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@@ -1,38 +1,4 @@ -The Project Gutenberg eBook, Picture-Work, by Walter L. (Walter Lowrie) -Hervey - - -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: Picture-Work - - -Author: Walter L. (Walter Lowrie) Hervey - - - -Release Date: November 28, 2012 [eBook #41505] - -Language: English - -Character set encoding: ISO-646-US (US-ASCII) - - -***START OF THE PROJECT GUTENBERG EBOOK PICTURE-WORK*** - - -E-text prepared by Charlene Taylor and the Online Distributed Proofreading -Team (http://www.pgdp.net) from page images generously made available by -Internet Archive/American Libraries (http://archive.org/details/americana) - - +*** START OF THE PROJECT GUTENBERG EBOOK 41505 *** Note: Images of the original pages are available through Internet Archive/American Libraries. See @@ -97,7 +63,7 @@ VIII. Books, Pictures, and Illustrative Material 71 IX. False Picture-Work 82 - X. A Cooperative Study 87 + X. A Coöperative Study 87 @@ -364,7 +330,7 @@ the parables of Jesus, who was the prince of teachers, or in the discourses of great preachers whose sermons teem with "likes," or in the story-teller's skilful comparison of place with place, people with people--Palestine with Vermont as to size, with England, Scotland, and -Wales as to its divisions--Galilee, Samaria, and Judaea being "united +Wales as to its divisions--Galilee, Samaria, and Judæa being "united because they had one government, one ruler; separate because of their peculiar characteristics, their definite boundaries, and jealous claims to special privileges"--in all the notion of likeness is the central @@ -667,7 +633,7 @@ interest and power. Our course through the Bible--incident by incident, verse by verse, here a little, there a little, years of "lessons," but no idea even of the life of Christ as a whole--is not unlike the toilsome road -traversed by the boy "reading" Caesar as his first Latin author: so many +traversed by the boy "reading" Cæsar as his first Latin author: so many separate, mutually repellant parts, but no wholes, no idea of what it is all about; or it may be compared to the route of the milk-man--a stop at every other house, and never a good run. @@ -1342,7 +1308,7 @@ people, the mode of travel, the length of time required. Account for the roughness of the road from Jerusalem to Jericho. -What kind of place was Caesarea Philippi, and what kind of stream is the +What kind of place was Cæsarea Philippi, and what kind of stream is the Jordan at that point? _Sketching._ The teacher should practice until he can make, with @@ -1370,7 +1336,7 @@ line parallel to 1-4, one unit in length (9-10). Join points 1 and 10 with an irregular line, thus indicating the coast. A perpendicular let fall from 10 to 3 would indicate the course of the Jordan, the source lying nearly opposite 8, the Sea of Galilee opposite 7, the Dead Sea -between 4 and 5; and Judaea, Samaria, Galilee, and Phoenicia will +between 4 and 5; and Judæa, Samaria, Galilee, and Phoenicia will each occupy, roughly speaking, one and a half units. The principal mountains, cities, routes, may be indicated by initials, signs, or in any other appropriate ways. Each unit being 40 miles in length, the @@ -1802,7 +1768,7 @@ colors in the form of anchors, hearts, keys, crosses, not to mention other less sacred things? I once saw a "chalk talk" given to two hundred Sunday-school children. -_Dramatis personae_: three parrots; one unrecognizable, it was so badly +_Dramatis personæ_: three parrots; one unrecognizable, it was so badly drawn; a second, indifferent; the third, capital, a speaking likeness. The last was perched on S. T. Moral: "Honesty is the best policy." The children were as delighted as if the text had been taken from the Bible @@ -1891,7 +1857,7 @@ exhibitions on the blackboard. X. -A COOPERATIVE STUDY. +A COÖPERATIVE STUDY. In order to find out what Sunday-school teachers are doing in the @@ -2316,362 +2282,4 @@ Minor typographical errors have been corrected without note. Irregularities and inconsistencies in the text have been retained as printed. - - -***END OF THE PROJECT GUTENBERG EBOOK PICTURE-WORK*** - - -******* This file should be named 41505.txt or 41505.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/1/5/0/41505 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. 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Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. 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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: Picture-Work - - -Author: Walter L. (Walter Lowrie) Hervey - - - -Release Date: November 28, 2012 [eBook #41505] - -Language: English - -Character set encoding: ISO-8859-1 - - -***START OF THE PROJECT GUTENBERG EBOOK PICTURE-WORK*** - - -E-text prepared by Charlene Taylor and the Online Distributed Proofreading -Team (http://www.pgdp.net) from page images generously made available by -Internet Archive/American Libraries (http://archive.org/details/americana) - - - -Note: Images of the original pages are available through - Internet Archive/American Libraries. See - http://archive.org/details/picturework00herv - - -Transcriber's note: - - Text enclosed by underscores is in italics (_italics_). - - Text enclosed by tilde characters is in bold face (~bold~). - - - - - -PICTURE=WORK - -by - -WALTER L. HERVEY, Ph.D. - - - - - - - -New York Chicago Toronto -Fleming H. Revell Company -London and Edinburgh - -Copyright, 1896, by -W. L. Hervey - -Copyright, 1908, by -Fleming H. Revell Company - - - - -CONTENTS. - - - Page - - I. The Problem and One of Its Solutions 5 - - II. Types of Picture-Work 9 - - III. A Picture-Book, and How to Use It 22 - - IV. Side-Lights 26 - - V. Stories and Story-Telling 31 - - VI. Some First Principles: Unity, Reality, Order 44 - - VII. How to Learn How 56 - -VIII. Books, Pictures, and Illustrative Material 71 - - IX. False Picture-Work 82 - - X. A Coöperative Study 87 - - - - -Picture=Work. - - - - -I. - -THE PROBLEM AND ONE OF ITS SOLUTIONS. - - -A friend of the writer, who has since attained to the dignity of a -teacher of teachers, relates to the honor of his wise mother that when -he was a boy she did not make him promise not to smoke or chew or play -cards--probably compassing these ends in other ways--but she did exert -her influence to lead him not to read Sunday-school books. For this -warning, he says, he has never ceased to be thankful. In these days of -supervising committees and selected lists, when standard literature, -undiluted, has found its way into the Sunday-school library, such a -course would not be warranted. But there are still thoughtful persons -who do not feel that in the matter of Sunday-schools they are out of -the woods yet. - -"Do you know anything about Sunday-schools?" was asked of one of these, -a representative woman. - -"I'm sorry to say that I do," was the reply. - -And there are other signs that the number is increasing of those who -believe that in the choice of a Sunday-school the greatest care must be -exercised. Some there are, who, it may be through over-conscientiousness, -are fain to give up the search in despair, preferring to teach their -children at home. - -There is probably no other Sunday-school that, in point of order, quiet -seclusion of classes, professional preparation of (paid) teachers, can -compare with the "Religious School" of Temple Emanuel in New York City. -But there is no intrinsic reason why the mechanical and pedagogical -difficulties might not one day be as successfully removed everywhere as -in this model school; and why they may not be removed in every grade. -In the infant classes, through the beneficent influence of the -kindergarten, there are already signs of promise. In the senior -departments the problem is less complicated. But in the classes where -is found "the restless, wide-awake, active, intense, ingenious, -irrepressible boy," or "the girl who is just beyond girlhood and yet -can scarcely be regarded as a woman," and her awkward, self-conscious, -misunderstood brother--here the problem remains, and no one denies that -it is a hard one. Who cannot at this moment see with his mind's eye a -picture of such a class--on the one side a vision of inattention, -insubordination, irreverence, on the other, incompetence, blindly, -consecratedly, painfully doing his--or her--best? - -In all things relating to the common schools there is a quickening of -popular interest and of professional spirit. The time is at hand when -none but trained experts will be allowed to teach. Is the instruction -and guidance of young minds in matters pertaining to the Heavenly -Father and the things of the unseen world a task less difficult, -delicate, important, than the teaching of arithmetic and geography? The -question answers itself. It follows that the religious and moral -instruction of our children will one day be put on a firmer and more -scientific basis. - -In this reform there are three steps: the securing of proper external -conditions for thought and feeling--in blunter words, the banishment of -hubbub; the systematic training of the teacher; the enrichment of the -lesson by giving to it reality, meaning, and life. The last of these -ends is the only one here under consideration. To this end there are -doubtless several ways. "Picture-work" is one of these, and, it is -believed, one of high importance. That it is neglected is beyond -question. To point out its value and set forth its method are the aims -of this little book. - - - - -II. - -TYPES OF PICTURE-WORK. - - -In the Dresden Gallery, the writer once saw two children, brother and -sister, one ten and the other twelve, looking at the Sistine Madonna. -They entered the room, and without heeding the crowd there gathered, -almost instantly fixed their gaze upon the picture. For many minutes -they seemed to be under a spell. They were drinking in something. The -great picture was speaking to them--to their very souls. And they -understood something of its message. At all events they felt its -influence--which is much better than merely to understand. - -More striking, because more unexpected, was the influence of a large -copy of the same picture upon a little boy not two years and a half -old. Although this child was passionately fond of pictures, no other -picture ever seemed to appeal to him as this one did. As soon as it was -brought into the house he instantly began to examine it, and pass -judgment upon it. He at once found the center of interest, the young -child and his mother, then pointed to the angels, the "grandfather," -and lastly to the "lady," but returned always to the "dear little baby -Jesus." From this time the story of the birth of Jesus was the one -story most loved by the child. And a collection of thirty or more -madonnas ("mother-pictures," the child called them) by other great -masters was a never-failing source of delight to him. - -Even very young children appreciate the best pictures and the best -stories. In fact the younger they are the better sometimes seems to be -their taste. Are we doing all that we may to gratify, and at the same -time to form, this taste? - -But our term, "picture-work," includes more than pictures painted with -the brush. Literature is full of pictures no less beautiful in theme -and in execution, and even more important in meaning, than Raphael's -masterpiece. The story of the good bishop, Monseigneur Bienvenu, as it -is told for us in "Les Miserables," is a picture, and so are all such -stories. Literature is full of them. The Bible is a treasure-house of -masterpieces. More wonderful, too, are these story pictures, just as -they are, if told so that they can be seen and felt, than they could -ever be made with brush or pencil. - -How may we gain the power to paint these pictures, helping when help is -needed, standing aside when our bungling efforts would only destroy the -interest and the charm--rub off, as it were, the delicate bloom? - -To give help in finding the answer to these questions is the object of -the chapters that follow. Meanwhile we return to our present theme. -What is picture-work? - -There is the main story and the telling of it--a work of art as we -shall see--and there are also the side-lights, without which no -story-teller can capture and hold his audience. - -The story to be told, let us say, is the healing of the paralytic. But -before the story begins, the ground must be cleared. The oriental house -and bed must be pictured. Get a real specimen of each, if you can, of -course.