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+The Project Gutenberg EBook of Stories Pictures Tell, by Flora 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 One
+
+Author: Flora Carpenter
+
+Release Date: May 21, 2010 [EBook #32471]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL ***
+
+
+
+
+Produced by Larry B. Harrison and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Illustration: Title Decoration]
+
+  STORIES
+  PICTURES TELL
+
+  BOOK ONE
+
+  _By_
+  FLORA L. CARPENTER
+  _Instructor in drawing in Waite High School, Toledo, Ohio_
+
+  _Illustrated with Half Tones from
+  Original Photographs_
+
+  RAND McNALLY & COMPANY
+  CHICAGO       NEW YORK
+
+
+
+
+  _Copyright, 1918_
+  BY RAND MCNALLY & CO.
+
+[Illustration: Publisher's symbol]
+
+
+
+
+THE CONTENTS
+
+
+  SEPTEMBER AND OCTOBER                                         PAGE
+
+    "Feeding Her Birds"                     _Millet_               1
+
+    "Children of Charles I"                 _Van Dyck_            10
+
+
+  NOVEMBER, DECEMBER, AND JANUARY
+
+    "Four Little Scamps Are We"             _Adam_                21
+
+    "Madonna of the Chair"                  _Raphael_             27
+
+
+  FEBRUARY AND MARCH
+
+    "Miss Bowles"                           _Reynolds_            35
+
+    "Two Mothers and Their
+      Families"                     _Elizabeth Bouguereau_        42
+
+
+  APRIL, MAY, AND JUNE
+
+    "Can't You Talk?"                       _Holmes_              48
+
+    Review of Pictures and Artists Studied
+
+  _The Suggestions to Teachers_                                   53
+
+
+
+
+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 are planned for the usual drawing period of
+from twenty to thirty minutes, and have been given in that time
+successfully.
+
+                                                  FLORA L. CARPENTER
+
+[Illustration: FEEDING HER BIRDS]
+
+
+
+
+STORIES PICTURES TELL
+
+FEEDING HER BIRDS
+
+  =Original Picture:= Lille Museum, Lille, France.
+  =Artist:= Jean Francois Millet (zhaeN fraeN'swae'' m[=e]'l[)e]'').
+  =Birthplace:= Gruchy, France.
+  =Dates:= Born, 1814; died, 1875.
+
+
+=Questions to arouse interest.= What do you see in this picture? What
+are the children doing? Where do they live? On what are they sitting?
+Whom can you see behind the house? What is he doing? What do you think
+the children were doing before their mother called them? why? What
+does the hen expect? What else do you see in the picture? What time of
+day do you think it is? Why is this picture called "Feeding Her
+Birds"? How many like it? why?
+
+
+=The story of the picture.= In a tiny white cottage in a little
+village in France, lived a painter with his wife and nine children.
+This painter's name was Jean Francois Millet, and although quite poor
+his was a very happy family. Nearly every morning the father worked
+hard in his garden behind the house, and every afternoon in a queer
+little old room he called his studio. Here he painted beautiful
+pictures of places and people he saw and loved. Almost all of his
+pictures are of the country and of people who worked, because he knew
+most about them and because he loved them best.
+
+Sometimes he finished his work in the garden very early, and then he
+was glad, for he liked better to paint than to do anything else in the
+world.
+
+One day when he looked out through the window of his studio he saw a
+much prettier picture than the one he was painting. He saw three of his
+children sitting in a row on the doorstep, while the mother fed broth to
+each of them in turn from a wooden spoon. As they crowded close together
+they reminded him of some little birds he had been watching that
+morning. You know how little birds open their bills and crowd toward the
+edge of the nest when the mother bird feeds them? Millet thought he
+would paint this picture, and name it "Feeding Her Birds."
+
+See how the mother tips forward on the stool as she bends toward the
+three children. That is a wooden spoon she holds in her hand, and it
+is full of hot broth from the bowl in her lap. The children seem to
+be very hungry. No doubt they have been playing hard all the morning.
+
+It is easy to see with what the little girl at the left-hand side of
+the picture has been playing. She holds her wooden doll very close,
+and loves it just as much as if it were china and had real hair as
+your own doll has. She is the eldest of the children, and you can see
+she is unselfish because she sits patiently by while her baby brother
+and little sister get the first taste of the delicious broth.
+
+The boy and the younger girl must have been playing with the basket
+and cart you see in the picture, for the basket is overturned as if it
+had been dropped in a hurry when the mother came to the door with the
+broth. Now the playthings are quite forgotten.
+
+The boy opens his mouth wide as he leans forward for the first taste,
+while the little sister puts her arm around him to hold him steady. As
+she watches him, she opens her mouth, too.
+
+See the hen running toward them! She thinks there will surely be
+something for her to eat, too.
+
+The three children wear long aprons all alike, and the queer wooden
+shoes that the peasants always wore in those days. What a clatter
+those wooden shoes must have made even when the children played in
+the yard! And what a noise they made on the wooden floors in the house
+unless the children walked very carefully!
+
+The girls wear bonnets tied with string, while the boy has a cap that
+looks very much like a tam-o'-shanter, except that it, too, is tied
+under his chin. The mother wears a handkerchief on her head and
+another round her neck. Her dress looks thick and warm, and so do the
+children's dresses. It must be a cool day, for even the doll is
+wrapped in a shawl.
+
+The man behind the house is working busily in the garden. Millet must
+have thought of himself when he painted this man, for, like the father
+bird, he must work hard to get enough food for his family. Sometimes
+there was very little, and the bread had to be divided into such tiny
+pieces that the children were still hungry when they had eaten their
+share.
+
+We know it must be about noon because the shadows in the picture are
+so short. What a nice big yard these children had to play in, and what
+good times they must have had playing all kinds of games! They had
+lived in the city of Paris several years and for that reason, no
+doubt, they liked to play "keeping store" best of all. They gathered
+acorns, stones, and flowers, and placed them on a big wooden box for
+a counter. Then they took turns being storekeeper.
+
+Perhaps to-day it had been the boy's turn, and he had stood behind the
+counter ready to sell his goods. The younger girl had come first,
+carrying a basket. Probably they called the stones oranges or apples,
+and, judging by the overturned basket, the little girl must have bought
+at least a dozen. Next had come the little mother, with her doll baby
+riding in the cart. This cart is hardly large enough for the doll and so
+it had to be guided very carefully to keep dolly from falling out.
+
+When the mother called, the elder of the two girls had caught up her
+doll quickly, leaving the cart behind; the younger sister had tossed
+her basket of oranges away in glee, while the boy forgot all about his
+store at the thought of the hot broth they were to have.
