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+The Project Gutenberg EBook of Stories Pictures Tell, by Flora L. Carpenter
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Stories Pictures Tell
+       Book Four
+
+Author: Flora L. Carpenter
+
+Release Date: February 26, 2010 [EBook #31411]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL ***
+
+
+
+
+Produced by D Alexander, Larry B. Harrison and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  STORIES
+  PICTURES TELL
+
+  BOOK FOUR
+
+  _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 & COMPANY
+  All rights reserved
+  Edition of 1928
+
+  [Illustration]
+
+  Made in U. S. A.
+
+
+
+
+THE CONTENTS
+
+
+  SEPTEMBER AND OCTOBER                         PAGE
+
+    "The Sower"                  _Millet_          1
+
+    "Highland Shepherd's Chief
+      Mourner"                   _Landseer_       13
+
+  NOVEMBER, DECEMBER, AND JANUARY
+
+    "Children of the Shell"      _Murillo_        23
+
+    "Saved"                      _Landseer_       31
+
+  FEBRUARY AND MARCH
+
+    "Pilgrim Exiles"             _Boughton_       43
+
+    "Dance of the Nymphs"        _Corot_          51
+
+  APRIL, MAY, AND JUNE
+
+    "Oxen Plowing"          _Rosa Bonheur_        63
+
+    Review of Pictures and Artists Studied
+
+  _The Suggestions to Teachers_                   75
+
+
+
+
+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
+
+[Illustration: By permission of Braun & Co., Paris and New York
+
+THE SOWER]
+
+
+
+
+STORIES PICTURES TELL
+
+
+
+
+THE SOWER
+
+
+=Questions to arouse interest.= What is this man doing? Why do you think
+so? What does he carry over his shoulder? in his bag? How does he sow
+the grain? What will be the result of his work? How do you think the
+grain will be covered? What can you see in the background? Do you think
+the oxen are plowing the field or covering the grain? why? What time of
+the day is it? What can you see in this picture to indicate that the man
+has been working a long time? How is he dressed? How does he wear his
+hat? What kind of boots is he wearing? What makes you think the ground
+is soft? Is the man standing still, or walking? Why do you think so?
+Where does he seem to be looking? Why do you think he looks ahead? What
+is the cause of the glow in the sky behind him? What do you think are
+the colors in the sky? the colors in the field? What time of the year is
+it? in what country? What do you like best about this picture?
+
+
+      =Original Picture:= Vanderbilt Collection, Metropolitan Museum,
+                            New York.
+      =Artist:= Jean François Millet (m[=e]´l[)e]´´).
+      =Birthplace:= Gruchy, France.
+      =Dates:= Born, 1814; died, 1875.
+
+
+=The story of the picture.= In this picture Millet has tried to tell
+us only a few important facts about the man and his work. It is easy
+to see that he is sowing grain broadcast over the field. The shadows
+creeping over ground and sky tell us that night is fast approaching.
+He seems intent upon finishing that last stretch of field before dark,
+and his steady, rhythmic swing shows none of the physical weariness he
+must feel.
+
+When we think of the life of this sturdy French peasant, as the artist
+surely intended we should, we realize the patience and perseverance
+required in the monotonous day's work, and we are forced to a feeling
+of respect and admiration for him.
+
+In these days with what ease and skill the same task is performed by
+the aid of machinery! Riding on the seat of a machine which drills the
+seed into the ground and covers it up, the man would have found the
+simple task of guiding his horses a very pleasant one indeed. As he
+walks along so energetically, his eyes are probably fixed on some
+stake at the end of the field to guide him as he travels back and
+forth, sowing the grain.
+
+No doubt he used a team of oxen to plow and harrow the ground before
+he sowed the seed. We have no way of knowing just what kind of a
+harrow he had, but very likely it was one made of brush or branches of
+trees. We can see a team of oxen and a driver in the distance, who
+seem to be following in the tracks of our sower and covering up the
+seeds he is sowing.
+
+The artist, Millet, knew all about such work, for he himself had
+worked out in the fields through the long day. He tells us that his
+"ancestors were peasants and he was born a peasant."
+
+No doubt the man in our picture started out on his day's work long
+before the sun was up. His first task, after eating his breakfast and
+feeding his oxen, was to yoke the oxen ready for the journey to the
+field where their work was to be done. No doubt the man has been working
+steadily ever since, for he does not look like a man who would stop to
+rest very many times. He gives us rather a feeling of physical strength
+and of steady, faithful effort in the accomplishment of his daily tasks.
+
+At the close of such a day's labor in the field he will be too utterly
+weary to sit up and read, as most of our farmers do during these days
+of farm machinery and rural delivery. And yet, there were some who did
+read even in those days when work was so difficult, for we know that
+Millet sat up many nights with the village priest, who taught him
+reading and arithmetic, and with whom he studied Latin and read the
+works of Shakespeare. It was due to this greater knowledge that Millet
+became something more than a mere peasant. It was this that gave him
+such perfect sympathy with and keen insight into the peasants' lives.
+His own knowledge of the world made him more conscious of the great
+contrast between their narrow, hard-working lives so full of
+privation, and those of the men and women in the great world outside
+so full of opportunity and promise. Yet even in so great a city as
+Paris, men could starve, as he had found out by his own experience.
+
+Perhaps Millet wished to make us feel the content of a successful
+day's work such as this, with its well-earned quiet and rest, free
+from the hurry and noise of the city. Although the sun is sinking over
+a world of beauty and pleasure, our sower knows nothing and cares for
+nothing except the accomplishment of his task. His hat, pulled down
+over his face, shades his heavy, coarse features. Although an expert
+in his work, doing to the utmost, his mind is probably dull and slow
+and quite unequal to any great mental task. And yet what a great work
+is his, after all! How dependent we are upon the men of whom he is a
+type! The fact that he is doing his own work and doing that work well
+compels our respect and admiration.
+
+The light from the sun disappearing behind the hill brings out in
+silhouette the figure of the sower turned toward the dark and earthy
+field. This man is not posing for his picture. Quite unconscious of
+our gaze, he swings briskly forward, his feet sinking slightly into
+the newly plowed field. From the bag hanging from his shoulder he
+scatters the grain with a long sweep of his strong right arm.
+
+He is actually moving in the picture. Take this position for yourself.
+The weight of the body falls evenly upon both feet. To raise either
+foot you must move the entire body. As the right foot goes forward the
+right arm goes back. If you try taking long strides and swinging your
+arms you will find this is the natural movement.
+
+The horizon line is slanting or diagonal, and divides the light part
+of the picture from the dark. The sky and ground are held together by
+the figure of the sower. Notice the absence of details in the picture.
+
+The art critics of Millet's day did not appreciate the great thought
+expressed in this picture, for nearly all of them found fault with it.
+They could see no beauty in "a common laborer in his dirty clothes
+doing his miserable work," and thought Millet should have chosen
+something more beautiful to paint. What do you think of the justice of
+this criticism? What is your opinion of the beauty of this picture?
+Millet loved these simple, kind-hearted, hard-working peasants, loved
+their lives of toil in the fields, respected their labors, and being
+so wholly in sympathy with them, he wished to make us feel so, too.
+
+
+=Questions to help the pupil understand the picture.= Where is the man?
+in what country? How can you tell what time of the day it is? Why does
+he not seem weary? Why do you think he must be very tired? How early do
+the French peasants usually start to work? What must this man do before
+daybreak? Why do you think he is not lazy? Why do we respect and admire
+him? How could his work be made easier now? How do most of our farmers
+sow and plant their seed? How did this man plow his ground? What is a
+harrow for? What kind of a harrow did this man have? What is the team of
+oxen at the farther end of the field doing? Does this man seem to be
+looking at the ground or far ahead? How did the artist, Millet, know so
+much about this kind of work? What would this man probably do after his
+day's work? Why did he not read the newspaper, as our farmers do? What
+did Millet do in the evening? How did this help him? What did Millet
+wish to make us feel in this picture? How does the horizon line divide
+the picture? How are the sky and ground held together? Why do you
+suppose Millet did not paint details, such as the features of the face
+or the buttons on the coat? What did the critics say about this picture?
+How many agree with them? why? why not?
+
+
+=To the Teacher:= Ask one of the pupils to take this position while the
+others sketch the action, finishing the sketch from memory--and adding
+their own background. Use ink silhouette, or charcoal on manila paper.
+
+
+=The story of the artist.= Jean François Millet was the son of poor
+French peasants who lived on a farm and worked hard to take care of
+their large family of eight children. Jean was the eldest boy. The
+father was very fond of music and of all beautiful things out of
+doors, and often he would say to his son, "Look at that tree, how
+large and beautiful! It is as beautiful as a flower." He would call
+the boy's attention to the beauty of the fields, the sunsets, and all
+things around them.
+
+Millet's mother worked out in the fields with the father all day long,
+so it was the grandmother who took care of the little boy. It was she
+who named him Jean after his father, and François after the good Saint
+Francis. She was a deeply religious woman, and nearly all the pictures
+Millet saw when a boy were those in her Bible. He copied these
+pictures many times, drawing them with white chalk on the stone walls
+of the house. This pleased his grandmother very much, and she
+encouraged him all she could.
+
+At the age of six he was sent to school. When he was twelve years old,
+the priest of the village became interested in him and offered to
+teach him Latin. Millet was only too glad to accept this offer, and
+many a happy evening the two spent thus together. But his studies were
+frequently interrupted by his work on the farm, for since he was the
+eldest son his father depended most upon him. It was the custom in
+France among the peasants to take a daily hour of rest from their
+labors. But the boy Millet, instead of sleeping, spent the hour in
+drawing the homely scenes around him.
+
+One Sunday morning, coming home from church, Millet met an old man who
+walked very slowly, his back bent over a cane. We have all seen just
+such old men, and their feebleness has aroused our sympathy and
+respect. It is not strange, then, that something about this bent
+figure appealed to young Millet so strongly that he could not resist
+the desire to draw a portrait of the man.
+
+He drew the portrait on a stone wall, with a piece of charcoal, and so
+well that people passing on their way home from church recognized it
+at once and were very much surprised and pleased. His father, perhaps,
+was the most delighted of all, for once he himself had wished to be an
+artist. Now he determined that his son should have the chance.
+
+We are sure Millet never forgot that day when the father, mother,
+grandmother, and his brothers and sisters sat around the table after
+dinner and talked about his wonderful picture and what they could do
+to help him become a great painter. And when it was finally decided
+that his father should take him to the artist (Mouchel) in the next
+village, you may be sure he worked hard on the drawings he was to take
+with him. At last the day came for the journey, and the proud father
+and his happy son set out on foot for the home of the artist.
+
+When shown the drawings Mouchel at first refused to believe the boy
+had made them, they were so good. Finally convinced, he was glad
+indeed to take Millet as one of his pupils. But Millet studied with
+him only two months when his father died and he was obliged to return
+home to take his father's place on the farm as best he could.
+
+By this time the people of the village had become so much interested
+in his paintings that they decided to help him. So they raised a large
+sum of money, sent him back to the artist to study, and finally sent
+him to the great city of Paris, France. But although he painted
+wonderful pictures which are worth thousands of dollars to-day, his
+style of art was not appreciated then and would not sell, and he was
+glad to paint portraits for a few francs each in order to make a
+living. His life in Paris was a continuous struggle with poverty, and
+at last he decided to leave. With his wife and children he settled in
+a little three-roomed cottage at Barbizon, a tiny little village near
+a great forest and only a day's journey from Paris.
+
+Here was Millet's home all the rest of his life. Although still very
+poor, the family did not starve, as they came so near doing while they
+lived in Paris, for the garden and the fruit trees always provided
+them with something to eat.
+
+At that time the popular artists were painting beautiful pictures of
+lovely women and men of the nobility in their fine clothes, or of
+wonderful saints and angels, and pictures showing only the happier
+side of life. To them Millet's pictures came as a shock, bringing to
+mind the dirt and grime of the common, everyday tasks of the poorer
+French peasants. And, more than that, he made them realize the
+dreadful condition in which the French Revolution had left many of
+these same peasants, and that was something of which they did not care
+to be reminded. So they refused to buy his pictures, and it was not
+until the last ten years of his life that Millet received a little of
+the recognition and honor that he so richly deserved. With his
+increasing fame came better financial conditions, and in 1867 he
+received the ribbon of the Legion of Honor.
+
+
+=Questions about the artist.= Who painted this picture? In what
+country did he live? Tell about his mother and father. Who took care
+of Millet when he was a boy? What pictures did he copy? Where did he
+draw them? With what did he draw? Who encouraged him? What did the
+priest teach him? Tell about the picture of the old man leaning on the
+cane. Where did he draw this picture? Who saw it? Why do you think it
+must have been a good likeness? How did Millet's father feel about it?
+What did he do? How did they travel? What did the artist think? How
+long did Millet study with him? Why did he return home? What did his
+neighbors do for him? What was he obliged to paint for a living? Where
+did he move? What kind of pictures were the popular artists of that
+day painting? Why were Millet's pictures not popular? When were his
+pictures appreciated? Why have his pictures outlived those of the
+popular artists of that time?
+
+
+
+
+[Illustration]
+
+HIGHLAND SHEPHERD'S CHIEF MOURNER
+
+
+=Questions to arouse interest.= What do you see in this picture? For
+whom is the dog grieving? What makes you think the shepherd may have
+been an old man? a religious man? a lonely man? Is there anything in
+the picture that would suggest the country in which he lived? What is
+there in the picture to suggest the time of the year? the occupation
+of the man? What kind of dog is this? Who painted the picture? Tell
+something about his life. Do you like this picture? How does it make
+you feel?
+
+
+      =Original Picture:= South Kensington Museum, London.
+      =Artist:= Sir Edwin Landseer (l[)a]nd´´s[=e]r).
+      =Birthplace:= London, England.
+      =Dates:= Born, 1802; died, 1873.
+
+
+=The story of the picture.= Here we are looking into the interior of a
+highland shepherd's hut. Our eyes are immediately attracted to the
+center of the room, where we see the coffin of the shepherd covered
+with a blanket against which his dog keeps solitary watch. A well-worn
+Bible and a pair of glasses on the stool near by, the hat, the cane,
+all suggest something of the life and age of the shepherd. We are told
+that he was a very old man who had lived all his life among the hills
+of Scotland. For the last few years, at least, he had lived here alone
+except for the companionship of his faithful dog and his sheep.
+
+The good old dog could tell you all about it. How, early in the morning,
+he would go with his master to drive the sheep to the best grazing
+ground, where all day long they guarded and watched them, the man and
+the dog sharing their noonday lunch of coarse bread. And why did they
+need to watch the sheep so carefully? There were a great many eagles
+whose nests were high up in the giant oak trees or up in some rocky
+cliff far away, and they came flying over the hills looking for food.
+Woe to the sheep if their master was not near to care for them, for then
+an eagle would swoop down upon his choice and carry it away to his nest.
+Then, too, there may have been wild animals prowling about, and the
+sheep must be protected from them. The dog and his master also had to
+keep watch lest some lamb stray away from the flock and get lost.
+
+In the evening the dog helped his master drive the sheep to shelter in
+the great sheds where they were kept safe all night. Then up the hill
+they would climb to their home, where the shepherd prepared the simple
+evening meal for himself and his dog. Now what could they do after
+supper? It was too far for the old man to go to the distant village,
+and no one was likely to come in to see them. No doubt, too, he was
+very tired, and ready to go to bed very early. You know how sleepy you
+are after you have been out in the fields all day long. But first he
+read a little in his Bible; and when the dog saw his master take up
+the book and put on his spectacles, he probably stretched out on the
+floor and kept very still.
+
+As time went on, the old man became more feeble and the dog worked all
+the harder to save his master's strength. It may be that toward the
+last the dog did almost all the work of caring for the sheep. Then,
+one morning, the old shepherd did not wake up. Even the tugging and
+sharp barks of his faithful friend failed to arouse him. It may be
+that the dog's barks brought some passing drovers to the door.
+
+In the picture the dog presses close to the coffin. His clinging paws
+have dragged the blanket to the floor. His eyes seem full of tears of
+hopeless grief, as if he understood his master could not come back. He
+must have kept that same rigid and sorrowful position since the men
+left. Some green branches placed upon the coffin have fallen to the
+floor because of the dog's first frantic tugging at the blanket. The
+shepherd must have led a lonely life indeed to have no one but his
+faithful dog to watch beside him. His hat and cane lie where he left
+them, and all is very quiet.
+
+In another picture Landseer painted a dog lying on the ground over the
+grave where his master lies buried. We can easily imagine that this
+dog will follow his master to his last resting place and that he, too,
+will act as sentinel over the grave of the one he loves so dearly.
+Landseer wanted to make us feel how good and faithful a friend a dog is.
+
+
+=Questions to help the pupil understand the picture.= Whose home was
+this? In what country did he live? Tell about his life among the
+hills. Who helped him care for the sheep? Why must they be cared for?
+Where did they stay at night? What could the old man do in the
+evening? When he became feeble, who did nearly all the work of caring
+for the sheep? When the master did not wake up what did the dog
+probably do? Why have the branches fallen from the coffin? Why do you
+suppose there is no one else in the room?
+
+
+=The story of the artist.= Sir Edwin Landseer's grandfather was a
+jeweler and his father also learned that trade. The jewelers of that
+day were very often asked to engrave the copper plates that were used
+in printing pictures. Sir Edwin's father soon decided that he would
+rather engrave pictures than sell jewels, and he became a very
+skillful engraver.
+
+At that time few people realized what an art it was to be able to cut
+a picture in copper so that a great many copies of it could be made
+from one plate. They did not even consider it an art as we do, and so
+engravers were not allowed to exhibit at the Royal Academy and were
+given no honors at all. Edwin's father thought this was not right, and
+gave several lectures in defense of the art. He said that engraving is
+a kind of "sculpture performed by incision." His talks were of no
+avail at the time, but within a year after his death the engravers
+received the recognition due them.
+
+His eldest son, Thomas, also became famous as an engraver, and to him
+we are indebted for so many fine prints of Sir Edwin Landseer's
+paintings. Thomas also made an engraving of the "Horse Fair" for Rosa
+Bonheur. Few can afford to own the paintings, but the prints come
+within the means of all of us.
+
+Edwin's father taught him to draw, and even when Edwin was only five
+years old he could draw remarkably well. Edwin had three sisters and
+two brothers. 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 by a fence over which was built an
+old-fashioned stile with several steps. The fence was built high so
+the sheep and cows in the fields could not jump over. One day Edwin
+stopped at the stile to look at the cows and asked his father to show
+him how to draw them. His father then gave Edwin his first lesson in
+drawing a cow. After this Edwin came nearly every day to these fields
+and his father called them "Edwin's studio."
+
+When he was only thirteen years old, two of his pictures were exhibited
+at the Royal Academy. One was a portrait of a mule, and the other was of
+a dog and puppies. Edwin painted from real life always, not caring to
+make copies from the work of others. All the sketches he made when he
+was a little boy were kept carefully by his father, and now if you go to
+England you may see them in the South Kensington Museum in London.
+
+Landseer was only sixteen years old when he exhibited his wonderful
+picture "Fighting Dogs Getting Wind." A very rich man whose praise
+meant a great deal bought the picture, and the young artist's success
+was assured.
+
+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 and
+ready to deliver, it suddenly disappeared. A diligent search was made
+for it, but it was not found until twenty-four years afterwards. A
+servant had stolen it and hidden it in a hayloft. He had been afraid
+to sell it or even to keep it in his home, for no one would have
+failed to recognize the great artist's work.
+
+For many years Landseer lived and painted in his father's house in a
+poor little room without even a carpet. The only furniture, we are
+told, were three cheap chairs and an easel. Later he had a fine studio
+not far from Regent's Park. Here was a small house with a garden and a
+barn. The barn was made over into a studio. Here so many people
+brought their pets for him to paint that he had to keep a list, and
+each was obliged to wait his turn. But Sir Edwin was not a very good
+business man, so he left all his affairs to his father, who sold his
+pictures for him and kept his accounts.
+
+Landseer made a special study of lions, too. A lion died at the park
+menagerie and he dissected its body and studied and drew every part.
+He painted many pictures of lions. He also modeled the great lions at
+the base of the Nelson Monument in Trafalgar Square, London.
+
+Although Landseer painted so many wild animals, birds, and hunting
+scenes, he did not care to shoot animals. His weapons were his pencil
+and sketch book. Sometimes he hired guides to take him into the
+wildest parts of the country in search of game. But he quite disgusted
+the guides when, a great deer bounding toward him, he would merely
+make a sketch of it in his book.
+
+Many of Landseer's paintings are of scenes in Scotland, as is this
+one, "Highland Shepherd's Chief Mourner." When Sir Edwin Landseer went
+to visit Scotland one of his fellow travelers was Sir Walter Scott,
+the great novelist. The two became close friends. Sir Walter Scott
+tells us: "Landseer's dogs were the most magnificent things I ever
+saw, leaping and bounding and grinning all over the canvas." Landseer
+painted Sir Walter Scott's dog "Maida Vale" many times, and he named
+his studio for the dog.
+
+At twenty-four Landseer became an associate of the Royal Academy,
+which was an unusual honor for so young a man.
+
+In 1850 the honor of knighthood was conferred upon him.
+
+This story is told of him at a social gathering in the home of a
+well-known leader of society in London. The company had been talking
+about skill with the hands, when some one remarked that no one had ever
+been found who could draw two things at once. "Oh, I can do that," said
+Landseer; "lend me two pencils and I will show you." Quickly he drew the
+head of a horse with one hand while with the other he drew a stag's head
+and antlers. Both sketches were so good that they might well have been
+drawn with the same hand and with much more study.
+
+Sir Edwin Landseer felt that animals understand, feel, and reason just
+like people, so he painted them as happy, sad, gay, dignified,
+frivolous, rich, poor, and in all ways just like human beings. This
+appealed to the people, and he became very popular.
+
+Sir Edwin did and said all he could against the custom of "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 attention to what he said, and the custom lost favor.
+
+Landseer died in London in 1873 at the age of seventy-one. A tablet
+placed to his memory in the notch of one of the windows at Westminster
+Abbey has a medallion portrait of him at the top, and below this,
+carved in light relief, is a copy of one of his most famous paintings,
+"The Highland Shepherd's Chief Mourner."
+
+
+=Questions about the artist.= Tell about Sir Edwin Landseer's father.
+What did he do? Why were engravers not allowed to exhibit their work?
+What did Edwin's father do to defend his art? What did Edwin's brother,
+Thomas, accomplish? Why are we so indebted to him? Who taught Edwin how
+to draw? Tell about his brothers and their walks in the fields. What
+animal did Edwin draw first? Where was "Edwin's studio"? Which two of
+his pictures were exhibited when he was only thirteen years old? What
+became of the sketches he made when he was a boy? Tell about his two
+studios. Tell about his picture of the old white horse. With whom did
+Sir Edwin Landseer travel through Scotland? What did Sir Walter Scott
+say about Landseer's dogs? How did Landseer happen to name his studio
+"Maida Vale"? What weapons did Sir Edwin use when he hunted? Why did he
+not shoot the animals? Tell about his drawing with both hands. In what
+ways are animals like people according to Landseer's judgment?
+
+
+
+
+[Illustration]
+
+CHILDREN OF THE SHELL
+
+
+=Questions to arouse interest.= Where do these children seem to be?
+Which of the two children seems to be the older? What is the boy at
+the right doing? From what is he drinking? Why do you think the boy at
+the left has given him a drink? How is he helping him now? What does
+the boy who is drinking hold in his left hand? How is he standing?
+What is the lamb doing? Who else seems to be watching them? Why do you
+think the picture is called "Children of the Shell"? Do you like this
+picture? why?
+
+
+      =Original Picture:= Prado Gallery, Madrid, Spain.
+      =Artist:= Bartolomé Esteban Murillo (m[=oo] r[=e]l´´y[=o]).
+      =Birthplace:= Seville, Spain.
+      =Dates:= Born, 1618; died, 1682.
+
+
+=The story of the picture.= The great religious painter, Murillo, has
+given us many pictures of the Christ child and John the Baptist, but
+perhaps none more pleasing than this one which critics have so often
+declared the most beautiful picture of children ever painted.
+
+We must go back in our Bible history to the time when the wicked King
+Herod reigned over Judea, for it was then that our story begins. This
+proud king had conquered all his enemies and expected to live at ease
+in his rich and beautiful palace, surrounded by all that would give
+him comfort and pleasure. But one day he was made very unhappy when a
+messenger appeared bringing him most unwelcome news. It was that a
+child had been born in Bethlehem at just the time and place it had
+been prophesied that a child should be born who would one day be king
+over all the world. In a manger of a stable, true to the prophecy, the
+baby Jesus was born. The three wise men of the East and many others
+who already worshiped him as king sought and found him there. The
+thought that the child would grow up to rule over his kingdom alarmed
+King Herod, and he resolved to remove this possible rival before it
+was too late. Fearful lest the child should escape, Herod sent out a
+terrible decree that all boy babies under two years of age should be
+killed. That must have been a dreadful day, for there was little hope
+of escape or concealment.
+
+However, Mary and Joseph had been warned by an angel several days
+before, and with the child Jesus they were already safe on their way
+to Egypt. They had left in the night, and no one could tell anything
+about them, or where to look for them. Several years later King Herod
+died, and almost immediately Mary, Joseph, and the boy Jesus started
+on the homeward journey. It was during this journey, we are told, that
+the boy, running on ahead of the donkey Mary was riding, found a cool
+little spring where he could quench his thirst. Suddenly there
+appeared another boy wearing a camel's-hair cloak and carrying a
+wooden stick with a cross carved upon it. He was followed by a lamb.
+It was John the Baptist, who, although only a child, was living among
+the hills, eating locusts and wild honey, preparing for the great work
+he was to do. It is supposed that as the mothers of these two boys
+often visited each other, the children must have met before. In the
+picture we see them standing near the cool little spring. Jesus has
+in his hand a shell which, straightway forgetting his own thirst, he
+has filled and now offers to his cousin John.
+
+John the Baptist is bending over to drink from the shell which Jesus
+holds for him. The lamb watches them contentedly, while from the sky
+above the angels, with clasped hands and smiling faces, look down in
+silent adoration. Although he does not look at them, Jesus seems
+conscious of their presence, for he points toward them with his little
+hand. Light radiates from the clouds and the angels, while deep
+shadows at the left and the right serve to heighten the effectiveness
+of the central part of the picture. The lamb, as the symbol of
+innocence, is the natural playmate of these two healthy, sturdy boys.
+The little John drinks eagerly, as if he were indeed thirsty and
+weary, while Jesus, although younger in years, has the kind and
+thoughtful look of an elder brother caring for a younger.
+
+At this moment they seem to be merely two thirsty boys, little knowing
+the great work before them or thinking of anything but to quench their
+thirst. Yet some of the coming greatness shows itself in the generous
+action of the child Jesus and the gentle acceptance of John the Baptist.
+
+
+=Questions to help the pupil understand the picture.= Whom does this
+picture represent? For what kind of paintings is Murillo famous? what
+subjects? Tell about King Herod. Why was he worried when he heard of the
+birth of Jesus? What did he do in order to be sure the child would be
+killed? What did the parents of the baby Jesus do? When was it safe for
+the boy Jesus to return? How did he happen to meet John at the spring?
+How was John dressed? What followed him? For what does the lamb stand?
+Who has the shell? What does he do with it? Why do you suppose he did
+not drink first? To whom does Jesus point or beckon with his left hand?
+Which boy was the younger? For what is this picture famous?
+
+
+=The story of the artist.= A little Spanish boy, Bartolomé Esteban
+Murillo, born into the home of a poor mechanic, and with no
+opportunities save those of his own making, grew to be one of the
+greatest of Spanish painters. Both his parents died before he was eleven
+years old, and he seems to have been left quite to his own devices.
+Until that time he had attended school, where his ability to draw had
+shown itself in pictures drawn on the walls of the school building.
+
+After school and on Saturdays he had assisted an artist, doing such work
+as cleaning brushes, grinding paints, and running errands. An uncle had
+secured this position for him, but seemed to be unable to help him
+further. By these means and by painting banners and pictures for the
+weekly market, the boy earned his own living. The peasants came to
+Seville from all the country around, bringing in their fruits,
+vegetables, and wares to sell. Here the young Murillo took his
+paintings, which were on coarse, cheap cloth instead of on canvas, which
+he could not afford. Sometimes it was a Madonna, sometimes a portrait of
+the buyer which he would finish quickly while the crowd watched, or
+sometimes one of the beggar boys in the gypsy quarters of the city.
+
+But Murillo had a boy friend who went to London to study with the
+great Sir Anthony Van Dyck, and who, when he returned, brought such
+news of the wonderful paintings in the galleries of London and Paris
+that Murillo began to dream of seeing them. Before he had saved enough
+money to go, however, the artist Van Dyck died, and Murillo decided to
+go to Madrid, where one of his own countrymen, Velásquez, had won
+great fame. He walked nearly all the way, presenting his letter of
+introduction to Velásquez, who received him most kindly.
+
+Murillo was now twenty-four years old, enthusiastic, ambitious, and
+manly. Velásquez soon discovered his great talent, and not only
+received him as a pupil but took him into his own home, where he
+remained three years. When, at the end of that time, he returned to
+Seville, his fame as an artist was established and pupils came to him
+from all over the country. His friends could be found among the very
+poorest beggars as well as among the most influential men of the city,
+and he was idolized by his pupils. Always of a deeply religious
+nature, he chose religious subjects for most of his paintings. In his
+studio all swearing and ill conduct were forbidden, and his religious
+paintings were produced only after much prayerful meditation.
+
+He gave so generously to the poor about him that it was said he gave
+away all he earned.
