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diff --git a/32489-h/32489-h.htm b/32489-h/32489-h.htm new file mode 100644 index 0000000..564df71 --- /dev/null +++ b/32489-h/32489-h.htm @@ -0,0 +1,2563 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Stories Pictures Tell: Book Two, by Flora L. Carpenter. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +hr { + margin: 3em auto 3em auto; + height: 0px; + border-width: 1px 0 0 0; + border-style: solid; + border-color: #dcdcdc; + width: 500px; + clear: both; +} + +hr.hr2 { + width: 250px; + margin: 3em auto 3em auto; +} + +table { + margin-left: auto; + margin-right: auto; +} + +table.toc { + margin: auto; + width: 70%; +} + +td.c1 { + text-align: left; + vertical-align: top; + padding-right: 1em; +} + +td.c2 { + text-align: left; + margin-left: 0em; + padding-left: 2em; + text-indent: -2em; + padding-right: 1em; + vertical-align: top; +} + +td.c3 { + text-align: right; + padding-left: 1em; + vertical-align: bottom; +} + +td { padding: 0em 1em; } +th { padding: 0em 1em; } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + color: #999; +} /* page numbers */ + + .blockquot { + margin-left: 5%; + margin-right: 10%; +} + + .center {text-align: center;} + + .smcap {font-variant: small-caps;} + + .caption {font-weight: bold;} + +/* Images */ + .figcenter { + margin: auto; + text-align: center; +} + + .bord img { + padding: 1px; + border: 1px solid black; +} + +p.caption { + margin-top: 0; + font-size: 70%; + text-align: right; +} + +p.caption2 { + margin-top: 0; + font-size: 70%; + text-align: center; +} + +/* Poetry */ + .poem { + margin-bottom: 1em; margin-left: 25%; margin-right: 10%; text-align: left; + } + .poem .stanza { + margin: 1em 0em; + } + .poem p { + padding-left: 3em; margin: 0px; text-indent: -3em; + } + .poem p.i2 { + margin-left: 1em; + } + + .signature { + text-align: right; + margin-right: 5%; +} + +/* Transcriber Notes */ +div.tn { + background-color:#EEE; + border:dashed 1px; + color:#000; + margin-left:10%; + margin-right:10%; + margin-top:5em; + margin-bottom:5em; + padding:1em; +} + +ul.corrections { + list-style-type:circle; +} + + </style> + </head> +<body> + + +<pre> + +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: ISO-8859-1 + +*** 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 + + + + + + +</pre> + + +<p> </p> +<p> </p> +<p> </p> + +<div class="figcenter" style="width: 500px;"> +<a name="f003a-illus" id="f003a-illus"></a> +<img src="images/f003a-illus.jpg" width="500" height="83" alt="Title decoration" title=""/> +</div> + +<h1>STORIES<br /> +PICTURES TELL</h1> + +<p> </p> + +<h2>BOOK TWO</h2> + +<p> </p> + +<h4><i>By</i></h4> +<h3>FLORA L. CARPENTER</h3> +<h5><i>Instructor in drawing in Waite High School, Toledo, Ohio<br /> +Formerly supervisor of drawing, Bloomington, Illinois</i></h5> + +<p> </p> + +<h4><i>Illustrated with Half Tones from<br /> +Original Photographs</i></h4> + +<p> </p> + +<h3>RAND McNALLY & COMPANY</h3> +<h4>CHICAGO NEW YORK</h4> + +<hr /> + +<h4><i>Copyright, 1918 by</i><br /> +<span class="smcap">Rand McNally & Co.</span></h4> + +<div class="figcenter bord" style="width: 75px;"> +<a name="f004a-illus" id="f004a-illus"></a> +<img src="images/f004a-illus.jpg" width="75" height="70" alt="Publisher's symbol" title=""/> +</div> + +<h5>Made in U. S. A.</h5> + +<hr /> +<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> +<h2>THE CONTENTS</h2> + +<table class="toc" summary="Contents"> +<tr><td class="c1 smcap"><small>September and October</small></td><td> </td> + <td class="c3"><small>PAGE</small></td></tr> +<tr><td class="c1"> "Shoeing the Bay Mare"</td><td class="c2"><i>Landseer</i></td> + <td class="c3"><a href="#Page_1">1</a></td></tr> +<tr><td class="c1"> "Angels' Heads"</td><td class="c2"><i>Reynolds</i></td> + <td class="c3"><a href="#Page_13">13</a></td></tr> +<tr><td class="c1 smcap" colspan="3"><small>November, December, and January</small></td></tr> +<tr><td class="c1"> "The First Step"</td> + <td class="c2"><i>Millet</i></td><td class="c3"><a href="#Page_21">21</a></td></tr> +<tr><td class="c1"> "A Fascinating Tale"</td><td class="c2"><i>Mme Ronner</i></td> + <td class="c3"><a href="#Page_29">29</a></td></tr> +<tr><td class="c1 smcap" colspan="3"><small>February and March</small></td></tr> +<tr><td class="c1"> "A Helping Hand"</td><td class="c2"><i>Renouf</i></td> + <td class="c3"><a href="#Page_37">37</a></td></tr> +<tr><td class="c1"> "The Strawberry Girl"</td> + <td class="c2"><i>Reynolds</i></td><td class="c3"><a href="#Page_43">43</a></td></tr> +<tr><td class="c1 smcap" colspan="3"><small>April, May, and June</small></td></tr> +<tr><td class="c1"> "The Return to the Farm"</td><td class="c2"><i>Troyon</i></td> + <td class="c3"><a href="#Page_51">51</a></td></tr> +<tr><td