+
+The high doorway of this little one-story, whitewashed house of
+plaster and stones is just wide enough for the three children to sit
+one beside the other. That great vine growing up beside the door is
+probably an ivy vine, for we are told that the little white cottage is
+still standing and is completely covered with ivy.
+
+Everything you see in the picture is home-made,--the clothes, the
+doll, the spoon, the cart, the basket, and even the milking stool
+upon which the mother is seated.
+
+Sitting there in the bright sunlight, these round-faced, happy little
+children will soon finish their broth; then they will be ready to
+begin the "store-keeping" game again.
+
+
+=Questions to help the pupil understand the picture.= In what country
+did these children live? In what kind of house did they live? What
+grew up beside the door? What did their father do for a living? What
+was his name? Where did he paint his pictures? What kind of pictures
+did he like best to paint? why? How did he happen to paint this
+picture? Why did he call the picture "Feeding Her Birds"? Upon what is
+the mother sitting? What kind of a spoon has she in her hand? What is
+in it, and in the bowl in her lap? What makes you think the children
+are hungry? Which one is fed first? Which one will probably wait until
+the last? why? How are the children dressed? What kind of shoes have
+they? How many of you have ever seen wooden shoes? How is the mother
+dressed? What makes you think it must be a cool day? What do the
+shadows tell us of the time of day? What game did these children like
+to play? What did they have to play with? Who made their toys and
+clothes? What did they do when their mother called them? What makes
+you think they were happy children?
+
+
+=To the Teacher:= After the story is told, the children should be
+allowed to act out the picture. Stools or kindergarten chairs placed
+in the schoolroom doorway, and a spoon, a doll, a cart, and a basket,
+which the children will gladly bring from home, are all the
+accessories needed. It is well to let the pupils act out the game
+which the children are supposed to have been playing when the mother
+called them, as well as the story in the picture itself.
+
+
+=The story of the artist.= Shall we tell you something about the man,
+Millet, who painted this picture?
+
+Jean Francois Millet was the son of poor French peasants. His father was
+a good man, very fond of music and of all beautiful things out of doors.
+Sometimes he would say to his son, "Look at that tree, how large and
+beautiful it is; as beautiful as a flower!" He would call his son's
+attention to the fields, the sunsets, and all things around him.
+
+Millet's mother worked in the fields with his father all day long. So
+it was his grandmother who rocked him to sleep and cared for him while
+he was very little. She was the one who named him Jean after his
+father, and Francois after the good St. Francis. She was a religious
+woman, and almost the only pictures Millet saw when he was a boy were
+those in his grandmother's Bible. He copied them many times, drawing
+them with white chalk on the stone wall. This pleased the grandmother
+very much, and she encouraged him all she could.
+
+When he was eighteen years old Millet drew his first great picture. This
+is how it happened. As he was coming home from church he met an old man
+with bent back leaning on a cane as he walked slowly along. Something
+about the bent figure made Millet want to draw a picture of him. So,
+taking some charcoal from his pocket, he drew the picture on a stone
+wall. The people passing by knew at once who it was; they were pleased
+and told Millet so. His father, too, was delighted, for he himself had
+once wished to be an artist. He decided that his son should become what
+he had wished to be; so he sent him to a good teacher.
+
+Millet worked very hard, but for a long time his pictures did not
+sell, and he was very poor. After a while people saw what wonderful
+pictures he could paint, and they were glad to let him know how much
+they thought of him and of his beautiful paintings.
+
+
+=Questions about the artist.= Who painted this picture? What kind of a
+man was his father? What did he tell his son about the trees? What did
+Millet's mother do? Who took care of Millet while his parents worked
+in the fields? What kind of pictures did Millet have to look at? What
+did he draw first? Where did he draw? Who helped him? Tell about the
+old man leaning on a cane. On what did Millet draw his picture? Who
+saw it? What did they say? What did his father say? What did he wish
+his son to be? What did Millet do then? What do people think of his
+pictures now? How many of you like this picture?
+
+
+
+
+CHILDREN OF CHARLES I
+
+  =Original Picture:= Turin (t[=u]''r[)i]n) Gallery, Turin, Italy.
+  =Artist:= Sir Anthony Van Dyck (v[)a]n d[=i]k'').
+  =Birthplace:= Antwerp, Belgium.
+  =Dates:= Born, 1599; died, 1641.
+
+
+=Questions to arouse interest.= What are these three little children
+doing? Who are they? Did you ever have your picture taken? Where did
+you go to have it taken? Where do you think these children are? Why
+did they not go to a photographer as we do? Who, do you suppose,
+brought them to the studio? How are they dressed? How long do you
+suppose these children had to stand to have their picture painted? How
+did the photographer tell you to stand? What is the baby holding in
+his hands? What do you see on the rug in front of the little girl? Why
+do you suppose the dog sits so quietly near Prince Charles? Which
+child should you like best to play with? Who painted this picture? Do
+you like it? why?
+
+
+=The story of the picture.= Once there lived a very beautiful queen
+and a very proud king. They had three beautiful children, whom they
+loved very dearly. They were very proud of these children, and gave
+them everything they could to make them happy.
+
+The child standing so straight with his hand on the dog's head is a
+boy, although he is dressed much like a girl. His name is Prince
+Charles. He had the finest little pony and cart you ever did see. His
+sister, Mary, the little girl standing beside him, had a very
+beautiful doll that could do so many wonderful things that it really
+seemed to be alive. The baby, Prince James, had such a great number of
+toys they almost filled a large room. There were several servants who
+brought out the toys and put them away again, and who had nothing else
+to do but wait upon these children. The children had a fine large yard
+to play in, too. It was so large that people called it a park. The
+king had his gardener build a seat up in one of the big oak trees, and
+there the children could play all kinds of games.
+
+It was great fun to climb up into this seat, where they were just as
+high up as the birds. On windy days the big tree would rock back and
+forth just like a swing. One day they were having a good time in the
+park when they were told their mother wanted them. They were to be
+dressed to go and have their pictures painted.
+
+There were no cameras in those days, so there was no photograph
+gallery to go to. But instead, there was a great artist whose name was
+Sir Anthony Van Dyck. He painted beautiful pictures with oil paints.
+Prince Charles had already had his picture painted so many times he
+probably would not have cared to go if it had not been for the boat
+ride he knew he would have. You see, the king's palace and Sir Anthony
+Van Dyck's house both stood near the banks of the same river. Sir
+Anthony had a private boat landing made just for the king and queen
+and their children. The king liked so much to watch Sir Anthony Van
+Dyck paint that he used to visit him nearly every day. He had several
+fine boats to take him there.
