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diff --git a/old/63199-0.txt b/old/63199-0.txt deleted file mode 100644 index b6526b9..0000000 --- a/old/63199-0.txt +++ /dev/null @@ -1,2322 +0,0 @@ -Project Gutenberg's Stories Pictures Tell Book 6, 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 6 - -Author: Flora Carpenter - -Release Date: September 14, 2020 [EBook #63199] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 6 *** - - - - -Produced by David Garcia, Barry Abrahamsen, and the Online -Distributed Proofreading Team at https://www.pgdp.net - - - - - - - - - - STORIES PICTURES TELL - - - - ------------------------------------------------------------------------- - - [Illustration: Decoration] - - STORIES - PICTURES TELL - - BOOK SIX - - - - - - 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 - “Sir Galahad” _Watts_ 1 - “A Reading from Homer” _Alma-Tadema_ 13 - - - NOVEMBER, DECEMBER, AND JANUARY - - “The Golden Stairs” _Burne-Jones_ 27 - “Aurora” _Reni_ 37 - - - FEBRUARY AND MARCH - - “Avenue at Middelharnis” _Hobbema_ 47 - “The Angelus” _Millet_ 58 - - - APRIL, MAY, AND JUNE - - “Sheep in Spring” (and “Sheep _Mauve_ 68 - in Autumn”) - - Review of Pictures and Artists - Studied - - _The Suggestions to Teachers_ 78 - - ------------------------------------------------------------------------- - - - - - 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] - - - - - SIR GALAHAD - - -=Questions to arouse interest.= Who is this man? How is he dressed? What -do his armor and title “Sir” tell us he is? How many have read -Tennyson’s poems telling the story of the knights of the Round Table? -What does Sir Galahad look as if he were about to do? Why do you think -he is starting on a journey, rather than returning from one? Why do you -think it must be an important journey? How will he go? What was expected -of a knight in those days? Tell of some of their good deeds. What would -you judge the character of this knight to be? Where is he represented in -this picture? Is he walking, or standing still? looking at something in -particular, or lost in thought? Does he appear angry, meek, determined, -hesitating, thoughtful, or dreamy? What do his clasped hands indicate? -What color is the horse? Upon what part of the man and horse does the -light fall? What would you consider the main thought expressed in this -picture? - - - =Original Picture=: Collection Alexander Henderson, M.P., London, - England. - =Artist=: George Frederick Watts (wŏts). - =Birthplace=: London, England. - =Dates=: Born, 1817; died, 1904. - - -=The story of the picture.= Many wonderful stories have been told of the -famous knights of the Middle Ages, but none perhaps more interesting -than the adventures of the knight Sir Galahad when he went in search of -the Holy Grail. - -In those times the greatest praise a boy could hope to receive was “You -are brave enough to become a knight some day,” or “You are as courteous -as a knight”; and his greatest ambition was to receive this title as he -knelt before his sovereign or a superior knight. In those days boys were -carefully trained for knighthood, just as for any other profession. They -were sent away from home when very young, and spent at least ten years -under severe discipline and training. - -The boy Galahad had passed through these years of preparation. He had -been taught to be quick in action,—managing a horse so that he could -jump on or off while it was in full gallop,—to throw his spear with sure -aim, to run swiftly, to obey all commands promptly; and, more difficult -still, he had learned to wait patiently and uncomplainingly when he -could not understand why he should wait. - -Now he was twenty-one years old. Knighthood had been bestowed upon him, -according to the custom, by a blow with the flat of the sword on his -shoulder as he knelt, and the words, “Arise, Sir Galahad.” And now he -was ready to start out on his quest for the Holy Grail. - -The Holy Grail was the cup from which Christ drank at the Last Supper. -It was bought from Pilate by Joseph of Arimathæa, and placed in a castle -where it was guarded night and day. It was passed on to Joseph’s -children, who received the charge in sacred trust, continuing to guard -it faithfully. The cup itself was most mysterious and wonderful. It -could be seen only by those who were perfectly pure in word, thought, -and deed. If an evil person came near, it would seem to be borne away, -completely disappearing from view. The sight of it was as food and new -life to the one to whom it was revealed, and hence would enable him to -live forever, make him very wise, and of course preserve him from death -in battle. But there was one thing it did not do,—it did not take away -temptation to sin. No matter how perfect the knight, he could still be -tempted. He must continue to resist evil as long as he lived. - -After a time, the Holy Grail was left in the care of a king named -Amfortas, who, weakly yielding to an evil enchantment, was severely -punished. Not only was the sight of the Grail denied him, but a spell -was cast upon him and all his court, so that they lived in a sort of -trance, neither sleeping nor waking. Thus they must remain and suffer -until a knight should come, pure in body and soul, who should break the -spell and set them free. - -Many a young man began to plan the quest of the Grail. He must so live -that by his good thoughts and deeds he might reach the enchanted castle, -see the Holy Grail, and so set free the unhappy knights. He must be -perfect, indeed, if he would achieve this, and full of courage, -perseverance, and patience. - -In our picture we see Sir Galahad all ready to mount his snow-white -horse and start out on his search for the Holy Grail. He is in full -armor. His coat of mail, which all knights wore, was proof against any -opponent of the time, except one equally armed and armored. It is said -that a party of knights could ride unharmed through a host of common -soldiers. The horses, too, were protected. But if the knight were once -unhorsed and thrown upon his back, he was so weighed down by the stiff -and heavy armor that he could not rise again without help. The knight’s -weapons consisted of the lance, the two-handed sword, and a short, sharp -dagger. - -Sir Galahad had secured his sword and shield in a most mysterious way. -The sword had been discovered protruding from the side of a wonderful -rock of red marble jutting out from the surface of a river. This -wonderful sword no one had been able to draw out of the rock. But when -Sir Galahad tried, the sword came out without the slightest difficulty, -and when he placed it in his empty scabbard, it fitted there exactly. -The shield had been found by Sir Galahad in an old church, where it had -been left for him by an ancestor, and where it had remained undiscovered -for those many years. - -Then, too, when Sir Galahad came to the Round Table of King Arthur and -his knights in Camelot, he found them in the midst of a solemn meeting. -Launcelot had just declared that according to prophecy a knight should -come that very day who should occupy the Siege Perilous. The Siege -Perilous was a chair over which the magician Merlin had cast a spell: -only a stainless knight could sit in it without danger of instant death. -As Sir Galahad entered the room he was preceded by a strange old man, -whom none had ever seen before. Then the doors and windows quietly and -mysteriously closed of their own accord, and the room was filled with a -strange light. These words, in letters of fire, appeared over the chair: -“This is Galahad’s seat.” By all these mysterious happenings the knights -knew that Sir Galahad would be successful in finding the Grail, and many -accompanied him on his quest. - -Sir Galahad met with many adventures on his quest for the Grail and, in -all of them, came out victorious. At length he reached the Castle of the -Grail, and here he met his first defeat. - -Entering the castle he gazed silently about him, at the feeble old king -and at the wretched company whom he had come to free from their living -death. Before him passed the vision of the Grail, which he alone of all -that company was permitted to see. But it was not enough to see all -this; he was expected to ask the meaning of what he saw, and by his -question remove the enchantment. But, overconfident in his own -knowledge, he tried to solve the mystery without asking, and so was -forced to depart without success. - -Here, at the very moment he was about to succeed, he was found to be -possessed of the one fault, overconfidence, lacking in that humbleness -which seeks constantly for higher knowledge. Because of his failure to -ask the necessary question, the enchanted company had to continue to -suffer. His personal purity alone was not enough; wisdom was necessary, -attainable