class="c1" colspan="3"> Review of Pictures and Artists Studied</td></tr> +<tr><td class="c1"><i>The Suggestions to Teachers</i></td><td> </td> + <td class="c3"><a href="#Page_56">56</a></td></tr> +</table> + + +<hr /> +<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> +<h2>THE PREFACE</h2> + +<p>Art supervisors in the public schools assign picture-study +work in each grade, recommending the study of certain pictures +by well-known masters. As Supervisor of Drawing I found +that the children enjoyed this work but that the teachers felt +incompetent to conduct the lessons as they lacked time to +look up the subject and to gather adequate material. Recourse +to a great many books was necessary and often while +much information could usually be found about the artist, +very little was available about his pictures.</p> + +<p>Hence I began collecting information about the pictures +and preparing the lessons for the teachers just as I would +give them myself to pupils of their grade.</p> + +<p>My plan does not include many pictures during the year, +as this is to be only a part of the art work and is not intended +to take the place of drawing.</p> + +<p>The lessons in this grade may be used for the usual drawing +period of from twenty to thirty minutes, and have been successfully +given in that time. However, the most satisfactory way +of using the books is as supplementary readers, thus permitting +each child to study the pictures and read the stories himself.</p> + +<div class="signature"><span class="smcap">Flora L. Carpenter</span></div> + +<hr /> + +<div class="figcenter bord" style="width: 500px;"> +<a name="f008a-illus" id="f008a-illus"></a> +<img src="images/f008a-illus.jpg" width="500" height="661" alt="A mare" title=""/> +<p class="caption2">SHOEING THE BAY MARE</p> +</div> + + +<hr /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h1>STORIES<br /> +PICTURES TELL</h1> + +<hr class="hr2" /> + +<h2>SHOEING THE BAY MARE</h2> + +<div class="blockquot"> +<p><b>Original Picture:</b> National Gallery, London,<br /> + England.</p> +<p><b>Artist:</b> Sir Edwin Landseer (lănd´´sēr).</p> +<p><b>Birthplace:</b> London, England.</p> +<p><b>Dates:</b> Born, 1802; died, 1873.</p> +</div> + + +<p><b>Questions to arouse interest.</b> 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?</p> + + +<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> + <b>The story of the picture.</b> 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.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> +with him and place it within reach when he is +fitting the shoe.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> +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!</p> + +<p>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.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Notice how the light comes in through the +upper half of the doorway and falls upon the + <span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> +figures. Can you see where the light from the +fire in the forge is shining?</p> + +<p>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!</p> + +<p>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?</p> + + +<p><b>Questions to help the pupil understand the +picture.</b> 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 + <span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> +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?</p> + + +<p><b>To the Teacher:</b> Have the pupils memorize +the following lines from Longfellow's <i>The +Village Blacksmith</i>:</p> + +<div class="poem"><div class="stanza"> +<p>And children coming home from school</p> +<p class="i2">Look in at the open door;</p> +<p>They love to see the flaming forge,</p> +<p class="i2">And hear the bellows roar,</p> +<p>And catch the burning sparks that fly</p> +<p class="i2">Like chaff from a threshing-floor.</p> +</div></div> + + +<p><b>The story of the artist.</b> 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.</p> + +<p>They lived in the country, and often the +father went with his children for a walk through + <span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> +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."</p> + +<p>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.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>It was about this time, too, that he painted +an old white horse in the stable of another +wealthy man. After the picture was finished, +ready to deliver, it suddenly disappeared. + <span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> +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.</p> + +<p>At the age of twenty-four, Landseer became +a member of the Royal Academy, which was an +unusual honor for so young a man.