joshua Reynolds sketched it in the background of his picture, just as he thought it must have looked.

The little girl looks as if she had just started away with her basket of berries when we stopped her to take her picture. She is looking straight at us, with her head bent forward a little as she smiles shyly at us with her big eyes. Her basket, cap, and dress seem strange to us, for little girls do not dress that way now. She looks quaint and old-fashioned as she stands there, with her hands clasped so primly. But one glance at her face tells us that she is just a merry, happy little child, ready to dart away at any moment for a romp in the woods we can see in the distance.

Sir Joshua Reynolds always said that this was the best child's picture he ever painted.

Offy was very happy in his home, and lived there until she grew up and married. Then when she had a little girl of her own she let her visit Sir Joshua and have her picture painted, too. It is Offy's little daughter we see in the picture called "Simplicity." Her name was Offy, too.

With so many lovely pictures of children it is no wonder Sir Joshua Reynolds was called the "Prince of Child Painters."

Questions to help the pupil understand the picture. Who painted this picture? What other picture of his have we studied? Who can tell something about Sir Joshua Reynolds? What little girl came to live with him? How did she happen to come? Where had she lived? Who brought her, and how? Tell about Sir Joshua Reynolds's house and yard. Where was the strawberry patch? What did Offy plan to do to surprise her uncle? What happened? What did one of the men call Offy? What did her uncle do the next morning? How was Offy surprised? Of what use was the mirror? Tell how Offy gathered strawberries in the country. Where did the largest berries grow? Why did Sir Joshua Reynolds paint the rock in the picture? What did he say about this picture? What became of Offy? Why do you think Sir Joshua Reynolds liked to paint this little girl?

To the Teacher: Illustrate the story of a little girl picking strawberries. Use charcoal and manila paper. Ask some child to pose for the picture, and encourage the children to draw a background that tells the story.

The story of the artist. The great room or studio in which Sir Joshua Reynolds painted was a wonderful place for a child to visit. In it one could find all kinds of toys, as well as birds and other pets. Most of the children who came to see Sir Joshua were of very wealthy families, but he did not care for that. He always asked their mothers to please let them wear their oldest clothes so they could have a good time. In fact, he did not like fine clothes, and usually the children in his pictures are dressed so simply you cannot tell whether they are rich or poor. He played games with them and told them stories. They were always sure of a good time and so no wonder they liked to visit him.

Many artists have been poor, and have had to work very hard just to earn enough to eat, but Sir Joshua was not one of these. He was fortunate in being able to sell all his pictures as fast as he could paint them and so always had plenty of money.

Many strange stories are told of Joshua's father because he was such an absent-minded man. One day he rode to town on horseback. He was wearing high-topped boots which were so loose that one fell off while he was riding along. He did not notice it at all, for he was thinking of something else. But when he reached town and got off his horse he was very much surprised and embarrassed to find himself wearing only one boot.

When Sir Joshua went to London to learn how to paint he wrote to his father, "While I am doing this, I am the happiest creature alive." After he had been away several years he met a young sailor, Admiral Keppel, who invited him to go on a long sail on the Mediterranean Sea. This was a great opportunity for Sir Joshua, and he was glad to go. He spent some time in Italy, and when he came home he painted a portrait of his friend, Admiral Keppel, which every one admired. It was this picture that first made him famous.

Questions about the artist. Tell about Sir Joshua Reynolds's studio. Why did children like to visit him? How did he wish them to dress? why? Tell about his father and the boot. Was Sir Joshua Reynolds rich or poor? When he was away from home, learning to paint, what did he write to his father? Tell about Admiral Keppel and his picture.

THE RETURN TO THE FARM

Original Picture: The Louvre (l[=oo]´vr'), Paris, France.

Artist: Constant Troyon (trwä´yôn´´)

Birthplace: Sèvres (Sâ´´vr'), France.

Dates: Born, 1810; died, 1865.

Questions to arouse interest. What do you see in this picture? Where are the animals going? Where do you think they have been? Who is driving them? What time of day do you think it is? Do you think it is a warm or a cold day? why? Which is the leader of the sheep? Notice the knees of the animals. What do they show? Where is the donkey? Why does the dog seem so anxious? From what direction are the animals coming? See if you can find any two sheep just alike. What can you see in the distance? Where is the shady part in the picture? Do you like this picture?

The story of the picture. It is at the close of day; the cows, the sheep, and the donkey have been out in the pasture all day, and when the dog and his master came for them they were ready to start for home.

We can hardly see the man in the picture. He is walking along the river bank farther back. Perhaps he is walking slowly so as to give the cows time to wade out into that cool little pond, where they can drink and refresh themselves. But the dog feels that he must look after them, so he tries his best to keep them out of the water. That one dark cow has just about made up her mind to follow the others into the water, and the dog is barking at her, trying to persuade her not to go. The cow just leaving the water turns around to call the rest, half wishing to go back herself. When the man comes along they will know it is time for them to be on their way again.

The dog has an anxious time of it, for he never knows when the sheep, too, may see a green field and start away from the road in spite of him. Even now one is looking away from the leader.