+
+It must have taken a long time before the children were dressed and
+ready to go. "Baby Stuart," as people loved to call little Prince James,
+wore blue silk, trimmed with lace. His brother wore rose-colored silk,
+with a large lace collar and cuffs. I don't see how he could run or even
+walk in such a long, heavy dress; do you? It looks as if it were his
+very best dress. Probably he had a shorter one to play in.
+
+How strange it seems that both the boys wear bonnets tied under their
+chins, while the little girl does not. Perhaps they did not want to
+spoil her pretty curls. Princess Mary's dress is white satin, trimmed
+with lace. She looks like a grown-up lady in that dress. People said
+she looked just like her lovely queen mother. No doubt her mother
+curled her hair and put the string of pearl beads around her neck.
+Probably the queen mother also gave Baby Stuart the big red apple he
+holds in his hands. He was only two years old, and she thought he
+might get hungry or need something to play with.
+
+[Illustration: _Children of Charles I_]
+
+When at last they were all ready, the boats were waiting for them.
+Several ladies went with the queen, so it was quite a party. It was a
+beautiful ride down the river to Sir Anthony Van Dyck's house. When
+at last the boats came to the landing place, very likely Prince
+Charles was the first to jump on shore.
+
+The great Sir Anthony Van Dyck himself came out to meet them. He was
+glad to have three such lovely children to paint. He was very fond of
+children and then, too, he always liked to have a great many people
+about him. When the party entered his studio,--the room where Van Dyck
+painted,--they found many people already there. The ladies wore
+beautiful dresses and the men, too, were dressed in velvets and silks,
+and carried shining swords. Sir Anthony Van Dyck had a very large,
+fine dog, and as soon as the dog saw the children he came right up to
+them. He seemed to like Prince Charles best, and sat beside him all
+the time his picture was being painted. He liked to feel the soft
+stroke of Prince Charles's kind hand.
+
+Baby Stuart stands upon a raised platform and his head is almost as
+high as his sister's. He looks a little shy as he stands there,
+holding his apple tight in his chubby little hands. His sister Mary
+must have held some roses in her hand and dropped them. Can you see
+them on the rug, in front of her? If Baby Stuart should drop his
+apple, perhaps the dog would bring it to him.
+
+Sir Anthony Van Dyck was very fond of music, and always had some
+musicians playing while he painted. The children liked the music, too,
+and it made them forget they were standing still so long. The ladies
+and gentlemen talked together in another part of the room, but this
+did not disturb the artist. He was so absorbed in his work that he did
+not hear them, and no one would have thought of interrupting him.
+
+The children stood still almost half an hour that day before the artist
+said, "That will do"; and they came several times before Sir Anthony Van
+Dyck could finish painting their faces. Then he told their mother to
+send him the three little dresses the children were wearing, and he
+would paint them without the children. You may be sure the children were
+glad they did not need to stand while the dresses were being painted.
+
+Sir Anthony Van Dyck painted a curtain just back of the children, and
+through the window we see a rosebush which may be the one from which
+the little Princess Mary picked her roses. The great artist painted
+many pictures of these three children, but the king and queen liked
+this one best of all.
+
+A long time after this picture was painted the father, King Charles I,
+was beheaded by some of his people who did not like him. Prince
+Charles grew up to be King Charles II. He did not like to do anything
+but have a good time, so people called him the "Merry Monarch." He
+nearly always took a dog with him wherever he went, even to church. He
+seemed to like a certain very small dog best, and people named these
+dogs after him. They called them "King Charles spaniels." Have you
+ever seen a King Charles spaniel?
+
+When Princess Mary was only ten years old she was married to the
+Prince of Orange, who was then only fifteen years of age. But she
+lived in her own home until she grew up. When at last she did go to
+live in her husband's country every one was glad to see her, for she
+was such a good and wise princess. She often helped her brothers, too,
+for it seemed as if they were always in trouble.
+
+Baby Stuart grew up to be a great naval officer, who fought and won
+battles on a big boat at sea. When his brother, King Charles II, died,
+he became King James II.
+
+When you look at this picture of Baby Stuart you feel sure he will
+grow up to be a good king. But, do you know, he was not a good king.
+The people did not like him at all, and even drove him out of the
+country. But we like to think of him always as a pretty baby whose
+queen mother used to sing him to sleep just as other mothers do.
+
+These three children liked to play and have a good time just as much
+as we do. It would be great fun to visit them and play with them,
+would it not?
+
+
+=Questions to help the pupil understand the picture.= Whose children
+are these? Where did they live? Where did they play? Which one is
+Prince Charles? Tell about him. When he grew up what did he become?
+What kind of a king was he? What kind of dogs were named after him?
+why? How is he dressed in this picture? Whose dog is he petting? Who
+stands next to him? What color is Princess Mary's dress? Whom did she
+look like? Why do you suppose she does not wear a cap or bonnet like
+her brothers? How is her hair combed? How old was she when she married
+the Prince of Orange? What kind of a princess was she? Whom did she
+help? Upon what is Baby Stuart standing? What color is his dress? When
+he grew up, what did he become? What kind of a king was he? How old
+was he when this picture was painted? Where was it painted? Who
+brought the children to the studio? How did they bring them? Who met
+them at the landing? What kind of a place was this studio? How long
+did the children stand? What helped to keep them from getting tired?
+After Sir Anthony Van Dyck had painted their faces, what did he say
+about their dresses? What did the king and queen think about this
+picture? What do you think about it?
+
+
+=To the Teacher:= Allow the children to act out the story. They will
+enjoy representing the children at play in the park, getting dressed
+for their picture, and finally posing for it. Wrapping paper or even
+common newspapers may be used to make the stiff, long skirts and the
+caps. A make-believe boat is satisfactory. A kindergarten stool will
+do for the platform on which Baby Stuart is standing.
+
+
+=The story of the artist.= Sir Anthony Van Dyck's father kept a silk
+store and sold beautiful silks to rich people. He met so many fine
+folks that he tried to be like them himself, and soon had as fine
+manners as the best of them. This made him just a little bit too
+proud, so that he no longer cared to have anything to do with any one
+who was common or poor.
+
+The boy Anthony grew up with something of the same feeling. When he
+was very little he did not like to play with other boys, but preferred
+to sit in his father's shop where the great ladies came to buy silk.
+He liked to have them smile at him, and to smile shyly back at them.
+
+Anthony's mother made the most exquisite embroidery and painted
+beautiful flowers. She gave the little boy his first lessons in
+painting. By the time Anthony was old enough to go to school his
+parents had become very rich, and nothing was too good for their
+little boy. He liked to draw better than anything else, and so when he
+was fourteen years old they sent him to a good teacher to learn how to
+draw and paint. Here he worked very hard. He did so well that in two
+years, when he wanted to study with the great Dutch artist, Rubens,
+the artist was glad to have him as his pupil.