not through himself alone, but from the experience and -understanding of others. As he left the castle grounds the drawbridge -closed with a crash, there was a great sound of groaning and of voices -reproaching him for having failed in his quest, and the castle -disappeared from his sight. Much discouraged, he sought it again through -many years, until at last he found it once more, and this time, a much -wiser man, he asked the vital question, broke the wicked spell, and -eventually found the Holy Grail. - -Tennyson has given us the story in verse in his “Holy Grail.” - -This picture is one we often see in homes, as well as in schoolhouses, -and in many public buildings. It stands for the search for higher ideals -which we are all making, and so its appeal is universal. - -The earnest, uplifted face of the knight is full of youth and beauty. -The horse, with his great, intelligent eyes, seems to know the -importance of his errand. - -The light comes from before them, brightening the pathway as if it would -lead them on and on through the tangle of vines and deep woods which -opposes them. - -If you have been fortunate enough to see a suit of armor in some museum, -you know how the heavy steel coat is planned and how the helmet, which -Sir Galahad has taken off, will protect his head and face. - -It is a moment of deep meditation and prayerful thought, for Sir Galahad -is about to start out upon an undertaking in which many have failed and -in which he cannot be sure of success. There is much of humility in his -expression, nothing of the proud, dashing air of the adventurer. - -This earnest, thoughtful youth, starting out full of courage and -determination, will always have time for the little courtesies of life, -for they are a part of his creed. A true knight, he has been taught, -should defend to the uttermost the oppressed, aid the weak, and be -brave, courteous, chaste, temperate, generous, and pious. - - -=Questions to help the pupil understand the picture.= Who was Sir -Galahad? Upon what quest is he about to start? What preparation has he -made for it? How old is he now? How did he receive the title “Sir”? What -was the Holy Grail? What power had this cup? What could it not do for -the person who saw it? Why was the sight of the Grail denied to - -King Amfortas? What other punishment did he receive? Who could break -this spell? how? What did Sir Galahad hope to do? How is he dressed? -What protection was this armor? What might happen if he should be -unhorsed? What weapons did he carry? How had Sir Galahad secured his -sword and shield? Tell about the Round Table of King Arthur and the -Siege Perilous. What happened when Sir Galahad entered? Of what did all -these mysteries persuade the other knights? What happened when Sir -Galahad came to the Castle of the Grail? Why did he fail? What was the -result of this defeat? When did he succeed? What was the result? What is -the main thought expressed in this picture? - - -=The story of the artist.= George Frederick Watts was born and raised in -London, England. He learned to draw, we are told, much in the same way -he learned to talk. His parents encouraged him always, and he seems to -have had very few obstacles to overcome. - -Though Watts entered the Royal Academy school of painting at an early -age, he did not study there long. His art education was thus gained -largely by his own efforts and observation. He studied ancient Greek -sculpture closely and his work was always influenced by the classical -standard. - -Watts lived in an age when the spirit of reform was uppermost, and men -were preaching, thinking, and living it. No wonder, then, his work is -full of thoughtful purpose, urging us on to the best that is in us. - -He said, “I want to teach people to live ... to teach something higher -than money making or mere pleasure getting ... to suggest great -thoughts.” He did not paint, as many others had, for the mere pleasure -of it, or even from inspiration, but rather for some definite purpose. -In the Tate Gallery at London is a great collection of the paintings -which give the artist’s message to the world. In 1843 the Royal -Commission appointed for the decoration of the new Houses of Parliament -awarded one of the prizes to Watts for his fresco design. This enabled -him to study in Italy for three years. There he gained much in the -richness of his coloring and ease in brush-work. - -Of his paintings for the government “The First Naval Victory of the -English” and “St. George Overcomes the Dragon” are perhaps the best -known. Other famous pictures by Watts are entitled “Ganymede,” “Orpheus -and Eurydice,” and “Psyche.” In 1867 Watts became a member of the Royal -Academy. He worked very hard, producing a great many paintings. With -noble generosity he donated a large number of pictures to his country, -particularly portraits of famous men, among them Lord Tennyson, Robert -Browning, Swinburne, Dante, Gabriel Rossetti, Burne-Jones, and William -Morris. - -The last few years of his life were devoted principally to portrait -painting. When Tennyson was writing “Elaine,” he asked Watts to tell him -his idea of a good portrait, and afterwards wrote this description from -the answer: - - “As when a painter, gazing on a face, - Divinely thro’ all hindrance finds the man - Behind it, and so paints him that his face, - The shape and color of a mind and life, - Lives for his children ever at his best.” - - -=Questions about the artist.= Who was the artist, and where was he born? -What help did he have in realizing his ambition to become an artist? -What was his aim in painting pictures? Give in your own words Mr. -Watts’s idea of what a good portrait should be. What helped him to go to -Italy? What benefit did he get from his study in Italy? Name some great -men whose portraits Watts painted. - - ------------------------------------------------------------------------- - - - - - A READING FROM HOMER - - -=Questions to arouse interest.= What nationality is represented in this -picture? Why do you think so? To what are they listening? What do their -expressions indicate their feelings to be? What musical instruments do -you see in the picture? From the picture, would you say that the people -are outdoors or indoors? why? - - - =Artist=: Sir Lawrence Alma-Tadema (ăl´m_ä_-tăd´ēm_ȧ_). - =Birthplace=: Dronrijp, the Netherlands. - =Dates=: Born, 1836; died, 1912. - - -=The story of the picture.= Let us imagine ourselves in that great -walled-in city of Athens at the time of its greatest prosperity (fourth -century B.C.). At whatever gate we enter—and there are many of them—our -attention will be drawn toward the high, steep hill called the -Acropolis, around which the city is built. We may reach the top of this -hill in a chariot driven over a road of marble, or climb the marble -steps, entering the magnificent gateway where we find many beautiful -statues, temples, and altars. From this height we obtain a fine view of -the city, the sea, other small hills, temples, and flat-roofed houses. -As we look about us, we are surprised at the absence of spires or -towers. There are no high towers or tall buildings. Most of the houses -we see are one-story. The reason for this, it is said, is the frequency -of earthquakes. The exterior of the houses is very plain. They are built -of common stone, brick, or wood, coated with plaster, and so close to -the street that if the door opens outward, the owner is compelled to -knock before opening it in order to avoid injuring the passer-by in the -street. There are no windows on the lower floor at the front of the -house. - -Beside the door is a statue of Hermes (god of highways, doorways, and -boundaries and the bringer of good luck), or an altar to Apollo (god of -light and the sun, and the protector from all evil); and over the door -we may notice an inscription such as “To the good genius,” followed by -the name of the master of the house. We raise the handle of the great -knocker, and scarcely has the sound echoed back to us when the door is -opened by the porter. We must be careful to step in with our right foot -first, as it is considered unlucky to cross the threshold with the left -foot. A long corridor or hall leads us to the open court, where all is -as beautiful as the exterior is plain. Usually a fountain and flowers -brighten the marble court, while on each side of it are the banqueting, -music, sitting, and sleeping rooms, picture galleries, and libraries. - -But the Greeks spent so much time out of doors that a house was to them -only a safe place for their families and their property—a shelter from -storm. Most of the houses had porticoes or porches, and often the second -story consisted of nothing but these porches around the open court. The -flat tiled roofs were used as promenades. - -Probably the Greeks in our picture