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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 Two
+
+Author: Flora Carpenter
+
+Release Date: May 23, 2010 [EBook #32489]
+
+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 https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Illustration: Book title decoration]
+
+  STORIES
+  PICTURES TELL
+
+  BOOK TWO
+
+  _By_
+
+  FLORA L. CARPENTER
+  _Instructor in drawing in Waite High School, Toledo, Ohio
+  Formerly supervisor of drawing, Bloomington, Illinois_
+
+  _Illustrated with Half Tones from
+  Original Photographs_
+
+  RAND McNALLY & COMPANY
+  CHICAGO       NEW YORK
+
+
+
+
+  _Copyright, 1918, by_
+  RAND MCNALLY & COMPANY
+
+[Illustration: Publisher's symbol]
+
+  Made in U. S. A.
+
+
+
+
+THE CONTENTS
+
+
+  SEPTEMBER AND OCTOBER                                  PAGE
+
+    "Shoeing the Bay Mare"        _Landseer_                1
+
+    "Angels' Heads"               _Reynolds_               13
+
+
+  NOVEMBER, DECEMBER, AND JANUARY
+
+    "The First Step"              _Millet_                 21
+
+    "A Fascinating Tale"        _Mme Ronner_               29
+
+  FEBRUARY AND MARCH
+
+    "A Helping Hand"              _Renouf_                 37
+
+    "The Strawberry Girl"         _Reynolds_               43
+
+  APRIL, MAY, AND JUNE
+
+    "The Return to the Farm"      _Troyon_                 51
+
+    Review of Pictures and Artists Studied
+
+  _The Suggestions to Teachers_                            56
+
+
+
+
+THE PREFACE
+
+
+Art supervisors in the public schools assign picture-study work in
+each grade, recommending the study of certain pictures by well-known
+masters. As Supervisor of Drawing I found that the children enjoyed
+this work but that the teachers felt incompetent to conduct the
+lessons as they lacked time to look up the subject and to gather
+adequate material. Recourse to a great many books was necessary and
+often while much information could usually be found about the artist,
+very little was available about his pictures.
+
+Hence I began collecting information about the pictures and preparing
+the lessons for the teachers just as I would give them myself to
+pupils of their grade.
+
+My plan does not include many pictures during the year, as this is to
+be only a part of the art work and is not intended to take the place
+of drawing.
+
+The lessons in this grade may be used for the usual drawing period of
+from twenty to thirty minutes, and have been successfully given in
+that time. However, the most satisfactory way of using the books is as
+supplementary readers, thus permitting each child to study the
+pictures and read the stories himself.
+
+                                                  FLORA L. CARPENTER
+
+[Illustration: SHOEING THE BAY MARE]
+
+
+
+
+STORIES PICTURES TELL
+
+
+
+
+SHOEING THE BAY MARE
+
+  =Original Picture:= National Gallery, London,
+                             England.
+  =Artist:= Sir Edwin Landseer (l[)a]nd''s[=e]r).
+  =Birthplace:= London, England.
+  =Dates:= Born, 1802; died, 1873.
+
+
+=Questions to arouse interest.= What is the man in this picture doing?
+How many have watched a blacksmith shoe a horse? Why does he wear an
+apron made of leather? From what do the sparks fly? What has the
+blacksmith in his hand? Why do you suppose this horse wears no halter?
+What other animals do you see in this picture? Which has the larger
+ears, the donkey or the horse? Which seems to have the softer coat?
+Which can run the faster? What do you see on the donkey's back? What
+kind of dog is that in the picture? Why do you suppose the hound is so
+interested in what the blacksmith is doing? What else can you see in
+the picture? What makes you think the man is fond of animals? Where is
+the bird? Why do you like this picture?
+
+
+=The story of the picture.= Here in a building that once may have been
+a home, we see an old-fashioned country blacksmith shop. The wide door
+has been made in two parts so that the upper part can be swung open to
+let in the sunlight. The lower part of the doorway remains closed and
+is just high enough to keep the horse and donkey shut in. But the dog
+could easily jump over it should he become frightened by the flying
+sparks of fire.
+
+The smith is trying a shoe on the hind foot of the beautiful horse,
+but neither the man nor the horse seems quite satisfied with it. The
+horse has an anxious look in her intelligent eyes as she turns her
+head to watch the smith. Though she knows he will do the work
+carefully she cannot help being a little nervous about it. The dog and
+the donkey are also very much interested in what the smith is doing,
+though the dog seems ready to run at any moment. Behind the dog we see
+the blacksmith's anvil on which he hammers the shoe into shape. Every
+time the hammer strikes the red-hot iron, burning sparks fly in all
+directions and the blacksmith wears a leather apron, to keep them from
+burning holes in his clothes.
+
+On the ground beside the blacksmith is a box in which are the tools
+the smith must use. It has a handle so that the smith may carry it
+with him and place it within reach when he is fitting the shoe.
+
+Years ago, when the artist painted this picture, a blacksmith had to
+make each shoe by hand from a bar of iron. Now horseshoes are made
+rapidly by machinery and the blacksmith gets them from the factory. They
+are made in all shapes and sizes and the smith will try several shoes
+until he finds one that fits the horse's hoof. If it needs to be shaped
+a little he must heat it red hot before he can bend it. He puts it into
+the great bed of red-hot coals in his forge, and then blows upon the
+coals with his bellows to make the fire hotter. His heavy iron tongs are
+used to take the red-hot shoe from the coals and to hold it upon the
+anvil while he pounds it into shape. Next he drops it into cold water
+until it is cool enough to try on. The smith must be a strong man to do
+his work well, and in this picture our attention is drawn to the great
+muscles on his arms and the firm strength of his large hands.
+
+It takes great skill to drive the nails into the horse's hoof in just
+such a way that they will hold the shoe firmly and at the same time
+not hurt the hoof. Sometimes, but not very often, a blacksmith drives
+a nail in the wrong direction, and the horse becomes lame. Horses grow
+accustomed to being shod, and seem to like to have comfortable new
+shoes put on. How glad they must be in the winter to have their hoofs
+sharp shod, so they do not slip on the ice!
+
+Betty, the bay mare in this picture, liked to be shod, and as she never
+wore a halter and could go where she pleased, she sometimes went to see
+the blacksmith. The story is told that one day while she was galloping
+over the fields one of her shoes became loose. Betty seemed to know just
+what to do; it was not long before the blacksmith heard a gentle neigh,
+and there was Betty with her head over the gate, asking to be let in.
+Once inside she held up the foot with the loose shoe for the blacksmith
+to fix. You may be sure he patted her velvety neck, and told her that he
+knew just what the trouble was and would fix her up all right.
+
+The shaggy little donkey you see in the picture had to wait until the
+blacksmith had attended to Betty. But he did not care about having his
+shoes fixed anyway, and so did not mind waiting.
+
+The man who owned Betty was Mr. Jacob Bell, and he was so proud of her
+that he wanted her picture painted. In fact, once when Betty had had a
+beautiful colt, Mr. Bell asked Sir Edwin Landseer to paint a picture of
+the two together. But the artist had such a long waiting list of animals
+to paint that he did not get around to Betty's turn for a long time.
+Betty had another colt, but it, too, had grown to be as tall as Betty
+herself before Sir Edwin Landseer at last came out to see her.
+
+He came on the very day that Betty paid her visit to the blacksmith
+shop, and so it was there that Mr. Bell took the artist to see her.