+
+Often his wife, who was very beautiful, his lovely daughter, or his
+two handsome sons posed for his paintings, and so we find the same
+faces repeated in several pictures.
+
+One day when Murillo was painting on the walls of a convent the cook
+there asked him to paint a small picture for him on a napkin, which
+was all he had to offer for a canvas. Without hesitation Murillo
+painted a beautiful Madonna and Child which has since become famous as
+the "Virgin of the Napkin."
+
+While painting the ceiling in a church in Cadiz the scaffolding broke
+and he fell, injuring himself so seriously that he died shortly after.
+
+Every Sunday afternoon, which is a free day at the gallery in Madrid,
+crowds of the poor, men, women, and children, may be seen gathered
+around the paintings by Murillo, which they regard with an admiration
+which is almost worship. To them Murillo is little less than a saint.
+
+
+=Questions about the artist.= In what country did Murillo live? What
+nationality do his pictures represent? Tell about his boyhood. In what
+did he excel at school? What work did he do after school and on
+Saturdays? What else did Murillo do to earn money? Tell about the weekly
+market. What did Murillo paint for the market? Whom did he paint? What
+did his boy friend tell him that made him want to go to London? Why did
+he not go? What happened before he had saved enough money to go? To whom
+did he go then? How did he go? How old was he by that time? What did the
+artist Velásquez do for him? What kind of people were Murillo's friends?
+What kind of pictures did he like to paint best? How did he prepare for
+this? What rules did he have in his studio? Tell about the cook at the
+convent and the napkin. What is this picture called? How was Murillo
+hurt? How do some of the Spanish people regard Murillo?
+
+
+
+
+[Illustration]
+
+SAVED
+
+
+=Questions to arouse interest.= What has happened? Where are the dog
+and the child? Why do you think it could not have been a shipwreck?
+Why are the sea gulls flying around? What can you see in the distance?
+What kind of a beach is it?
+
+
+      =Artist:= Sir Edwin Landseer (l[)a]nd´´s[=e]r).
+      =Birthplace:= London, England.
+      =Dates:= Born, 1802; died, 1873.
+
+
+=The story of the picture.= This fine Newfoundland dog has just saved
+the life of a little child. We can see even in this print of the
+picture that they are both dripping wet, and so we know the child
+must have fallen into the water and was about to drown when the dog
+swam out and brought her safely to the shore.
+
+We can only guess how the accident occurred. It could not have been a
+shipwreck, for then there would be others for the good old dog to
+save; besides, although the sky is partly cloudy, there is no evidence
+of a storm, and we see sailboats in the distance.
+
+The child evidently had not been wading out into the water and gone
+beyond her depth, because she has on her shoes and stockings and is
+dressed for a day in the warm sunshine, perhaps out on the beach.
+Probably she had been playing on the wharf or on the rocky shore and
+had reached out too far or had slipped on a rock.
+
+The dog, hearing her cry, must have immediately plunged into the water
+after her. Then holding the child firmly by her dress, he had battled
+against the waves until he reached a sandy beach from which he had
+dragged himself to this place.
+
+Although we cannot see the parents, nurse, or playmates, no doubt they
+are running toward the child and the dog. The dog seems to be watching
+their approach as he lies there exhausted, guarding the precious
+burden lying across his paws. His great tongue hangs out and we can
+almost hear him pant as he gasps for breath after his fierce struggle
+against the waves.
+
+The child is still unconscious, her large shade hat held by a rubber
+band under her chin; her arm lies limp and lifeless, yet we are sure
+the great dog has been in time, and she will soon open her eyes. The
+sea gulls circle about the two as if they were glad of the rescue, and
+were trying to show the parents where to find the child.
+
+These powerful Newfoundland dogs are strong swimmers. At the first cry
+of alarm they usually plunge unbidden into the water, and rarely fail to
+accomplish a rescue. In France they are kept on the banks of the Seine
+as important members of the life-saving crew. Here they are carefully
+trained for this purpose by their masters, who throw a stuffed figure of
+a man into the water and teach the dogs to bring it back to shore. They
+are taught always to hold the head of the figure above the water. They
+seem to understand perfectly just what is wanted of them and why.
+
+A story is told, and it is claimed to be true, of a woman who, while
+washing clothes on the bank of a river, placed her baby in the clothes
+basket to keep it safe. In some way the child tipped the basket,
+rolling out of it and down the bank into the deep water below. The
+woman screamed but she was helpless. Hearing her cry, a large
+Newfoundland dog that she had never seen before came swimming down the
+stream and saved the child, carrying it to the opposite shore.
+
+The woman ran down the bank of the river and secured the help of a
+ferryman and his grandson, a boy about ten years old. When the boat
+reached the opposite shore the big dog was licking the hands and face
+of the cooing child, but growled and barked viciously at the people
+who were approaching him. No one dared go near him. They tried every
+device, but no, he could not be coaxed away from the baby.
+
+At last the boy said he had an idea, and off he ran down the bank and
+jumped into the boat. Rowing out some distance into the river, he
+suddenly jumped from the boat into the water, uttering a loud cry of
+distress. He struggled a while, and then to all appearances sank out
+of sight. The grandfather knew the boy could swim and dive, and yet
+the suddenness with which he sank alarmed him greatly, and he called
+out, too.
+
+Immediately the great dog recognized the cry of alarm and, forgetting
+all else, left his small charge and rushed to the help of the larger
+one, bringing the boy safely to the shore. Meanwhile, of course, the
+mother had taken up the baby. The dog, though showing surprise at the
+quick recovery of the boy he supposed to be nearly drowned, still
+determined to guard him in the same way he had guarded the baby.
+
+About this time, however, the dog's owner, a huntsman, appeared. The
+dog greeted him joyously, running from the child to the boy and then
+to his master as if to tell him what he had done and how he had
+guarded them until his master came.
+
+Many times it has been told of a Newfoundland that, when annoyed by
+some small dog that persisted in barking and snapping at him, he would
+finally seize it by the back of the neck, carry it to the river, and
+drop it into the water. After watching the struggles of the little
+dog, which seldom was able to swim, the Newfoundland would plunge in
+and rescue him. After that you may be sure the little dog took care
+not to annoy the big one.
+
+A humorous incident is told of two boatmen who, on a wager, started to
+swim across a stream. When one of the men was in midstream his
+Newfoundland dog plunged in after him and in spite of his struggles
+brought him back to the shore by his hair. The crowd which had been
+watching was greatly amused, but the chagrined sailor was able to
+laugh in turn when the great animal, mistaking the emotion of the
+onlookers, brought the other man back also.
+
+A lady who owned a fine Newfoundland dog allowed him one day to carry
+her parasol. When they came to a baker's shop she bought a bun for him.
+The next day the dog met another lady coming down the street carrying a
+parasol. He immediately seized it and ran on ahead until he came to the
+baker's shop. The lady went in and asked the baker to help her secure
+her parasol. He suggested that she give the dog a bun as his mistress
+had done. Then the dog gave up the parasol willingly. He had to be
+punished very severely before he could be broken of this habit.
+
+Cases have been known of these dogs rescuing even so delicate a thing
+as a canary bird that had fallen into the water.
+
+Intelligent and faithful, perhaps there is no other dog, unless it be
+the St. Bernard, which rescues travelers in the snow-covered Alps,
+that has done so much for man or has saved so many lives.
+
+These dogs show remarkable kindness not only toward man but toward
+other animals. When another dog has been injured they have been known
+to carry bones and other food to it.
+
+A Newfoundland was once taken to a dog pound with numerous other dogs.
+He soon gnawed his rope in two and was about to escape when, hearing
+the piteous cries of the other dogs, he went from one to another,
+setting them all free.
+
+Even abuse will not make these loyal animals turn against a master,
+although they have been known to run away from a cruel one. A story is
+told of a man who, while rowing a boat, pushed his Newfoundland dog
+into the stream. The dog followed the boat for some time but, growing
+tired at last, tried to get back into the boat. The man pushed him
+away several times, finally pushing so hard that he overturned the
+boat and was about to drown. The good dog, however, caught hold of his
+coat and held him above water until help came.
+
+In the island of Newfoundland these dogs are used much as we use
+horses, and are very valuable. With them duty is first. We often hear
+of one of these dogs carrying a basket of meat, a paper, or some other
+thing for his owner, and bearing any amount of annoyance from other
+dogs until he has delivered his charge safely; then he promptly goes
+back and punishes the offenders in such a way that they dare not
+interfere with him again.
+
+These dogs are noble animals indeed. Their lives are devoted to man,
+though their devotion is not always appreciated as it should be.
+
+Lord Byron writes:
+
+    "In life the firmest friend,
+    The first to welcome, foremost to defend;
+    Whose honest heart is still his master's own;
+    Who labors, fights, lives, breathes for him alone.
+    The rich man's guardian, and the poor man's friend."
+
+No wonder Sir Edwin Landseer loved to paint these noble animals. Their
+intelligent look and, better still, their brave and noble deeds render
+them almost human, lacking only the power of speech. It seems sometimes
+as if they really do talk, and the owners of such dogs declare that
+their actions prove that the dogs understand every word said to them.
+
+Sir Edwin Landseer has painted another picture of a Newfoundland dog,
+called "A Member of the Royal Humane Society," which looks so much
+like this one that it might be the same dog.
+
+
+=Questions to help the pupil understand the picture.= What kind of a
+dog is this? What has he done? What makes you think he and the little
+girl have been in the water? that there has not been a shipwreck? Why
+do you think the child had not been wading? How is she dressed? How
+do you suppose she happened to fall into the water? How could this dog
+save her? Where do you suppose the child's playmates and nurse are?
+Where is the dog lying? Why does he not take the child to them? What
+makes you think he is tired? How are Newfoundland dogs sometimes
+trained in France? Tell about the washwoman and her baby. How was the
+baby rescued? Why could the mother not take the child? What did the
+boy do? What happened then? When were they released? How do
+Newfoundland dogs sometimes punish small dogs that annoy them? Why do
+they not drown? Tell about the two boatmen and their wager. Tell about
+the dog and the lady's parasol. What do these stories tell us about
+Newfoundland dogs? What other kind of dogs save many lives? What did
+the Newfoundland do at the dog pound? How do they sometimes resent
+abuse? Tell about the boatman and his dog. Upon what island are they
+used to carry burdens? Tell a story showing that duty comes first with
+these dogs. What other picture of this dog has Sir Edwin Landseer
+painted? Why do you think he was especially fond of Newfoundland dogs?
+
+
+=To the Teacher:= Short stories of the bravery and faithfulness of
+dogs may take the place of other talks on kindness to animals.
+
+SUBJECTS FOR COMPOSITIONS
+
+  A Description of a Newfoundland Dog.
+  How a Dog Saved a Child from Drowning.
+  The Smartest Dog I Ever Saw.
+  The Bravest Dog I Ever Heard of.
+  A Description of a St. Bernard Dog.
+  How to Treat a Dog.
+  Why We Should Be Kind to Dogs.
+
+
+=The story of the artist.= When Edwin Landseer was a small boy he
+lived in the country. Nearly every day at breakfast the father would
+ask his boys, "What shall we draw to-day?" The three boys would take
+turns choosing and sometimes they would vote on it. Then out across
+the fields the father and his boys would tramp until they came to
+where the donkeys, sheep, goats, and cows were grazing. Each would
+choose the animal he wished to draw; then the four would sit down on
+the grass and make their sketches. Edwin's first choice for a subject
+was a cow, and his father helped him draw it.
+
+When he was five years old he drew a picture of a dog asleep on the
+floor that was very much better than any his older brothers could do,
+and so even then they began to expect much from him.
+
+At this time Edwin had three dogs of his own named Brutus, Vixen, and
+Boxer. They were always with him, and so intelligent they almost
+seemed to speak.
+
+In their back yard the children had several pens for pet rabbits and
+they kept pigeons in the attic of their house. The story is told of
+how Mr. Landseer once decided to move, selected the house, and thought
+all was settled, when the landlord refused to rent the house to him
+because he kept so many animals and birds as pets.
+
+We read of how the father and his sons made many visits to the
+Zoölogical Gardens where they could watch and make sketches of lions,
+bears, and other wild animals. One day they saw a strange sight in one
+of the store windows in London--a large Newfoundland dog caring for a
+lion. The lion had been caught in Africa when it was very little and
+had been cared for by this dog. They had never been separated. Now,
+although the lion was much larger than the dog, they were still the
+best of friends.
+
+Sometimes the dog would punish the lion if it did not behave, and the
+great beast would whimper just as if it could not help itself. All
+three boys made many sketches of this strange pair and could hardly be
+persuaded to leave the window.
+
+Every one knew of Sir Edwin Landseer and wanted some one of his
+pictures of dogs because it looked so much like a dog they knew.
+
+In the story of the picture "Highland Shepherd's Chief Mourner," are
+further particulars of the life of Sir Edwin Landseer.
+
+
+=Questions about the artist.= What other picture have we studied by
+this artist? Tell about Sir Edwin Landseer's boyhood. How did the
+brothers decide where to go to sketch? How old was Edwin when he drew
+a very good picture of a dog? What was the dog doing? Tell about
+Edwin's dogs; the other pets. Why did the landlord refuse to rent
+Edwin's father a house? Tell about the Newfoundland dog and the lion.
+What else can you tell about the artist's life?
+
+
+
+
+[Illustration]
+
+PILGRIM EXILES
+
+
+=Questions to arouse interest.= Describe this picture. Where are these
+people? Who are they? Who were the Pilgrims? Where are they looking?
+Why do you think they may be homesick or sad? What time of day do you
+think it is? (Notice the shadows.) What time of year does it seem to
+be? How is the man dressed? the two women? What relation do you think
+these people are to each other? Upon what is the older woman sitting?
+What can you see in the distant background?
+
+
+      =Artist:= George Henry Boughton (bô´´t[.o]n).
+      =Birthplace:= Norwich, England.
+      =Dates:= Born, 1833; died, 1905.
+
+
+=The story of the picture.= We all know how, long ago, that sturdy
+band of one hundred and two Puritans left England in the small and
+storm-beaten ship called the _Mayflower_. They were called Puritans
+because they were dissatisfied with the religion of the Church of
+England, and demanded purification of all the old observances and
+doctrines.
+
+When they began to establish in England separate churches of their own,
+they were driven from place to place. They longed for a land where they
+could worship God in their own way, so they came to America, determined
+to endure every danger and to trust in God to care for them. Their
+wanderings from place to place had given them a new name, "Pilgrim,"
+which means "wanderer." Then, ever since their landing on the rock at
+Plymouth, they have been called Pilgrim Fathers.
+
+There were many women and children in this band of wanderers. On the
+journey a little baby was born and was called Oceanus after the great
+rolling ocean.
+
+The Pilgrims endured many hardships in those first few years, and none
+more distressing than the frequent attacks by the Indians, who
+resented the strangers' presence in a land which belonged to them. The
+Pilgrims carried their guns with them even when they went to church,
+for they never knew just when they might be attacked.
+
+They arrived in the fall of the year, too late to plant grain or to
+put by enough provisions for the winter, so they were quite dependent
+upon the provision boat from England. Often this boat was long delayed
+because of storms at sea, or because the people in England did not
+send it on time. This caused much suffering and distress.
+
+In our picture we see three of the first settlers of our New England
+coast, waiting for the provision ship. The waves come rolling in to
+this rough and barren shore, but as far as the eye can see there is
+yet no sign of the awaited boat. On that point of land in the distance
+are a few rude houses which must be the homes of the Pilgrims. This
+dreary place, so bleak and barren, makes us wonder how they could ever
+hope to survive the perils of a winter there.
+
+Our interest is centered upon the three figures at the right in the
+picture. One can almost read the thoughts expressed in the three
+faces. The figure of the man stands out strong and erect, and there is
+that in his fixed gaze which tells us his thoughts are far away. No
+doubt he is thinking of his old home across the ocean. He is homesick,
+yet go back he would not; there is no sign of discouragement. His
+wife, standing beside him, places her hand on his shoulder to comfort
+him, but she too looks as if she were thinking of that other home and
+the friends across the sea. Her gentle, refined face is saddened for
+the moment, yet in it we see expressed the fine courage which has
+carried her thus far along the way.
+
+The mother, seated on the great rock, has the same thoughtful,
+far-away gaze. Her hands, clasped in her lap, have more of resignation
+and patience in them. Probably her thoughts and affections are
+centered in the two dear ones beside her, and in their welfare, rather
+than in the friends across the sea.
+
+Notice the Puritan dress, cloaks, shoes, caps, and collars. These
+people are well dressed, and do not seem to be poor. Perhaps they are
+simply longing to hear from their friends, and hoping the ship will
+bring some news of them. It may be that it has been due for several
+days, and each day they have walked out to this same rocky point,
+hoping to see it on the distant horizon.
+
+They are dressed in warm clothes. From that fact and from the half-bare
+branches of the bush that we see growing beside the rock in the
+foreground of the picture we should judge it to be the fall of the year.
+
+Standing in the bright sunlight, they look anxiously out toward the
+rolling ocean. The length of the shadows makes us think it must be
+late in the afternoon.
+
+When at last they catch a glimpse of the dark masts of the approaching
+ship they will send a glad shout along the shore, and soon the beach
+will be crowded with an anxious throng of people hoping for some
+message or news from home.
+
+At what seems to be a long distance from the shore the great ship will
+cast anchor and send out its rowboats filled with passengers, mail,
+and provisions. How eagerly the homesick people will crowd around the
+new arrivals and welcome them! Our three friends will not be standing
+quiet and alone, but each will be hurrying about to help the others.
+The spirit of helpfulness was very strong in those days of hardship
+and toil.
+
+Notice the arrangement of lights and shadows in this picture. Our eye
+is first attracted to the faces of these three Pilgrims, then carried
+almost in a circle to the ocean, the rocks at the left side of the
+picture, to the rock the mother is seated upon, and back to the three
+faces. Start where we please the play of light leads us back to the
+three faces brought out by the white collars. Suppose we start with
+the mother's hands, our eyes follow her apron, the man's shoes, the
+light on the grass and ocean, then to the man's face and on around.
+Without these echoes of light, the picture would be unbalanced and
+much less interesting.
+
+Half close your eyes and study the picture. There is not a single
+straight line in the composition. Notice the placing of the horizon
+line, of the distant shore. The artist started his landscape much as
+we do, with a rectangular space divided into two parts by the horizon
+line. He chose for his picture a small division for sky; the larger
+space to be divided into less than half as much water as land. Instead
+of standing so the shore line would appear exactly horizontal, he
+chose a position where the near shore line and that of the distant
+point of land are at an angle, thus relieving the monotony.
+
+The tall, determined figure of the man, and his gentle wife, standing
+silhouetted against the sky, hold the ground space and the sky space
+together, while the mother seated on the rock serves as another
+connecting link. All the figures serve to unite the different parts of
+the picture into an effect of unity most gratifying to the eye.
+
+
+=Questions to help the pupil understand the picture.= Tell about the
+Puritans. Why were they so called? Why did they leave England? In
+what boat did they sail? To what country did they come? Why were they
+then called Pilgrims? Why did they have such a hard time in this
+country? Upon what were they dependent? Why was the boat often
+delayed? What are the three people in our picture waiting for? What do
+the expressions in their faces tell us? How can we tell what time of
+year it is? the time of day? What will they do when they see the boat?
+Who will join them? Where will they come from? What can you see of
+their homes? Why are they so anxious to have the boat come? Why cannot
+the ship land at this beach? How will it land its passengers and
+freight? What do you suppose these three people will be doing then?
+What can you say of the composition of this picture? What did the
+artist consider first? What holds the ground and the sky spaces
+together? What can you say of the light and shade in this picture? Why
+is the picture called "Pilgrim Exiles"?
+
+
+=The story of the artist.= George Henry Boughton was born near
+Norwich, England, but when he was only a year old his parents came to
+America. He grew up and was educated at Albany, New York, where he
+first began to paint.
+
+As soon as he started to school he showed great skill at drawing, by,
+as he says, "drawing every mortal thing that came under my notice."
+
+When he was nineteen years old he sold enough of his sketches to pay
+his way back to London, England. He spent several months in England,
+sketching wherever he went. When he came back to New York he painted a
+picture called "Winter Twilight," which marked the beginning of his
+success. Later he spent a year in Paris, finally making his permanent
+home in London.
+
+His studio in New York City was given up, but, although he lived in
+England, his art remained distinctly American.
+
+He was especially interested in the history and literature of our
+country and has been called "the interpreter and illuminator of New
+England life in the seventeenth century."
+
+Besides painting, he wrote for magazines, illustrating his own stories
+with great success.
+
+
+=Questions about the artist.= Tell about the artist. Where was he
+born? Where did he grow up? How old was he when he came to America? In
+what did he excel at school? When did he go back to England? How did
+he earn the money? What did he do when he came back? Of what country
+did he paint the most pictures? What part of our history interested
+him especially? In what else was he successful besides painting?
+
+
+
+
+[Illustration]
+
+DANCE OF THE NYMPHS
+
+
+=Questions to arouse interest.= Of what is this a picture? What time
+of the year do you think it is? what time of the day? What are the
+people doing? Half close your eyes and look at the picture. What do
+you see first? what next? Where is the sun? How do you know? (Look at
+the trunks of the trees and the shadows.) What do you see in the
+foreground to the left? to the right? Do you like this scene? why?
+
+
+      =Original Picture:= Luxembourg Gallery, Paris, France.
+      =Artist:= Jean Baptiste Camille Corot (k[+o]´r[+o]´´).
+      =Birthplace:= Paris, France.
+      =Dates:= Born, 1796; died, 1875.
+
+
+=The story of the picture.= The artist who painted this picture, Jean
+Baptiste Corot, tells us that when he was a small boy he used to lean
+out of his window at night, long after his mother and father thought
+him safe in bed, to watch the clouds, the sky, and the trees. He
+continued this study as a young man, and soon made friends with three
+other young men, all artists (Rousseau, Daubigny, and Dupré) who were
+also studying nature. All had studios and painted in the city; but
+they were always longing for a glimpse of the country. One day the
+four started out together for a day's outing, each taking his
+painter's outfit. They went to the end of the omnibus line from Paris
+and then started on foot for a long tramp across the country. It was
+then they thought of the great Forest of Fontainebleau, where nature
+was wild and undisturbed in its wondrous beauty.
+
+"We will go to that beautiful forest and spend our vacation there,"
+they said.
+
+And so it came about several weeks later. In this forest, at all times
+of the day or night, they could be found wandering about, searching
+out new vistas and discovering new wonders and beauties in nature.
+
+They hid their paints and brushes in the rocks to keep them from the
+dew, and they themselves slept under the spreading branches of the
+great oak trees. These city-bred young men, brought up in the rush and
+hurry of the great city of Paris, cared for no other shelter than the
+wide expanse of sky and the protecting branches of the trees.
+
+So when we know that later Corot came to live near this Forest of
+Fontainebleau, it is easy to guess where he painted this picture
+called the "Dance of the Nymphs." Sometimes this picture is called
+"Morning," for Corot painted another picture much like this one, and
+called it, "The Dance of the Nymphs, Evening."
+
+Corot is often spoken of as the "happy one," and many stories are told
+of him and how surprising it was to hear him singing lustily as he
+painted. Seated on his camp stool before his easel, wearing his blue
+calico blouse and painter's hat, he was indeed happy. He is described
+as adding the finishing touches to one of his landscapes in this way:
+
+"Let us put that there--tra, la, tra, la,--a little boy,--ding dong,
+ding dong! Oh, a little boy, he wants a cap--la, la, la, la, tra la!"
+
+People always smiled when they saw Corot start out, carrying his
+easel, paints, and brushes, and singing or whistling like a care-free
+boy. But it happened more often that they saw him going toward home
+in the evening, for he had a way of starting out before sunrise when
+nobody was about and seating himself in some lovely spot in the woods,
+waiting breathlessly to see what would happen next.
+
+That is what he did the morning he sketched this picture. The grass
+was heavy with dew, the birds were still asleep, all was quiet and
+covered with the veil of night. As the mist slowly lifted, the great
+trees gradually assumed definite shapes, the birds awoke, the sun
+shone forth, and all was bright and fresh as the early mornings in
+spring always are. Look at this picture, then close your eyes and open
+them slowly, and you yourself can see just such an awakening to life.
+
+Is it any wonder then that, as Corot sat, pencil in hand, this lovely
+spring morning and watched the trees gradually take shape against the
+slowly lightening sky, and listened to the birds singing their morning
+greeting, he should fancy he saw the fairy wood nymphs come out from
+their secret hiding places and dance joyously about in the bright
+morning sunlight? It seems most natural indeed that they should be
+there, and dancing, too. The mere fact of being alive on such a
+morning as this fills us too with delight.
+
+When Corot began to paint his large picture from the small sketch he
+made in the woods that morning, he must have sung his merriest tunes.
+The picture seems full of music, from the quivering leaves, the waving
+grass, and the shifting clouds to the dancing figures. Although there
+is not a bird in sight, we know that they are there, and it takes very
+little imagination to hear them singing.
+
+At the right-hand side of the picture one of the wood nymphs has
+seized the hand of a timid companion, urging her to come and join in
+the frolic. So much are we in sympathy with those merry ones that we
+too find ourselves unconsciously urging her to join in the dance.
+
+When he painted trees, Corot did not pay very great attention to
+details, and so we cannot always tell what kind of trees they were. He
+cared most to make us feel the beauty of the sunlight on their tender
+leaves, their growth, and the protection they offer to birds and men.
+
+A young art student once approached Corot and asked him why he left so
+many things out of his pictures and put others in. Then pointing to a
+certain tree in Corot's painting he said, "This tree is not in the
+landscape." Corot smiled, then whispered to him, "Don't you tell, but
+I put it there to please the birds."
+
+It would be difficult indeed to find a single straight line in our
+picture, so full is it of rhythmic curves, from the treetops to the
+graceful figures in the foreground. The skillful blending of colors,
+of light and shade, gives it that mysterious, misty quality which is
+one of its chief charms. Corot's favorite colors were pale green, gray
+browns, and silvery grays. One little touch of bright color in his
+pictures makes them alive. The costumes of the nymphs were chosen for
+the very few bright touches in this painting, and the tall, slender
+tree near the left-hand side of the picture for the pale green
+feathery foliage of early spring.
+
+Our eye moves pleasantly through all the leafy maze of this enchanted
+forest. We are at the edge of the woods. Looking out through the trees
+we see the wide, open fields beyond, with their high canopy of sky,
+and we feel a new contentment steal over us as our eye again seeks
+this sheltered nook in the great Forest of Fontainebleau.
+
+
+=Questions to help the pupil understand the picture.= How had the
+artist, Corot, studied the clouds, sky, and trees? With whom did he
+become friends? What were these three young artists doing? Where did
+they go for an outing? What did they take with them? What forest did
+they decide would be a good place to spend a vacation? How did they
+live in this forest? What shelter did they have? What nickname did
+they give Corot? How did he like to paint? How did he dress? What did
+he do while painting? Where was this picture painted? What is it
+sometimes called? What time of day did he usually start out to paint?
+What are the nymphs doing? What did Corot wish to tell us about the
+trees? What did a young art student once ask Corot? What was the
+answer? Of what kind of lines is this picture made up? What colors
+were used? Where are the bright colors? In what part of the forest is
+this picture? What can you see through the open space?
+
+
+=The story of the artist.= From the very first all things seemed to
+favor Corot. Of a naturally happy disposition, born into a family of
+means, and all his life free from financial worries, everything seemed
+to combine to make his life one of care-free ease and pleasure.
+
+His father and mother kept a millinery store; this must have been a
+good business, for they soon accumulated a comfortable fortune.
+
+At ten years of age Corot was sent away to school at Rouen in the hope
+of making a business man of him. He lived with a friend of his father
+who was a serious man but also a great lover of nature. Corot took
+many a long walk with him over narrow, unfrequented paths. They took
+these walks usually at the close of the day, and so Corot's love of
+the twilight hour grew strong.
+
+Upon his return to Paris seven years later, his father placed him in a
+drygoods store, where he remained for nearly nine years. Whenever
+there were no customers the boy would hide under the counter and draw.
+His employer was a good-natured man and he sympathized with Corot in
+his desire to be a painter. So he told the father it was of no use to
+try to make a business man of him as his tastes were all for art.
+
+About this time Corot went to his father and asked his permission to
+study painting. The father was not at all pleased with the idea, but
+decided to let him try. He told his son he had set aside a certain sum
+of money to start him in business for himself and he could choose that
+or a small income which would be allowed him for the study of art. If
+he chose the latter, however, he must not expect any other help from
+his father, as he did not approve of this new venture. But Corot
+embraced his father most affectionately and declared he had made him
+the happiest person in the world. He then proceeded at once to the
+nearest store and bought a complete painter's outfit. Choosing a spot
+by the river near his father's house, he began to paint. He tells us
+how the girls who worked in the millinery store slipped away and came
+to see what he was doing. He never parted with this first painting,
+but kept it as a reminder of his great happiness when he was at last
+free to do "what he most desired in the world."
+
+He studied under several artists, but received little encouragement
+until he went to Rome to study.
+
+Most of the paintings of that time were classical, including Greek
+temples, shepherds, nymphs, or dryads, and such trees as cedars and
+palms. That is why Millet's simple peasants and Corot's misty
+landscapes were not appreciated.
+
+At Rome, Corot became a great favorite among the students because of
+his happy nature and the rollicking, jolly songs he could sing. But as
+for his pictures,--they were considered very amusing.
+
+However, one day as he sat sketching the Coliseum a friend who was
+regarded as an authority on landscape painting praised his work. Corot
+looked around expecting to be laughed at, but no,--the man was in
+earnest. That evening, before all the other students, he remarked that
+Corot might some day become the master of them all. This gave him
+standing among the artists and was greatly appreciated by Corot, who
+always felt that this praise was the beginning of his success. It was
+not long after this that his pictures were exhibited and many honors
+came to him.