are seated on one of these porches, -or they may be in one of the summer pavilions which so many wealthy -Greeks had erected in their yards or grassy plots back of the house. -Here they spent their afternoons and were entertained with music or by -the tales of wandering minstrels or readers. - -The scene in the picture is represented as if it were in the open air; -the column and stone wall behind the reader suggest a part of a house. -In the distance we catch a glimpse of the blue sea. The slightly raised -seat of the reader indicates that it is a place built expressly for this -purpose. - -Before the Greeks wrote their stories it was the custom of certain bards -or readers to go about from place to place singing or reciting the -stories of events which have made their national history. Even when the -stories were written, these bards were in great favor, for the Greeks -preferred to hear the music of verse recited, and to feel the thrill of -enthusiasm which could be aroused by the human voice, and not by a -lifeless tablet or book. - -The swaying form of the reader, his rapt expression, his flashing eye, -his musical voice rising and falling like the sea,—these were the result -of inspiration and had power to arouse men to noble actions. In our -picture we see such a reader giving an interpretation or reading, much -as our best elocutionists do now. In his hand he holds a long scroll -from which he reads. - -The Greeks used the Egyptian papyrus, and later the more expensive, but -finer, parchment, to write upon. The reed pen was used, and double -inkstands for black and red ink, which could be fastened to the belts or -girdles of the writers. In libraries, the scrolls were arranged on -shelves with the ends outward, or in pigeon holes. The reader unrolled -one end of the scroll with one hand, while with the other he rolled up -the part he had read. - -Of all the Greek stories none were more fascinating than those of the -immortal Homer. According to tradition, Homer was a schoolmaster who, -growing tired of teaching, began to travel. Wandering about from place -to place, he finally became blind. After this great affliction came upon -him, he returned to his native town, where he dictated his two great -poems, the _Iliad_ and the _Odyssey_. Afterwards he wandered about from -town to town, singing them, and adding to them as inspiration came. It -is not even known where he was born, but, according to an old Greek -epigram, - - “Seven rival towns contend for Homer dead, - Through which the living Homer begged his bread.” - - -He was a beggar, and yet he was a welcome guest at every home, for he -could play upon his four-stringed harp and sing of the wonderful deeds -of the Greek gods and heroes. - -The subject of Homer’s _Iliad_ is the story of the siege of Troy. In a -contest between Aphrodite (Venus) and two other goddesses, Aphrodite, -the goddess of love and beauty, had promised Paris, son of the King of -Troy, that if he would declare her the most beautiful of the goddesses -he should have for his wife the handsomest woman of his time, Helen, -wife of the King of Sparta. Paris granted her request and, going to -Sparta, with Aphrodite’s aid he carried off Helen to Troy. - -Of course her husband, the King of Sparta, objected. He appealed to all -the Grecian princes to help him, and soon a hundred thousand men sailed -away in eleven hundred and eighty-six ships across the Ægean Sea, and -camped before the walls of Troy. The siege lasted ten years. - -Troy was finally taken by stratagem. The Greeks pretended to abandon the -siege, leaving behind them a great wooden horse as an offering to Athena -(Minerva), goddess of wisdom, and the special defender of citadels. - -The Trojans could not find out their reason for building the monster; -but while they were talking about it and gazing at it some shepherds -brought into the town a young Greek named Sinon, whom they had captured. -He told a pitiful story. He said the Greek leader hated him, and had -induced the Greek soothsayer to declare that he must be put to death as -a sacrifice for their safe return to Greece. He had escaped, and hidden -in a swamp until the Greeks had gone. - -The Trojans were ready to be kind to any man whom the Greeks hated, and -he was set free at once. - -“But tell us,” said the king, “why that monster of a horse was built.” - -Sinon declared it was a sacrifice to Athena because she was angry with -them. He said, “It was made too large to pass through your gates, for -they knew that if it was once within your walls it would protect you, -and victory would come to you instead of to the Greeks.” - -The Trojans believed every word of this, and ordered the huge horse -brought within their city, even though they were obliged to take down -part of the wall in order to make the opening large enough. That night -the treacherous Sinon opened a door in the body of the horse and let out -the armed Greeks who were hidden inside. They quietly slipped to the -ground by means of a rope, killed the watchmen, and opened the gates to -the Greek army which had returned and was waiting outside. A terrible -battle followed, in which nearly all the Trojans were killed. Helen was -taken back to Greece. - -In Homer’s _Odyssey_ he tells the adventures of Ulysses, King of Ithaca, -during the return journey from Troy. Ulysses had been one of the bravest -of the Greek leaders, and was one of the heroes concealed in the wooden -horse. The poem is full of vivid description and noble sentiments, both -pathetic and sublime, and it stirred the hearts of the Greeks with pride -and joy. - -It is easy to see the interest in the faces of the listeners in the -picture. Partly robed in a rose-colored garment, the reader sits on a -chair of marble, holding on his knees a roll of papyrus, from which he -is reading to a group of four persons before him. A wreath of bay leaves -crowns his head, and as he leans forward his face expresses enthusiasm -while he tells the thrilling adventures of the hero of Homer’s story. - -In the center of the background we see a woman. On her hair is a crown -of daffodils, and in her left hand something resembling a tambourine. -She half sits, half reclines, on a marble bench, a resting place which -the Greeks always preferred to chairs. On the floor near her, in an -attitude of careless ease, sits a young man who is very likely her -lover, since he is holding her hand. His face expresses his interest in -the story. In his right hand he holds a lyre, which suggests that the -company has been listening to music, and that they will enjoy it again -after this recital. - -How intent their faces are as they follow in imagination all the -adventures of their sturdy ancestors! Near the center of the picture and -stretched out gracefully on the marble floor is a youth who appears -anxious not to lose one word of the story. At the left we see a man -standing. He wears a crown of flowers on his head, and wraps his long -cloak closely about him. His face is wild and sad. His appearance seems -to tell that he has duties elsewhere and ought to leave, but is being -held by the story. - -The people are all dressed in typical Greek costumes. The dress of Greek -men and women was very much alike. When they appeared on the streets -they wore a cloak which consisted of a large square piece of cloth so -wrapped about them as to leave only the right arm free. It required much -skill to drape it gracefully, and the manner in which this was done -decided the taste and elegance of the wearer. The women and men of the -higher classes wore what they called a _chiton_, or dress which -consisted of two short pieces of cloth sewed or clasped together and -fastened over the shoulder, leaving open spaces for the arms. It was -fastened at the waist with a girdle. A man usually wore this _chiton_, -although he was considered fully dressed in the cloak alone. It was the -lower classes who wore the tanned skins, so the young man lying on the -floor is probably a servant. - -A touch of bright color is added to this picture by the flowers in the -girl’s hair and those scattered on the bench beside her. - -The flesh painting in this picture is claimed to be the most perfect -that Alma-Tadema ever did, and the painting of the girl and her lover, -one of his highest efforts. The reader is the center of interest in the -picture. The light, the lines, and the position of the figures make this -apparent. - -The painting of these five large figures occupied the artist only eight -weeks, but the preliminary studies before he began painting took eight -months. - -Alma-Tadema excelled in his painting of marble, and this picture gave -him every opportunity to display his genius, since nearly the entire -background is of marble. The delicate colors of the young girl’s -costume, with the few bright touches of color in the flowers; the -darker, richer colors of the men’s cloaks; and back of it all the clear -opalescent colors of marble and the deep blue of the sea beyond give the -picture a distinctive beauty which is most pleasing to the eye. A close -student of Greek history, Alma-Tadema has been particular to see that -every little detail is in harmony, and consistent with the age and -country. - - -=Questions to help the pupil understand the picture.