+Landseer had planned to paint the horse out in the green fields; but
+when he saw her in the blacksmith shop, watching every movement of the
+smith with such perfect understanding in her great, intelligent eyes,
+he decided to paint her there.
+
+One can see at a glance that this horse is well cared for; her silky
+coat makes us wish to pet her. Notice the white star-shaped mark on
+her forehead.
+
+The hound must have followed the horse, for he does not look as if he
+belonged in the blacksmith shop. He seems to be a little afraid of the
+hot tongs placed in front of him, and looks as if he might run away
+the next time the sparks begin to fly.
+
+That sleepy-looking little donkey must belong to some child, for you
+can see the saddle on his back. Probably some boy will call for him,
+and ride him home.
+
+Notice how the light comes in through the upper half of the doorway
+and falls upon the figures. Can you see where the light from the fire
+in the forge is shining?
+
+We cannot see the bird in the cage hanging from the roof of the
+blacksmith shop, but no doubt it sang very merrily on the bright sunny
+day this must have been. The smith has placed its cage a safe distance
+from the heat, and where it can get plenty of air and sunlight. No doubt
+they are great friends, but how the bird must wish to try its wings in a
+long flight up beyond the treetops and into the bright blue sky!
+
+When the shoe is fixed the blacksmith will open the door and Betty
+will trot home by herself. No wonder Mr. Bell was proud of a horse
+that knew so much and was so beautiful. Would you not like to have a
+horse like Betty?
+
+
+=Questions to help the pupil understand the picture.= When a horse
+needs new shoes, where does its owner take it? What is the name of the
+horse in our picture? Why did Betty come to the blacksmith shop? How
+did she let the blacksmith know what she wanted? Does she seem pleased
+with the shoe he is trying on? How can he make it fit? Why does he
+heat the shoe red hot? Upon what does he place the red-hot shoe to
+pound it into shape? On the blackboard draw a picture of an anvil.
+What does the blacksmith use when he blows the coals to make a hotter
+fire? With what does he hold the hot shoes? Why does he put them in
+cold water before trying them on? How does he fasten the shoe on the
+horse's hoof? Why does it not hurt a horse to be shod? What do you see
+on the donkey's back? Of what is the dog afraid? What does the
+blacksmith wear to keep the sparks from burning his clothes? Why is
+that low gate placed in the doorway? To whom did Betty belong? Who
+came to paint her picture? Why did he paint her in the blacksmith
+shop? What makes you think she was well cared for? Why do you suppose
+she is so gentle and patient? Where does the light in the picture come
+from? Why do you like Betty?
+
+
+=To the Teacher:= Have the pupils memorize the following lines from
+Longfellow's _The Village Blacksmith_:
+
+    And children coming home from school
+      Look in at the open door;
+    They love to see the flaming forge,
+      And hear the bellows roar,
+    And catch the burning sparks that fly
+      Like chaff from a threshing-floor.
+
+
+=The story of the artist.= Sir Edwin Landseer had three sisters and two
+brothers who liked to draw and paint as well as he did. The father was
+an artist, and he taught them all how to draw when they were very young.
+
+They lived in the country, and often the father went with his children
+for a walk through the fields. There were two very large fields
+separated from each other by a fence with an old-fashioned stile for a
+gate. This stile had several steps, and was built high so that the
+sheep and cows could not jump over. One day when Edwin was six years
+old, and so little that he had to be lifted over this stile, his
+father tells us that "At his request I lifted him over, and finding a
+scrap of paper and a pencil in my pocket, I made him sketch a cow."
+After this Edwin came here nearly every day, and his father called
+these two fields "Edwin's studio."
+
+When Edwin was only thirteen years old two of his pictures were
+exhibited at the Royal Academy. One was a portrait of a mule; the
+other, of a dog and puppies.
+
+Edwin painted always from life, not caring to make copies from the
+work of others. All the sketches he made when he was a little boy were
+carefully kept by the father, and now if you go to England you may see
+them in the South Kensington Museum in London.
+
+Edwin, we are told, was a bright, gentle little boy, with blue eyes
+and light curly hair. At fourteen years of age he became a pupil at
+the Royal Academy. The keeper there was an old man who grew very fond
+of the boy. He would look all about for him, and if he could not find
+him he would say, "Where is my little dog boy?" At this time Edwin had
+three dogs of his own, which he called Brutus, Vixen, and Boxer. They
+were his inseparable companions, and so intelligent that they seemed
+almost able to speak.
+
+For many years he lived and painted in his father's house in a poor
+little room without even a carpet. All the furniture, we are told,
+consisted of three cheap chairs and an easel. Later, he had a fine
+studio not far from a park. There was a small house and garden here,
+and the barn was made over into a studio.
+
+Sir Edwin was not a very good business man, and he left the management
+of all his affairs to his father, who sold his pictures for him and
+kept his accounts.
+
+Landseer was only sixteen years old when he exhibited his wonderful
+picture called "Fighting Dogs Getting Wind." A very rich man whose
+praise meant a great deal at that time bought the picture, and Sir
+Edwin's success was assured. After that so many people brought their
+pets for him to paint that he had to keep a list, and each must wait
+his turn.
+
+It was about this time, too, that he painted an old white horse in the
+stable of another wealthy man. After the picture was finished, ready
+to deliver, it suddenly disappeared. Search was made for it
+everywhere, but it was not found until twenty-four years afterwards. A
+servant had stolen it and hidden it in a hayloft. He was afraid to
+sell it, or even to keep it in his home, for every one would recognize
+the great artist's work.
+
+At the age of twenty-four, Landseer became a member of the Royal
+Academy, which was an unusual honor for so young a man.
+
+The story is told that at an evening party in the home of a well-known
+leader of society in London where Landseer was present, the guests had
+been talking about skill with the hands. One of the guests said that
+no one had ever been found who could draw two things at once. Landseer
+remarked, "Oh, I can do that; lend me two pencils, and I will show you."
+
+He then quickly drew the head of a horse with one hand, at the same
+time drawing a deer's head and antlers with the other hand. Both
+sketches were so good that they might well have been drawn with the
+same hand and with much more study.
+
+Landseer made a special study of lions, too, and painted many pictures
+of them. The great lions at the base of the famous Nelson Monument in
+Trafalgar Square, London, were modeled by him.
+
+Although Landseer painted so many wild animals, birds, and hunting
+scenes, he did not care to hunt or shoot. Sometimes he would hire
+guides to take him into the wildest parts in search of game. But these
+guides felt thoroughly disgusted with him when, a great wild deer
+bounding toward them, he would merely make a sketch of it in his book.
+
+Landseer knew how to use a gun, however, and sometimes did use it with
+great success. But it was the study of live animals that interested
+him most. He often said that to kill a bird was to lose it.
+
+He believed that animals understand, feel, and reason just like people;
+so he represented them in his pictures as happy, sad, gay, dignified,
+frivolous, rich, poor, and in all ways just like human beings.
+
+Landseer did and said all he could against the custom of cutting, or
+"cropping," the ears of dogs. He said that nature intended to protect
+the ears of dogs that "dig in the dirt," and man should not interfere.
+People paid a great deal of attention to what he said, and the custom
+lost favor.
+
+In 1850 the honor of knighthood was conferred upon Landseer. He was
+popular alike with patron and peasant, and no English painter has ever
+been more appreciated in his own country.