+
+Does it seem strange that Corot and Millet, looking upon the same
+woods and people, living and painting so near each other, should
+choose such different subjects? Corot saw the same poor, toilworn
+peasants, and he helped them most generously when they asked him, but
+as for painting them--he did not think of it. Millet saw the same
+beautiful woods, fields, and sky, and loved them all, but to him the
+peasant came first.
+
+He said, "Corot's pictures are beautiful, but they do not reveal
+anything new."
+
+Corot said, "Millet's painting is for a new world; I do not feel at
+home there. I am too much attracted to the old. I see therein great
+knowledge, air, and depth, but it frightens me; I love better my
+little music."
+
+In speaking of another artist he said, "He is an eagle; I am only a
+skylark. I send forth little songs in my gray clouds."
+
+As success came to Corot he was most generous in helping others. Many
+young artists came to study with him, but he would accept no pay for
+his instruction and gladly did all he could to encourage and help them.
+
+He did not have the heart to turn a beggar from his door, and often
+had as many as twenty-five come to him in a day. The story is told of
+a beggar who demanded a larger sum of money than Corot usually gave,
+and was refused. After he left, the artist could not paint; his day
+was spoiled. So he hurriedly ran out after the beggar, gave him the
+money, and all was well again.
+
+During the siege of Paris he gave both time and money to help the
+wounded. "Papa Corot," as the people called him, was greatly beloved.
+
+The demand for his paintings increased. He said that when youth left
+him, honor and fame came to make him still the happiest man in the
+world.
+
+
+=Questions about the artist.= In what ways was Corot favored? What did
+his father and mother do? What did they hope to make of Corot? Where
+was he sent? With whom did he live? Where did they walk? How did this
+influence Corot? Upon his return home, what did he do? What did his
+employer finally do? What did Corot ask his father? What offer did his
+father make? What did Corot decide? What did he do at once? Who came
+to watch him? What became of this first painting? Where did Corot go
+to study? What subjects did most of the artists of Corot's time choose
+to paint? What happened that raised Corot in their estimation? Compare
+the subjects chosen by Corot and Millet. Tell about Corot and the
+beggar. Why did Corot claim to be the happiest man in the world? Does
+this picture make you feel happy or sad? why?
+
+[Illustration: OXEN PLOWING]
+
+
+
+
+OXEN PLOWING
+
+
+=Questions to arouse interest.= How many of you have ever watched oxen
+plowing? How are these oxen geared together? How many oxen usually
+draw one plow? Why do you think they use so many in the field? With
+what part of the body do the oxen pull the plow? Why is the earth
+plowed? How can you tell that the soil these men are plowing is moist
+and fertile? In what direction is the sun? (Look at the shadows.) How
+is the driver urging the oxen on? Where is the farm house? What do you
+consider most interesting about the oxen?
+
+
+      =Original Picture:= Luxembourg Gallery, Paris, France.
+      =Artist:= Rosa Bonheur (b[+o]´nûr´´).
+      =Birthplace:= Bordeaux, France.
+      =Dates:= Born, 1822; died, 1899.
+
+
+=The story of the picture.= It must have been very early in the
+morning indeed when these men and their oxen started to plow this
+great field, for although the sun is still low in the sky, each group
+of oxen has already plowed two furrows. By those long shadows and the
+light in the sky we know the sun cannot be very high in the heavens,
+and there is that about the ground, the occupation, and the distant
+trees that suggests the season, spring.
+
+We are told that Rosa Bonheur went out into the country to paint this
+picture, and that she had a small shed made into a studio where she
+could keep her canvas and paints. Every evening when she came home her
+father would ask anxiously about the picture, for he was not well
+enough to go to see it and he knew Rosa was working very hard on it.
+
+Even her genius could not make it possible for her to paint such a
+picture as this without much preparation. In fact, she had been
+preparing for it for years,--as far back as when she made her first
+drawing of oxen, and then later when she went to the packing houses
+and made separate studies of each part of an ox. She knew just how
+those great muscles did their work, and just how the curving ribs and
+the joints did their part. In this picture she shows us just enough of
+their movements to make us feel the great strength and power of those
+patient animals.
+
+Our wonder grows anew that even one such powerful ox can be controlled
+by man's will. It is plain to see that the ox nearest us, of the
+middle pair, does resent the prodding with the stick which the driver
+uses so vigorously. His great eye rolls and he looks indignant, but
+it is only for the moment--he accepts all with resignation and
+indifference, knowing that it will be the turn of one of the other
+oxen next. These oxen are geared together by a central pole which is
+fastened to their horns. This causes them to take the entire weight of
+the plow with their horns instead of with their shoulders as our
+horses do. It would seem to be a most uncomfortable arrangement, yet
+they are used to it.
+
+The leaders must be chosen very carefully if the farmer would have a
+straight furrow. It seems as if these first two oxen in the picture
+feel the responsibility, and are glad and willing to do their part.
+There is a look of intelligence about them that makes us certain that
+they know and understand the worth of the thing they are doing.
+
+Oxen in our country are driven by the words "gee," meaning turn to the
+right, and "haw," turn to the left. However, the drivers in this
+picture would not use these words, for they are Frenchmen, and would
+speak to them in their own language.
+
+It is easy to tell that the ground is soft by the way the feet of the
+oxen sink down into it, and by the man's wooden shoe which has half
+slipped off his foot as he starts to lift it from the ground. On this
+quiet, peaceful morning we can almost hear the heavy tread of the
+oxen as they pass us, and the harsh call of the drivers as they urge
+them on. In imagination we can smell the freshly plowed earth. To be
+sure, it is a hard pull up the hill, but how cheerfully, even proudly,
+the oxen pull their load! Look at their backs; you will see a slanting
+line which emphasizes the fact that they are climbing a hill. This
+line is broken somewhat by the slant of the woods in the distance.
+Cover up these distant woods with the hand or a piece of paper and we
+immediately have the uncomfortable feeling that the oxen are going to
+slip back out of the picture.
+
+In this picture the artist has portrayed the intelligent use man makes
+of the power and strength of animals and of the soil. We see so few
+oxen now that we wonder why they were so much used in those days; but
+of course we know it was because the farmers did not have the
+machinery for tilling the ground, sowing, and planting grain that we
+have. Horses were used also, but oxen were cheaper, so all could
+afford them. Then, too, oxen may have been chosen because of their
+superior strength, steadiness, and patience.
+
+The artist has centered our attention on the nearest of the two first
+pairs of oxen. The other oxen and driver are of secondary importance
+and the landscape itself last of all. The artist has accomplished this
+by color, light, and shade, and by a more careful treatment of the
+nearest oxen, showing plainly their intelligent eyes, wrinkled hides,
+and even the play of muscles as they step forward, pulling their heavy
+load.
+
+Rosa Bonheur finished this painting only a short time before her father
+died. As soon as he saw it he knew that his daughter had painted a
+masterpiece, and almost his last words were in praise of her work.
+
+
+=Questions to help the pupil understand the picture.= Why do you think
+these men and oxen must have started to work very early? Why do you
+think it is still early? What time of year do you think it is? why?
+Where did Rosa Bonheur paint this picture? Where did she keep her
+canvas and paints? What preparation did she make before painting the
+picture? What is the driver doing? In what humor does the nearest ox
+seem to be? How are the oxen geared together? Why must they have good
+leaders? How are oxen driven? Why do you think these drivers would not
+use the same words that we should? How can you tell that the ground is
+soft? Do you think the oxen are pulling hard? Why did they use oxen so
+much in those days? What are used now? Upon which of the oxen has the
+artist centered our attention? What is next in importance? last of
+all? How has the artist done this? What did Rosa Bonheur's father
+think of this picture?
+
+
+=To the Teacher:=
+
+SUBJECTS FOR COMPOSITIONS
+
+  The Picture and What It Represents.
+  How This Picture Was Painted.
+  What I Would Consider Most Important in a Picture.
+  Why I Like This Picture.
+  Rosa Bonheur as a Little Girl.
+  Rosa Bonheur as an Artist.
+
+
+=The story of the artist.= Marie Rosalie Bonheur spent the first ten
+years of her life in a little country town. It was almost as good as
+living in the country, for Rosa and her two brothers spent most of
+their time in the woods or fields. At home they had lambs, rabbits,
+and squirrels for pets.
+
+The father was an artist, and since he could not sell many pictures in
+such a little village he decided to move to the great city of Paris. The
+children liked the gay city with its many surprises, but they missed the
+woods and their pets. The first place in which they lived was up several
+flights of stairs and across the street from a butcher's shop. This shop
+had a queer sign. It was a wild boar roughly carved out of wood, but it
+looked so much like the little pet pig Rosa had in the country that she
+used to stop and pet it every time she passed that way.
+
+A man who lived in the same house with the Bonheur family kept a small
+school for boys. Rosa's two brothers went to this school, and after a
+while the teacher said Rosa might come too. She was the only girl in
+the school, but she did not mind that at all. The boys were glad to
+have her with them, for she knew more games than they did and played
+just like one of them.
+
+Her father did not do so well with his painting as he had hoped, so
+they moved into a cheaper house. It was here that Rosa's mother died.
+The father was obliged to send his children where they could be well
+cared for, so the baby daughter, Juliette, was sent to her
+grandmother, the two boys to school, and Rosa went to live with an
+aunt. This aunt sent her to school. To reach the schoolhouse Rosa had
+to walk some distance through the woods. Sometimes she would stop and
+smooth the dust in the road with her hand and then draw pictures in it
+with a stick. Even then she liked to draw pictures of animals best of
+all. Often she had such a good time drawing that she forgot to go to
+school, or was very late, so she did not get along very well and was
+delighted when her father came to take her home. He had married again
+and wanted all his children with him. How happy they were!
+
+A great many stories have been told about the pets they kept in their
+house. Rosa's brother Isidore carried a little lamb on his shoulders
+down six flights of stairs every morning and evening, that it might
+nibble the green grass and be out in the fresh air. It became a great
+pet, and all the children drew its picture in ever so many different
+positions. Besides, they had a parrot, a monkey, two dogs, and some
+rabbits and birds for pets. Their father let them keep these pets in a
+room fitted especially for them.
+
+The father taught in a private school at that time, and was away from
+home all day, but when he came home at night Rosa would show him what
+she had been doing while he was gone. Once she had been painting
+cherries, and her father came home while she was at work on them. He
+praised her very much and helped her finish painting them.
+
+In the evening Rosa, her two brothers, and her father used to put
+their easels in different parts of the big room and draw and paint
+until it was quite late. They would all much rather do this than
+anything else in the world, and it was the only time their father
+could help them.
+
+The father belonged to a religious order called the "Saint Simonians."
+The members wore queer gowns and bonnets with long tassels. Such a
+bonnet with a big tassel Rosa wore on the street, and sometimes boys
+shouted and laughed at her, but she paid no attention to that.
+
+The father secured a teaching position in another private school and
+earned enough money to send his three children there and give them all
+they needed at home.
+
+Rosa did not behave very well in school. Often she was punished,
+sometimes by being given nothing to eat but bread and water. Every one
+liked her, however, for she was good-hearted, kind, and full of fun.
+But finally she did something that could not be overlooked. This is
+what she did. The lady who kept the school was very fond of flowers,
+and above all she loved the stately hollyhocks. She had a beautiful
+bed of them in the front yard of the school that was very much admired
+by all who passed. One day Rosa had been reading in the history about
+war, and she thought it would be fine fun to arrange a battle between
+the school girls. They used wooden sticks for swords. Very soon the
+girls on Rosa's side drove their enemies toward the hollyhock bed,
+where they turned and fled. Seeing the hollyhocks standing guard like
+soldiers, Rosa thought it would be fun to charge upon them, which she
+did, cutting off all their heads with her stick. Is it any wonder she
+was sent home in disgrace?
+
+Her father then sent her to a dressmaker to see if she could learn
+that trade, but Rosa did not like dressmaking and finally went home
+without having learned very much. Then some friends gave her some
+photographs to color. This she liked to do, so her father decided that
+the only thing to do was to let her paint.
+
+Rosa was willing to walk miles in all kinds of weather, to sit hours
+in all kinds of uncomfortable positions, and to go without food in
+order to draw a good picture of some animal. Now she began her study
+of animals in earnest. She went to all the country horse fairs, to the
+slaughter houses, and wherever there was an opportunity to study them.
+
+Rosa never had very pretty clothes. She tells us herself that one day
+a parrot called after her "Ha, ha! That hat!" Now that she was grown
+up she found she could not get about very easily in her long skirts.
+There were so many rough men in the packing houses and in other places
+where she must go to study that she obtained a permit to wear men's
+clothing. Her hair was short, anyway, and with her blue working blouse
+and dark trousers she looked just like a man. Then no one noticed her
+as she went about, for they thought her one of the workmen. People who
+knew her did not mind her dress, and were ready to help her as much as
+they could in her work. The first picture she exhibited was of some
+little rabbits nibbling carrots.
+
+Her pictures became famous the world over. From all over the country
+she received gifts of fine horses and other animals to paint. Buffalo
+Bill once sent her two fine horses from Texas. She bought a farm, and
+had a very large barn built where she could keep her animals.
+
+How proud her father was of her!
+
+One day she was working hard in her studio when a servant came to tell
+her that the Empress Eugénie had come to see her. It was a great event
+when this royal lady came to the artist's studio; and there was Rosa
+dressed in her old blue blouse covered with paint! She did not have
+time even to slip it off before the empress came in, but they had a
+most delightful visit. As the Empress Eugénie bent over and kissed
+Rosa Bonheur, she pinned the Cross of the Legion of Honor on the
+artist's blue blouse. Rosa did not notice it until after the Empress
+was gone. How pleased she must have been, for she was the first woman
+to receive that honor.
+
+
+=Questions about the artist.= What is the artist's full name? Where
+did she live the first ten years of her life? What did the father do
+for a living? Why did they move to the city? How did the children like
+this change? In what kind of a house did they live? Tell about Rosa
+and the wild boar; the school for boys. Why did they move? What became
+of the children after their mother died? Why was Rosa often late to
+school? Who came to take her home? Tell about the new home and the
+pets; Isidore and the lamb. How did they all spend their evenings?
+Tell about the "Saint Simon" bonnet. How did Rosa behave at the
+private school? Tell about Rosa and the hollyhocks. How was she
+punished? What trade did her father wish her to learn? What was she
+willing to do in order to paint pictures? Where did she go to study
+animals? How did she dress? Why did she dress like a man? What
+presents did she receive? Where did she keep them? Tell about the
+visit of the Empress Eugénie. How did she honor Rosa Bonheur?
+
+
+
+
+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´nûr´´)
+
+* Pg 2 Replaced colon with a semi-colon after "1814" located in
+  "Born, 1814:".
+
+* Pg 51 (k[+o]´r[+o]´´) and Pg 63 (b[+o]´nûr´´) contains the + symbol
+  representing an "up tack" not represented in any charts.
+
+
+
+
+
+End of Project Gutenberg's Stories Pictures Tell, by Flora L. Carpenter
+
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+}
+
+.center   {text-align: center;}
+
+.smcap    {font-variant: small-caps;}
+
+/* Images */
+.figcenter   {
+    margin: auto;
+    text-align: center;
+}
+
+p.caption {
+    margin-top: 0;
+    font-size: 70%;
+    text-align: center;
+}
+
+.signature {
+    text-align: right;
+    margin-right: 5%;
+}
+
+/* Poetry */
+     .poem {
+	  margin-bottom: 1em; margin-left: 25%; margin-right: 10%; text-align: left;
+     }
+     .poem .stanza {
+	 margin: 1em 0em;
+     }
+     .poem p {
+	 padding-left: 3em; margin: 0px; text-indent: -3em;
+     }
+
+/* Transcriber Notes */
+div.tn {
+    background-color:#EEE;
+    border:dashed 1px;
+    color:#000;
+    font-size:80%;
+    margin:10em;
+    padding:1em;
+}
+
+ul.corrections {
+    list-style-type:circle;
+}
+
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Stories Pictures Tell, by Flora L. Carpenter
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Stories Pictures Tell
+       Book Four
+
+Author: Flora L. Carpenter
+
+Release Date: February 26, 2010 [EBook #31411]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL ***
+
+
+
+
+Produced by D Alexander, Larry B. Harrison and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<h1>STORIES<br />
+PICTURES TELL</h1>
+
+<h2>BOOK FOUR</h2>
+
+<h4><i>By</i></h4>
+
+<h2>FLORA L. CARPENTER</h2>
+
+<h5><i>Instructor in drawing in Waite High School, Toledo, Ohio<br />
+Formerly supervisor of drawing, Bloomington, Illinois</i></h5>
+
+<h4><i>Illustrated with Half Tones from<br />
+Original Photographs</i></h4>
+
+<h2>RAND McNALLY &amp; COMPANY</h2>
+
+<h3>CHICAGO &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NEW YORK</h3>
+
+<h5><i>Copyright, 1918, by</i><br />
+<span class="smcap">Rand McNally &amp; Company</span><br />
+All rights reserved<br />
+Edition of 1928</h5>
+
+<div class="figcenter" style="width: 100px;">
+<a name="i002.jpg" id="i002.jpg"></a>
+<img src="images/i002.jpg" width="100" height="92" alt="Publisher Symbol" title="Publisher Symbol"/>
+</div>
+
+<h5>Made in U. S. A.</h5>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>THE CONTENTS</h2>
+<table width="70%" border="0" cellpadding="5" cellspacing="0" summary="Contents">
+<tr><td colspan="3" class="smcap">September and October</td><td align="right">PAGE</td></tr>
+<tr><td>&nbsp;</td><td>"The Sower"</td><td align="left"><i>Millet</i></td><td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td>&nbsp;</td><td>"Highland Shepherd's Chief Mourner"</td><td align="left"><i>Landseer</i></td><td align="right"><a href="#Page_13">13</a></td></tr>
+<tr><td colspan="4">&nbsp;</td></tr>
+<tr><td colspan="3" class="smcap">November, December, and January</td><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td>"Children of the Shell"</td><td align="left"><i>Murillo</i></td><td align="right"><a href="#Page_23">23</a></td></tr>
+<tr><td>&nbsp;</td><td>"Saved"</td><td align="left"><i>Landseer</i></td><td align="right"><a href="#Page_31">31</a></td></tr>
+<tr><td colspan="4">&nbsp;</td></tr>
+<tr><td colspan="3" class="smcap">February and March</td><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td>"Pilgrim Exiles"</td><td align="left"><i>Boughton</i></td><td align="right"><a href="#Page_43">43</a></td></tr>
+<tr><td>&nbsp;</td><td>"Dance of the Nymphs"</td><td align="left"><i>Corot</i></td><td align="right"><a href="#Page_51">51</a></td></tr>
+<tr><td colspan="4">&nbsp;</td></tr>
+<tr><td colspan="3" class="smcap">April, May, and June</td><td>&nbsp;</td></tr>
+<tr><td>&nbsp;</td><td>"Oxen Plowing"</td><td align="left"><i>Rosa Bonheur</i></td><td align="right"><a href="#Page_63">63</a></td></tr>
+<tr><td>&nbsp;</td><td colspan="2">Review of Pictures and Artists Studied</td><td>&nbsp;</td></tr>
+<tr><td colspan="4">&nbsp;</td></tr>
+<tr><td colspan="3"><i>The Suggestions to Teachers</i></td><td align="right"><a href="#Page_75">75</a></td></tr>
+</table>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vi]<br />[Pg vii]</a></span></p>
+<h2>THE PREFACE</h2>
+
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<div class="signature"><span class="smcap">Flora L. Carpenter</span></div>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+    <a name="i005.jpg" id="i005.jpg"></a>
+    <img src="images/i005.jpg" width="500" height="624" alt="The Sower" title="The Sower" />
+    <p class="caption">By permission of Braun &amp; Co., Paris and New York<br />THE SOWER<br /><br /></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h1>STORIES<br />
+PICTURES TELL</h1>
+
+<h2>THE SOWER</h2>
+
+<p><b>Questions to arouse interest.</b> What is
+this man doing? Why do you think so?
+What does he carry over his shoulder? in his
+bag? How does he sow the grain? What
+will be the result of his work? How do you
+think the grain will be covered? What can
+you see in the background? Do you think
+the oxen are plowing the field or covering the
+grain? why? What time of the day is it?
+What can you see in this picture to indicate
+that the man has been working a long time?
+How is he dressed? How does he wear his hat?
+What kind of boots is he wearing? What
+makes you think the ground is soft? Is the
+man standing still, or walking? Why do you
+think so? Where does he seem to be looking?
+Why do you think he looks ahead? What
+is the cause of the glow in the sky behind him?
+What do you think are the colors in the sky?
+the colors in the field? What time of the
+year is it? in what country? What do you
+like best about this picture?</p>
+
+<p class="p2"><br /><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span>
+<b>Original Picture:</b> Vanderbilt Collection, Metropolitan Museum, New York.<br />
+<b>Artist:</b> Jean Fran&ccedil;ois Millet (m&#275;&acute;l&#277;&acute;&acute;).<br />
+<b>Birthplace:</b> Gruchy, France.<br />
+<b>Dates:</b> <a name="Born" id="Born"></a>Born, 1814; died, 1875.
+</p>
+
+<p>
+<br /><b>The story of the picture.</b> In this picture
+Millet has tried to tell us only a few important
+facts about the man and his work. It is easy
+to see that he is sowing grain broadcast over the
+field. The shadows creeping over ground and
+sky tell us that night is fast approaching. He
+seems intent upon finishing that last stretch
+of field before dark, and his steady, rhythmic
+swing shows none of the physical weariness he
+must feel.</p>
+
+<p>When we think of the life of this sturdy
+French peasant, as the artist surely intended
+we should, we realize the patience and perseverance
+required in the monotonous day's
+work, and we are forced to a feeling of respect
+and admiration for him.</p>
+
+<p>In these days with what ease and skill the
+same task is performed by the aid of machinery!
+Riding on the seat of a machine which drills
+the seed into the ground and covers it up, the
+man would have found the simple task of
+guiding his horses a very pleasant one indeed.
+As he walks along so energetically, his eyes
+are probably fixed on some stake at the end<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span>
+of the field to guide him as he travels back
+and forth, sowing the grain.</p>
+
+<p>No doubt he used a team of oxen to plow
+and harrow the ground before he sowed the seed.
+We have no way of knowing just what kind of
+a harrow he had, but very likely it was one
+made of brush or branches of trees. We can
+see a team of oxen and a driver in the distance,
+who seem to be following in the tracks of our
+sower and covering up the seeds he is sowing.</p>
+
+<p>The artist, Millet, knew all about such work,
+for he himself had worked out in the fields
+through the long day. He tells us that his
+"ancestors were peasants and he was born a
+peasant."</p>
+
+<p>No doubt the man in our picture started out
+on his day's work long before the sun was up.
+His first task, after eating his breakfast and
+feeding his oxen, was to yoke the oxen ready
+for the journey to the field where their work
+was to be done. No doubt the man has been
+working steadily ever since, for he does not
+look like a man who would stop to rest very
+many times. He gives us rather a feeling of
+physical strength and of steady, faithful effort
+in the accomplishment of his daily tasks.</p>
+
+<p>At the close of such a day's labor in the
+field he will be too utterly weary to sit up and
+read, as most of our farmers do during these<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>
+days of farm machinery and rural delivery.
+And yet, there were some who did read even
+in those days when work was so difficult, for
+we know that Millet sat up many nights with
+the village priest, who taught him reading
+and arithmetic, and with whom he studied
+Latin and read the works of Shakespeare. It
+was due to this greater knowledge that Millet
+became something more than a mere peasant.
+It was this that gave him such perfect sympathy
+with and keen insight into the peasants' lives.
+His own knowledge of the world made him
+more conscious of the great contrast between
+their narrow, hard-working lives so full of privation,
+and those of the men and women in the
+great world outside so full of opportunity and
+promise. Yet even in so great a city as Paris,
+men could starve, as he had found out by his
+own experience.</p>
+
+<p>Perhaps Millet wished to make us feel the
+content of a successful day's work such as this,
+with its well-earned quiet and rest, free from
+the hurry and noise of the city. Although the
+sun is sinking over a world of beauty and
+pleasure, our sower knows nothing and cares
+for nothing except the accomplishment of his
+task. His hat, pulled down over his face,
+shades his heavy, coarse features. Although an
+expert in his work, doing to the utmost, his<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+mind is probably dull and slow and quite unequal
+to any great mental task. And yet what a
+great work is his, after all! How dependent
+we are upon the men of whom he is a type!
+The fact that he is doing his own work and
+doing that work well compels our respect and
+admiration.</p>
+
+<p>The light from the sun disappearing behind
+the hill brings out in silhouette the figure of the
+sower turned toward the dark and earthy field.
+This man is not posing for his picture. Quite
+unconscious of our gaze, he swings briskly
+forward, his feet sinking slightly into the newly
+plowed field. From the bag hanging from his
+shoulder he scatters the grain with a long sweep
+of his strong right arm.</p>
+
+<p>He is actually moving in the picture. Take
+this position for yourself. The weight of the
+body falls evenly upon both feet. To raise
+either foot you must move the entire body.
+As the right foot goes forward the right arm
+goes back. If you try taking long strides and
+swinging your arms you will find this is the
+natural movement.</p>
+
+<p>The horizon line is slanting or diagonal, and
+divides the light part of the picture from the
+dark. The sky and ground are held together
+by the figure of the sower. Notice the absence
+of details in the picture.</p>
+
+<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>The art critics of Millet's day did not
+appreciate the great thought expressed in this
+picture, for nearly all of them found fault with
+it. They could see no beauty in "a common
+laborer in his dirty clothes doing his miserable
+work," and thought Millet should have chosen
+something more beautiful to paint. What do
+you think of the justice of this criticism? What
+is your opinion of the beauty of this picture?
+Millet loved these simple, kind-hearted, hard-working
+peasants, loved their lives of toil in the
+fields, respected their labors, and being so wholly
+in sympathy with them, he wished to make us
+feel so, too.</p>
+
+<p>
+<br /><b>Questions to help the pupil understand the
+picture.</b> Where is the man? in what country?
+How can you tell what time of the day it is?
+Why does he not seem weary? Why do you
+think he must be very tired? How early do
+the French peasants usually start to work?
+What must this man do before daybreak?
+Why do you think he is not lazy? Why do
+we respect and admire him? How could his
+work be made easier now? How do most of
+our farmers sow and plant their seed? How
+did this man plow his ground? What is a
+harrow for? What kind of a harrow did this
+man have? What is the team of oxen at the
+farther end of the field doing? Does this man
+seem to be looking at the ground or far ahead?
+How did the artist, Millet, know so much about<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>
+this kind of work? What would this man probably
+do after his day's work? Why did he
+not read the newspaper, as our farmers do?
+What did Millet do in the evening? How did
+this help him? What did Millet wish to make
+us feel in this picture? How does the horizon
+line divide the picture? How are the sky and
+ground held together? Why do you suppose
+Millet did not paint details, such as the features
+of the face or the buttons on the coat? What
+did the critics say about this picture? How
+many agree with them? why? why not?</p>
+
+<p>
+<br /><b>To the Teacher:</b> Ask one of the pupils to
+take this position while the others sketch the
+action, finishing the sketch from memory&mdash;and
+adding their own background. Use ink
+silhouette, or charcoal on manila paper.</p>
+
+<p>
+<br /><b>The story of the artist.</b> Jean Fran&ccedil;ois Millet
+was the son of poor French peasants who lived
+on a farm and worked hard to take care of their
+large family of eight children. Jean was the
+eldest boy. The father was very fond of music
+and of all beautiful things out of doors, and
+often he would say to his son, "Look at that
+tree, how large and beautiful! It is as beautiful
+as a flower." He would call the boy's attention
+to the beauty of the fields, the sunsets, and all
+things around them.</p>
+
+<p>Millet's mother worked out in the fields
+with the father all day long, so it was the<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+grandmother who took care of the little boy.
+It was she who named him Jean after his father,
+and Fran&ccedil;ois after the good Saint Francis. She
+was a deeply religious woman, and nearly all
+the pictures Millet saw when a boy were those
+in her Bible. He copied these pictures many
+times, drawing them with white chalk on the
+stone walls of the house. This pleased his
+grandmother very much, and she encouraged
+him all she could.</p>
+
+<p>At the age of six he was sent to school.
+When he was twelve years old, the priest of the
+village became interested in him and offered to
+teach him Latin. Millet was only too glad to
+accept this offer, and many a happy evening the
+two spent thus together. But his studies were
+frequently interrupted by his work on the farm,
+for since he was the eldest son his father
+depended most upon him. It was the custom
+in France among the peasants to take a daily
+hour of rest from their labors. But the boy
+Millet, instead of sleeping, spent the hour in
+drawing the homely scenes around him.</p>
+
+<p>One Sunday morning, coming home from
+church, Millet met an old man who walked
+very slowly, his back bent over a cane. We
+have all seen just such old men, and their feebleness
+has aroused our sympathy and respect. It
+is not strange, then, that something about this<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
+bent figure appealed to young Millet so strongly
+that he could not resist the desire to draw a
+portrait of the man.</p>
+
+<p>He drew the portrait on a stone wall,
+with a piece of charcoal, and so well that
+people passing on their way home from church
+recognized it at once and were very much
+surprised and pleased. His father, perhaps,
+was the most delighted of all, for once he
+himself had wished to be an artist. Now he
+determined that his son should have the chance.</p>
+
+<p>We are sure Millet never forgot that day
+when the father, mother, grandmother, and
+his brothers and sisters sat around the table
+after dinner and talked about his wonderful
+picture and what they could do to help him
+become a great painter. And when it was finally
+decided that his father should take him to
+the artist (Mouchel) in the next village, you
+may be sure he worked hard on the drawings
+he was to take with him. At last the day
+came for the journey, and the proud father
+and his happy son set out on foot for the
+home of the artist.</p>
+
+<p>When shown the drawings Mouchel at first
+refused to believe the boy had made them,
+they were so good. Finally convinced, he was
+glad indeed to take Millet as one of his pupils.