[1] Provide yourself with pictures in any case, but first of -all, make an eastern house and bed yourself. A square paper box--a hat -box will do--with a hole cut in the top, ready to be torn up when the -time comes; a stairway made of paper, leading up the outside of the -house to the roof; a small piece of felt--an old bed-quilt will serve -equally well--with strings tied in each end, for the bed, to show how a -bed could be let down, rolled, and "taken up"; with these accessories -the teacher is ready to begin the work of sketching the real picture, -the story of the miracle. - - [1] See Chapter VIII., last heading. - -Not merely for children, but for grown folk too is this kind of -picture-work a means of teaching. In a densely populated quarter of New -York City there is to-day a minister who is not content with mere -word-pictures. He brings into the pulpit the objects themselves--it may -be a candle, a plumb line, a live frog, an air pump. With him the -method is a success, as it has been with others. Does this seem crude? -So are the mental processes of every forty-nine out of fifty the world -over. - -Dr. Parkhurst in the second of those memorable sermons with which he -opened the public campaign against Tammany, carried into the pulpit and -showed his congregation the very bundle of indictments with which he -was to strike the first blow for civic purity. - -Ezekiel went still further, and not only used objects but actions to -enforce and illustrate his terrible sermon: - -"To the amazement of the people, setting them all awondering what he -could mean, he appears one day before them with fire, a pair of scales, -a knife, and a barber's razor. These were the heads, and doom was the -burden of his sermon. Sweeping off, what an easterner considers it a -shame to lose, his beard, and the hair also from his head, this bald -and beardless man divides them into three parts; weighing them in the -balance. One third he burns in the fire; one third he smites with the -knife; and the remaining third he tosses in the air, scattering it on -the winds of heaven." Thus the prophet under divine direction foretells -the disgrace, division, destruction, dispersion of his people. - -Not less striking is the story of Jeremiah's dramatic sermon as -graphically told by Dr. Guthrie, from whom the preceding account has -been quoted: - -"The preacher appears--nor book, nor speech in hand, but an earthen -vessel. He addresses his hearers. Pointing across the valley to -Jerusalem, with busy thousands in its streets, its massive towers and -noble temple glorious and beautiful beneath a southern sky, he says, -speaking as an ambassador of God, 'I will make this city desolate and -an hissing' ... pauses--raises his arm--holds up the potter's vessel, -dashes it on the ground; and planting his foot on its shivered -fragments, he adds, 'Thus saith the Lord of Hosts, even so will I break -this people, and this city as one breaketh a potter's vessel.'" - -It may have been the inspiration of such examples as these that moved -Beecher when, in the stirring days before the war upon the platform of -Plymouth Church, after taking up one argument after another against -abolition and answering it, he carried each one to the side of the -platform and threw it over into the pile with its predecessors, saying, -"That disposes of you." And in his famous Liverpool address, did he -not, when speaking of the freeing of the slaves, throw down and trample -upon actual chains? - -At the heart of even the boldest of such instances of picture-work, -there lies a true and universal principle. And we may be sure that we -are more likely to err on the side of stiffness and conventionality -(which is often sheer laziness and ignorance), than on the side of -reality and life. - -The unaided imagination--the power of the eyes to "see pictures while -they're shut"--will, however, often serve us more safely, and not less -surely. That was a vivid and memorable action-picture, drawn for us by -Bishop Vincent, at a vesper service at the close of a Chautauqua -Sabbath, in the "Hall in the Grove." "What if the Master himself were -again on the earth at this hour, here at Chautauqua, and should come up -the hill, through the trees yonder, and should stand between these -pillars and speak to us now...." The picture was complete and -irresistible. We all saw and realized all that we needed to see and -feel, in order to receive the lesson that followed. - -But the imagination must be strengthened and fed by plenty of sense -material. It can be trusted to respond with its pictures, provided it -has been given material enough and provided these materials are -skilfully brought to mind. In the following extract from the wonderful -"Story of Jesus,"[2] which should be in the hands of every parent and -teacher, we find a type of picture-work which illustrates this point, -for it quickens and makes many calls upon the imagination: "Imagine -traveling through a state no larger than Vermont, and finding not only -apples and pears, quinces and plums, waving corn-fields, maples and -cedars, but orange-trees fragrant with snowy blossoms, and heavy with -golden fruit in January; figs and dates, pomegranates and bananas--all -within a day's journey! The fields over which you pass glow like -gorgeous Persian carpets...." This is a part of the author's picture of -Palestine. - - [2] See Chapter VIII. - -And here is a bit of Archdeacon Farrar's graphic word-picture of -Nazareth, where Jesus spent nearly thirty years of his life on the -earth: - - "Gradually the valley opens into a little, natural-looking - amphitheater of hills, supposed by some to be the crater of an - extinct volcano; and then, clinging to hollows of a hill, which - rises to the height of some five hundred feet above it, lie, like - 'a handful of pearls in a goblet of emerald,' the flat roofs and - narrow streets of a little eastern town. There is ... a clear, - abundant fountain, houses built of white stone, and gardens - scattered among them, umbrageous with figs and olives, and rich - with the white and scarlet blossoms of orange and pomegranates. In - spring, at least, everything about the place looks indescribably - bright and soft; doves murmur in the trees; the hoopoe flits about - in ceaseless activity; the bright blue roller-bird, the commonest - and loveliest bird in Palestine, flashes like a living sapphire - over fields which are enameled with innumerable flowers." - -Who having once read, seen, and felt this picture can ever forget it or -fail to feel the atmosphere of this place? It is thus we come to -realize that Jesus Christ was really once a boy, a young man, a human -being, on the earth. Even here, however, all possible helps in the form -of pictures, maps, etc., must be called in as aids to the picturing -power of the mind. - -The number of "likes" in the two foregoing selections (there are at -least eight of them expressed or implied) suggests the remark of a -humble woman regarding the parables, "I like best the likes of -Scripture." This word lies at the root of all picture-work. Whether in -the parables of Jesus, who was the prince of teachers, or in the -discourses of great preachers whose sermons teem with "likes," or in -the story-teller's skilful comparison of place with place, people with -people--Palestine with Vermont as to size, with England, Scotland, and -Wales as to its divisions--Galilee, Samaria, and Judæa being "united -because they had one government, one ruler; separate because of their -peculiar characteristics, their definite boundaries, and jealous claims -to special privileges"--in all the notion of likeness is the central -point of the thought. - -We never can know anything without having something to know it with. A -"like" is the key that enables us to unlock and to enter the door of -the unknown. - -It is through picture-work also--to go a step further--that we come to -have revealed to us our own characters. This type of picture-work is at -once the most difficult and the most important of all. An example of -such picture-making is chosen from an account written by Miss Wiltse, -setting forth her method of making stories in order to suit the needs -of specific cases among her pupils. Not every one has the love or the -genius of Miss Wiltse, and no one can hope to win such success as hers -at once; but it may be that by catching some of her spirit, studying -her plan, and patiently practicing, we may learn this royal way of -reaching the hearts of our children. - -"There was in my kindergarten," she writes, "a little boy whose deceit -and cruelty were quite abnormal; he would smile in my face with -seraphic sweetness while his heavy shoe would be crushing his -neighbor's toes.... He seemed incorrigible. At last I wrote a story -entitled 'The Fairy True Child,' into which I put my strongest effort -to reach this untruthful child. I told it to the class, and before it -was concluded this boy's head was low upon his breast, his cheeks -aflame with conscious guilt. No direct reference was made to him; no -other child thought of him in connection with the story. The next day -he asked to have it repeated, and his conduct was noticeably better; -the story became his moral tonic, and one glad day he threw his arms -about me, saying he wanted to keep his Fairy True Child always. - -"Another child who was feeble-minded was helped to be free from his -mental inertia and day-dreaming by a story written expressly for him, -in which 'I AM THAT WHICH WILLS' was pictured as a fairy, coming softly -to the little boy whose power to try was lost, kissing his eyes, -breathing softly upon his lips, putting her finger softly upon his -ears--making each more ready and attentive--and finally enthroning the -little boy's own fairy in its place in his brain, where the fairy grows -more and more princely, and the little boy more and more manly, trying -hard, so very hard, to keep the dear little fairy on his throne." - -Here, then, we have some of the types of picture-work: the picture and -the story, the parable in its various forms, and the word-picture--whether -of things or actions; illustrations or side-lights, the "likes" with -which a skilful teacher illumines his teaching, and the objects, models, -maps, and sketches on pad or blackboard, with which he re-enforces the -lagging imaginations of his hearers. - -What, then, is a picture? A picture is anything that helps us to see -more clearly, feel more heartily, and act upon more faithfully the -truth which is not or cannot be immediately present to our senses. The -truth to be pictured may be the truth of people, places, and -actions--external things; it may be the truth of character and of inner -life--the things that are unseen, which we could never see at all -except by the aid of real things or pictures of real things; just as, -for example, our idea of God is built out of our experience of -mountains, flowers, thunder-storms, our mother's tenderness, and our -father's strength. These pictures may be drawn or painted; they may be -expressed in words or in deeds, with pen or brush, with actions, with -things. - -Where to find our materials and how to use these tools with economy and -effectiveness are the questions that next claim our attention. - - - - -III. - -A PICTURE-BOOK, AND HOW TO USE IT. - - -The Bible is a picture-book. It is history, literature, logic, -philosophy; but, more than all these, for children and all who have the -heart of childhood, it is a store-house of pictures. - -The first thing needful for a teacher, if he would touch his pupils, is -to see these pictures himself. This, we must admit, is seldom done. For -it is one of the sad things about the human mind that it possesses the -power to read the words that set the picture forth without seeing the -picture, and without being touched by the emotion which only the -picture can arouse. We can seem to pray the Lord's Prayer, for example, -while in reality we are merely making articulate--sometimes -inarticulate--sounds. - -"I believe it would startle and move any one," said Robert Louis -Stevenson, referring to the gospel of St. Matthew, "if he could make a -certain effort of imagination and read it freshly like a book, not -droningly and dully like a portion of the Bible." - -Who of us has not been thus startled and moved? It may have been on -hearing a story read by one who read as though he had seen the men and -the events face to face. It may have been by being helped to realize -and see by pictures or by being ourselves on the ground made sacred by -the story, or, perchance, by being in the same case as those described. -It may have been on reading the old stories "freshly, like a book," -perhaps after many years, when the old-time droning and the dulness are -forgotten, and the simple beauty and power of the old stories come home -to us. At such times we say, This is the very Word of God. Were ever -pictures painted like these? - -Thomas Hardy says of one of his characters that, like every healthy -youth, he had an aversion to the reading of the Bible. Some of us know -what that means, though we did not know it was _healthy_. Better, we -might almost say, that the child spent his time in some other way than -to read the Bible or be taught it, only to conceive a dislike for its -stories. Better a child never went to Sunday-school than that he should -go to have interest deadened. He may wait many a year before the -freshness returns. - -"Two grand qualifications are equally necessary in the education of -children," said Horace Mann, "love and knowledge." The teacher of the -Bible must indeed _know_--not know about, merely, but be personally -acquainted with--the old patriarchs, their dress, occupation, country, -way of life, and character; the judges, likewise, the prophets and -kings, the children of Israel as a people, the apostles and their -friends, and, above all, Christ himself. Does it make little difference -whether we think of Christ as an oriental or as an Italian; whether as -clad in the turban and flowing white robes of the East or in more -conventionalized attire; whether as he is pictured for us in the vivid -and startling colors of the artist Tissot, or in the cold conventional -steel of our grandmother's best parlor; or the base wood-cuts of some -modern lesson leaves? - -To us as well as to our Lord himself it makes a vital difference -whether his youth was spent amid arid wastes--as many of us picture -Palestine--or in the peaceful beauty of such a retreat as that -described for us in Archdeacon Farrar's picture. - -We must indeed have knowledge, as full, as exact, as personal as it can -be made for us or as we can make it for ourselves. And from this will -come _love_. The more full, exact, and personal our vision, the more -deep-seated will be our love. We should therefore seek our knowledge at -first hand. We should look upon "helps" as we regard crutches--good -until we can walk alone; bad the instant they keep us from using our -own powers, seeing with our own eyes. - -In picture-work, as in everything else, love is the principal thing. A -teacher of little children, whose privilege it is to help them to enter -into loving appreciation of buds and leaves, soil and roots, winter and -how everything prepares for it, spring and how it wakes everything to -new life, must herself love nature. No "science" falsely so called will -suffice. "_Do you really love nature?