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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..61429df --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #63114 (https://www.gutenberg.org/ebooks/63114) diff --git a/old/63114-0.txt b/old/63114-0.txt deleted file mode 100644 index 2c2f35f..0000000 --- a/old/63114-0.txt +++ /dev/null @@ -1,2269 +0,0 @@ -Project Gutenberg's Stories Pictures Tell Book 5, by Flora Carpenter - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Stories Pictures Tell Book 5 - -Author: Flora Carpenter - -Release Date: September 3, 2020 [EBook #63114] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 5 *** - - - - -Produced by David Garcia, Larry B. Harrison, Barry -Abrahamsen, and the Online Distributed Proofreading Team -at https://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - - - - - STORIES PICTURES TELL - - - - ------------------------------------------------------------------------- - - Decoration - - STORIES - PICTURES TELL - - BOOK FIVE - - - - - - By - FLORA L. CARPENTER - - Instructor in drawing at Waite High School, Toledo, Ohio - Formerly supervisor of drawing, Bloomington, Illinois - - - - Illustrated with Half Tones from - Original Photographs - - - - - RAND McNALLY & COMPANY - CHICAGO NEW YORK - - ------------------------------------------------------------------------- - - - - - Copyright, 1918 - BY RAND MCNALLY & CO. - - - - - - - - -[Illustration] - ------------------------------------------------------------------------- - - - - - THE CONTENTS - - - SEPTEMBER AND OCTOBER - - PAGE - “The Gleaners” _Millet_ 1 - “The Mill” _Ruysdael_ 13 - - - NOVEMBER, DECEMBER, AND JANUARY - - “Pilgrims Going to Church” _Boughton_ 25 - - “The Child Handel” _Margaret 33 - Dicksee_ - - - FEBRUARY AND MARCH - - “The Horse Fair” _Rosa Bonheur_ 43 - “Mona Lisa” _Da Vinci_ 57 - - - APRIL, MAY, AND JUNE - - “Oxen Going to Work” _Troyon_ 68 - - Review of Pictures and Artists - Studied - - _The Suggestions to Teachers_ 77 - - ------------------------------------------------------------------------- - - - - - THE PREFACE - - -Art supervisors in the public schools assign picture-study work in each -grade, recommending the study of certain pictures by well-known masters. -As Supervisor of Drawing I found that the children enjoyed this work but -that the teachers felt incompetent to conduct the lessons as they lacked -time to look up the subject and to gather adequate material. Recourse to -a great many books was necessary and often while much information could -usually be found about the artist, very little was available about his -pictures. - -Hence I began collecting information about the pictures and preparing -the lessons for the teachers just as I would give them myself to pupils -of their grade. - -My plan does not include many pictures during the year, as this is to be -only a part of the art work and is not intended to take the place of -drawing. - -The lessons in this grade may be used for the usual drawing period of -from twenty to thirty minutes, and have been successfully given in that -time. However, the most satisfactory way of using the books is as -supplementary readers, thus permitting each child to study the pictures -and read the stories himself. - - FLORA L. CARPENTER - - ------------------------------------------------------------------------- - - - STORIES - PICTURES TELL - -[Illustration: - - By Permission of Braun & Co., Paris and New York -] - - - - - THE GLEANERS - - -=Questions to arouse interest.= Of what is this a picture? What are the -three women doing in the field? What have they in their hands? Of what -use are their aprons? Why do you think their work is hard? Why do you -think they are used to it? How are they dressed? What story is told in -the background? What do you suppose the man on horseback is doing? What -can you see beyond the people? What time of the year is it? Is it a dark -or a sunshiny day? Why do you think so? What time of day do you think it -is? What country? Why do you think so? What do you like best about this -picture? - - - =Original Picture=: The Louvre (lōō′vr’), Paris. - =Artist=: Jean François Millet (mē′lē′) - =Birthplace=: Gruchy, France. - =Dates=: Born, 1814; died, 1875. - - -=The story of the picture.= In this picture Millet takes us out into the -country, to the wheat fields. The reapers have passed over the field, -cutting down the wheat with a small sickle. Although we cannot see them -in the act of cutting, we know they used a sickle in those days by other -pictures Millet has painted. There is one called “The Reaper” which -represents a man grasping the tall stalks of wheat with one hand and -cutting them close to the ground with a small sickle. - -Years later reapers used a “cradle,” which is a frame of wood with a -long, sharp blade or knife fastened to a handle similar to a scythe -handle. This frame caught the stalks of wheat as they were cut. Then by -a swing of the arm they were laid in an even row. Then the rows were -raked into bundles and the wheat tied into sheaves. All this was done by -hand. Now we do it easily with a machine called a reaper, which cuts the -wheat, binds it in a sheaf, and then throws off the bundles. - -The man you see on horseback, in the distance at the right, is the -overseer of this field. His sharp eyes have discovered that many stalks -of wheat have been left on the ground, and so he has sent the women to -gather them that there may be no waste. - -In the background of the picture we see other women at the same task, -and men busily piling the wheat from the wagon into high stacks. Farther -back, and partly hidden behind the wheat stacks, we see several cottages -which may be the homes of the peasants or barns in which to store the -grain. - -We should judge by the shadows that it is late in the afternoon and all -are hurrying to finish their task. Our attention is held by the three -stooping figures of the women gleaning or gathering the wheat. They have -caught up the corners of their aprons and tied them in a tight knot at -the back, making a sort of bag in which to place the broken heads of -wheat, while their hands are filled with the stalks. The three women -seem absorbed in their task. How very tiresome it would be to stoop in -such a fashion for any length of time! No wonder the woman at the right -straightens up for a moment to rest her back. The other two are stooping -to pick up the grain. One of them holds her left hand behind her back. -If you take this position yourself, you will understand how natural it -is to balance yourself with the left arm as she does. The women’s caps -are drawn so far down that we can see but little of their faces in the -shadow. But the coarse clothes, bent backs, and hands roughened with -toil represent the typical French peasant women of the artist’s time. - -Millet tells us in a letter to a friend: “I want the people I represent -to look as if they belonged to their station, and as if their -imaginations could not conceive of their ever being anything else.” How -truly he has accomplished this in our picture! The women seem to be -working cheerfully without complaint or regret. They do not ask for -sympathy but attend strictly to their work. - -With so many other laborers in the field, and considering their task, we -scarcely dare think of the miserably small pay they must receive for -their labor. We wonder how they can live. And yet they have a certain -wholesome, thrifty appearance—their clothes, although coarse, are not -ragged; they look well and strong, and they work with an energy which -would imply a certain satisfaction in their task well done. - -There are no lingering looks toward the sun—their clock—or toward the -distant homes, or even toward the other laborers whose tasks seem nearer -completion. They are resigned. But even at best their life must be hard, -and whether they ask it or not, they stir our sympathies even as they -did those of the people of France when the picture was finally placed on -exhibition in Paris. - -The peasants of France were especially wretched after the French -Revolution, and this picture appeared just at a time when people needed -to be reminded of this condition of affairs. But many preferred not to -be reminded, and they so resented Millet’s efforts to better the life of -the French peasant that they were bitter against him for many years. - -Millet was the son of a French peasant and worked out in the fields -himself, so he knew all about the hardships, poverty, and wretchedness, -and painted the truth as he saw it. - -In the original painting there is a suggestion of red and blue in the -dresses of the women, a blue-gray sky, and over it all the sun shining -dimly. The coarse dresses of the women were no doubt woven by them -during the winter days when there was no farm work to do. - -Millet tells us that one of his earliest remembrances is of being -wakened early in the morning by the hum of the spinning wheel and the -voices of his mother and aunts as they spun the thread of flax ready to -weave into cloth. - -Notice the arrangement of the three women in the picture. They are not -in a straight row, or one right behind the other, or even scattered -about in the picture. Two are near each other, while the third is just a -little to one side; in this way the center of interest is made more -pleasing to the eye. If we make an outline sketch of these three figures -we will be surprised at the number of curved lines it requires. - -The sky line is very high in this picture, so the earth space is large -enough to contain the figures of the three women. In this way they seem -to be bound closer to the earth. We feel their lowliness, and the burden -of the life they lead in their narrow surroundings. - -Yet, although we feel all these things when looking at this picture of -work, it is a picture of work done simply and good-naturedly and as if -it were only a part of the daily task, a sort of habit of life. - - -=Questions to help the pupil understand the picture.= How was wheat cut -in Millet’s day? How is it cut now? Of what use is a reaper? What are -the three women in the picture doing? Who sent them? Why? Where do they -put the broken heads of wheat? the stalks? Why do you think this must be -hard work? Which one is resting her back? Why does one of the others -hold her left hand behind her? How are these three women dressed? How do -peasants usually get material for their clothes? Whom can you see in the -background? What are they doing? What can you see behind them? What time -of day do you think it is? How can you tell by the length of the -shadows? To what part of the picture is our attention drawn? What makes -you think these women are working cheerfully? that they are thrifty? -What reasons have they to be discontented? to be contented? Why do you -feel sorry for them? How did the people of France feel when this picture -was exhibited? What had made the French peasants very wretched at this -time? Why did the people resent Millet’s calling their attention to -this? How did Millet happen to know so much about the peasants and their -life? What colors did he use in this picture? What can you say about the -arrangement of the three women in this picture? Why is this a good -arrangement? How are we made to feel the lowliness of these peasants? -Why is this picture called “The Gleaners”? - - - =To the Teacher:= - - SUBJECTS FOR COMPOSITIONS - - The Story Told in This Picture. - The Lives of the French Peasants. - Comparison of Labor in Those Days and at the Present Time. - Millet’s Paintings—Subjects and Purpose. - Reasons Why I Would Consider This Picture a Masterpiece. - Life of the Artist. - - -=The story of the artist.= In the little country village of Gruchy, -France, dwelt a family of peasants who tilled the land and lived by the -sweat of their brows. There were the grandmother, father, mother, and -eight children. The eldest son was Jean François Millet, the artist who -painted this picture. His mother worked out in the fields with the -father, even as the women in this picture are working, so little Jean -François was brought up by his grandmother, who was also his godmother. -It was she who named him Jean for his father and François after the good -Saint Francis. She was a deeply religious woman, and almost the only -pictures Millet saw in his boyhood were those in the Bible, which he -copied again and again, drawing them upon the stone walls with white -chalk. This pleased the grandmother, and she encouraged him all she -could. - -When Millet was six years old he was sent to school. At twelve he began -to study Latin with a priest in the village who was very fond of him and -taught him for the pleasure of it. From this time on his studies were -frequently interrupted by his work on the farm, for as eldest son he was -the one the father relied upon most. - -The elder Millet had a keen appreciation of the beauty in nature and -often, as they worked, he would call his son’s attention to the beauties -around them. He would say, “Look at that tree—how large and beautiful! -It is as beautiful as a flower,” or “See, that house half buried by the -field is good; it seems to me that it ought to be drawn that way.” Then -sometimes he would try to model a figure from a piece of clay or cut an -animal or plant from wood. So it was not much wonder that the son, too, -tried to draw animals, the barn, the garden, and various objects around -him. - -When he was eighteen years old he drew his first great picture. As he -was coming home from church he met an old man whose back was bent over a -cane as he walked slowly along. Something about the bent figure appealed -to Millet so strongly that he had a great desire to draw a portrait of -him. So, taking some charcoal from his pocket, he drew on a stone wall a -picture of the old man. People passing by recognized the old man in -Millet’s picture and were much pleased. - -His father, too, was delighted, for he had once wished to be an artist -himself. He now resolved that his son should have a chance. A family -council was held and all agreed that Millet must be sent to some good -artist to study. So the father took him to an artist (Mouchel) in -Cherbourg to whom he showed some of Millet’s drawings. At first the -artist would not believe the boy had drawn them, but, finally convinced, -he was very glad to have this talented boy for his pupil. - -Millet had studied with him only two months when his father died, and he -was obliged to return home to take his father’s place on the farm as -best he could. But the people of the village, who were much interested -in his paintings, resolved to help him. So they raised money to send him -back to Cherbourg to study, and finally to the great city of Paris. -There he studied under Delaroche, a fashionable painter of that day. The -other students could not understand Millet, for, peasant that he was, he -rarely spoke, allowing others to make all the advances and answering -scarcely a word. However, if they went too far he could use his fists to -such good advantage that they soon left him quite alone. He was always -known among them as “the man of the woods.” - -They soon found out that he could draw and paint, too, and his work -received much praise. Still his pictures did not sell, and Millet’s life -in Paris was a continuous struggle with poverty. - -One of the reasons that his pictures did not sell was because he chose -his models from the lower classes and represented them in their humble -daily tasks. His critics urged him to paint, instead, some beautiful -girl or fine-looking man from the village or city. To this he replied: -“Beauty does not dwell in the face; it radiates forth from the whole -figure and appears in the suitableness of the action to the subject. -Your pretty peasants would be ill suited for picking up wood, for -gleaning in the fields of August, for drawing water from a well. Beauty -is expression.” - -In spite of the fact that he could barely earn a living in Paris, Millet -remained there many years. He was married and his children were born -there. Finally he left Paris with his wife and children and settled at -Barbizon, a small village in France, where he spent the rest of his -life. Many descriptions have been written and many pictures painted of -the modest white stone cottage in which Millet’s last years were spent. - -It was not until these last few years of his life that Millet ceased to -be wretchedly poor, for then his pictures were at last appreciated and -he received the profit and honor that were his due. - -He died at Barbizon, January 20, 1875. - -The world of to-day has forgotten most of the popular artists of that -time, and their pretty models, but Millet’s peasants live on. Once -little valued, now the great truths which they represent have made them -almost priceless. - - -=Questions about the artist.= What is the artist’s full name? Tell about -his home life. Who took care of Millet when he was a child? What did his -mother do? Who named him, and why? What pictures did he study? When was -he sent to school? What did he study with the priest? Why were his -studies interrupted so often? How did his father help him with his -drawing? Tell about the old man with the cane. Who recognized his -portrait? What happened because of his success? Why did the artist think -Millet could not have painted the pictures? Why did Millet remain so -short a time with this artist? What did the people in the village do for -him? Why was it the students in Paris could not understand Millet? What -name did the students give him? Why did his pictures not sell? What did -the critics say about them? What else did Millet paint? Where did he -finally make his home? When did he receive recognition? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - THE MILL - - -=Questions to arouse interest.= What does this picture represent? In -what country would you expect to find such a scene? What do the clouds -suggest to you? Notice the water and the sails of the boat. Does the -water appear smooth or rough? Why do you think the little sailboat you -see is not the only one in the harbor? Why do you think the arms of the -mill are not moving very rapidly? How is the land protected from the -water? Whom can you see on the land? Where do they seem to be going? -What can you see beyond the clump of bushes? Notice the man who is -standing near the railing of the mill. What does he seem to be watching? -Where does the light come from? What is the center of interest in this -picture? - - - =Original Picture=: Buckingham Palace, London, England. - =Artist=: Jacob Van Ruysdael (rois′däl). - =Birthplace=: Haarlem, Holland. - =Dates=: Born, 1628; died, 1682. - - -=The story of the picture.= We know at once that the scene of this -picture must be in Holland. We could tell by the picturesque windmill -for which that country has become famous, even if we did not know that -the artist, Ruysdael, lived there all his life. - -When we look at this picture, representing a scene at the mouth of a -Dutch river, it is hard for us to realize that all of this little -country is lower than the ocean, and would be flooded if it were not for -the great dikes. These dikes are thick walls of stone and earth built -near the shore, so high that the water of the North Sea cannot wash over -them, and so wide across the top that they make excellent carriage -roads. It is wonderful to think how men, by their skill and -perseverance, have been able to preserve this country from the sea. - -We are told that when Caesar first reached this part of Europe he found -the few inhabitants living in wretched little huts built upon hills of -sand which had been left after a flood. They lived upon fish, which they -caught in nets made from grasses or rushes, and were miserably poor. So -much of the land was under water that it was hard to tell whether it was -land or sea. - -These few natives, however, began to fill in the spaces between the sand -hills with earth and stone, building rude dikes or embankments to keep -out the water. Very often the sea broke through, flooding the land -again, but the people only built stronger dikes each time, until now at -last they have the present mighty safeguards. - -The longest dike is in North Holland, and is called “The Great Dike.” It -is six miles long and from twelve to fifteen feet thick. The sea beats -against it with great force, but the sturdy Hollander watches its angry -foam in safety. The dike is carefully guarded everywhere, for if the -water should find a weak or unprotected spot in it, terrible indeed -would be the result. - -The North Sea is Holland’s greatest foe, yet it has sometimes proved a -friend, for when sorely pressed in battle the Dutch have flooded their -land, thus forcing their enemies to flee for safety. They have done this -by removing small sections from the dikes, though it meant the loss of -their homes and cultivated fields. It is said that windmills, too, may -be used in flooding certain low portions of land in case an enemy -attempts to take possession. - -The windmill has played an important part in building up this country, -for it has been used not only for grinding corn, crushing linseed, -sawing timber, and cutting tobacco, but to drain the land and make it -habitable. - -Sometimes great lakes have been drained by water pumps set in motion by -these windmills, and what is to-day some of the most fertile land in the -country has been secured in this way. To be sure, it takes several years -to accomplish such an undertaking as this, but the patience and -perseverance of the Hollander are equal to far greater tasks than that. - -It is interesting to know how the people build houses in this land. They -cannot build them as we do, because the earth is so soft and yielding -that the houses would sink in it. First, they dig out two or three feet -of earth, and, as they expect, this opening immediately fills with -water. Then they drive piles or stakes deep into the ground with a -powerful steam hammer. These are placed close together in lines to -support the walls of the house. Heavy oak boards are nailed upon them -and the brick foundation is then started just as we build ours. The back -and front of the house are not completed until after the roof is -finished, for it is necessary to allow a free circulation of air through -the house to dry it. Even then Dutch houses seem very damp to those who -are not natives. The kitchen is usually built in the front part of the -house instead of the back. The buildings we see in this picture, even -the windmill itself, must have been built in just this way. - -The calm and peace of this landscape are more impressive when we think -of the great ocean outside the dike, pounding away in its ceaseless -effort to claim its own. The picture seems to tell us something of the -great effort, constant guard, and persistent struggle we must make if we -would secure peace and contentment in our lives. - -But in all lives must come some stormy days. In our picture we can see -the clouds gathering, feel the warning stillness in the air, and know -that the storm will break soon. The strange calm keeps the water still -and lifeless, the sails of the boat hang flat and unruffled, the trees -are without motion, and the great arms of the windmill wait to catch the -first faint breeze. - -The three women on their way to church or home must hasten, for these -storms come quickly, as the man who stands guard at the railing of the -mill well knows. There is a feeling of expectancy in this picture. As we -watch the great clouds and the strange light in the sky, we are -conscious of a great stillness all around, and we expect at any moment -to feel the rush and roar of the oncoming winds. There is something -alarming in the suspense. - -We begin to feel the vastness of sky and water around us and how very -little and unimportant we are in the midst of it all. We wonder that we -have ventured so much. - -The great simplicity of this landscape is also typical of the people of -Holland. The early Hollanders were remarkable for their simplicity, but -as they prospered there was a tendency toward extravagance and display -which caused much remonstrance from the clergy and more thoughtful -citizens. - -The story is told of an old Dutch merchant who, having made a fortune in -trade, decided to spend the rest of his life in his country home some -distance away. Before leaving his friends he invited them all to dine -with him. Upon arriving, the guests were amazed to find themselves -seated at a large table covered with a blue cloth, and set with wooden -plates, spoons, and tumblers. Two old seamen served them with herring, -fresh, salted, or dried. The second course was salt beef and greens. - -The guests, of course, were much disappointed and scarcely tasted this -poor fare. They supposed the meal was ended when the blue cloth was -removed, but no, it was replaced by one of the finest linen, the old -sailors disappeared, and a number of servants in fine liveries appeared, -serving a banquet which excelled even their highest expectations. - -Then the host spoke to them: “Such, gentlemen, has been the progress of -our Republic. We began with short frugality, by means of which we became -wealthy; and we end with luxury, which will beget poverty. We should, -therefore, be satisfied with our beef and greens, that we may not have -to return to our herrings.” - -Unlike many pictures which seem to be made up of a majority of either -curved or straight lines, this picture contains a great variety of -lines. We find the straight line in the masts and sails of the boats, -the walls and spires of the church, the main walls of the windmill, the -posts of the breakwater, and the three little figures in white; the -horizontal lines in the horizon, roofs, hull of the boat, and in the -breakwater. The rolling clouds, round masses of the tree tops, and the -balcony railing give us the curved lines, while we cannot fail to notice -the oblique lines of the arms of the mill and the grasses near the river -bank. - - -=Questions to help the pupil understand the picture.