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diff --git a/31411.txt b/31411.txt new file mode 100644 index 0000000..152f7c9 --- /dev/null +++ b/31411.txt @@ -0,0 +1,2210 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL *** + +***** This file should be named 31411.txt or 31411.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/4/1/31411/ + +Produced by D Alexander, Larry B. 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