_" as President G. Stanley Hall -has said with an indescribable emphasis on every word, is the question -of questions to ask such a teacher. "_Do you really love the pictures -of the Bible?_" is likewise the question of questions for the parent -and teacher whose high privilege it is to lead children from the first -of their acquaintance to love the great Picture-Book. - - - - -IV. - -SIDE-LIGHTS. - - -"Can you apply a parable?" says one of Robert Louis Stevenson's -characters. "It is not the same thing as a reason, but usually vastly -more convincing." - -The spiritual truth which we would have enter the child's mind--how is -it to gain admittance? Not by a surgical operation; much less by the -use of a foreign language or--what is quite the same thing--of abstract -language. Not by any direct means, but indirectly, by objects, -scaffolding, types, the story, and the illustration. - -"Every natural fact is a symbol of some spiritual fact, and no -spiritual fact can be understood except by first knowing the natural -fact, which is, as it were, its double." It is so with the child, it is -no less true of grown folk. If it were not for the world of nature--of -boundless horizon, ceaselessly flowing rivers, of deaths and -resurrections, of parasites--we should be powerless to grasp the truths -of the world of spirit. The circle in the water, for example, the -apples on the plate, one specked, then all rotten, these all are but -letters of the alphabet by which we spell out _Influence_. - -There must first be in the thing-world--to give one more example--the -"rolling-stone," "the last straw," "the bird in the hand," "the -leaven," the ore, worth seventy-five cents as ore, worth four dollars -as bar-iron, worth $400,000 when worked up into hair-spring, before we -can understand, or explain, or talk about the corresponding things in -the realm of the unseen. Which is only another way of saying that he -whose mind is not filled with the truths of nature is but ill furnished -for understanding the truth of God. - -How may we gain this power to enrich our teaching with side-lights? - -1. By studying the great masters of the art of illustration. Beecher, -Spurgeon, Dr. Parkhurst, are all worthy of emulation. Beecher testifies -that in his early preaching the power to illustrate was only latent. He -found that he was not reaching his hearers and he began to search for -"likes." He went about his farm, upon the streets, among mechanics, in -fact everywhere, with the thought of the next Sunday's sermon in his -mind, saying, "What is this like? what will that illustrate?" A glance -at his sermons shows them full of side-lights from business, life at -sea, from the farm and the home, from mechanical processes, as the -cutting and polishing of precious stones, and very often from nature. - -In a recent sermon Dr. Parkhurst illustrated his single point from -botany, physics, physiology, a ship, and from the actual experience of -two men engaged in a life-and-death struggle with the same appetite. - -But the power of these great preachers is only the reflex of the method -of Christ himself. No man had greater power in picture-work. In range, -fertility, aptness, and result, the word-pictures of Jesus stand alone -in the history of teaching, just as in respect of beauty and power they -stand alone in literature. - -2. The power of picturesque speech is acquired through earnestness and -love of truth, as well as through rich experience of nature and of -common life. This is hinted at by Emerson: "A man's power to think and -to speak depends on the simplicity of his character, that is, upon his -love of truth.... Picturesque language means that he who employs it is -a man in alliance with truth and God. A man conversing in earnest, if -he watch his intellectual processes, will find that a picture arises in -his mind, contemporaneous with every thought, which furnishes the -vestment of the thought. Hence good writings and brilliant discourse -are perpetual allegories. This imagery is spontaneous, provided one -have lived sufficiently to fill his mind with the raw materials of such -pictures. One bred in the woods shall not lose his lesson in the roar -of cities.... At the call of a noble sentiment, again the woods wave, -the pines murmur, the river rolls and shines, and the cattle low upon -the mountains, as he saw and heard them in his infancy. And with these -forms, the spells of persuasion, the keys of power are put into his -hands." And as it is with contact with nature, so it is with first hand -experience of life in any form. - -3. Practice. The effects of practice have already been cited in the -case of Beecher. It is one of the mournful facts of human life that so -many powers that might have been brought out by practice always remain -in the latent state. Practice story-telling, practice finding "likes," -and you will find before long that there is growing up in you a new -power, just as if you were to discover in your organism a stop, by -pulling which you could jump ten feet in the air. "Practice is nine -tenths. A course of mobs is good practice for orators. All the great -speakers were bad speakers at first." And a course of nephews and -nieces is the best of practice for story-tellers, and for those who -would be adepts in the use of side-lights. - -A word of caution. Great care must be used not to make the stories and -illustrations more prominent than the truth we wish to illustrate. Dr. -William M. Taylor tells of a conversation with a carpenter in which he -advised him to use certain decorations. "That," said the carpenter, -"would violate the first rule of architecture. We must never construct -ornament but only ornament construction." So it is in story-telling. -Never tell a story for its own sake, merely, but for the sake of the -truth that lies embedded in it. A story or an illustration must grow as -naturally out of the subject as a flower grows out of a plant. - - - - -V. - -STORIES AND STORY-TELLING. - - -That was a profound and true saying uttered by President G. Stanley -Hall not long ago, that "of all the things that a teacher should know -how to do the most important, without any exception, is to be able to -tell a story." And a student pursuing a university course in education, -after seeking to know what stories to choose, where to find them, how -and to whom and wherefore to tell them, touched the same truth when he -said, "It gradually dawned upon me that if I knew how to tell a story, -I had mastered the main part of the art of teaching." For to know a -good story is to have literary and pedagogic taste; to adapt or make a -good story for children is both to know the secret of the mind of a -child and to have creative power; to tell a good story is to be a -master of a noble art. - -The child's thirst for stories--has it no significance, and does it not -lay a duty upon us? And yet the insatiableness of the child's thirst is -often paralleled by the inadequacy of the teacher's power to satisfy -it, and by the parent's despair at being so bankrupt of material. - -In his admirable suggestions for making the Sunday-school able to -appeal to the interest and the respect of boys and girls who are no -longer children, and whom to treat as children is an offense against -good taste and Christian charity, Bishop Vincent recommends, among -other things, "lectures and outlines, and independent statements by -individual pupils and teachers." Story-telling, both by teachers and -pupils, is here suggested as a means of further enrichment. - -The "wholes" of Scripture narrative, whole books, whole lives, whole -stories _told as wholes_ by the teacher or by a single pupil, and -not picked out piecemeal by the teacher from halting individuals--these -are the things that in the class give interest and that in the mind -live and grow and bear fruit. "Moral power is the effect of large -unbroken masses of thought; in these alone can a strong interest be -developed," and from these alone can a steady will spring. - -He who has never read or heard as a whole, at one, or at most, two -sittings, the story of an entire book of the Bible, as Jonah, Daniel, -Job, or one of the Gospels, has missed one of the chief sources of -interest and power. - -Our course through the Bible--incident by incident, verse by verse, -here a little, there a little, years of "lessons," but no idea even of -the life of Christ as a whole--is not unlike the toilsome road -traversed by the boy "reading" Cæsar as his first Latin author: so many -separate, mutually repellant parts, but no wholes, no idea of what it -is all about; or it may be compared to the route of the milk-man--a -stop at every other house, and never a good run. - -Not one of these plodders, the Sunday-school pupil, the young Latin -student, the milk-man's hack, can be looked upon as a model of -spiritedness or of continuity. - -A teacher of English in the old days, when literature was used chiefly -as a clothes-line on which to air grammatical linen, was once guilty of -giving out a lesson in Washington Irving--so many constructions, -figures, analyses, so many pages, and no more. The end came in the -_middle_ of the ride of the headless horseman. But by the time the -next class studied Irving the teacher had met with a change. The limit -of the first lesson was set according to the structure of the story. -The pupils were told to read the story. - -"Only read it!" said they. "Aren't we to do anything with it?" - -"No," said the teacher, "you are to read it _for fun_." - -Should one be in danger of being misunderstood in saying that we do not -have enough of reading the Bible for fun, for the pure enjoyment of its -stories and of its matchless pictures? The rest will come in due -course. It will come just so surely as the story is _realized_. - -But important as reading is, telling is incomparably better. The eye of -the teacher is then fixed on the class, not on the book; the tone is -conversational, the hand is free to gesture and to draw. One can grasp -the whole of the story and the whole of the situation. One can bring -out dramatic power. For there are few stories that do not have some -dramatic quality, both in the making and in the telling. The following -points kept in mind will aid the teacher: - -1. The story must have a beginning, concrete, interest-compelling, -curiosity-piquing. "All things have two handles; beware of the wrong -one." - -2. It must have a climax, properly led up to, easily led down from; and -that never missed. - -3. Many good stories have rhythm, recurrence, repetition of the _leit -motiv_. "The Three Bears" is a favorite for this reason, among -others. The commands of the Lord to Moses were regularly repeated -thrice in the Bible story; in the book of Daniel the sonorous catalogue -of flute, harp, sackbut, and the rest, comes in none too often for the -purposes of the story-teller. - -4. All good stories have unity; parts well subordinated; the main -lesson unmistakably clear; the point, whether tactfully hidden or -brought out by skilful questions, never missed. - -This use of stories by exactly reproducing them is naturally the -teacher's first method. There follow naturally the _adaptation_ of -stories and the making of _original_ stories. The latter way must -be dismissed with a single word of caution. Beware of a certain fatal -facility in reeling off "made-up" stories. Have you not heard such -teachers and such stories? The latter at least are not true, or -healthy, or wholesome. They are about unreal people who do unnatural -things. They are a poor, ragged device for covering the nakedness of -barefaced moralizing. - -No one who has tried to tell Bible stories to children, whether young -or old, can fail to appreciate the need of adaptation: of enrichment -and expansion on the one hand, of condensation on the other. Suppose -the story