= What does this -picture represent? How is Holland protected from the ocean? What are -dikes? How are they used? What kind of a place was Holland when Caesar -first entered it? What did the people do? How did they happen to build -the first dike? What is the longest dike called? What would happen if -the dike should give way? From what sea does it protect the people? How -has the sea proved their friend? at what expense to them? Of what use -are the windmills? How do they build houses in Holland? Why are the -cellars full of water? Why are the houses damp? Which room is usually in -the front of the house? How is the windmill in this picture built? What -makes you think a storm is approaching? How does the water look? the -sails? the trees? the windmill? What feeling does this picture give -you—one of peace, expectancy, suspense, anxiety, or pleasure? Why is it -typical of the people of Holland? Tell about the early Hollanders; the -Dutch merchant and the banquet. What advice did the merchant give the -Hollanders? What can you say about the composition of this picture? Of -what kinds of lines is it made up? Where do you find the different kinds -of lines? - - -=The story of the artist.= Jacob Van Ruysdael was born at Haarlem, -Holland, in 1628. Although he was one of the greatest of the Dutch -landscape painters, very little is known of his life. When he was only -twelve years old he painted a picture in which he showed so much talent -that his father consented to his giving up the study of medicine, for -which he had been preparing. Ruysdael’s elder brother was probably his -first teacher in painting. Later he went to Amsterdam to study, but his -great desire was to be out in the country, where he could be alone with -nature. His pictures are usually of landscapes, including a glimpse of -the sea and land, with vast sky spaces overhead. In color, a rich, warm -green predominates. It was always very difficult for him to draw people, -so he usually had some other artist paint his figures for him. - -Although his paintings are extremely valuable now, he could not sell -them then, and he was so poor he was obliged at last to go to the -almshouse, where he died in 1682. - -People at that time were not interested in an ordinary landscape such as -they saw every day. They thought Ruysdael was wasting his time painting -such common things. Other artists painted pictures of people and of -interesting events, real or imaginary, in brilliant colors and style. -Ruysdael painted pictures in which the landscape and not the people was -the center of interest. He was one of the very first artists with enough -appreciation for the beauty of nature to use it as the subject for his -paintings. - -From what we read of Ruysdael’s life, it must have been a rather lonely -one. Of a dreamy, thoughtful nature, he spent much of his time wandering -alone by the seashore, among the sand dunes, and through the open -country. These are the scenes he painted again and again. He loved to -study the same scene in different lights, with different cloud effects, -at different times and seasons; and so we find twenty pictures of a -certain scene called “View of Haarlem from the Hill of Overveen.” - -Few men have shown a more thorough knowledge of trees, the trunks, their -branches, and the character of their leaves. In his earlier work this -knowledge caused him to put too many details into his pictures, making -them somewhat stiff. But he soon overcame this difficulty and began to -put into his landscapes a peace and tranquility that rests the eye. But -since his paintings still remained unpopular he tried a change of -subjects, painting pictures of mountain scenery and rocky waterfalls. - -It is generally believed that the artist Hobbema was Ruysdael’s friend -and pupil. If this is true, the two must have spent many happy days -together painting the quiet landscapes they loved so well. Neither of -them ever traveled out of Holland. - -So much alike was the work of these two artists that at one time long -after their death, Hobbema’s name was removed from his paintings and -that of Ruysdael placed in its stead in order to sell them. Later every -effort was made to correct these errors. Some critics declared that -every rocky landscape must be by Ruysdael, and every peaceful scene of -cottages, high trees, and waterfalls must be by Hobbema, and so -doubtless many mistakes were made. But it was not until after Ruysdael’s -death that people awoke to his greatness and genius. Fabulous sums have -been paid for many of his pictures and they hang in the best galleries -of Europe. - -Famous paintings by Ruysdael are: “Landscape with Waterfall,” “The -Tempest,” “The Swamp in the Wood,” “The Jewish Cemetery,” “Landscape -with Ruins,” “Shore at Scheveningen,” “Oak Wood,” and “Agitated Sea.” - - -=Questions about the artist.= Who painted this picture? Where did he -live? How did he rank? Tell what you can of his life. What subjects did -he usually choose for his paintings? What color usually predominates? -What did he find difficult to draw? Where did he pass the last days of -his life? Why could he not sell his pictures? How did they differ from -those of other artists? What artist studied with him? Of what value are -Ruysdael’s paintings to-day? - - ------------------------------------------------------------------------- - -[Illustration] - - - - - PILGRIMS GOING TO CHURCH - - -=Questions to arouse interest.= Who are these people? What country does -this represent? Why were they called Pilgrims, and why did they leave -England? Where are they going in this picture? Why do the men carry -guns? Where might foes be lurking? What time of the year is it? what -time of day? - - - =Original Picture=: Lenox Gallery, New York. - =Artist=: George Henry Boughton (bô´tȯn). - =Birthplace=: Norwich, England. - =Dates=: Born, 1834; died, 1905. - - -=The story of the picture.= We have read many stories about the lives of -our forefathers in America, but perhaps we realize more clearly just -what that life must have been when we look at this picture, “Pilgrims -Going to Church.” It makes us realize why the Pilgrims came to this -country and willingly endured such terrible hardships,—that they might -go to their own church and worship according to their own conscience. - -It was a brave and sturdy people who, although loyal in all else, defied -the king when he would take away their freedom of worship. Little wonder -there was much excitement when people of all ranks and conditions in -England began to sell their homes and possessions, preparing to leave -for a land almost unknown and full of danger. - -The king tried to prevent their leaving, even putting some of them in -prison. But our forefathers were not of the kind who are easily -discouraged or defeated; and one day the little band which had collected -on the shores of the great ocean said good-by to their sorrowing friends -and were rowed to the little ship, the _Mayflower_, which was to carry -them safely to the new land. We have read much of the perils of that -journey, and how, in spite of accidents on shipboard and equinoctial -storms, they finally arrived off Cape Cod one cold and wintry morning in -December. They sent out parties to search the shores for a favorable -place to build their homes, and on Monday, December 21, 1620, -disembarked on the sandy beach, landing a few at a time on that greenish -granite rock called Plymouth Rock. This famous rock is still to be seen, -an object of veneration. - -Arrived on this dreary, frozen land, the Pilgrims began to work with a -will, cutting down the pine trees, building their rude houses, and -trying in all ways to establish here a permanent home. Their religion -was not forgotten. In fact, it is said that the party sent out to find -this location landed there on the Sabbath day, and as they would not -labor on that day, they did not cut wood for a fire, but walked back and -forth all day and night to keep from freezing to death. - -In our picture we see them in this dreary land in the midst of winter. -Their rude, snow-covered homes were so roughly built that the cold winds -whistled through them, and their provisions were so scant that they were -often thankful for a meal of fish and a cup of water. - -To-day is Sunday. They are on their way to church. They have realized -their ideal—freedom of worship. Even the fact that they must go armed, -keeping a careful watch for their treacherous foe, the Indian, cannot -take away the comfort of that thought. - -When they first landed, they found all the shore deserted except for a -few empty wigwams which seemed not to have been inhabited for a long -time. Later the Pilgrims were told that there had been a dreadful plague -among the Indians at this very place, and all the survivors had fled. - -At first the few Indians whom they saw were friendly, but later they -began to resent the presence of these white people, whose number was -constantly increasing and who seized upon their lands and fields as if -they were the rightful owners. They began to plunder and burn the homes -of the settlers, and all sense of security was gone. - -But the common danger held the brave band closer together, making their -religious freedom seem more precious. In this picture, guards are -stationed at the front, center, and end of each group of people. The -minister, the women, and the children are thus surrounded and protected. - -Our chief attention is for the central figures—the minister, his wife, -and the child. It is interesting to study the expressions on the faces -of this stanch little band. We observe the light on the heads and faces -of the Pilgrims and on the sides of the trees, and the absence of -shadows on the snow. This tells us that the sun must be high in the sky. - -This group of Pilgrims is only a part of those who will assemble in the -little church just over the hill. We catch a glimpse of the first man in -the next group. - -Notice the quaint hats and collars which the men and women wear. The -artist was very particular to show us the Pilgrims’ peculiar style of -dress. - - -=Questions to help the pupil understand the picture.= Who were our -forefathers in America? Why were they so called? Why did they come to -America? What kind of people were they? What did they know of America -before they came? Who tried to prevent their coming? Upon what boat did -they sail? Tell about the journey. Why was it so dangerous? When did -they reach America? Upon what did they land? What has become of this -rock? What did the Pilgrims do as soon as they arrived? Tell about the -party sent out to find a permanent location. Why could they not build a -fire? What time of year is represented in this picture? Where are the -people going? How many churches did they have? Why do they carry guns? -Who occupied this land before the Pilgrims came? Why did the Indians -leave? Why did they dislike the Pilgrims? What effect did this danger -have upon the Pilgrims? To which members of the group in the picture is -our attention directed? How is this accomplished? What makes you think -the sun is shining? What time of day is it? What makes you think there -are more people coming? How are these Pilgrims dressed? - - -=To the Teacher=: Let the pupils illustrate the various scenes in the -story with charcoal on manila paper. - - -=The story of the artist.= George Henry Boughton was born in a little -village near Norwich, England. His father was a farmer. But the farm he -possessed was so small that he found it difficult to provide for his -large family. So he decided to sail to America where there were better -opportunities for farming. The long voyage was taken the year following -George’s birth. - -The family settled near Albany, New York, and there George Boughton was -raised and educated. It was decided that he should be trained for a -business career and so he was sent to a commercial school. But the young -artist had other plans in his head. At school he began to show great -skill in drawing, gained, as he said afterwards, “by drawing every -mortal thing that came under my notice.” While he was still in school, -Boughton’s father and mother died and he was left to the care of his -older brothers and sisters. They regarded his efforts in art with little -favor and offered him no encouragement. - -But George Boughton would not be discouraged. Drawing and painting had -more attraction for him than even the sports that are dear to every -boy’s heart. He has himself told the story of how he once went into a -store to buy hooks and a line to use on a fishing trip to a neighboring -creek, and how he came out with a set of oil colors and paint brushes -instead. The picture he painted at that time was the beginning of his -success. When he was nineteen years old he sold enough of his sketches -to pay his way to London. He spent a few months in London and then went -on a long trip through England, Scotland, and Ireland, making sketches -of the scenes that appealed to him. - -With these he returned to New York, where they were quickly sold. A few -years later, with the help of a millionaire patron who bought the -artist’s pictures in advance, Boughton went to Paris. After a year in -Paris he went to London again, finally making his home there. Then, of -course, his studio in New York City was given up, but, though he lived -in England, his art remained distinctly American. - -He was especially interested in the history and literature of our -country and has been called “the interpreter of New England life in the -seventeenth century.” - -Besides painting, Mr. Boughton wrote stories for magazines, illustrating -his own stories. - -In 1879 Mr. Boughton was elected Associate of the Royal Academy in -London, and in 1896 he became a member of the Academy with all the -honors and privileges of that position. - -Among his most noted pictures are the “Return of the Mayflower,” -“Pilgrim Exiles,” and “The Scarlet Letter.” - - -=Questions about the artist.= Who painted this picture? Where was he -born? What was it decided that he should become? Tell the story of the -fishing tackle. What did he do with the money he received for his first -pictures? What did he do in England? Who helped him to go to Paris? -Where did he settle down? What part of the United States interested him -most? What kind of pictures did he paint? What has he been called? What -is meant by that? Why might he be considered an American artist? What -could he do besides paint? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - THE CHILD HANDEL - - -=Questions to arouse interest.= Where are these people? At whom are they -looking? Why do you think it is night? Upon what has the boy been -playing? What does the man carry in his hand? Why do they look so -surprised? Does the boy look frightened, anxious, or pleased? How is he -dressed? How is the man dressed? the woman? What can you see hanging -from her belt? Who is behind her? Where do you think they have come -from? Why do you suppose they dressed so fully? What can you see -scattered upon the floor? What do you like best about this picture? - - - =Artist=: Margaret Isabel Dicksee. - =Birthplace=: London, England. - =Dates=: Born, 1858; died, 1903. - - -=The story of the picture.= It is midnight; the small boy Handel has -forgotten everything in the world as he plays upon the old harpsichord -hidden in the dark old garret. He feels safe, for he has taken all -precautions—first, by going to bed at the regular time; then, by -feigning sleep until all the household was wrapped in slumber. Ah! how -long the time seemed, and how impatiently he went over and over again in -his mind the beautiful melody he had been composing all day as he worked -or played. - -But no one must know. He had not even dared hum, lest he should be -suspected, for his father had forbidden him the use of the harpsichord, -the only musical instrument the family possessed. Humming a tune was -something to be frowned at because this small boy loved music so dearly -that, if permitted, he would neglect all else to sing or play upon the -old harpsichord. - -The father had long ago planned that his son should become a lawyer, and -he wished to educate him for that profession. But the boy did not apply -himself to his lessons, and was at the foot of the class. After much -discussion, it was decided that the harpsichord must be banished to the -garret and the boy forbidden to touch it until he had mastered his other -studies. - -Then it was that Handel began to pay those nightly visits to the garret -where, with closed windows and doors, he played half the night or until -the first hint of dawn told him he must hurry back to his bed. No wonder -his mother found it hard to get him up in the morning, and that he began -to look pale and delicate. - -On this one night he had so completely lost himself in his music that he -used the swell at its greatest volume, fairly flooding the garret room -with his happy music. Faint sounds had crept down through the garret -floor; now they grew loud, now soft and weird, as if the house were -haunted. Finally the whole family was awakened, but no one could explain -the source of those mysterious sounds. It could not be the wind, for all -was still and quiet outside; but whatever it was, they could not sleep -until it stopped. - -Now all were up and dressed, but no one thought of the boy as the father -lighted the great lantern and led the way in search of the ghost or -spirit which had so disturbed them. Still the sounds continued, growing -fainter, then stronger again, but always seeming to come from the top of -the house. So they climbed up the steep and narrow stairs to the -garret,—first the father, carrying the lantern, then the mother, who had -hurriedly caught up her bag and bunch of keys; the elder brother, and -the grandmother and grandfather came last of all. Even when they reached -the garret door they did not suspect the boy, for they thought him safe -in bed; only a ghost would play in a dark garret at that time of night. - -Handel did not need a light, for he knew his keys by heart; his very -finger tips were full of the music which had been singing in his head -all day long. - -Can you not imagine the father swinging the door open and quickly -flashing the lantern about until the light rested upon the frail, -ghostlike little figure at the harpsichord? They must have been -startled, indeed, but not half so much as poor Handel, who felt his last -chance of happiness slipping from him. - -How very real to us the artist has made it! We seem to be in the big -garret ourselves, looking first toward the small boy at the quaint old -instrument and then at those who have discovered him. The harpsichord -looks something like our grand piano, and was used for many years before -the piano was invented. There sits Handel in his night clothes and cap, -looking pathetically first at his father, then at his mother, while his -sensitive face twitches with anxiety. He had been so intent on his -playing that he had not heard their approach, had had no warning, and -now it was too late. - -And will they punish him? We do not know whether they did in any way -except to keep the garret door locked, but that was punishment enough -for poor Handel. We do know it was not until he was nine years old that -his father reluctantly consented to Handel’s studying music, and then it -came about by accident. - -One of the great days in Handel’s life was the day his father went to -visit his older son (Handel’s half-brother), who held a position under -the Duke of Weissenfels. Handel was then only seven years old and had -been refused permission to go, but when, many miles from home, the -father discovered the tired but determined boy following on foot, he was -finally taken. One Sunday, at the close of the service in the court -chapel, the boy was permitted to try the great organ. The duke, who had -remained in the chapel, heard the playing and immediately inquired who -the musician was. “Little Handel from Halle” was the reply. - -Becoming interested, the duke soon had the story of the boy’s secret -playing, and it was through his talk with the father that Handel was at -last placed under a skilled instructor and given every chance to -cultivate his great talent. - -Soon he was without a rival on the organ and the harpsichord. From the -first he wrote his own music, and before long was composing great -oratorios such as the famous “Messiah.” - -In the picture the artist has centered our interest and attention upon -the small boy in several ways: by his position, the light, the -inclination of the other figures toward him. At whatever part of the -picture we glance, our eyes are almost immediately drawn back to the boy -musician. The childish figure, sensitive face, and startled, appealing -glance arouse our sympathy and interest. - - -=Questions to help the pupil understand the picture.= Where is this boy? -What is his name? Why is he in the attic? Why did he not play the -harpsichord during the day? What precautions did he take before coming -to the garret? Why was he discovered? What warning did he have? Who -found him? Why was Handel so anxious? How was he punished? Why was it -not good for him to spend his nights or days in this way? When was he -permitted to study music? How did this happen? What had his father -wanted him to study? How did Handel succeed with his music? Upon what is -our attention centered in this picture? By what means is this -accomplished? What appeal does this picture make to you? Does it arouse -your sympathy and admiration, or does it give you a feeling of -disappointment? - - -=The story of the artist.= Margaret Isabel Dicksee was the daughter of a -noted English artist, Thomas Francis Dicksee. Her parents lived in a -section of London where many successful artists and art students had -their quarters. Thus Margaret Dicksee’s very earliest memories were -associated with pictures and painters, and she had doubtless absorbed -all the rudiments of drawing and color long before she began her A B -C’s. - -Her brother Frank, five years older than Margaret, was already well -started on the road to fame in art when the little Margaret first began -to trace the queer figures that children draw. No doubt it was he who -first guided her hand, scarce strong enough yet to hold the crayon -firmly. But Margaret made rapid progress, for the desire to draw and -paint the things she saw about her was part of her nature. Soon brother -and sister were students together at the same art classes. - -The children’s uncle, too, was an artist, as well as their cousin, -Herbert Dicksee. In after years Herbert became a noted etcher and made -engravings of his cousins’ pictures. - -What a happy life these three children must have lived. Conditions for -them were as favorable as they had been unfavorable for their father and -uncle. Margaret’s father had often told her how he and his brother John, -Margaret’s uncle, had got out of bed at the first gray streak of dawn so -that they could have time to draw and paint before school. Their parents -would not allow them to set aside school tasks for such things as -drawing, which they considered of far less importance. How glad Margaret -and Frank must have been that their father was an artist and did not -interfere with their efforts at drawing and painting, but encouraged -them as much as he could. - -The young artists were successful in their work from the very first. -Their pictures were admired and praised by every one who saw them. Very -often pictures by both sister and brother were to be seen at the same -exhibition. Later Frank became a member of the Royal Academy. - -Miss Dicksee chose as subjects for her paintings scenes from history, -biography, and fiction. She also painted a number of fine portraits. The -pictures she has left to us give evidence of a very lovable and -sympathetic nature. Among her most noted and attractive works besides -“The Child Handel Discovered Playing in the Garret” are “The Children of -Charles I” and “A Sacrifice of Vanity,” the latter a scene taken from -Oliver Goldsmith’s _Vicar of Wakefield_. - - -=Questions about the artist.