+
+There were a good many boys in the class. One day their teacher,
+Rubens, went out for a long walk. He always locked the door of his
+private studio and no one else had a key, except a servant. The boys
+wanted so much to see what was in that room that they finally
+persuaded the servant to let them in. Once inside the studio, they
+crowded close around the new picture Rubens was painting, and one of
+the boys was pushed against it. His coat sleeve rubbed off the chin
+and arm of the Virgin the artist was painting. The boys were terribly
+frightened, and did not know what to do. Finally they decided that the
+chin and arm must be painted in again. All said that Anthony could do
+it better than any of the rest.
+
+So well did he paint that even Rubens did not know anything had
+happened. When he did find out about it he was so pleased to know
+that his pupil could paint so well he did not scold the boys at all.
+After that he often let Anthony help him paint his pictures.
+
+Sir Anthony Van Dyck went on many long journeys to see the work of
+other artists. He had eleven brothers and sisters, for whom he was
+always doing helpful things. He admired beautiful silks, satins,
+velvets, and lace, and liked best to paint people wearing fine
+clothes. He did it so well, too, that all the people of King Charles's
+court wanted him to paint their portraits. He could always make them
+good looking, for even if they had very ugly faces, he painted such
+beautiful clothes on them that they made lovely pictures.
+
+He must have loved children, for all his paintings of them look as if
+he did.
+
+
+=Questions about the artist.= Who painted this picture? Tell about his
+mother and father. What did Sir Anthony Van Dyck like to do when he
+was a little boy? Who taught him to draw? With what great artist did
+he study when he was older? What happened to one of Rubens's pictures?
+Who painted it over again? Why did Rubens not scold him? What did Sir
+Anthony Van Dyck like to paint best? What makes you think he must have
+loved children?
+
+
+
+
+FOUR LITTLE SCAMPS ARE WE
+
+  =Artist:= Julius Adam ([)a]d''[)a]m).
+  =Birthplace:= Unknown.
+  =Dates:= Unknown.
+
+
+=Questions to arouse interest.= How many of you like little kittens?
+How many have a kitty at home? What are these little kittens doing?
+Where do you think they are? What makes you think they are all well
+fed and cared for? What is the color of their fur? How many of them
+look happy? How many have a ribbon around the neck? What do you
+suppose these little kittens have been doing? Which one would you
+choose for your pet? why? Do you think this is a good picture of
+kittens? Why do you think so? Why do you suppose it is called "Four
+Little Scamps Are We"?
+
+
+=The story of the picture.= Once there was a man named Mr. Adam, who
+had four little kittens just like these. He liked to watch them play,
+and they loved him because he was so kind to them. He must have found
+it very hard to make them keep still long enough for him to paint
+their pictures. Probably he put them in a large glass cage with wire
+over the top, as so many painters of cats have done. The wire was
+placed over the top so the kittens could have plenty of air. Sometimes
+Mr. Adam would drop a ball or string down through the wire into the
+cage and play with the kittens. The sides of the cage were made of
+glass so that he could watch them while he painted, no matter in what
+part of the cage they might be.
+
+Perhaps these four little kittens have just had a fine romp through
+the house. What do you suppose they had for breakfast? Probably a
+saucer full of milk, which is just what little kittens like best.
+
+Mr. Adam has finally succeeded in chasing his four roguish little
+kittens into the cage. They do not mind staying in the cage to please
+him, for they like to have him talk to them and play with them. They
+try to look their very best for him, and wonder which one he will take
+up first. Sometimes he must like to take them up in his arms and pet
+them. Which one would you like to take in your arms?
+
+These four pretty kittens must be very happy, for they look as if they
+were well cared for. That first little kitten at the left-hand side of
+the picture seems happy. We suspect she is purring. That is the way she
+lets us know she is happy, just as children sing when they are happy. I
+am sure she would like to lie in your lap and let you pet her. She
+holds her head a little to one side, and her bright eyes seem to say,
+"I may be little, but I'm spry. Just roll a marble toward me, and see."
+
+[Illustration: _Four Little Scamps Are We_]
+
+How very wise the second little kitten looks! Perhaps she is proud of
+her white collar and cuffs. I am sure she keeps them nice and clean.
+Such a baby she is, to be so thoughtful! But she likes to play, too,
+no doubt. What do you suppose she is thinking about? Maybe she is
+thinking of a nice, soft red ball in a basket in the sewing room, and
+after her picture is painted perhaps she means to get that ball and
+surprise the other kittens. Then they will all roll over and over on
+the floor with it. Or maybe the mamma cat has told her she will show
+her how to catch a mouse. She will need to keep very quiet then, or
+the mouse will hear and run away.
+
+The third little kitty is almost all white. She looks as if she saw a
+bird. We hope she is not such a naughty kitty as to try to catch our
+pretty birds. I am sure Mr. Adam will not want her to do that, and
+will teach her better. But, do you know, I believe it is a fly she
+sees, and I hope she will catch that. She surely does look as if she
+were planning some mischief as she crouches there ready for anything.
+
+The last little kitten seems to say, "Oh, look at my pretty ribbon! I
+am the only one of us that wears a ribbon! Is it not fine?" No wonder
+he holds his head so high! His fur is striped, and he looks like a
+little tiger kitten.
+
+With such bright eyes and such sharp ears it is no wonder cats hear
+and see the little mice that go about so quietly. Do you know why a
+cat has whiskers? They say that the whiskers are always as wide as the
+widest part of the cat's body, so that when she wants to go through a
+hole in the fence, or through any narrow place, she can tell whether
+the opening is large enough. If her whiskers just touch, she can go
+through all right; but if they are pushed back, then it is of no use
+for her to try, for there will not be room enough to pass.
+
+Have you ever noticed the color of little kittens' eyes? They are
+nearly always blue when the kittens are very little, but turn yellow
+as they grow older. Their eyes are very different from ours, for they
+can see in the dark as well as in the daytime.
+
+What soft little cushions they have on their feet! No wonder they can
+go about so quietly. When they like you, they keep their claws hidden
+in those cushions, and so they do not scratch when they play with you.
+
+Did you ever watch a cat sharpen her claws? She usually sharpens them
+on the trunk of a tree, but sometimes she likes to sharpen them on the
+carpet or rug. Your mamma does not like that. Even little kittens have
+very sharp teeth and claws, and if you tease them, or they are afraid,
+they bite and scratch. These little kittens look as if they had never
+been teased or felt cross, and we would not be a bit afraid to pet them.