to be told is the parable of the Good Samaritan. There must -first be preliminary work. The minds of the children must be made -ready, not merely for the lesson, as, for example, by a talk on the -meaning of "neighbor," but also for the story. This latter kind of -preparation for three reasons: - -1. To give your hearers something of the same knowledge about the road -from Jerusalem to Jericho, the relations of Jews and Samaritans, the -standing and dignity of high priests and Levites possessed by those who -heard the parable from the lips of Jesus. - -2. To give the setting of the story--time, place, people, customs, -atmosphere. - -3. To make the language, the steps, the moral, as intelligible to your -hearers as they were to the young lawyer to whom the story was first -told. - -The need of the first way of filling in the picture is brought out by -Mrs. Gaskoin in the "Children's Treasury of Bible Stories," Part III.: - - "Pages might be written about this parable, for every line is full - of teaching, wrapped in beautiful words. But my object just now is - only to draw your attention to the circumstance that the third - person who passed the wounded man--and the only one who cared about - his sufferings and took pains to relieve them--was a Samaritan. On - this the point of the story turns. First a priest, and then a - Levite, whose very offices alone should have made them ready - helpers, had shunned their poor countryman, and had passed on - without even a word of sympathy. But the person who did pity him, - and, indeed, showered kindnesses upon him, was, not only neither - priest nor Levite, not only a mere stranger--but a Samaritan. Now - to say this was the same thing to the "lawyer" who was listening to - the tale as to say that he was an enemy. The Lord could have chosen - no stronger expression; in using it he spoke quite as plainly as - when, once before, his words had been these: 'I say unto you which - hear: Love your enemies, do good to them which hate you, bless them - that curse you!' Clearly, then, it is only by understanding how the - Jews felt toward the Samaritans, that we can grasp what the blessed - Savior meant when he said that every disciple of his must love his - 'neighbor' as himself." - -A striking example of the mode of using a full knowledge of customs and -people to enrich the story is given by the same author in the following -vivid word-picture of the thrilling experience of Zacharias. After -describing the method of choosing by lot the priests to take charge of -the temple services, the narrative continues: - - "To Zacharias, however, one autumn, the coveted lot did fall, and - leaving his quiet home, he went up to Jerusalem, and there entered - at once upon his sacred duties. They lasted for eight days, - including two Sabbaths.... Every morning at nine o'clock, and every - afternoon at three, a priest entered the Holy Place to sprinkle the - incense-offering on the golden altar. He was accompanied by an - assistant priest, who withdrew as soon as he had made the necessary - preparations. The privilege of sprinkling the incense-offering, - like the other priestly functions, was bestowed by lot. One day, - during his week of attendance in the Temple, the lot fell upon - Zacharias. So, in his white robes, with bare feet and covered head, - he went slowly up, through court after court, to the entrance of - the Holy Place. Then a bell rang, all the other ministrants on duty - in the Temple took their places, and the people assembled in the - various courts composed themselves for prayer. Zacharias - disappeared within the sacred enclosure, and in due course his - attendant left him alone there, separated from the Holy of Holies - itself only by the splendid Veil-of-Partition. Silvery clouds of - fragrant smoke presently arose from the kindled incense--then, - kneeling before the altar, he paused, in prayer and adoration. - Suddenly he became aware that he was not alone. Lifting his eyes he - saw, to the right of the altar, a glorious angel, who thus - addressed him, dispelling his gathering fear: 'Fear not, Zacharias, - for thy prayer is heard, and thy wife Elizabeth shall bear thee a - son, and thou shalt call his name John.' ... 'Whereby shall I know - this?' he asked, hesitatingly. And the angel, answering, said unto - him, 'I am Gabriel, that stand in the presence of God, and am sent - to speak unto thee, and to show thee these glad tidings. And behold - thou shalt be dumb and not able to speak, until the day that these - things shall be performed, because thou believest not my words, - which shall be fulfilled in their season.' - - "Meanwhile the people were anxiously waiting for Zacharias to - return. His reappearance would be the signal for the laying of the - sacrifice upon the altar, accompanied by a joyous outburst of the - beautiful Temple music. Great, then, was their uneasy wonder at the - unusual delay. But at last he did appear." - -An illustration of what is meant by re-telling the old story in a -modern way for modern hearers is found in the following characteristic -extract from a sermon of Dr. Parkhurst's on the text, "And he arose and -came to his father": - - "The prodigal had not enjoyed nearly as much as he expected--what - he had arranged to enjoy. His scheme had collapsed; his experiment - broken down. Going away from home and living as though he had no - home had not worked as he expected that it was going to. Lonely, - ragged, hungry, he thought the thing all over and said to himself: - 'I think I had better go home.' He had let go of home, but home had - declined to let go of him. He had been his father's boy for twenty - years or more, and his experience in the far country had not been - quite able to cure him of it. Home still had a pull upon him." - -While many of the stories both of the Old and of the New Testament need -expansion rather than contraction--think of trying to bring the -masterly story of Jonah or the wonderfully simple tale of the -Shunemite's son into any smaller compass!--yet the need of condensing -the long stories, of Abraham, Joseph, David, Daniel, for instance, is -obvious, for we must give the children a picture of the whole life and -character of these great and simple figures. To this end selection and -suppression are necessary. - -The various books mentioned in a later chapter are all more or less -successful in the attempt to recast the old original story. So perfect -is the original form, however, that the task is one of extreme -difficulty. Yet it must be attempted by every teacher, and it is -certainly worth a trial. The following suggestions may prove helpful in -both modes of adaptation: - -1. Use direct discourse. It will require an effort to keep yourself -(in your embarrassment) from taking refuge behind the indirect form, -saying, for example, "And when he came to himself he said _that he -would_ arise and go to _his_ father and tell him _that he had_ sinned." - -2. Choose actions rather than descriptions, the dynamics rather than -the statics of your subject. Those of us who have grown away from -childhood tend to reverse the true order, to place the emphasis on the -question, "What kind of a man was he," and not on, "What did he do." -Let what he did tell what he was. Your story will thus have "go," as -all Bible stories have. - -3. Use concrete terms, not abstract; tell what was done, not how -somebody felt or thought when something was being done; be objective, -not subjective. - -4. A story-teller should, in short, have taste. To form this taste it -is indispensable that he should not read, but _drink in_ the great -masters: Homer, Chaucer, Bunyan, Hawthorne ("The Wonder Book," for -example), and above all the Bible itself. No one can absorb these -without unconsciously forming a pure, simple style and getting a more -childlike point of view and way of speech. Modern writers and modern -ways of thinking are, in general, too reflective, self-conscious, -subjective, and, where children are concerned, too direct, bare, -"preachy." - -5. But the secret of story-telling lies not in following rules, not in -analyzing processes, not even in imitating good models, though these -are all necessary, but first of all in being _full_--full of the -story, the picture, the children; and then, in being morally and -spiritually up to concert pitch, which is the true source of power in -anything. From these comes spontaneity; what is within must come out; -the story tells itself; and of your fulness the children all receive. - -Finally, the points of practical story-telling may be thus outlined: - -1. See it. If you are to make me see it you must see it yourself. - -2. Feel it. If it is to touch your class it must first have touched -you. - -3. Shorten it. It is probably too long. Brevity is the soul of -story-telling. - -4. Expand it. It is probably meager in necessary background, in -details. - -5. Master it. Practice. Repetition is the mother of stories well told; -readiness, the secret of classes well held. - -6. Repeat it. Don't be afraid of re-telling a good story. The younger -the children are, the better they like old friends. But every one loves -a "twice-told tale." - - - - -VI. - -SOME FIRST PRINCIPLES: UNITY, REALITY, ORDER. - - -_Unity._ - -One of the greatest of American preachers never goes beyond "firstly." -He makes but one point in each sermon. But he makes that point, drives -it home, burns it in, wears a crease in the brain that nothing can ever -iron out. Every picture--and those sermons are full of pictures--bears -upon that one point, and every argument and lesson, for which the -pictures have been laying the foundation, is a part of the same unity. -You never hear him say, "And we learn further," but always, "The same -truth comes out in another way." One is never more than two bases away -from the home plate. It is not a cross-country run, but a game of score -and tally. - -At the opposite pole from this intensive method is the typical -Sunday-school lesson. The typical Sunday-school lesson is--is it -not?--hodge-podge. Does the last lesson always bear upon the lesson of -to-day? Is to-day's aim single? Do you hold before your mind the one -point, the one picture, that your pupils shall carry away with them as -an everlasting possession, or do you have in mind to display so many -pictures, so many points, that some must needs take effect? - -It is easier--at least it is lazier--to provide _many things_ than -to prepare _much_. One can rake over an acre more easily than dig -one post-hole. And the deeper you go the harder grows the digging. But -it's the last six inches of hole that makes firm the top two feet of -post. - -Now pictures help toward unity of aim in a lesson in two ways: they -help to elaborate the one main point--twenty illustrations of one -point, not twenty points from one illustration; they help to teach us -the law of unity, for a true picture has but one theme, is always -simple. - - -_Reality_. - -"The great trouble with the stuff taught in our schools is that so much -of it always remains _stuff_, and never gets worked up into _boy_." So -said Dr. Parkhurst, in a sermon from the text, "Taste and see that the -Lord is good." The only way to work up the raw materials of a boy into -real boy is to bring him into touch with them, to have him taste, see, -handle. But in order to be tasted these materials must be real. And to -make them real is the first duty of the teacher. It is also his hardest -task. For consider what it costs to make a thing so real to yourself -that it can't help being real to some one else! Ah! there's the rub. It -costs to do that--costs time, pains, life. - -How long did the Lord make Ezekiel lie on his left side, and how long -on his right side, without the relief of turning over from one side to -the other, before he judged him ready to deliver his message with a due -sense of the reality of its import? Three hundred and ninety days "for -the iniquity of the house of Israel," forty days more "for the iniquity -of the house of Judah"; each day for a year. After that there was no -lack of a "realizing sense" in Ezekiel. He had "been there" himself. -And was it by way of mere luxury or was it from pedagogical necessity -that the Lord showed himself last of all to Paul also, and sent him -into the desert, for a year or more, to think it over and get a real -grip on the experience? It was a true instinct that made Thomas, the -doubting one, want to reinforce a sight-picture by a touch-picture. A -dose of the same "doubt" would be a tonic to much of the pale "faith" -in the world. - -When I was a boy I wrote, after the fashion of the day, an "essay" on a -subject about which I had the slenderest knowledge. A tannery lay on my -way to school, and the tanner would have been friendly and -communicative, but the encyclopedia article, "Leather," was my sole -authority. You may imagine the result: a cold, dead thing, not in the -least savoring of real leather. On the other hand, when I became a man, -I traveled a thousand miles merely to see, and hear the voice of, a -master whom I admired and whose picture I wished to have hanging in my -mind. Who has not, when freed from the dead atmosphere of the schools, -done a like thing? And with what gain to the precious