= In what part of London was the artist -born? What was her father’s name and profession? Tell about Margaret -Dicksee as a little girl. Who helped her in her first attempts at -drawing? Tell about the childhood experiences of her father and uncle. -What was the name of Margaret’s and Frank’s cousin? What did he become? -What subjects did Miss Dicksee choose for her paintings? - - ------------------------------------------------------------------------- - - -[Illustration: - - By Permission of Braun & Co., Paris and New York -] - - - - - THE HORSE FAIR - - -=Questions to arouse interest.= How many of you have ever attended a -horse fair? Where is this horse fair, and what kind of horses are they? -How are they controlled? What is the object of having a horse fair? How -many horses are represented in this picture? How many are in the same -position? Which are under the best control? Which have their ears back? -What does that indicate? Which horse is trying to throw his rider? Which -horse looks vicious? How is he controlled? What colors do you think they -are? What can you see in the background? Upon what part of the horses -does the light fall? What does this tell us of the position of the sun? -the time of day? Which horse has a blanket on his back? Why do you think -he is not entered for the prize? Which horse is the most lifelike? To -which one would you give the blue ribbon? - - - =Original Picture=: Metropolitan Museum, New York City. - =Artist=: Rosa Bonheur (bō nûr´). - =Birthplace=: Bordeaux, France. - =Dates=: Born, 1822; died, 1899. - - -=The story of the picture.= In this day of the automobile we do not hear -much about horse fairs. Of course, we still have our county fairs, but -there the horse is only a small part of the attraction. In many places -also horse markets are held where all kinds of horses are brought to be -sold, but these could hardly be compared to a horse fair, where only the -finest specimens are entered. In some of our large cities we have what -we call horse shows, which in a measure seem to have taken the place of -the old-fashioned horse fair. So we have the International Horse Show in -Madison Square Garden, New York City, one almost as large at Chicago, -Illinois, another at Olympia, Washington, one in Montreal, Canada, the -famous Horse Show in London, and others. But how unlike the scene -represented in this picture they are! - -Imagine yourself in that largest of all show buildings, the Madison -Square Garden, New York City. Tier above tier the seats are arranged -around the central ring or drive, which in size and appearance is -similar to the usual outdoor race track. The seats extend around the -track except for a small space left for the entrance and exit, and are -arranged very much like the seats in a theater, having the box and -reserved seats nearest the stage or track. Each box is numbered and -catalogued so that you may know just which wealthy man or woman is -occupying that particular box. - -Before the performance, or during the intermission, you may go about, -catalogue in hand, and see for yourself what these people, whom you have -read so much about, look like. In other words, this horse show has -become a society event, appealing to all classes of people, but more -especially to the rich. - -All is carefully planned. A flourish of trumpets, and the man with the -megaphone announces the first number—perhaps a tallyho contest. More -trumpets, and in come the dashing six horses drawing the picturesque -tallyho. They have been driven a mile through Central Park before -entering the building, and it is to the horses found to be in the best -condition after this drive that the prize is to be given. - -But scarcely have we looked at them when there is another flourish of -trumpets, and another tallyho arrives, sounding its bugle call. The -footmen descend and stand at the heads of the spirited horses while the -passengers alight. We have a fleeting glimpse of their fashionable -clothes; they have a moment’s rest, and then, when the judges have -examined the horses, up they climb to their high seats and at the signal -are driven slowly around the ring. Then others arrive, and soon all are -driving in a gay procession around the ring. The spectators applaud -enthusiastically while the spirited horses proudly arch their necks. - -Then come the tandems, and horses and carriages of all kinds in order. -Then horses are exhibited in every form of activity—leaping, running, -pacing, and hurdling. After the show is over, perhaps we go to see the -horses in their stalls, but then we find ourselves in the minority, for -few spectators remain after the last horse leaves the track. - -Would it not be pleasant now to go with Rosa Bonheur out into the great -field near that avenue of trees, and watch the men riding or leading -those powerful French dray horses before the judges? Horses like these -have been imported to our country, so we see them on our own streets -drawing heavy loads, and we know how strong and powerful they are. - -There are more than twenty horses in this picture that we can count, -each in action, and yet no two are alike. The artist has made us feel -the perfect control man has over them. All the possibilities of a horse -of this kind are represented. Here we see the well-trained, perfectly -controlled horse going on cheerfully and steadily; there are some with -their ears back, showing annoyance and watchfulness; here a rearing -horse is trying to rid himself of his troublesome driver. That one at -the left of the picture is angry, perhaps vicious. His driver is unable -to manage him alone and it requires two men to control him. But they do -control him, and in every case man, through his intellect, is the -master. - -Notice the colors of the horses: even a print of the picture tells us -that they are white, dappled, and black. When they return, surely many -of them will be wearing the blue ribbon. - -At the right of the picture are several spectators who have gathered to -see the splendid horses. - -Rosa Bonheur wished to draw these horses two thirds life size, and when -you consider the amount of space devoted to sky and ground, you will -realize that it required a very large canvas. We are told that she stood -upon a stepladder to paint parts of it. - -She chose a part of Paris that would be easily recognized, showing the -dome of a well-known church and an avenue of trees just as we might see -them to-day. But we can scarcely realize the amount of time and patient -study it required before she could paint even one of these horses. She -went about with a sketchbook and made drawings of horses in all possible -positions, and persevered in this study for a year and a half before she -began this picture. - -Her friends in Paris helped her all they could by lending her their fine -horses. But this was not enough,—she must visit horse fairs and markets -as often as possible. Sometimes the grooms made fun of her, and it was -hard for her to work, but she would not give up. - -In the picture she has centered the interest upon the horses nearest to -us by painting them more in detail, showing even the muscles of their -strong, powerful bodies, and also by means of the light upon them, and -by their size. The light is high, falling upon the rounded backs and -upraised heads. The short shadows help us guess the time of day, which -must be about noon. The horse with the blanket on his back suggests to -us that the groom beside him intends to ride him when he returns after -leaving his noble charge. - -There is a feeling of open air and space about this picture which adds -much to its charm. This is all the more remarkable, too, in a picture -containing so many horses, since it might easily have appeared crowded. - -The “Horse Fair” was bought for fifty-two thousand dollars by Cornelius -Vanderbilt, who presented it to the Metropolitan Museum, New York City. -Most American critics consider this Rosa Bonheur’s masterpiece, although -the French claim that honor for “Plowing in Nivernais,” the original of -which is hung in the Luxembourg Gallery in Paris. - - -=Questions to help the pupil understand the picture.= Where do we go to -see fine horses? What has taken the place of horses and horse fairs? -Where are our largest horse shows? How do they differ from the horse -fair in this picture? Tell about the horse show at Madison Square -Gardens, New York. Compare it with the “Horse Fair.” Where is each held? -What kind of people attend? Why did Rosa Bonheur choose this particular -location for her painting? What preparation did she make before -beginning this picture? For what purpose are these French horses used in -the United States? How many horses are represented in this painting? Why -does it not seem crowded? How near life size did Rosa Bonheur paint -these horses? What did she stand on while painting? why? What can you -tell of the dispositions of these horses? In what way is man always the -master? Upon which horses has the artist centered the interest? How has -she done this? What time of day is it? Why do you think so? Where may we -see this painting? - - - =To the Teacher=: - - SUBJECTS FOR COMPOSITIONS - - A Description of a Horse Fair. - A Visit to Rosa Bonheur’s Horse Fair. - A Day with the Artist. - - -=The story of the artist.= Perhaps the reason Rosa Bonheur loved animals -so dearly was because she spent the first ten years of her life in a -little village, where her parents and their neighbors kept horses, -chickens, and pigs, and where Rosa learned to know all about them. Rosa -and her two brothers had lambs, rabbits, squirrels, and pigeons for -pets. They spent many happy hours out in the fields and woods, yet when -their father, who was an artist, decided to move to the great city of -Paris the children were delighted. This wonderful Paris they had heard -so much about seemed to them the most desirable place in the world to -be, and their only sorrow was in parting from their grandparents and -from their many pets. Rosa was allowed to take a parrot with her, and -the two boys had a dog. - -The first place in which they lived was up several flights of stairs and -across the street from a butcher’s shop. This shop had a queer sign cut -from wood and representing a wild boar, which looked so much like Rosa’s -little pig at home that she used to stop to pet it every time she -passed. - -A man who lived in the same house with the Bonheurs kept a small school -for boys. Rosa’s two brothers went to this school, and later the teacher -said Rosa might come, too. She was the only girl in the school, but she -did not mind that at all, and the boys were glad to have her, for she -knew more games than they, and played just like one of them. - -The father had hoped to sell more of his pictures in the city, but he -did not do as well as he had expected and it cost so much more to live -that he had to move his family to a cheaper house and up on the sixth -floor. - -Rosa’s mother was a musician and gave music lessons to help keep up the -home, but she worked too hard and finally became very ill. She died just -as the father secured a position in a private school and things began to -look more prosperous for the Bonheur family. - -For a time the father tried to keep his little family together by -leaving them in a sort of day nursery, but this was not satisfactory, so -he had to send them away. Juliette, the baby sister born after they -moved to Paris, was sent to her grandmother, the two boys to school, and -Rosa to an aunt. - -This aunt sent Rosa to school. To reach the schoolhouse she had to walk -some distance through the woods, and often she would stop on the way, -smooth the dust in the road with her hand, and then draw pictures in it -with a stick, her favorite pictures being of animals. Often she became -so absorbed in her drawing she forgot to go to school, or was so late -that her teachers complained to the aunt, saying she was getting behind -in her school work. Every time her father came to see her Rosa begged -him to take her home, and when at last he could provide for his children -they were all very happy to be together again in Paris. - -Wherever they lived they must have pets. A great many stories have been -told about the pets they kept in their house. Every morning Rosa’s -brother Isidore would carry a little lamb on his shoulders down six -flights of stairs, that it might nibble the green grass and be out in -the fresh air, and in the evening he would carry it back upstairs. It -became a great pet, and all the children drew its picture in ever so -many different positions. Besides, they had the parrot, a monkey, two -dogs, rabbits, and birds. Their father let them keep these in a room -especially fitted up for the purpose. - -He was teaching in a private school at this time and was away from home -all day, but when evening came he gathered his children about him and -taught them how to draw. They put their easels in different parts of the -room and worked away, drawing and painting, until bedtime. They would -all much rather do this than anything else in the world. - -Then the father accepted another position in a school where he could -also send his four children. Here Rosa was continually in trouble, for -she did not study much and was always getting into mischief. One day she -planned a mock battle in the school yard between the girls. They used -sticks for swords. Very soon Rosa’s side drove their enemies toward a -bed of hollyhocks which was the pride of the school. Here they turned -and fled, but Rosa charged on. She cut off the heads of all those -stately hollyhocks because they seemed to stand guard like soldiers. For -this she was sent home in disgrace. - -Very often, too, Rosa had these sham fights with her brothers at home, -when the easels and even the pictures were used. The palettes served as -shields, and the little Juliette, dressed in all the finery they could -find, sat in state, representing the lady of their choice for whom the -battle was fought. - -Rosa tried to learn the dressmaking trade and to be a teacher, but it -was no use,—the only thing she cared to do was to draw. So her father -decided to give up trying to educate her in any other way. She was -willing to walk miles in any kind of weather, to sit hours in all sorts -of uncomfortable positions, and to go without food, in order to draw a -good picture of some animal. - -Now that she had begun in earnest to study animals, she must go to all -the country horse fairs, to the slaughter houses, and everywhere she -could to study them. But as she grew older she found it more and more -difficult to go to these places, because of the attention she attracted -and because her long skirts were so in the way. Finally she obtained a -permit to wear men’s clothes. With her short hair, blue working blouse, -and dark trousers she looked so much like one of the workmen that now no -one noticed her, and she could go where she pleased. - -People who did know her did not mind her dress and were ready to help -her all they could in her work. From all over the country she received -gifts of fine horses and other animals to paint, Buffalo Bill once -sending her two fine horses from Texas. She bought a farm, and had a -large barn built for her many pets. - -Her pictures became famous the world over. How proud her father was of -her! - -One day she was working very hard in her studio when a servant came to -tell her that the Empress Eugénie had come to see her. It was a great -event when this royal lady came to the artist’s studio, and there was -Rosa dressed in her old blue blouse, all spotted with paint. She did not -have time even to slip it off before the empress came in, but they had a -most delightful visit. As the Empress Eugénie bent over and kissed Rosa -Bonheur she pinned the Cross of the Legion of Honor on the artist’s blue -blouse. Rosa did not notice it until after the Empress had left. She -must have been very much pleased, for she was the first woman to receive -that honor. - - -=Questions to help the pupil understand the picture.= Tell about Rosa -Bonheur as a little girl. Where did she live the first ten years of her -life? What pets did she have? Why were the children glad to go to Paris? -why sorry? What pets did they take with them? Describe their first home -in Paris. Tell about the wild boar; the school for boys. Why did the -Bonheurs move? What did Rosa’s mother do to help? When she died, what -became of the children? To whom were they sent? Why was Rosa behind in -her studies at school? Why did she return to Paris? Tell about the -children’s pets, and how they were kept; about Isidore and the lamb. -What did the children do in the evening? Where did Rosa go to school? -Tell about the mock battle and the hollyhocks. How was Rosa punished? -Tell about the sham battles at home. What was Rosa willing to do in -order to draw? Where did she go to study animals? Why did she wear men’s -clothes? What were some of the presents she received? Tell about the -visit of the Empress Eugénie. What honor did Rosa Bonheur receive from -her, and how was it presented? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - MONA LISA - - -=Questions to arouse interest.= What is this woman doing? Where do you -think she is sitting? How is she dressed? How has she arranged her hair? -What can you say of her hands? How many think she is smiling? that she -is sad? that she is vain and self-conscious, or dreamy and forgetful of -self? How many think she is looking at us? beyond us? What is there -mysterious about her expression? Why do you think no one is able to -understand it? - - - =Original Picture=: Louvre Gallery, Paris. - =Artist=: Leonardo da Vinci (lā´ō när´dō dä vēn´chē). - =Birthplace=: Vinci, Italy. - =Dates=: Born, 1452; died, 1519. - - -=The story of the picture.= When the artist, Leonardo da Vinci, was a -boy he liked nothing better than to model in clay. Although he modeled -many figures in action, his chief delight was to model heads of smiling -women and children. His boyhood was such a happy one, and he was so well -liked, that even people with the most severe features relaxed them in a -smile when he appeared. If they did not, he quickly made a sketch so -comical in expression that they could not fail to be amused. - -After he grew to manhood he had a very dear friend named Francesco del -Gioconda, who asked him to paint a portrait of his wife, Mona Lisa, or -La Gioconda, as the picture is often called. Leonardo wished to make -this something more than a mere likeness. He wished it to show the -character and soul of the woman herself. It proved to be a most -difficult task, for after four years the portrait was put aside as -unfinished. - -Many critics claim that he intended to paint a face that no one could -understand; others claim that the lady’s moods were so changeable and -her expressions so various that he tried to paint them all in one. The -picture remains a mystery which no one seems to understand, yet like all -mysteries it is fascinating and our interest in it grows stronger the -longer we study it. - -Many do not care for it at first, especially those who see it without -its beautiful coloring, but few fail to find it interesting if they but -linger long enough. - -But after all why should the fact that we do not understand the -expression of this face trouble us, or that nearly every time we look at -it we find a new expression, a different meaning? Is not the same thing -true at times even with our most intimate friends? We think we know just -what they will do and say, yet are we not often amazed at some sudden -change in opinion or action on their part? It but marks their -individuality, and we accept it as part of them. And that is one of the -reasons this portrait of Mona Lisa is considered the greatest ever -painted, because it represents so well the mystery of human personality. -If so great an artist as Leonardo da Vinci spent four years painting -this picture, and it is still considered by the great art critics the -most wonderful portrait ever painted, we must study it even more -carefully if we have not liked it at first. - -Leonardo da Vinci had musicians playing or jesters with their funny -sayings to amuse Mona Lisa while he was painting her picture. He did not -wish her to think of herself or to grow weary and look tired. - -As you look at the picture can you not imagine you hear the music of -stringed instruments and the splash of that rushing, roaring little -stream in the background? Mona Lisa is listening, dreaming, thinking. -She looks at us, then on beyond without seeing us. She seems to know -everything, feel everything, yet her smile is reassuring. - -Her hands are beautiful. In that all will agree. The few details of her -dress and scarf are exquisite, even in a print. - -We cannot be quite sure about the chair she sits in; some say it is of -marble, others that it is a wooden chair. And where is she seated? Some -say it is on the roof of a building, others say on a balcony, but that -is even less mysterious than that strange, winding, dashing, little -mountain stream that comes and goes we know not whither. - -Critics cannot even decide what time of day it is in the picture, the -light is so uncertain; some claim it is twilight; others, early morning. - -If we could see the original, we would perhaps be astonished to find -that the lady wears a very thin veil over her face and hair. Her eyes -are a deep brown, her hair a beautiful auburn, and her dress a rich -green with a touch of yellow. We cannot accuse her of vanity, for she -wears no rings or ornaments of any kind. - -Leonardo da Vinci loved problems. Even as a boy he would make up -problems in arithmetic that would puzzle as well as interest his -teachers. Here he has found a different kind of problem, which he has -solved in his own way. - -It seems as if each part of the face had an expression of its own, so -that if the rest of the face were covered we could see that one alone. -The left side of her face is thoughtful, the right side is smiling; her -eyes are sad, the mouth is cheerful yet firm. There is hidden strength -behind this face—it is as if she had discovered the secret of the world, -but would allow no word of it to pass those lips so firmly closed. It is -interesting to know, too, that the real Mona Lisa was one of the famous -beauties in Florence. - -The artist kept this portrait for several years, and then sold it to the -King of France. It is now in the gallery of the Louvre at Paris. - -Great consternation was caused by the loss of this picture a few years -ago, when it was stolen from the Louvre. The whole country was aroused, -until at length the thief, a young Italian workman, was captured. He had -been employed in the Louvre, and found no difficulty in taking the -picture from its frame, concealing it under his blouse, and walking off -with it. He placed it face downward in the bottom of his tool box, and -carried it past the customs inspectors into Italy. The only hard part -was to dispose of the much-sought picture. He was in the same -predicament as the man Mark Twain told us about, who showed how very -easy it was to steal a white elephant, yet how difficult a matter it was -to get rid of the elephant. So, two years later, the Italian was -captured, having tried in vain to dispose of “Mona Lisa.” - -He claimed he had stolen the picture to take revenge on France for the -pictures stolen by Napoleon from Italy. This does not seem very -convincing, for “Mona Lisa” was not stolen from Italy, but purchased -from the artist by Frances I for four thousand dollars. At present it is -valued at five million dollars. - -The fact that the thief was not discovered sooner proved rather -humiliating to the Paris police, because they had missed an important -clew. It seems the Italian had left two distinct prints of his thumb on -the glass and frame of the picture, and by means of the Bertillon method -of detecting criminals by thumb prints he should have been discovered at -once. This same Italian had been arrested some years before for -stealing, and the thumb prints taken by the police at that time matched -perfectly those left on the picture frame. The police, however, much to -their chagrin, did not discover this until after his capture. But we do -not wonder so much when we are told that they had seven hundred and -fifty thousand thumb prints to compare. - -Great excitement prevailed in Florence when the “Mona Lisa” was -discovered safe and uninjured except for two slight scratches it had -received in the tool box. The picture was exhibited at the Uffizi -Gallery in Florence, and great crowds came to see it. Then began its -triumphal journey home, until at last it reached the Louvre Museum at -Paris, where it may now be seen. - - -=Questions to help the pupil understand the picture.