+
+Landseer died in London in 1873, at the age of seventy-one.
+
+
+=Questions about the artist.= What can you tell about the artist who
+painted this picture? Where did he live when he was a boy? How many
+brothers and sisters did he have? Where did they often walk with their
+father? What separated the two fields? How many of you ever saw a
+stile? What animal did Edwin sketch first? Where was "Edwin's studio"?
+What became of the pictures Edwin drew and painted when he was a boy?
+Tell about the keeper of the Royal Academy and Edwin; tell about Edwin
+and his picture of an old white horse; tell about his fine new studio.
+How did Sir Edwin Landseer think animals felt and understood? Tell how
+he went hunting. How well could he draw with his left hand? Why did
+people like him? Why do you think he was a great artist?
+
+
+
+
+ANGELS' HEADS
+
+  =Original Picture:= National Gallery, London,
+                             England.
+  =Artist:= Sir Joshua Reynolds (r[)e]n''[)u]ldz).
+  =Birthplace:= Plympton, Devonshire, England.
+  =Dates:= Born, 1723; died, 1792.
+
+
+=Questions to arouse interest.= What do you see in this picture? Why
+do you think these heads look alike? How do they differ? How many are
+looking up? Which one is looking right at you? Where are the others
+looking? Where does the light come from? Where does the ray of light
+strike each head? Which looks the happiest? the most thoughtful? Which
+one seems to be singing? Which one do you like best? why? How many
+know a little girl with blue eyes and light hair who looks something
+like one of these?
+
+
+=The story of the picture.= Far back in a beautiful yard, so large
+that it was almost a park, was a house so fine that people drove past
+just to see it. In this house lived a nobleman, his wife, and one
+lovely little daughter. Their names were Lord and Lady William Gordon,
+and the little girl's name was Frances Isabelle Gordon. Perhaps you
+have already guessed that she was the little girl we see in this
+picture. And this is how she happened to have her picture painted:
+The artist, Sir Joshua Reynolds, was a great friend of Lord and Lady
+Gordon and used to visit them very often. He would ride in a splendid
+carriage which was gilded and carved on the outside and decorated with
+wonderful pictures painted by himself. He had a coachman and footman,
+too, and when he came riding up the long driveway, little Frances must
+have run out to see the great carriage, for no one else had one like it.
+
+Soon Sir Joshua Reynolds and Frances Isabelle became great friends. He
+could tell such good stories! And then he liked to play games with
+her, and above all he liked to tease her. But she did not mind his
+teasing, for she could run away from him when she did not like it.
+
+Sometimes he would invite her to ride home with him in his carriage.
+Then he would show her his studio where he painted, and let her play
+with some of the toys he always kept ready for his little friends. Very
+likely her mother would tell him to send her home in an hour. How she
+must have enjoyed the ride back all alone in the big carriage, with the
+tall coachman and footman sitting so straight! No doubt she pretended
+she was a great lady riding in state, and sat very still and proper.
+
+Sir Joshua Reynolds loved this little girl very much, and he was glad
+indeed when one day her mother brought her to have her picture painted.
+
+[Illustration: _Angels' Heads_]
+
+There were no photograph galleries then such as we have now, so there
+was no other way to have one's picture taken. The great artist put
+his piece of canvas on an easel and mixed his colors. Then he told
+Frances Isabelle just where to sit. Although Sir Joshua Reynolds
+painted very rapidly, she had to sit still for a long time, and come
+several days, before the picture could be finished.
+
+First he drew her looking straight at him watching him arrange his
+paints. Then he began to make sketches of her in different positions,
+but he liked her so much in all, that he could not decide which one to
+use. Finally, he thought of painting them all in one picture. Then, as
+little Frances looked so lovely and so like an angel, he decided to
+add the wings and clouds and call his picture "Angels' Heads."
+
+You see at that time, not having any photographers, no one thought of
+showing a person in different positions all in one picture as we do
+nowadays. People were very glad then to have one good picture of their
+friends.
+
+Imagine how pleased and delighted Lord and Lady Gordon must have been
+with these five pictures instead of one, and all so like their little
+girl! The angel heads seem to be floating in the clouds, their faces
+lighted up by the bright ray of sunlight which is reflected in the
+golden hair of each. For Frances Isabelle had the most beautiful
+golden hair and the bluest of blue eyes.
+
+The head at the lower left-hand side of the picture is serious and
+thoughtful, as if some hard question had to be answered. The one just
+above seems quiet, as if listening to the two other angels, who are
+singing happily. These four have quite forgotten us, but the little
+girl who looks straight at us seems to be right here in the room,
+watching us and wondering about us. A happy, healthy little girl, she
+looks as if she would like to run and play with us. Such a sweet,
+winsome face! No wonder Sir Joshua loved her very much.
+
+People came from far and near to see this beautiful painting when it
+was finished. Finally, years later, Lord and Lady Gordon gave it to
+the city of London to hang in the National Gallery of paintings for
+all to see. There it still hangs, and people who go to London always
+look for it, and find it just as lovely as ever.
+
+
+=Questions to help the pupil understand the picture.= Of whom is this
+a picture? Where did she live? How did she happen to have her picture
+painted? Who painted it? What kind of a carriage did he have? What did
+he sometimes ask her to do? Why did she not go to a photographer to
+have her picture taken? How long did it take Sir Joshua Reynolds to
+paint her picture? Why did he paint so many pictures of her? Why did
+he call the picture "Angels' Heads"? How many faces are looking at
+us? Where do they seem to be? Which one is the prettiest? Did Lord and
+Lady Gordon like this picture?
+
+
+=The story of the artist.= Sir Joshua Reynolds's father was a teacher
+in a private school, and to this school Joshua was sent as soon as he
+was old enough. Even when a very little boy Joshua liked to draw. He
+liked so well to draw that it was very hard for him to study in
+school. He always saw so many things to draw that he could not wait
+until after school, but drew them on the back of his lesson papers.
+
+One day he drew all over his number paper, and when he handed it in,
+his father could not read the numbers on account of the drawing. His
+father was disappointed because his son's paper did not look so neat
+as the other boys', and so he wrote at the top of the paper, "Done by
+Joshua out of pure idleness."
+
+Joshua had five brothers and sisters who liked to draw just as well as
+he did, and who could all draw very much better than he could.
+
+It took so much paper and so many pencils for all his children, that
+finally the father told them they might draw on the walls of the
+halls. These walls had been whitewashed and the children used burnt
+sticks for pencils.
+
+At first the older brothers and sisters used to help little Joshua by
+guiding his hand, but he soon learned to draw as well as they. His
+first drawings had been so funny that they had laughed at him. Now
+they praised him instead.
+
+When he was only eight years old Joshua drew a picture that every one
+praised very much. It was a picture of the schoolhouse. His father was
+so pleased when he saw it that he said, "This is wonderful!"
+
+In the little town where Joshua lived the people went to church on
+Sundays, of course, and sometimes also during the week. One day,
+Joshua went to church. At first he sat very still; but the sermon was
+a very long one, and finally he grew so tired he could not listen
+another minute. He thought he would like to draw a picture of the
+minister, but he had nothing to draw it on. Then he remembered that he
+had a pencil in his pocket, and that he could draw the picture on his
+thumb nail. That is just what he did.