The donkey seems to be following along very quietly. It may be that the man has stayed behind to look after him, or perhaps there are more cattle coming around the curve in the road, or stopping to rest in the deep shade of those heavy trees.

This picture was painted in France, but it might well have been done in our own country, for we have all seen grass-covered, shady roads like this one, and just such a group of animals. Is it not strange that, although all the animals in the road are coming toward us, no two are in the same position?

Little girl

The Return to the Farm

The sun is steadily going down; soon all the animals will be at home, the cows will be milked, the sheep safe in the fold, and the donkey in his stall. Then the good old dog will be glad to have his supper and lie down and rest. It is wonderful how much a dog can help on a farm, and how many steps he saves the farmer by his willing, cheerful help. It is very unusual indeed to find a farmer without a dog.

If you look at the long shadows on the road of the sheep and the cows you can tell easily in what direction they are going so late in the afternoon.

Constant Troyon, the man who painted this picture, delighted in painting groups of animals coming toward us. No matter where we stand, so long as we can see them, they are coming to meet us. It makes us feel as if we must step aside and let them pass, they are so real.

Questions to help the pupil understand the picture. Who goes after the cows and sheep? Where will they find them? Where is the man in the picture? Why do you suppose he is walking slowly? What does the dog think he must do? What is he trying to persuade that dark cow not to do? What does the cow which is just leaving the water seem to want to do? Why does the dog look so worried? Where was this picture painted? Where have you seen a road that looks like this? What will probably happen when these cows and sheep reach home? Of what use is the dog? Why do most farmers have a dog? How can a dog help his master in the city? In what direction are the cows and sheep going? What makes you think so?

The story of the artist. When Constant Troyon was a little boy he used to love to go to visit his father at the big factory where all kinds of china and pottery were made. He liked to watch the men decorate the china, and as soon as he was old enough he went into the factory and learned how to do it himself. This was the way he first learned how to draw.

He was not long content with china painting, however, and soon began painting large pictures of places he cared about near home. He would take his paints and search out just the place he liked to paint; then he would stay there all day long, as happy as could be.

At first he painted just because he liked to, and did not try to paint pictures to sell or to please others, for he earned all the money he needed in the porcelain factory. After a while his friends persuaded him to exhibit his paintings so that all the people could see them, and when he did so he was amazed to find that every one admired them, and that he had become very popular.

Of a powerful frame, he could be seen tramping about in all kinds of weather. He made friends wherever he went, for he was always good-natured and kind-hearted. People usually speak of him as a painter of cattle, but he painted quite as many pictures of sheep and dogs.

Questions about the artist. Who painted this picture? What did he like to paint best? Where did Constant Troyon learn to draw? What was made at his father's factory? What did Troyon do when he was old enough? Where did he paint his large pictures? Why did he paint? How did people like his pictures? How did they like him? What other animals did he like to paint besides cattle?

THE SUGGESTIONS TO TEACHERS

Studying the picture. Several days before the lesson is to be taken up, the picture to be studied should be placed where every pupil can see it.

First of all, the children should find out for themselves what is in the picture. The questions accompanying the story of each picture are intended to help them to do this.

Language work. The pupils should be encouraged in class to talk freely and naturally. In this way the lesson becomes a language exercise in which the pupils will gain in freedom of expression and in the ability to form clear mental images.

If a lesson does not occupy the entire drawing period, the children should be asked to retell the story of the picture.

Dramatization and drawing. Most of the stories told by the pictures lend themselves readily to dramatization and, whenever practicable, such stories should be acted out. The stories also offer numerous interesting situations that may be used as subjects for drawing lessons.

The review lesson. The review lesson should cover all pictures and artists studied throughout the year. At this time other pictures available by the same artists should be on exhibition.

The review work may be conducted as a contest in which the pictures are held up, one at a time, while the class writes the name of the picture and the artist on slips of paper which have been prepared and numbered for that purpose. One teacher who used this device surprised her class by presenting those whose lists were correct with their choice of any of the large-sized Perry pictures studied.

Many teachers, however, will prefer to use this time for composition work, although the description of pictures is often given as an English lesson. Pupils may write a description of their favorite picture. In fact, the lessons can be made to correlate with history, geography, English, spelling, reading, or nature study.

In any event the real purpose of the work is that the pupils shall become so familiar with the pictures that they will recognize them as old friends whenever and wherever they may see them.

It is hoped that acquaintance with the picture and the interest awakened by its story will grow into a fuller appreciation and understanding of the artist's work. Thus the children will have many happy hours and will learn to love the good, the true, and the beautiful in everything about them.

Transcriber's Note:

Some words have accents of different weights. The heavier accent is marked double (''). (Example: bo'nur'')

Pg 21 Pronunciation guide for (zhäN fräN´ swä´ mēlĕ´´) presents a Latin letter small capital N, a voiced uvular nasal.

Pg 37 Emile Renouf (rẽ n[=oo]f´´) and Pg 51 Louvre (l[=oo]´vr') contains [=oo] representing a "long oo" sound not represented in any charts.

Pg 41 Changed "where" to "Where" in "How does he go? where?".

*** END OF THE PROJECT GUTENBERG EBOOK STORIES PICTURES TELL. BOOK 2 ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.