= Who was Mona Lisa? -of what nationality? How many years did it take the artist to paint this -picture? What did he wish to show us in this picture? What do some of -the critics say about it? In what way is the expression mysterious? What -means did the artist use to produce that expression? Where is Mona Lisa -seated? What does she wear over her face and hair? What is the color of -her hair? her eyes? her dress? What can you see in the background? How -does it differ from the backgrounds painted in modern portraits? What -happened to this portrait? How was it recovered? Why is this picture -valued so highly? - - -=The story of the artist.= Leonardo da Vinci was born in the little -village called Vinci, about twenty miles from Florence, Italy. His -father was a country lawyer of considerable wealth. Very little is known -of Leonardo’s boyhood, except that he grew up in his father’s palace and -at an early age displayed remarkable talents. He was good-looking, -strong, energetic, and an excellent student. He was also a very amiable -person, of winning charm in temper and manners. - -He loved to wander out into the great forest near the palace, where he -tamed lizards, snakes, and many kinds of animals. Here he invented a -lute, upon which he played wonderful music of his own composing. Then, -too, he sang his own songs and recited his own poems. - -He loved to draw and paint because he could both represent the things he -loved and use his inventive genius as well. He seemed to be gifted along -so many lines, and was of such an active and inquiring mind, that it was -difficult for him to work long enough at one thing to finish it. We read -of him as musician, poet, inventor, scientist, philosopher, and last but -most important to us because of this great picture—as artist. - -When he was fifteen years old he made some sketches which were so very -clever that his father took them to a great artist, Verrocchio, who was -delighted with them and was glad to take Leonardo as his pupil. The -story is told that when Verrocchio was painting a large picture he asked -Leonardo to paint one of the angels in the background. The boy spent -much time and study on this work, and finally succeeded in painting an -angel which was so beautiful that the rest of the picture seemed -commonplace. It is said that when Verrocchio saw the work his pupil had -done and realized that a mere boy could surpass him in painting, he -declared that he would paint no more pictures, but would devote the rest -of his life to design and sculpture. - -One day one of the servants of the castle brought Leonardo’s father a -round piece of wood, asking him to have his son paint something on it -that would make it suitable for a shield, like the real shields which -hung in the castle halls. - -Leonardo wanted to surprise his father. So he made a collection of all -the lizards, snakes, bats, dragonflies, toads, and other creatures that -he could find. Then he studied them carefully and finally painted a -fearful dragon in which all the grotesque characteristics of these -various creatures were combined. It was a terrifying thing, breathing -out flame and just ready to spring from the shield. Coming suddenly upon -this shield on his son’s easel, the father was indeed startled. He found -it so lifelike and wonderfully painted that he declared it was far too -valuable a present for the servant; so another shield had to be painted -and the first was sold at a great price. No one knows what finally -became of it. - -Leonardo spent seven years with Verrocchio; then he opened a studio of -his own in Florence, Italy. - -Later Pope Leo X invited him to Rome to paint, but most of his work -there was left unfinished. The story is told that one day the pope found -him busily engaged in making a new kind of varnish with which to finish -his picture. “Alas,” said the pope, “this man will do nothing, for he -thinks of finishing his picture before he begins it.” - -From Rome, Leonardo went to Milan, where, with the Duke of Milan as -patron, he painted his masterpiece, “The Last Supper.” He also made a -model for a great equestrian statue of the Duke’s illustrious father -which won the admiration of all who saw it and was regarded as equal to -anything the Greeks had ever done. The model, which was twenty-six feet -high, was to have been cast in bronze, but Leonardo was called away on -other important duties and the work was never completed. - -Leonardo da Vinci proved to be a great addition to the duke’s court,—his -fine appearance and his many talents made him very popular. He invented -a beautiful harp, shaped something like a horse’s head, and charmed the -people with his music and songs. He also helped the duke found and -direct the Academy at Milan, giving lectures there on art and science. -So his time was divided, as usual, among his many interests. - -After the duke was driven out of Milan by the new French king, Leonardo -spent several years in Florence, and there he painted the famous. “Mona -Lisa” and other portraits. - -The last years of his life were spent in France, where the king, Francis -I, gave him a castle and a liberal pension. The king and his court often -visited Leonardo, who was regarded with great reverence and respect, and -beloved by all. - - -=Questions about the artist.= Where and when was the artist born? What -did he like to do when he was a boy? In what ways was he talented? Who -was his teacher? Tell about Leonardo’s painting of the angel; the -shield. Why did Leonardo not finish his paintings for the pope? What did -the pope say of him? In what ways was he an addition to the Duke of -Milan’s court? Where was he when he painted “Mona Lisa”? How did he -spend the last years of his life? How was he regarded by the people? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - OXEN GOING TO WORK - - -=Questions to arouse interest.= What do you find most interesting about -the oxen in this picture? In what direction are they going? How many -oxen are hitched to a plow? How are they harnessed? Have you ever seen -oxen yoked in this way? Why don’t we use oxen now? What time of the year -is it? time of day? How can you tell? What seems most important in the -picture? What can you see in the distance? - - - =Original Picture=: Louvre Gallery, Paris, France. - =Artist=: Constant Troyon (trwä yôn´). - =Birthplace=: Sèvres, France. - =Dates=: Born, 1810; died, 1865. - - -=The story of the picture.= Constant Troyon delights in showing groups -of animals coming toward us. No matter where we stand, they seem to be -coming to meet us. We can almost hear the heavy tread of these oxen as -they plod along over the uneven ground, their great heads held by the -yokes. - -We see so few oxen now, it makes us wonder why they were used so much in -those days, but we know men did not then have the machinery for tilling -the ground and sowing and planting grain that we now have. It is true -they did have horses, but oxen are stronger, slower, and more steady and -patient. If the ground is rough, hilly, or full of stumps, a horse -becomes restless and is not easy to guide; but the oxen may be depended -upon to go on steadily, obeying the commands of the driver. Then, too, -oxen were much cheaper than horses, making it possible for more people -to own them. - -It was with oxen that our own country was developed. They did all the -hauling of logs, and the heavy work that must be done in clearing up a -new, uncultivated region. They do not require harness other than the -yoke by which they pull their load, and are guided by the words “Gee,” -meaning turn to the right, and “Haw,” turn to the left. However, the -driver in our picture would not use these words, for he is French and -would speak in his own language. He guides his oxen with a goad or pole -which he shakes or uses as a prod to hurry them along. They accept their -fate with quiet resignation, even a sort of indifference, and are very -gentle. It is unusual for them to run away, unless frightened or angry. - -In spite of the fact that these oxen are all coming toward us, no two -are in the same position. We are made to see them with all their -characteristic curves and angles. - -It must be very early in the morning, for the sun is scarcely up above -the horizon, and we can see the morning mist rising from the earth. The -smoking field, with its deep furrows, gives us the feeling of a gradual -ascent. It is very interesting to notice the shape of the long shadows -cast in front of the oxen. Half close your eyes as you look, and you -will find that they form a pattern or design, and that the variety in -size and shape of both the shadows and the ground space has been -carefully studied. - -Mr. Troyon has told us these oxen are on the way to their work. We are -left to decide what that work may be. No doubt they will soon reach the -field, where they will be harnessed to plows, and their day’s work will -begin. In the distance we can see fields, orchards, and, at the left, -another peasant starting out with his teams of oxen. - -The picture gives a pleasant feeling of vast, roomy space all around us. -There is a feeling of energy and action, too, for the man and his oxen -are on the way to their work. Our interest is centered on the oxen first -of all, then on the man and the landscape. With the sun at their backs -so early in the morning, we readily determine that they are going west. -At the close of day they will again travel over this same road, perhaps -with even more energy, although tired, for they will be going home to be -fed and to rest. They probably take their noonday meal and rest near the -field where they labor. - -Notice the knees of the oxen. We know at once they are walking, and as -we look at them we almost find ourselves stepping to one side that they -may pass. - -Troyon has put into this picture the peace and contentment which come -only to those whose day starts out sturdily toward the accomplishment of -a share in the work of the world. - - -=Questions to help the pupil understand the picture.= How many oxen are -coming toward us? How many are in the same position? How are they -driven? Upon what kind of ground are they walking? What country is -represented? Why did the people use oxen so much in those days? When -were oxen used in our country? Why are they seldom used now? How are -oxen harnessed? Where are these oxen going? What kind of work will they -probably do? What makes you think it must be early in the morning? that -they are climbing a low hill? In what direction are they going? How can -we determine this? What can we tell by the position of their knees? Why -has the artist left so much sky and land space all around them? How is -one man able to control all these oxen? - - -=The story of the artist.= Constant Troyon’s father and grandfather were -porcelain decorators in the little village of Sèvres, France. They lived -near the porcelain factory at Sèvres, and so much of Constant Troyon’s -life was spent in this factory that it is said he practically grew up -within its walls. - -When Troyon was only seven years old his father died, leaving his mother -with two small sons to bring up. It was necessary for her to do -something to support them. Living among painters and hearing so much of -design, color, and decorations, she naturally thought of doing something -along that line. After much experimenting she succeeded in making -designs for brooches, rings, bracelets, lockets, pins, and other -ornaments. These designs were unique, for they were made of birds’ -feathers. They were exquisite in color and sold readily, especially to -visiting foreigners, English and American. Through the success of these -bird-feather designs, she was able to bring up and educate her two sons. - -As soon as the boys were old enough they worked in the porcelain -factory. Here Troyon received his first training in art. His great -natural talent could not long content itself with merely decorating -china, and soon he began to cover large canvases with his wonderful -paintings from nature. - -From this time on, he spent every spare moment out in the fields and -woods. All the inspiration, opportunity, and joy in work which so many -feel they must go so far from home to find, Troyon found here in his -home town and neighboring woods. He painted the first thing he came -across,—trees such as we see everywhere; paths, streams, and fields such -as we pass every day; but there is a charm in his paintings which makes -them very popular now as it did then. He did not need the columns, -monuments, heroes, gods, or nymphs of the past. He preferred to paint -truthful representations of the beauties of the present. - -In personal appearance, Troyon has been described as being coarse and -rather rough. Yet his cheery good nature and kind heart won him friends -wherever he went. Painting, to him, was a diversion, a pleasure to be -indulged in only after work at the factory was finished. Since he did -not have to depend on his painting for a living, he did not need to -consider either the pleasure of others in his work or the money his -pictures might bring. So he painted just the things that appealed to -him, regardless of public favor. Indeed, he did not care to exhibit his -paintings at all and did so only to please a friend who persisted in -urging him. Troyon was quite overcome by the praise his pictures -received and the popularity they brought him. - -Troyon remained in the porcelain factory until he was twenty-one years -old, then he began to travel the country as an artist. He painted -landscapes as long as he had money in his pocket, then he made friends -with the nearest china manufacturer and worked steadily at his trade -until he had money enough to go on. - -In the factory Troyon continued working out the small detailed designs -suitable for china, but in the open field he paid little attention to -details, his chief interest centering in the composition as a whole. At -first he had found it difficult to paint large masses, and often the -general effect of his landscapes was lost in the confusing details of -parts of it. But one day as he was painting near the edge of a woods, a -well-known painter of that day, Camille Roqueplan, came and stood behind -his easel watching him. The older artist recognized at once the talent -of the young man and while praising him for the truthfulness of his -sketch, gave him valuable suggestions which Troyon never forgot. -Although the artist Roqueplan was eight years older than Troyon, the two -became close friends. Troyon studied under Roqueplan and it was through -his influence that he made his first visit to The Hague. It was after -this visit that Troyon began to paint animals and from that day dates -his best work. Later he visited his artist friend in Paris and at length -moved to Paris himself. - -In 1849 Troyon was presented with the Cross of the Legion of Honor. His -pictures were very popular indeed and during his lifetime he became a -very rich man. - -People usually speak of him as a painter of cattle, but he painted quite -as many pictures of sheep and dogs. - -His early training as a designer is noticeable in this picture. He is -famous for his strong colorings, variety, and effects in light and -shade. - -Some of his best known paintings are: “Great Oak,” “Forest Depths,” -“Horse Pond,” “Valley of the Toucque” or “Heights of Suresnes.” - - -=Questions about the artist.= Who painted this picture? What was his -trade? How old was he when his father died? What did his mother do to -earn a living? When did Troyon learn to decorate porcelain? How did his -trade help him when he began to paint pictures? Who taught him to paint -and draw? Where did he go to paint? What subjects did he usually choose? -Why was he so independent of popular favor? What was his success? - ------------------------------------------------------------------------- - - - - - THE SUGGESTIONS TO TEACHERS - -=Studying the picture.= Several days before the lesson is to be taken -up, the picture to be studied should be placed where every pupil can see -it. - -First of all, the children should find out for themselves what is in the -picture. The questions accompanying the story of each picture are -intended to help them to do this. - -=Language work.= The pupils should be encouraged in class to talk freely -and naturally. In this way the lesson becomes a language exercise in -which the pupils will gain in freedom of expression and in the ability -to form clear mental images. - -If a lesson does not occupy the entire drawing period, the children -should be asked to retell the story of the picture. - -=Dramatization and drawing.= Most of the stories told by the pictures -lend themselves readily to dramatization and, whenever practicable, such -stories should be acted out. The stories also offer numerous interesting -situations that may be used as subjects for drawing lessons. - -=The review lesson.= The review lesson should cover all pictures and -artists studied throughout the year. At this time other pictures -available by the same artists should be on exhibition. - -The review work may be conducted as a contest in which the pictures are -held up, one at a time, while the class writes the name of the picture -and the artist on slips of paper which have been prepared and numbered -for that purpose. One teacher who used this device surprised her class -by presenting those whose lists were correct with their choice of any of -the large-sized Perry pictures studied. - -Many teachers, however, will prefer to use this time for composition -work, although the description of pictures is often given as an English -lesson. Pupils may write a description of their favorite picture. In -fact, the lessons can be made to correlate with history, geography, -English, spelling, reading, or nature study. - -In any event the real purpose of the work is that the pupils shall -become so familiar with the pictures that they will recognize them as -old friends whenever and wherever they may see them. - -It is hoped that acquaintance with the picture and the interest awakened -by its story will grow into a fuller appreciation and understanding of -the artist’s work. Thus the children will have many happy hours and will -learn to love the good, the true, and the beautiful in everything about -them. - - ------------------------------------------------------------------------- - - - - - ● Transcriber’s Notes: - ○ Missing or obscured punctuation was silently corrected. - ○ Typographical errors were silently corrected. - ○ Inconsistent spelling and hyphenation were made consistent only - when a predominant form was found in this book. - ○ Text that was in italics is enclosed by underscores (_italics_); - text that was bold by “equal” signs (=bold=). - - - - - - - -End of Project Gutenberg's Stories Pictures Tell Book 5, by Flora Carpenter - -*** END OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 5 *** - -***** This file should be named 63114-0.txt or 63114-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/1/1/63114/ - -Produced by David Garcia, Larry B. 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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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Stories Pictures Tell Book 5 - -Author: Flora Carpenter - -Release Date: September 3, 2020 [EBook #63114] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 5 *** - - - - -Produced by David Garcia, Larry B. Harrison, Barry -Abrahamsen, and the Online Distributed Proofreading Team -at https://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive) - - - - - - -</pre> - - -<div class='figcenter id001'> -<img src='images/cover.jpg' alt='' class='ig001' /> -</div> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div> - <h1 class='c001'><span class='xxlarge'>STORIES PICTURES TELL</span></h1> -</div> -<div class='pbb'> - <hr class='pb c002' /> -</div> - -<div class='box2'> - -<div class='figcenter id002'> -<img src='images/decoration.jpg' alt='' class='ig001' /> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='xxlarge'>STORIES</span></div> - <div><span class='xxlarge'>PICTURES TELL</span></div> - <div class='c000'><span class='xlarge'>BOOK FIVE</span></div> - <div class='c003'><i>By</i></div> - <div><span class='xlarge'>FLORA L. CARPENTER</span></div> - <div class='c000'><i>Instructor in drawing at Waite High School, Toledo, Ohio</i></div> - <div><i>Formerly supervisor of drawing, Bloomington, Illinois</i></div> - <div class='c004'><b><i>Illustrated with Half Tones from</i></b></div> - <div><b><i>Original Photographs</i></b></div> - <div class='c002'><span class='xlarge'>RAND McNALLY & COMPANY</span></div> - <div>CHICAGO NEW YORK</div> - </div> -</div> - -</div> -<div class='pbb'> - <hr class='pb c005' /> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div><i>Copyright, 1918</i></div> - <div><span class='sc'>By Rand McNally & Co.</span></div> - </div> -</div> - -<p class='c006'> </p> -<div class='figcenter id003'> -<img src='images/publogo.jpg' alt='' class='ig001' /> -</div> - -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div class='chapter'> - <h2 class='c007'>THE CONTENTS</h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div><span class='sc'>September and October</span></div> - </div> -</div> - -<table class='table0' summary=''> -<colgroup> -<col width='60%' /> -<col width='30%' /> -<col width='10%' /> -</colgroup> - <tr> - <td class='c008'> </td> - <td class='c009'> </td> - <td class='c010'><span class='small'>PAGE</span></td> - </tr> - <tr> - <td class='c008'>“The Gleaners”</td> - <td class='c009'><i>Millet</i></td> - <td class='c010'><a href='#glean'>1</a></td> - </tr> - <tr> - <td class='c008'>“The Mill”</td> - <td class='c009'><i>Ruysdael</i></td> - <td class='c010'><a href='#mill'>13</a></td> - </tr> -</table> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div><span class='sc'>November, December, and January</span></div> - </div> -</div> - -<table class='table0' summary=''> -<colgroup> -<col width='60%' /> -<col width='30%' /> -<col width='10%' /> -</colgroup> - <tr> - <td class='c008'>“Pilgrims Going to Church”</td> - <td class='c009'><i>Boughton</i></td> - <td class='c010'><a href='#pilg'>25</a></td> - </tr> - <tr> - <td class='c008'>“The Child Handel”</td> - <td class='c009'><i>Margaret Dicksee</i></td> - <td class='c010'><a href='#hand'>33</a></td> - </tr> -</table> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div><span class='sc'>February and March</span></div> - </div> -</div> - -<table class='table0' summary=''> -<colgroup> -<col width='60%' /> -<col width='30%' /> -<col width='10%' /> -</colgroup> - <tr> - <td class='c008'>“The Horse Fair”</td> - <td class='c009'><i>Rosa Bonheur</i></td> - <td class='c010'><a href='#horse'>43</a></td> - </tr> - <tr> - <td class='c008'>“Mona Lisa”</td> - <td class='c009'><i>Da Vinci</i></td> - <td class='c010'><a href='#mona'>57</a></td> - </tr> -</table> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div><span class='sc'>April, May, and June</span></div> - </div> -</div> - -<table class='table0' summary=''> -<colgroup> -<col width='60%' /> -<col width='30%' /> -<col width='10%' /> -</colgroup> - <tr> - <td class='c008'>“Oxen Going to Work”</td> - <td class='c009'><i>Troyon</i></td> - <td class='c010'><a href='#oxen'>68</a></td> - </tr> - <tr> - <td class='c008'>Review of Pictures and Artists Studied</td> - <td class='c009'> </td> - <td class='c010'> </td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c008'><i>The Suggestions to Teachers</i></td> - <td class='c009'> </td> - <td class='c010'><a href='#sugg'>77</a></td> - </tr> -</table> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<div class='chapter'> - <h2 class='c007'>THE PREFACE</h2> -</div> -<p class='c011'>Art supervisors in the public schools assign picture-study -work in each grade, recommending the study of certain pictures -by well-known masters. As Supervisor of Drawing I found -that the children enjoyed this work but that the teachers felt -incompetent to conduct the lessons as they lacked time to -look up the subject and to gather adequate material. Recourse -to a great many books was necessary and often while -much information could usually be found about the artist, -very little was available about his pictures.