= What is the center -of interest in this picture? What lines in the picture direct your eye -to the reader? How does the light do this? the position of the figures? -Tell something of Greek life; of Homer; of the siege of Troy. Why did it -take the artist eight months to get ready to paint this picture? - -=To the Teacher=: Each pupil may be asked to draw one Greek ornament -from some history, encyclopedia, or dictionary. - - - SUBJECTS FOR COMPOSITIONS - - A Day in a Greek Home. - A Greek Library. - Homer and His Writings. - A Description of “A Reading from Homer.” - The Artist. - - -=The story of the artist.= Sir Lawrence Alma-Tadema, of Dutch parentage, -was born in the little village of Dronrijp near Leewarden, the -Netherlands, in the year 1836. When he was very young his father died, -leaving his mother with a large family and small means, and it was -decided from the first that Alma-Tadema must learn a good trade or -profession. His progress at school caused his mother much anxiety, for -the boy cared for nothing except Roman history, which he began to study -by himself. Having secured some quaint old coins in the neighborhood, he -spent much of his time copying the heads of the emperors on the coins. - -He soon began to show remarkable talent for painting. A portrait which -he painted of his sister was exhibited when he was only fifteen years -old. But his mother wished him to become a lawyer, because she felt it -would bring the best financial returns. He tried to please her, but a -serious illness was the result. When the doctor advised the mother to -let him become an artist she gave her consent, and it is said the boy -recovered with astonishing rapidity. - -He studied at Antwerp many years, winning such success that he sent for -his mother and sister to come to live with him. Then he began to make a -special study of Egypt, Greece, and Rome. After his marriage to an -English lady he moved to London, where he lived the rest of his life. - -His love for marble and the polished surfaces of bronze, gold, and other -metals is clearly shown in most of his pictures. Even his portraits -usually represent the sitter as glancing in a mirror or in some way -reflected in it. - -Perhaps no other artist has ever made so much use of flowers in his -pictures. The flowers seem to add the one touch of bright color which -beautifies the whole picture. - -Alma-Tadema gives us a clear understanding of the home life of the -Greeks and Romans, and so has become known as the “Painter of the -Ancients.” - -Alma-Tadema became a British subject in 1873. His home in St. Johns -Wood, in the northwest part of London, is described as a most -interesting place. The first glimpse of it, seen through the trees, -shows the gilded weather vane in the form of a palette; later, the stone -pillars of the Roman porch. In all its details the house is carefully -and beautifully furnished: the brass knocker on the door, the entrance -into a sort of sun parlor paved with tiles and bright with beautiful -flowers, and the sound of a fountain near at hand. A flight of marble -steps leads to a hall in which beautiful painted panels (the gifts of -friends) are the chief decoration. Great tiger skins cover the floor. - -Mrs. Tadema also is an artist, and has her studio on this floor. In her -studio and the living rooms she has given full sway to her own fancy for -the sixteenth-century old Dutch, most of their contents having been -brought from the Netherlands. Alma-Tadema’s taste is purely classical, -and his studio is consistent in all respects—marble pillars, carved -wood-work, chairs, and cushions. Here he lived and worked with this -motto before him: - - “As the Sun colours Flowers - So Art colours Life.” - - -=Questions about the artist.= Of what nationality was the artist? Why -was his mother so anxious to have him learn a trade or profession? What -did he like to study? What picture did he exhibit when he was fifteen -years old? What prevented his becoming a lawyer? What countries did he -prefer to represent? What materials did he excel in painting? For what -has he become famous? - - ------------------------------------------------------------------------- - -[Illustration: THE GOLDEN STAIRS - - - - - THE GOLDEN STAIRS - - -=Questions to arouse interest.= What does this picture represent? What -is there unusual about this stairway? Why do you suppose Burne-Jones -painted the stairs without a railing? What is there unusual about these -figures? What are they carrying in their hands? Where are they going? -Where did they come from? Do they seem to be standing still or moving? -What makes you think so? Are they noisy or quiet in their movements? Why -do you think so? Why has the leader raised her hand? What can you see in -the window above the stairs? Is this a sad or a happy procession? Why do -you think so? What do you like best about this picture? - - - =Original Picture=: Private Collection of Lord Battersea, England. - =Artist=: Sir Edward Burne-Jones (bûrn-jōnz). - =Birthplace=: Birmingham, England. - =Dates=: Born, 1833; died, 1898. - - -=The story of the picture.= The artist, Burne-Jones, was a student and a -dreamer. As a small, motherless boy he had been left much alone in a -home in which storybooks were considered wicked, so there were none for -him to read. His father was a strong churchman and intended his son for -the ministry. He was endeavoring as best he knew how to fit him for his -high calling by a training which, though perfectly sincere and honest in -purpose, was rather gloomy and severe for the delicate, sensitive boy. -However, little Edward was naturally of an imaginative mind, so he made -up his own stories. A relative sent him a copy of _Æsop’s Fables_, and -this book he was permitted to keep. It seems to have brought the turning -point in the boy’s life. From that time on he dwelt in a fairyland of -his own making. - -When he was sent away to school to prepare for the ministry, he carried -his fancies with him, adding to them the many legends of Greek -mythology; of literature, especially those wonderful stories of King -Arthur’s court; and of the Bible. His desire to become an artist was -aroused by another student, William Morris, the two spending all their -spare time drawing and painting. Nevertheless, he was twenty-three years -old before he saw any of the great masterpieces in painting. - -From the very first, Burne-Jones chose subjects which were mysterious, -fairylike, and unreal, but his pictures were so filled with music, -beauty, and happiness that it was a delight to look at them. - -His idea of a good picture was very different from that of the -practical, painstaking Millet, who represented everything and everybody -as they actually appeared before him in the very field or place he had -found them. - -Burne-Jones tells us: “I mean by a picture a beautiful, romantic dream -of something that never was, never will be, in a light better than any -light that has ever shone, in a land no one can define or remember, only -dream.” And so when asked to paint a decoration for a hallway in one of -the fine old London homes he thought at once of a stairway, and the -painting of “The Golden Stairs” is the result. It would seem indeed a -dream, this angel host descending from we know not where and halting at -that mysterious closed door which leads we know not whither. But hush! -the leader has half raised her hand, turning this way as if to ask for -silence. Each figure stops instantly, holding herself motionless, while -the musical instruments are slightly lowered that all may listen more -intently. And yet, this is a joyous procession,—the gayly colored -wreaths of flowers which most of them are wearing, the musical -instruments, the happy faces, all tell us this is an errand of pleasure. -Might it not be that this host of angels is descending upon the sleeping -world to soothe the restless, worried ones, and smooth the puckered, -aching brows in quiet slumber? Lulled by their gentle music, or the -rustle of their approaching footsteps, the weary one would soon find -refreshing sleep. - -The light in the picture seems to come from above, yet is all about and -around the figures, as if they were the source of the illumination. They -come from a darkened doorway, and enter one quite as dark except for the -light they bring to it. - -The greater part of the picture