+But Millet studied with him only two months<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+when his father died and he was obliged to
+return home to take his father's place on the
+farm as best he could.</p>
+
+<p>By this time the people of the village had
+become so much interested in his paintings that
+they decided to help him. So they raised a
+large sum of money, sent him back to the
+artist to study, and finally sent him to the great
+city of Paris, France. But although he painted
+wonderful pictures which are worth thousands
+of dollars to-day, his style of art was not appreciated
+then and would not sell, and he was
+glad to paint portraits for a few francs each
+in order to make a living. His life in Paris
+was a continuous struggle with poverty, and
+at last he decided to leave. With his wife and
+children he settled in a little three-roomed
+cottage at Barbizon, a tiny little village near a
+great forest and only a day's journey from
+Paris.</p>
+
+<p>Here was Millet's home all the rest of his
+life. Although still very poor, the family did
+not starve, as they came so near doing while
+they lived in Paris, for the garden and the fruit
+trees always provided them with something
+to eat.</p>
+
+<p>At that time the popular artists were painting
+beautiful pictures of lovely women and
+men of the nobility in their fine clothes, or of<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+wonderful saints and angels, and pictures showing
+only the happier side of life. To them
+Millet's pictures came as a shock, bringing to
+mind the dirt and grime of the common, everyday
+tasks of the poorer French peasants. And,
+more than that, he made them realize the
+dreadful condition in which the French Revolution
+had left many of these same peasants,
+and that was something of which they did not
+care to be reminded. So they refused to buy
+his pictures, and it was not until the last ten
+years of his life that Millet received a little of
+the recognition and honor that he so richly deserved.
+With his increasing fame came better
+financial conditions, and in 1867 he received
+the ribbon of the Legion of Honor.</p>
+
+<p>
+<br /><b>Questions about the artist.</b> Who painted
+this picture? In what country did he live?
+Tell about his mother and father. Who took
+care of Millet when he was a boy? What
+pictures did he copy? Where did he draw
+them? With what did he draw? Who
+encouraged him? What did the priest teach
+him? Tell about the picture of the old man
+leaning on the cane. Where did he draw this
+picture? Who saw it? Why do you think it
+must have been a good likeness? How did
+Millet's father feel about it? What did he do?
+How did they travel? What did the artist
+think? How long did Millet study with him?
+Why did he return home? What did his<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+neighbors do for him? What was he obliged
+to paint for a living? Where did he move?
+What kind of pictures were the popular artists
+of that day painting? Why were Millet's
+pictures not popular? When were his pictures
+appreciated? Why have his pictures outlived
+those of the popular artists of that time?</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+    <a name="i018.jpg" id="i018.jpg"></a>
+    <img src="images/i018.jpg" width="500" height="410" alt="Highland Shepherd's Chief Mourner" title="Highland Shepherd's Chief Mourner" />
+</div>
+
+<h2>HIGHLAND SHEPHERD'S<br />
+CHIEF MOURNER</h2>
+
+<p><b>Questions to arouse interest.</b> What do
+you see in this picture? For whom is the dog
+grieving? What makes you think the shepherd
+may have been an old man? a religious man?
+a lonely man? Is there anything in the picture
+that would suggest the country in which he
+lived? What is there in the picture to suggest
+the time of the year? the occupation of the
+man? What kind of dog is this? Who painted
+the picture? Tell something about his life.
+Do you like this picture? How does it make
+you feel?</p>
+
+<p class="p2"><br /><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+<b>Original Picture:</b> South Kensington Museum, London.<br />
+<b>Artist:</b> Sir Edwin Landseer (l&#259;nd&acute;&acute;s&#275;r).<br />
+<b>Birthplace:</b> London, England.<br />
+<b>Dates:</b> Born, 1802; died, 1873.
+</p>
+
+<p>
+<br /><b>The story of the picture.</b> Here we are
+looking into the interior of a highland shepherd's
+hut. Our eyes are immediately attracted
+to the center of the room, where we see the
+coffin of the shepherd covered with a blanket
+against which his dog keeps solitary watch. A
+well-worn Bible and a pair of glasses on the
+stool near by, the hat, the cane, all suggest
+something of the life and age of the shepherd.
+We are told that he was a very old man who
+had lived all his life among the hills of Scotland.
+For the last few years, at least, he had lived
+here alone except for the companionship of his
+faithful dog and his sheep.</p>
+
+<p>The good old dog could tell you all about it.
+How, early in the morning, he would go with his
+master to drive the sheep to the best grazing
+ground, where all day long they guarded and
+watched them, the man and the dog sharing
+their noonday lunch of coarse bread. And why
+did they need to watch the sheep so carefully?
+There were a great many eagles whose nests
+were high up in the giant oak trees or up in
+some rocky cliff far away, and they came<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
+flying over the hills looking for food. Woe to
+the sheep if their master was not near to care
+for them, for then an eagle would swoop down
+upon his choice and carry it away to his nest.
+Then, too, there may have been wild animals
+prowling about, and the sheep must be protected
+from them. The dog and his master
+also had to keep watch lest some lamb stray
+away from the flock and get lost.</p>
+
+<p>In the evening the dog helped his master
+drive the sheep to shelter in the great sheds
+where they were kept safe all night. Then up
+the hill they would climb to their home, where
+the shepherd prepared the simple evening meal
+for himself and his dog. Now what could they
+do after supper? It was too far for the old
+man to go to the distant village, and no one
+was likely to come in to see them. No doubt,
+too, he was very tired, and ready to go to bed
+very early. You know how sleepy you are
+after you have been out in the fields all day
+long. But first he read a little in his Bible;
+and when the dog saw his master take up the
+book and put on his spectacles, he probably
+stretched out on the floor and kept very still.</p>
+
+<p>As time went on, the old man became more
+feeble and the dog worked all the harder to
+save his master's strength. It may be that
+toward the last the dog did almost all the work<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+of caring for the sheep. Then, one morning, the
+old shepherd did not wake up. Even the tugging
+and sharp barks of his faithful friend failed
+to arouse him. It may be that the dog's barks
+brought some passing drovers to the door.</p>
+
+<p>In the picture the dog presses close to the
+coffin. His clinging paws have dragged the
+blanket to the floor. His eyes seem full of
+tears of hopeless grief, as if he understood his
+master could not come back. He must have
+kept that same rigid and sorrowful position
+since the men left. Some green branches
+placed upon the coffin have fallen to the floor
+because of the dog's first frantic tugging at the
+blanket. The shepherd must have led a lonely
+life indeed to have no one but his faithful dog
+to watch beside him. His hat and cane lie
+where he left them, and all is very quiet.</p>
+
+<p>In another picture Landseer painted a dog
+lying on the ground over the grave where his
+master lies buried. We can easily imagine
+that this dog will follow his master to his last
+resting place and that he, too, will act as sentinel
+over the grave of the one he loves so dearly.
+Landseer wanted to make us feel how good and
+faithful a friend a dog is.</p>
+
+<p>
+<br /><b>Questions to help the pupil understand
+the picture.</b> Whose home was this? In what
+country did he live? Tell about his life among<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+the hills. Who helped him care for the sheep?
+Why must they be cared for? Where did they
+stay at night? What could the old man do in
+the evening? When he became feeble, who did
+nearly all the work of caring for the sheep?
+When the master did not wake up what did
+the dog probably do? Why have the branches
+fallen from the coffin? Why do you suppose
+there is no one else in the room?</p>
+
+<p>
+<br /><b>The story of the artist.</b> Sir Edwin Landseer's
+grandfather was a jeweler and his father
+also learned that trade. The jewelers of that
+day were very often asked to engrave the copper
+plates that were used in printing pictures.
+Sir Edwin's father soon decided that he would
+rather engrave pictures than sell jewels, and he
+became a very skillful engraver.</p>
+
+<p>At that time few people realized what an art
+it was to be able to cut a picture in copper so
+that a great many copies of it could be made
+from one plate. They did not even consider it
+an art as we do, and so engravers were not allowed
+to exhibit at the Royal Academy and were given
+no honors at all. Edwin's father thought this
+was not right, and gave several lectures in
+defense of the art. He said that engraving is
+a kind of "sculpture performed by incision."
+His talks were of no avail at the time, but
+within a year after his death the engravers
+received the recognition due them.</p>
+
+<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>His eldest son, Thomas, also became famous
+as an engraver, and to him we are indebted for
+so many fine prints of Sir Edwin Landseer's
+paintings. Thomas also made an engraving
+of the "Horse Fair" for Rosa Bonheur. Few
+can afford to own the paintings, but the prints
+come within the means of all of us.</p>
+
+<p>Edwin's father taught him to draw, and
+even when Edwin was only five years old he
+could draw remarkably well. Edwin had three
+sisters and two brothers. 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 by a
+fence over which was built an old-fashioned
+stile with several steps. The fence was built
+high so the sheep and cows in the fields could not
+jump over. One day Edwin stopped at the
+stile to look at the cows and asked his father to
+show him how to draw them. His father then
+gave Edwin his first lesson in drawing a cow.
+After this Edwin came nearly every day to
+these fields and his father called them "Edwin's
+studio."</p>
+
+<p>When he was only thirteen years old, two
+of his pictures were exhibited at the Royal
+Academy. One was a portrait of a mule, and
+the other was of a dog and puppies. Edwin
+painted from real life always, not caring to<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+make copies from the work of others. All the
+sketches he made when he was a little boy
+were kept carefully by his father, and now if
+you go to England you may see them in the
+South Kensington Museum in London.</p>
+
+<p>Landseer was only sixteen years old when
+he exhibited his wonderful picture "Fighting
+Dogs Getting Wind." A very rich man whose
+praise meant a great deal bought the picture,
+and the young artist's success was assured.</p>
+
+<p>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
+and ready to deliver, it suddenly disappeared.
+A diligent search was made for it, but it was
+not found until twenty-four years afterwards.
+A servant had stolen it and hidden it in a
+hayloft. He had been afraid to sell it or even
+to keep it in his home, for no one would have
+failed to recognize the great artist's work.</p>
+
+<p>For many years Landseer lived and painted
+in his father's house in a poor little room without
+even a carpet. The only furniture, we are
+told, were three cheap chairs and an easel.
+Later he had a fine studio not far from Regent's
+Park. Here was a small house with a garden
+and a barn. The barn was made over into a
+studio. Here so many people brought their
+pets for him to paint that he had to keep a<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+list, and each was obliged to wait his turn.
+But Sir Edwin was not a very good business
+man, so he left all his affairs to his father, who
+sold his pictures for him and kept his accounts.</p>
+
+<p>Landseer made a special study of lions, too.
+A lion died at the park menagerie and he
+dissected its body and studied and drew every
+part. He painted many pictures of lions. He
+also modeled the great lions at the base of the
+Nelson Monument in Trafalgar Square, London.</p>
+
+<p>Although Landseer painted so many wild
+animals, birds, and hunting scenes, he did not
+care to shoot animals. His weapons were his
+pencil and sketch book. Sometimes he hired
+guides to take him into the wildest parts of
+the country in search of game. But he quite
+disgusted the guides when, a great deer bounding
+toward him, he would merely make a sketch
+of it in his book.</p>
+
+<p>Many of Landseer's paintings are of scenes
+in Scotland, as is this one, "Highland Shepherd's
+Chief Mourner." When Sir Edwin Landseer
+went to visit Scotland one of his fellow travelers
+was Sir Walter Scott, the great novelist. The
+two became close friends. Sir Walter Scott tells
+us: "Landseer's dogs were the most magnificent
+things I ever saw, leaping and bounding and
+grinning all over the canvas." Landseer painted
+Sir Walter Scott's dog "Maida Vale" many<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+times, and he named his studio for the dog.</p>
+
+<p>At twenty-four Landseer became an associate
+of the Royal Academy, which was an
+unusual honor for so young a man.</p>
+
+<p>In 1850 the honor of knighthood was conferred
+upon him.</p>
+
+<p>This story is told of him at a social gathering
+in the home of a well-known leader of society
+in London. The company had been talking
+about skill with the hands, when some one
+remarked that no one had ever been found
+who could draw two things at once. "Oh, I
+can do that," said Landseer; "lend me two
+pencils and I will show you." Quickly he drew
+the head of a horse with one hand while with
+the other he drew a stag's head and antlers.
+Both sketches were so good that they might
+well have been drawn with the same hand
+and with much more study.</p>
+
+<p>Sir Edwin Landseer felt that animals understand,
+feel, and reason just like people, so he
+painted them as happy, sad, gay, dignified,
+frivolous, rich, poor, and in all ways just like
+human beings. This appealed to the people,
+and he became very popular.</p>
+
+<p>Sir Edwin did and said all he could against
+the custom of "cropping" the ears of dogs.
+He said that nature intended to protect the
+ears of dogs that "dig in the dirt," and man<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+should not interfere. People paid attention to
+what he said, and the custom lost favor.</p>
+
+<p>Landseer died in London in 1873 at the age
+of seventy-one. A tablet placed to his memory
+in the notch of one of the windows at Westminster
+Abbey has a medallion portrait of him
+at the top, and below this, carved in light relief,
+is a copy of one of his most famous paintings,
+"The Highland Shepherd's Chief Mourner."</p>
+
+<p>
+<br /><b>Questions about the artist.</b> Tell about
+Sir Edwin Landseer's father. What did he do?
+Why were engravers not allowed to exhibit their
+work? What did Edwin's father do to defend
+his art? What did Edwin's brother, Thomas,
+accomplish? Why are we so indebted to him?
+Who taught Edwin how to draw? Tell about
+his brothers and their walks in the fields.
+What animal did Edwin draw first? Where was
+"Edwin's studio"? Which two of his pictures
+were exhibited when he was only thirteen years
+old? What became of the sketches he made
+when he was a boy? Tell about his two studios.
+Tell about his picture of the old white horse.
+With whom did Sir Edwin Landseer travel
+through Scotland? What did Sir Walter Scott
+say about Landseer's dogs? How did Landseer
+happen to name his studio "Maida Vale"?
+What weapons did Sir Edwin use when he
+hunted? Why did he not shoot the animals?
+Tell about his drawing with both hands. In
+what ways are animals like people according to
+Landseer's judgment?</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+    <a name="i028.jpg" id="i028.jpg"></a>
+    <img src="images/i028.jpg" width="500" height="425" alt="Children of the Shell" title="Children of the Shell" />
+</div>
+
+<h2>CHILDREN OF THE SHELL</h2>
+
+<p><b>Questions to arouse interest.</b> Where do
+these children seem to be? Which of the two
+children seems to be the older? What is the
+boy at the right doing? From what is he
+drinking? Why do you think the boy at the
+left has given him a drink? How is he helping
+him now? What does the boy who is drinking
+hold in his left hand? How is he standing?
+What is the lamb doing? Who else seems to
+be watching them? Why do you think the
+picture is called "Children of the Shell"? Do
+you like this picture? why?</p>
+
+<p class="p2"><br /><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+<b>Original Picture:</b> Prado Gallery, Madrid, Spain.<br />
+<b>Artist:</b> Bartolom&eacute; Esteban Murillo (mo&#862;o r&#275;l&acute;&acute;y&#333;).<br />
+<b>Birthplace:</b> Seville, Spain.<br />
+<b>Dates:</b> Born, 1618; died, 1682.<br />
+</p>
+
+<p>
+<br /><b>The story of the picture.</b> The great religious
+painter, Murillo, has given us many pictures
+of the Christ child and John the Baptist, but
+perhaps none more pleasing than this one which
+critics have so often declared the most beautiful
+picture of children ever painted.</p>
+
+<p>We must go back in our Bible history to
+the time when the wicked King Herod reigned
+over Judea, for it was then that our story
+begins. This proud king had conquered all his
+enemies and expected to live at ease in his rich
+and beautiful palace, surrounded by all that
+would give him comfort and pleasure. But
+one day he was made very unhappy when a
+messenger appeared bringing him most unwelcome
+news. It was that a child had been born
+in Bethlehem at just the time and place it had
+been prophesied that a child should be born
+who would one day be king over all the world.
+In a manger of a stable, true to the prophecy,
+the baby Jesus was born. The three wise
+men of the East and many others who already
+worshiped him as king sought and found him
+there. The thought that the child would grow
+up to rule over his kingdom alarmed King<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>
+Herod, and he resolved to remove this possible
+rival before it was too late. Fearful lest the
+child should escape, Herod sent out a terrible
+decree that all boy babies under two years of
+age should be killed. That must have been a
+dreadful day, for there was little hope of escape
+or concealment.</p>
+
+<p>However, Mary and Joseph had been warned
+by an angel several days before, and with the
+child Jesus they were already safe on their way
+to Egypt. They had left in the night, and no
+one could tell anything about them, or where
+to look for them. Several years later King
+Herod died, and almost immediately Mary,
+Joseph, and the boy Jesus started on the homeward
+journey. It was during this journey, we
+are told, that the boy, running on ahead of the
+donkey Mary was riding, found a cool little
+spring where he could quench his thirst. Suddenly
+there appeared another boy wearing a
+camel's-hair cloak and carrying a wooden stick
+with a cross carved upon it. He was followed
+by a lamb. It was John the Baptist, who,
+although only a child, was living among the
+hills, eating locusts and wild honey, preparing
+for the great work he was to do. It is supposed
+that as the mothers of these two boys often
+visited each other, the children must have met
+before. In the picture we see them standing<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+near the cool little spring. Jesus has in his
+hand a shell which, straightway forgetting his
+own thirst, he has filled and now offers to his
+cousin John.</p>
+
+<p>John the Baptist is bending over to drink
+from the shell which Jesus holds for him. The
+lamb watches them contentedly, while from
+the sky above the angels, with clasped hands
+and smiling faces, look down in silent adoration.
+Although he does not look at them, Jesus seems
+conscious of their presence, for he points toward
+them with his little hand. Light radiates from
+the clouds and the angels, while deep shadows
+at the left and the right serve to heighten the
+effectiveness of the central part of the picture.
+The lamb, as the symbol of innocence, is the
+natural playmate of these two healthy, sturdy
+boys. The little John drinks eagerly, as if
+he were indeed thirsty and weary, while Jesus,
+although younger in years, has the kind and
+thoughtful look of an elder brother caring for
+a younger.</p>
+
+<p>At this moment they seem to be merely
+two thirsty boys, little knowing the great work
+before them or thinking of anything but to
+quench their thirst. Yet some of the coming
+greatness shows itself in the generous action
+of the child Jesus and the gentle acceptance
+of John the Baptist.</p>
+
+<p>
+<br /><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span><b>Questions to help the pupil understand the
+picture.</b> Whom does this picture represent?
+For what kind of paintings is Murillo famous?
+what subjects? Tell about King Herod. Why
+was he worried when he heard of the birth of
+Jesus? What did he do in order to be sure the
+child would be killed? What did the parents
+of the baby Jesus do? When was it safe for
+the boy Jesus to return? How did he happen
+to meet John at the spring? How was John
+dressed? What followed him? For what does
+the lamb stand? Who has the shell? What
+does he do with it? Why do you suppose he
+did not drink first? To whom does Jesus point
+or beckon with his left hand? Which boy was
+the younger? For what is this picture famous?</p>
+
+<p>
+<br /><b>The story of the artist.</b> A little Spanish
+boy, Bartolom&eacute; Esteban Murillo, born into the
+home of a poor mechanic, and with no opportunities
+save those of his own making, grew
+to be one of the greatest of Spanish painters.
+Both his parents died before he was eleven
+years old, and he seems to have been left quite
+to his own devices. Until that time he had
+attended school, where his ability to draw had
+shown itself in pictures drawn on the walls of
+the school building.</p>
+
+<p>After school and on Saturdays he had
+assisted an artist, doing such work as cleaning
+brushes, grinding paints, and running errands.
+An uncle had secured this position for him, but<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+seemed to be unable to help him further. By
+these means and by painting banners and pictures
+for the weekly market, the boy earned
+his own living. The peasants came to Seville
+from all the country around, bringing in their
+fruits, vegetables, and wares to sell. Here the
+young Murillo took his paintings, which were
+on coarse, cheap cloth instead of on canvas,
+which he could not afford. Sometimes it was
+a Madonna, sometimes a portrait of the buyer
+which he would finish quickly while the crowd
+watched, or sometimes one of the beggar boys
+in the gypsy quarters of the city.</p>
+
+<p>But Murillo had a boy friend who went
+to London to study with the great Sir Anthony
+Van Dyck, and who, when he returned, brought
+such news of the wonderful paintings in the
+galleries of London and Paris that Murillo began
+to dream of seeing them. Before he had
+saved enough money to go, however, the artist
+Van Dyck died, and Murillo decided to go to
+Madrid, where one of his own countrymen,
+Vel&aacute;squez, had won great fame. He walked
+nearly all the way, presenting his letter of
+introduction to Vel&aacute;squez, who received him
+most kindly.</p>
+
+<p>Murillo was now twenty-four years old,
+enthusiastic, ambitious, and manly. Vel&aacute;squez
+soon discovered his great talent, and not only<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span>
+received him as a pupil but took him into his
+own home, where he remained three years.
+When, at the end of that time, he returned to
+Seville, his fame as an artist was established
+and pupils came to him from all over the
+country. His friends could be found among
+the very poorest beggars as well as among the
+most influential men of the city, and he was
+idolized by his pupils. Always of a deeply
+religious nature, he chose religious subjects for
+most of his paintings. In his studio all swearing
+and ill conduct were forbidden, and his
+religious paintings were produced only after
+much prayerful meditation.</p>
+
+<p>He gave so generously to the poor about
+him that it was said he gave away all he earned.</p>
+
+<p>Often his wife, who was very beautiful, his
+lovely daughter, or his two handsome sons posed
+for his paintings, and so we find the same faces
+repeated in several pictures.</p>
+
+<p>One day when Murillo was painting on the
+walls of a convent the cook there asked him to
+paint a small picture for him on a napkin,
+which was all he had to offer for a canvas.
+Without hesitation Murillo painted a beautiful
+Madonna and Child which has since become
+famous as the "Virgin of the Napkin."</p>
+
+<p>While painting the ceiling in a church in
+Cadiz the scaffolding broke and he fell, injuring<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>
+himself so seriously that he died shortly after.</p>
+
+<p>Every Sunday afternoon, which is a free day
+at the gallery in Madrid, crowds of the poor,
+men, women, and children, may be seen gathered
+around the paintings by Murillo, which they
+regard with an admiration which is almost
+worship. To them Murillo is little less than
+a saint.</p>
+
+<p>
+<br /><b>Questions about the artist.</b> In what
+country did Murillo live? What nationality do
+his pictures represent? Tell about his boyhood.
+In what did he excel at school? What
+work did he do after school and on Saturdays?
+What else did Murillo do to earn money?
+Tell about the weekly market. What did
+Murillo paint for the market? Whom did he
+paint? What did his boy friend tell him that
+made him want to go to London? Why did
+he not go? What happened before he had
+saved enough money to go? To whom did he
+go then? How did he go? How old was he by
+that time? What did the artist Vel&aacute;squez do
+for him? What kind of people were Murillo's
+friends? What kind of pictures did he like to
+paint best? How did he prepare for this?
+What rules did he have in his studio? Tell
+about the cook at the convent and the napkin.
+What is this picture called? How was Murillo
+hurt? How do some of the Spanish people
+regard Murillo?</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+    <a name="i036.jpg" id="i036.jpg"></a>
+    <img src="images/i036.jpg" width="500" height="372" alt="Saved" title="Saved" />
+</div>
+
+<h2>SAVED</h2>
+
+<p><b>Questions to arouse interest.</b> What has
+happened? Where are the dog and the child?
+Why do you think it could not have been a
+shipwreck? Why are the sea gulls flying
+around? What can you see in the distance?
+What kind of a beach is it?</p>
+
+<p class="p2"><br />
+<b>Artist:</b> Sir Edwin Landseer (l&#259;nd&acute;&acute;s&#275;r).<br />
+<b>Birthplace:</b> London, England.<br />
+<b>Dates:</b> Born, 1802; died, 1873.
+</p>
+
+<p>
+<br /><b>The story of the picture.</b> This fine Newfoundland
+dog has just saved the life of a little
+child. We can see even in this print of the
+picture that they are both dripping wet, and<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+so we know the child must have fallen into
+the water and was about to drown when the
+dog swam out and brought her safely to the
+shore.</p>
+
+<p>We can only guess how the accident occurred.
+It could not have been a shipwreck, for then
+there would be others for the good old dog to
+save; besides, although the sky is partly cloudy,
+there is no evidence of a storm, and we see sailboats
+in the distance.</p>
+
+<p>The child evidently had not been wading
+out into the water and gone beyond her depth,
+because she has on her shoes and stockings and
+is dressed for a day in the warm sunshine,
+perhaps out on the beach. Probably she had
+been playing on the wharf or on the rocky shore
+and had reached out too far or had slipped on a
+rock.</p>
+
+<p>The dog, hearing her cry, must have immediately
+plunged into the water after her.
+Then holding the child firmly by her dress, he
+had battled against the waves until he reached
+a sandy beach from which he had dragged himself
+to this place.</p>
+
+<p>Although we cannot see the parents, nurse,
+or playmates, no doubt they are running toward
+the child and the dog. The dog seems to
+be watching their approach as he lies there
+exhausted, guarding the precious burden lying<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+across his paws. His great tongue hangs out
+and we can almost hear him pant as he gasps
+for breath after his fierce struggle against the
+waves.</p>
+
+<p>The child is still unconscious, her large shade
+hat held by a rubber band under her chin; her
+arm lies limp and lifeless, yet we are sure the
+great dog has been in time, and she will soon
+open her eyes. The sea gulls circle about the
+two as if they were glad of the rescue, and
+were trying to show the parents where to find
+the child.</p>
+
+<p>These powerful Newfoundland dogs are
+strong swimmers. At the first cry of alarm they
+usually plunge unbidden into the water, and
+rarely fail to accomplish a rescue. In France
+they are kept on the banks of the Seine as
+important members of the life-saving crew.
+Here they are carefully trained for this purpose
+by their masters, who throw a stuffed figure of
+a man into the water and teach the dogs to
+bring it back to shore. They are taught always
+to hold the head of the figure above the water.
+They seem to understand perfectly just what
+is wanted of them and why.</p>
+
+<p>A story is told, and it is claimed to be true,
+of a woman who, while washing clothes on the
+bank of a river, placed her baby in the clothes
+basket to keep it safe. In some way the child<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+tipped the basket, rolling out of it and down
+the bank into the deep water below. The
+woman screamed but she was helpless. Hearing
+her cry, a large Newfoundland dog that
+she had never seen before came swimming down
+the stream and saved the child, carrying it to
+the opposite shore.</p>
+
+<p>The woman ran down the bank of the river
+and secured the help of a ferryman and his
+grandson, a boy about ten years old. When
+the boat reached the opposite shore the big dog
+was licking the hands and face of the cooing
+child, but growled and barked viciously at the
+people who were approaching him. No one
+dared go near him. They tried every device,
+but no, he could not be coaxed away from the
+baby.</p>
+
+<p>At last the boy said he had an idea, and off
+he ran down the bank and jumped into the
+boat. Rowing out some distance into the river,
+he suddenly jumped from the boat into the
+water, uttering a loud cry of distress. He
+struggled a while, and then to all appearances
+sank out of sight. The grandfather knew the
+boy could swim and dive, and yet the suddenness
+with which he sank alarmed him greatly,
+and he called out, too.</p>
+
+<p>Immediately the great dog recognized the
+cry of alarm and, forgetting all else, left his<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+small charge and rushed to the help of the
+larger one, bringing the boy safely to the shore.
+Meanwhile, of course, the mother had taken up
+the baby. The dog, though showing surprise at
+the quick recovery of the boy he supposed to be
+nearly drowned, still determined to guard him
+in the same way he had guarded the baby.</p>
+
+<p>About this time, however, the dog's owner,
+a huntsman, appeared. The dog greeted him
+joyously, running from the child to the boy and
+then to his master as if to tell him what he had
+done and how he had guarded them until his
+master came.</p>
+
+<p>Many times it has been told of a Newfoundland
+that, when annoyed by some small dog
+that persisted in barking and snapping at him,
+he would finally seize it by the back of the
+neck, carry it to the river, and drop it into the
+water. After watching the struggles of the
+little dog, which seldom was able to swim, the
+Newfoundland would plunge in and rescue him.
+After that you may be sure the little dog took
+care not to annoy the big one.</p>
+
+<p>A humorous incident is told of two boatmen
+who, on a wager, started to swim across a
+stream. When one of the men was in midstream
+his Newfoundland dog plunged in after
+him and in spite of his struggles brought him
+back to the shore by his hair. The crowd<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+which had been watching was greatly amused,
+but the chagrined sailor was able to laugh in
+turn when the great animal, mistaking the
+emotion of the onlookers, brought the other
+man back also.</p>
+
+<p>A lady who owned a fine Newfoundland dog
+allowed him one day to carry her parasol.