</p> - -<p class='c012'>Hence I began collecting information about the pictures -and preparing the lessons for the teachers just as I would -give them myself to pupils of their grade.</p> - -<p class='c012'>My plan does not include many pictures during the year, -as this is to be only a part of the art work and is not intended -to take the place of drawing.</p> - -<p class='c012'>The lessons in this grade may be used for the usual drawing -period of from twenty to thirty minutes, and have been successfully -given in that time. However, the most satisfactory way -of using the books is as supplementary readers, thus permitting -each child to study the pictures and read the stories himself.</p> -<div class='c013'><span class='sc'>Flora L. Carpenter</span></div> -<div class='pbb'> - <hr class='pb c005' /> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c005'> - <div><span class='xxlarge'>STORIES</span></div> - <div><span class='xxlarge'>PICTURES TELL</span></div> - </div> -</div> - -<div id='glean' class='figcenter id004'> -<img src='images/p001.jpg' alt='' class='ig001' /> -<div class='ic004'> -<p><span class='small'>By Permission of Braun & Co., Paris and New York</span></p> -</div> -</div> -<div class='chapter'> - <h2 class='c007'>THE GLEANERS</h2> -</div> -<p class='c011'><b>Questions to arouse interest.</b> Of what is -this a picture? What are the three women -doing in the field? What have they in their -hands? Of what use are their aprons? Why -do you think their work is hard? Why do you -think they are used to it? How are they -dressed? What story is told in the background? -What do you suppose the man on horseback is -doing? What can you see beyond the people? -What time of the year is it? Is it a dark or a -sunshiny day? Why do you think so? What -time of day do you think it is? What country? -Why do you think so? What do you like best -about this picture?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>Original Picture</b>: The Louvre (lōō′vr’), Paris.</div> - <div class='line'><b>Artist</b>: Jean François Millet (mē′lē′)</div> - <div class='line'><b>Birthplace</b>: Gruchy, France.</div> - <div class='line'><b>Dates</b>: Born, 1814; died, 1875.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the picture.</b> In this picture -Millet takes us out into the country, to the -wheat fields. The reapers have passed over -the field, cutting down the wheat with a small -sickle. Although we cannot see them in the -act of cutting, we know they used a sickle in -those days by other pictures Millet has painted. -There is one called “The Reaper” which represents -a man grasping the tall stalks of wheat -with one hand and cutting them close to the -ground with a small sickle.</p> - -<p class='c012'>Years later reapers used a “cradle,” which -is a frame of wood with a long, sharp blade or -knife fastened to a handle similar to a scythe -handle. This frame caught the stalks of wheat -as they were cut. Then by a swing of the arm -they were laid in an even row. Then the rows -were raked into bundles and the wheat tied -into sheaves. All this was done by hand. -Now we do it easily with a machine called a -reaper, which cuts the wheat, binds it in a sheaf, -and then throws off the bundles.</p> - -<p class='c012'>The man you see on horseback, in the distance -at the right, is the overseer of this field. His -sharp eyes have discovered that many stalks -of wheat have been left on the ground, and so -he has sent the women to gather them that -there may be no waste.</p> - -<p class='c012'>In the background of the picture we see other -women at the same task, and men busily piling -the wheat from the wagon into high stacks. -Farther back, and partly hidden behind the -wheat stacks, we see several cottages which -may be the homes of the peasants or barns in -which to store the grain.</p> - -<p class='c012'>We should judge by the shadows that it is -late in the afternoon and all are hurrying to -finish their task. Our attention is held by the -three stooping figures of the women gleaning -or gathering the wheat. They have caught up -the corners of their aprons and tied them in -a tight knot at the back, making a sort of bag -in which to place the broken heads of wheat, -while their hands are filled with the stalks. -The three women seem absorbed in their task. -How very tiresome it would be to stoop in such -a fashion for any length of time! No wonder -the woman at the right straightens up for a -moment to rest her back. The other two -are stooping to pick up the grain. One of -them holds her left hand behind her back. If -you take this position yourself, you will understand -how natural it is to balance yourself -with the left arm as she does. The women’s -caps are drawn so far down that we can see -but little of their faces in the shadow. But the -coarse clothes, bent backs, and hands roughened -with toil represent the typical French peasant -women of the artist’s time.</p> - -<p class='c012'>Millet tells us in a letter to a friend: “I -want the people I represent to look as if they -belonged to their station, and as if their imaginations -could not conceive of their ever being -anything else.” How truly he has accomplished -this in our picture! The women seem -to be working cheerfully without complaint or -regret. They do not ask for sympathy but -attend strictly to their work.</p> - -<p class='c012'>With so many other laborers in the field, -and considering their task, we scarcely dare -think of the miserably small pay they must -receive for their labor. We wonder how -they can live. And yet they have a certain -wholesome, thrifty appearance—their clothes, -although coarse, are not ragged; they look well -and strong, and they work with an energy -which would imply a certain satisfaction in -their task well done.</p> - -<p class='c012'>There are no lingering looks toward the sun—their -clock—or toward the distant homes, -or even toward the other laborers whose tasks -seem nearer completion. They are resigned. -But even at best their life must be hard, and -whether they ask it or not, they stir our sympathies -even as they did those of the people of -France when the picture was finally placed on -exhibition in Paris.</p> - -<p class='c012'>The peasants of France were especially -wretched after the French Revolution, and -this picture appeared just at a time when -people needed to be reminded of this condition -of affairs. But many preferred not to be -reminded, and they so resented Millet’s efforts -to better the life of the French peasant that -they were bitter against him for many years.</p> - -<p class='c012'>Millet was the son of a French peasant and -worked out in the fields himself, so he knew all -about the hardships, poverty, and wretchedness, -and painted the truth as he saw it.</p> - -<p class='c012'>In the original painting there is a suggestion -of red and blue in the dresses of the women, a -blue-gray sky, and over it all the sun shining -dimly. The coarse dresses of the women were -no doubt woven by them during the winter -days when there was no farm work to do.</p> - -<p class='c012'>Millet tells us that one of his earliest remembrances -is of being wakened early in the morning -by the hum of the spinning wheel and the -voices of his mother and aunts as they spun -the thread of flax ready to weave into cloth.</p> - -<p class='c012'>Notice the arrangement of the three women -in the picture. They are not in a straight row, -or one right behind the other, or even scattered -about in the picture. Two are near each other, -while the third is just a little to one side; in -this way the center of interest is made more -pleasing to the eye. If we make an outline -sketch of these three figures we will be surprised -at the number of curved lines it requires.</p> - -<p class='c012'>The sky line is very high in this picture, so -the earth space is large enough to contain the -figures of the three women. In this way they -seem to be bound closer to the earth. We feel -their lowliness, and the burden of the life they -lead in their narrow surroundings.</p> - -<p class='c012'>Yet, although we feel all these things when -looking at this picture of work, it is a picture -of work done simply and good-naturedly and -as if it were only a part of the daily task, a -sort of habit of life.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> How was wheat cut in Millet’s day? -How is it cut now? Of what use is a reaper? -What are the three women in the picture doing? -Who sent them? Why? Where do they put -the broken heads of wheat? the stalks? Why -do you think this must be hard work? Which -one is resting her back? Why does one of the -others hold her left hand behind her? How are -these three women dressed? How do peasants -usually get material for their clothes? Whom -can you see in the background? What are they -doing? What can you see behind them? What -time of day do you think it is? How can you -tell by the length of the shadows? To what -part of the picture is our attention drawn? -What makes you think these women are working -cheerfully? that they are thrifty? What reasons -have they to be discontented? to be contented? -Why do you feel sorry for them? How did the -people of France feel when this picture was -exhibited? What had made the French -peasants very wretched at this time? Why did -the people resent Millet’s calling their attention -to this? How did Millet happen to know so -much about the peasants and their life? What -colors did he use in this picture? What can -you say about the arrangement of the three -women in this picture? Why is this a good -arrangement? How are we made to feel the -lowliness of these peasants? Why is this picture -called “The Gleaners”?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>To the Teacher:</b></div> - </div> - <div class='group'> - <div class='line'> <span class='sc'>Subjects for Compositions</span></div> - </div> - <div class='group'> - <div class='line'>The Story Told in This Picture.</div> - <div class='line'>The Lives of the French Peasants.</div> - <div class='line'>Comparison of Labor in Those Days and at the Present Time.</div> - <div class='line'>Millet’s Paintings—Subjects and Purpose.</div> - <div class='line'>Reasons Why I Would Consider This Picture a Masterpiece.</div> - <div class='line'>Life of the Artist.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the artist.</b> In the little country -village of Gruchy, France, dwelt a family of -peasants who tilled the land and lived by the -sweat of their brows. There were the grandmother, -father, mother, and eight children. -The eldest son was Jean François Millet, the -artist who painted this picture. His mother -worked out in the fields with the father, even -as the women in this picture are working, so -little Jean François was brought up by his -grandmother, who was also his godmother. It -was she who named him Jean for his father and -François after the good Saint Francis. She -was a deeply religious woman, and almost the -only pictures Millet saw in his boyhood were -those in the Bible, which he copied again and -again, drawing them upon the stone walls with -white chalk. This pleased the grandmother, -and she encouraged him all she could.</p> - -<p class='c012'>When Millet was six years old he was sent -to school. At twelve he began to study Latin -with a priest in the village who was very fond -of him and taught him for the pleasure of it. -From this time on his studies were frequently -interrupted by his work on the farm, for as -eldest son he was the one the father relied -upon most.</p> - -<p class='c012'>The elder Millet had a keen appreciation of -the beauty in nature and often, as they worked, -he would call his son’s attention to the beauties -around them. He would say, “Look at that -tree—how large and beautiful! It is as beautiful -as a flower,” or “See, that house half buried -by the field is good; it seems to me that it ought -to be drawn that way.” Then sometimes he -would try to model a figure from a piece of clay -or cut an animal or plant from wood. So it -was not much wonder that the son, too, tried -to draw animals, the barn, the garden, and -various objects around him.</p> - -<p class='c012'>When he was eighteen years old he drew -his first great picture. As he was coming home -from church he met an old man whose back -was bent over a cane as he walked slowly along. -Something about the bent figure appealed to -Millet so strongly that he had a great desire -to draw a portrait of him. So, taking some -charcoal from his pocket, he drew on a stone -wall a picture of the old man. People passing -by recognized the old man in Millet’s picture -and were much pleased.</p> - -<p class='c012'>His father, too, was delighted, for he had -once wished to be an artist himself. He now -resolved that his son should have a chance. A -family council was held and all agreed that -Millet must be sent to some good artist to -study. So the father took him to an artist -(Mouchel) in Cherbourg to whom he showed -some of Millet’s drawings. At first the artist -would not believe the boy had drawn them, -but, finally convinced, he was very glad to -have this talented boy for his pupil.</p> - -<p class='c012'>Millet had studied with him only two -months when his father died, and he was -obliged to return home to take his father’s -place on the farm as best he could. But the -people of the village, who were much interested -in his paintings, resolved to help him. So they -raised money to send him back to Cherbourg to -study, and finally to the great city of Paris. -There he studied under Delaroche, a fashionable -painter of that day. The other students -could not understand Millet, for, peasant that -he was, he rarely spoke, allowing others to -make all the advances and answering scarcely -a word. However, if they went too far he -could use his fists to such good advantage that -they soon left him quite alone. He was -always known among them as “the man of the -woods.”</p> - -<p class='c012'>They soon found out that he could draw -and paint, too, and his work received much -praise. Still his pictures did not sell, and -Millet’s life in Paris was a continuous struggle -with poverty.</p> - -<p class='c012'>One of the reasons that his pictures did not -sell was because he chose his models from the -lower classes and represented them in their -humble daily tasks. His critics urged him to -paint, instead, some beautiful girl or fine-looking -man from the village or city. To this he -replied: “Beauty does not dwell in the face; -it radiates forth from the whole figure and -appears in the suitableness of the action to the -subject. Your pretty peasants would be ill -suited for picking up wood, for gleaning in the -fields of August, for drawing water from a well. -Beauty is expression.”</p> - -<p class='c012'>In spite of the fact that he could barely -earn a living in Paris, Millet remained there -many years. He was married and his children -were born there. Finally he left Paris with his -wife and children and settled at Barbizon, a -small village in France, where he spent the rest -of his life. Many descriptions have been written -and many pictures painted of the modest white -stone cottage in which Millet’s last years were -spent.</p> - -<p class='c012'>It was not until these last few years of his -life that Millet ceased to be wretchedly poor, for -then his pictures were at last appreciated and he -received the profit and honor that were his due.</p> - -<p class='c012'>He died at Barbizon, January 20, 1875.</p> - -<p class='c012'>The world of to-day has forgotten most of -the popular artists of that time, and their -pretty models, but Millet’s peasants live on. -Once little valued, now the great truths which -they represent have made them almost priceless.</p> -<p class='c011'><b>Questions about the artist.</b> What is the -artist’s full name? Tell about his home life. -Who took care of Millet when he was a child? -What did his mother do? Who named him, and -why? What pictures did he study? When -was he sent to school? What did he study with -the priest? Why were his studies interrupted -so often? How did his father help him with -his drawing? Tell about the old man with -the cane. Who recognized his portrait? What -happened because of his success? Why did the -artist think Millet could not have painted the -pictures? Why did Millet remain so short a -time with this artist? What did the people -in the village do for him? Why was it the -students in Paris could not understand Millet? -What name did the students give him? Why -did his pictures not sell? What did the critics -say about them? What else did Millet paint? -Where did he finally make his home? When -did he receive recognition?</p> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<div id='mill' class='figcenter id005'> -<img src='images/p013.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <h2 class='c007'>THE MILL</h2> -</div> -<p class='c011'><b>Questions to arouse interest.</b> What does -this picture represent? In what country would -you expect to find such a scene? What do -the clouds suggest to you? Notice the water and -the sails of the boat. Does the water appear -smooth or rough? Why do you think the -little sailboat you see is not the only one in -the harbor? Why do you think the arms of the -mill are not moving very rapidly? How is -the land protected from the water? Whom can -you see on the land? Where do they seem to -be going? What can you see beyond the clump -of bushes? Notice the man who is standing -near the railing of the mill. What does he seem to -be watching? Where does the light come from? -What is the center of interest in this picture?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>Original Picture</b>: Buckingham Palace, London, England.</div> - <div class='line'><b>Artist</b>: Jacob Van Ruysdael (rois′däl).</div> - <div class='line'><b>Birthplace</b>: Haarlem, Holland.</div> - <div class='line'><b>Dates</b>: Born, 1628; died, 1682.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the picture.</b> We know at once -that the scene of this picture must be in Holland. -We could tell by the picturesque windmill for -which that country has become famous, even -if we did not know that the artist, Ruysdael, -lived there all his life.</p> - -<p class='c012'>When we look at this picture, representing -a scene at the mouth of a Dutch river, it is -hard for us to realize that all of this little -country is lower than the ocean, and would -be flooded if it were not for the great dikes. -These dikes are thick walls of stone and earth -built near the shore, so high that the water of -the North Sea cannot wash over them, and so -wide across the top that they make excellent -carriage roads. It is wonderful to think how -men, by their skill and perseverance, have been -able to preserve this country from the sea.</p> - -<p class='c012'>We are told that when Caesar first reached -this part of Europe he found the few inhabitants -living in wretched little huts built upon -hills of sand which had been left after a flood. -They lived upon fish, which they caught in nets -made from grasses or rushes, and were miserably -poor. So much of the land was under water that -it was hard to tell whether it was land or sea.</p> - -<p class='c012'>These few natives, however, began to fill -in the spaces between the sand hills with earth -and stone, building rude dikes or embankments -to keep out the water. Very often the sea -broke through, flooding the land again, but the -people only built stronger dikes each time, until -now at last they have the present mighty -safeguards.</p> - -<p class='c012'>The longest dike is in North Holland, and -is called “The Great Dike.” It is six miles -long and from twelve to fifteen feet thick. The -sea beats against it with great force, but the -sturdy Hollander watches its angry foam in -safety. The dike is carefully guarded everywhere, -for if the water should find a weak or -unprotected spot in it, terrible indeed would -be the result.</p> - -<p class='c012'>The North Sea is Holland’s greatest foe, -yet it has sometimes proved a friend, for when -sorely pressed in battle the Dutch have flooded -their land, thus forcing their enemies to flee -for safety. They have done this by removing -small sections from the dikes, though it meant -the loss of their homes and cultivated fields. -It is said that windmills, too, may be used in -flooding certain low portions of land in case an -enemy attempts to take possession.</p> - -<p class='c012'>The windmill has played an important part in -building up this country, for it has been used -not only for grinding corn, crushing linseed, -sawing timber, and cutting tobacco, but to -drain the land and make it habitable.</p> - -<p class='c012'>Sometimes great lakes have been drained -by water pumps set in motion by these windmills, -and what is to-day some of the most -fertile land in the country has been secured in -this way. To be sure, it takes several years -to accomplish such an undertaking as this, but -the patience and perseverance of the Hollander -are equal to far greater tasks than that.</p> - -<p class='c012'>It is interesting to know how the people -build houses in this land. They cannot build -them as we do, because the earth is so soft and -yielding that the houses would sink in it. -First, they dig out two or three feet of earth, -and, as they expect, this opening immediately -fills with water. Then they drive piles or -stakes deep into the ground with a powerful -steam hammer. These are placed close together -in lines to support the walls of the house. -Heavy oak boards are nailed upon them and -the brick foundation is then started just as we -build ours. The back and front of the house are -not completed until after the roof is finished, -for it is necessary to allow a free circulation of -air through the house to dry it. Even then -Dutch houses seem very damp to those who -are not natives. The kitchen is usually built -in the front part of the house instead of the -back. The buildings we see in this picture, -even the windmill itself, must have been built -in just this way.</p> - -<p class='c012'>The calm and peace of this landscape are -more impressive when we think of the great -ocean outside the dike, pounding away in its -ceaseless effort to claim its own. The picture -seems to tell us something of the great effort, -constant guard, and persistent struggle we must -make if we would secure peace and contentment -in our lives.</p> - -<p class='c012'>But in all lives must come some stormy -days. In our picture we can see the clouds -gathering, feel the warning stillness in the air, -and know that the storm will break soon. -The strange calm keeps the water still and -lifeless, the sails of the boat hang flat and -unruffled, the trees are without motion, and the -great arms of the windmill wait to catch the -first faint breeze.</p> - -<p class='c012'>The three women on their way to church -or home must hasten, for these storms come -quickly, as the man who stands guard at the -railing of the mill well knows. There is a -feeling of expectancy in this picture. As we -watch the great clouds and the strange light in -the sky, we are conscious of a great stillness all -around, and we expect at any moment to feel -the rush and roar of the oncoming winds. There -is something alarming in the suspense.</p> - -<p class='c012'>We begin to feel the vastness of sky and -water around us and how very little and unimportant -we are in the midst of it all. We -wonder that we have ventured so much.</p> - -<p class='c012'>The great simplicity of this landscape is also -typical of the people of Holland. The early -Hollanders were remarkable for their simplicity, -but as they prospered there was a tendency -toward extravagance and display which caused -much remonstrance from the clergy and more -thoughtful citizens.</p> - -<p class='c012'>The story is told of an old Dutch merchant -who, having made a fortune in trade, decided -to spend the rest of his life in his country home -some distance away. Before leaving his friends -he invited them all to dine with him. Upon -arriving, the guests were amazed to find themselves -seated at a large table covered with a -blue cloth, and set with wooden plates, spoons, -and tumblers. Two old seamen served them -with herring, fresh, salted, or dried. The -second course was salt beef and greens.</p> - -<p class='c012'>The guests, of course, were much disappointed -and scarcely tasted this poor fare. -They supposed the meal was ended when the -blue cloth was removed, but no, it was replaced -by one of the finest linen, the old sailors disappeared, -and a number of servants in fine -liveries appeared, serving a banquet which excelled -even their highest expectations.