is painted in shades of gray, but it is -relieved by the flesh tints, and the gayly colored flowers worn in -wreaths or scattered on the steps. Here is delicate, exquisite coloring, -and figures drawn with such careful attention to details that each seems -complete in itself, yet all are held together in one great harmony. - -It is interesting to draw an oblong of this same proportion and then -represent the curved lines in this picture; it makes us feel the -movement, swing, and rhythm which come to us like approaching music. - -The picture is full of idyllic charm which takes us away from all the -prosaic details of everyday life to a fairyland where this happy throng -may come and go with music, flowers, and delight. The calm, thoughtful -faces, so full of kindly purpose and high ideals, cannot fail to inspire -us with good thoughts. - -The dove in the upper casement window is typical of the peace that -pervades this scene. The faint, far from earthly, shadows, the bare -feet, even the stairway without a railing or protection of any kind, all -suggest that our youthful maidens are celestial beings. Their -destination we can only guess. Perhaps that is why the picture has had -several names: “The King’s Wedding,” “Music on the Stairs,” and the one -by which it is now known, “The Golden Stairs.” - -Burne-Jones made many beautiful designs for stained-glass windows, and -we can but regret that he did not produce this picture in that way also. - - -=Questions to help the pupil understand the picture.= Tell about the -boyhood and early training of the artist. What book influenced him most? -How did it affect his choice of subjects to paint? How did he happen to -become interested in art? How old was he before he first saw a great -painting? Compare the subjects chosen by Burne-Jones and by Millet as to -character and feeling. What was Burne-Jones’s idea of a good picture? -How did he happen to paint “The Golden Stairs”? For what room was it -intended? What colors did the artist use in this painting? In what ways -does it suggest music? How would you explain the destination of these -maidens? their errand? from whence they come? What would you consider -the chief charm in the picture? - - -=The story of the artist.= We have heard how the small Burne-Jones was -brought up by a rather strict but ambitious father, and perhaps have -felt sorry for the boy who used to spend hours before the windows of a -book store, gazing at the even rows of books with such wistful longing. -But we need not feel so, for it was this very desire for books and -stories that led him to use his own imaginative power. - -When he was old enough to begin serious preparation for the ministry his -father sent him to King Edward’s School. Here he earned a scholarship to -Oxford. When he left home for Oxford it seemed as if his real life had -begun, for it was here that he met friends who had the same tastes and -longings as himself. One friend in particular, William Morris, shared -with him his new-found delight in art. Both had intended to prepare for -the ministry, but now they decided to give up all else and pursue the -study of art. So at the age of twenty-three Burne-Jones left Oxford and -went to London, where he began painting in earnest. From the very first -he showed great originality both in his subjects and in his manner of -representation. - -Many of his subjects were taken from the Bible, from Greek mythology, or -from stories of King Arthur’s court. Sometimes he painted with but the -one idea of making something beautiful, as in this picture of “The -Golden Stairs.” - -Burne-Jones was fortunate in his first teacher, Rossetti, who was a man -so filled with the beauty of a scene that he must paint it for sheer -joy. In order to pay for this instruction Burne-Jones made designs for -stained-glass windows, and became famous for the beauty of these -windows. The one at Trinity Church, Boston, is called “David Instructing -Solomon in the Building of the Temple.” At Oxford is the famous Saint -Cecilia window he designed for Christ Church College. - -It seems strange that Burne-Jones should wait until he grew to manhood -before he discovered that he had the desire and the ability to draw. -Other artists tell of the years spent in longing, and their constant -struggle for the sake of their art. But when Burne-Jones made up his -mind, he spent no time in experiment or even practice. He devoted all -his time to the one idea which filled his thoughts. He made no effort -whatever to find out whether his work would meet with popular favor or -not, beginning at once with what he knew to be his right material. - -The only difference to be noticed in his first and his last paintings -was a difference in the speed and skill with which he handled the -paints. New ideas occurred to him so rapidly that he formed the habit of -making quick sketches and putting them aside until he had time to work -them out carefully. - -Burne-Jones had never rebelled against the profession his father chose -for him. Indeed, he felt satisfied and made every effort to succeed in -it. Perhaps if he had remained at home, or even if he had not met the -enthusiastic William Morris just when he did, he might never have -discovered his power as a painter. - -The knowledge of the disappointment at home and the small means at his -disposal did not hinder him from forsaking the profession his family had -chosen for him, for was he not following the advice of the great -painter, Rossetti? Not many young artists have found such a friend as -Rossetti was to Burne-Jones. He not only gave the desired instruction -but helped his pupil get such work as he was capable of doing. When the -glass makers applied to Rossetti for a design for a stained-glass -window, he declined to undertake the work but recommended his pupil -instead. - -A visit to Italy gave Burne-Jones new inspiration. Later when William -Morris married and went to live in a house which had been built for him -at Bexley Heath, he had difficulty in furnishing this house to suit his -taste and desire for beautiful things. This led Morris to establish a -firm to make such things. Of course Burne-Jones was heartily in sympathy -with his friend and put his talents as a designer at the disposal of the -firm. His wonderful imagination and fine powers of expression produced -all kinds of decorative work, such as tapestries, embroideries, carved -chests, book covers, book illustrations, and decorations for pianos, -screens, and friezes. - -Although he received so much praise in his later years, at first he, -too, had to pass through the fire of criticism and even ridicule. At one -time Burne-Jones was ridiculed in the pages of _Punch_, while in another -magazine he was spoken of as the “greenery-yallery Grosvenor-gallery -young man.” But these criticisms were soon forgotten, and all England -was proud to honor this artist with medals. In 1894 Burne-Jones was -given the title of baronet. - - -=Questions about the artist.= Tell about the boyhood of Burne-Jones; his -education. What kind of subjects did he choose for his paintings? What -was his idea of a good painting? Who was his first teacher? Why did he -wait so long before he began to study painting? What can you say of his -imagination? Tell about William Morris and his new home. What did -Burne-Jones do for his friend? - - ------------------------------------------------------------------------- - - -[Illustation: AURORA] - - - - - AURORA - - -=Questions to arouse interest.= What goddess does this represent? Whom -is she leading? Upon what do they rest? Over what are they passing? What -has Aurora in her hands? Toward whom is she looking? In what is Apollo -riding? How many horses has he? What has the cherub in his hand? Which -way does the flame blow? why? What makes you think they are moving? In -what direction do their garments blow? Who painted this picture? Why do -you like it? - - - =Original Picture=: Pavilion of the Rospigliosi Palace, Rome, Italy. - =Artist=: Guido Reni (gwē’dō rā’nē). - =Birthplace=: Bologna, Italy. - =Dates=: Born, 1575; died, 1642. - - -=The story of the picture.