+
+
+=Questions to help the pupil understand the picture.= Where do you
+suppose Mr. Adam put these kittens when he wanted to paint them? Why
+put them in a glass cage? Why have wire over the top? Why do the
+kittens like to stay in the cage? Which of the kittens has a ribbon
+around the neck? How does he seem to feel? What does the next kitten
+seem to be about to do? What color is she? What is the next little
+kitten doing? How does a kitten tell us that she is happy? Why does a
+cat have whiskers? How do a cat's eyes differ from ours? What have
+cats on their feet that help them to walk quietly? Of what use are
+their claws? What does a cat do when she is angry? How does she
+sharpen her claws? What does she do with them if she likes you?
+
+
+=To the Teacher:= Allow the children to talk freely of their kittens
+at home. Have them draw a kitten with charcoal on manila paper. Even
+if the results are not much in themselves, their powers of observation
+will be quickened, as is always shown when the same drawing is
+attempted a few days later.
+
+
+=The story of the artist.= We know that Mr. Adam must have been very
+fond of cats, because he has painted so many pictures of them; but
+that is all we really do know of him. One authority gives the first
+letter of his name as S., the dates of his birth and death as 1801 and
+1867, and his birthplace, Italy. Another authority gives the same
+dates but the initial letter J. and the birthplace, France. The
+paintings are signed T. or J. Adam, but no record has been kept of the
+artist's life.
+
+
+=Questions about the artist.= Who painted this picture? Why do you
+think he must have liked cats?
+
+
+
+
+MADONNA OF THE CHAIR
+
+  =Original Picture:= Pitti Palace, Florence, Italy.
+  =Artist:= Raphael Sanzio (rae''f[+a] [)e]l saen''zy[=o]).
+  =Birthplace:= Urbino, Italy.
+  =Dates:= Born, 1483; died, 1520.
+
+
+=Questions to arouse interest.= Whom do you see in this picture? Who
+is sitting in the chair? Who leans against the mother's knee? What is
+he holding under his arm? At whom is he looking? Why do you think he
+loves the baby? How many have a baby brother at home? What has the
+mother on her head? Around her shoulders? What makes you think the
+baby is not sitting very still? Who painted this picture?
+
+
+=The story of the picture.= A long time ago a good old man whose name
+was Bernardo lived all alone in a little house in the woods. If people
+were lost in the woods, or tired, or hungry, they always came to him
+and he would help them. It was his work to take care of the trees and
+see that only the oldest and largest were cut down. But there was one
+large oak near his house he never would let the men cut. Its branches
+kept his house cool in summer with their shade, and in the winter they
+sheltered it from the bitter cold winds. Bernardo, living all alone
+and with no one to talk to, used to talk to the tree. And the big oak
+would nod its branches as if it understood every word.
+
+All the trees belonged to a man who used the wood to make barrels. He
+made hundreds and hundreds of barrels, and though it took a great many
+trees to give him wood enough, he always spared the oak tree.
+Sometimes when this man came out to see about his trees his little
+daughter Mary came with him. And so Bernardo and little Mary became
+great friends. In fact, the old man said he had only two friends, the
+oak to whom he talked and little Mary who talked to him.
+
+One day there was a dreadful storm and Bernardo's little house shook
+so in the wind that he was afraid to stay in it. He looked at the oak
+tree, and it seemed to motion to him and tell him to come into its
+branches, where he would be safe. So he put some bread in his pocket,
+for he knew the storm would last a long time, and climbed up into the
+tree. It was a good thing he did so, too, for very soon his house was
+blown down. Hundreds of birds also hid among the branches of the big
+tree during the storm, which lasted three days.
+
+The old man wished he had brought more bread to eat, for the ground
+was covered with water so deep he did not dare leave the tree. Just as
+he began to think he would starve, Mary and her father came in search
+of him and took him to their home. Little Mary had been thinking of
+him all the time, and just as soon as they could they had come for
+him. So you see his two friends, Mary and the oak, had saved his life,
+and Bernardo loved them more than ever. He prayed that in some way his
+two good friends might always be remembered together.
+
+[Illustration: _Madonna of the Chair_]
+
+Many years after, Bernardo died. By that time the oak was so old it
+seemed as if it would fall over and break the other trees near it, or
+maybe hurt somebody. So it was cut down, and Mary's father had it made
+into fine new barrels. By this time the little Mary had grown up, was
+married, and had two fine boys of her own. She was sitting out on the
+nice big porch of her home one day, holding the baby in her arms, when
+the older boy came running to her to show her a stick which one of the
+workmen had carved into a cross. And who should happen to be passing
+the house at that very moment but the great artist, Raphael.
+
+When he looked up and saw the lovely mother and her children, he
+thought he had never seen anything so beautiful. He was on his way
+home after a long walk, and did not even have his paints with him. But
+he saw the empty barrels in the yard, and choosing one with a nice
+smooth head, he drew on it, with a piece of charcoal, a picture of
+Mary and her children. He took the drawing home with him and painted
+this great picture. So the old man's wish came true, for this barrel
+end made from the old oak tree, with the picture of Mary and her
+children upon it, has become famous over all the world.
+
+Such a round-faced, healthy, happy-looking baby, held tight in the
+loving clasp of his mother's strong arms! Perhaps he is getting tired
+of sitting so long for his picture, and wants to go down and see what
+the artist is doing. His chubby little arms and feet make us think he
+is not sitting very still. His lovely mother bends her head toward
+him. Her head is covered with a handkerchief, and there is such a
+beautiful shawl around her shoulders. The older boy looks with love
+and adoration at his sweet baby brother, who is looking toward us.
+What a beautiful old carved chair they must have been sitting in!
+
+The mother's face was so good and kind, and she looked so lovely there
+on the porch with her children, that she reminded Raphael of that
+other mother, Mary, the mother of the baby Jesus. The elder brother
+looked like the little St. John adoring Jesus. So Raphael painted a
+halo around their heads and called the picture the "Madonna of the
+Chair." This halo is a ring of light which artists often paint around
+the heads of angels and saints. Raphael wanted to make us think loving
+and tender thoughts about the baby Jesus, Mary, and St. John.
+
+
+=Questions to help the pupil understand the picture.= Who was
+Bernardo? Where did he live? What did he do? Why did he not cut down
+the oak tree near his house? To whom did he talk? How did the oak
+tree seem to answer him? Who was Mary? Tell about the storm. How long
+did it last? Who came in search of Bernardo? Why did he pray that his
+two friends might be remembered together? What became of the oak tree?
+of Mary? Who painted her picture? Where was she? On what did the
+artist paint the picture? why? Why is the picture round? How did this
+make Bernardo's wish come true? Of whom did Mary and her children make
+the artist think? Why did he paint the halo around their heads? What
+is a halo? Why is the picture called the "Madonna of the Chair"? Of
+whom did the artist want to make us think?