</p> - -<p class='c012'>Then the host spoke to them: “Such, -gentlemen, has been the progress of our Republic. -We began with short frugality, by means -of which we became wealthy; and we end with -luxury, which will beget poverty. We should, -therefore, be satisfied with our beef and greens, -that we may not have to return to our herrings.”</p> - -<p class='c012'>Unlike many pictures which seem to be -made up of a majority of either curved or -straight lines, this picture contains a great -variety of lines. We find the straight line in -the masts and sails of the boats, the walls and -spires of the church, the main walls of the windmill, -the posts of the breakwater, and the three -little figures in white; the horizontal lines in -the horizon, roofs, hull of the boat, and in the -breakwater. The rolling clouds, round masses -of the tree tops, and the balcony railing give -us the curved lines, while we cannot fail to -notice the oblique lines of the arms of the mill -and the grasses near the river bank.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> What does this picture represent? -How is Holland protected from the ocean? -What are dikes? How are they used? What -kind of a place was Holland when Caesar first -entered it? What did the people do? How -did they happen to build the first dike? What -is the longest dike called? What would happen -if the dike should give way? From what sea -does it protect the people? How has the sea -proved their friend? at what expense to them? -Of what use are the windmills? How do they -build houses in Holland? Why are the cellars full -of water? Why are the houses damp? Which -room is usually in the front of the house? How -is the windmill in this picture built? What makes -you think a storm is approaching? How does -the water look? the sails? the trees? the windmill? -What feeling does this picture give you—one -of peace, expectancy, suspense, anxiety, or -pleasure? Why is it typical of the people of -Holland? Tell about the early Hollanders; the -Dutch merchant and the banquet. What advice -did the merchant give the Hollanders? What -can you say about the composition of this picture? -Of what kinds of lines is it made up? -Where do you find the different kinds of lines?</p> -<p class='c011'><b>The story of the artist.</b> Jacob Van Ruysdael -was born at Haarlem, Holland, in 1628. Although -he was one of the greatest of the Dutch -landscape painters, very little is known of his -life. When he was only twelve years old he -painted a picture in which he showed so much -talent that his father consented to his giving -up the study of medicine, for which he had -been preparing. Ruysdael’s elder brother was -probably his first teacher in painting. Later -he went to Amsterdam to study, but his great -desire was to be out in the country, where he -could be alone with nature. His pictures are -usually of landscapes, including a glimpse of -the sea and land, with vast sky spaces overhead. -In color, a rich, warm green predominates. -It was always very difficult for him to -draw people, so he usually had some other -artist paint his figures for him.</p> - -<p class='c012'>Although his paintings are extremely valuable -now, he could not sell them then, and he -was so poor he was obliged at last to go to the -almshouse, where he died in 1682.</p> - -<p class='c012'>People at that time were not interested in -an ordinary landscape such as they saw every -day. They thought Ruysdael was wasting his -time painting such common things. Other -artists painted pictures of people and of interesting -events, real or imaginary, in brilliant colors -and style. Ruysdael painted pictures in which -the landscape and not the people was the center -of interest. He was one of the very first artists -with enough appreciation for the beauty of -nature to use it as the subject for his paintings.</p> - -<p class='c012'>From what we read of Ruysdael’s life, it -must have been a rather lonely one. Of a -dreamy, thoughtful nature, he spent much -of his time wandering alone by the seashore, -among the sand dunes, and through the open -country. These are the scenes he painted -again and again. He loved to study the same -scene in different lights, with different cloud -effects, at different times and seasons; and so -we find twenty pictures of a certain scene called -“View of Haarlem from the Hill of Overveen.”</p> - -<p class='c012'>Few men have shown a more thorough -knowledge of trees, the trunks, their branches, -and the character of their leaves. In his earlier -work this knowledge caused him to put too -many details into his pictures, making them -somewhat stiff. But he soon overcame this -difficulty and began to put into his landscapes -a peace and tranquility that rests the eye. But -since his paintings still remained unpopular he -tried a change of subjects, painting pictures of -mountain scenery and rocky waterfalls.</p> - -<p class='c012'>It is generally believed that the artist Hobbema -was Ruysdael’s friend and pupil. If this -is true, the two must have spent many happy -days together painting the quiet landscapes they -loved so well. Neither of them ever traveled -out of Holland.</p> - -<p class='c012'>So much alike was the work of these two -artists that at one time long after their death, -Hobbema’s name was removed from his paintings -and that of Ruysdael placed in its stead -in order to sell them. Later every effort was -made to correct these errors. Some critics -declared that every rocky landscape must be -by Ruysdael, and every peaceful scene of -cottages, high trees, and waterfalls must be -by Hobbema, and so doubtless many mistakes -were made. But it was not until after Ruysdael’s -death that people awoke to his greatness -and genius. Fabulous sums have been paid -for many of his pictures and they hang in the -best galleries of Europe.</p> - -<p class='c012'>Famous paintings by Ruysdael are: “Landscape -with Waterfall,” “The Tempest,” “The -Swamp in the Wood,” “The Jewish Cemetery,” -“Landscape with Ruins,” “Shore at Scheveningen,” -“Oak Wood,” and “Agitated Sea.”</p> -<p class='c011'><b>Questions about the artist.</b> Who painted -this picture? Where did he live? How did he -rank? Tell what you can of his life. What -subjects did he usually choose for his paintings? -What color usually predominates? What did -he find difficult to draw? Where did he pass -the last days of his life? Why could he not sell -his pictures? How did they differ from those -of other artists? What artist studied with him? -Of what value are Ruysdael’s paintings to-day?</p> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<div id='pilg' class='figcenter id006'> -<img src='images/p024.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <h2 class='c007'>PILGRIMS GOING TO CHURCH</h2> -</div> -<p class='c011'><b>Questions to arouse interest.</b> Who are -these people? What country does this represent? -Why were they called Pilgrims, and why -did they leave England? Where are they -going in this picture? Why do the men carry -guns? Where might foes be lurking? What -time of the year is it? what time of day?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>Original Picture</b>: Lenox Gallery, New York.</div> - <div class='line'><b>Artist</b>: George Henry Boughton (bô´tȯn).</div> - <div class='line'><b>Birthplace</b>: Norwich, England.</div> - <div class='line'><b>Dates</b>: Born, 1834; died, 1905.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the picture.</b> We have read -many stories about the lives of our forefathers -in America, but perhaps we realize more clearly -just what that life must have been when we -look at this picture, “Pilgrims Going to Church.” -It makes us realize why the Pilgrims came to -this country and willingly endured such terrible -hardships,—that they might go to their -own church and worship according to their own -conscience.</p> - -<p class='c012'>It was a brave and sturdy people who, -although loyal in all else, defied the king when -he would take away their freedom of worship. -Little wonder there was much excitement when -people of all ranks and conditions in England -began to sell their homes and possessions, preparing -to leave for a land almost unknown and -full of danger.</p> - -<p class='c012'>The king tried to prevent their leaving, even -putting some of them in prison. But our forefathers -were not of the kind who are easily discouraged -or defeated; and one day the little band -which had collected on the shores of the great -ocean said good-by to their sorrowing friends -and were rowed to the little ship, the <i>Mayflower</i>, -which was to carry them safely to the new land. -We have read much of the perils of that journey, -and how, in spite of accidents on shipboard and -equinoctial storms, they finally arrived off Cape -Cod one cold and wintry morning in December. -They sent out parties to search the shores for -a favorable place to build their homes, and on -Monday, December 21, 1620, disembarked on -the sandy beach, landing a few at a time on that -greenish granite rock called Plymouth Rock. -This famous rock is still to be seen, an object -of veneration.</p> - -<p class='c012'>Arrived on this dreary, frozen land, the -Pilgrims began to work with a will, cutting -down the pine trees, building their rude houses, -and trying in all ways to establish here a permanent -home. Their religion was not forgotten. -In fact, it is said that the party sent -out to find this location landed there on the -Sabbath day, and as they would not labor on -that day, they did not cut wood for a fire, but -walked back and forth all day and night to -keep from freezing to death.</p> - -<p class='c012'>In our picture we see them in this dreary -land in the midst of winter. Their rude, snow-covered -homes were so roughly built that the -cold winds whistled through them, and their -provisions were so scant that they were often -thankful for a meal of fish and a cup of water.</p> - -<p class='c012'>To-day is Sunday. They are on their way -to church. They have realized their ideal—freedom -of worship. Even the fact that they -must go armed, keeping a careful watch for -their treacherous foe, the Indian, cannot take -away the comfort of that thought.</p> - -<p class='c012'>When they first landed, they found all the -shore deserted except for a few empty wigwams -which seemed not to have been inhabited for -a long time. Later the Pilgrims were told that -there had been a dreadful plague among the -Indians at this very place, and all the survivors -had fled.</p> - -<p class='c012'>At first the few Indians whom they saw -were friendly, but later they began to resent -the presence of these white people, whose -number was constantly increasing and who -seized upon their lands and fields as if they -were the rightful owners. They began to -plunder and burn the homes of the settlers, and -all sense of security was gone.</p> - -<p class='c012'>But the common danger held the brave band -closer together, making their religious freedom -seem more precious. In this picture, guards -are stationed at the front, center, and end -of each group of people. The minister, the -women, and the children are thus surrounded -and protected.</p> - -<p class='c012'>Our chief attention is for the central figures—the -minister, his wife, and the child. It is -interesting to study the expressions on the faces -of this stanch little band. We observe the light -on the heads and faces of the Pilgrims and on -the sides of the trees, and the absence of -shadows on the snow. This tells us that the -sun must be high in the sky.</p> - -<p class='c012'>This group of Pilgrims is only a part of -those who will assemble in the little church -just over the hill. We catch a glimpse of the -first man in the next group.</p> - -<p class='c012'>Notice the quaint hats and collars which -the men and women wear. The artist was very -particular to show us the Pilgrims’ peculiar -style of dress.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> Who were our forefathers in America? -Why were they so called? Why did they come -to America? What kind of people were they? -What did they know of America before they -came? Who tried to prevent their coming? -Upon what boat did they sail? Tell about the -journey. Why was it so dangerous? When -did they reach America? Upon what did they -land? What has become of this rock? What -did the Pilgrims do as soon as they arrived? -Tell about the party sent out to find a permanent -location. Why could they not build a fire? -What time of year is represented in this picture? -Where are the people going? How many -churches did they have? Why do they carry -guns? Who occupied this land before the -Pilgrims came? Why did the Indians leave? -Why did they dislike the Pilgrims? What -effect did this danger have upon the Pilgrims? -To which members of the group in the picture -is our attention directed? How is this accomplished? -What makes you think the sun is -shining? What time of day is it? What makes -you think there are more people coming? How -are these Pilgrims dressed?</p> -<p class='c011'><b>To the Teacher</b>: Let the pupils illustrate -the various scenes in the story with charcoal on -manila paper.</p> -<p class='c011'><b>The story of the artist.</b> George Henry -Boughton was born in a little village near -Norwich, England. His father was a farmer. -But the farm he possessed was so small that -he found it difficult to provide for his large -family. So he decided to sail to America where -there were better opportunities for farming. -The long voyage was taken the year following -George’s birth.</p> - -<p class='c012'>The family settled near Albany, New York, -and there George Boughton was raised and -educated. It was decided that he should be -trained for a business career and so he was sent -to a commercial school. But the young artist -had other plans in his head. At school he began -to show great skill in drawing, gained, as he said -afterwards, “by drawing every mortal thing that -came under my notice.” While he was still in -school, Boughton’s father and mother died and -he was left to the care of his older brothers and -sisters. They regarded his efforts in art with -little favor and offered him no encouragement.</p> - -<p class='c012'>But George Boughton would not be discouraged. -Drawing and painting had more -attraction for him than even the sports that -are dear to every boy’s heart. He has himself -told the story of how he once went into a store -to buy hooks and a line to use on a fishing trip -to a neighboring creek, and how he came out -with a set of oil colors and paint brushes instead. -The picture he painted at that time was the -beginning of his success. When he was nineteen -years old he sold enough of his sketches -to pay his way to London. He spent a few -months in London and then went on a long -trip through England, Scotland, and Ireland, -making sketches of the scenes that appealed -to him.</p> - -<p class='c012'>With these he returned to New York, where -they were quickly sold. A few years later, with -the help of a millionaire patron who bought -the artist’s pictures in advance, Boughton went -to Paris. After a year in Paris he went to -London again, finally making his home there. -Then, of course, his studio in New York City -was given up, but, though he lived in England, -his art remained distinctly American.</p> - -<p class='c012'>He was especially interested in the history -and literature of our country and has been -called “the interpreter of New England life in -the seventeenth century.”</p> - -<p class='c012'>Besides painting, Mr. Boughton wrote stories -for magazines, illustrating his own stories.</p> - -<p class='c012'>In 1879 Mr. Boughton was elected Associate -of the Royal Academy in London, and in 1896 -he became a member of the Academy with all -the honors and privileges of that position.</p> - -<p class='c012'>Among his most noted pictures are the -“Return of the Mayflower,” “Pilgrim Exiles,” -and “The Scarlet Letter.”</p> -<p class='c011'><b>Questions about the artist.</b> Who painted -this picture? Where was he born? What -was it decided that he should become? Tell -the story of the fishing tackle. What did he do -with the money he received for his first pictures? -What did he do in England? Who helped him -to go to Paris? Where did he settle down? -What part of the United States interested him -most? What kind of pictures did he paint? -What has he been called? What is meant -by that? Why might he be considered an -American artist? What could he do besides -paint?</p> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<div id='hand' class='figcenter id007'> -<img src='images/p033.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <h2 class='c007'>THE CHILD HANDEL</h2> -</div> -<p class='c011'><b>Questions to arouse interest.</b> Where are -these people? At whom are they looking? -Why do you think it is night? Upon what has -the boy been playing? What does the man -carry in his hand? Why do they look so surprised? -Does the boy look frightened, anxious, -or pleased? How is he dressed? How is the -man dressed? the woman? What can you see -hanging from her belt? Who is behind her? -Where do you think they have come from? -Why do you suppose they dressed so fully? -What can you see scattered upon the floor? -What do you like best about this picture?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>Artist</b>: Margaret Isabel Dicksee.</div> - <div class='line'><b>Birthplace</b>: London, England.</div> - <div class='line'><b>Dates</b>: Born, 1858; died, 1903.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the picture.</b> It is midnight; -the small boy Handel has forgotten everything -in the world as he plays upon the old harpsichord -hidden in the dark old garret. He feels -safe, for he has taken all precautions—first, by -going to bed at the regular time; then, by feigning -sleep until all the household was wrapped -in slumber. Ah! how long the time seemed, -and how impatiently he went over and over -again in his mind the beautiful melody he had -been composing all day as he worked or played.</p> - -<p class='c012'>But no one must know. He had not even -dared hum, lest he should be suspected, for -his father had forbidden him the use of the -harpsichord, the only musical instrument the -family possessed. Humming a tune was something -to be frowned at because this small boy -loved music so dearly that, if permitted, he -would neglect all else to sing or play upon the -old harpsichord.</p> - -<p class='c012'>The father had long ago planned that his -son should become a lawyer, and he wished to -educate him for that profession. But the boy -did not apply himself to his lessons, and was at -the foot of the class. After much discussion, -it was decided that the harpsichord must be -banished to the garret and the boy forbidden to -touch it until he had mastered his other studies.</p> - -<p class='c012'>Then it was that Handel began to pay those -nightly visits to the garret where, with closed -windows and doors, he played half the night -or until the first hint of dawn told him he must -hurry back to his bed. No wonder his mother -found it hard to get him up in the morning, and -that he began to look pale and delicate.</p> - -<p class='c012'>On this one night he had so completely lost -himself in his music that he used the swell at -its greatest volume, fairly flooding the garret -room with his happy music. Faint sounds had -crept down through the garret floor; now they -grew loud, now soft and weird, as if the house -were haunted. Finally the whole family was -awakened, but no one could explain the source of -those mysterious sounds. It could not be the -wind, for all was still and quiet outside; but whatever -it was, they could not sleep until it stopped.</p> - -<p class='c012'>Now all were up and dressed, but no one -thought of the boy as the father lighted the -great lantern and led the way in search of the -ghost or spirit which had so disturbed them. -Still the sounds continued, growing fainter, -then stronger again, but always seeming to -come from the top of the house. So they -climbed up the steep and narrow stairs to the -garret,—first the father, carrying the lantern, -then the mother, who had hurriedly caught up -her bag and bunch of keys; the elder brother, -and the grandmother and grandfather came -last of all. Even when they reached the garret -door they did not suspect the boy, for they -thought him safe in bed; only a ghost would -play in a dark garret at that time of night.</p> - -<p class='c012'>Handel did not need a light, for he knew his -keys by heart; his very finger tips were full of -the music which had been singing in his head -all day long.</p> - -<p class='c012'>Can you not imagine the father swinging -the door open and quickly flashing the lantern -about until the light rested upon the frail, -ghostlike little figure at the harpsichord? -They must have been startled, indeed, but -not half so much as poor Handel, who felt his -last chance of happiness slipping from him.</p> - -<p class='c012'>How very real to us the artist has made it! -We seem to be in the big garret ourselves, looking -first toward the small boy at the quaint old -instrument and then at those who have discovered -him. The harpsichord looks something -like our grand piano, and was used for many -years before the piano was invented. There -sits Handel in his night clothes and cap, looking -pathetically first at his father, then at his -mother, while his sensitive face twitches with -anxiety. He had been so intent on his playing -that he had not heard their approach, had had -no warning, and now it was too late.</p> - -<p class='c012'>And will they punish him? We do not know -whether they did in any way except to keep -the garret door locked, but that was punishment -enough for poor Handel. We do know it -was not until he was nine years old that his -father reluctantly consented to Handel’s studying -music, and then it came about by accident.</p> - -<p class='c012'>One of the great days in Handel’s life was -the day his father went to visit his older son -(Handel’s half-brother), who held a position -under the Duke of Weissenfels. Handel was -then only seven years old and had been refused -permission to go, but when, many miles from -home, the father discovered the tired but -determined boy following on foot, he was finally -taken. One Sunday, at the close of the service -in the court chapel, the boy was permitted to -try the great organ. The duke, who had -remained in the chapel, heard the playing and -immediately inquired who the musician was. -“Little Handel from Halle” was the reply.</p> - -<p class='c012'>Becoming interested, the duke soon had the -story of the boy’s secret playing, and it was -through his talk with the father that Handel -was at last placed under a skilled instructor -and given every chance to cultivate his great -talent.</p> - -<p class='c012'>Soon he was without a rival on the organ and -the harpsichord. From the first he wrote his -own music, and before long was composing great -oratorios such as the famous “Messiah.”</p> - -<p class='c012'>In the picture the artist has centered our -interest and attention upon the small boy in -several ways: by his position, the light, the -inclination of the other figures toward him. -At whatever part of the picture we glance, our -eyes are almost immediately drawn back to the -boy musician. The childish figure, sensitive -face, and startled, appealing glance arouse our -sympathy and interest.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> Where is this boy? What is his -name? Why is he in the attic? Why did he -not play the harpsichord during the day? What -precautions did he take before coming to the -garret? Why was he discovered? What warning -did he have? Who found him? Why was -Handel so anxious? How was he punished? -Why was it not good for him to spend his nights -or days in this way? When was he permitted -to study music? How did this happen? What -had his father wanted him to study? How -did Handel succeed with his music? Upon -what is our attention centered in this picture? -By what means is this accomplished? What -appeal does this picture make to you? Does -it arouse your sympathy and admiration, or -does it give you a feeling of disappointment?</p> -<p class='c011'><b>The story of the artist.</b> Margaret Isabel -Dicksee was the daughter of a noted English -artist, Thomas Francis Dicksee. Her parents -lived in a section of London where many -successful artists and art students had their -quarters. Thus Margaret Dicksee’s very earliest -memories were associated with pictures and -painters, and she had doubtless absorbed all the -rudiments of drawing and color long before -she began her A B C’s.