+When they came to a baker's shop she bought
+a bun for him. The next day the dog met
+another lady coming down the street carrying
+a parasol. He immediately seized it and
+ran on ahead until he came to the baker's
+shop. The lady went in and asked the baker
+to help her secure her parasol. He suggested
+that she give the dog a bun as his mistress
+had done. Then the dog gave up the parasol
+willingly. He had to be punished very severely
+before he could be broken of this habit.</p>
+
+<p>Cases have been known of these dogs
+rescuing even so delicate a thing as a canary
+bird that had fallen into the water.</p>
+
+<p>Intelligent and faithful, perhaps there is no
+other dog, unless it be the St. Bernard, which
+rescues travelers in the snow-covered Alps, that
+has done so much for man or has saved so
+many lives.</p>
+
+<p>These dogs show remarkable kindness not
+only toward man but toward other animals.
+When another dog has been injured they<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+have been known to carry bones and other
+food to it.</p>
+
+<p>A Newfoundland was once taken to a dog
+pound with numerous other dogs. He soon
+gnawed his rope in two and was about to escape
+when, hearing the piteous cries of the other
+dogs, he went from one to another, setting
+them all free.</p>
+
+<p>Even abuse will not make these loyal
+animals turn against a master, although they
+have been known to run away from a cruel
+one. A story is told of a man who, while
+rowing a boat, pushed his Newfoundland dog
+into the stream. The dog followed the boat for
+some time but, growing tired at last, tried to
+get back into the boat. The man pushed him
+away several times, finally pushing so hard that
+he overturned the boat and was about to
+drown. The good dog, however, caught hold
+of his coat and held him above water until
+help came.</p>
+
+<p>In the island of Newfoundland these dogs
+are used much as we use horses, and are very
+valuable. With them duty is first. We often
+hear of one of these dogs carrying a basket of
+meat, a paper, or some other thing for his owner,
+and bearing any amount of annoyance from
+other dogs until he has delivered his charge
+safely; then he promptly goes back and punishes<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+the offenders in such a way that they dare
+not interfere with him again.</p>
+
+<p>These dogs are noble animals indeed. Their
+lives are devoted to man, though their devotion
+is not always appreciated as it should be.</p>
+
+<p>Lord Byron writes:</p>
+
+<div class="poem"><div class="stanza">
+<p>"In life the firmest friend,</p>
+<p>The first to welcome, foremost to defend;</p>
+<p>Whose honest heart is still his master's own;</p>
+<p>Who labors, fights, lives, breathes for him alone.</p>
+<p>The rich man's guardian, and the poor man's friend."</p>
+</div></div>
+
+<p>No wonder Sir Edwin Landseer loved to
+paint these noble animals. Their intelligent
+look and, better still, their brave and noble
+deeds render them almost human, lacking only
+the power of speech. It seems sometimes as
+if they really do talk, and the owners of such
+dogs declare that their actions prove that the
+dogs understand every word said to them.</p>
+
+<p>Sir Edwin Landseer has painted another picture
+of a Newfoundland dog, called "A Member
+of the Royal Humane Society," which looks
+so much like this one that it might be the
+same dog.</p>
+
+<p>
+<br /><b>Questions to help the pupil understand the
+picture.</b> What kind of a dog is this? What
+has he done? What makes you think he and
+the little girl have been in the water? that
+there has not been a shipwreck? Why do you<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>
+think the child had not been wading? How is
+she dressed? How do you suppose she happened
+to fall into the water? How could this dog save
+her? Where do you suppose the child's playmates
+and nurse are? Where is the dog lying?
+Why does he not take the child to them? What
+makes you think he is tired? How are Newfoundland
+dogs sometimes trained in France?
+Tell about the washwoman and her baby. How
+was the baby rescued? Why could the mother
+not take the child? What did the boy do?
+What happened then? When were they
+released? How do Newfoundland dogs sometimes
+punish small dogs that annoy them?
+Why do they not drown? Tell about the two
+boatmen and their wager. Tell about the dog
+and the lady's parasol. What do these stories
+tell us about Newfoundland dogs? What other
+kind of dogs save many lives? What did the
+Newfoundland do at the dog pound? How do
+they sometimes resent abuse? Tell about the
+boatman and his dog. Upon what island are
+they used to carry burdens? Tell a story showing
+that duty comes first with these dogs.
+What other picture of this dog has Sir Edwin
+Landseer painted? Why do you think he was
+especially fond of Newfoundland dogs?</p>
+
+<p>
+<br /><b>To the Teacher:</b> Short stories of the bravery
+and faithfulness of dogs may take the place of
+other talks on kindness to animals.</p>
+
+<p class="p1"><span class="smcap">Subjects for Compositions</span></p>
+
+<p class="p1">
+A Description of a Newfoundland Dog.<br />
+How a Dog Saved a Child from Drowning.<br />
+The Smartest Dog I Ever Saw.<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span><br />
+The Bravest Dog I Ever Heard of.<br />
+A Description of a St. Bernard Dog.<br />
+How to Treat a Dog.<br />
+Why We Should Be Kind to Dogs.
+</p>
+
+<p>
+<br /><b>The story of the artist.</b> When Edwin
+Landseer was a small boy he lived in the country.
+Nearly every day at breakfast the father would
+ask his boys, "What shall we draw to-day?"
+The three boys would take turns choosing and
+sometimes they would vote on it. Then out
+across the fields the father and his boys would
+tramp until they came to where the donkeys,
+sheep, goats, and cows were grazing. Each
+would choose the animal he wished to draw;
+then the four would sit down on the grass
+and make their sketches. Edwin's first choice
+for a subject was a cow, and his father helped
+him draw it.</p>
+
+<p>When he was five years old he drew a picture
+of a dog asleep on the floor that was very much
+better than any his older brothers could do,
+and so even then they began to expect much
+from him.</p>
+
+<p>At this time Edwin had three dogs of his
+own named Brutus, Vixen, and Boxer. They
+were always with him, and so intelligent they
+almost seemed to speak.</p>
+
+<p>In their back yard the children had several<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+pens for pet rabbits and they kept pigeons in
+the attic of their house. The story is told of
+how Mr. Landseer once decided to move,
+selected the house, and thought all was settled,
+when the landlord refused to rent the house
+to him because he kept so many animals and
+birds as pets.</p>
+
+<p>We read of how the father and his sons
+made many visits to the Zo&ouml;logical Gardens
+where they could watch and make sketches of
+lions, bears, and other wild animals. One day
+they saw a strange sight in one of the store
+windows in London&mdash;a large Newfoundland
+dog caring for a lion. The lion had been caught
+in Africa when it was very little and had been
+cared for by this dog. They had never been
+separated. Now, although the lion was much
+larger than the dog, they were still the best of
+friends.</p>
+
+<p>Sometimes the dog would punish the lion if
+it did not behave, and the great beast would
+whimper just as if it could not help itself. All
+three boys made many sketches of this strange
+pair and could hardly be persuaded to leave the
+window.</p>
+
+<p>Every one knew of Sir Edwin Landseer and
+wanted some one of his pictures of dogs because
+it looked so much like a dog they knew.</p>
+
+<p>In the story of the picture "Highland<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+Shepherd's Chief Mourner," are further particulars
+of the life of Sir Edwin Landseer.</p>
+
+<p>
+<br /><b>Questions about the artist.</b> What other
+picture have we studied by this artist? Tell
+about Sir Edwin Landseer's boyhood. How
+did the brothers decide where to go to sketch?
+How old was Edwin when he drew a very
+good picture of a dog? What was the dog
+doing? Tell about Edwin's dogs; the other
+pets. Why did the landlord refuse to rent
+Edwin's father a house? Tell about the Newfoundland
+dog and the lion. What else can
+you tell about the artist's life?</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+    <a name="i048.jpg" id="i048.jpg"></a>
+    <img src="images/i048.jpg" width="500" height="311" alt="Pilgrim Exiles" title="Pilgrim Exiles" />
+</div>
+
+<h2>PILGRIM EXILES</h2>
+
+<p><b>Questions to arouse interest.</b> Describe
+this picture. Where are these people? Who
+are they? Who were the Pilgrims? Where
+are they looking? Why do you think they may
+be homesick or sad? What time of day do you
+think it is? (Notice the shadows.) What time
+of year does it seem to be? How is the man
+dressed? the two women? What relation do
+you think these people are to each other?
+Upon what is the older woman sitting? What
+can you see in the distant background?</p>
+
+<p class="p2"><br />
+<b>Artist:</b> George Henry Boughton (b&#527;&acute;&acute;t&#559;n).<br />
+<b>Birthplace:</b> Norwich, England.<br />
+<b>Dates:</b> Born, 1833; died, 1905.
+</p>
+
+<p>
+<br /><b>The story of the picture.</b> We all know how,
+long ago, that sturdy band of one hundred and<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+two Puritans left England in the small and
+storm-beaten ship called the <i>Mayflower</i>. They
+were called Puritans because they were dissatisfied
+with the religion of the Church of
+England, and demanded purification of all the
+old observances and doctrines.</p>
+
+<p>When they began to establish in England
+separate churches of their own, they were
+driven from place to place. They longed for
+a land where they could worship God in their
+own way, so they came to America, determined
+to endure every danger and to trust in God to
+care for them. Their wanderings from place to
+place had given them a new name, "Pilgrim,"
+which means "wanderer." Then, ever since
+their landing on the rock at Plymouth, they
+have been called Pilgrim Fathers.</p>
+
+<p>There were many women and children in
+this band of wanderers. On the journey a
+little baby was born and was called Oceanus
+after the great rolling ocean.</p>
+
+<p>The Pilgrims endured many hardships in
+those first few years, and none more distressing
+than the frequent attacks by the Indians, who
+resented the strangers' presence in a land which
+belonged to them. The Pilgrims carried their
+guns with them even when they went to church,
+for they never knew just when they might be
+attacked.</p>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>They arrived in the fall of the year, too
+late to plant grain or to put by enough provisions
+for the winter, so they were quite dependent
+upon the provision boat from England. Often
+this boat was long delayed because of storms at
+sea, or because the people in England did not
+send it on time. This caused much suffering
+and distress.</p>
+
+<p>In our picture we see three of the first
+settlers of our New England coast, waiting for
+the provision ship. The waves come rolling
+in to this rough and barren shore, but as far
+as the eye can see there is yet no sign of the
+awaited boat. On that point of land in the
+distance are a few rude houses which must be
+the homes of the Pilgrims. This dreary place,
+so bleak and barren, makes us wonder how
+they could ever hope to survive the perils of
+a winter there.</p>
+
+<p>Our interest is centered upon the three
+figures at the right in the picture. One can
+almost read the thoughts expressed in the three
+faces. The figure of the man stands out strong
+and erect, and there is that in his fixed gaze
+which tells us his thoughts are far away. No
+doubt he is thinking of his old home across
+the ocean. He is homesick, yet go back he
+would not; there is no sign of discouragement.
+His wife, standing beside him, places her hand<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
+on his shoulder to comfort him, but she too
+looks as if she were thinking of that other home
+and the friends across the sea. Her gentle,
+refined face is saddened for the moment, yet
+in it we see expressed the fine courage which
+has carried her thus far along the way.</p>
+
+<p>The mother, seated on the great rock, has
+the same thoughtful, far-away gaze. Her hands,
+clasped in her lap, have more of resignation
+and patience in them. Probably her thoughts
+and affections are centered in the two dear ones
+beside her, and in their welfare, rather than
+in the friends across the sea.</p>
+
+<p>Notice the Puritan dress, cloaks, shoes, caps,
+and collars. These people are well dressed,
+and do not seem to be poor. Perhaps they are
+simply longing to hear from their friends, and
+hoping the ship will bring some news of them.
+It may be that it has been due for several days,
+and each day they have walked out to this
+same rocky point, hoping to see it on the
+distant horizon.</p>
+
+<p>They are dressed in warm clothes. From
+that fact and from the half-bare branches of
+the bush that we see growing beside the rock
+in the foreground of the picture we should
+judge it to be the fall of the year.</p>
+
+<p>Standing in the bright sunlight, they look
+anxiously out toward the rolling ocean. The<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+length of the shadows makes us think it must
+be late in the afternoon.</p>
+
+<p>When at last they catch a glimpse of the
+dark masts of the approaching ship they will
+send a glad shout along the shore, and soon the
+beach will be crowded with an anxious throng
+of people hoping for some message or news
+from home.</p>
+
+<p>At what seems to be a long distance from
+the shore the great ship will cast anchor and
+send out its rowboats filled with passengers,
+mail, and provisions. How eagerly the homesick
+people will crowd around the new arrivals and
+welcome them! Our three friends will not
+be standing quiet and alone, but each will be
+hurrying about to help the others. The spirit
+of helpfulness was very strong in those days of
+hardship and toil.</p>
+
+<p>Notice the arrangement of lights and
+shadows in this picture. Our eye is first
+attracted to the faces of these three Pilgrims,
+then carried almost in a circle to the ocean,
+the rocks at the left side of the picture, to the
+rock the mother is seated upon, and back to
+the three faces. Start where we please the
+play of light leads us back to the three faces
+brought out by the white collars. Suppose
+we start with the mother's hands, our eyes
+follow her apron, the man's shoes, the light on<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+the grass and ocean, then to the man's face
+and on around. Without these echoes of light,
+the picture would be unbalanced and much less
+interesting.</p>
+
+<p>Half close your eyes and study the picture.
+There is not a single straight line in the
+composition. Notice the placing of the horizon
+line, of the distant shore. The artist started
+his landscape much as we do, with a rectangular
+space divided into two parts by the horizon line.
+He chose for his picture a small division for
+sky; the larger space to be divided into less
+than half as much water as land. Instead of
+standing so the shore line would appear exactly
+horizontal, he chose a position where the
+near shore line and that of the distant point
+of land are at an angle, thus relieving the
+monotony.</p>
+
+<p>The tall, determined figure of the man, and
+his gentle wife, standing silhouetted against
+the sky, hold the ground space and the sky
+space together, while the mother seated on the
+rock serves as another connecting link. All
+the figures serve to unite the different parts
+of the picture into an effect of unity most
+gratifying to the eye.</p>
+
+<p>
+<br /><b>Questions to help the pupil understand the
+picture.</b> Tell about the Puritans. Why were
+they so called? Why did they leave England?<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+In what boat did they sail? To what country
+did they come? Why were they then called
+Pilgrims? Why did they have such a hard time
+in this country? Upon what were they dependent?
+Why was the boat often delayed? What
+are the three people in our picture waiting for?
+What do the expressions in their faces tell us?
+How can we tell what time of year it is? the
+time of day? What will they do when they
+see the boat? Who will join them? Where
+will they come from? What can you see of
+their homes? Why are they so anxious to have
+the boat come? Why cannot the ship land
+at this beach? How will it land its passengers
+and freight? What do you suppose these
+three people will be doing then? What can you
+say of the composition of this picture? What
+did the artist consider first? What holds the
+ground and the sky spaces together? What
+can you say of the light and shade in this picture?
+Why is the picture called "Pilgrim Exiles"?</p>
+
+<p>
+<br /><b>The story of the artist.</b> George Henry
+Boughton was born near Norwich, England, but
+when he was only a year old his parents
+came to America. He grew up and was educated
+at Albany, New York, where he first
+began to paint.</p>
+
+<p>As soon as he started to school he showed
+great skill at drawing, by, as he says, "drawing
+every mortal thing that came under my notice."</p>
+
+<p>When he was nineteen years old he sold<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+enough of his sketches to pay his way back to
+London, England. He spent several months in
+England, sketching wherever he went. When
+he came back to New York he painted a
+picture called "Winter Twilight," which marked
+the beginning of his success. Later he spent
+a year in Paris, finally making his permanent
+home in London.</p>
+
+<p>His studio in New York City was given
+up, but, although he lived in England, his art
+remained distinctly American.</p>
+
+<p>He was especially interested in the history
+and literature of our country and has been
+called "the interpreter and illuminator of New
+England life in the seventeenth century."</p>
+
+<p>Besides painting, he wrote for magazines,
+illustrating his own stories with great success.</p>
+
+<p>
+<br /><b>Questions about the artist.</b> Tell about the
+artist. Where was he born? Where did he
+grow up? How old was he when he came to
+America? In what did he excel at school?
+When did he go back to England? How did
+he earn the money? What did he do when
+he came back? Of what country did he paint
+the most pictures? What part of our history
+interested him especially? In what else was
+he successful besides painting?</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+    <a name="i056.jpg" id="i056.jpg"></a>
+    <img src="images/i056.jpg" width="500" height="360" alt="Dance of the Nymphs" title="Dance of the Nymphs" />
+</div>
+
+<h2>DANCE OF THE NYMPHS</h2>
+
+<p><b>Questions to arouse interest.</b> Of what is
+this a picture? What time of the year do
+you think it is? what time of the day? What
+are the people doing? Half close your eyes
+and look at the picture. What do you see
+first? what next? Where is the sun? How
+do you know? (Look at the trunks of the
+trees and the shadows.) What do you see in
+the foreground to the left? to the right? Do
+you like this scene? why?</p>
+
+<p class="p2"><br />
+<b>Original Picture:</b> Luxembourg Gallery, Paris, France.<br />
+<b>Artist:</b> Jean Baptiste Camille <a name="Corot" id="Corot"></a>Corot <a href="#up">(k[+o]&acute;r[+o]&acute;&acute;)</a>.<br />
+<b>Birthplace:</b> Paris, France.<br />
+<b>Dates:</b> Born, 1796; died, 1875.
+</p>
+
+<p>
+<br /><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span><b>The story of the picture.</b> The artist who
+painted this picture, Jean Baptiste Corot, tells
+us that when he was a small boy he used to
+lean out of his window at night, long after his
+mother and father thought him safe in bed, to
+watch the clouds, the sky, and the trees. He
+continued this study as a young man, and soon
+made friends with three other young men, all
+artists (Rousseau, Daubigny, and Dupr&eacute;) who
+were also studying nature. All had studios
+and painted in the city; but they were always
+longing for a glimpse of the country. One day
+the four started out together for a day's outing,
+each taking his painter's outfit. They went to
+the end of the omnibus line from Paris and
+then started on foot for a long tramp across
+the country. It was then they thought of
+the great Forest of Fontainebleau, where nature
+was wild and undisturbed in its wondrous
+beauty.</p>
+
+<p>"We will go to that beautiful forest and
+spend our vacation there," they said.</p>
+
+<p>And so it came about several weeks later.
+In this forest, at all times of the day or night,
+they could be found wandering about, searching
+out new vistas and discovering new wonders
+and beauties in nature.</p>
+
+<p>They hid their paints and brushes in the
+rocks to keep them from the dew, and they<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+themselves slept under the spreading branches
+of the great oak trees. These city-bred young
+men, brought up in the rush and hurry of the
+great city of Paris, cared for no other shelter
+than the wide expanse of sky and the protecting
+branches of the trees.</p>
+
+<p>So when we know that later Corot came to
+live near this Forest of Fontainebleau, it is
+easy to guess where he painted this picture
+called the "Dance of the Nymphs." Sometimes
+this picture is called "Morning," for
+Corot painted another picture much like this
+one, and called it, "The Dance of the Nymphs,
+Evening."</p>
+
+<p>Corot is often spoken of as the "happy
+one," and many stories are told of him and how
+surprising it was to hear him singing lustily as
+he painted. Seated on his camp stool before
+his easel, wearing his blue calico blouse and
+painter's hat, he was indeed happy. He is
+described as adding the finishing touches to
+one of his landscapes in this way:</p>
+
+<p>"Let us put that there&mdash;tra, la, tra, la,&mdash;a
+little boy,&mdash;ding dong, ding dong! Oh, a
+little boy, he wants a cap&mdash;la, la, la, la, tra la!"</p>
+
+<p>People always smiled when they saw Corot
+start out, carrying his easel, paints, and brushes,
+and singing or whistling like a care-free boy.
+But it happened more often that they saw him<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>
+going toward home in the evening, for he had a
+way of starting out before sunrise when nobody
+was about and seating himself in some lovely
+spot in the woods, waiting breathlessly to see
+what would happen next.</p>
+
+<p>That is what he did the morning he sketched
+this picture. The grass was heavy with dew,
+the birds were still asleep, all was quiet and
+covered with the veil of night. As the mist
+slowly lifted, the great trees gradually assumed
+definite shapes, the birds awoke, the sun shone
+forth, and all was bright and fresh as the early
+mornings in spring always are. Look at this
+picture, then close your eyes and open them
+slowly, and you yourself can see just such an
+awakening to life.</p>
+
+<p>Is it any wonder then that, as Corot sat,
+pencil in hand, this lovely spring morning and
+watched the trees gradually take shape against
+the slowly lightening sky, and listened to
+the birds singing their morning greeting, he
+should fancy he saw the fairy wood nymphs
+come out from their secret hiding places and
+dance joyously about in the bright morning
+sunlight? It seems most natural indeed that
+they should be there, and dancing, too. The
+mere fact of being alive on such a morning as
+this fills us too with delight.</p>
+
+<p>When Corot began to paint his large picture<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span>
+from the small sketch he made in the woods
+that morning, he must have sung his merriest
+tunes. The picture seems full of music, from
+the quivering leaves, the waving grass, and the
+shifting clouds to the dancing figures. Although
+there is not a bird in sight, we know that they
+are there, and it takes very little imagination
+to hear them singing.</p>
+
+<p>At the right-hand side of the picture one of
+the wood nymphs has seized the hand of a
+timid companion, urging her to come and join
+in the frolic. So much are we in sympathy
+with those merry ones that we too find ourselves
+unconsciously urging her to join in the dance.</p>
+
+<p>When he painted trees, Corot did not pay
+very great attention to details, and so we
+cannot always tell what kind of trees they were.
+He cared most to make us feel the beauty
+of the sunlight on their tender leaves, their
+growth, and the protection they offer to birds
+and men.</p>
+
+<p>A young art student once approached Corot
+and asked him why he left so many things
+out of his pictures and put others in. Then
+pointing to a certain tree in Corot's painting he
+said, "This tree is not in the landscape."
+Corot smiled, then whispered to him, "Don't
+you tell, but I put it there to please the birds."</p>
+
+<p>It would be difficult indeed to find a single<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+straight line in our picture, so full is it of
+rhythmic curves, from the treetops to the
+graceful figures in the foreground. The skillful
+blending of colors, of light and shade, gives it
+that mysterious, misty quality which is one of
+its chief charms. Corot's favorite colors were
+pale green, gray browns, and silvery grays.
+One little touch of bright color in his pictures
+makes them alive. The costumes of the
+nymphs were chosen for the very few bright
+touches in this painting, and the tall, slender
+tree near the left-hand side of the picture for
+the pale green feathery foliage of early spring.</p>
+
+<p>Our eye moves pleasantly through all the
+leafy maze of this enchanted forest. We are
+at the edge of the woods. Looking out through
+the trees we see the wide, open fields beyond,
+with their high canopy of sky, and we feel a
+new contentment steal over us as our eye again
+seeks this sheltered nook in the great Forest
+of Fontainebleau.</p>
+
+<p>
+<br /><b>Questions to help the pupil understand the
+picture.</b> How had the artist, Corot, studied
+the clouds, sky, and trees? With whom did he
+become friends? What were these three young
+artists doing? Where did they go for an
+outing? What did they take with them? What
+forest did they decide would be a good place to
+spend a vacation? How did they live in this
+forest? What shelter did they have? What<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>
+nickname did they give Corot? How did he
+like to paint? How did he dress? What did
+he do while painting? Where was this picture
+painted? What is it sometimes called? What
+time of day did he usually start out to paint?
+What are the nymphs doing? What did Corot
+wish to tell us about the trees? What did a
+young art student once ask Corot? What was
+the answer? Of what kind of lines is this
+picture made up? What colors were used?
+Where are the bright colors? In what part of
+the forest is this picture? What can you see
+through the open space?</p>
+
+<p>
+<br /><b>The story of the artist.</b> From the very
+first all things seemed to favor Corot. Of a
+naturally happy disposition, born into a family
+of means, and all his life free from financial
+worries, everything seemed to combine to make
+his life one of care-free ease and pleasure.</p>
+
+<p>His father and mother kept a millinery
+store; this must have been a good business, for
+they soon accumulated a comfortable fortune.</p>
+
+<p>At ten years of age Corot was sent away to
+school at Rouen in the hope of making a business
+man of him. He lived with a friend of his
+father who was a serious man but also a great
+lover of nature. Corot took many a long walk
+with him over narrow, unfrequented paths.
+They took these walks usually at the close of
+the day, and so Corot's love of the twilight
+hour grew strong.</p>
+
+<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>Upon his return to Paris seven years later,
+his father placed him in a drygoods store, where
+he remained for nearly nine years. Whenever
+there were no customers the boy would hide
+under the counter and draw. His employer was
+a good-natured man and he sympathized with
+Corot in his desire to be a painter. So he told
+the father it was of no use to try to make a business
+man of him as his tastes were all for art.</p>
+
+<p>About this time Corot went to his father
+and asked his permission to study painting.
+The father was not at all pleased with the idea,
+but decided to let him try. He told his son he
+had set aside a certain sum of money to start
+him in business for himself and he could choose
+that or a small income which would be allowed
+him for the study of art. If he chose the latter,
+however, he must not expect any other help
+from his father, as he did not approve of this
+new venture. But Corot embraced his father
+most affectionately and declared he had made
+him the happiest person in the world. He
+then proceeded at once to the nearest store and
+bought a complete painter's outfit. Choosing
+a spot by the river near his father's house, he
+began to paint. He tells us how the girls
+who worked in the millinery store slipped away
+and came to see what he was doing. He never
+parted with this first painting, but kept it as a<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
+reminder of his great happiness when he was
+at last free to do "what he most desired in
+the world."</p>
+
+<p>He studied under several artists, but received
+little encouragement until he went to Rome to
+study.</p>
+
+<p>Most of the paintings of that time were
+classical, including Greek temples, shepherds,
+nymphs, or dryads, and such trees as cedars and
+palms. That is why Millet's simple peasants and
+Corot's misty landscapes were not appreciated.</p>
+
+<p>At Rome, Corot became a great favorite
+among the students because of his happy
+nature and the rollicking, jolly songs he could
+sing. But as for his pictures,&mdash;they were
+considered very amusing.</p>
+
+<p>However, one day as he sat sketching the
+Coliseum a friend who was regarded as an
+authority on landscape painting praised his
+work. Corot looked around expecting to be
+laughed at, but no,&mdash;the man was in earnest.
+That evening, before all the other students, he
+remarked that Corot might some day become
+the master of them all. This gave him standing
+among the artists and was greatly appreciated
+by Corot, who always felt that this praise was
+the beginning of his success. It was not long
+after this that his pictures were exhibited and
+many honors came to him.</p>
+
+<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>Does it seem strange that Corot and Millet,
+looking upon the same woods and people,
+living and painting so near each other, should
+choose such different subjects? Corot saw the
+same poor, toilworn peasants, and he helped
+them most generously when they asked him,
+but as for painting them&mdash;he did not think
+of it. Millet saw the same beautiful woods,
+fields, and sky, and loved them all, but to him
+the peasant came first.</p>
+
+<p>He said, "Corot's pictures are beautiful,
+but they do not reveal anything new."</p>
+
+<p>Corot said, "Millet's painting is for a new
+world; I do not feel at home there. I am too
+much attracted to the old. I see therein great
+knowledge, air, and depth, but it frightens me;
+I love better my little music."</p>
+
+<p>In speaking of another artist he said, "He
+is an eagle; I am only a skylark. I send forth
+little songs in my gray clouds."</p>
+
+<p>As success came to Corot he was most
+generous in helping others. Many young
+artists came to study with him, but he would
+accept no pay for his instruction and gladly
+did all he could to encourage and help them.</p>
+
+<p>He did not have the heart to turn a beggar
+from his door, and often had as many as twenty-five
+come to him in a day. The story is told
+of a beggar who demanded a larger sum of<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+money than Corot usually gave, and was
+refused. After he left, the artist could not
+paint; his day was spoiled. So he hurriedly
+ran out after the beggar, gave him the money,
+and all was well again.</p>
+
+<p>During the siege of Paris he gave both time
+and money to help the wounded. "Papa Corot,"
+as the people called him, was greatly beloved.</p>
+
+<p>The demand for his paintings increased.
+He said that when youth left him, honor and
+fame came to make him still the happiest man
+in the world.</p>
+
+<p>
+<br /><b>Questions about the artist.</b> In what ways
+was Corot favored? What did his father and
+mother do? What did they hope to make of
+Corot? Where was he sent? With whom did
+he live? Where did they walk? How did this
+influence Corot? Upon his return home, what
+did he do? What did his employer finally do?
+What did Corot ask his father? What offer
+did his father make? What did Corot decide?
+What did he do at once? Who came to watch
+him? What became of this first painting? Where
+did Corot go to study? What subjects did most
+of the artists of Corot's time choose to paint?
+What happened that raised Corot in their
+estimation? Compare the subjects chosen by
+Corot and Millet. Tell about Corot and the
+beggar. Why did Corot claim to be the happiest
+man in the world? Does this picture make you
+feel happy or sad? why?</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+<div class="figcenter" style="width: 500px;">
+    <a name="i062.jpg" id="i062.jpg"></a>
+    <img src="images/i062.jpg" width="500" height="233" alt="Oxen Plowing" title="Oxen Plowing" />
+    <p class="caption">OXEN PLOWING<br /><br /></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+<h2><a name="OXEN_PLOWING" id="OXEN_PLOWING"></a>OXEN PLOWING</h2>
+
+<p><b>Questions to arouse interest.</b> How many
+of you have ever watched oxen plowing? How
+are these oxen geared together? How many
+oxen usually draw one plow? Why do you
+think they use so many in the field? With
+what part of the body do the oxen pull the
+plow? Why is the earth plowed? How can
+you tell that the soil these men are plowing
+is moist and fertile? In what direction is
+the sun? (Look at the shadows.) How is the
+driver urging the oxen on? Where is the
+farm house? What do you consider most
+interesting about the oxen?</p>
+
+<p class="p2"><br />
+<b>Original Picture:</b> Luxembourg Gallery, Paris, France.<br />
+<b>Artist:</b> Rosa <a name="Bonheur" id="Bonheur"></a>Bonheur <a href="#up">(b[+o]&acute;n&#251;r&acute;&acute;)</a>.<br />
+<b>Birthplace:</b> Bordeaux, France.<br />
+<b>Dates:</b> Born, 1822; died, 1899.