sense of reality! - -The whole country, not long since, was touched--many people were -shocked--by the news that a Christian minister had dared to see with -his own eyes the evils he was fighting, the existence of which he had -been challenged to prove. Many good people at that time thought he had -made a mistake. He said, "It is necessary that some one see these -things. Do you think that I would be so base as to ask another to do -what I would not do myself?" The result has proved the soundness of -this position. No one now doubts that Dr. Parkhurst was in the right. -For not only were the facts shown to exist as alleged, but (and this is -the point) the man himself who had seen them was so filled with a -burning sense of their terrible reality, that he clung to his point -with an everlasting grip, carried it triumphantly, and laid the -foundations of our "civic renaissance." - -The vast audience who heard Bishop Thoburn, missionary to India for -thirty years, at Chautauqua, was stirred to its depths by the simple -power of the man. What was the secret of his power? It did not lie in -his bodily presence; it grew out of what the man had done. He was a man -of action. He had given his life, and had lived. His speech was of that -which he had lived. You felt that he had a right to speak--for every -sentence had behind it weeks of real life. - -Who has not felt the same when listening to one who speaks of that -which he does know? And who has not felt the difference when trying to -listen to one who talks, but whose words are not loaded with life? - -You must have seen, acted, felt, if you would make your hearers see and -feel and act. Talk is cheap, especially borrowed talk. It is not the -story in the lesson quarterly that you can build into the lives of your -class; it is the story in you. It is the picture that has become a part -of your life, that will be most likely to be built into the fabric of -theirs. - - -_Order._ - -The way in which a subject lies in the mind of an ordinary, -unregenerate adult, one may be safe in saying, is just the wrong -way--the way in which it should not be presented to a child. The order -of exposition is in general the reverse of the order of acquisition. -The natural man who has forgotten how things look to the eyes of a -child has a tendency to put things wrong end to; word first, thing -last; precept first, example last; to plunge _in medias res_ without -introduction--in short, to put the mental or spiritual cart before the -horse. And it requires self-sacrifice to reverse the order, enter into -the limitations of a little child's mind, see with his eyes, think his -thoughts. - -It is a favorite simile among writers on education that the mind is not -unlike a field, and that the steps of instruction answer to the -successive stages of the farmer's work. First there is the preparation -of the soil, then come the planting, the cultivating, and in due time -the harvest, the mill, and the market. Two of these steps, the -preparing and the applying, concern us here; the work of presenting and -elaborating is a theme by itself, and has been treated in a separate -chapter. - -1. Preparing the ground: Approach. - -The art of "getting a good ready" is an art worth mastering. In sermon -or Sunday-school lesson alike the beginning is the main concern. It is -a good plan to seem to waste time at the start. Nine tenths plowing, -harrowing, marking out, one tenth sowing, and (as we shall see) no -looking for a crop at all, is a just proportion for the most of our -lessons. We shall be always safe in counting upon a sufficient number -of stony-ground hearers to justify us in clearing the ground, and -making it mellow with interest and expectation. And even those who -would receive the word with gladness cannot take it in unless they have -something to grasp it with, cannot hear without something to hear with. -And this must be given them by the teacher. - -We are here at the very heart of the science of teaching. A little -two-year-old child will serve us as an example. He is to be put in bed -in a strange room, and is to go to sleep alone. Spring the idea upon -him and he will reject it. Prepare him for it, by telling him a story -of a little boy who went to bed in a new room, a new bed, and all -alone, and he is eager for the hour of bed-time. When the time comes, -the picture already in his mind, of a little boy, a new room, a -peaceful going to bed, welcomes the actual experience, point for point. -The wise mother has made a nest for the experience. - -So might a teacher prepare the minds of his pupils to receive the idea -of ninety millions of miles. - -"If any one there in the sun fired off a cannon straight at you, what -should you do?" - -"Get out of the way," would be the answer. - -"No need of that," the teacher might reply. "You may quietly go to -sleep in your room, and get up again; you may learn a trade, and grow -as old as I am--then only will the cannon-ball be getting near, then -you may jump to one side! See, so great as that is the sun's distance!" - -So writes a German teacher--explaining the law of apperception, of -making a nest for the idea. - -We cannot understand--cannot even see or hear--the absolutely new. -Every new plan or way of looking at things, or doctrine, is received -into the mind on one condition only--that it be introduced by a comrade -already there. Then when the new idea calls from without, its fellow -answers from within, and an entrance is effected. - -The bearing of this upon our theme is illustrated by the plan of a -school principal, recently described to me, to eradicate the plague of -stealing that had broken out in the school. He talked to the pupils of -giants, drew out the children's ideas, and by effective picture-work -made the creatures out to be an ugly, uncanny crew. He then was ready -to declare to the children that he had discovered a giant in the -school, and in due time told them his name--Selfishness, I think it -was--and then described his evil works. The moral of this story is that -the plan worked, and stealing disappeared from the school from that -day. - -Who of us teachers might not be emulous of becoming thus skilful in -mellowing the soil and making it warm in the genial sunshine of true -picture-work? - -2. Gathering the crop: Taste. - -qIf deliberation is a virtue at the start, brevity and patience -are a necessity at the finish. When the teacher has planted an -interest-awakening picture in the minds of the children, his main work -is done. He may safely leave them to make the application. He has -supplied the cause; the effect will take care of itself. It is often -convenient and suggestive to remember that children are not fools. "A -child knows a thing or two," 'tis said, "before he knows much of -anything." And one of the very first things he knows is how to put his -finger on the moral in a story; and he can feel it long before he knows -it. But that is when he is left to himself. If you take the helm, ten -to one he'll know without feeling, which is the curse of us all. -Better, if we must choose, that he feel without knowing in terms, than -indulge in mere intellectual casuistry. - -In your childish haste to have a crop or to see what was going on under -ground, did you ever unearth the newly-planted row of peas? And was -that row ever so green and straight and thick-standing as those that -had been let alone? But the plants of love to God and moral taste are -tenderer than these. They must be shined upon, warmed, and watered many -days before they are ready to give an account of themselves. Love is a -silent thing before it is outspoken. True feeling has few words, is not -self-conscious, likes not to be asked questions. In its own good time -it wells up and finds vent in deeds, and even in words. - -The deepest thing a teacher does is to form taste. But all taste grows -slowly, by unconscious accretion. The Chinese money-changer sets his -apprentice at work handling good money only. For ten Years he touches -nothing else. He can then detect a counterfeit coin. How? Perhaps he -cannot tell how. His way is surer, deeper. He feels it. He has taste. -So with the building of the taste for good books, for pictures, for -nature. It is a slow process--many a book to be absorbed, picture seen -and loved, and mountain and flower and sunset gazed upon, before taste -is formed. - -And the taste for godliness, for religion, is no exception. It is the -finest and rarest of all tastes, and hence is the slowest and quietest -of all in its development. - -But did you ever see, in the hot house, shall we say, of the -Sunday-school, seed sown, harvest reaped, yes, and cakes taken from the -oven, within the limits of a single half hour? Does the figure halt, or -was it a miraculous quickening of the processes of nature, or was it in -truth a great mistake and a sin against natural spiritual growth? - -There need be no fear, then, that the children will not feel, and in -time know, the meaning, for them, of their stories and pictures. And a -wise teacher well knows the ways of helping them: by questioning, -_not_ directly, and by hiding the moral so near the surface that -it will come forth of itself. - - - - -VII. - -HOW TO LEARN HOW. - - -The foregoing chapters have dealt chiefly with the theory of -picture-work, answering the questions what and why. But practical -teachers will go a step further and ask where to find and how to use -materials, what to do first, what next, in becoming expert in using and -making pictures, stories, and illustrations; in short, how to learn -how. Those who are not of the practical sort should omit this chapter, -and no one should expect to enjoy or profit by it who has not the time -and the will to go through the exercises described. - -_Models._ A study of some of the remarkable pictures of secular -literature will reveal many points in story-telling. - -Mark how Chaucer made such a picture of his Canterbury pilgrims that -not only the color, the action, and the characters of the scene, but -also the very atmosphere of the jolly crowd has been clear and vivid -for more than four centuries. - -Macaulay boasted that he would write a history which would supersede -the latest novel on the tables of the young ladies of the day. How did -he accomplish this? Read his "History of England" and learn the secret -of the power to picture. - -Study George Eliot's "Silas Marner" to learn how to tell a story. The -interest never flags, the proper perspective is always maintained, -light and shade are in due proportion, and the lesson to be learned is -taken, not as a bitter dose, but as one drinks in the fresh air of a -clear May morning. - -Study pictures of Bible scenes by great masters to see what aspect of -the scene--what moment of the event--the painter chose as the climax of -interest and meaning. Although the aim in Sunday-school work is -spiritual and not artistic, the heart will be reached more surely if -the eyes are appealed to and a subordinate artistic aim is kept always -in mind. - -What is the favorite view-point in picturing Noah's ark (the -procession--a source of never-failing interest to old and young--is a -conspicuous feature); in Abraham's sacririfice (Andrea del Sarto seizes -the moment when Abraham is about to slay Isaac and the ram appears in -the thicket); in the early life of Moses? Note also the subjects in the -life of Christ oftenest chosen by the artist. - -In what parables does Christ choose a definite locality well known to -his hearers, definite characters, a definite point and only one, a -definite purpose, and a clearly defined and applied moral? In the -presentation of which parables do we _not_ find simple language, -direct discourse, a dramatic style, and a question in order to drive -home the point? - -Try the effect of substituting in any one of the parables indirect -discourse for direct, statements for questions. - -Make a study of the Sermon on the Mount with a view of finding -opportunities for picture-work. - -On how many and on what occasions did Jesus use objects in his -teaching? Might he not have gotten along without using the objects -themselves on those occasions? What seems to have been his purpose? -What was the result? - -_Seeing._ Suppose that you were an artist searching in the Bible -for scenes to paint: - -1. What picture would you find in Matthew VIII., verse 1? verse 2? -verse 3? verse 4? Can you see (and hear) each of these? - -2. What is _the_ picture in the whole passage (verses 1-4)? How -many elements has it, in respect of number, form, color, sound, -atmosphere? - -3. Which of these should be chosen in telling the story to children, -and in what order? - -4. How many pictures are there in verses 5-13? What is the central -picture? - -5. In verses 23-27. How many pictures are there in this passage? Which -is the central picture? How would you lead the pupils to see it? What -first? what next? what last? - -6. In Matthew, chapters ix. and xiii. How many separate pictures are -there? Which are the most important to try to see? What objects, -pictures, drawings, maps, would you use in making it real to your -class? - -_Construction._ In the previous chapter there was brought out the -need of adapting the stories of the Bible to the