</p> - -<p class='c012'>Her brother Frank, five years older than -Margaret, was already well started on the road -to fame in art when the little Margaret first -began to trace the queer figures that children -draw. No doubt it was he who first guided -her hand, scarce strong enough yet to hold -the crayon firmly. But Margaret made rapid -progress, for the desire to draw and paint -the things she saw about her was part of her -nature. Soon brother and sister were students -together at the same art classes.</p> - -<p class='c012'>The children’s uncle, too, was an artist, as -well as their cousin, Herbert Dicksee. In after -years Herbert became a noted etcher and made -engravings of his cousins’ pictures.</p> - -<p class='c012'>What a happy life these three children must -have lived. Conditions for them were as favorable -as they had been unfavorable for their -father and uncle. Margaret’s father had often -told her how he and his brother John, Margaret’s -uncle, had got out of bed at the first gray streak -of dawn so that they could have time to draw -and paint before school. Their parents would -not allow them to set aside school tasks for such -things as drawing, which they considered of -far less importance. How glad Margaret and -Frank must have been that their father was an -artist and did not interfere with their efforts -at drawing and painting, but encouraged them -as much as he could.</p> - -<p class='c012'>The young artists were successful in their -work from the very first. Their pictures were -admired and praised by every one who saw -them. Very often pictures by both sister and -brother were to be seen at the same exhibition. -Later Frank became a member of the Royal -Academy.</p> - -<p class='c012'>Miss Dicksee chose as subjects for her -paintings scenes from history, biography, and -fiction. She also painted a number of fine -portraits. The pictures she has left to us give -evidence of a very lovable and sympathetic -nature. Among her most noted and attractive -works besides “The Child Handel Discovered -Playing in the Garret” are “The Children of -Charles I” and “A Sacrifice of Vanity,” the -latter a scene taken from Oliver Goldsmith’s -<i>Vicar of Wakefield</i>.</p> -<p class='c011'><b>Questions about the artist.</b> In what part -of London was the artist born? What was -her father’s name and profession? Tell about -Margaret Dicksee as a little girl. Who helped -her in her first attempts at drawing? Tell -about the childhood experiences of her father -and uncle. What was the name of Margaret’s -and Frank’s cousin? What did he become? -What subjects did Miss Dicksee choose for her -paintings?</p> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<div id='horse' class='figcenter id008'> -<img src='images/p042.jpg' alt='' class='ig001' /> -<div class='ic004'> -<p><span class='small'>By Permission of Braun & Co., Paris and New York</span></p> -</div> -</div> -<div class='chapter'> - <h2 class='c007'>THE HORSE FAIR</h2> -</div> -<p class='c011'><b>Questions to arouse interest.</b> How many -of you have ever attended a horse fair? Where -is this horse fair, and what kind of horses are -they? How are they controlled? What is the -object of having a horse fair? How many -horses are represented in this picture? How -many are in the same position? Which are -under the best control? Which have their -ears back? What does that indicate? Which -horse is trying to throw his rider? Which -horse looks vicious? How is he controlled? -What colors do you think they are? What -can you see in the background? Upon what -part of the horses does the light fall? What -does this tell us of the position of the sun? -the time of day? Which horse has a blanket -on his back? Why do you think he is not -entered for the prize? Which horse is the most -lifelike? To which one would you give the -blue ribbon?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>Original Picture</b>: Metropolitan Museum, New York City.</div> - <div class='line'><b>Artist</b>: Rosa Bonheur (bō nûr´).</div> - <div class='line'><b>Birthplace</b>: Bordeaux, France.</div> - <div class='line'><b>Dates</b>: Born, 1822; died, 1899.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the picture.</b> In this day of the -automobile we do not hear much about horse -fairs. Of course, we still have our county fairs, -but there the horse is only a small part of the -attraction. In many places also horse markets -are held where all kinds of horses are brought -to be sold, but these could hardly be compared -to a horse fair, where only the finest specimens -are entered. In some of our large cities we -have what we call horse shows, which in a -measure seem to have taken the place of the -old-fashioned horse fair. So we have the International -Horse Show in Madison Square Garden, -New York City, one almost as large at -Chicago, Illinois, another at Olympia, Washington, -one in Montreal, Canada, the famous -Horse Show in London, and others. But how -unlike the scene represented in this picture -they are!</p> - -<p class='c012'>Imagine yourself in that largest of all show -buildings, the Madison Square Garden, New -York City. Tier above tier the seats are -arranged around the central ring or drive, -which in size and appearance is similar to the -usual outdoor race track. The seats extend -around the track except for a small space left -for the entrance and exit, and are arranged -very much like the seats in a theater, having -the box and reserved seats nearest the stage or -track. Each box is numbered and catalogued -so that you may know just which wealthy man -or woman is occupying that particular box.</p> - -<p class='c012'>Before the performance, or during the intermission, -you may go about, catalogue in hand, -and see for yourself what these people, whom -you have read so much about, look like. In -other words, this horse show has become a -society event, appealing to all classes of people, -but more especially to the rich.</p> - -<p class='c012'>All is carefully planned. A flourish of -trumpets, and the man with the megaphone -announces the first number—perhaps a tallyho -contest. More trumpets, and in come the -dashing six horses drawing the picturesque -tallyho. They have been driven a mile through -Central Park before entering the building, -and it is to the horses found to be in the best -condition after this drive that the prize is to -be given.</p> - -<p class='c012'>But scarcely have we looked at them when -there is another flourish of trumpets, and -another tallyho arrives, sounding its bugle -call. The footmen descend and stand at the -heads of the spirited horses while the passengers -alight. We have a fleeting glimpse of their -fashionable clothes; they have a moment’s rest, -and then, when the judges have examined the -horses, up they climb to their high seats and at -the signal are driven slowly around the ring. -Then others arrive, and soon all are driving -in a gay procession around the ring. The -spectators applaud enthusiastically while the -spirited horses proudly arch their necks.</p> - -<p class='c012'>Then come the tandems, and horses and -carriages of all kinds in order. Then horses are -exhibited in every form of activity—leaping, -running, pacing, and hurdling. After the show -is over, perhaps we go to see the horses in their -stalls, but then we find ourselves in the minority, -for few spectators remain after the last horse -leaves the track.</p> - -<p class='c012'>Would it not be pleasant now to go with -Rosa Bonheur out into the great field near that -avenue of trees, and watch the men riding or -leading those powerful French dray horses before -the judges? Horses like these have been imported -to our country, so we see them on our -own streets drawing heavy loads, and we know -how strong and powerful they are.</p> - -<p class='c012'>There are more than twenty horses in this -picture that we can count, each in action, and -yet no two are alike. The artist has made us -feel the perfect control man has over them. -All the possibilities of a horse of this kind are -represented. Here we see the well-trained, -perfectly controlled horse going on cheerfully -and steadily; there are some with their ears -back, showing annoyance and watchfulness; -here a rearing horse is trying to rid himself of -his troublesome driver. That one at the left -of the picture is angry, perhaps vicious. His -driver is unable to manage him alone and it -requires two men to control him. But they do -control him, and in every case man, through -his intellect, is the master.</p> - -<p class='c012'>Notice the colors of the horses: even a print -of the picture tells us that they are white, -dappled, and black. When they return, surely -many of them will be wearing the blue ribbon.</p> - -<p class='c012'>At the right of the picture are several spectators -who have gathered to see the splendid horses.</p> - -<p class='c012'>Rosa Bonheur wished to draw these horses -two thirds life size, and when you consider the -amount of space devoted to sky and ground, -you will realize that it required a very large -canvas. We are told that she stood upon a -stepladder to paint parts of it.</p> - -<p class='c012'>She chose a part of Paris that would be -easily recognized, showing the dome of a well-known -church and an avenue of trees just as we -might see them to-day. But we can scarcely -realize the amount of time and patient study -it required before she could paint even one of -these horses. She went about with a sketchbook -and made drawings of horses in all possible -positions, and persevered in this study for a -year and a half before she began this picture.</p> - -<p class='c012'>Her friends in Paris helped her all they -could by lending her their fine horses. But this -was not enough,—she must visit horse fairs and -markets as often as possible. Sometimes the -grooms made fun of her, and it was hard for -her to work, but she would not give up.</p> - -<p class='c012'>In the picture she has centered the interest -upon the horses nearest to us by painting them -more in detail, showing even the muscles of -their strong, powerful bodies, and also by means -of the light upon them, and by their size. The -light is high, falling upon the rounded backs -and upraised heads. The short shadows help -us guess the time of day, which must be about -noon. The horse with the blanket on his back -suggests to us that the groom beside him intends -to ride him when he returns after leaving his -noble charge.</p> - -<p class='c012'>There is a feeling of open air and space about -this picture which adds much to its charm. -This is all the more remarkable, too, in a picture -containing so many horses, since it might easily -have appeared crowded.</p> - -<p class='c012'>The “Horse Fair” was bought for fifty-two -thousand dollars by Cornelius Vanderbilt, who -presented it to the Metropolitan Museum, New -York City. Most American critics consider -this Rosa Bonheur’s masterpiece, although the -French claim that honor for “Plowing in -Nivernais,” the original of which is hung in the -Luxembourg Gallery in Paris.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> Where do we go to see fine horses? -What has taken the place of horses and horse -fairs? Where are our largest horse shows? -How do they differ from the horse fair in this -picture? Tell about the horse show at Madison -Square Gardens, New York. Compare it -with the “Horse Fair.” Where is each held? -What kind of people attend? Why did Rosa -Bonheur choose this particular location for her -painting? What preparation did she make -before beginning this picture? For what purpose -are these French horses used in the United -States? How many horses are represented in -this painting? Why does it not seem crowded? -How near life size did Rosa Bonheur paint these -horses? What did she stand on while painting? -why? What can you tell of the dispositions -of these horses? In what way is man -always the master? Upon which horses has -the artist centered the interest? How has she -done this? What time of day is it? Why do -you think so? Where may we see this painting?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>To the Teacher</b>:</div> - </div> - <div class='group'> - <div class='line'> <span class='sc'>Subjects for Compositions</span></div> - </div> - <div class='group'> - <div class='line'>A Description of a Horse Fair.</div> - <div class='line'>A Visit to Rosa Bonheur’s Horse Fair.</div> - <div class='line'>A Day with the Artist.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the artist.</b> Perhaps the reason -Rosa Bonheur loved animals so dearly was -because she spent the first ten years of her life -in a little village, where her parents and their -neighbors kept horses, chickens, and pigs, and -where Rosa learned to know all about them. -Rosa and her two brothers had lambs, rabbits, -squirrels, and pigeons for pets. They spent -many happy hours out in the fields and woods, -yet when their father, who was an artist, -decided to move to the great city of Paris the -children were delighted. This wonderful Paris -they had heard so much about seemed to them -the most desirable place in the world to be, and -their only sorrow was in parting from their -grandparents and from their many pets. Rosa -was allowed to take a parrot with her, and the -two boys had a dog.</p> - -<p class='c012'>The first place in which they lived was up -several flights of stairs and across the street -from a butcher’s shop. This shop had a queer -sign cut from wood and representing a wild -boar, which looked so much like Rosa’s little -pig at home that she used to stop to pet it -every time she passed.</p> - -<p class='c012'>A man who lived in the same house with -the Bonheurs kept a small school for boys. -Rosa’s two brothers went to this school, and -later the teacher said Rosa might come, too. -She was the only girl in the school, but she did -not mind that at all, and the boys were glad to -have her, for she knew more games than they, -and played just like one of them.</p> - -<p class='c012'>The father had hoped to sell more of his -pictures in the city, but he did not do as well -as he had expected and it cost so much more to -live that he had to move his family to a cheaper -house and up on the sixth floor.</p> - -<p class='c012'>Rosa’s mother was a musician and gave -music lessons to help keep up the home, but -she worked too hard and finally became very -ill. She died just as the father secured a position -in a private school and things began to -look more prosperous for the Bonheur family.</p> - -<p class='c012'>For a time the father tried to keep his -little family together by leaving them in a -sort of day nursery, but this was not satisfactory, -so he had to send them away. Juliette, -the baby sister born after they moved to Paris, -was sent to her grandmother, the two boys to -school, and Rosa to an aunt.</p> - -<p class='c012'>This aunt sent Rosa to school. To reach -the schoolhouse she had to walk some distance -through the woods, and often she would stop -on the way, smooth the dust in the road with -her hand, and then draw pictures in it with a -stick, her favorite pictures being of animals. -Often she became so absorbed in her drawing -she forgot to go to school, or was so late that -her teachers complained to the aunt, saying -she was getting behind in her school work. -Every time her father came to see her Rosa -begged him to take her home, and when at last -he could provide for his children they were all -very happy to be together again in Paris.</p> - -<p class='c012'>Wherever they lived they must have pets. -A great many stories have been told about the -pets they kept in their house. Every morning -Rosa’s brother Isidore would carry a little -lamb on his shoulders down six flights of stairs, -that it might nibble the green grass and be out -in the fresh air, and in the evening he would -carry it back upstairs. It became a great pet, -and all the children drew its picture in ever -so many different positions. Besides, they had -the parrot, a monkey, two dogs, rabbits, and -birds. Their father let them keep these in a -room especially fitted up for the purpose.</p> - -<p class='c012'>He was teaching in a private school at this -time and was away from home all day, but when -evening came he gathered his children about -him and taught them how to draw. They put -their easels in different parts of the room and -worked away, drawing and painting, until -bedtime. They would all much rather do this -than anything else in the world.</p> - -<p class='c012'>Then the father accepted another position -in a school where he could also send his four -children. Here Rosa was continually in trouble, -for she did not study much and was always -getting into mischief. One day she planned -a mock battle in the school yard between the -girls. They used sticks for swords. Very soon -Rosa’s side drove their enemies toward a bed -of hollyhocks which was the pride of the -school. Here they turned and fled, but Rosa -charged on. She cut off the heads of all those -stately hollyhocks because they seemed to -stand guard like soldiers. For this she was -sent home in disgrace.</p> - -<p class='c012'>Very often, too, Rosa had these sham fights -with her brothers at home, when the easels -and even the pictures were used. The palettes -served as shields, and the little Juliette, dressed -in all the finery they could find, sat in state, -representing the lady of their choice for whom -the battle was fought.</p> - -<p class='c012'>Rosa tried to learn the dressmaking trade -and to be a teacher, but it was no use,—the -only thing she cared to do was to draw. So her -father decided to give up trying to educate her -in any other way. She was willing to walk -miles in any kind of weather, to sit hours in -all sorts of uncomfortable positions, and to go -without food, in order to draw a good picture -of some animal.</p> - -<p class='c012'>Now that she had begun in earnest to study -animals, she must go to all the country horse -fairs, to the slaughter houses, and everywhere -she could to study them. But as she grew -older she found it more and more difficult to -go to these places, because of the attention she -attracted and because her long skirts were -so in the way. Finally she obtained a permit -to wear men’s clothes. With her short hair, -blue working blouse, and dark trousers she -looked so much like one of the workmen that -now no one noticed her, and she could go where -she pleased.</p> - -<p class='c012'>People who did know her did not mind her -dress and were ready to help her all they could -in her work. From all over the country she -received gifts of fine horses and other animals -to paint, Buffalo Bill once sending her two fine -horses from Texas. She bought a farm, and -had a large barn built for her many pets.</p> - -<p class='c012'>Her pictures became famous the world over. -How proud her father was of her!</p> - -<p class='c012'>One day she was working very hard in her -studio when a servant came to tell her that the -Empress Eugénie had come to see her. It was -a great event when this royal lady came to the -artist’s studio, and there was Rosa dressed in -her old blue blouse, all spotted with paint. -She did not have time even to slip it off before -the empress came in, but they had a most -delightful visit. As the Empress Eugénie bent -over and kissed Rosa Bonheur she pinned the -Cross of the Legion of Honor on the artist’s blue -blouse. Rosa did not notice it until after the -Empress had left. She must have been very -much pleased, for she was the first woman -to receive that honor.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> Tell about Rosa Bonheur as a little -girl. Where did she live the first ten years of -her life? What pets did she have? Why were -the children glad to go to Paris? why sorry? -What pets did they take with them? Describe -their first home in Paris. Tell about the wild -boar; the school for boys. Why did the Bonheurs -move? What did Rosa’s mother do to -help? When she died, what became of the -children? To whom were they sent? Why -was Rosa behind in her studies at school? -Why did she return to Paris? Tell about the -children’s pets, and how they were kept; about -Isidore and the lamb. What did the children -do in the evening? Where did Rosa go to -school? Tell about the mock battle and the -hollyhocks. How was Rosa punished? Tell -about the sham battles at home. What was -Rosa willing to do in order to draw? Where -did she go to study animals? Why did she wear -men’s clothes? What were some of the presents -she received? Tell about the visit of the Empress -Eugénie. What honor did Rosa Bonheur -receive from her, and how was it presented?</p> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<div id='mona' class='figcenter id009'> -<img src='images/p056.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <h2 class='c007'>MONA LISA</h2> -</div> -<p class='c011'><b>Questions to arouse interest.</b> What is this -woman doing? Where do you think she is -sitting? How is she dressed? How has she -arranged her hair? What can you say of her -hands? How many think she is smiling? that -she is sad? that she is vain and self-conscious, -or dreamy and forgetful of self? How many -think she is looking at us? beyond us? What -is there mysterious about her expression? Why -do you think no one is able to understand it?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>Original Picture</b>: Louvre Gallery, Paris.</div> - <div class='line'><b>Artist</b>: Leonardo da Vinci (lā´ō när´dō dä vēn´chē).</div> - <div class='line'><b>Birthplace</b>: Vinci, Italy.</div> - <div class='line'><b>Dates</b>: Born, 1452; died, 1519.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the picture.</b> When the artist, -Leonardo da Vinci, was a boy he liked nothing -better than to model in clay. Although he -modeled many figures in action, his chief delight -was to model heads of smiling women and -children. His boyhood was such a happy one, -and he was so well liked, that even people with -the most severe features relaxed them in a smile -when he appeared. If they did not, he quickly -made a sketch so comical in expression that -they could not fail to be amused.</p> - -<p class='c012'>After he grew to manhood he had a very -dear friend named Francesco del Gioconda, who -asked him to paint a portrait of his wife, Mona -Lisa, or La Gioconda, as the picture is often -called. Leonardo wished to make this something -more than a mere likeness. He wished it -to show the character and soul of the woman -herself. It proved to be a most difficult task, -for after four years the portrait was put aside -as unfinished.</p> - -<p class='c012'>Many critics claim that he intended to paint -a face that no one could understand; others -claim that the lady’s moods were so changeable -and her expressions so various that he tried to -paint them all in one. The picture remains a -mystery which no one seems to understand, -yet like all mysteries it is fascinating and our -interest in it grows stronger the longer we -study it.</p> - -<p class='c012'>Many do not care for it at first, especially -those who see it without its beautiful coloring, -but few fail to find it interesting if they but -linger long enough.</p> - -<p class='c012'>But after all why should the fact that we -do not understand the expression of this face -trouble us, or that nearly every time we look -at it we find a new expression, a different -meaning? Is not the same thing true at times -even with our most intimate friends? We -think we know just what they will do and say, -yet are we not often amazed at some sudden -change in opinion or action on their part? It -but marks their individuality, and we accept -it as part of them. And that is one of the -reasons this portrait of Mona Lisa is considered -the greatest ever painted, because it represents -so well the mystery of human personality. If -so great an artist as Leonardo da Vinci spent -four years painting this picture, and it is still -considered by the great art critics the most -wonderful portrait ever painted, we must study -it even more carefully if we have not liked it -at first.</p> - -<p class='c012'>Leonardo da Vinci had musicians playing -or jesters with their funny sayings to amuse -Mona Lisa while he was painting her picture. -He did not wish her to think of herself or to -grow weary and look tired.</p> - -<p class='c012'>As you look at the picture can you not -imagine you hear the music of stringed instruments -and the splash of that rushing, roaring -little stream in the background? Mona Lisa -is listening, dreaming, thinking. She looks at -us, then on beyond without seeing us. She -seems to know everything, feel everything, yet -her smile is reassuring.</p> - -<p class='c012'>Her hands are beautiful. In that all will -agree. The few details of her dress and scarf -are exquisite, even in a print.