+
+
+=To the Teacher:= Have the children retell the story of the picture.
+
+
+=The story of the artist.= Raphael's father was a painter, and
+belonged to a family of painters. Perhaps there never was a more
+fortunate little boy born to more loving parents. And perhaps that,
+too, is the reason he grew up with such pleasant ways and such a sweet
+nature that every one who knew him loved him. It made people happy
+just to be with him.
+
+Raphael's father taught him how to mix paints, and showed him how to
+wash and care for his brushes. He gave him his first lessons in
+drawing and painting. Raphael's mother died when he was only eight
+years old, but he had a stepmother who was very good to him indeed,
+and helped him all she could. A few years later his father died, and
+so it was through the help of a generous uncle that he was sent to the
+studio of the great artist, Perugino, to study. The artist-teacher was
+very fond and very proud of Raphael, whose work soon became even
+better than his own.
+
+Raphael was never jealous or unkind toward others who did things
+better than he could do them. And he made those who could not do so
+well as he feel kindly toward him and be glad of his success. He did
+all he could to help poor artists, and was never too busy to see them.
+Whenever he went to court to see the king and queen he was just like a
+prince in a fairy story. About fifty of these poorer artists and
+friends always went with him to show everybody how much they loved and
+admired him. It was just like a parade.
+
+One day the Pope--Pope Julius--sent for him and told him that he
+wanted him to paint some good pictures on the walls of four of the
+rooms in his palace, the Vatican. On these walls pictures had been
+painted which the Pope did not like, and he thought Raphael would know
+just what to do to make his palace the most beautiful in the world.
+Raphael worked very hard, for he wanted to please the Pope. Many of
+the pictures had to be painted on the ceilings, and he had to lie flat
+on his back on a large board placed across two ladders. You may be
+sure he grew very tired.
+
+Some days he took long walks in the country. It was when returning
+from one of these long walks that he painted the "Madonna of the
+Chair." He painted over forty Madonnas. This Madonna is seated in a
+chair, and that is why it is called the "Madonna of the Chair," or
+"_Madonna della Sedia_." Most of his paintings are of stories told in
+the Bible. He painted over two hundred eighty-seven pictures. The
+artist's last name was Sanzio, but people have always called him by
+his first name, Raphael.
+
+
+=Questions about the artist.= Who painted this picture? What kind of a
+boy was he? Why did people like him? Who taught him to draw and paint?
+Who else helped him? What happened when he went to see the king and
+queen? What did the Pope ask him to do? How did he paint the ceiling?
+Where did he like to walk? How did he happen to paint this picture?
+What kind of pictures did he usually paint? How many Madonnas did he
+paint? How many pictures all together?
+
+
+
+
+MISS BOWLES
+
+  =Artist:= Sir Joshua Reynolds (r[)e]n''[)u]ldz).
+  =Birthplace:= Plympton, Devonshire, England.
+  =Dates:= Born, 1723; died, 1792.
+
+
+=Questions to arouse interest.= What is the little girl in this
+picture doing? Why does she keep such fast hold of the little dog?
+Where do you think they are? Do you think she looks happy or
+frightened? why? What has she in her hair? How is she dressed? What
+makes you think you would like to play with her? What do you think
+they have been doing? Where have they been playing? Do you like this
+picture? why?
+
+
+=The story of the picture.= How pleased little Miss Bowles must have
+been when her mamma and papa told her she was to go to the studio of
+the great Sir Joshua Reynolds to have her picture painted! She must
+have clapped her hands, for, as every one knew, Sir Joshua Reynolds
+was the most delightful man in the world. He not only loved children
+but he always played with them and kept a great many wonderful toys in
+his studio just for them. Then, too, he had invited her and her mamma
+and papa to have lunch with him before she sat for her picture.
+
+Sir Joshua had told her mamma to dress the little girl in the simplest
+white dress she had, so she could play, and because he did not like
+fine clothes.
+
+It was a lovely drive from her home to the studio, and the two fine
+horses held their heads up and stepped very high as if they, too, were
+glad they were going to Sir Joshua's house. Just as Miss Bowles
+stepped out of the carriage the cutest little black and white dog came
+racing down the walk to greet her. Little Miss Bowles was not a bit
+afraid. How could she be, when the little black and white dog came
+right up to her and stood wagging his tail? When she had petted him,
+perhaps he ran to bring a stick for her to throw, so he could find it
+and bring it back to her, just as your dog does. Sir Joshua heard her
+laughing and the dog barking as he came out to welcome them.
+
+Almost at once, luncheon was announced and they all went in to the big
+dining room. Sir Joshua Reynolds sat next to little Miss Bowles and
+told her all about the little dog, whose name, perhaps, was Spot. A
+lady whose picture he had painted had given the dog to him, and she
+had taught Spot several very clever tricks which Miss Bowles should
+see right after luncheon.
+
+Sir Joshua loved to surprise his little friends. When they were not
+looking he would take their handkerchiefs from them, or suddenly put
+some strange toy in their laps. He loved to see their look of surprise
+and delight.
+
+[Illustration: _Miss Bowles_]
+
+After luncheon came a good romp in the yard. Perhaps the little dog
+would bite Miss Bowles's shoes and try to keep her from running. How
+she must have laughed!
+
+When she went back into the house Spot went in with her. Little Miss
+Bowles is so afraid the artist is going to send her pet away that she
+holds him fast in her arms, and looks at Sir Joshua Reynolds as much
+as to say, "Now you can't send him away, can you?" Her eyes fairly
+sparkle with glee as she squeezes the little dog much too hard for his
+comfort. He knows that she holds him so fast because she wants to keep
+him, and he is glad to be with her, but oh! if she just would not
+squeeze quite so hard!
+
+Show me how little Miss Bowles is sitting. I suppose she is afraid to
+look away even for a second for fear Sir Joshua will play some trick
+on her and get the little dog away. Sir Joshua painted so very fast
+that I don't suppose she knew just when he drew her picture, although
+he probably asked her to sit still when he was ready to paint. But she
+must have gone to his house several times before the picture was
+finished. Her father and mother were very much pleased with the
+picture, and said it looked just like their little girl.
+
+Sir Joshua Reynolds loved the woods and nature so much that he nearly
+always painted them in his pictures. So in the background of this
+picture we catch a glimpse of the woods in the yard where the child
+and dog have been playing, and where they have just stopped a moment
+to rest.