comprehension of -modern hearers. Suggestions were given both for cutting down and -filling in. - -Choose a story, as of the brave Hebrew boys who stood by what they -thought was right even in captivity; the young king who asked God to -give him wisdom and whose way of ruling showed that his request had -been granted; the shepherd boy whom the Lord chose; or choose an -incident, or a period of a year of the life of Christ (as the "Year of -Beginnings," the "Year of Popularity," the "Year of Opposition"). - -Subdivide each of these into smaller stories or incidents (Daniel, for -instance, had three great tests, each complete in itself, and lived -under three kings), then combine into a whole, applying the principles -of story-telling and of adaptation. - -Test your story by telling it to a child or a group of children. Tell -the same story not once but many times. - -_Choice._ Do not pad. Avoid diffuseness. Put in only those details -that are salient--that leap out at you--that are necessary to the -picture and the meaning. Any one can put in everything. It is only the -born story-teller, or the one who will sit down by the side of a child -and patiently observe the points that the child sees and likes to hear, -that can be trusted to put in and to leave out just the right points. - -Try writing out the story of Jonah, without the book. Compare your work -with the original. How might you have been less diffuse? What necessary -points did you omit? Did you use more or fewer general terms than the -original? Were your words and expressions so picturesque as those in -the text? - -_Examples._ By way of illustrating the meaning of the foregoing points, -it may be interesting to note the difference in concreteness, _i.e._, -in the _picture_, to be found in the following paragraphs, all of -which are intended to mean practically the same thing. - -(_a_) One bidden to obey and refusing, but afterward obeying, is a -better example of obedience than one who obeys in word but not in deed. - -(_b_) Some one who was requested to do something refused in word, but -obeyed in deed; another complied, but only in word. Which was the -better example of obedience? - -(_c_) If some one in authority should tell some one to do something and -he should refuse but afterward comply, and should tell another to do -something and he should say that he would without doing so, which of -these really would perform the will of the one who gave the command? - -(_d_) A certain man had some children. One day he told one of them -to go and do some work that he wanted him to do. But the child said -that he wouldn't, etc. - -(_e_) Compare with these the same thought clothed in the concrete -and picturesque words of our Lord himself: - -"But what think ye? A certain man had two sons; and he came to the -first, and said, Son, go work to-day in my vineyard. - -"He answered and said, I will not: but afterwards he repented, and -went. - -"And he came to the second, and said likewise. And he answered and -said, I go, sir: and went not. - -"Whether of them twain did the will of his father?" - -It would be equally possible to take the same clear-cut, dramatic -picture and load it down--smother it--with words. But this kind of -picture-work it is unnecessary to illustrate. - -_Expression._ Read each of the parables of Jesus, picturing in your -mind everything that can be seen, heard, or felt. "Put yourself in his -place" regarding every one spoken of. When you have thus pictured the -story, and while you are picturing it, read aloud, or tell the story. -The expression will take care of itself--_if only you see and hear_. In -this simple principle is contained the whole art of expression, _i.e._, -of giving forth something which is within. - -_Environment._ What kind of country was Palestine? If Palestine were -taken up from the shore of the Mediterranean and planted on your state, -where would Dan and Beersheba lie respectively? Wherein did its -divisions differ, in respect of people, surface, products, occupations? - -The four routes of Christ's principal journeys are given as follows: -Bethlehem to Jerusalem, 6 miles north; Bethlehem to Egypt, 250 miles -southwest; Nazareth to Jericho, 60 miles southeast; Nazareth to -Jerusalem, 65 miles south. Trace these routes on a sand map and on the -blackboard. Describe the country passed through, the occupations of the -people, the mode of travel, the length of time required. - -Account for the roughness of the road from Jerusalem to Jericho. - -What kind of place was Cæsarea Philippi, and what kind of stream is the -Jordan at that point? - -_Sketching._ The teacher should practice until he can make, with -the flat crayon, something that looks like a mountain, a road, a -tree--a scumble for the foliage and a stroke or two for the trunk, a -man--two strokes will do for him (some teachers prefer to cut out -pictures and pin them on the board). It must be admitted that this -method of trial and error is dangerous. But there are self-taught -teachers who do pretty well. - -_Map-drawing._ To learn to sketch a map is a more hopeful task. Every -one should be able to follow on pad or blackboard a campaign, a flight -into Egypt, and a march up into Canaan; and to trace the journeys of -Jesus and of Paul. - -The following directions will be found helpful in drawing, free-hand -and with only two construction lines, the map of Palestine: - -Draw a horizontal line, and on it with the span of the hand, or with -any convenient unit, measure three units, indicating their extremities -by the figures 1, 2, 3, 4, from left to right. At the right extremity -of this line, which we designate 4, draw a vertical line five units in -length (4-9). From the upper extremity of this line draw to the left a -line parallel to 1-4, one unit in length (9-10). Join points 1 and 10 -with an irregular line, thus indicating the coast. A perpendicular let -fall from 10 to 3 would indicate the course of the Jordan, the source -lying nearly opposite 8, the Sea of Galilee opposite 7, the Dead Sea -between 4 and 5; and Judæa, Samaria, Galilee, and Phoenicia will -each occupy, roughly speaking, one and a half units. The principal -mountains, cities, routes, may be indicated by initials, signs, or in -any other appropriate ways. Each unit being 40 miles in length, the -dimensions of Palestine and its parts may be derived. This same system -may, of course, be used in drawing any map. - -Miss Lucy Wheelock says that "the most satisfactory map is one which -the teacher makes herself, drawing the outlines with a blue marking -crayon on a sheet of white silesia, or finished cotton cloth, and -putting in thin strips of wood or rollers at top and bottom, so that it -will hang easily." - -_The sand table_, especially with work for younger children, is -indispensable. This every one can learn to make and manage and can fit -out with the needed materials. Let no one shrink from the simple task -of getting together the equipment and learning to model a map of -Palestine. - -The following description of the way of making a sand map of Palestine -has been kindly furnished by Miss Juliet E. Dimock of Elizabeth, N.J., -whose theory and practice in primary classes are alike admirable: - -"Any carpenter will make for you a board, four feet six inches long, -and two feet six inches wide, with a raised edge of one and one half -inches. Paint the surface a bright blue, to represent the waters of the -Mediterranean. Procure about fifty pounds of molders' sand from a stove -foundry. The new sand is preferable to that which has been used for -casting, owing to its lighter color. Study a good map of Palestine -until you have a clear idea of the coast-line, the sea-coast plain, the -mountain region, with its principal peaks, the Jordan valley, and the -eastern table land." - -(A relief map is desirable as a guide. The relative heights of -mountains are given in Hurlbut's "Bible Geography." A cross-section of -Palestine showing relief is given in the "Bible Study Union Lessons," -Old Testament History, Progressive Grade, First Quarter, Appendix pp. -(V.), (VI.). The Bible Study Publishing Co., 21 Bromfield Street, -Boston, Mass.) - -"Cut a paper pattern of the rivers and have them cut out of tin by a -tinsmith. Use mirrors for the waters of Merom, the Dead Sea, and the -Sea of Galilee, and white cord for the roads. - -"When you are ready to go to work, place the board on a table and empty -upon it your box of sand, which should be dampened until it can easily -be molded by the hand. Raise the head of the board, until the children -can see your work; if the sand is damp enough to keep its place, it can -be inclined at an angle of forty-five degrees. At first the children -will be interested in seeing you form the map; the coast-line, with its -"camel's hump" for Mt. Carmel, the mountains, with snow-capped Hermon -towering above them all, the seas, rivers, roads, and finally the white -paper boats on the Mediterranean. - -"Take five minutes every Sunday for a supplemental lesson on the -history of the land, beginning with the first settlement of the country -by the Canaanites, the family of Noah's grandson. Use the map also, -whenever it is possible, to illustrate the lesson for the day; either -as a map, or by building up the sand into a city, a garden, a temple, -or a palace. The supplemental course might begin with the Garden of -Eden, with as great a variety of trees, flowers, and animals, as may be -easily obtained. And by turning the board around, the map of the -ancient world may be made, and the stories of Noah, Babel, and Abram's -journey from Ur of the Chaldees. Use small objects to make the places -on the map, and replace them with initial blocks when the children are -sufficiently familiar with the story to tell it to you. A very little -ingenuity on the part of the teacher will suggest the objects to be -used, which can be readily cut out of colored card-board. - -"After school, return the sand to its box and pour at least a quart of -water over it. It will then be in good condition for next Sunday's -use." - -_Specifics._ True picture-work has, as we have seen, a true bearing -upon the question, How to help children conquer their faults. "Don't," -even "Please don't," is ineffectual and unpedagogical. So is every -means that is direct and negative instead of indirect and constructive. -It is a thousand times easier to empty a tumbler of air by filling it -with water than by the use of the air pump. - -And so, just as we know that singing has a marvelous power to sweeten -and calm the spirit of a young child, so a story is often the shortest -and the most effective means to bring him to himself. A story is a -specific. The right story will heal its proper disorder. There is -danger here, 'tis true; "the intent to teach," as Herbart writes, -spoils it all. Stories should be given as food rather than as medicine. -There is all the greater need, therefore, for practice. - -Find, adapt, make up stories to meet the needs of a child who is idle; -of one who is mean, lacks self-control, is slovenly, careless, -untruthful, etc. - -_Texts._ On the other hand, it is just as necessary that illustrations -attach themselves to their proper principles, as that principles find -the concrete key that will serve as their open sesame into the child's -mind. - -Mr. Barrie tells of a newspaper writer who never conversed five minutes -with a friend without getting a suggestion for a leader or a "story." -The teacher ought to be no less fertile in finding texts, and in -pressing everything he meets--whether in books, in newspapers, or on -the street--into the service of the Sunday-school lesson. - -For example, the street car on which you ride to school or to business -in the morning suddenly stops. It stands still three, five, fifteen -minutes. You are late. Twenty others are late. Reason, a careless -truck-driver has driven an inch too near the track. What does this -illustrate? - -A pound of cotton, worth a few cents, may be made into yarn and become -worth more; into chintz and be worth still more, etc. What is the truth -hidden in this fact? - -A thoughtful teacher, in reply to the question, "What stories have you -found especially helpful?" contained in the blank on story-telling -(Chapter X.), gave the following: - -"Cato's words, 'Carthage must be destroyed' (the power of words); -Hercules at the parting of the ways (the necessity of choice); -Macbeth's 'I have lived long enough' (the end of a wasted life); The -Ancient Mariner--'He prayeth best' (the secret of prayer); the parable -of the wicked husbandmen (irreverence)." - - - - -VIII. - -BOOKS, PICTURES, AND ILLUSTRATIVE MATERIAL. - - -The teacher should be a capitalist. He should not run dry every Sunday, -and fill in during the week only enough for the next lesson; as a -schoolboy who fills his mind with facts and empties it on examination -day. The true teacher is independent of the "Quarterly." He uses it but -does not lean on it. For the facts there given are, as a rule, -isolated, and so half dead; the illustrations are at best warmed over. -Neither can give a strong head of steam. There is not enough, and what -there is is cold. - -Other remedies for this condition are suggested elsewhere. Here it is -urged that the teacher must be a reader of books. The following are -given as types. They have been selected after searching the lists of -many publishers, and are recommended only after a personal examination: - - -_Books Telling the Story of the Bible._ - -There are many Bible stories for children, some of them good, but most -of them far from ideal when both the story and the pictures are -considered. Those with highly colored, gaudy pictures should be shunned -as they tend to give low ideals morally and spiritually as well as to -corrupt the child's artistic taste. To publish a story of the Bible -with illustrations taken only from great masters is a good work waiting -for some one who wishes to be of service to the world. - -"The Story of the Bible from Genesis to Revelation," by Charles Foster. -Charles Foster Publishing Co., Philadelphia, Pa. 75 cents. - -Of the many Bible stories published this is the most complete and the -most popular. In the matter of pictures, however, it is poor. - -"Children's Treasury of Bible Stories," by Mrs. Herman Gaskoin. -Macmillan & Co. Three parts, 18mo, 30 cents each. - -The best Bible story we have found. It is most suggestive and -interesting, showing how to picture Bible scenes. - -"Stories from the Bible," Rev. Alfred J. Church. Macmillan & Co. 256 -pp., $1.25. - -Excellent as giving a condensed account of the Bible narrative in Bible -language. The teacher who uses these stories will often find it -necessary to supplement them with suitable introductions and -side-lights. - -"The Sweet Story of Old," by Mrs. Haskell. Dutton. 