= Imagine yourself in that far-famed city of -Rome, driving through its white streets to the great Quirinal Palace to -see the original of our picture. The Quirinal, a very large and very -ordinary looking building, has been the scene of many interesting -events, and is always used as the meeting place for the cardinals who -elect the pope. Our drive ends here, but it is only the beginning of our -journey. After a delightful walk through a courtyard so completely -surrounded by high stone walls that we should never have guessed its -existence, we come to another palace. This palace is much more -beautiful, although not so large. It is called the Rospigliosi Palace -because it has always belonged to a family of that name. Then we pass on -through a beautiful garden of magnolias until we reach the pavilion or -casino of the palace, where we find our picture. - -There are several rooms in this pavilion, but it is the middle room -which holds our attention, for it is up on the ceiling of this room that -we see Aurora, goddess of the morning, leading the way for the fiery -steeds of Apollo, the sun god. As we enter, such a glow of color fills -the room that we know instinctively this must be the place. First, we -see Aurora herself, flying ahead, scattering the clouds of night and -showering roses and dewdrops over the sleeping earth. She looks back -toward Apollo, the sun god, to see if he is following her on his journey -around the heavens in his chariot of the sun. The horses are restless -and eager and it takes a steady hand to guide them. - -Some idea of the difficulties attending such a journey may be gained -from the Greek story of Phaëthon. According to this story, Apollo had a -son named Phaëthon. One day the boy came to him, complaining that the -other boys made fun of him when he told them who his father was. They -said they did not believe that a boy who could do nothing at all could -be the son of the mighty Apollo. This made the father very angry, and -when Phaëthon asked him to let him do something that should prove to the -world that he was Apollo’s son, Apollo told the boy he would give him -permission to do whatever he asked. - -The boy quickly asked permission to drive the sun chariot for one day. -But this request alarmed Apollo, who said, “None but myself may drive -the flaming car of day,—not even Jupiter, whose terrible right arm -drives the thunderbolts.” - -He urged his son to take back his request before it was too late, -warning him it would prove his destruction. But the boy was only the -more anxious to drive, and held his father to his promise. - -Then Apollo told Phaëthon of the journey. “The first part of the way,” -he said, “is so very steep that, although the horses start out in the -best possible condition, they can hardly climb it; the next part is so -high up in the heavens that I dare not look down upon the earth and sea -below, lest I grow dizzy and fall; the last part of the journey is the -most difficult of all, because the road descends rapidly and it is hard -to guide the horses. And all this time,” Apollo went on, “the heavens -are turning around and carrying the stars with them.” - -But even as he spoke, Aurora threw open the cloud curtains which hid the -earth, and there appeared the road upon which she cast her roses while -beckoning to the eager boy. Hardly listening to his father’s anxious -warnings, Phaëthon jumped into the golden chariot, grasped the reins of -the four fiery steeds, and off they started. - -At first he remembered what Apollo had said, and was careful, but he -soon grew reckless, driving at full speed. The horses, knowing it was -not their master’s hand, took the bits between their teeth and were soon -out of his control. For a time they followed the road, but when that was -lost they began to descend toward the earth so rapidly it seemed as if -they would be dashed to pieces. Then up again they started in reckless, -dizzy flight. At times they came so close to fields and woods as to -scorch and blacken them. Other fields they did not pass, and these were -frostbitten. - -Then a great wail of complaint went up from the earth. This cry was -heard by Jupiter, the most powerful of the gods, who, looking earth-ward -and discovering the cause of all this trouble, was very angry. With his -terrible right arm he drove a thunderbolt at the reckless youth, and in -an instant Phaëthon fell from the chariot headlong into the sea. The -horses, finding themselves free, returned to Apollo, and never since -then has any hand but his been permitted to guide them. - -The Greeks declared that the great desert of Sahara in Africa is the -place where the sun’s chariot scorched the earth, and that it was then -that the African negroes were burned black. Phaëthon’s boy friend, who -was constantly diving down into the water trying to recover his body, -was turned into a swan, and Phaëthon’s weeping sisters were changed into -poplar trees. - -In our picture we see Apollo holding the reins, accompanied by the Hours -and preceded by Aurora and the cherub torch-bearer or morning star. They -seem to be moving rapidly on their way, borne up by the clouds. The sky -is a brilliant, golden yellow, and its fleecy clouds are tinged with -purple. The graceful figures of the Hours are each represented in pale -or brighter-colored draperies according to the time of day to which they -belong. Aurora herself is clothed in rainbow hues, her draperies flying -with her swift progress. Far below we see the land and sea, wrapped in -slumber, awaiting the coming of the dawn. - - -=Questions to help the pupil understand the picture.= Where is the -original painting of the “Aurora”? What goddess does it represent? What -is the Greek myth concerning her? What part has Apollo in this picture? -How many horses does he drive? How are the Hours represented? What does -the cherub carrying a torch represent? In what direction does the flame -of the torch blow? Why is Apollo’s journey so difficult? Who was -Phaëthon? What did he ask of Apollo? Why did he wish to do this? Why was -Apollo alarmed? Tell about Phaëthon’s journey, and what happened to him. -Upon what does the chariot seem to rest? Over what are they passing? -What colors did the artist use in this painting? - - - =To the Teacher=: - - SUBJECTS FOR COMPOSITIONS - - Aurora, Goddess of the Morning. - Apollo, the Sun God. - The Story of Phaëthon, Apollo’s Son. - -=The story of the artist.= Guido Reni was born in the little village of -Bologna, Italy. As a small child he gave every promise of becoming an -accomplished musician. His father, himself a gifted performer, began to -teach him to play the flute and harpsichord as soon as he was old enough -to handle the instruments. Guido had a beautiful voice, and the father -hoped to make a fine musician of him. But the boy also had a beautiful, -sunshiny face which attracted the attention of an artist, who asked -permission to paint him as an angel in several pictures. After watching -this artist at work, Guido began to wish to paint pictures, too, and was -permitted to take a few lessons. - -His first picture was a surprise to the artist, causing him to urge -Guido’s father to allow the boy to develop his talent. About this time, -too, Guido began to make all kinds of interesting figures in clay, and -his fingers were always busy. - -At thirteen years of age he so excelled the other pupils of the artist -that he was allowed to teach some of them. - -Later Guido went to Rome, where he remained for twenty years in great -favor. He then moved to Bologna and there opened a large school for art -students. He made his home in Bologna during the rest of his life. Guido -Reni might have lived all his life in splendor and ease, for he earned -great sums of money; but as his fame grew he became more and more -extravagant in his habits, and so was always in debt. He was obliged to -paint hurriedly, and to the utmost of his genius, that he might have -more pictures to sell. - -However, his keen sense of beauty did not desert him, and his popularity -continued to the end. He was especially skillful in representing -beautiful upraised faces of women and children. One day a young nobleman -met Guido Reni and asked him where he found such lovely models for his -paintings. He said the other artists were wondering about it and thought -him very selfish to keep them to himself. Guido replied in a mysterious -voice, “Come to my studio, signor, and I will show you my beautiful -model.” So, filled with delight and eager anticipation, the nobleman -tiptoed after the artist up the stairs to the studio. You can imagine -how he must have felt when Guido Reni called his color-grinder, who has -been described as “a great greasy fellow, with a brutal look,” and posed -him. - -As the color-grinder sat quietly looking up through the skylight, Guido -took a pencil and after sketching very rapidly for a few minutes, showed -his guest a sketch of a beautiful Magdalen gazing upward. Then turning -to his visitor, he said earnestly, “Dear Count, say to your ‘other -artists’ that a beautiful idea must be in the imagination, and in that -case any model will serve.” - -Guido Reni had the greatest admiration for the paintings of Raphael and -went to Rome just to study them. - -As he loved to work with clay himself, he spent much of his time in Rome -studying the beautiful pieces of statuary there. He tells us that his -favorites were the Venus de Medici and Niobe. - -Pleasant and courteous to all, he made friends everywhere and was -greatly