+</p>
+
+<p>
+<br /><b>The story of the picture.</b> It must have been
+very early in the morning indeed when these
+men and their oxen started to plow this great
+field, for although the sun is still low in the sky,
+each group of oxen has already plowed two
+furrows. By those long shadows and the light
+in the sky we know the sun cannot be very
+high in the heavens, and there is that about<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+the ground, the occupation, and the distant
+trees that suggests the season, spring.</p>
+
+<p>We are told that Rosa Bonheur went out
+into the country to paint this picture, and that
+she had a small shed made into a studio where
+she could keep her canvas and paints. Every
+evening when she came home her father would
+ask anxiously about the picture, for he was not
+well enough to go to see it and he knew Rosa
+was working very hard on it.</p>
+
+<p>Even her genius could not make it possible
+for her to paint such a picture as this without
+much preparation. In fact, she had been preparing
+for it for years,&mdash;as far back as when
+she made her first drawing of oxen, and then
+later when she went to the packing houses and
+made separate studies of each part of an ox.
+She knew just how those great muscles did
+their work, and just how the curving ribs and
+the joints did their part. In this picture she
+shows us just enough of their movements to
+make us feel the great strength and power of
+those patient animals.</p>
+
+<p>Our wonder grows anew that even one such
+powerful ox can be controlled by man's will.
+It is plain to see that the ox nearest us, of the
+middle pair, does resent the prodding with
+the stick which the driver uses so vigorously.
+His great eye rolls and he looks indignant,<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+but it is only for the moment&mdash;he accepts all
+with resignation and indifference, knowing that
+it will be the turn of one of the other oxen next.
+These oxen are geared together by a central
+pole which is fastened to their horns. This
+causes them to take the entire weight of the
+plow with their horns instead of with their
+shoulders as our horses do. It would seem to
+be a most uncomfortable arrangement, yet they
+are used to it.</p>
+
+<p>The leaders must be chosen very carefully
+if the farmer would have a straight furrow.
+It seems as if these first two oxen in the picture
+feel the responsibility, and are glad and willing
+to do their part. There is a look of intelligence
+about them that makes us certain that they
+know and understand the worth of the thing
+they are doing.</p>
+
+<p>Oxen in our country are driven by the words
+"gee," meaning turn to the right, and "haw,"
+turn to the left. However, the drivers in this
+picture would not use these words, for they are
+Frenchmen, and would speak to them in their
+own language.</p>
+
+<p>It is easy to tell that the ground is soft by
+the way the feet of the oxen sink down into it,
+and by the man's wooden shoe which has half
+slipped off his foot as he starts to lift it from the
+ground. On this quiet, peaceful morning we<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+can almost hear the heavy tread of the oxen as
+they pass us, and the harsh call of the drivers
+as they urge them on. In imagination we can
+smell the freshly plowed earth. To be sure, it
+is a hard pull up the hill, but how cheerfully,
+even proudly, the oxen pull their load! Look
+at their backs; you will see a slanting line which
+emphasizes the fact that they are climbing a
+hill. This line is broken somewhat by the slant
+of the woods in the distance. Cover up these
+distant woods with the hand or a piece of paper
+and we immediately have the uncomfortable
+feeling that the oxen are going to slip back out
+of the picture.</p>
+
+<p>In this picture the artist has portrayed the
+intelligent use man makes of the power and
+strength of animals and of the soil. We see
+so few oxen now that we wonder why they were
+so much used in those days; but of course we
+know it was because the farmers did not have
+the machinery for tilling the ground, sowing,
+and planting grain that we have. Horses were
+used also, but oxen were cheaper, so all could
+afford them. Then, too, oxen may have been
+chosen because of their superior strength,
+steadiness, and patience.</p>
+
+<p>The artist has centered our attention on
+the nearest of the two first pairs of oxen.
+The other oxen and driver are of secondary<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>
+importance and the landscape itself last of all.
+The artist has accomplished this by color, light,
+and shade, and by a more careful treatment of
+the nearest oxen, showing plainly their intelligent
+eyes, wrinkled hides, and even the play
+of muscles as they step forward, pulling their
+heavy load.</p>
+
+<p>Rosa Bonheur finished this painting only a
+short time before her father died. As soon as
+he saw it he knew that his daughter had painted
+a masterpiece, and almost his last words were
+in praise of her work.</p>
+
+<p>
+<br /><b>Questions to help the pupil understand the
+picture.</b> Why do you think these men and oxen
+must have started to work very early? Why
+do you think it is still early? What time of
+year do you think it is? why? Where did
+Rosa Bonheur paint this picture? Where did
+she keep her canvas and paints? What preparation
+did she make before painting the picture?
+What is the driver doing? In what humor does
+the nearest ox seem to be? How are the oxen
+geared together? Why must they have good
+leaders? How are oxen driven? Why do you
+think these drivers would not use the same
+words that we should? How can you tell that
+the ground is soft? Do you think the oxen are
+pulling hard? Why did they use oxen so much
+in those days? What are used now? Upon
+which of the oxen has the artist centered our
+attention? What is next in importance? last of<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+all? How has the artist done this? What did
+Rosa Bonheur's father think of this picture?</p>
+
+<p>
+<br /><b>To the Teacher:</b></p>
+
+<p class="p1"><span class="smcap">Subjects for Compositions</span></p>
+
+<p class="p1">
+The Picture and What It Represents.<br />
+How This Picture Was Painted.<br />
+What I Would Consider Most Important in a Picture.<br />
+Why I Like This Picture.<br />
+Rosa Bonheur as a Little Girl.<br />
+Rosa Bonheur as an Artist.
+</p>
+
+<p>
+<br /><b>The story of the artist.</b> Marie Rosalie
+Bonheur spent the first ten years of her life in
+a little country town. It was almost as good
+as living in the country, for Rosa and her two
+brothers spent most of their time in the woods
+or fields. At home they had lambs, rabbits,
+and squirrels for pets.</p>
+
+<p>The father was an artist, and since he could
+not sell many pictures in such a little village
+he decided to move to the great city of Paris.
+The children liked the gay city with its many
+surprises, but they missed the woods and their
+pets. The first place in which they lived was
+up several flights of stairs and across the street
+from a butcher's shop. This shop had a queer
+sign. It was a wild boar roughly carved out
+of wood, but it looked so much like the little
+pet pig Rosa had in the country that she used<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+to stop and pet it every time she passed that way.</p>
+
+<p>A man who lived in the same house with
+the Bonheur family kept a small school for
+boys. Rosa's two brothers went to this school,
+and after a while the teacher said Rosa might
+come too. She was the only girl in the school,
+but she did not mind that at all. The boys
+were glad to have her with them, for she knew
+more games than they did and played just like
+one of them.</p>
+
+<p>Her father did not do so well with his
+painting as he had hoped, so they moved into
+a cheaper house. It was here that Rosa's
+mother died. The father was obliged to send
+his children where they could be well cared
+for, so the baby daughter, Juliette, was sent
+to her grandmother, the two boys to school,
+and Rosa went to live with an aunt. This
+aunt sent her to school. To reach the schoolhouse
+Rosa had to walk some distance through
+the woods. Sometimes she would stop and
+smooth the dust in the road with her hand and
+then draw pictures in it with a stick. Even
+then she liked to draw pictures of animals
+best of all. Often she had such a good time
+drawing that she forgot to go to school, or was
+very late, so she did not get along very well
+and was delighted when her father came to
+take her home. He had married again and<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>
+wanted all his children with him. How happy
+they were!</p>
+
+<p>A great many stories have been told about
+the pets they kept in their house. Rosa's
+brother Isidore carried a little lamb on his
+shoulders down six flights of stairs every
+morning and evening, that it might nibble the
+green grass and be out in the fresh air. It
+became a great pet, and all the children drew its
+picture in ever so many different positions.
+Besides, they had a parrot, a monkey, two
+dogs, and some rabbits and birds for pets.
+Their father let them keep these pets in a
+room fitted especially for them.</p>
+
+<p>The father taught in a private school at
+that time, and was away from home all day,
+but when he came home at night Rosa would
+show him what she had been doing while he
+was gone. Once she had been painting cherries,
+and her father came home while she was at
+work on them. He praised her very much and
+helped her finish painting them.</p>
+
+<p>In the evening Rosa, her two brothers, and
+her father used to put their easels in different
+parts of the big room and draw and paint until
+it was quite late. They would all much rather
+do this than anything else in the world, and it
+was the only time their father could help them.</p>
+
+<p>The father belonged to a religious order<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+called the "Saint Simonians." The members
+wore queer gowns and bonnets with long tassels.
+Such a bonnet with a big tassel Rosa wore on
+the street, and sometimes boys shouted and
+laughed at her, but she paid no attention to
+that.</p>
+
+<p>The father secured a teaching position in
+another private school and earned enough money
+to send his three children there and give them
+all they needed at home.</p>
+
+<p>Rosa did not behave very well in school.
+Often she was punished, sometimes by being
+given nothing to eat but bread and water.
+Every one liked her, however, for she was
+good-hearted, kind, and full of fun. But finally
+she did something that could not be
+overlooked. This is what she did. The lady
+who kept the school was very fond of flowers,
+and above all she loved the stately hollyhocks.
+She had a beautiful bed of them in the front
+yard of the school that was very much admired
+by all who passed. One day Rosa had been
+reading in the history about war, and she
+thought it would be fine fun to arrange a battle
+between the school girls. They used wooden
+sticks for swords. Very soon the girls on
+Rosa's side drove their enemies toward the
+hollyhock bed, where they turned and fled.
+Seeing the hollyhocks standing guard like<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+soldiers, Rosa thought it would be fun to
+charge upon them, which she did, cutting off
+all their heads with her stick. Is it any wonder
+she was sent home in disgrace?</p>
+
+<p>Her father then sent her to a dressmaker to
+see if she could learn that trade, but Rosa did
+not like dressmaking and finally went home
+without having learned very much. Then some
+friends gave her some photographs to color.
+This she liked to do, so her father decided that
+the only thing to do was to let her paint.</p>
+
+<p>Rosa was willing to walk miles in all kinds
+of weather, to sit hours in all kinds of uncomfortable
+positions, and to go without food in
+order to draw a good picture of some animal.
+Now she began her study of animals in earnest.
+She went to all the country horse fairs, to
+the slaughter houses, and wherever there was
+an opportunity to study them.</p>
+
+<p>Rosa never had very pretty clothes. She
+tells us herself that one day a parrot called
+after her "Ha, ha! That hat!" Now that she
+was grown up she found she could not get about
+very easily in her long skirts. There were so
+many rough men in the packing houses and in
+other places where she must go to study that
+she obtained a permit to wear men's clothing.
+Her hair was short, anyway, and with her blue
+working blouse and dark trousers she looked<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+just like a man. Then no one noticed her as
+she went about, for they thought her one of the
+workmen. People who knew her did not mind
+her dress, and were ready to help her as much
+as they could in her work. The first picture she
+exhibited was of some little rabbits nibbling
+carrots.</p>
+
+<p>Her pictures became famous the world over.
+From all over the country she received gifts
+of fine horses and other animals to paint.
+Buffalo Bill once sent her two fine horses from
+Texas. She bought a farm, and had a very
+large barn built where she could keep her
+animals.</p>
+
+<p>How proud her father was of her!</p>
+
+<p>One day she was working hard in her studio
+when a servant came to tell her that the Empress
+Eug&eacute;nie had come to see her. It was a great
+event when this royal lady came to the artist's
+studio; and there was Rosa dressed in her old
+blue blouse covered with paint! She did not
+have time even to slip it off before the empress
+came in, but they had a most delightful visit.
+As the Empress Eug&eacute;nie bent over and kissed
+Rosa Bonheur, she pinned the Cross of the
+Legion of Honor on the artist's blue blouse.
+Rosa did not notice it until after the Empress
+was gone. How pleased she must have been, for
+she was the first woman to receive that honor.</p>
+
+<p>
+<br /><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span><b>Questions about the artist.</b> What is the
+artist's full name? Where did she live the
+first ten years of her life? What did the father
+do for a living? Why did they move to the
+city? How did the children like this change?
+In what kind of a house did they live? Tell
+about Rosa and the wild boar; the school for
+boys. Why did they move? What became of
+the children after their mother died? Why
+was Rosa often late to school? Who came
+to take her home? Tell about the new home
+and the pets; Isidore and the lamb. How did
+they all spend their evenings? Tell about the
+"Saint Simon" bonnet. How did Rosa behave
+at the private school? Tell about Rosa and
+the hollyhocks. How was she punished?
+What trade did her father wish her to learn?
+What was she willing to do in order to paint
+pictures? Where did she go to study animals?
+How did she dress? Why did she dress like a
+man? What presents did she receive? Where
+did she keep them? Tell about the visit of the
+Empress Eug&eacute;nie. How did she honor Rosa
+Bonheur?</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
+<h2>THE SUGGESTIONS TO TEACHERS</h2>
+
+<p><b>Studying the picture.</b> Several days before the lesson is to
+be taken up, the picture to be studied should be placed where
+every pupil can see it.</p>
+
+<p>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.</p>
+
+<p><b>Language work.</b> 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.</p>
+
+<p>If a lesson does not occupy the entire drawing period, the
+children should be asked to retell the story of the picture.</p>
+
+<p><b>Dramatization and drawing.</b> 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.</p>
+
+<p><b>The review lesson.</b> 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.</p>
+
+<p>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.</p>
+
+<p>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<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span>
+their favorite picture. In fact, the lessons can be made to
+correlate with history, geography, English, spelling, reading, or
+nature study.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<hr style="width: 65%;" />
+
+<div class="tn">
+<h4>Transcriber's Note:</h4>
+<ul class="corrections">
+<li>Some words have accents of different weights. The heavier accent is marked double (´´). (Example: bo´nûr´´)</li>
+<li><a href="#Born">Pg 2</a> Replaced colon with a semi-colon after "1814" located in "Born, 1814:".</li>
+<li><a href="#Corot">Pg 51</a> "(k[+o]&acute;r[+o]&acute;&acute;)" and <a href="#Bonheur">Pg 63</a> "(b[+o]&acute;n&#251;r&acute;&acute;)"  contains the + symbol
+  representing an "<a name="up" id="up"></a>up tack" not represented in any charts.</li>
+</ul>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Stories Pictures Tell, by Flora L. Carpenter
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+</body>
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+The Project Gutenberg EBook of Stories Pictures Tell, by Flora L. Carpenter
+
+This eBook is for the use of anyone anywhere 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
+
+
+Title: Stories Pictures Tell
+       Book Four
+
+Author: Flora L. Carpenter
+
+Release Date: February 26, 2010 [EBook #31411]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL ***
+
+
+
+
+Produced by D Alexander, Larry B. Harrison and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  STORIES
+  PICTURES TELL
+
+  BOOK FOUR
+
+  _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 & COMPANY
+  All rights reserved
+  Edition of 1928
+
+  [Illustration]
+
+  Made in U. S. A.
+
+
+
+
+THE CONTENTS
+
+
+  SEPTEMBER AND OCTOBER                         PAGE
+
+    "The Sower"                  _Millet_          1
+
+    "Highland Shepherd's Chief
+      Mourner"                   _Landseer_       13
+
+  NOVEMBER, DECEMBER, AND JANUARY
+
+    "Children of the Shell"      _Murillo_        23
+
+    "Saved"                      _Landseer_       31
+
+  FEBRUARY AND MARCH
+
+    "Pilgrim Exiles"             _Boughton_       43
+
+    "Dance of the Nymphs"        _Corot_          51
+
+  APRIL, MAY, AND JUNE
+
+    "Oxen Plowing"          _Rosa Bonheur_        63
+
+    Review of Pictures and Artists Studied
+
+  _The Suggestions to Teachers_                   75
+
+
+
+
+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
+
+[Illustration: By permission of Braun & Co., Paris and New York
+
+THE SOWER]
+
+
+
+
+STORIES PICTURES TELL
+
+
+
+
+THE SOWER
+
+
+=Questions to arouse interest.= What is this man doing? Why do you think
+so? What does he carry over his shoulder? in his bag? How does he sow
+the grain? What will be the result of his work? How do you think the
+grain will be covered? What can you see in the background? Do you think
+the oxen are plowing the field or covering the grain? why? What time of
+the day is it? What can you see in this picture to indicate that the man
+has been working a long time? How is he dressed? How does he wear his
+hat? What kind of boots is he wearing? What makes you think the ground
+is soft? Is the man standing still, or walking? Why do you think so?
+Where does he seem to be looking? Why do you think he looks ahead? What
+is the cause of the glow in the sky behind him? What do you think are
+the colors in the sky? the colors in the field? What time of the year is
+it? in what country? What do you like best about this picture?
+
+
+      =Original Picture:= Vanderbilt Collection, Metropolitan Museum,
+                            New York.
+      =Artist:= Jean Francois Millet (m[=e]'l[)e]'').
+      =Birthplace:= Gruchy, France.
+      =Dates:= Born, 1814; died, 1875.
+
+
+=The story of the picture.= In this picture Millet has tried to tell
+us only a few important facts about the man and his work. It is easy
+to see that he is sowing grain broadcast over the field. The shadows
+creeping over ground and sky tell us that night is fast approaching.
+He seems intent upon finishing that last stretch of field before dark,
+and his steady, rhythmic swing shows none of the physical weariness he
+must feel.
+
+When we think of the life of this sturdy French peasant, as the artist
+surely intended we should, we realize the patience and perseverance
+required in the monotonous day's work, and we are forced to a feeling
+of respect and admiration for him.
+
+In these days with what ease and skill the same task is performed by
+the aid of machinery! Riding on the seat of a machine which drills the
+seed into the ground and covers it up, the man would have found the
+simple task of guiding his horses a very pleasant one indeed. As he
+walks along so energetically, his eyes are probably fixed on some
+stake at the end of the field to guide him as he travels back and
+forth, sowing the grain.
+
+No doubt he used a team of oxen to plow and harrow the ground before
+he sowed the seed. We have no way of knowing just what kind of a
+harrow he had, but very likely it was one made of brush or branches of
+trees. We can see a team of oxen and a driver in the distance, who
+seem to be following in the tracks of our sower and covering up the
+seeds he is sowing.
+
+The artist, Millet, knew all about such work, for he himself had
+worked out in the fields through the long day. He tells us that his
+"ancestors were peasants and he was born a peasant."
+
+No doubt the man in our picture started out on his day's work long
+before the sun was up. His first task, after eating his breakfast and
+feeding his oxen, was to yoke the oxen ready for the journey to the
+field where their work was to be done. No doubt the man has been working
+steadily ever since, for he does not look like a man who would stop to
+rest very many times. He gives us rather a feeling of physical strength
+and of steady, faithful effort in the accomplishment of his daily tasks.
+
+At the close of such a day's labor in the field he will be too utterly
+weary to sit up and read, as most of our farmers do during these days
+of farm machinery and rural delivery. And yet, there were some who did
+read even in those days when work was so difficult, for we know that
+Millet sat up many nights with the village priest, who taught him
+reading and arithmetic, and with whom he studied Latin and read the
+works of Shakespeare. It was due to this greater knowledge that Millet
+became something more than a mere peasant. It was this that gave him
+such perfect sympathy with and keen insight into the peasants' lives.
+His own knowledge of the world made him more conscious of the great
+contrast between their narrow, hard-working lives so full of
+privation, and those of the men and women in the great world outside
+so full of opportunity and promise. Yet even in so great a city as
+Paris, men could starve, as he had found out by his own experience.
+
+Perhaps Millet wished to make us feel the content of a successful
+day's work such as this, with its well-earned quiet and rest, free
+from the hurry and noise of the city. Although the sun is sinking over
+a world of beauty and pleasure, our sower knows nothing and cares for
+nothing except the accomplishment of his task. His hat, pulled down
+over his face, shades his heavy, coarse features. Although an expert
+in his work, doing to the utmost, his mind is probably dull and slow
+and quite unequal to any great mental task. And yet what a great work
+is his, after all! How dependent we are upon the men of whom he is a
+type! The fact that he is doing his own work and doing that work well
+compels our respect and admiration.
+
+The light from the sun disappearing behind the hill brings out in
+silhouette the figure of the sower turned toward the dark and earthy
+field. This man is not posing for his picture. Quite unconscious of
+our gaze, he swings briskly forward, his feet sinking slightly into
+the newly plowed field. From the bag hanging from his shoulder he
+scatters the grain with a long sweep of his strong right arm.
+
+He is actually moving in the picture. Take this position for yourself.
+The weight of the body falls evenly upon both feet. To raise either
+foot you must move the entire body. As the right foot goes forward the
+right arm goes back. If you try taking long strides and swinging your
+arms you will find this is the natural movement.
+
+The horizon line is slanting or diagonal, and divides the light part
+of the picture from the dark. The sky and ground are held together by
+the figure of the sower. Notice the absence of details in the picture.
+
+The art critics of Millet's day did not appreciate the great thought
+expressed in this picture, for nearly all of them found fault with it.
+They could see no beauty in "a common laborer in his dirty clothes
+doing his miserable work," and thought Millet should have chosen
+something more beautiful to paint. What do you think of the justice of
+this criticism? What is your opinion of the beauty of this picture?
+Millet loved these simple, kind-hearted, hard-working peasants, loved
+their lives of toil in the fields, respected their labors, and being
+so wholly in sympathy with them, he wished to make us feel so, too.
+
+
+=Questions to help the pupil understand the picture.= Where is the man?
+in what country? How can you tell what time of the day it is? Why does
+he not seem weary? Why do you think he must be very tired? How early do
+the French peasants usually start to work? What must this man do before
+daybreak? Why do you think he is not lazy? Why do we respect and admire
+him? How could his work be made easier now? How do most of our farmers
+sow and plant their seed? How did this man plow his ground? What is a
+harrow for? What kind of a harrow did this man have? What is the team of
+oxen at the farther end of the field doing? Does this man seem to be
+looking at the ground or far ahead? How did the artist, Millet, know so
+much about this kind of work? What would this man probably do after his
+day's work? Why did he not read the newspaper, as our farmers do? What
+did Millet do in the evening? How did this help him? What did Millet
+wish to make us feel in this picture? How does the horizon line divide
+the picture? How are the sky and ground held together? Why do you
+suppose Millet did not paint details, such as the features of the face
+or the buttons on the coat? What did the critics say about this picture?
+How many agree with them? why? why not?
+
+
+=To the Teacher:= Ask one of the pupils to take this position while the
+others sketch the action, finishing the sketch from memory--and adding
+their own background. Use ink silhouette, or charcoal on manila paper.
+
+
+=The story of the artist.= Jean Francois Millet was the son of poor
+French peasants who lived on a farm and worked hard to take care of
+their large family of eight children. Jean was the eldest boy. The
+father was very fond of music and of all beautiful things out of
+doors, and often he would say to his son, "Look at that tree, how
+large and beautiful! It is as beautiful as a flower." He would call
+the boy's attention to the beauty of the fields, the sunsets, and all
+things around them.
+
+Millet's mother worked out in the fields with the father all day long,
+so it was the grandmother who took care of the little boy. It was she
+who named him Jean after his father, and Francois after the good Saint
+Francis. She was a deeply religious woman, and nearly all the pictures
+Millet saw when a boy were those in her Bible. He copied these
+pictures many times, drawing them with white chalk on the stone walls
+of the house. This pleased his grandmother very much, and she
+encouraged him all she could.
+
+At the age of six he was sent to school. When he was twelve years old,
+the priest of the village became interested in him and offered to
+teach him Latin. Millet was only too glad to accept this offer, and
+many a happy evening the two spent thus together. But his studies were
+frequently interrupted by his work on the farm, for since he was the
+eldest son his father depended most upon him. It was the custom in
+France among the peasants to take a daily hour of rest from their
+labors. But the boy Millet, instead of sleeping, spent the hour in
+drawing the homely scenes around him.
+
+One Sunday morning, coming home from church, Millet met an old man who
+walked very slowly, his back bent over a cane. We have all seen just
+such old men, and their feebleness has aroused our sympathy and
+respect. It is not strange, then, that something about this bent
+figure appealed to young Millet so strongly that he could not resist
+the desire to draw a portrait of the man.
+
+He drew the portrait on a stone wall, with a piece of charcoal, and so
+well that people passing on their way home from church recognized it
+at once and were very much surprised and pleased. His father, perhaps,
+was the most delighted of all, for once he himself had wished to be an
+artist. Now he determined that his son should have the chance.
+
+We are sure Millet never forgot that day when the father, mother,
+grandmother, and his brothers and sisters sat around the table after
+dinner and talked about his wonderful picture and what they could do
+to help him become a great painter. And when it was finally decided
+that his father should take him to the artist (Mouchel) in the next
+village, you may be sure he worked hard on the drawings he was to take
+with him. At last the day came for the journey, and the proud father
+and his happy son set out on foot for the home of the artist.
+
+When shown the drawings Mouchel at first refused to believe the boy
+had made them, they were so good. Finally convinced, he was glad
+indeed to take Millet as one of his pupils. But Millet studied with
+him only two months when his father died and he was obliged to return
+home to take his father's place on the farm as best he could.
+
+By this time the people of the village had become so much interested
+in his paintings that they decided to help him. So they raised a large
+sum of money, sent him back to the artist to study, and finally sent
+him to the great city of Paris, France. But although he painted
+wonderful pictures which are worth thousands of dollars to-day, his
+style of art was not appreciated then and would not sell, and he was
+glad to paint portraits for a few francs each in order to make a
+living. His life in Paris was a continuous struggle with poverty, and
+at last he decided to leave. With his wife and children he settled in
+a little three-roomed cottage at Barbizon, a tiny little village near
+a great forest and only a day's journey from Paris.
+
+Here was Millet's home all the rest of his life. Although still very
+poor, the family did not starve, as they came so near doing while they
+lived in Paris, for the garden and the fruit trees always provided
+them with something to eat.
+
+At that time the popular artists were painting beautiful pictures of
+lovely women and men of the nobility in their fine clothes, or of
+wonderful saints and angels, and pictures showing only the happier
+side of life. To them Millet's pictures came as a shock, bringing to
+mind the dirt and grime of the common, everyday tasks of the poorer
+French peasants. And, more than that, he made them realize the
+dreadful condition in which the French Revolution had left many of
+these same peasants, and that was something of which they did not care
+to be reminded. So they refused to buy his pictures, and it was not
+until the last ten years of his life that Millet received a little of
+the recognition and honor that he so richly deserved. With his
+increasing fame came better financial conditions, and in 1867 he
+received the ribbon of the Legion of Honor.
+
+
+=Questions about the artist.= Who painted this picture? In what
+country did he live? Tell about his mother and father. Who took care
+of Millet when he was a boy? What pictures did he copy? Where did he
+draw them? With what did he draw? Who encouraged him? What did the
+priest teach him? Tell about the picture of the old man leaning on the
+cane. Where did he draw this picture? Who saw it? Why do you think it
+must have been a good likeness? How did Millet's father feel about it?
+What did he do? How did they travel? What did the artist think? How
+long did Millet study with him? Why did he return home? What did his
+neighbors do for him? What was he obliged to paint for a living? Where
+did he move? What kind of pictures were the popular artists of that
+day painting? Why were Millet's pictures not popular? When were his
+pictures appreciated? Why have his pictures outlived those of the
+popular artists of that time?
+
+
+
+
+[Illustration]
+
+HIGHLAND SHEPHERD'S CHIEF MOURNER
+
+
+=Questions to arouse interest.= What do you see in this picture? For
+whom is the dog grieving? What makes you think the shepherd may have
+been an old man? a religious man? a lonely man? Is there anything in
+the picture that would suggest the country in which he lived? What is
+there in the picture to suggest the time of the year? the occupation
+of the man? What kind of dog is this? Who painted the picture? Tell
+something about his life. Do you like this picture? How does it make
+you feel?
+
+
+      =Original Picture:= South Kensington Museum, London.
+      =Artist:= Sir Edwin Landseer (l[)a]nd''s[=e]r).
+      =Birthplace:= London, England.
+      =Dates:= Born, 1802; died, 1873.
+
+
+=The story of the picture.= Here we are looking into the interior of a
+highland shepherd's hut. Our eyes are immediately attracted to the
+center of the room, where we see the coffin of the shepherd covered
+with a blanket against which his dog keeps solitary watch. A well-worn
+Bible and a pair of glasses on the stool near by, the hat, the cane,
+all suggest something of the life and age of the shepherd. We are told
+that he was a very old man who had lived all his life among the hills
+of Scotland. For the last few years, at least, he had lived here alone
+except for the companionship of his faithful dog and his sheep.
+
+The good old dog could tell you all about it. How, early in the morning,
+he would go with his master to drive the sheep to the best grazing
+ground, where all day long they guarded and watched them, the man and
+the dog sharing their noonday lunch of coarse bread. And why did they
+need to watch the sheep so carefully? There were a great many eagles
+whose nests were high up in the giant oak trees or up in some rocky
+cliff far away, and they came flying over the hills looking for food.
+Woe to the sheep if their master was not near to care for them, for then
+an eagle would swoop down upon his choice and carry it away to his nest.
+Then, too, there may have been wild animals prowling about, and the
+sheep must be protected from them. The dog and his master also had to
+keep watch lest some lamb stray away from the flock and get lost.