4to, 50 cents. - -A small book of Bible stories for young children, with pictures which -are quite good. - -"First Steps for Little Feet," by Charles Foster. Charles Foster -Publishing Co. 50 cents. - -Bible stories told in simple language for the youngest children. Fair -outline pictures. - -"The Story of Jesus," by Louisa T. Craigin. Illustrated with one -hundred full-page illustrations from the designs of Alexander Bida, -together with many other pictures of the Holy Land. Fords, Howard & -Hulbert. $10.00. - -A beautiful and sympathetic account of the life of Jesus, especially -rich in descriptions of Palestine and in other materials for -word-pictures. The numerous pictures of landscapes and scenes from the -life of Christ are helpful. - -The same in paper covers in 15 numbers, 50 cents each. - -"From Olivet to Patmos." The First Christian Century in Picture and -Story. By Louisa Seymour Houghton. American Tract Society. $1.50. - -"The Life of Christ in Picture and Story," by Louisa Seymour Houghton. -American Tract Society. $1.25. - -The last two books contain some poorly executed but well-chosen -pictures of Bible lands, showing architecture, costumes, street scenes, -etc. - - -_Books About Palestine._ - -"The Land and the Book," by W. M. Thomson. Harper & Bros. $8.00, $6.00. - -Recommended by a high authority as the best book on Palestine for a -teacher who can own only one. - -"Boy Travelers in Egypt and the Holy Land," by T. W. Knox. Harper & -Bros. $3.00. - -"Sinai and Palestine in Connection with their History," by Dean -Stanley. A. C. Armstrong. $2.50. - -An excellent standard work. - -"Pictured Palestine," by James Neill. Anson D. Randolph. $2.25. - -Shows the contrast between eastern life and our own. Very good pictures -illustrating many phases of oriental life. - -"In Scripture Lands." Scribner's. $3.50. - -Beautiful pictures. - -"Earthly Foot-Prints of the Man of Galilee," by Bishop John H. Vincent, -D.D., LL.D., Jas. W. Lee, D.D., Robert E. M. Bain. New York and St. -Louis: N. D. Thompson Publishing Co. $4.75. - -Four hundred fine, large photographic views and descriptions of places -connected with the earthly life of our Lord and his apostles. - - -_Books on the Use of Stories and Illustrations._ - -"The Use of Stories in the Kindergarten," by Anna Buckland. Ginn & Co. -15 cents. - -"The Place of the Story in Early Education," by Sara E. Wiltse. Ginn & -Co. 132 pp., 50 cents. - -Two suggestive and helpful essays that every teacher should read. - -"Yale Lectures on Preaching," by Henry Ward Beecher. Fords, Howard & -Hulbert. $2.00. - -An inspiring book. The chapter on "Rhetorical Illustrations" is -especially applicable, but the entire work, although written for -preachers, has rich stores of instruction and guidance for teachers. - -"The Art of Illustration," by C. H. Spurgeon. Wilbur B. Ketchum. $1.25. - -A book by a master giving the secret of his art. - - -_Stories and Themes._ - -"Parables from Nature," by Margaret Gatty. Macmillan & Co. 2 vols., -18mo, $1.50. - -A wonderful book, in which nature is used to typify spiritual truths. -It should be owned by every mother and teacher. - -"Parables. Laws of Nature and Life, or Science applied to Character," -by Louisa Parsons Hopkins. Lee & Shepard. 15 cents. - -Brief and suggestive. - -"Stories of the Saints," by Mrs. C. Van D. Chenoweth. Houghton, Mifflin -& Co. $1.00. - -Supplies a want which should be more "felt" than it is. Is it not as -important that our children should know the story of Christian saints -and martyrs as that of Greek gods and heroes? - -"Kindergarten Stories and Morning Talks," by Sara E. Wiltse. Ginn & Co. -212 pp., 75 cents. - -"Stories for Kindergartens and Primary Schools," by Sara E. Wiltse. -Ginn & Co. 50 cents. - -"A Brave Baby and Other Stories," by Sara E. Wiltse. Ginn & Co. 50 -cents. - -These three books are storehouses of inspiration and models of -story-telling. - -"Child Stories from the Masters," by Maude Menefee. Kindergarten -Literature Co., Chicago. $1.00. - -An excellent selection of themes from poets, dramatists, and the Bible. -The teacher will do well to study the originals and try to improve upon -the stories given. - -"Child's Christ-Tales," by Andrea Hofer. Woman's Temple, Chicago. -$1.00. - -Choice illustrations from the masters. Suggestive tales and parables. - -"The Kindergarten Sunday-School," by Frederika Beard. Kindergarten -Publishing Co., Woman's Temple, Chicago. - -An attempt to solve the infant class problem. Three series of lessons, -each having sequence and unity. Suggestive in its plan, and likely to -help teachers to improve upon the models given. - - -_Books to be Read for the Sake of a Better Understanding of Child -Nature._ - -"Study of Child Nature," by Elizabeth Harrison. Chicago Kindergarten -Training School. $1.00. - -"Children's Rights," by Kate Douglas Wiggin. Houghton, Mifflin & Co. -$1.00. - -"A Boy's Town," by W. D. Howells. Harper & Bros., New York. $1.25. - -"Being a Boy," by Charles Dudley Warner. Houghton, Mifflin & Co. $1.25. - -"The Story of a Bad Boy," by T. B. Aldrich. Houghton, Mifflin & Co. -$1.25. - -"The Mill on the Floss," by George Eliot. Harper & Bros. Popular ed. 75 -cents. - -"Cuore, An Italian Schoolboy's Journal," by Edmondo de Amicis. N.Y. -Crowell. Illustrated edition. $1.50. - - -_Pictures and Books from which Pictures may be Culled._ - -"The Life of Christ as Treated in Art," by F. W. Farrar, D.D., F.R.S. -Macmillan & Co. $8.00, $5.00. - -"The Christ Child in Art," by Henry Van Dyke. Harper & Bros. $4.00. - -"Sacred and Legendary Art," by Mrs. Anna Jameson. Longmans, Green & Co. -2 vols., 16mo. $2.50. - -"The History of Our Lord as Exemplified in Works of Art," by Mrs. Anna -Jameson. Illustrated. 2 vols. Longmans, Green & Co. $8.00. - -All the above are standard works and are excellent. - -"The Earthly Footprints of Our Risen Lord," by Fleming H. Revell. 4to. -$1.50. - -A continuous narrative of the four gospels according to the revised -version, illustrated by numerous half-tone pictures. The selection is -not so choice as one could wish, yet many of the pictures are by the -best artists, and present a consecutive pictorial story of the life of -Christ. - -"The Photographs of the Holy Land." Globe Bible Publishing Co., -Philadelphia. $3.00. The same in cheaper style in eight portfolios at -10 cents apiece. - -Photographs of classic and modern pictures of the child Jesus and of -other Biblical subjects. Unmounted, card size, 3-3/4 cents each; -cabinet size, 7-1/2 cents each. A catalogue in German will be sent on -application. R. Tamme, Dresden, Germany. - -There is no duty on pictures. - -Blue print copies of pictures of Biblical scenes by the old masters and -by modern artists. Mr. Alfred A. Hart, 221 West 109th Street, New York -City. Card size, one cent each. - -Clear, durable, excellent; of a kind likely to develop good taste. The -low price makes it possible to encourage children to make collections -of their own. A single secular school has used over twelve thousand of -these pictures. - -The Christmas catalogues of publishers often contain serviceable -pictures. - -The standard histories of art are full of illustrative material. The -teacher should be ever on the alert. - - -_Objective Helps; Blackboard Sketches._ - -Cards for children to prick and sew. Bible Study Publishing Co., 21 -Bromfield Street, Boston, Mass. - -Scroll of history. See "The Modern Sunday School," p. 297. John H. -Vincent. - -Sunday-school Museum. Read description of one at Akron, in "The Modern -Sunday School," p. 301. - -Illustrative Blackboard Sketching, by W. Bertha Hintz. E. L. Kellogg & -Co. 53 pp. 30 cents. - -A helpful guide designed for those entirely ignorant of the art of -drawing, who nevertheless like to work out their own way of putting a -lesson, for the eye as well as for the ear, in preference to ready-made -blackboard exercises and "pictured truth" at second hand. - - - - -IX. - -FALSE PICTURE-WORK. - - -A book on helps, to be truly helpful, must deal with negative as well -as with positive matters--those things which we ought to leave undone -as well as those we ought to do. Any treatment of true picture-work is -lacking in completeness, not to say in candor, which does not say a -word about false picture-work. - -If there were only some way of crawling into the inside of the -children's brains, and marking the effect of the alliterations, -juxtapositions, and symbolisms of what goes by the name of -picture-work! Can't we devise a meter for estimating the precise -emotional and spiritual value of a board filled with marks in various -colors in the form of anchors, hearts, keys, crosses, not to mention -other less sacred things? - -I once saw a "chalk talk" given to two hundred Sunday-school children. -_Dramatis personæ_: three parrots; one unrecognizable, it was so badly -drawn; a second, indifferent; the third, capital, a speaking likeness. -The last was perched on S. T. Moral: "Honesty is the best policy." The -children were as delighted as if the text had been taken from the Bible -and as interested in the display as if it had possessed the slightest -value. - -"But," it is urged, "the children are always interested in such things." -Yes, and they would be more interested still if you showed them a monkey -or displayed red, green, and blue lights. The law of interest tells us -what shall _not_ be placed before the children--"Nothing that is not -interesting"--but as a guide to what we _shall_ give them it tells but -half the story. The other half is, "_Not everything that is interesting, -and not anything just because it is interesting_." - -Let this caution not be misunderstood. The children must use their -eyes. To expect children to follow your stories by ear, and make up -their mind-pictures out of whole cloth or from the few objects and -pictures that can be shown them, or to remember texts and lesson points -out of hand, is to suppose them ready to graduate into the senior -department. Let us have more blackboards. An individual board for every -pupil, if possible, and the more use--wise use--of blackboards the -better. But many "blackboardists" have yet to learn that it is possible -to be apt without being alliterative, that one may be extravagant -without being effective, sensational without being spiritual. In short, -they seem not to understand that common sense applies even to -blackboard work. - -What are the points in good blackboard work? To be quite dogmatic, for -the sake of brevity, good blackboard work is: - -1. Simple. "Blackboard ingenuities, dissolving from acrostic into -enigma, and from enigma into rhyme are not necessary" and they are -harmful besides. They distract, distort, make dizzy. The best -blackboard work has the fewest lines, the most unity in its variety, -the least approach to anything like a maze. - -2. Clear. The best blackboard work is that which is easiest to follow, -hardest to forget. - -3. Varied. Our stock symbols are worked to death. Is it _right_ to -use the cross as commonly as you would a letter of the alphabet? Find -something new or give the blackboard a vacation. It is not necessary -that there be a quarter hour on every day's program for blackboard -work. Who has not spent a "bad quarter of an hour" when the "exercise" -was perfunctory? - -4. Descriptive. All maps and plans, sketches of roads and rooms, of -mountains and rivers, are good, because they help us to form for -ourselves the picture which we must see in order to grasp the meaning -of the story. For example, we may illustrate the Mount of -Transfiguration; first with four figures, then six, then four; the -winding road to Emmaus, two figures--straight lines, merely--and a -little