</p> + +<p>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."</p> + +<p>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.</p> + +<p>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.</p> + +<p>Although Landseer painted so many wild + <span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> + Landseer died in London in 1873, at the age +of seventy-one.</p> + + +<p><b>Questions about the artist.</b> 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?</p> + + +<hr /> +<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<h2>ANGELS' HEADS</h2> + +<div class="blockquot"> +<p><b>Original Picture:</b> National Gallery, London,<br /> + England.</p> +<p><b>Artist:</b> Sir Joshua Reynolds (rĕn´´ŭldz).</p> +<p><b>Birthplace:</b> Plympton, Devonshire, England.</p> +<p><b>Dates:</b> Born, 1723; died, 1792.</p> +</div> + + +<p><b>Questions to arouse interest.</b> 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?</p> + + +<p><b>The story of the picture.</b> 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 + <span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Sir Joshua Reynolds loved this little girl + <span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> +very much, and he was glad indeed when one +day her mother brought her to have her picture +painted.</p> + +<div class="figcenter bord" style="width: 500px;"> +<a name="p015a-illus" id="p015a-illus"></a> +<img src="images/p015a-illus.jpg" width="500" height="604" alt="Angels" title=""/> +<p class="caption2"><i>Angels' Heads</i></p> +</div> + +<p>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 + <span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> +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.</p> + +<p>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."</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> + 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.</p> + +<p>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.</p> + + +<p><b>Questions to help the pupil understand the +picture.</b> 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 + <span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> +"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?</p> + + +<p><b>The story of the artist.</b> 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.</p> + +<p>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."</p> + +<p>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.</p> + +<p>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.</p> + +<p>At first the older brothers and sisters used + <span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> +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.</p> + +<p>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!"</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> +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.</p> + + +<p><b>Questions about the artist.</b> 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?</p> + + +<hr /> +<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> +<h2>THE FIRST STEP</h2> + +<div class="blockquot"> +<p><b>Artist:</b> Jean François Millet <a name="zhan" id="zhan"></a>(zhä<span class="smcap">n</span> + frä<span class="smcap">n</span>´ swä´ mēlĕ´´).</p> +<p><b>Birthplace:</b> Gruchy, France.</p> +<p><b>Dates:</b> Born, 1814; died, 1875.</p> +</div> + + +<p><b>Questions to arouse interest.</b> 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?</p> + + +<p><b>The story of the picture.</b> 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 + <span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>The potatoes he wants to keep he will +bury in the ground. In those days very few + <span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> +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.</p> + +<div class="figcenter bord" style="width: 500px;"> +<a name="p023a-illus" id="p023a-illus"></a> +<img src="images/p023a-illus.jpg" width="500" height="312" alt="Learning to walk" title=""/> +<p class="caption2"><i>The First Step</i></p> +</div> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> + 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.</p> + +<p>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.</p> + +<p>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.</p> + + +<p><b>Questions to help the pupil understand the +picture.</b> 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?</p> + + +<p><b>The story of the artist.</b> Jean François Millet +was the son of French peasants who must have + <span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> + 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.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> +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.