+
+The church was near the river, and after church Joshua went down to
+the river bank. Finding a piece of an old sail, he carried it to a
+boathouse, and here, from the picture on his thumb nail, he drew on
+the piece of sail the portrait of the minister. Then he painted it,
+using common paint such as is used to paint boats. Joshua was only
+eleven years old, and had finished his first oil painting. His father
+had wanted him to be a doctor, but after seeing this picture he
+decided to let Joshua have his own way and be a painter. He sent him
+to a good teacher, and lived to see his son a great artist.
+
+
+=Questions about the artist.= Who painted this picture? What did Sir
+Joshua Reynolds like to do when he was a boy? Who was his teacher? How
+did he spoil his number paper? Why was his father disappointed? How
+many brothers and sisters did he have? On what did they draw? With
+what did they draw? How old was Joshua when he drew the picture of the
+schoolhouse? What did his father say when he saw this picture? How did
+Joshua happen to paint a picture of the minister? On what did he make
+his first sketch? Where did he finish the picture? On what did he
+paint it? What kind of paints did he use? What did Joshua's father
+want him to be when he grew up? After he had seen this picture, what
+did he say Joshua might be? Why do we want to remember him?
+
+
+
+
+THE FIRST STEP
+
+  =Artist:= Jean 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 is
+the father doing? Who holds the baby? What is the baby trying to do? Why
+is the picture called "The First Step"? How many have a baby brother or
+sister who is just learning to walk? What has the father been doing? Why
+do you think so? Why did he stop? What is on the ground beside him? How
+is the man dressed? Where do these people live? What separates the house
+from the garden? What can you see next to the fence? Why do you think it
+is not a very warm day? Why do you like this picture?
+
+
+=The story of the picture.= One bright day in the early fall of the
+year, when the leaves of the trees were thickest and the woodbine on
+the fence was just beginning to turn red, a little child was fretting
+to go outdoors. He was tired of staying in when all was beautiful
+outside, and he wanted his mother to stop her work and take him out
+into the sunshine, to the garden where his father was working. And by
+and by that is just what she did. Putting on her own cap, and a bonnet
+on the child's head, so there would be no danger of his taking cold,
+she carried him out to the old fence.
+
+When the father saw them coming through the gate he dropped his spade
+and started to meet them. The little boy began to wave his arms,
+impatient to reach his father. Then the mother thought this would be a
+good time to let him try to walk. Placing him on the ground, she holds
+him safely while the father holds out his arms invitingly.
+
+See, the baby has stepped forward! Now the mother will let him try to
+walk alone, keeping close behind, and ready to catch him if he should
+fall, until he reaches his father's arms. How proud they will be when
+their baby takes his first step all alone! He has been creeping and
+crawling for a long time, but now he is big enough to stand on his feet.
+
+This family of hard-working peasants have little time for play; they
+must work to keep up their home. The father, as you see, has been
+digging potatoes with that heavy spade. He will put them in his
+wheelbarrow and take them to the house. Perhaps he will have enough to
+last him all winter, and some to sell, too.
+
+The potatoes he wants to keep he will bury in the ground. In those
+days very few people had cellars in which to keep their vegetables.
+Instead, they would dig a great hole in the ground, line it with
+straw, and then put the potatoes in, covering them with straw and
+earth. Then, instead of going to the grocery to buy potatoes as we do,
+they went out into the yard and dug them up.
+
+[Illustration: _The First Step_]
+
+No doubt the father made this fence, the spade, the pitchfork, and
+even the wheelbarrow we see in the picture, while the mother, we are
+sure, made all their clothes except the wooden shoes. Perhaps the
+father made them.
+
+In those days the mothers could not go down to the store to buy the
+goods for their clothes as we do now. Instead they spun thread out of
+flax or wool, and then wove it into cloth on a great loom something
+like the small looms we use in school to make rugs and hammocks. This
+they usually did during the winter when there was less work to do, for
+there were so many more things that had to be done during the summer
+than during the winter.
+
+In summer they had to take care of the fruit just as our mothers do.
+But they did not know anything about canning it,--they would cook it a
+long time and make preserves or else they would dry it. They dried
+most of their fruit, making it just like the dried apples, peaches,
+and apricots we buy at the store.
+
+In France, where this picture was painted, the women worked out in the
+fields just like the men. So you see how very busy they must have
+been. And yet they always found time to love and care for their little
+children.
+
+We do not know even the name of this baby, or of his mother or father.
+The artist, Millet, thought that of no importance at all. He did not
+even care to show us their faces, any more than he would care to show
+us the buttons on their clothes. The important thing is the love and
+tenderness of this mother and father as they stop their work to guide,
+help, and encourage their baby in taking his first step. All his life
+the baby will find them never too tired or weary to help him when he
+needs it most.
+
+Peasants like these, we know, lived in France, and as a rule they were
+very poor, although the two in our picture seem thrifty and
+comfortable. The trees, even the grass growing up beside the fence,
+seem sturdy and strong like the peasants to whom they belong.
+
+We feel the strength of the father's extended arms, so ready and able
+to protect this baby. The mother, too, will do her share. Even the
+trees seem to bend toward these three as if to assure them of their
+protection.
+
+This is a simple, homelike picture, whose chief beauty lies in its
+strong appeal to our feeling of sympathy with, and interest in, these
+honest country people.
+
+
+=Questions to help the pupil understand the picture.= What has the man
+been doing? With what did he dig the potatoes? Where will he put them?
+Why does he not put them in the cellar? How will he keep them all
+winter? How will he bury them? Who made these peasants' clothes? the
+wheelbarrow, the spade, and the pitchfork? Why did they not buy them?
+How did the mother make the cloth for their clothes? When did she do
+this? What must she do during the summer? How did they keep their
+fruit? Why do you think they are a happy family?
+
+
+=The story of the artist.= Jean Francois Millet was the son of French
+peasants who must have been very much like the father and mother in
+this picture. But a picture of Millet's boyhood would not be complete
+unless it included his grandmother. You see, that dear old lady rocked
+him to sleep, played with him, and kept him happy all day long while
+his mother, like all French peasants, worked out in the fields with
+his father.
+
+It was she who was the first to discover that her little grandson
+liked to draw. His first drawings were copies of pictures in his
+grandmother's old illustrated Bible. He would listen to stories read
+to him from the Bible and then he would take a piece of chalk and draw
+a picture of what happened in the story.
+
+Soon he began to draw large, bold pictures which covered the stone
+wall of their house. The grandmother was much pleased! She found a new
+story to read or tell him nearly every day.
+
+Of course his father and mother saw the pictures as soon as they came
+home, and encouraged the boy as much as they could. The father liked
+to draw, too, but he could not see why Millet should be making up
+pictures from imagination when there were so many real things to draw.
+So he called his son's attention to the trees, the fields, and houses
+in the distance, and soon the boy began to draw these, too.
+
+One Sunday when Millet was coming home from church he met an old man,
+his back bent over a cane as he walked slowly along. Something about the
+bent figure made Millet feel he would like to draw a picture of the man
+just as he looked then. Taking a piece of charcoal from his pocket, he
+drew a picture of him from memory. He drew it on a stone wall, and as
+people passed that way they recognized the man. All liked the picture
+very much, and told Millet so. His father, too, was delighted, and
+decided that his son should have a chance to become an artist.
+
+One day the two went to an artist who lived in a neighboring town and
+showed him some of Millet's sketches. The artist was amazed, and at
+first would not believe the boy had drawn them. You may be sure he was
+glad to have this bright boy for a pupil. But Millet studied with him
+only two months, when he was called home by the death of his father.