+
+In the evening the dog helped his master drive the sheep to shelter in
+the great sheds where they were kept safe all night. Then up the hill
+they would climb to their home, where the shepherd prepared the simple
+evening meal for himself and his dog. Now what could they do after
+supper? It was too far for the old man to go to the distant village,
+and no one was likely to come in to see them. No doubt, too, he was
+very tired, and ready to go to bed very early. You know how sleepy you
+are after you have been out in the fields all day long. But first he
+read a little in his Bible; and when the dog saw his master take up
+the book and put on his spectacles, he probably stretched out on the
+floor and kept very still.
+
+As time went on, the old man became more feeble and the dog worked all
+the harder to save his master's strength. It may be that toward the
+last the dog did almost all the work of caring for the sheep. Then,
+one morning, the old shepherd did not wake up. Even the tugging and
+sharp barks of his faithful friend failed to arouse him. It may be
+that the dog's barks brought some passing drovers to the door.
+
+In the picture the dog presses close to the coffin. His clinging paws
+have dragged the blanket to the floor. His eyes seem full of tears of
+hopeless grief, as if he understood his master could not come back. He
+must have kept that same rigid and sorrowful position since the men
+left. Some green branches placed upon the coffin have fallen to the
+floor because of the dog's first frantic tugging at the blanket. The
+shepherd must have led a lonely life indeed to have no one but his
+faithful dog to watch beside him. His hat and cane lie where he left
+them, and all is very quiet.
+
+In another picture Landseer painted a dog lying on the ground over the
+grave where his master lies buried. We can easily imagine that this
+dog will follow his master to his last resting place and that he, too,
+will act as sentinel over the grave of the one he loves so dearly.
+Landseer wanted to make us feel how good and faithful a friend a dog is.
+
+
+=Questions to help the pupil understand the picture.= Whose home was
+this? In what country did he live? Tell about his life among the
+hills. Who helped him care for the sheep? Why must they be cared for?
+Where did they stay at night? What could the old man do in the
+evening? When he became feeble, who did nearly all the work of caring
+for the sheep? When the master did not wake up what did the dog
+probably do? Why have the branches fallen from the coffin? Why do you
+suppose there is no one else in the room?
+
+
+=The story of the artist.= Sir Edwin Landseer's grandfather was a
+jeweler and his father also learned that trade. The jewelers of that
+day were very often asked to engrave the copper plates that were used
+in printing pictures. Sir Edwin's father soon decided that he would
+rather engrave pictures than sell jewels, and he became a very
+skillful engraver.
+
+At that time few people realized what an art it was to be able to cut
+a picture in copper so that a great many copies of it could be made
+from one plate. They did not even consider it an art as we do, and so
+engravers were not allowed to exhibit at the Royal Academy and were
+given no honors at all. Edwin's father thought this was not right, and
+gave several lectures in defense of the art. He said that engraving is
+a kind of "sculpture performed by incision." His talks were of no
+avail at the time, but within a year after his death the engravers
+received the recognition due them.
+
+His eldest son, Thomas, also became famous as an engraver, and to him
+we are indebted for so many fine prints of Sir Edwin Landseer's
+paintings. Thomas also made an engraving of the "Horse Fair" for Rosa
+Bonheur. Few can afford to own the paintings, but the prints come
+within the means of all of us.
+
+Edwin's father taught him to draw, and even when Edwin was only five
+years old he could draw remarkably well. Edwin had three sisters and
+two brothers. 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 by a fence over which was built an
+old-fashioned stile with several steps. The fence was built high so
+the sheep and cows in the fields could not jump over. One day Edwin
+stopped at the stile to look at the cows and asked his father to show
+him how to draw them. His father then gave Edwin his first lesson in
+drawing a cow. After this Edwin came nearly every day to these fields
+and his father called them "Edwin's studio."
+
+When he was only thirteen years old, two of his pictures were exhibited
+at the Royal Academy. One was a portrait of a mule, and the other was of
+a dog and puppies. Edwin painted from real life always, not caring to
+make copies from the work of others. All the sketches he made when he
+was a little boy were kept carefully by his father, and now if you go to
+England you may see them in the South Kensington Museum in London.
+
+Landseer was only sixteen years old when he exhibited his wonderful
+picture "Fighting Dogs Getting Wind." A very rich man whose praise
+meant a great deal bought the picture, and the young artist's success
+was assured.
+
+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 and
+ready to deliver, it suddenly disappeared. A diligent search was made
+for it, but it was not found until twenty-four years afterwards. A
+servant had stolen it and hidden it in a hayloft. He had been afraid
+to sell it or even to keep it in his home, for no one would have
+failed to recognize the great artist's work.
+
+For many years Landseer lived and painted in his father's house in a
+poor little room without even a carpet. The only furniture, we are
+told, were three cheap chairs and an easel. Later he had a fine studio
+not far from Regent's Park. Here was a small house with a garden and a
+barn. The barn was made over into a studio. Here so many people
+brought their pets for him to paint that he had to keep a list, and
+each was obliged to wait his turn. But Sir Edwin was not a very good
+business man, so he left all his affairs to his father, who sold his
+pictures for him and kept his accounts.
+
+Landseer made a special study of lions, too. A lion died at the park
+menagerie and he dissected its body and studied and drew every part.
+He painted many pictures of lions. He also modeled the great lions at
+the base of the Nelson Monument in Trafalgar Square, London.
+
+Although Landseer painted so many wild animals, birds, and hunting
+scenes, he did not care to shoot animals. His weapons were his pencil
+and sketch book. Sometimes he hired guides to take him into the
+wildest parts of the country in search of game. But he quite disgusted
+the guides when, a great deer bounding toward him, he would merely
+make a sketch of it in his book.
+
+Many of Landseer's paintings are of scenes in Scotland, as is this
+one, "Highland Shepherd's Chief Mourner." When Sir Edwin Landseer went
+to visit Scotland one of his fellow travelers was Sir Walter Scott,
+the great novelist. The two became close friends. Sir Walter Scott
+tells us: "Landseer's dogs were the most magnificent things I ever
+saw, leaping and bounding and grinning all over the canvas." Landseer
+painted Sir Walter Scott's dog "Maida Vale" many times, and he named
+his studio for the dog.
+
+At twenty-four Landseer became an associate of the Royal Academy,
+which was an unusual honor for so young a man.
+
+In 1850 the honor of knighthood was conferred upon him.
+
+This story is told of him at a social gathering in the home of a
+well-known leader of society in London. The company had been talking
+about skill with the hands, when some one remarked that no one had ever
+been found who could draw two things at once. "Oh, I can do that," said
+Landseer; "lend me two pencils and I will show you." Quickly he drew the
+head of a horse with one hand while with the other he drew a stag's head
+and antlers. Both sketches were so good that they might well have been
+drawn with the same hand and with much more study.
+
+Sir Edwin Landseer felt that animals understand, feel, and reason just
+like people, so he painted them as happy, sad, gay, dignified,
+frivolous, rich, poor, and in all ways just like human beings. This
+appealed to the people, and he became very popular.
+
+Sir Edwin did and said all he could against the custom of "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 attention to what he said, and the custom lost favor.
+
+Landseer died in London in 1873 at the age of seventy-one. A tablet
+placed to his memory in the notch of one of the windows at Westminster
+Abbey has a medallion portrait of him at the top, and below this,
+carved in light relief, is a copy of one of his most famous paintings,
+"The Highland Shepherd's Chief Mourner."
+
+
+=Questions about the artist.= Tell about Sir Edwin Landseer's father.
+What did he do? Why were engravers not allowed to exhibit their work?
+What did Edwin's father do to defend his art? What did Edwin's brother,
+Thomas, accomplish? Why are we so indebted to him? Who taught Edwin how
+to draw? Tell about his brothers and their walks in the fields. What
+animal did Edwin draw first? Where was "Edwin's studio"? Which two of
+his pictures were exhibited when he was only thirteen years old? What
+became of the sketches he made when he was a boy? Tell about his two
+studios. Tell about his picture of the old white horse. With whom did
+Sir Edwin Landseer travel through Scotland? What did Sir Walter Scott
+say about Landseer's dogs? How did Landseer happen to name his studio
+"Maida Vale"? What weapons did Sir Edwin use when he hunted? Why did he
+not shoot the animals? Tell about his drawing with both hands. In what
+ways are animals like people according to Landseer's judgment?
+
+
+
+
+[Illustration]
+
+CHILDREN OF THE SHELL
+
+
+=Questions to arouse interest.= Where do these children seem to be?
+Which of the two children seems to be the older? What is the boy at
+the right doing? From what is he drinking? Why do you think the boy at
+the left has given him a drink? How is he helping him now? What does
+the boy who is drinking hold in his left hand? How is he standing?
+What is the lamb doing? Who else seems to be watching them? Why do you
+think the picture is called "Children of the Shell"? Do you like this
+picture? why?
+
+
+      =Original Picture:= Prado Gallery, Madrid, Spain.
+      =Artist:= Bartolome Esteban Murillo (m[=oo] r[=e]l''y[=o]).
+      =Birthplace:= Seville, Spain.
+      =Dates:= Born, 1618; died, 1682.
+
+
+=The story of the picture.= The great religious painter, Murillo, has
+given us many pictures of the Christ child and John the Baptist, but
+perhaps none more pleasing than this one which critics have so often
+declared the most beautiful picture of children ever painted.
+
+We must go back in our Bible history to the time when the wicked King
+Herod reigned over Judea, for it was then that our story begins. This
+proud king had conquered all his enemies and expected to live at ease
+in his rich and beautiful palace, surrounded by all that would give
+him comfort and pleasure. But one day he was made very unhappy when a
+messenger appeared bringing him most unwelcome news. It was that a
+child had been born in Bethlehem at just the time and place it had
+been prophesied that a child should be born who would one day be king
+over all the world. In a manger of a stable, true to the prophecy, the
+baby Jesus was born. The three wise men of the East and many others
+who already worshiped him as king sought and found him there. The
+thought that the child would grow up to rule over his kingdom alarmed
+King Herod, and he resolved to remove this possible rival before it
+was too late. Fearful lest the child should escape, Herod sent out a
+terrible decree that all boy babies under two years of age should be
+killed. That must have been a dreadful day, for there was little hope
+of escape or concealment.
+
+However, Mary and Joseph had been warned by an angel several days
+before, and with the child Jesus they were already safe on their way
+to Egypt. They had left in the night, and no one could tell anything
+about them, or where to look for them. Several years later King Herod
+died, and almost immediately Mary, Joseph, and the boy Jesus started
+on the homeward journey. It was during this journey, we are told, that
+the boy, running on ahead of the donkey Mary was riding, found a cool
+little spring where he could quench his thirst. Suddenly there
+appeared another boy wearing a camel's-hair cloak and carrying a
+wooden stick with a cross carved upon it. He was followed by a lamb.
+It was John the Baptist, who, although only a child, was living among
+the hills, eating locusts and wild honey, preparing for the great work
+he was to do. It is supposed that as the mothers of these two boys
+often visited each other, the children must have met before. In the
+picture we see them standing near the cool little spring. Jesus has
+in his hand a shell which, straightway forgetting his own thirst, he
+has filled and now offers to his cousin John.
+
+John the Baptist is bending over to drink from the shell which Jesus
+holds for him. The lamb watches them contentedly, while from the sky
+above the angels, with clasped hands and smiling faces, look down in
+silent adoration. Although he does not look at them, Jesus seems
+conscious of their presence, for he points toward them with his little
+hand. Light radiates from the clouds and the angels, while deep
+shadows at the left and the right serve to heighten the effectiveness
+of the central part of the picture. The lamb, as the symbol of
+innocence, is the natural playmate of these two healthy, sturdy boys.
+The little John drinks eagerly, as if he were indeed thirsty and
+weary, while Jesus, although younger in years, has the kind and
+thoughtful look of an elder brother caring for a younger.
+
+At this moment they seem to be merely two thirsty boys, little knowing
+the great work before them or thinking of anything but to quench their
+thirst. Yet some of the coming greatness shows itself in the generous
+action of the child Jesus and the gentle acceptance of John the Baptist.
+
+
+=Questions to help the pupil understand the picture.= Whom does this
+picture represent? For what kind of paintings is Murillo famous? what
+subjects? Tell about King Herod. Why was he worried when he heard of the
+birth of Jesus? What did he do in order to be sure the child would be
+killed? What did the parents of the baby Jesus do? When was it safe for
+the boy Jesus to return? How did he happen to meet John at the spring?
+How was John dressed? What followed him? For what does the lamb stand?
+Who has the shell? What does he do with it? Why do you suppose he did
+not drink first? To whom does Jesus point or beckon with his left hand?
+Which boy was the younger? For what is this picture famous?
+
+
+=The story of the artist.= A little Spanish boy, Bartolome Esteban
+Murillo, born into the home of a poor mechanic, and with no
+opportunities save those of his own making, grew to be one of the
+greatest of Spanish painters. Both his parents died before he was eleven
+years old, and he seems to have been left quite to his own devices.
+Until that time he had attended school, where his ability to draw had
+shown itself in pictures drawn on the walls of the school building.
+
+After school and on Saturdays he had assisted an artist, doing such work
+as cleaning brushes, grinding paints, and running errands. An uncle had
+secured this position for him, but seemed to be unable to help him
+further. By these means and by painting banners and pictures for the
+weekly market, the boy earned his own living. The peasants came to
+Seville from all the country around, bringing in their fruits,
+vegetables, and wares to sell. Here the young Murillo took his
+paintings, which were on coarse, cheap cloth instead of on canvas, which
+he could not afford. Sometimes it was a Madonna, sometimes a portrait of
+the buyer which he would finish quickly while the crowd watched, or
+sometimes one of the beggar boys in the gypsy quarters of the city.
+
+But Murillo had a boy friend who went to London to study with the
+great Sir Anthony Van Dyck, and who, when he returned, brought such
+news of the wonderful paintings in the galleries of London and Paris
+that Murillo began to dream of seeing them. Before he had saved enough
+money to go, however, the artist Van Dyck died, and Murillo decided to
+go to Madrid, where one of his own countrymen, Velasquez, had won
+great fame. He walked nearly all the way, presenting his letter of
+introduction to Velasquez, who received him most kindly.
+
+Murillo was now twenty-four years old, enthusiastic, ambitious, and
+manly. Velasquez soon discovered his great talent, and not only
+received him as a pupil but took him into his own home, where he
+remained three years. When, at the end of that time, he returned to
+Seville, his fame as an artist was established and pupils came to him
+from all over the country. His friends could be found among the very
+poorest beggars as well as among the most influential men of the city,
+and he was idolized by his pupils. Always of a deeply religious
+nature, he chose religious subjects for most of his paintings. In his
+studio all swearing and ill conduct were forbidden, and his religious
+paintings were produced only after much prayerful meditation.
+
+He gave so generously to the poor about him that it was said he gave
+away all he earned.
+
+Often his wife, who was very beautiful, his lovely daughter, or his
+two handsome sons posed for his paintings, and so we find the same
+faces repeated in several pictures.
+
+One day when Murillo was painting on the walls of a convent the cook
+there asked him to paint a small picture for him on a napkin, which
+was all he had to offer for a canvas. Without hesitation Murillo
+painted a beautiful Madonna and Child which has since become famous as
+the "Virgin of the Napkin."
+
+While painting the ceiling in a church in Cadiz the scaffolding broke
+and he fell, injuring himself so seriously that he died shortly after.
+
+Every Sunday afternoon, which is a free day at the gallery in Madrid,
+crowds of the poor, men, women, and children, may be seen gathered
+around the paintings by Murillo, which they regard with an admiration
+which is almost worship. To them Murillo is little less than a saint.
+
+
+=Questions about the artist.= In what country did Murillo live? What
+nationality do his pictures represent? Tell about his boyhood. In what
+did he excel at school? What work did he do after school and on
+Saturdays? What else did Murillo do to earn money? Tell about the weekly
+market. What did Murillo paint for the market? Whom did he paint? What
+did his boy friend tell him that made him want to go to London? Why did
+he not go? What happened before he had saved enough money to go? To whom
+did he go then? How did he go? How old was he by that time? What did the
+artist Velasquez do for him? What kind of people were Murillo's friends?
+What kind of pictures did he like to paint best? How did he prepare for
+this? What rules did he have in his studio? Tell about the cook at the
+convent and the napkin. What is this picture called? How was Murillo
+hurt? How do some of the Spanish people regard Murillo?
+
+
+
+
+[Illustration]
+
+SAVED
+
+
+=Questions to arouse interest.= What has happened? Where are the dog
+and the child? Why do you think it could not have been a shipwreck?
+Why are the sea gulls flying around? What can you see in the distance?
+What kind of a beach is it?
+
+
+      =Artist:= Sir Edwin Landseer (l[)a]nd''s[=e]r).
+      =Birthplace:= London, England.
+      =Dates:= Born, 1802; died, 1873.
+
+
+=The story of the picture.= This fine Newfoundland dog has just saved
+the life of a little child. We can see even in this print of the
+picture that they are both dripping wet, and so we know the child
+must have fallen into the water and was about to drown when the dog
+swam out and brought her safely to the shore.
+
+We can only guess how the accident occurred. It could not have been a
+shipwreck, for then there would be others for the good old dog to
+save; besides, although the sky is partly cloudy, there is no evidence
+of a storm, and we see sailboats in the distance.
+
+The child evidently had not been wading out into the water and gone
+beyond her depth, because she has on her shoes and stockings and is
+dressed for a day in the warm sunshine, perhaps out on the beach.
+Probably she had been playing on the wharf or on the rocky shore and
+had reached out too far or had slipped on a rock.
+
+The dog, hearing her cry, must have immediately plunged into the water
+after her. Then holding the child firmly by her dress, he had battled
+against the waves until he reached a sandy beach from which he had
+dragged himself to this place.
+
+Although we cannot see the parents, nurse, or playmates, no doubt they
+are running toward the child and the dog. The dog seems to be watching
+their approach as he lies there exhausted, guarding the precious
+burden lying across his paws. His great tongue hangs out and we can
+almost hear him pant as he gasps for breath after his fierce struggle
+against the waves.
+
+The child is still unconscious, her large shade hat held by a rubber
+band under her chin; her arm lies limp and lifeless, yet we are sure
+the great dog has been in time, and she will soon open her eyes. The
+sea gulls circle about the two as if they were glad of the rescue, and
+were trying to show the parents where to find the child.
+
+These powerful Newfoundland dogs are strong swimmers. At the first cry
+of alarm they usually plunge unbidden into the water, and rarely fail to
+accomplish a rescue. In France they are kept on the banks of the Seine
+as important members of the life-saving crew. Here they are carefully
+trained for this purpose by their masters, who throw a stuffed figure of
+a man into the water and teach the dogs to bring it back to shore. They
+are taught always to hold the head of the figure above the water. They
+seem to understand perfectly just what is wanted of them and why.
+
+A story is told, and it is claimed to be true, of a woman who, while
+washing clothes on the bank of a river, placed her baby in the clothes
+basket to keep it safe. In some way the child tipped the basket,
+rolling out of it and down the bank into the deep water below. The
+woman screamed but she was helpless. Hearing her cry, a large
+Newfoundland dog that she had never seen before came swimming down the
+stream and saved the child, carrying it to the opposite shore.
+
+The woman ran down the bank of the river and secured the help of a
+ferryman and his grandson, a boy about ten years old. When the boat
+reached the opposite shore the big dog was licking the hands and face
+of the cooing child, but growled and barked viciously at the people
+who were approaching him. No one dared go near him. They tried every
+device, but no, he could not be coaxed away from the baby.
+
+At last the boy said he had an idea, and off he ran down the bank and
+jumped into the boat. Rowing out some distance into the river, he
+suddenly jumped from the boat into the water, uttering a loud cry of
+distress. He struggled a while, and then to all appearances sank out
+of sight. The grandfather knew the boy could swim and dive, and yet
+the suddenness with which he sank alarmed him greatly, and he called
+out, too.
+
+Immediately the great dog recognized the cry of alarm and, forgetting
+all else, left his small charge and rushed to the help of the larger
+one, bringing the boy safely to the shore. Meanwhile, of course, the
+mother had taken up the baby. The dog, though showing surprise at the
+quick recovery of the boy he supposed to be nearly drowned, still
+determined to guard him in the same way he had guarded the baby.
+
+About this time, however, the dog's owner, a huntsman, appeared. The
+dog greeted him joyously, running from the child to the boy and then
+to his master as if to tell him what he had done and how he had
+guarded them until his master came.
+
+Many times it has been told of a Newfoundland that, when annoyed by
+some small dog that persisted in barking and snapping at him, he would
+finally seize it by the back of the neck, carry it to the river, and
+drop it into the water. After watching the struggles of the little
+dog, which seldom was able to swim, the Newfoundland would plunge in
+and rescue him. After that you may be sure the little dog took care
+not to annoy the big one.
+
+A humorous incident is told of two boatmen who, on a wager, started to
+swim across a stream. When one of the men was in midstream his
+Newfoundland dog plunged in after him and in spite of his struggles
+brought him back to the shore by his hair. The crowd which had been
+watching was greatly amused, but the chagrined sailor was able to
+laugh in turn when the great animal, mistaking the emotion of the
+onlookers, brought the other man back also.
+
+A lady who owned a fine Newfoundland dog allowed him one day to carry
+her parasol. When they came to a baker's shop she bought a bun for him.
+The next day the dog met another lady coming down the street carrying a
+parasol. He immediately seized it and ran on ahead until he came to the
+baker's shop. The lady went in and asked the baker to help her secure
+her parasol. He suggested that she give the dog a bun as his mistress
+had done. Then the dog gave up the parasol willingly. He had to be
+punished very severely before he could be broken of this habit.
+
+Cases have been known of these dogs rescuing even so delicate a thing
+as a canary bird that had fallen into the water.
+
+Intelligent and faithful, perhaps there is no other dog, unless it be
+the St. Bernard, which rescues travelers in the snow-covered Alps,
+that has done so much for man or has saved so many lives.
+
+These dogs show remarkable kindness not only toward man but toward
+other animals. When another dog has been injured they have been known
+to carry bones and other food to it.
+
+A Newfoundland was once taken to a dog pound with numerous other dogs.
+He soon gnawed his rope in two and was about to escape when, hearing
+the piteous cries of the other dogs, he went from one to another,
+setting them all free.
+
+Even abuse will not make these loyal animals turn against a master,
+although they have been known to run away from a cruel one. A story is
+told of a man who, while rowing a boat, pushed his Newfoundland dog
+into the stream. The dog followed the boat for some time but, growing
+tired at last, tried to get back into the boat. The man pushed him
+away several times, finally pushing so hard that he overturned the
+boat and was about to drown. The good dog, however, caught hold of his
+coat and held him above water until help came.
+
+In the island of Newfoundland these dogs are used much as we use
+horses, and are very valuable. With them duty is first. We often hear
+of one of these dogs carrying a basket of meat, a paper, or some other
+thing for his owner, and bearing any amount of annoyance from other
+dogs until he has delivered his charge safely; then he promptly goes
+back and punishes the offenders in such a way that they dare not
+interfere with him again.
+
+These dogs are noble animals indeed. Their lives are devoted to man,
+though their devotion is not always appreciated as it should be.
+
+Lord Byron writes:
+
+    "In life the firmest friend,
+    The first to welcome, foremost to defend;
+    Whose honest heart is still his master's own;
+    Who labors, fights, lives, breathes for him alone.
+    The rich man's guardian, and the poor man's friend."
+
+No wonder Sir Edwin Landseer loved to paint these noble animals. Their
+intelligent look and, better still, their brave and noble deeds render
+them almost human, lacking only the power of speech. It seems sometimes
+as if they really do talk, and the owners of such dogs declare that
+their actions prove that the dogs understand every word said to them.
+
+Sir Edwin Landseer has painted another picture of a Newfoundland dog,
+called "A Member of the Royal Humane Society," which looks so much
+like this one that it might be the same dog.
+
+
+=Questions to help the pupil understand the picture.= What kind of a
+dog is this? What has he done? What makes you think he and the little
+girl have been in the water? that there has not been a shipwreck? Why
+do you think the child had not been wading? How is she dressed? How
+do you suppose she happened to fall into the water? How could this dog
+save her? Where do you suppose the child's playmates and nurse are?
+Where is the dog lying? Why does he not take the child to them? What
+makes you think he is tired? How are Newfoundland dogs sometimes
+trained in France? Tell about the washwoman and her baby. How was the
+baby rescued? Why could the mother not take the child? What did the
+boy do? What happened then? When were they released? How do
+Newfoundland dogs sometimes punish small dogs that annoy them? Why do
+they not drown? Tell about the two boatmen and their wager. Tell about
+the dog and the lady's parasol. What do these stories tell us about
+Newfoundland dogs? What other kind of dogs save many lives? What did
+the Newfoundland do at the dog pound? How do they sometimes resent
+abuse? Tell about the boatman and his dog. Upon what island are they
+used to carry burdens? Tell a story showing that duty comes first with
+these dogs. What other picture of this dog has Sir Edwin Landseer
+painted? Why do you think he was especially fond of Newfoundland dogs?
+
+
+=To the Teacher:= Short stories of the bravery and faithfulness of
+dogs may take the place of other talks on kindness to animals.
+
+SUBJECTS FOR COMPOSITIONS
+
+  A Description of a Newfoundland Dog.
+  How a Dog Saved a Child from Drowning.
+  The Smartest Dog I Ever Saw.
+  The Bravest Dog I Ever Heard of.
+  A Description of a St. Bernard Dog.
+  How to Treat a Dog.
+  Why We Should Be Kind to Dogs.
+
+
+=The story of the artist.= When Edwin Landseer was a small boy he
+lived in the country. Nearly every day at breakfast the father would
+ask his boys, "What shall we draw to-day?" The three boys would take
+turns choosing and sometimes they would vote on it. Then out across
+the fields the father and his boys would tramp until they came to
+where the donkeys, sheep, goats, and cows were grazing. Each would
+choose the animal he wished to draw; then the four would sit down on
+the grass and make their sketches. Edwin's first choice for a subject
+was a cow, and his father helped him draw it.
+
+When he was five years old he drew a picture of a dog asleep on the
+floor that was very much better than any his older brothers could do,
+and so even then they began to expect much from him.
+
+At this time Edwin had three dogs of his own named Brutus, Vixen, and
+Boxer. They were always with him, and so intelligent they almost
+seemed to speak.
+
+In their back yard the children had several pens for pet rabbits and
+they kept pigeons in the attic of their house. The story is told of
+how Mr. Landseer once decided to move, selected the house, and thought
+all was settled, when the landlord refused to rent the house to him
+because he kept so many animals and birds as pets.
+
+We read of how the father and his sons made many visits to the
+Zoological Gardens where they could watch and make sketches of lions,
+bears, and other wild animals. One day they saw a strange sight in one
+of the store windows in London--a large Newfoundland dog caring for a
+lion. The lion had been caught in Africa when it was very little and
+had been cared for by this dog. They had never been separated. Now,
+although the lion was much larger than the dog, they were still the
+best of friends.
+
+Sometimes the dog would punish the lion if it did not behave, and the
+great beast would whimper just as if it could not help itself. All
+three boys made many sketches of this strange pair and could hardly be
+persuaded to leave the window.
+
+Every one knew of Sir Edwin Landseer and wanted some one of his
+pictures of dogs because it looked so much like a dog they knew.
+
+In the story of the picture "Highland Shepherd's Chief Mourner," are
+further particulars of the life of Sir Edwin Landseer.
+
+
+=Questions about the artist.= What other picture have we studied by
+this artist? Tell about Sir Edwin Landseer's boyhood. How did the
+brothers decide where to go to sketch? How old was Edwin when he drew
+a very good picture of a dog? What was the dog doing? Tell about
+Edwin's dogs; the other pets. Why did the landlord refuse to rent
+Edwin's father a house? Tell about the Newfoundland dog and the lion.
+What else can you tell about the artist's life?
+
+
+
+
+[Illustration]
+
+PILGRIM EXILES
+
+
+=Questions to arouse interest.= Describe this picture. Where are these
+people? Who are they? Who were the Pilgrims? Where are they looking?
+Why do you think they may be homesick or sad? What time of day do you
+think it is? (Notice the shadows.) What time of year does it seem to
+be? How is the man dressed? the two women? What relation do you think
+these people are to each other? Upon what is the older woman sitting?
+What can you see in the distant background?
+
+
+      =Artist:= George Henry Boughton (bo''t[.o]n).
+      =Birthplace:= Norwich, England.
+      =Dates:= Born, 1833; died, 1905.
+
+
+=The story of the picture.= We all know how, long ago, that sturdy
+band of one hundred and two Puritans left England in the small and
+storm-beaten ship called the _Mayflower_. They were called Puritans
+because they were dissatisfied with the religion of the Church of
+England, and demanded purification of all the old observances and
+doctrines.
+
+When they began to establish in England separate churches of their own,
+they were driven from place to place. They longed for a land where they
+could worship God in their own way, so they came to America, determined
+to endure every danger and to trust in God to care for them. Their
+wanderings from place to place had given them a new name, "Pilgrim,"
+which means "wanderer." Then, ever since their landing on the rock at
+Plymouth, they have been called Pilgrim Fathers.
+
+There were many women and children in this band of wanderers. On the
+journey a little baby was born and was called Oceanus after the great
+rolling ocean.
+
+The Pilgrims endured many hardships in those first few years, and none
+more distressing than the frequent attacks by the Indians, who
+resented the strangers' presence in a land which belonged to them. The
+Pilgrims carried their guns with them even when they went to church,
+for they never knew just when they might be attacked.
+
+They arrived in the fall of the year, too late to plant grain or to
+put by enough provisions for the winter, so they were quite dependent
+upon the provision boat from England. Often this boat was long delayed
+because of storms at sea, or because the people in England did not
+send it on time. This caused much suffering and distress.