beloved. Once when he was very ill his friends hired musicians -to play just outside his door. This pleased him greatly, as he was -always passionately fond of music. He said to them, “And what, then, -will be the melodies of Paradise?” - -Guido Reni was a great favorite of Pope Paul V and many of his pictures -were painted for the Pope. When he returned from Rome to Bologna, he -found himself more popular than ever and quite overwhelmed with orders -for pictures. - -Of all his paintings, the “Aurora” is generally considered his best. The -story is told of a little girl who had lived all her life in the -country. Upon her first visit to her uncle in the city, she discovered a -large and splendid copy of the “Aurora” in his living room. One morning -her uncle came into the room and found his little niece gazing at the -picture in rapt admiration. - -“Well, Mary,” he said, “what do you think of it?” - -“Oh, uncle,” she replied, “I like it ‘cause they are in such a hurry.” - -So young and old have found one reason or another for liking this -picture. - -Guido Reni painted many portraits as well as many historical and -mythological pictures. Some of the best known of Guido’s paintings are: -“Reclining Venus with Cupid,” “St. Michael and the Dragon,” “Beatrice -Cenci,” “Little Bacchus Drinking,” and “The Mater Dolorosa of Solimena.” - - -=Questions about the artist.= Where was the artist born? What two -talents had he? How did he happen to study painting? How did he succeed -with his first picture? What was his progress? Why was he never rich? -What subjects did he choose? What did the young nobleman ask him? Tell -of the nobleman’s visit to the artist’s studio. Whose paintings did -Guido Reni admire greatly? What statues? How was he able to make so many -friends? What was his masterpiece? What did the little country girl say -about it? Name some of his paintings. - - ------------------------------------------------------------------------- - - -[Illustration: AVENUE AT MIDDELHARNIS - - - - - AVENUE AT MIDDELHARNIS - - -=Questions to arouse interest.= What occupies the most important part of -this picture? Describe the trees bordering the road. Where does the road -lead? What does it pass on its way to the village? Where must the artist -have been standing? why do you think so? What can you say about the -perspective of this road? How much of this picture is sky? What kind of -lines predominate—curved, straight, vertical, or horizontal? In what -country do you think it is? Why is it so level? What are the people in -the picture doing? What do you like best about this picture? - - - =Original Picture=: National Gallery, London, England. - =Artist=: Meyndert Hobbema (hŏb’ĕ mä). - =Birthplace=: Amsterdam, the Netherlands. - =Dates=: Born, 1638; died, 1709. - - -=The story of the picture.= There is a little village in the Netherlands -by the name of Middelharnis, and if we should go there to-day we should -find just such an avenue of trees as this one in our picture. The -artist, Hobbema, spent many years in this village, painting scenes in -and around it. Probably he traveled over this very road countless times. -It would seem as if we, too, were walking down the road guarded by those -tall, slender trees which border each side of it. They are poplar trees, -trimmed so high that we scarcely recognize them. They lead direct to the -little village beyond, which we see between the tree trunks. - -Since the village is almost surrounded by the North Sea, its high church -tower is not only picturesque by day but useful at night as a lighthouse -or beacon to guide the sailor to a safe port. - -In our picture the sun is half hidden in a sky as full of fleecy clouds -as the sky near the North Sea generally is. - -We must expect no hills nor elevations of any kind in the Netherlands, a -land lying lower than the ocean. The great protecting dikes and the many -canals extending in every direction make it one of the most interesting -of countries. - -In the picture we see on each side of the road a deep ditch full of -water. These ditches irrigate the land, flowing into deeper, wider -canals on which sail boats of various sizes and kinds. - -It is said that every true Hollander can skate. In the winter, when -these canals are frozen, young and old go about upon their various -errands on skates. It is a common sight then to see women skating to -market, carrying upon their heads heavy baskets filled with rolls of -butter, cheese, eggs, or other provisions. The children skate to school, -and men go about their business in this same pleasant way. It is easy to -reach all parts of the village or city by these canals, for there are so -many of them; in some cities the people have no streets, but use canals -instead. - -At the right of our picture we catch a glimpse of a thrifty, well-kept -nursery garden full of shrubs and fruit trees, which the man is busily -trimming. He works contentedly, for all about him he sees the evidences -of prosperity and peace. - -Coming toward us along this straight and level road is a huntsman -carrying his gun over his shoulder and preceded by his dog. A path leads -away from the road to the picturesque little cottage or farmhouse at the -right. Two peasants, a man and a woman, stand in the path talking. We do -not doubt they will turn to greet our hunter, for it is a friendly -countryside, where all are treated cordially. - -We cannot see much on the extreme left of the picture except the trees -which grow luxuriantly, and a flat meadow land which reaches almost to -the village. It is a common, everyday sort of landscape, yet its charm -seems to lie in this very fact. - -We would know at once if the perspective were not correct, for we have -solved just such problems ourselves with the tree tops, or perhaps -telegraph poles, and it gives us an added sense of pleasure to be able -to understand just the problem Hobbema had to solve as he placed his -easel in the middle of the road and started to paint his great canvas. - -The light is rather uncertain on this cloudy day. The artist used little -color except grays and a peculiar green which he delighted in using in -all his paintings. A touch of brighter color appears in the cheerful red -of the roofs of his houses, which suggest something of the homely -comfort and cleanliness that may be found in most Dutch homes. - -The most striking characteristic of Hobbema’s painting is his severe -combination of vertical and horizontal lines. The positive vertical -lines of the tree trunks standing so tall and straight against the wide -expanse of sky are reëchoed in the shorter but equally slender trunks of -the fruit trees in the nursery garden, and of the trees at the side of -the path leading to the farmhouse; also in the two straight figures -standing in the path, and again in the church tower in the distance. - -The horizontal lines are equally positive. They separate the garden from -the road; they appear in the road itself, and in the horizon line -beyond. If we make a sketch of the important lines in this picture, we -find them either vertical or horizontal, and much more severe in outline -than the usual diagonal or curving lines we have grown accustomed to -looking for. - -Critics seem to vary as to the feeling with which this picture inspires -them, although all agree upon its value as a masterpiece. Some declare -there is a sort of hopelessness in the landscape which suggests the -unhappy life of the artist, who often went hungry, and whose paintings -were not appreciated until after his death. To them the scene is full of -hopeless beauty, suggesting all kinds of joys which are never realized, -yet continue just out of reach throughout a long and cheerless life. So -it is a sad beauty, and gives one a feeling of desolation even in a land -where all is prosperity. - -Other critics see only the thrifty, contented life of the Netherlands -peasant, who by his intelligence and labor has overcome even the sea -itself, and compelled it, by means of dikes and canals, to add to his -safety and comfort. - -We know how much Hobbema must have loved his work, for he received no -return for it during his lifetime, unless it was the joy of work; and -yet he persevered. - -Can we not imagine him on a pleasant day, seated or standing at his -easel in the middle of this road, quite forgetting poverty and even -hunger, as he painted this beautiful landscape before him? Hobbema was -certainly daring and full of courage when he attempted so severe and -unusual a composition as this. He has placed his road almost exactly in -the center of the picture, balancing the sides quite evenly, yet he has -not made it monotonous or tiresome. The eye is constantly discovering -new beauties in the landscape or the inclosing sky. Only a master could -produce a work such as this. - - -=Questions to help the pupil understand the picture.