+
+At first it seemed as if they needed him so much at home he would
+never be able to go on with his studies. But soon the good people in
+the little village collected a sum of money and gave it to Millet,
+telling him it was for him to use to go to Paris and study. Millet was
+almost a grown man by this time, and you may be sure he was grateful
+and that he worked very hard while in Paris. But people did not like
+his pictures, and he was very poor. Other artists painted pictures of
+beautiful people dressed in fine clothes and living in rich homes, and
+so nobody cared for Millet's poor, humble peasants, dressed in their
+working clothes and doing the work they had to do.
+
+It was not until Millet was an old man that people began to appreciate
+his work. Now most of those fashionable artists of his time have been
+forgotten, while the paintings of Jean Francois Millet have become
+more and more valuable.
+
+
+=Questions about the artist.= Where did the artist live? Who took care
+of Millet when he was little? Why was his mother away from home so
+much? Who was the first one to see his drawings? What did he draw?
+What did he use to make the drawings? Who helped him? how? How did his
+father help him? Tell about the old man leaning on a cane. Where did
+Millet draw his picture? Who saw it? What did they say? Where did his
+father take him to study? What did the artist think when he saw
+Millet's sketches? Why did Millet go home? What did his neighbors do
+for him? Where did he go then? Why was he so poor there? Why did not
+people like his pictures? What do people think of his pictures now?
+
+
+
+
+A FASCINATING TALE
+
+  =Artist:= Madame Henriette Ronner (roen''n[~e]r).
+  =Birthplace:= Amsterdam, Holland.
+  =Dates:= Born, 1821. Still living, 1916.
+
+
+=Questions to arouse interest.= In what room are these kittens? Why do
+you think so? Where is the mother cat? the kittens? What are they
+looking at? Why do you think the mouse does not know that the kittens
+can see his tail? Which one do you think will catch the mouse? Which
+one has the sharpest eyes? Which one looks frightened? Which one looks
+surprised? Why do you suppose they did not catch the mouse before it
+tried to hide? If they keep very still, what will the mouse think?
+What will he do? What will happen then? What is on the table beside
+the kittens? What may happen to the ink bottle if the big cat jumps?
+What is the color of these kittens' fur? How many of you have a pet
+kitten at home? Which one of these would you rather have? Why is the
+picture called "A Fascinating Tale"?
+
+
+=The story of the picture.= Early one morning two plump little kittens
+started out in search of adventure. The library door was open, and
+both little kittens heard a queer rustling noise on the big library
+table. Up on a chair they jumped, then up on the table, just in time
+to see a little mouse darting under some papers. The mouse thought
+the kittens would not know where it was if it kept very still; but
+there was its tail in plain sight.
+
+The kittens were so frightened they did not know what to do. They
+tried to remember all their mother had taught them about catching a
+mouse, but they could only watch that tail, scarcely breathing for
+fear it would move. The mother cat came just then, hunting for her
+kittens. When she saw them keeping so still she knew there must be
+something the matter.
+
+In the picture she is all ready to spring upon the mouse as soon as he
+moves, so she can be sure to catch him. How confident she looks, and
+how pleased she is that the kittens found the mouse and will help her
+catch it! The kittens are so excited it is doubtful whether they can
+help very much; but if she can persuade one of them just to touch that
+tail, then all will be a scramble. More likely they will all keep so
+still that the mouse will think he is alone and come out.
+
+[Illustration: _A Fascinating Tale_]
+
+Which cat do you think will catch him? The little white kitten is the
+more daring of the two, as she stands there, paws braced wide apart,
+all ready to spring either toward the mouse or away from it. She is
+quite undecided which to do. The little black kitten wants to see
+all that is going on, but at a safe distance.
+
+How those books and papers will be scattered about when the old cat
+jumps for the mouse! The ink bottle is in a very bad place, although
+the inkstand looks as if it were a heavy one and would be hard to
+overturn, even if the cat does jump on it.
+
+Did you ever watch a cat catch a mouse? My! how fast that mouse will
+have to run if he is to get away! Notice the long, graceful, curving
+body of the mother cat, and how she holds her head alert as she plans
+how to catch the mouse.
+
+Although these three cats are all still for the moment, we are made to
+feel that each is about to do something, and we wonder just what that
+something will be. Notice the different colors of the cats' fur and of
+the books placed carelessly in a row. Let us think how this table will
+look in just a few moments.
+
+
+A FASCINATING TALE
+
+    Books and ink, and kittens three
+    In this picture we can see
+    All upon a table wide.
+    What is that from them would hide?
+
+    Little mouse, your tail's too long;
+    It's your fault; if they do wrong.
+    All these books will surely fall,
+    Ink stains soon will cover all.
+
+    Did you think that you were hid?
+    Or perchance of them were rid?
+    Don't you know your tail's in sight
+    Of those kittens' eyes so bright?
+
+    You are wise to keep quite still,
+    For they're watching with a will.
+    Maybe you can make them think
+    It's the cord that ties the ink.
+
+    Mother Cat looks very wise;
+    She will know it by its size.
+    She has taught her kittens, too,
+    Just exactly what to do.
+
+    Which will get you? Have a care,
+    For to lose you they'll not dare.
+    Though they're frightened, we can see
+    With her help it's you must flee.
+
+    Ah, you moved it! Such a fuss!
+    All the things are in a muss!
+    And they caught you, as I thought;
+    You're a nuisance, so they ought.
+
+    Which one did it? I can't tell.
+    All I know is, something fell.
+    But they all look very proud,
+    And their purr is very loud.
+
+
+=Questions to help the pupil understand the picture.= How did the
+kittens happen to find the mouse? How did they get up on the table?
+Where did the mouse try to hide? Why was that not a good place? What
+were the kittens afraid of? Who came to help them? What did she do?
+How does she look? Which kitten is the more daring? What is between
+the black kitten and the mouse? What will very likely happen to the
+books and papers? Which way do you think the white kitten will jump?
+the mother cat? Which one will catch the mouse?
+
+
+=To the Teacher:= Encourage the children to talk about their own pets
+at home, and to draw pictures of them. The drawings may not be good in
+themselves, but such practice will make the children more observant,
+and so prepare the way for better drawing later.
+
+
+=The story of the artist.= Madame Ronner, the woman who painted this
+picture, was very fond of cats, as you can easily imagine. She had a
+very large cage made for her pets, with wire over the top and glass
+for the sides. She had the sides made of glass so that she could
+always watch the cats when she painted, no matter in what part of the
+cage they happened to be; and of course the top was of wire so they
+could have plenty of air. The floor of the cage was well cushioned,
+and there were several hanging bobs for the cats to play with.
+
+Her father was an artist, and he, although blind, was her only
+teacher in drawing and painting. She would describe her pictures to
+him, and he would criticize and tell her how to improve them.
+
+When she was only sixteen years old she exhibited her first picture,
+which she called "Cats in the Window." The picture received a great
+deal of praise and was sold immediately. Every one supposed she would
+paint more pictures of cats, because she could paint them so well, but
+for some reason she began to paint dogs instead. Her dog pictures won
+much popularity also and for many years she supported herself and her
+blind father by her paintings of dogs.
+
+After her father's death she married and moved from Amsterdam to
+Brussels, where she again became interested in painting cats. It was
+then that she did her best work. One of her best pictures painted at
+that time was "A Fascinating Tale."