+
+In our picture we see three of the first settlers of our New England
+coast, waiting for the provision ship. The waves come rolling in to
+this rough and barren shore, but as far as the eye can see there is
+yet no sign of the awaited boat. On that point of land in the distance
+are a few rude houses which must be the homes of the Pilgrims. This
+dreary place, so bleak and barren, makes us wonder how they could ever
+hope to survive the perils of a winter there.
+
+Our interest is centered upon the three figures at the right in the
+picture. One can almost read the thoughts expressed in the three
+faces. The figure of the man stands out strong and erect, and there is
+that in his fixed gaze which tells us his thoughts are far away. No
+doubt he is thinking of his old home across the ocean. He is homesick,
+yet go back he would not; there is no sign of discouragement. His
+wife, standing beside him, places her hand on his shoulder to comfort
+him, but she too looks as if she were thinking of that other home and
+the friends across the sea. Her gentle, refined face is saddened for
+the moment, yet in it we see expressed the fine courage which has
+carried her thus far along the way.
+
+The mother, seated on the great rock, has the same thoughtful,
+far-away gaze. Her hands, clasped in her lap, have more of resignation
+and patience in them. Probably her thoughts and affections are
+centered in the two dear ones beside her, and in their welfare, rather
+than in the friends across the sea.
+
+Notice the Puritan dress, cloaks, shoes, caps, and collars. These
+people are well dressed, and do not seem to be poor. Perhaps they are
+simply longing to hear from their friends, and hoping the ship will
+bring some news of them. It may be that it has been due for several
+days, and each day they have walked out to this same rocky point,
+hoping to see it on the distant horizon.
+
+They are dressed in warm clothes. From that fact and from the half-bare
+branches of the bush that we see growing beside the rock in the
+foreground of the picture we should judge it to be the fall of the year.
+
+Standing in the bright sunlight, they look anxiously out toward the
+rolling ocean. The length of the shadows makes us think it must be
+late in the afternoon.
+
+When at last they catch a glimpse of the dark masts of the approaching
+ship they will send a glad shout along the shore, and soon the beach
+will be crowded with an anxious throng of people hoping for some
+message or news from home.
+
+At what seems to be a long distance from the shore the great ship will
+cast anchor and send out its rowboats filled with passengers, mail,
+and provisions. How eagerly the homesick people will crowd around the
+new arrivals and welcome them! Our three friends will not be standing
+quiet and alone, but each will be hurrying about to help the others.
+The spirit of helpfulness was very strong in those days of hardship
+and toil.
+
+Notice the arrangement of lights and shadows in this picture. Our eye
+is first attracted to the faces of these three Pilgrims, then carried
+almost in a circle to the ocean, the rocks at the left side of the
+picture, to the rock the mother is seated upon, and back to the three
+faces. Start where we please the play of light leads us back to the
+three faces brought out by the white collars. Suppose we start with
+the mother's hands, our eyes follow her apron, the man's shoes, the
+light on the grass and ocean, then to the man's face and on around.
+Without these echoes of light, the picture would be unbalanced and
+much less interesting.
+
+Half close your eyes and study the picture. There is not a single
+straight line in the composition. Notice the placing of the horizon
+line, of the distant shore. The artist started his landscape much as
+we do, with a rectangular space divided into two parts by the horizon
+line. He chose for his picture a small division for sky; the larger
+space to be divided into less than half as much water as land. Instead
+of standing so the shore line would appear exactly horizontal, he
+chose a position where the near shore line and that of the distant
+point of land are at an angle, thus relieving the monotony.
+
+The tall, determined figure of the man, and his gentle wife, standing
+silhouetted against the sky, hold the ground space and the sky space
+together, while the mother seated on the rock serves as another
+connecting link. All the figures serve to unite the different parts of
+the picture into an effect of unity most gratifying to the eye.
+
+
+=Questions to help the pupil understand the picture.= Tell about the
+Puritans. Why were they so called? Why did they leave England? In
+what boat did they sail? To what country did they come? Why were they
+then called Pilgrims? Why did they have such a hard time in this
+country? Upon what were they dependent? Why was the boat often
+delayed? What are the three people in our picture waiting for? What do
+the expressions in their faces tell us? How can we tell what time of
+year it is? the time of day? What will they do when they see the boat?
+Who will join them? Where will they come from? What can you see of
+their homes? Why are they so anxious to have the boat come? Why cannot
+the ship land at this beach? How will it land its passengers and
+freight? What do you suppose these three people will be doing then?
+What can you say of the composition of this picture? What did the
+artist consider first? What holds the ground and the sky spaces
+together? What can you say of the light and shade in this picture? Why
+is the picture called "Pilgrim Exiles"?
+
+
+=The story of the artist.= George Henry Boughton was born near
+Norwich, England, but when he was only a year old his parents came to
+America. He grew up and was educated at Albany, New York, where he
+first began to paint.
+
+As soon as he started to school he showed great skill at drawing, by,
+as he says, "drawing every mortal thing that came under my notice."
+
+When he was nineteen years old he sold enough of his sketches to pay
+his way back to London, England. He spent several months in England,
+sketching wherever he went. When he came back to New York he painted a
+picture called "Winter Twilight," which marked the beginning of his
+success. Later he spent a year in Paris, finally making his permanent
+home in London.
+
+His studio in New York City was given up, but, although he lived in
+England, his art remained distinctly American.
+
+He was especially interested in the history and literature of our
+country and has been called "the interpreter and illuminator of New
+England life in the seventeenth century."
+
+Besides painting, he wrote for magazines, illustrating his own stories
+with great success.
+
+
+=Questions about the artist.= Tell about the artist. Where was he
+born? Where did he grow up? How old was he when he came to America? In
+what did he excel at school? When did he go back to England? How did
+he earn the money? What did he do when he came back? Of what country
+did he paint the most pictures? What part of our history interested
+him especially? In what else was he successful besides painting?
+
+
+
+
+[Illustration]
+
+DANCE OF THE NYMPHS
+
+
+=Questions to arouse interest.= Of what is this a picture? What time
+of the year do you think it is? what time of the day? What are the
+people doing? Half close your eyes and look at the picture. What do
+you see first? what next? Where is the sun? How do you know? (Look at
+the trunks of the trees and the shadows.) What do you see in the
+foreground to the left? to the right? Do you like this scene? why?
+
+
+      =Original Picture:= Luxembourg Gallery, Paris, France.
+      =Artist:= Jean Baptiste Camille Corot (k[+o]'r[+o]'').
+      =Birthplace:= Paris, France.
+      =Dates:= Born, 1796; died, 1875.
+
+
+=The story of the picture.= The artist who painted this picture, Jean
+Baptiste Corot, tells us that when he was a small boy he used to lean
+out of his window at night, long after his mother and father thought
+him safe in bed, to watch the clouds, the sky, and the trees. He
+continued this study as a young man, and soon made friends with three
+other young men, all artists (Rousseau, Daubigny, and Dupre) who were
+also studying nature. All had studios and painted in the city; but
+they were always longing for a glimpse of the country. One day the
+four started out together for a day's outing, each taking his
+painter's outfit. They went to the end of the omnibus line from Paris
+and then started on foot for a long tramp across the country. It was
+then they thought of the great Forest of Fontainebleau, where nature
+was wild and undisturbed in its wondrous beauty.
+
+"We will go to that beautiful forest and spend our vacation there,"
+they said.
+
+And so it came about several weeks later. In this forest, at all times
+of the day or night, they could be found wandering about, searching
+out new vistas and discovering new wonders and beauties in nature.
+
+They hid their paints and brushes in the rocks to keep them from the
+dew, and they themselves slept under the spreading branches of the
+great oak trees. These city-bred young men, brought up in the rush and
+hurry of the great city of Paris, cared for no other shelter than the
+wide expanse of sky and the protecting branches of the trees.
+
+So when we know that later Corot came to live near this Forest of
+Fontainebleau, it is easy to guess where he painted this picture
+called the "Dance of the Nymphs." Sometimes this picture is called
+"Morning," for Corot painted another picture much like this one, and
+called it, "The Dance of the Nymphs, Evening."
+
+Corot is often spoken of as the "happy one," and many stories are told
+of him and how surprising it was to hear him singing lustily as he
+painted. Seated on his camp stool before his easel, wearing his blue
+calico blouse and painter's hat, he was indeed happy. He is described
+as adding the finishing touches to one of his landscapes in this way:
+
+"Let us put that there--tra, la, tra, la,--a little boy,--ding dong,
+ding dong! Oh, a little boy, he wants a cap--la, la, la, la, tra la!"
+
+People always smiled when they saw Corot start out, carrying his
+easel, paints, and brushes, and singing or whistling like a care-free
+boy. But it happened more often that they saw him going toward home
+in the evening, for he had a way of starting out before sunrise when
+nobody was about and seating himself in some lovely spot in the woods,
+waiting breathlessly to see what would happen next.
+
+That is what he did the morning he sketched this picture. The grass
+was heavy with dew, the birds were still asleep, all was quiet and
+covered with the veil of night. As the mist slowly lifted, the great
+trees gradually assumed definite shapes, the birds awoke, the sun
+shone forth, and all was bright and fresh as the early mornings in
+spring always are. Look at this picture, then close your eyes and open
+them slowly, and you yourself can see just such an awakening to life.
+
+Is it any wonder then that, as Corot sat, pencil in hand, this lovely
+spring morning and watched the trees gradually take shape against the
+slowly lightening sky, and listened to the birds singing their morning
+greeting, he should fancy he saw the fairy wood nymphs come out from
+their secret hiding places and dance joyously about in the bright
+morning sunlight? It seems most natural indeed that they should be
+there, and dancing, too. The mere fact of being alive on such a
+morning as this fills us too with delight.
+
+When Corot began to paint his large picture from the small sketch he
+made in the woods that morning, he must have sung his merriest tunes.
+The picture seems full of music, from the quivering leaves, the waving
+grass, and the shifting clouds to the dancing figures. Although there
+is not a bird in sight, we know that they are there, and it takes very
+little imagination to hear them singing.
+
+At the right-hand side of the picture one of the wood nymphs has
+seized the hand of a timid companion, urging her to come and join in
+the frolic. So much are we in sympathy with those merry ones that we
+too find ourselves unconsciously urging her to join in the dance.
+
+When he painted trees, Corot did not pay very great attention to
+details, and so we cannot always tell what kind of trees they were. He
+cared most to make us feel the beauty of the sunlight on their tender
+leaves, their growth, and the protection they offer to birds and men.
+
+A young art student once approached Corot and asked him why he left so
+many things out of his pictures and put others in. Then pointing to a
+certain tree in Corot's painting he said, "This tree is not in the
+landscape." Corot smiled, then whispered to him, "Don't you tell, but
+I put it there to please the birds."
+
+It would be difficult indeed to find a single straight line in our
+picture, so full is it of rhythmic curves, from the treetops to the
+graceful figures in the foreground. The skillful blending of colors,
+of light and shade, gives it that mysterious, misty quality which is
+one of its chief charms. Corot's favorite colors were pale green, gray
+browns, and silvery grays. One little touch of bright color in his
+pictures makes them alive. The costumes of the nymphs were chosen for
+the very few bright touches in this painting, and the tall, slender
+tree near the left-hand side of the picture for the pale green
+feathery foliage of early spring.
+
+Our eye moves pleasantly through all the leafy maze of this enchanted
+forest. We are at the edge of the woods. Looking out through the trees
+we see the wide, open fields beyond, with their high canopy of sky,
+and we feel a new contentment steal over us as our eye again seeks
+this sheltered nook in the great Forest of Fontainebleau.
+
+
+=Questions to help the pupil understand the picture.= How had the
+artist, Corot, studied the clouds, sky, and trees? With whom did he
+become friends? What were these three young artists doing? Where did
+they go for an outing? What did they take with them? What forest did
+they decide would be a good place to spend a vacation? How did they
+live in this forest? What shelter did they have? What nickname did
+they give Corot? How did he like to paint? How did he dress? What did
+he do while painting? Where was this picture painted? What is it
+sometimes called? What time of day did he usually start out to paint?
+What are the nymphs doing? What did Corot wish to tell us about the
+trees? What did a young art student once ask Corot? What was the
+answer? Of what kind of lines is this picture made up? What colors
+were used? Where are the bright colors? In what part of the forest is
+this picture? What can you see through the open space?
+
+
+=The story of the artist.= From the very first all things seemed to
+favor Corot. Of a naturally happy disposition, born into a family of
+means, and all his life free from financial worries, everything seemed
+to combine to make his life one of care-free ease and pleasure.
+
+His father and mother kept a millinery store; this must have been a
+good business, for they soon accumulated a comfortable fortune.
+
+At ten years of age Corot was sent away to school at Rouen in the hope
+of making a business man of him. He lived with a friend of his father
+who was a serious man but also a great lover of nature. Corot took
+many a long walk with him over narrow, unfrequented paths. They took
+these walks usually at the close of the day, and so Corot's love of
+the twilight hour grew strong.
+
+Upon his return to Paris seven years later, his father placed him in a
+drygoods store, where he remained for nearly nine years. Whenever
+there were no customers the boy would hide under the counter and draw.
+His employer was a good-natured man and he sympathized with Corot in
+his desire to be a painter. So he told the father it was of no use to
+try to make a business man of him as his tastes were all for art.
+
+About this time Corot went to his father and asked his permission to
+study painting. The father was not at all pleased with the idea, but
+decided to let him try. He told his son he had set aside a certain sum
+of money to start him in business for himself and he could choose that
+or a small income which would be allowed him for the study of art. If
+he chose the latter, however, he must not expect any other help from
+his father, as he did not approve of this new venture. But Corot
+embraced his father most affectionately and declared he had made him
+the happiest person in the world. He then proceeded at once to the
+nearest store and bought a complete painter's outfit. Choosing a spot
+by the river near his father's house, he began to paint. He tells us
+how the girls who worked in the millinery store slipped away and came
+to see what he was doing. He never parted with this first painting,
+but kept it as a reminder of his great happiness when he was at last
+free to do "what he most desired in the world."
+
+He studied under several artists, but received little encouragement
+until he went to Rome to study.
+
+Most of the paintings of that time were classical, including Greek
+temples, shepherds, nymphs, or dryads, and such trees as cedars and
+palms. That is why Millet's simple peasants and Corot's misty
+landscapes were not appreciated.
+
+At Rome, Corot became a great favorite among the students because of
+his happy nature and the rollicking, jolly songs he could sing. But as
+for his pictures,--they were considered very amusing.
+
+However, one day as he sat sketching the Coliseum a friend who was
+regarded as an authority on landscape painting praised his work. Corot
+looked around expecting to be laughed at, but no,--the man was in
+earnest. That evening, before all the other students, he remarked that
+Corot might some day become the master of them all. This gave him
+standing among the artists and was greatly appreciated by Corot, who
+always felt that this praise was the beginning of his success. It was
+not long after this that his pictures were exhibited and many honors
+came to him.
+
+Does it seem strange that Corot and Millet, looking upon the same
+woods and people, living and painting so near each other, should
+choose such different subjects? Corot saw the same poor, toilworn
+peasants, and he helped them most generously when they asked him, but
+as for painting them--he did not think of it. Millet saw the same
+beautiful woods, fields, and sky, and loved them all, but to him the
+peasant came first.
+
+He said, "Corot's pictures are beautiful, but they do not reveal
+anything new."
+
+Corot said, "Millet's painting is for a new world; I do not feel at
+home there. I am too much attracted to the old. I see therein great
+knowledge, air, and depth, but it frightens me; I love better my
+little music."
+
+In speaking of another artist he said, "He is an eagle; I am only a
+skylark. I send forth little songs in my gray clouds."
+
+As success came to Corot he was most generous in helping others. Many
+young artists came to study with him, but he would accept no pay for
+his instruction and gladly did all he could to encourage and help them.
+
+He did not have the heart to turn a beggar from his door, and often
+had as many as twenty-five come to him in a day. The story is told of
+a beggar who demanded a larger sum of money than Corot usually gave,
+and was refused. After he left, the artist could not paint; his day
+was spoiled. So he hurriedly ran out after the beggar, gave him the
+money, and all was well again.
+
+During the siege of Paris he gave both time and money to help the
+wounded. "Papa Corot," as the people called him, was greatly beloved.
+
+The demand for his paintings increased. He said that when youth left
+him, honor and fame came to make him still the happiest man in the
+world.
+
+
+=Questions about the artist.= In what ways was Corot favored? What did
+his father and mother do? What did they hope to make of Corot? Where
+was he sent? With whom did he live? Where did they walk? How did this
+influence Corot? Upon his return home, what did he do? What did his
+employer finally do? What did Corot ask his father? What offer did his
+father make? What did Corot decide? What did he do at once? Who came
+to watch him? What became of this first painting? Where did Corot go
+to study? What subjects did most of the artists of Corot's time choose
+to paint? What happened that raised Corot in their estimation? Compare
+the subjects chosen by Corot and Millet. Tell about Corot and the
+beggar. Why did Corot claim to be the happiest man in the world? Does
+this picture make you feel happy or sad? why?
+
+[Illustration: OXEN PLOWING]
+
+
+
+
+OXEN PLOWING
+
+
+=Questions to arouse interest.= How many of you have ever watched oxen
+plowing? How are these oxen geared together? How many oxen usually
+draw one plow? Why do you think they use so many in the field? With
+what part of the body do the oxen pull the plow? Why is the earth
+plowed? How can you tell that the soil these men are plowing is moist
+and fertile? In what direction is the sun? (Look at the shadows.) How
+is the driver urging the oxen on? Where is the farm house? What do you
+consider most interesting about the oxen?
+
+
+      =Original Picture:= Luxembourg Gallery, Paris, France.
+      =Artist:= Rosa Bonheur (b[+o]'nur'').
+      =Birthplace:= Bordeaux, France.
+      =Dates:= Born, 1822; died, 1899.
+
+
+=The story of the picture.= It must have been very early in the
+morning indeed when these men and their oxen started to plow this
+great field, for although the sun is still low in the sky, each group
+of oxen has already plowed two furrows. By those long shadows and the
+light in the sky we know the sun cannot be very high in the heavens,
+and there is that about the ground, the occupation, and the distant
+trees that suggests the season, spring.
+
+We are told that Rosa Bonheur went out into the country to paint this
+picture, and that she had a small shed made into a studio where she
+could keep her canvas and paints. Every evening when she came home her
+father would ask anxiously about the picture, for he was not well
+enough to go to see it and he knew Rosa was working very hard on it.
+
+Even her genius could not make it possible for her to paint such a
+picture as this without much preparation. In fact, she had been
+preparing for it for years,--as far back as when she made her first
+drawing of oxen, and then later when she went to the packing houses
+and made separate studies of each part of an ox. She knew just how
+those great muscles did their work, and just how the curving ribs and
+the joints did their part. In this picture she shows us just enough of
+their movements to make us feel the great strength and power of those
+patient animals.
+
+Our wonder grows anew that even one such powerful ox can be controlled
+by man's will. It is plain to see that the ox nearest us, of the
+middle pair, does resent the prodding with the stick which the driver
+uses so vigorously. His great eye rolls and he looks indignant, but
+it is only for the moment--he accepts all with resignation and
+indifference, knowing that it will be the turn of one of the other
+oxen next. These oxen are geared together by a central pole which is
+fastened to their horns. This causes them to take the entire weight of
+the plow with their horns instead of with their shoulders as our
+horses do. It would seem to be a most uncomfortable arrangement, yet
+they are used to it.
+
+The leaders must be chosen very carefully if the farmer would have a
+straight furrow. It seems as if these first two oxen in the picture
+feel the responsibility, and are glad and willing to do their part.
+There is a look of intelligence about them that makes us certain that
+they know and understand the worth of the thing they are doing.
+
+Oxen in our country are driven by the words "gee," meaning turn to the
+right, and "haw," turn to the left. However, the drivers in this
+picture would not use these words, for they are Frenchmen, and would
+speak to them in their own language.
+
+It is easy to tell that the ground is soft by the way the feet of the
+oxen sink down into it, and by the man's wooden shoe which has half
+slipped off his foot as he starts to lift it from the ground. On this
+quiet, peaceful morning we can almost hear the heavy tread of the
+oxen as they pass us, and the harsh call of the drivers as they urge
+them on. In imagination we can smell the freshly plowed earth. To be
+sure, it is a hard pull up the hill, but how cheerfully, even proudly,
+the oxen pull their load! Look at their backs; you will see a slanting
+line which emphasizes the fact that they are climbing a hill. This
+line is broken somewhat by the slant of the woods in the distance.
+Cover up these distant woods with the hand or a piece of paper and we
+immediately have the uncomfortable feeling that the oxen are going to
+slip back out of the picture.
+
+In this picture the artist has portrayed the intelligent use man makes
+of the power and strength of animals and of the soil. We see so few
+oxen now that we wonder why they were so much used in those days; but
+of course we know it was because the farmers did not have the
+machinery for tilling the ground, sowing, and planting grain that we
+have. Horses were used also, but oxen were cheaper, so all could
+afford them. Then, too, oxen may have been chosen because of their
+superior strength, steadiness, and patience.
+
+The artist has centered our attention on the nearest of the two first
+pairs of oxen. The other oxen and driver are of secondary importance
+and the landscape itself last of all. The artist has accomplished this
+by color, light, and shade, and by a more careful treatment of the
+nearest oxen, showing plainly their intelligent eyes, wrinkled hides,
+and even the play of muscles as they step forward, pulling their heavy
+load.
+
+Rosa Bonheur finished this painting only a short time before her father
+died. As soon as he saw it he knew that his daughter had painted a
+masterpiece, and almost his last words were in praise of her work.
+
+
+=Questions to help the pupil understand the picture.= Why do you think
+these men and oxen must have started to work very early? Why do you
+think it is still early? What time of year do you think it is? why?
+Where did Rosa Bonheur paint this picture? Where did she keep her
+canvas and paints? What preparation did she make before painting the
+picture? What is the driver doing? In what humor does the nearest ox
+seem to be? How are the oxen geared together? Why must they have good
+leaders? How are oxen driven? Why do you think these drivers would not
+use the same words that we should? How can you tell that the ground is
+soft? Do you think the oxen are pulling hard? Why did they use oxen so
+much in those days? What are used now? Upon which of the oxen has the
+artist centered our attention? What is next in importance? last of
+all? How has the artist done this? What did Rosa Bonheur's father
+think of this picture?
+
+
+=To the Teacher:=
+
+SUBJECTS FOR COMPOSITIONS
+
+  The Picture and What It Represents.
+  How This Picture Was Painted.
+  What I Would Consider Most Important in a Picture.
+  Why I Like This Picture.
+  Rosa Bonheur as a Little Girl.
+  Rosa Bonheur as an Artist.
+
+
+=The story of the artist.= Marie Rosalie Bonheur spent the first ten
+years of her life in a little country town. It was almost as good as
+living in the country, for Rosa and her two brothers spent most of
+their time in the woods or fields. At home they had lambs, rabbits,
+and squirrels for pets.
+
+The father was an artist, and since he could not sell many pictures in
+such a little village he decided to move to the great city of Paris. The
+children liked the gay city with its many surprises, but they missed the
+woods and their pets. The first place in which they lived was up several
+flights of stairs and across the street from a butcher's shop. This shop
+had a queer sign. It was a wild boar roughly carved out of wood, but it
+looked so much like the little pet pig Rosa had in the country that she
+used to stop and pet it every time she passed that way.
+
+A man who lived in the same house with the Bonheur family kept a small
+school for boys. Rosa's two brothers went to this school, and after a
+while the teacher said Rosa might come too. She was the only girl in
+the school, but she did not mind that at all. The boys were glad to
+have her with them, for she knew more games than they did and played
+just like one of them.
+
+Her father did not do so well with his painting as he had hoped, so
+they moved into a cheaper house. It was here that Rosa's mother died.
+The father was obliged to send his children where they could be well
+cared for, so the baby daughter, Juliette, was sent to her
+grandmother, the two boys to school, and Rosa went to live with an
+aunt. This aunt sent her to school. To reach the schoolhouse Rosa had
+to walk some distance through the woods. Sometimes she would stop and
+smooth the dust in the road with her hand and then draw pictures in it
+with a stick. Even then she liked to draw pictures of animals best of
+all. Often she had such a good time drawing that she forgot to go to
+school, or was very late, so she did not get along very well and was
+delighted when her father came to take her home. He had married again
+and wanted all his children with him. How happy they were!
+
+A great many stories have been told about the pets they kept in their
+house. Rosa's brother Isidore carried a little lamb on his shoulders
+down six flights of stairs every morning and evening, that it might
+nibble the green grass and be out in the fresh air. It became a great
+pet, and all the children drew its picture in ever so many different
+positions. Besides, they had a parrot, a monkey, two dogs, and some
+rabbits and birds for pets. Their father let them keep these pets in a
+room fitted especially for them.
+
+The father taught in a private school at that time, and was away from
+home all day, but when he came home at night Rosa would show him what
+she had been doing while he was gone. Once she had been painting
+cherries, and her father came home while she was at work on them. He
+praised her very much and helped her finish painting them.
+
+In the evening Rosa, her two brothers, and her father used to put
+their easels in different parts of the big room and draw and paint
+until it was quite late. They would all much rather do this than
+anything else in the world, and it was the only time their father
+could help them.
+
+The father belonged to a religious order called the "Saint Simonians."
+The members wore queer gowns and bonnets with long tassels. Such a
+bonnet with a big tassel Rosa wore on the street, and sometimes boys
+shouted and laughed at her, but she paid no attention to that.
+
+The father secured a teaching position in another private school and
+earned enough money to send his three children there and give them all
+they needed at home.
+
+Rosa did not behave very well in school. Often she was punished,
+sometimes by being given nothing to eat but bread and water. Every one
+liked her, however, for she was good-hearted, kind, and full of fun.
+But finally she did something that could not be overlooked. This is
+what she did. The lady who kept the school was very fond of flowers,
+and above all she loved the stately hollyhocks. She had a beautiful
+bed of them in the front yard of the school that was very much admired
+by all who passed. One day Rosa had been reading in the history about
+war, and she thought it would be fine fun to arrange a battle between
+the school girls. They used wooden sticks for swords. Very soon the
+girls on Rosa's side drove their enemies toward the hollyhock bed,
+where they turned and fled. Seeing the hollyhocks standing guard like
+soldiers, Rosa thought it would be fun to charge upon them, which she
+did, cutting off all their heads with her stick. Is it any wonder she
+was sent home in disgrace?
+
+Her father then sent her to a dressmaker to see if she could learn
+that trade, but Rosa did not like dressmaking and finally went home
+without having learned very much. Then some friends gave her some
+photographs to color. This she liked to do, so her father decided that
+the only thing to do was to let her paint.
+
+Rosa was willing to walk miles in all kinds of weather, to sit hours
+in all kinds of uncomfortable positions, and to go without food in
+order to draw a good picture of some animal. Now she began her study
+of animals in earnest. She went to all the country horse fairs, to the
+slaughter houses, and wherever there was an opportunity to study them.
+
+Rosa never had very pretty clothes. She tells us herself that one day
+a parrot called after her "Ha, ha! That hat!" Now that she was grown
+up she found she could not get about very easily in her long skirts.
+There were so many rough men in the packing houses and in other places
+where she must go to study that she obtained a permit to wear men's
+clothing. Her hair was short, anyway, and with her blue working blouse
+and dark trousers she looked just like a man. Then no one noticed her
+as she went about, for they thought her one of the workmen. People who
+knew her did not mind her dress, and were ready to help her as much as
+they could in her work. The first picture she exhibited was of some
+little rabbits nibbling carrots.
+
+Her pictures became famous the world over. From all over the country
+she received gifts of fine horses and other animals to paint. Buffalo
+Bill once sent her two fine horses from Texas. She bought a farm, and
+had a very large barn built where she could keep her animals.
+
+How proud her father was of her!
+
+One day she was working hard in her studio when a servant came to tell
+her that the Empress Eugenie had come to see her. It was a great event
+when this royal lady came to the artist's studio; and there was Rosa
+dressed in her old blue blouse covered with paint! She did not have
+time even to slip it off before the empress came in, but they had a
+most delightful visit. As the Empress Eugenie bent over and kissed
+Rosa Bonheur, she pinned the Cross of the Legion of Honor on the
+artist's blue blouse. Rosa did not notice it until after the Empress
+was gone. How pleased she must have been, for she was the first woman
+to receive that honor.
+
+
+=Questions about the artist.= What is the artist's full name? Where
+did she live the first ten years of her life? What did the father do
+for a living? Why did they move to the city? How did the children like
+this change? In what kind of a house did they live? Tell about Rosa
+and the wild boar; the school for boys. Why did they move? What became
+of the children after their mother died? Why was Rosa often late to
+school? Who came to take her home? Tell about the new home and the
+pets; Isidore and the lamb. How did they all spend their evenings?
+Tell about the "Saint Simon" bonnet. How did Rosa behave at the
+private school? Tell about Rosa and the hollyhocks. How was she
+punished? What trade did her father wish her to learn? What was she
+willing to do in order to paint pictures? Where did she go to study
+animals? How did she dress? Why did she dress like a man? What
+presents did she receive? Where did she keep them? Tell about the
+visit of the Empress Eugenie. How did she honor Rosa Bonheur?
+
+
+
+
+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 2 Replaced colon with a semi-colon after "1814" located in
+  "Born, 1814:".
+
+* Pg 51 (k[+o]'r[+o]'') and Pg 63 (b[+o]'nur'') contains the + symbol
+  representing an "up tack" not represented in any charts.
+
+
+
+
+
+End of Project Gutenberg's Stories Pictures Tell, by Flora L. Carpenter
+
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