</p> + +<p>It was not until Millet was an old man that +people began to appreciate his work. Now +most of those fashionable artists of his time +have been forgotten, while the paintings of Jean +François Millet have become more and more +valuable.</p> + + +<p><b>Questions about the artist.</b> 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?</p> + + +<hr /> +<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> +<h2>A FASCINATING TALE</h2> + +<div class="blockquot"> +<p><b>Artist:</b> Madame Henriette Ronner (rön´´nẽr).</p> +<p><b>Birthplace:</b> Amsterdam, Holland.</p> +<p><b>Dates:</b> Born, 1821. Still living, 1916.</p> +</div> + + +<p><b>Questions to arouse interest.</b> 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"?</p> + + +<p><b>The story of the picture.</b> 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 + <span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<div class="figcenter bord" style="width: 500px;"> +<a name="p031a-illus" id="p031a-illus"></a> +<img src="images/p031a-illus.jpg" width="500" height="714" alt="kittens" title=""/> +<p class="caption2"><i>A Fascinating Tale</i></p> +</div> + +<p>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 + <span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> +do. The little black kitten wants to see all that +is going on, but at a safe distance.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + + +<h2>A FASCINATING TALE</h2> + +<div class="poem"><div class="stanza"> +<p>Books and ink, and kittens three</p> +<p>In this picture we can see</p> +<p>All upon a table wide.</p> +<p>What is that from them would hide?</p> +</div> +<div class="stanza"> +<p>Little mouse, your tail's too long;</p> +<p>It's your fault; if they do wrong.</p> +<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> + All these books will surely fall,</p> +<p>Ink stains soon will cover all.</p> +</div> +<div class="stanza"> +<p>Did you think that you were hid?</p> +<p>Or perchance of them were rid?</p> +<p>Don't you know your tail's in sight</p> +<p>Of those kittens' eyes so bright?</p> +</div> +<div class="stanza"> +<p>You are wise to keep quite still,</p> +<p>For they're watching with a will.</p> +<p>Maybe you can make them think</p> +<p>It's the cord that ties the ink.</p> +</div> +<div class="stanza"> +<p>Mother Cat looks very wise;</p> +<p>She will know it by its size.</p> +<p>She has taught her kittens, too,</p> +<p>Just exactly what to do.</p> +</div> +<div class="stanza"> +<p>Which will get you? Have a care,</p> +<p>For to lose you they'll not dare.</p> +<p>Though they're frightened, we can see</p> +<p>With her help it's you must flee.</p> +</div> +<div class="stanza"> +<p>Ah, you moved it! Such a fuss!</p> +<p>All the things are in a muss!</p> +<p>And they caught you, as I thought;</p> +<p>You're a nuisance, so they ought.</p> +</div> +<div class="stanza"> +<p>Which one did it? I can't tell.</p> +<p>All I know is, something fell.</p> +<p>But they all look very proud,</p> +<p>And their purr is very loud.</p> +</div></div> + + +<p><b>Questions to help the pupil understand the +picture.</b> How did the kittens happen to find + <span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +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?</p> + + +<p><b>To the Teacher:</b> 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.</p> + + +<p><b>The story of the artist.</b> 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.</p> + +<p>Her father was an artist, and he, although + <span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> +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.</p> + +<p>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.</p> + +<p>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."</p> + +<p>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 + <span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> +kittens, to have known just how to paint them +at their best.</p> + +<p>Her little children must have liked to play +with them, too.</p> + + +<p><b>Questions about the artist.</b> 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?</p> + + +<hr /> +<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> +<h2>A HELPING HAND</h2> + +<div class="blockquot"> +<p><b>Original Picture:</b> Corcoran Gallery, Washington,<br /> + D.C.</p> +<p><b>Artist:</b> Emile Renouf (rẽ <a name="noof" id="noof"></a>n[=oo]f´´).</p> +<p><b>Birthplace:</b> Paris, France.</p> +<p><b>Dates:</b> Born, 1845; died, 1894.</p> +</div> + + +<p><b>Questions to arouse interest.</b> 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"?</p> + + +<p><b>The story of the picture.</b> 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.</p> + +<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> + 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Some fishermen use very long nets, something + <span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> +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.