+
+
+=Questions to help the pupil understand the picture.= Where was this
+picture painted? Why was little Miss Bowles so glad to go? How did she
+go? What came to meet her? What color was the dog? How did he act? Who
+gave the dog to the artist? How did Sir Joshua Reynolds know little
+Miss Bowles had come? How did he tease her? What did they do after
+luncheon? Why did she hold the dog so fast? What can you see behind
+the little girl?
+
+
+=To the Teacher:= Let the children illustrate the story of little Miss
+Bowles playing with her dog in the park. Use charcoal, or colored
+crayon, on manila paper.
+
+
+=The story of the artist.= Sir Joshua Reynolds's father was a teacher
+in a private school, and to this school Joshua was sent as soon as he
+was old enough to study. Even when a very little boy Joshua liked to
+draw. He liked it so well that it was hard for him to study in school.
+He always saw so many things he wanted to draw that he could not wait
+until after school, but drew them on the back of his lesson papers.
+One day he drew all over his number paper, and when he handed it in
+his father could not read the numbers on account of the drawing. His
+father was disappointed because his son's paper did not look so neat
+as the other boys', and so he wrote at the top of the sheet, "Done by
+Joshua out of pure idleness."
+
+Joshua had five brothers and sisters who liked to draw just as well as
+he did, and who could all draw very much better than he could. It took
+so much paper and so many pencils for all his children, that finally
+the father told them they might draw on the walls of one of the halls.
+The walls had been whitewashed and the children used burnt sticks for
+pencils.
+
+At first the older brothers and sisters used to help little Joshua by
+guiding his hand, but he soon learned to draw as well as they. His
+first drawings had been so funny that they laughed at him, but now
+they praised him instead. When he was only eight years old he drew a
+picture that every one praised very much. It was a picture of the
+schoolhouse. When his father saw it he was so pleased that he said,
+"This is wonderful!"
+
+In the little town where Joshua lived the people had church on
+Sundays, of course, and sometimes during the week. One day, Joshua
+went to church. At first he sat very still, but the sermon was a long
+one, and finally he grew so tired that he could not listen another
+minute. He thought he would like to draw a picture of the minister,
+but he had nothing to draw it on. Then he remembered that he had a
+pencil in his pocket, and he could draw a picture of the minister on
+his thumb nail; and that is just what he did.
+
+The church was near the river, and after church Joshua went down to
+the river bank. Finding a piece of an old sail, he carried it to a
+boathouse. Here, from the picture on his thumb nail, he drew on the
+piece of sail the portrait of the minister. Then he painted it, using
+the common paint that is used in painting boats. Joshua was only
+eleven years old, and had finished his first oil painting. His father
+had wanted him to be a doctor, but after seeing this picture he
+decided to let Joshua have his own way and be a painter. He sent him
+to a good teacher, and lived to see his son a great artist.
+
+
+=Questions about the artist.= Who painted this picture? Where did he
+go to school? Who taught him? What did he like to do best? On what did
+he draw? Why was his father disappointed when he saw his number paper?
+Where were the children allowed to draw? With what did they draw? What
+did he draw that pleased his father very much? Tell about the picture
+of the minister.
+
+
+
+
+TWO MOTHERS AND THEIR FAMILIES
+
+  =Artist:= Elizabeth Gardner Bouguereau (b[=oo]'g[~e]r[=o]'').
+  =Birthplace:= Exeter, New Hampshire.
+  =Dates:= Born, 1842. Still living, 1918.
+
+
+=Questions to arouse interest.= What do you see in this picture? In
+what room do you think they are? Why do you suppose the picture is
+called "Two Mothers and Their Families"? How many little chickens are
+there? What time of the year do you think it is? time of day? What is
+the little boy doing? How many of you like this picture? why?
+
+
+=The story of the picture.= This little boy is having a good time
+feeding the fluffy little chickens. He has scattered some grain on the
+floor and the old hen and eight of her chicks are eating as fast as
+they can.
+
+Two of the old hen's chicks must have wandered away, so that at first
+they did not hear the mother hen's cluck. Now see how they flutter
+their wings as they hurry back toward the others!
+
+[Illustration: _Two Mothers and Their Families_]
+
+The old mother hen takes such good care of her little chickens! When it
+is very cold she will spread out her wings until all the little ones are
+covered. She keeps them warm and snug. If it rains, and she cannot get
+them under shelter, she will protect them with her wings in the pouring
+rain, much as she dislikes it. Every day she must scratch for bugs and
+worms for them and teach them how to scratch for their own living.
+
+She watches carefully to see that nothing harms them. Sometimes big
+birds, called chicken hawks, fly over the yard ready to swoop down and
+carry little chickens away in their claws. Then there are other things
+to be feared, such as weasels and rats; even cats and dogs might harm
+her little ones. Is it any wonder the mother hen is anxious, and apt
+to be cross when we go near her little chicks? It is best to be
+careful, then, for if she thinks you mean to hurt them she will fly at
+you and hurt you with her sharp bill.
+
+When the artist, Mrs. Elizabeth Gardner Bouguereau, visited this home
+and saw the mother and her child watching this old hen and her
+chickens, it is no wonder she wanted to paint them. She wanted to make
+us feel the love of the mother hen for her little ones as well as that
+of the other mother for her children.
+
+The child is delighted, as, safe in his mother's arms, he looks around
+to see if she is watching, too. There is a little baby sister in the
+cradle, and that is the reason he keeps very quiet and does not speak.
+No doubt the mother has rocked the baby to sleep. You can see how the
+baby is fastened in the cradle so she cannot fall out. That
+odd-looking top over part of the cradle is placed there to keep the
+light from the baby's eyes. Just now it is moved a little to one side,
+and we can see part of the baby's face.
+
+This home probably belongs to a French peasant who goes to his work
+very early in the morning, or he would be with his family now.
+
+It must be a very hot day in summer, for both mother and child are
+barefooted and they are dressed for warm weather.
+
+See the pots and pans hanging on the wall under the shelf, and the old
+kettle hanging over the large open fireplace! The room must be
+kitchen, bedroom, and dining room all in one; perhaps they have only
+this one room. There is a basket on the stand, and most likely it is
+filled with vegetables brought in from the garden for dinner.
+
+What a happy, healthy little boy this is, with his hair in little
+ringlets all over his head! His half-closed hand makes us think he
+still has some corn left to scatter on the floor for the chickens.
+
+It seems very strange to see chickens running about in the house. If
+the mother and child were not dressed so as to keep themselves cool we
+should think they had let them in because it was too cold for them
+outside.
+
+The mother looks as proud of her small son as the mother hen is of her
+young family. What a pleasant face she has! The old hen does not feel
+anxious when she is near, for she knows this other mother is kind and
+will care for her and her fluffy little chicks. The boy, too, seems to
+be very careful, and the hen is glad to have the grain scattered by
+his kind little hand.