farther on, a third; the upper room, its occupants represented -by marks or initial letters. Anything is helpful that gives a notion of -position, number, form, contrast, sequence, change. - -5. Free, living, personal. The best blackboard work is that which is -freest. Children are impressionists. For them the broad side of the -crayon is better than the point; two strokes better than twenty. - -The best blackboard work is that which grows before the children's -eyes, which is made, not unveiled. Two minutes of rough sketching in -the lesson hour is better than two hours of patient putting in of -finishing touches beforehand. - -The best blackboard work is that which is original, personal. That -which is given in the "lesson helps" is just what you should not use. -It is not yours. If it does not help you to find your own way, it is -useless--and worse than useless, because it tempts you to borrow -without inspiring you to create. - -6. In fine, the mission of the blackboard, as of all picture-work, is -to help us to see the truth in the world or the truth in our own selves -by showing us a truth that is easier to see or that is nearer at hand -than that which we would learn. - -Like all picture-work, it fulfills its mission when it serves as a -scaffolding, when it is kept subordinate. It fails when it obscures the -truth, not helps to build it. False picture-work is anything that -stands in the way of our seeing truth; as when we cannot see the woods -for the trees--cannot see the Sunday-school lesson for the bizarre -exhibitions on the blackboard. - - - - -X. - -A COÖPERATIVE STUDY. - - -In order to find out what Sunday-school teachers are doing in the -matter of stories, illustrations, and picture-work generally, the -writer prepared and distributed to a thousand teachers the following -blank: - - _One response NOW is worth twenty a month hence._ - - STORY-TELLING. - - _To Sunday-school Teachers:_ - - For the purpose of devising means for the better preparation of - Sunday-school teachers, the President of the Teachers College, New - York, requests the teachers in your Sunday-school to answer the - following questions. - - To save time and trouble use both sides of this sheet. - - Whenever possible answer by crossing out the term that does not - apply. - - In every case where the answer is based on experience with - children, state the age of the children. - - Please do not hesitate to return this blank, even if you have - answered but a few questions. - - _Sources._--To illustrate the lesson do you use Bible stories, - stories from good literature, or stories invented by yourself? - - _Subject._--Do you find your children more interested in stories - of people or of nature? - - _Kind._--Which of the stories have you found more effective, modern - or classic? Stories told or read? True or fictitious? Those based - on poetry or prose? Stories in which the moral is set forth or - hidden? - - _Experience._--What stories are you going to use in the - Sunday-school lesson for next Sunday? - - _Precept._--If you do not use stories, what other means do you - employ to enforce religious and moral lessons? Do you "moralize," - and if so, with what obvious result? - - _Environment._--What means do you use of making the dress, - customs, etc., of Bible people seem real to children? - - _Picture-work._--Do you use blackboard illustrations? What - other objective helps? - - _Examples._--What stories have you found especially helpful? - - _Purpose._--What is your purpose in using stories in the - Sunday-school? - - _Principles._--Do you succeed in having such unity in the lesson - that the stories all contribute to one main thought? Mention five - requisites for a good story-teller. - - Mention five qualities in a good story. - -To these questions fifty-eight replies were received. Very few, -however, gave the ages of the children, and the smallness of the number -of replies--which after all is by no means discouraging--tends to -vitiate the data as bases for generalization. - -Space forbids giving more than a single group of typical answers. Some -of the most helpful of the suggestions have been embodied in the -foregoing. Further replies from thoughtful teachers will be welcome. - - _Question_--Mention five requisites for a good story-teller. - - _Answers:_ - - Sympathetic voice, manner, and face. - - More knowledge of the subject than one wants to use. - - The teacher must be interested, bright, imaginative, clear in - thought and expression. - - Clear apprehension of the point to be made, clear knowledge of the - subject, understanding of the peculiarities of his hearers, tact in - making application, and dramatic power. - - Power in word-painting--with a sense of perspective. - - Unconsciousness of self. - - A gift for mimicry. - - Graphic description. - - Sympathy with children. - - Power to hold attention and keep to the main thought. - - Animation, personal magnetism, originality, wit. - - Conciseness, force. - - Pleasant manner. - - Ability to repeat a story without hesitation. - - Power to put one's self into the time, circumstances, etc., of the - story. - - Love of story-telling. - - Quiet manners. - - Gestures, good voice. - - Small [easy?] words. - - Ability to make the children help tell the story, by making them - gesture, point, express sorrow, surprise, etc., and answer - questions. - - A good story-teller asks intensely interesting questions at exactly - the right point. - -A passage from Herbart forms a fitting close to this study: - - "The intent to teach spoils children's books at once; it is - forgotten that every one, the child included, selects what suits - him from what he reads, and judges the writing as well as the - writer after his own fashion. Show the bad to children plainly, but - not as an object of desire, and they will recognize that it is bad. - Interrupt a narrative with moral precepts, and they will find you a - wearisome narrator. Relate only what is good, and they will feel it - monotonous, and the mere charm of variety will make the bad - welcome. Remember your own feelings on seeing a purely moral play. - But give to them an interesting story, rich in incidents, - relationships, characters, strictly in accordance with - psychological truth, and not beyond the feelings and ideas of - children; make no effort to depict the worst or the best, only let - a faint, half-conscious moral tact secure that the interest of the - action tends away from the bad toward the good, the just, the - right; then you will see how the child's attention is fixed upon - it, how it seeks to discover the truth and think over all sides of - the matter, how the many-sided material calls forth a many-sided - judgment, how the charm of change ends in preference for the best, - so that the boy who perhaps feels himself a step or two higher in - moral judgment than the hero or the author, will cling to his view - with inner self-approbation, and so guard himself from a coarseness - he already feels beneath him. The story must have one more - characteristic, if its effect is to be lasting and emphatic; it - must carry on its face the strongest and clearest stamp of human - greatness. For a boy distinguishes the common and ordinary from the - praiseworthy as well as we; he even has this distinction more at - heart than we have, for he does not like to feel himself small, he - wishes to be a man. The whole look of a well-trained boy is - directed above himself, and when eight years old his entire line of - vision extends beyond all histories of children. Present to the boy - therefore such men as he himself would like to be." - - -Printed in the United States of America. - - - - -_THE PRIMARY DEPARTMENT_ - -~Old Testament Stories~ For Little Children. Illustrated, 12mo, cloth, -net $1.25. - - ~By LAURA ELLA CRAGIN~ - - More "Kindergarten Stories" from the Old Testament in language - little tots can take in. The value of the book apart from the - excellence of the manner of telling the stories, lies in the fact - that Miss Cragin has made these stories follow closely the events - of the Old Testament. - -~Experimental Object Lessons~ Bible Truths Simply Taught. 12mo, cloth, -net 75c. - - ~By CHARLOTTE E. GRAY~ - - "The simple and instructive character of this book including its - adaptation to young minds and hearts, makes it the "very thing" - for Sunday school scholars and teachers."--_Religious Telescope._ - -~Object Lessons for Children~ Or Hooks and Eyes, Truth Linked to Sight. -Illustrated, 12mo, cloth, net $1.00. - - ~By C. H. TYNDALL, Ph.D.~ - - "For busy Sunday-school workers and others, we know no better - work of its kind."--_Cumberland Presbyterian._ - -~Talks to Children~ 12mo, cloth, net 50c. - - ~By T. T. EATON: D.D.~ - - "It Reproduces Scripture History in the terms of modern life, and - gives it both a vivid setting before the youthful imagination and - a firm grip on the youthful conscience."--_Independent._ - -~The Shepherd Psalm for Children~ With half-tone Frontispiece and 13 -outline Illustrations, 16mo, cloth, net 35c. - - ~By JOSEPHINE L. BALDWIN~ - - "Equally adapted to teach the teacher how to teach, to teach the - child how to learn, and to teach what ought to be - learned."--_Christian Advocate._ - -~The Lord's Prayer for Children~ Illustrated. 12mo, cloth, net 50c. - - ~By MARTHA K. LAWSON~ - - "Miss Lawson is a specialist in the science of child study. The - book is invaluable to Primary teachers and leaders of Junior - classes."--_N.Y. Observer._ - -~Seed for Spring-time Sowing~ A Wall Roll for the use of Primary, -Sabbath School and Kindergarten Teachers. Compiled by MRS. ROBERT -PRATT, 75c. - -~Practical Primary Plans~ Illustrated with diagrams. Revised and -enlarged. 16mo, cloth, net $1.00. - - ~By ISRAEL P. BLACK~ - - "The author goes through all the material, physical and spiritual - requirements for successful primary teaching."--_Christian - Advocate._ - -~Our Children for Christ~ A Series of Catechetical Lessons on the -Religion of Our Lord Jesus Christ. _New Improved Edition._ 16mo, -paper, net 10c. - - ~By REV. DOREMUS SCUDDER~ - - -~The Conversion of Children~ 12mo, paper, net 25c. - - ~By E. PAYSON HAMMOND, M.A.~ - - -_FOR THE SUPERINTENDENT_ - -~The Sunday School of To-day~ A Compendium of Hints for Superintendents -and Pastors, with Suggestions and Plans for Sunday-School Architecture -by C. W. STOUGHTON, A.I.A. Graphically illustrated, 12mo, cloth, net -$1.25. - - ~By WM. WALTER SMITH, A.B., A.N.~ - - "A veritable mine of information and inspiration. It is not too - much to say that no pastor, superintendent, officer, or teacher - of the Sunday-school, can afford to neglect this - volume."--_Standard._ - -~Secrets of Sunday School Teaching~ 12mo, cloth, net $1.00. - - ~By EDWARD LEIGH PELL, D.D.~ - - The key-note of this book is given by the author in his Preface, - where he says: "I have tried not to lay too much stress on - methods." While he puts "motives" first, however, he does not - ignore "methods," but presents those which modern practice has - proved to be effective. - -~How to Conduct a Sunday School~ 12mo, cloth, net $1.25. - - ~By MARION LAWRANCE~, _General Secretary of the International - S. S. Association._ - - "Every superintendent, teacher, pastor, officer, should own it. A - perfect mine of hints and plans from the most experienced - Sunday-school leader of the day."--_Sunday School Times._ - -~Thirty Years at the Superintendent's Desk~ Lessons Learned and Noted. -A _multum in parvo_ of practical suggestions. Net 25c. - - ~By J. R. PEPPER~ - -~The Working Manual of a Successful Sunday School~ Cloth, net 50c. - - ~By MARION LAWRANCE~ - - "Valuable suggestions for superintendents, ministers."--_S. S. - World._ - -~The Modern Sunday School in Principle and Practice~ 12mo, cloth, -net $1.00. - - ~By HENRY F. COPE~ - - "We know of no more scholarly nor practical manual. Thoroughly - scientific, intelligible to the man of average experience, it - gives the newest experiments with all grades."--_Heidelberg - Teacher._ - -~The School of the Church~ Its Pre-eminent Place and Claim. 12mo, -cloth, net $1.00. - - ~By J. M. FROST, D.D.~ - - "Commended for its careful analysis of the relation of the - Sunday-school to the Church, the teaching function of the - spiritual factors in that function."--_Standard._ - -~The Church and Her Children~ A practical Solution of the Problem -of Child Attendance. 12mo, cloth, net $1.00. - - ~By HENRY W. HULBERT~ - - "Pierces to the heart of one of the most important and - significant concerns of the present-day church--the problem of - fixing the habit of church attendance in - children."--_Continent._ - -~Sunday School Success~ 12mo, cloth, gilt top, net $1.00. - - ~By AMOS R. WELLS~ - - "The best hand-book on methods of work and mastery of - difficulties we have yet seen. There is not a dull chapter in - it."--_Evangelical Messenger._ - -~The Work of the Sunday School~ A Manual for Teachers. 12mo, cloth, -net $1.00. - - ~By RAY CLARKSON HARKER~ - - "A manual for teachers. Treats of some of the supremely - significant factors that must be properly handled in every - school."--_United Presbyterian._ - -~Three Years With the Children~ 12mo, cloth, net $1.00. - - ~By AMOS R. 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