</p> + +<div class="figcenter bord" style="width: 500px;"> +<a name="p039a-illus" id="p039a-illus"></a> +<img src="images/p039a-illus.jpg" width="500" height="343" alt="Little girl and a fisherman" title=""/> +<p class="caption">From a Thistle Print, Copyright Detroit Publishing Co.</p> +<p class="caption2"><i>A Helping Hand</i></p> +</div> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + + +<p><b>Questions to help the pupil understand the +picture.</b> Tell something about a fisherman's +day. When does he start? How does he go? +<a name="where" id="where"></a>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 + <span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> +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?</p> + + +<p><b>To the Teacher:</b> The children might be +allowed to draw or cut out a sailboat and a +fisherman's hat.</p> + + +<p><b>The story of the artist.</b> 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.</p> + + +<p><b>Questions about the artist.</b> 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?</p> + + +<hr /> +<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> +<h2>THE STRAWBERRY GIRL</h2> + +<div class="blockquot"> +<p><b>Original Picture:</b> Wallace Collection, London, England.</p> +<p><b>Artist:</b> Sir Joshua Reynolds (rĕn´´ŭldz).</p> +<p><b>Birthplace:</b> Plympton, Devonshire, England.</p> +<p><b>Dates:</b> Born, 1723; died, 1792.</p> +</div> + + +<p><b>Questions to arouse interest.</b> 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?</p> + + +<p><b>The story of the picture.</b> 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.</p> + +<p>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 + <span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> +<div class="figcenter bord" style="width: 500px;"> +<a name="p045a-illus" id="p045a-illus"></a> +<img src="images/p045a-illus.jpg" width="500" height="642" alt="Little girl" title=""/> +<p class="caption2"><i>The Strawberry Girl</i></p> +</div> + +<p>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 + <span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> +to hide, but stood there with her basket on her +arm, waiting to hear what they would say.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Sir Joshua Reynolds always said that this +was the best child's picture he ever painted.</p> + +<p>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 + <span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> +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.</p> + +<p>With so many lovely pictures of children +it is no wonder Sir Joshua Reynolds was called +the "Prince of Child Painters."</p> + + +<p><b>Questions to help the pupil understand the +picture.</b> 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?</p> + + +<p><b>To the Teacher:</b> 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.</p> + + +<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> + <b>The story of the artist.</b> 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.</p> + +<p>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.</p> + +<p>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 + <span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> +reached town and got off his horse he was very +much surprised and embarrassed to find himself +wearing only one boot.</p> + +<p>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.</p> + + +<p><b>Questions about the artist.</b> 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.</p> + + +<hr /> +<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> +<h2>THE RETURN TO THE FARM</h2> + +<div class="blockquot"> +<p><b>Original Picture:</b> The Louvre <a name="loo" id="loo"></a>(l[=oo]´vr'), Paris, France.</p> +<p><b>Artist:</b> Constant Troyon (trwä´yôn´´)</p> +<p><b>Birthplace:</b> Sèvres (Sâ´´vr'), France.</p> +<p><b>Dates:</b> Born, 1810; died, 1865.</p> +</div> + + +<p><b>Questions to arouse interest.</b> 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?</p> + + +<p><b>The story of the picture.</b> 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.</p> + +<p>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 + <span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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?</p> + +<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p> +<div class="figcenter bord" style="width: 500px;"> +<a name="p053a-illus" id="p053a-illus"></a> +<img src="images/p053a-illus.jpg" width="500" height="315" alt="Little girl" title=""/> +<p class="caption2"><i>The Return to the Farm</i></p> +</div> + +<p>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.