+
+There is so much bright light in the picture that we are sure there is
+an open door near by, though we cannot see it in the picture. It was
+through this open doorway that the mother hen and her chicks strayed
+into the house. Probably the artist sat in the doorway as she painted.
+
+
+=Questions to help the pupil understand the picture.= What is the
+little boy doing? What makes you think he has just scattered corn for
+the chickens? How many chickens have found the grain? What are the
+other two chickens doing? How does the mother hen care for her
+chickens? What do you see standing beside the mother and child? Who is
+sleeping in the cradle? What are the straps for? the shade? Why do you
+think it must have been a hot day? What hangs under the shelf? What do
+you see on the shelf? What is on the stand? Why is the old hen not
+afraid of the mother and child? In what way are the two mothers alike?
+From which direction does the light seem to come?
+
+
+=The story of the artist.= We know very little about the artist, Mrs.
+Elizabeth Gardner Bouguereau, except that she is an American who has
+spent most of her life in France. She studied in Paris for many years
+and was a pupil of the great artist Bouguereau, whom she married. Her
+pictures have been exhibited many times in this country and abroad.
+Among her best-known works, besides the "Two Mothers and Their
+Families," are "Cinderella," "Fortune Teller," "Maud Muller,"
+"Cornelia and Her Jewels," and "Corinne." She has also painted a
+number of portraits. Many of her pictures are of children. She is
+still living in Paris, France.
+
+
+=Questions about the artist.= Who painted this picture? Where was the
+artist born? Where did she study and whom did she marry? Where do you
+think she must have been sitting when she painted the picture? Name
+two of her best-known pictures.
+
+
+
+
+CAN'T YOU TALK?
+
+  =Artist:= G. A. Holmes (h[=o]mz).
+  =Birthplace:= England.
+  =Dates:= Unknown.
+
+
+=Questions to arouse interest.= What do you see in this picture? Where
+are they? Why is the stone floor not too cold for the baby? What time
+of day do you think it is? why? What do you suppose the baby has been
+doing? What makes you think the big dog loves the baby? What is the
+little kitten doing? What do you see on the stone bench? Do you like
+the picture? why?
+
+
+=The story of the picture.= It must have been a warm summer day when
+this little baby slipped out of her bed, crept across the room to the
+door, and out on the cool stone porch.
+
+It may have been a Monday morning, when the baby's mamma was very busy
+in the kitchen, washing the clothes. Probably she put the baby to bed
+for the usual morning nap, and did not hear her wake up.
+
+It must be about noon, for the shadows are short in the picture. The
+mother is probably out in the yard, taking her clean clothes off the
+line, so of course she could not hear the baby creep out through the
+open door to the porch. There the baby found the great dog keeping
+watch. How wise he looks! He knows the baby's mamma would be worried
+if she knew what her little one is doing, and his kind eyes seem to
+say, "Never mind, I'll take care of her."
+
+[Illustration: _"Can't You Talk?"_]
+
+Perhaps the baby asks him, "Where's my mamma?" He looks as if he
+wanted to answer or say something, and she cannot understand why he
+does not, so she crawls up to him and says, "Can't you talk?" But the
+big dog can only wag his tail and watch the baby. If she should crawl
+too far away, we feel sure he would try to persuade her to come back,
+or if he could not do that, he would bark and let the mother know
+something was wrong.
+
+What chubby little hands and feet the baby has! You can almost see the
+dimples in her cheeks. She is a friendly, happy little child, I'm
+sure, and you can see that her pets love her. There is the little
+kitten rubbing up against the door as if waiting to see if the dog
+will answer baby's question. Kitty seems to be afraid to come out on
+the porch, although the dog does not look as if he would hurt her.
+Sometimes little babies with such chubby hands squeeze their pets too
+hard, and maybe this little kitten, although she loves the baby, does
+not want to come too near.
+
+There is a stone bench at one side of the porch. It looks as if some
+one had left a market basket, a cabbage, and a bag on it. Perhaps in
+the basket are potatoes from the garden.
+
+What a busy life this baby has with so many things to do and so much
+to learn! She tries so hard to understand. I suppose she thinks, "Good
+old dog, you seem to know so much more than I do. How does it happen
+that I can talk and you cannot?"
+
+The mother will be coming in soon, and how surprised she will be to
+find her baby up and out on the porch, with the big dog taking such
+good care of her!
+
+This good old dog does so much to help them! All night long he guards
+the house, not allowing any one even to stop on the walk in front of
+the house, without his warning bark. In the daytime, if the people
+wish to go away, they may be sure the faithful dog will allow no one
+to enter the house while they are gone. No harm can come to these good
+people while he is there to help them. You can tell by looking at him
+that he is well fed and well cared for. That fluffy little kitten,
+too, just ready to dart back into the house and scamper across the
+floor, looks happy and contented. Evidently the people who live in
+this house with its wide stone porch are good and kind. Should you not
+like to visit them?
+
+
+=Questions to help the pupil understand the picture.= How did the baby
+get out on the porch? Why does she not walk? Where has she been? What
+time of day is it? Where do you suppose her mother is? What did the
+baby find on the porch? What does she ask the dog? How can he answer?
+How does he take care of her? What makes you think her pets love her?
+Why does the little kitten stay inside? What is on the stone bench?
+Should you like to visit the people who live in this house? why?
+
+
+=To the Teacher:= Encourage the children to talk about their pets at
+home, and to draw pictures of them.
+
+
+=The story of the artist.= Although Mr. Holmes has painted many very
+popular pictures of children and their pets, we can find very little
+information about his life except that he was an Englishman. However,
+he cannot be forgotten so long as his pictures live to tell us of his
+little friends and their faithful pets.
+
+
+=Questions about the artist.= Who painted this picture? What do his
+pictures tell us about the artist? In what country was he born?
+
+
+
+
+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:
+
+
+* Text enclosed between equal signs was in bold face in the original
+  (=bold=).
+
+* Some words have accents of different weights. The heavier accent is
+  marked double (''). (Example: bo'nur'')
+
+* Pg 1 Pronunciation guide for (zhaeN fraeN'swae'' m[=e]'l[)e]'')
+  presents a Latin letter small capital "N", a voiced uvular nasal.
+
+* Pg 27 Raphael Sanzio (rae''f[+a] [)e]l saen''zy[=o]) contains the
+  "+" symbol representing an "up tack" not represented in any charts.
+
+* Pg 42 Bouguereau (b[=oo]'g[~e]r[=o]'') contains [=oo] representing a
+  "long oo" sound not represented in any charts.]
+
+
+
+
+
+End of Project Gutenberg's Stories Pictures Tell, by Flora Carpenter
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