+
+Madame Ronner had so much care and trouble all her life, it is a wonder
+she could paint such bright, happy pictures. She was very poor much of
+her life, and had not only the care and support of her blind father but
+later on of an invalid husband and several little children. Still with
+it all she must have found time for a frolic with these fluffy little
+kittens, to have known just how to paint them at their best.
+
+Her little children must have liked to play with them, too.
+
+
+=Questions about the artist.= Who painted this picture? Who taught her
+to draw and paint? How could he, when he was blind? What other animals
+did Madame Ronner paint besides cats? Which did she paint the better?
+What makes you think she must have liked cats? Where did she put them
+when she wanted to paint them? Why did the cage have glass sides? Why
+did it have wire over the top? the soft cushions on the floor? What
+did she have for the cats to play with?
+
+
+
+
+A HELPING HAND
+
+  =Original Picture:= Corcoran Gallery, Washington,
+                           D.C.
+  =Artist:= Emile Renouf (r[~e] n[=oo]f'').
+  =Birthplace:= Paris, France.
+  =Dates:= Born, 1845; died, 1894.
+
+
+=Questions to arouse interest.= Of what is this a picture? Where are
+this man and little girl? Where do you think they are going? What do
+you suppose the man does for a living? why? How is he dressed? What
+makes you think he loves the little girl? For what is the long pole
+with the rope around it used? How is the man guiding the boat now?
+What do you see ahead that he is trying to turn away from? What is the
+little girl doing? How is she dressed? Why do you think she cannot
+help very much? What kind of a boat is it? What else do you see in the
+boat? in the picture? Why is it called "A Helping Hand"?
+
+
+=The story of the picture.= When we go fishing for a few hours or half a
+day we think it great fun, but a real fisherman, who earns his living
+that way, has to work very hard. Fishermen usually start out at four or
+five o'clock in the morning, and do not come home again until late at
+night. Sometimes they go away for several days, fishing night and day.
+
+Very probably this little girl is not awake mornings when her father
+eats his breakfast and starts out. He wears a rain-proof hat and heavy
+coat, for one never can tell what the weather will be out on the
+water. He must take a good lunch with him, too, for he is sure to get
+hungry. The mother will see that the lunch is ready.
+
+When the wind is blowing in the right direction he puts up the heavy
+pole you see in the center of the boat, lets out the sail, and
+tightens the rope. Then, with a good wind, how fast he can go! He
+knows just where each kind of fish likes to stay, and goes straight to
+the very best place. Here he drops his heavy iron anchor into the
+water. This anchor is fastened to the boat and keeps it from drifting.
+Sometimes the fish do not bite at all, and he has very few to carry
+home after his hard day's work. Then again his great boat is filled
+full of shiny fish. "Fisherman's luck," that is called.
+
+He probably uses that net with the long wooden handle to help him
+catch the big fish. He may have used it also to catch his minnows for
+bait. No doubt he catches all the minnows he needs before he starts,
+because they live in the shallow water near the shore and it is easier
+to catch them there.
+
+Some fishermen use very long nets, something like those you see on a
+tennis court, only wider and stronger. It takes several men to manage
+them. The fish get tangled up in the net, and then it is very easy to
+catch them.
+
+[Illustration: From a Thistle Print, Copyright Detroit Publishing Co.
+
+_A Helping Hand_]
+
+A flat-bottomed boat is the best for fishing, they say. You can move
+about in it without much danger of tipping over, and it holds more.
+The fish often think it is a wharf or a good cool place under which to
+hide, and you can catch them easily.
+
+Very likely this little girl has never been out with her father on one
+of his long trips, for it would be much too tiresome for so small a
+girl. It would seem, rather, as if he had finished his day's work,
+and was taking his little daughter with him on some short errand.
+Perhaps they are on their way home, and there is something in that
+sack the mother needs. Just now there is no wind, or it is not in the
+right direction, for they do not use the sail.
+
+Can you see the other oar? It must be in the bottom of the boat. The
+man must row hard with the oar he is pulling at or they will run into
+that great rock you see ahead.
+
+It looks as if those little sailboats far off in the distance are
+standing still. Perhaps they have no oars, and are waiting for the wind
+to come up and blow them home. If they were anchored the sails would be
+rolled up and put away. A good sailor must take good care of his boat
+and sails. If a sail is not stretched out in the sun and allowed to dry
+after a heavy dew or rain, it will rot and soon fall to pieces.
+
+A sailor knows how to tie a very tight knot which is called a
+"sailor's knot." He needs to know how to tie this, for if the knots
+are not tight and his rope should come untied, or anything give way
+when there is a heavy wind, the boat would very likely be overturned.
+
+The little girl looks as if she were putting all her strength into
+those tiny hands that cannot near go around the oar. How pleased her
+father seems to be to have her try to help him! He knows she is doing
+the best she can, and he lets her think she is helping row the boat.
+It must help him somewhat, just to know that she is trying so hard and
+wants to help.
+
+She must slip about on that seat every time the oar moves, for her
+feet do not touch the bottom of the boat. She will be tired when she
+reaches home, and warm too, no doubt.
+
+They will not lose their hats even if the wind does blow, for the
+little girl's bonnet is tied under her chin, and her father has pulled
+his rubber hat tight over his head. Often, when he is out fishing on
+the deep sea, the spray dashes over the fisherman's boat, and he is
+glad to have a rubber hat and coat to wear.
+
+The little girl wears a large handkerchief around her neck, fastened
+under her arms. What do you think is in the pockets of her apron to
+make them puff out so? It must be in the summer time, or she would
+surely wear a coat and rubber boots. What a big, heavy boat it is! No
+wonder it takes such a large oar to row it.
+
+
+=Questions to help the pupil understand the picture.= Tell something
+about a fisherman's day. When does he start? How does he go? Where?
+How does he keep his boat from drifting while he fishes? What is meant
+by "fisherman's luck"? What is his net for? What makes you think the
+fisherman is going home now? Why does he not use his sail? Why does he
+have a flat-bottomed boat? How does a good sailor care for his boat
+and sails? What is a "sailor's knot"? Of what use is it? Why does the
+fisherman wear a rubber hat and coat? How many think the little girl
+is helping? Why do you think her father is so pleased to have her try?
+What has she on her head? around her neck? What time of the year do
+you think it is?
+
+
+=To the Teacher:= The children might be allowed to draw or cut out a
+sailboat and a fisherman's hat.
+
+
+=The story of the artist.= Very little is known about the boyhood of
+the man who painted this picture. His paintings were usually of
+fisherfolk, and of boats on the water. We know that in 1886 he came to
+America and spent one year in New York City. It was during this time
+that he painted his picture of Brooklyn Bridge, now in the museum in
+Le Havre, the town in France where he died. "A Helping Hand" is the
+most popular of his pictures, and may be seen in the Corcoran Gallery
+at Washington, D.C.
+
+
+=Questions about the artist.= Who painted this picture? What class of
+people did he like to paint? What did he paint during his visit to
+America? Where may this picture be seen?
+
+
+
+
+THE STRAWBERRY GIRL
+
+  =Original Picture:= Wallace Collection, London, England.
+  =Artist:= Sir Joshua Reynolds (r[)e]n''[)u]ldz).
+  =Birthplace:= Plympton, Devonshire, England.
+  =Dates:= Born, 1723; died, 1792.
+
+
+=Questions to arouse interest.= What do you see in this picture? Where
+do you think she is going? What has she on her arm? What is it for?