</p> + +<p>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.</p> + +<p>Constant Troyon, the man who painted +this picture, delighted in painting groups of +animals coming toward us. No matter where + <span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> +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.</p> + + +<p><b>Questions to help the pupil understand the +picture.</b> 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?</p> + + +<p><b>The story of the artist.</b> 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.</p> + +<p>He was not long content with china painting, +however, and soon began painting large + <span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> +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.</p> + +<p>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.</p> + +<p>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.</p> + + +<p><b>Questions about the artist.</b> 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?</p> + + +<hr /> +<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> +<h2>THE SUGGESTIONS TO TEACHERS</h2> + + +<p><b>Studying the picture.</b> Several days before the lesson is to +be taken up, the picture to be studied should be placed where +every pupil can see it.</p> + +<p>First of all, the children should find out for themselves +what is in the picture. The questions accompanying the +story of each picture are intended to help them to do this.</p> + + +<p><b>Language work.</b> The pupils should be encouraged in class +to talk freely and naturally. In this way the lesson becomes +a language exercise in which the pupils will gain in freedom +of expression and in the ability to form clear mental images.</p> + +<p>If a lesson does not occupy the entire drawing period, the +children should be asked to retell the story of the picture.</p> + + +<p><b>Dramatization and drawing.</b> Most of the stories told by the +pictures lend themselves readily to dramatization and, whenever +practicable, such stories should be acted out. The stories +also offer numerous interesting situations that may be used +as subjects for drawing lessons.</p> + + +<p><b>The review lesson.</b> The review lesson should cover all pictures +and artists studied throughout the year. At this time +other pictures available by the same artists should be on +exhibition.</p> + +<p>The review work may be conducted as a contest in which +the pictures are held up, one at a time, while the class writes +the name of the picture and the artist on slips of paper which +have been prepared and numbered for that purpose. One +teacher who used this device surprised her class by presenting +those whose lists were correct with their choice of any of the +large-sized Perry pictures studied.</p> + +<p>Many teachers, however, will prefer to use this time for +composition work, although the description of pictures is often +given as an English lesson. Pupils may write a description of + <span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> +their favorite picture. In fact, the lessons can be made to +correlate with history, geography, English, spelling, reading, or +nature study.</p> + +<p>In any event the real purpose of the work is that the pupils +shall become so familiar with the pictures that they will recognize +them as old friends whenever and wherever they may see +them.</p> + +<p>It is hoped that acquaintance with the picture and the +interest awakened by its story will grow into a fuller appreciation +and understanding of the artist's work. Thus the children +will have many happy hours and will learn to love the good, +the true, and the beautiful in everything about them.</p> + + +<hr /> + +<div class="tn"> +<h4>Transcriber's Note:</h4> +<ul class="corrections"> +<li>Some words have accents of different weights. The heavier accent is +marked double (''). (Example: bo'nur'')</li> +<li>Pg <a href="#zhan">21</a> Pronunciation guide for (zhä<span class="smcap">N</span> frä<span class="smcap">N</span>´ swä´ mēlĕ´´) +presents a Latin letter small capital <span class="smcap">N</span>, a voiced uvular nasal.</li> +<li>Pg <a href="#noof">37</a> Emile Renouf (rẽ n[=oo]f´´) and Pg <a href="#loo">51</a> Louvre (l[=oo]´vr') contains [=oo] representing a "long oo" sound not represented in any charts.</li> +<li>Pg <a href="#where">41</a> Changed "where" to "Where" in "How does he go? where?".</li> +</ul> +</div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Stories Pictures Tell, by Flora Carpenter + +*** END OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL *** + +***** This file should be named 32489-h.htm or 32489-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/2/4/8/32489/ + +Produced by Larry B. 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