</p> - -<p class='c012'>We cannot be quite sure about the chair she -sits in; some say it is of marble, others that it -is a wooden chair. And where is she seated? -Some say it is on the roof of a building, others -say on a balcony, but that is even less mysterious -than that strange, winding, dashing, little -mountain stream that comes and goes we know -not whither.</p> - -<p class='c012'>Critics cannot even decide what time of -day it is in the picture, the light is so uncertain; -some claim it is twilight; others, early morning.</p> - -<p class='c012'>If we could see the original, we would perhaps -be astonished to find that the lady wears a very -thin veil over her face and hair. Her eyes are -a deep brown, her hair a beautiful auburn, and -her dress a rich green with a touch of yellow. -We cannot accuse her of vanity, for she wears -no rings or ornaments of any kind.</p> - -<p class='c012'>Leonardo da Vinci loved problems. Even as -a boy he would make up problems in arithmetic -that would puzzle as well as interest his teachers. -Here he has found a different kind of -problem, which he has solved in his own way.</p> - -<p class='c012'>It seems as if each part of the face had an -expression of its own, so that if the rest of the -face were covered we could see that one alone. -The left side of her face is thoughtful, the right -side is smiling; her eyes are sad, the mouth is -cheerful yet firm. There is hidden strength -behind this face—it is as if she had discovered -the secret of the world, but would allow no word -of it to pass those lips so firmly closed. It is -interesting to know, too, that the real Mona -Lisa was one of the famous beauties in Florence.</p> - -<p class='c012'>The artist kept this portrait for several -years, and then sold it to the King of France. -It is now in the gallery of the Louvre at Paris.</p> - -<p class='c012'>Great consternation was caused by the loss -of this picture a few years ago, when it was -stolen from the Louvre. The whole country -was aroused, until at length the thief, a young -Italian workman, was captured. He had been -employed in the Louvre, and found no difficulty -in taking the picture from its frame, concealing -it under his blouse, and walking off with it. -He placed it face downward in the bottom of his -tool box, and carried it past the customs inspectors -into Italy. The only hard part was to -dispose of the much-sought picture. He was -in the same predicament as the man Mark -Twain told us about, who showed how very -easy it was to steal a white elephant, yet how -difficult a matter it was to get rid of the elephant. -So, two years later, the Italian was -captured, having tried in vain to dispose of -“Mona Lisa.”</p> - -<p class='c012'>He claimed he had stolen the picture to take -revenge on France for the pictures stolen by -Napoleon from Italy. This does not seem very -convincing, for “Mona Lisa” was not stolen -from Italy, but purchased from the artist by -Frances I for four thousand dollars. At present -it is valued at five million dollars.</p> - -<p class='c012'>The fact that the thief was not discovered -sooner proved rather humiliating to the Paris -police, because they had missed an important -clew. It seems the Italian had left two distinct -prints of his thumb on the glass and frame -of the picture, and by means of the Bertillon -method of detecting criminals by thumb prints -he should have been discovered at once. This -same Italian had been arrested some years before -for stealing, and the thumb prints taken -by the police at that time matched perfectly -those left on the picture frame. The police, -however, much to their chagrin, did not discover -this until after his capture. But we do -not wonder so much when we are told that -they had seven hundred and fifty thousand -thumb prints to compare.</p> - -<p class='c012'>Great excitement prevailed in Florence when -the “Mona Lisa” was discovered safe and -uninjured except for two slight scratches it -had received in the tool box. The picture was -exhibited at the Uffizi Gallery in Florence, and -great crowds came to see it. Then began its -triumphal journey home, until at last it reached -the Louvre Museum at Paris, where it may -now be seen.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> Who was Mona Lisa? of what nationality? -How many years did it take the artist -to paint this picture? What did he wish to -show us in this picture? What do some of -the critics say about it? In what way is the -expression mysterious? What means did the -artist use to produce that expression? Where -is Mona Lisa seated? What does she wear -over her face and hair? What is the color -of her hair? her eyes? her dress? What can -you see in the background? How does it -differ from the backgrounds painted in modern -portraits? What happened to this portrait? -How was it recovered? Why is this picture -valued so highly?</p> -<p class='c011'><b>The story of the artist.</b> Leonardo da Vinci -was born in the little village called Vinci, about -twenty miles from Florence, Italy. His father -was a country lawyer of considerable wealth. -Very little is known of Leonardo’s boyhood, -except that he grew up in his father’s palace -and at an early age displayed remarkable -talents. He was good-looking, strong, energetic, -and an excellent student. He was also -a very amiable person, of winning charm in -temper and manners.</p> - -<p class='c012'>He loved to wander out into the great forest -near the palace, where he tamed lizards, snakes, -and many kinds of animals. Here he invented -a lute, upon which he played wonderful music -of his own composing. Then, too, he sang his -own songs and recited his own poems.</p> - -<p class='c012'>He loved to draw and paint because he could -both represent the things he loved and use his -inventive genius as well. He seemed to be -gifted along so many lines, and was of such an -active and inquiring mind, that it was difficult -for him to work long enough at one thing -to finish it. We read of him as musician, -poet, inventor, scientist, philosopher, and last -but most important to us because of this great -picture—as artist.</p> - -<p class='c012'>When he was fifteen years old he made some -sketches which were so very clever that his -father took them to a great artist, Verrocchio, -who was delighted with them and was glad to -take Leonardo as his pupil. The story is told -that when Verrocchio was painting a large picture -he asked Leonardo to paint one of the -angels in the background. The boy spent -much time and study on this work, and finally -succeeded in painting an angel which was so -beautiful that the rest of the picture seemed -commonplace. It is said that when Verrocchio -saw the work his pupil had done and realized -that a mere boy could surpass him in painting, -he declared that he would paint no more -pictures, but would devote the rest of his life to -design and sculpture.</p> - -<p class='c012'>One day one of the servants of the castle -brought Leonardo’s father a round piece of -wood, asking him to have his son paint something -on it that would make it suitable for a -shield, like the real shields which hung in the -castle halls.</p> - -<p class='c012'>Leonardo wanted to surprise his father. -So he made a collection of all the lizards, snakes, -bats, dragonflies, toads, and other creatures -that he could find. Then he studied them -carefully and finally painted a fearful dragon -in which all the grotesque characteristics of -these various creatures were combined. It -was a terrifying thing, breathing out flame and -just ready to spring from the shield. Coming -suddenly upon this shield on his son’s easel, -the father was indeed startled. He found it -so lifelike and wonderfully painted that he -declared it was far too valuable a present for -the servant; so another shield had to be painted -and the first was sold at a great price. No one -knows what finally became of it.</p> - -<p class='c012'>Leonardo spent seven years with Verrocchio; -then he opened a studio of his own in Florence, -Italy.</p> - -<p class='c012'>Later Pope Leo X invited him to Rome to -paint, but most of his work there was left -unfinished. The story is told that one day the -pope found him busily engaged in making a -new kind of varnish with which to finish his -picture. “Alas,” said the pope, “this man will -do nothing, for he thinks of finishing his picture -before he begins it.”</p> - -<p class='c012'>From Rome, Leonardo went to Milan, where, -with the Duke of Milan as patron, he painted -his masterpiece, “The Last Supper.” He also -made a model for a great equestrian statue -of the Duke’s illustrious father which won the -admiration of all who saw it and was regarded -as equal to anything the Greeks had ever done. -The model, which was twenty-six feet high, was -to have been cast in bronze, but Leonardo -was called away on other important duties -and the work was never completed.</p> - -<p class='c012'>Leonardo da Vinci proved to be a great -addition to the duke’s court,—his fine appearance -and his many talents made him very -popular. He invented a beautiful harp, shaped -something like a horse’s head, and charmed -the people with his music and songs. He also -helped the duke found and direct the Academy -at Milan, giving lectures there on art and science. -So his time was divided, as usual, among -his many interests.</p> - -<p class='c012'>After the duke was driven out of Milan by -the new French king, Leonardo spent several -years in Florence, and there he painted the -famous. “Mona Lisa” and other portraits.</p> - -<p class='c012'>The last years of his life were spent in France, -where the king, Francis I, gave him a castle -and a liberal pension. The king and his court -often visited Leonardo, who was regarded with -great reverence and respect, and beloved by all.</p> -<p class='c011'><b>Questions about the artist.</b> Where and -when was the artist born? What did he like -to do when he was a boy? In what ways was -he talented? Who was his teacher? Tell about -Leonardo’s painting of the angel; the shield. -Why did Leonardo not finish his paintings -for the pope? What did the pope say of him? -In what ways was he an addition to the Duke -of Milan’s court? Where was he when he -painted “Mona Lisa”? How did he spend the -last years of his life? How was he regarded by -the people?</p> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<div id='oxen' class='figcenter id010'> -<img src='images/p068.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <h2 class='c007'>OXEN GOING TO WORK</h2> -</div> -<p class='c011'><b>Questions to arouse interest.</b> What do you -find most interesting about the oxen in this -picture? In what direction are they going? -How many oxen are hitched to a plow? How -are they harnessed? Have you ever seen oxen -yoked in this way? Why don’t we use oxen now? -What time of the year is it? time of day? How -can you tell? What seems most important in -the picture? What can you see in the distance?</p> -<div class='lg-container-l c014'> - <div class='linegroup'> - <div class='group'> - <div class='line'><b>Original Picture</b>: Louvre Gallery, Paris, France.</div> - <div class='line'><b>Artist</b>: Constant Troyon (trwä yôn´).</div> - <div class='line'><b>Birthplace</b>: Sèvres, France.</div> - <div class='line'><b>Dates</b>: Born, 1810; died, 1865.</div> - </div> - </div> -</div> - -<p class='c011'><b>The story of the picture.</b> Constant Troyon -delights in showing groups of animals coming -toward us. No matter where we stand, they -seem to be coming to meet us. We can almost -hear the heavy tread of these oxen as they -plod along over the uneven ground, their great -heads held by the yokes.</p> - -<p class='c012'>We see so few oxen now, it makes us wonder -why they were used so much in those days, but -we know men did not then have the machinery -for tilling the ground and sowing and planting -grain that we now have. It is true they -did have horses, but oxen are stronger, slower, -and more steady and patient. If the ground -is rough, hilly, or full of stumps, a horse becomes -restless and is not easy to guide; but the oxen -may be depended upon to go on steadily, obeying -the commands of the driver. Then, too, -oxen were much cheaper than horses, making -it possible for more people to own them.</p> - -<p class='c012'>It was with oxen that our own country was -developed. They did all the hauling of logs, -and the heavy work that must be done in -clearing up a new, uncultivated region. They -do not require harness other than the yoke by -which they pull their load, and are guided by -the words “Gee,” meaning turn to the right, -and “Haw,” turn to the left. However, the -driver in our picture would not use these words, -for he is French and would speak in his own -language. He guides his oxen with a goad -or pole which he shakes or uses as a prod to -hurry them along. They accept their fate -with quiet resignation, even a sort of indifference, -and are very gentle. It is unusual for -them to run away, unless frightened or angry.</p> - -<p class='c012'>In spite of the fact that these oxen are all -coming toward us, no two are in the same position. -We are made to see them with all their -characteristic curves and angles.</p> - -<p class='c012'>It must be very early in the morning, for -the sun is scarcely up above the horizon, and -we can see the morning mist rising from the -earth. The smoking field, with its deep furrows, -gives us the feeling of a gradual ascent. -It is very interesting to notice the shape of the -long shadows cast in front of the oxen. Half -close your eyes as you look, and you will find -that they form a pattern or design, and that -the variety in size and shape of both the -shadows and the ground space has been carefully -studied.</p> - -<p class='c012'>Mr. Troyon has told us these oxen are on -the way to their work. We are left to decide -what that work may be. No doubt they will -soon reach the field, where they will be harnessed -to plows, and their day’s work will -begin. In the distance we can see fields, -orchards, and, at the left, another peasant -starting out with his teams of oxen.</p> - -<p class='c012'>The picture gives a pleasant feeling of vast, -roomy space all around us. There is a feeling -of energy and action, too, for the man and his -oxen are on the way to their work. Our -interest is centered on the oxen first of all, -then on the man and the landscape. With the -sun at their backs so early in the morning, -we readily determine that they are going west. -At the close of day they will again travel -over this same road, perhaps with even more -energy, although tired, for they will be going -home to be fed and to rest. They probably -take their noonday meal and rest near the -field where they labor.</p> - -<p class='c012'>Notice the knees of the oxen. We know -at once they are walking, and as we look at -them we almost find ourselves stepping to one -side that they may pass.</p> - -<p class='c012'>Troyon has put into this picture the peace -and contentment which come only to those -whose day starts out sturdily toward the -accomplishment of a share in the work of the -world.</p> -<p class='c011'><b>Questions to help the pupil understand the -picture.</b> How many oxen are coming toward -us? How many are in the same position? -How are they driven? Upon what kind of -ground are they walking? What country is -represented? Why did the people use oxen -so much in those days? When were oxen used -in our country? Why are they seldom used -now? How are oxen harnessed? Where are -these oxen going? What kind of work will -they probably do? What makes you think it -must be early in the morning? that they are -climbing a low hill? In what direction are -they going? How can we determine this? -What can we tell by the position of their knees? -Why has the artist left so much sky and land -space all around them? How is one man able -to control all these oxen?</p> -<p class='c011'><b>The story of the artist.</b> Constant Troyon’s -father and grandfather were porcelain decorators -in the little village of Sèvres, France. They -lived near the porcelain factory at Sèvres, and -so much of Constant Troyon’s life was spent -in this factory that it is said he practically -grew up within its walls.</p> - -<p class='c012'>When Troyon was only seven years old his -father died, leaving his mother with two small -sons to bring up. It was necessary for her -to do something to support them. Living -among painters and hearing so much of design, -color, and decorations, she naturally thought -of doing something along that line. After -much experimenting she succeeded in making -designs for brooches, rings, bracelets, lockets, -pins, and other ornaments. These designs were -unique, for they were made of birds’ feathers. -They were exquisite in color and sold readily, -especially to visiting foreigners, English and -American. Through the success of these bird-feather -designs, she was able to bring up and -educate her two sons.</p> - -<p class='c012'>As soon as the boys were old enough they -worked in the porcelain factory. Here Troyon -received his first training in art. His great -natural talent could not long content itself with -merely decorating china, and soon he began to -cover large canvases with his wonderful paintings -from nature.</p> - -<p class='c012'>From this time on, he spent every spare -moment out in the fields and woods. All the -inspiration, opportunity, and joy in work -which so many feel they must go so far from -home to find, Troyon found here in his home -town and neighboring woods. He painted the -first thing he came across,—trees such as we -see everywhere; paths, streams, and fields such -as we pass every day; but there is a charm in -his paintings which makes them very popular -now as it did then. He did not need the columns, -monuments, heroes, gods, or nymphs -of the past. He preferred to paint truthful -representations of the beauties of the present.</p> - -<p class='c012'>In personal appearance, Troyon has been -described as being coarse and rather rough. -Yet his cheery good nature and kind heart won -him friends wherever he went. Painting, to -him, was a diversion, a pleasure to be indulged -in only after work at the factory was finished. -Since he did not have to depend on his painting -for a living, he did not need to consider either -the pleasure of others in his work or the money -his pictures might bring. So he painted just -the things that appealed to him, regardless -of public favor. Indeed, he did not care to -exhibit his paintings at all and did so only to -please a friend who persisted in urging him. -Troyon was quite overcome by the praise his -pictures received and the popularity they -brought him.</p> - -<p class='c012'>Troyon remained in the porcelain factory -until he was twenty-one years old, then he -began to travel the country as an artist. He -painted landscapes as long as he had money -in his pocket, then he made friends with the -nearest china manufacturer and worked steadily -at his trade until he had money enough to go on.</p> - -<p class='c012'>In the factory Troyon continued working -out the small detailed designs suitable for -china, but in the open field he paid little attention -to details, his chief interest centering in the -composition as a whole. At first he had found -it difficult to paint large masses, and often the -general effect of his landscapes was lost in the -confusing details of parts of it. But one day -as he was painting near the edge of a woods, -a well-known painter of that day, Camille -Roqueplan, came and stood behind his easel -watching him. The older artist recognized -at once the talent of the young man and while -praising him for the truthfulness of his sketch, -gave him valuable suggestions which Troyon -never forgot. Although the artist Roqueplan -was eight years older than Troyon, the two -became close friends. Troyon studied under -Roqueplan and it was through his influence -that he made his first visit to The Hague. It -was after this visit that Troyon began to paint -animals and from that day dates his best work. -Later he visited his artist friend in Paris and -at length moved to Paris himself.</p> - -<p class='c012'>In 1849 Troyon was presented with the -Cross of the Legion of Honor. His pictures -were very popular indeed and during his lifetime -he became a very rich man.</p> - -<p class='c012'>People usually speak of him as a painter of -cattle, but he painted quite as many pictures -of sheep and dogs.</p> - -<p class='c012'>His early training as a designer is noticeable -in this picture. He is famous for his strong -colorings, variety, and effects in light and shade.</p> - -<p class='c012'>Some of his best known paintings are: “Great -Oak,” “Forest Depths,” “Horse Pond,” “Valley -of the Toucque” or “Heights of Suresnes.”</p> -<p class='c011'><b>Questions about the artist.</b> Who painted -this picture? What was his trade? How old -was he when his father died? What did his -mother do to earn a living? When did Troyon -learn to decorate porcelain? How did his trade -help him when he began to paint pictures? -Who taught him to paint and draw? Where -did he go to paint? What subjects did he -usually choose? Why was he so independent -of popular favor? What was his success?</p> -<div class='pbb'> - <hr class='pb c000' /> -</div> -<div class='chapter'> - <h2 id='sugg' class='c007'>THE SUGGESTIONS TO TEACHERS</h2> -</div> -<p class='c011'><b>Studying the picture.</b> Several days before the lesson is to -be taken up, the picture to be studied should be placed where -every pupil can see it.</p> - -<p class='c012'>First of all, the children should find out for themselves -what is in the picture. The questions accompanying the -story of each picture are intended to help them to do this.</p> -<p class='c015'><b>Language work.</b> The pupils should be encouraged in class -to talk freely and naturally. In this way the lesson becomes -a language exercise in which the pupils will gain in freedom -of expression and in the ability to form clear mental images.</p> - -<p class='c012'>If a lesson does not occupy the entire drawing period, the -children should be asked to retell the story of the picture.</p> -<p class='c015'><b>Dramatization and drawing.</b> Most of the stories told by the -pictures lend themselves readily to dramatization and, whenever -practicable, such stories should be acted out. The stories -also offer numerous interesting situations that may be used -as subjects for drawing lessons.</p> -<p class='c015'><b>The review lesson.</b> The review lesson should cover all pictures -and artists studied throughout the year. At this time -other pictures available by the same artists should be on -exhibition.</p> - -<p class='c012'>The review work may be conducted as a contest in which -the pictures are held up, one at a time, while the class writes -the name of the picture and the artist on slips of paper which -have been prepared and numbered for that purpose. One -teacher who used this device surprised her class by presenting -those whose lists were correct with their choice of any of the -large-sized Perry pictures studied.</p> - -<p class='c012'>Many teachers, however, will prefer to use this time for -composition work, although the description of pictures is often -given as an English lesson. Pupils may write a description of -their favorite picture. In fact, the lessons can be made to -correlate with history, geography, English, spelling, reading, or -nature study.</p> - -<p class='c012'>In any event the real purpose of the work is that the pupils -shall become so familiar with the pictures that they will recognize -them as old friends whenever and wherever they may see -them.</p> - -<p class='c012'>It is hoped that acquaintance with the picture and the -interest awakened by its story will grow into a fuller appreciation -and understanding of the artist’s work. Thus the children -will have many happy hours and will learn to love the good, -the true, and the beautiful in everything about them.</p> -<div class='pbb'> - <hr class='pb c005' /> -</div> -<p class='c012'> </p> -<div class='tnbox'> - - <ul class='ul_1 c005'> - <li>Transcriber’s Notes: - <ul class='ul_2'> - <li>Missing or obscured punctuation was silently corrected. - </li> - <li>Typographical errors were silently corrected. - </li> - <li>Inconsistent spelling and hyphenation were made consistent only when a predominant - form was found in this book. - </li> - </ul> - </li> - </ul> - -</div> -<p class='c012'> </p> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Stories Pictures Tell Book 5, by Flora Carpenter - -*** END OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 5 *** - -***** This file should be named 63114-h.htm or 63114-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/1/1/63114/ - -Produced by David Garcia, Larry B. 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