+Why do you suppose she stands so still? Do you think she looks
+frightened, or shy? What has she on her head? How is she dressed? How
+is she holding her hands? Why would she not carry strawberries in her
+apron? What can you see behind her? How many of you like this picture?
+
+
+=The story of the picture.= We all know the story about the great
+artist, Sir Joshua Reynolds, and his picture called "Angels' Heads."
+We know, too, how very fond of children he was, and how much they
+liked to go to see him.
+
+Having no children of his own, perhaps he would not have understood them
+so well if his little niece had not come to live with him when she was a
+very little girl. Her name was Theophila Palmer, but every one called
+her "Offy." When her father died the family was left very poor, and so
+Sir Joshua Reynolds wanted to help her mother, who was his sister. He
+offered to adopt Offy as his own little daughter and to take her home to
+live with him and his sister in his great house in London.
+
+After living on a farm out in the country all her life, you can
+imagine how excited Offy was when it was finally decided that she
+should go. Her uncle came for her in that same big coach or carriage
+in which little Frances Isabelle Gordon liked so much to ride.
+
+What a fine time she must have had playing in the great yard with Sir
+Joshua, and with the children who came to him to have their pictures
+painted! Very often she would go home to see her mother and sister.
+Then Sir Joshua would send his carriage to bring them all back for a
+visit with him. What fun it was to show them all around the great
+house and yard! There were fine, large trees in the yard, and behind
+the house was a small garden with a strawberry patch at one end.
+
+One bright spring morning Offy woke up with a beautiful plan in her
+head. She would surprise her uncle. He had been so very busy she felt
+sure he had not looked at the strawberry bed for several days, and did
+not know the berries were ripe. She would take her little basket and
+pick it full of the largest ones for him.
+
+[Illustration: _The Strawberry Girl_]
+
+It was great fun hunting for them, and her basket was almost full when
+suddenly she heard steps. It was her uncle and two strange men who
+walked with him. She did not have time to hide, but stood there with
+her basket on her arm, waiting to hear what they would say.
+
+At first she thought her uncle was going to scold her, and that is why
+she looks so shy and half afraid. But no, Sir Joshua soon guessed why
+she was picking the strawberries, and he was very glad he could offer
+some to his friends. One of the men called Offy "the little strawberry
+girl," and kept her with him all the rest of the day.
+
+Sir Joshua seemed to like to look at her that day, and she was not
+surprised the next morning when he asked her to bring the basket and
+come into his studio, for he wanted to paint her picture. She had had
+her picture painted several times before, and knew just about what he
+would want her to do.
+
+But this time he had a surprise for her. It was a large mirror which
+he placed in such a way that she could look in it and see every stroke
+of his pencil and brush as he painted her. He had her stand just as
+she did when he surprised her out in the strawberry patch.
+
+As she watched him paint he talked to her about the garden and the
+strawberries. Then she told him how she used to gather wild
+strawberries out in the country, and that she and her sister and
+brother started very early in the morning because they wanted to find
+them while they were still wet with dew. There was one place not far
+from their house where there were many rocks, and one that was very
+large. The very largest, sweetest berries grew in the shade of this
+great rock. The children used to try to see who would reach it first;
+then they would divide the berries they found, for there were only a
+few of them, and all wanted a taste.
+
+As Offy told about the rock Sir Joshua Reynolds sketched it in the
+background of his picture, just as he thought it must have looked.
+
+The little girl looks as if she had just started away with her basket
+of berries when we stopped her to take her picture. She is looking
+straight at us, with her head bent forward a little as she smiles
+shyly at us with her big eyes. Her basket, cap, and dress seem strange
+to us, for little girls do not dress that way now. She looks quaint
+and old-fashioned as she stands there, with her hands clasped so
+primly. But one glance at her face tells us that she is just a merry,
+happy little child, ready to dart away at any moment for a romp in the
+woods we can see in the distance.
+
+Sir Joshua Reynolds always said that this was the best child's picture
+he ever painted.
+
+Offy was very happy in his home, and lived there until she grew up and
+married. Then when she had a little girl of her own she let her visit
+Sir Joshua and have her picture painted, too. It is Offy's little
+daughter we see in the picture called "Simplicity." Her name was Offy,
+too.
+
+With so many lovely pictures of children it is no wonder Sir Joshua
+Reynolds was called the "Prince of Child Painters."
+
+
+=Questions to help the pupil understand the picture.= Who painted this
+picture? What other picture of his have we studied? Who can tell
+something about Sir Joshua Reynolds? What little girl came to live with
+him? How did she happen to come? Where had she lived? Who brought her,
+and how? Tell about Sir Joshua Reynolds's house and yard. Where was the
+strawberry patch? What did Offy plan to do to surprise her uncle? What
+happened? What did one of the men call Offy? What did her uncle do the
+next morning? How was Offy surprised? Of what use was the mirror? Tell
+how Offy gathered strawberries in the country. Where did the largest
+berries grow? Why did Sir Joshua Reynolds paint the rock in the picture?
+What did he say about this picture? What became of Offy? Why do you
+think Sir Joshua Reynolds liked to paint this little girl?
+
+
+=To the Teacher:= Illustrate the story of a little girl picking
+strawberries. Use charcoal and manila paper. Ask some child to pose
+for the picture, and encourage the children to draw a background that
+tells the story.
+
+
+=The story of the artist.= The great room or studio in which Sir Joshua
+Reynolds painted was a wonderful place for a child to visit. In it one
+could find all kinds of toys, as well as birds and other pets. Most of
+the children who came to see Sir Joshua were of very wealthy families,
+but he did not care for that. He always asked their mothers to please
+let them wear their oldest clothes so they could have a good time. In
+fact, he did not like fine clothes, and usually the children in his
+pictures are dressed so simply you cannot tell whether they are rich or
+poor. He played games with them and told them stories. They were always
+sure of a good time and so no wonder they liked to visit him.
+
+Many artists have been poor, and have had to work very hard just to
+earn enough to eat, but Sir Joshua was not one of these. He was
+fortunate in being able to sell all his pictures as fast as he could
+paint them and so always had plenty of money.
+
+Many strange stories are told of Joshua's father because he was such
+an absent-minded man. One day he rode to town on horseback. He was
+wearing high-topped boots which were so loose that one fell off while
+he was riding along. He did not notice it at all, for he was thinking
+of something else. But when he reached town and got off his horse he
+was very much surprised and embarrassed to find himself wearing only
+one boot.
+
+When Sir Joshua went to London to learn how to paint he wrote to his
+father, "While I am doing this, I am the happiest creature alive."
+After he had been away several years he met a young sailor, Admiral
+Keppel, who invited him to go on a long sail on the Mediterranean Sea.
+This was a great opportunity for Sir Joshua, and he was glad to go. He
+spent some time in Italy, and when he came home he painted a portrait
+of his friend, Admiral Keppel, which every one admired. It was this
+picture that first made him famous.
+
+
+=Questions about the artist.= Tell about Sir Joshua Reynolds's studio.
+Why did children like to visit him? How did he wish them to dress?
+why? Tell about his father and the boot. Was Sir Joshua Reynolds rich
+or poor? When he was away from home, learning to paint, what did he
+write to his father? Tell about Admiral Keppel and his picture.
+
+
+
+
+THE RETURN TO THE FARM
+
+  =Original Picture:= The Louvre (l[=oo]'vr'), Paris, France.
+  =Artist:= Constant Troyon (trwae'yon'')
+  =Birthplace:= Sevres (Sa''vr'), France.
+  =Dates:= Born, 1810; died, 1865.
+
+
+=Questions to arouse interest.= What do you see in this picture? Where
+are the animals going? Where do you think they have been? Who is
+driving them? What time of day do you think it is? Do you think it is
+a warm or a cold day? why? Which is the leader of the sheep? Notice
+the knees of the animals. What do they show? Where is the donkey? Why
+does the dog seem so anxious? From what direction are the animals
+coming? See if you can find any two sheep just alike. What can you see
+in the distance? Where is the shady part in the picture? Do you like
+this picture?
+
+
+=The story of the picture.= It is at the close of day; the cows, the
+sheep, and the donkey have been out in the pasture all day, and when
+the dog and his master came for them they were ready to start for home.
+
+We can hardly see the man in the picture. He is walking along the
+river bank farther back. Perhaps he is walking slowly so as to give
+the cows time to wade out into that cool little pond, where they can
+drink and refresh themselves. But the dog feels that he must look
+after them, so he tries his best to keep them out of the water. That
+one dark cow has just about made up her mind to follow the others into
+the water, and the dog is barking at her, trying to persuade her not
+to go. The cow just leaving the water turns around to call the rest,
+half wishing to go back herself. When the man comes along they will
+know it is time for them to be on their way again.
+
+The dog has an anxious time of it, for he never knows when the sheep,
+too, may see a green field and start away from the road in spite of
+him. Even now one is looking away from the leader.
+
+The donkey seems to be following along very quietly. It may be that
+the man has stayed behind to look after him, or perhaps there are more
+cattle coming around the curve in the road, or stopping to rest in the
+deep shade of those heavy trees.
+
+This picture was painted in France, but it might well have been done
+in our own country, for we have all seen grass-covered, shady roads
+like this one, and just such a group of animals. Is it not strange
+that, although all the animals in the road are coming toward us, no
+two are in the same position?
+
+[Illustration: _The Return to the Farm_]
+
+The sun is steadily going down; soon all the animals will be at home,
+the cows will be milked, the sheep safe in the fold, and the donkey in
+his stall. Then the good old dog will be glad to have his supper and
+lie down and rest. It is wonderful how much a dog can help on a farm,
+and how many steps he saves the farmer by his willing, cheerful help.
+It is very unusual indeed to find a farmer without a dog.
+
+If you look at the long shadows on the road of the sheep and the cows
+you can tell easily in what direction they are going so late in the
+afternoon.
+
+Constant Troyon, the man who painted this picture, delighted in painting
+groups of animals coming toward us. No matter where we stand, so long
+as we can see them, they are coming to meet us. It makes us feel as if
+we must step aside and let them pass, they are so real.
+
+
+=Questions to help the pupil understand the picture.= Who goes after the
+cows and sheep? Where will they find them? Where is the man in the
+picture? Why do you suppose he is walking slowly? What does the dog
+think he must do? What is he trying to persuade that dark cow not to do?
+What does the cow which is just leaving the water seem to want to do?
+Why does the dog look so worried? Where was this picture painted? Where
+have you seen a road that looks like this? What will probably happen
+when these cows and sheep reach home? Of what use is the dog? Why do
+most farmers have a dog? How can a dog help his master in the city? In
+what direction are the cows and sheep going? What makes you think so?
+
+
+=The story of the artist.= When Constant Troyon was a little boy he
+used to love to go to visit his father at the big factory where all
+kinds of china and pottery were made. He liked to watch the men
+decorate the china, and as soon as he was old enough he went into the
+factory and learned how to do it himself. This was the way he first
+learned how to draw.
+
+He was not long content with china painting, however, and soon began
+painting large pictures of places he cared about near home. He would
+take his paints and search out just the place he liked to paint; then
+he would stay there all day long, as happy as could be.
+
+At first he painted just because he liked to, and did not try to paint
+pictures to sell or to please others, for he earned all the money he
+needed in the porcelain factory. After a while his friends persuaded
+him to exhibit his paintings so that all the people could see them,
+and when he did so he was amazed to find that every one admired them,
+and that he had become very popular.
+
+Of a powerful frame, he could be seen tramping about in all kinds of
+weather. He made friends wherever he went, for he was always
+good-natured and kind-hearted. People usually speak of him as a painter
+of cattle, but he painted quite as many pictures of sheep and dogs.
+
+
+=Questions about the artist.= Who painted this picture? What did he
+like to paint best? Where did Constant Troyon learn to draw? What was
+made at his father's factory? What did Troyon do when he was old
+enough? Where did he paint his large pictures? Why did he paint? How
+did people like his pictures? How did they like him? What other
+animals did he like to paint besides cattle?
+
+
+
+
+THE SUGGESTIONS TO TEACHERS
+
+
+=Studying the picture.= Several days before the lesson is to be taken
+up, the picture to be studied should be placed where every pupil can
+see it.
+
+First of all, the children should find out for themselves what is in
+the picture. The questions accompanying the story of each picture are
+intended to help them to do this.
+
+
+=Language work.= The pupils should be encouraged in class to talk
+freely and naturally. In this way the lesson becomes a language
+exercise in which the pupils will gain in freedom of expression and in
+the ability to form clear mental images.
+
+If a lesson does not occupy the entire drawing period, the children
+should be asked to retell the story of the picture.
+
+
+=Dramatization and drawing.= Most of the stories told by the pictures
+lend themselves readily to dramatization and, whenever practicable,
+such stories should be acted out. The stories also offer numerous
+interesting situations that may be used as subjects for drawing lessons.
+
+
+=The review lesson.= The review lesson should cover all pictures and
+artists studied throughout the year. At this time other pictures
+available by the same artists should be on exhibition.
+
+The review work may be conducted as a contest in which the pictures
+are held up, one at a time, while the class writes the name of the
+picture and the artist on slips of paper which have been prepared and
+numbered for that purpose. One teacher who used this device surprised
+her class by presenting those whose lists were correct with their
+choice of any of the large-sized Perry pictures studied.
+
+Many teachers, however, will prefer to use this time for composition
+work, although the description of pictures is often given as an
+English lesson. Pupils may write a description of their favorite
+picture. In fact, the lessons can be made to correlate with history,
+geography, English, spelling, reading, or nature study.
+
+In any event the real purpose of the work is that the pupils shall
+become so familiar with the pictures that they will recognize them as
+old friends whenever and wherever they may see them.
+
+It is hoped that acquaintance with the picture and the interest
+awakened by its story will grow into a fuller appreciation and
+understanding of the artist's work. Thus the children will have many
+happy hours and will learn to love the good, the true, and the
+beautiful in everything about them.
+
+
+
+
+[Transcriber's Note:
+
+
+* 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 21 Pronunciation guide for (zhaeN fraeN' swae' m[=e]l[)e]'')
+presents a Latin letter small capital "N", a voiced uvular nasal.
+
+* Pg 37 Emile Renouf (r[~e] n[=oo]f'') and Pg 51 Louvre (l[=oo]'vr')
+contains [=oo] representing a "long oo" sound not represented in any
+charts.
+
+* Pg 41 Changed "where" to "Where" in "How does he go? where?".]
+
+
+
+
+
+
+End of Project Gutenberg's Stories Pictures Tell, by Flora Carpenter
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