= What country is -represented in this picture? What kind of trees are those bordering the -road? To what do they lead the eye? - -Of what use could the church tower, in the distance, be? Why is the -Netherlands such a level country? What can you see on each side of the -road? Of what use are the canals? What is the man doing in the garden? -Who else can you see in the picture? What colors did the artist use? How -can you tell whether the perspective of the road is correct or not? What -can you say of the sky? What can you say of the balance in the -composition? the kinds of lines? What kind of a day is represented? What -do some of the critics say about this picture? What is so unusual about -this composition? Why do most artists avoid placing the center of -interest in the middle of the picture? Why do you like this picture? - - -=The story of the artist.= We know very little about the artist, -Meyndert Hobbema, except that he was a Hollander possessing so great a -love for his native land that he continued to represent it on canvas in -spite of the fact that his countrymen were quite indifferent to him and -his work. His pictures were disposed of somehow, perhaps given away, for -when a hundred years after his death the world suddenly began to value -them, it was found that he had left enough canvases to have made him the -wealthiest man in the country. Yet he died in the almshouse, and was -buried beside his wife in a pauper’s grave. Now all the Netherlands -would give him honor, but so neglected was he during his life that it is -impossible to find out even where he was born. Three cities claim this -honor, but it is generally conceded that he was born at Amsterdam. It is -certain he was married and died there. We determine the date of his -birth by the date and his age as given in the record of his marriage. - -Hobbema’s paintings were so real that the people, who were used to more -fanciful, idealized pictures, thought his commonplace and of no especial -interest. Now they recognize the great sympathy with, and insight into, -the very life of their country which Hobbema possessed in rare measure. -He made it real to us, too, in his scenes of thrift and industry, -prosperity, and smiling peace. - -We are told that Hobbema was “a plain, practical, matter-of-fact” man -and his pictures make us think he must have been. Like him, they are -plain, unassuming, and natural; free from artificial grace or fancy. He -did not hunt for scenes of unusual beauty with romantic or weird -stories, but chose some pleasing view near at hand and painted it just -as it was. - -Sometimes he painted the same scene several times from exactly the same -position. If all his works could be placed in one gallery for -exhibition, we might find it rather monotonous to see so many just -alike. - -But although he did not have the inventive genius of Burne-Jones or of -many other artists, his paintings were always true to nature. He has -been called the painter of the afternoon sun because he seemed so fond -of the sunlight showing through the trees and casting long shadows -across the fields. - -Many believe that Hobbema must have been a pupil of Ruysdael’s because -their work was so much alike. We know that they lived in the same place -at the same time and it is generally believed they were friends. Dealers -often substituted the name of one for that of the other and later, when -corrections were attempted, it was impossible to tell which was -Hobbema’s work and which Ruysdael’s, because both had painted the same -subjects. - -At one time Hobbema was appointed gauger for the town. It was his duty -to measure the quantity of all liquids imported into Holland. This -position must have paid a fairly good salary, for Hobbema was married -directly after his appointment. It must have taken all his time, too, -for he painted very little for nearly twenty years. The fact that he had -a means of livelihood did not spur him on to greater efforts. He painted -only when he felt like it, not very often, and small, unimportant -pictures. Whether he lost this office before or after his wife’s death -is not known, but for some reason or other his last years were spent in -extreme poverty. - -Twenty-six years after his death his pictures began to sell, and soon -picture dealers were scouring the country for his works. - -His landscapes are not full of people, animals, or anything that might -disturb the calm, quiet restfulness of the scenes. Like Ruysdael, he too -was compelled to call upon other artists to draw the few figures he did -use, as he found this part most difficult. - -One thing we may be sure of when we look at his paintings, and that is, -they were faithful representations of the place before him. So we may -know just how this road leading to the village of Middelharnis really -looked more than two centuries ago. - -Other famous paintings by Hobbema are entitled: “Showery Weather,” -“Village with Water Mills,” “Woody Landscape,” “Ruins of Brederode -Castle,” “Forest Scene,” “Cottage in a Wood,” and “Entrance to a Wood.” - - -=Questions about the artist.= What kind of a man do you think Hobbema -must have been? Why? In what ways do his pictures resemble him? What -kind of pictures did he like to paint? What time of day? Why might an -exhibition of all his paintings prove monotonous? - -What would you consider one of the best things about his paintings? What -other great artist lived at this time and in the same place? How did -their paintings resemble each other? What office did Hobbema hold? What -were some of his duties? How did this position affect his work? What -became of his paintings? Why was he so poor? Why were his paintings not -appreciated? How are they regarded now? Why do you think Hobbema must -have loved his work? - - ------------------------------------------------------------------------- - - -[Illustration: THE ANGELUS By Permission of Braun & Co., Paris and New -York] - - - - - THE ANGELUS - - -=Questions to arouse interest.= In what attitude are these peasants -standing? What have they been doing? With what have they been working? -What can you see in the background? From what direction does the light -come? What time of day do you think it is? in what country? Why have -they stopped their work? Who of you can tell what the Angelus is? What -feeling does this picture give you—one of sadness, peace, quiet, noise -prosperity, poverty, or happiness? - - - =Original Picture=: Collection Chauchard, Paris. - =Artist=: Jean François Millet (mē´lĕ). - =Birthplace=: Gruchy, France. - =Dates=: Born, 1814; died, 1875. - - -=The story of the picture.= Although our print is only black and white, -we are made to feel the brightness of the sunset in this picture. The -horizon, veiled in a haze, shows the church tower of the distant village -faintly silhouetted against the sky, while the sinking sun casts its -long shadows across the field. But our eyes do not dwell long on sky, -church, or field, for the two figures draw our gaze. The bright rays -from the setting sun fall directly upon the woman, who faces the west; -the man, turning toward her, is partly in shadow. - -No doubt these two peasants have been working in the fields, the man -digging potatoes, as we may judge by those in the basket and the two -well-filled bags on the wheelbarrow. As he digs them, the woman gathers -them up in her basket and empties them into the sacks. Thus busily -engaged, they suddenly hear the church bell; its great tone coming far -across the field reminds them that it is the hour of prayer. So putting -down the pitchfork and basket, they stand with bowed heads as they -repeat the evening prayer. - -The artist wished to paint a picture that would make us hear the bell -sounding clearly across the deep stillness of the open field. He wished -to make us feel, as do these peasants, the quiet solemnity of the hour. - -Even as a little boy Millet was greatly impressed by the sound of the -Angelus, or bell for prayers, which was rung each morning, noon, and -night. One of his earliest remembrances was of a time when the villagers -bought new bells for the church, and he went with his mother and a -neighbor to see them before they were hung. It seems that two of the old -bells had been used to make a cannon, the third was broken, and these -new bells were in the church waiting to be baptized before they could be -hung in the tower. They seemed immense to the small boy, and of course -they must have been larger than he. Millet tells of the delight and awe -he felt when the neighbor struck the bells with the great key to the -church door, which she carried in her hand. - -No wonder, then, that this picture was one of Millet’s favorites, for it -reminded him of his boyhood home and brought back memories of the -thoughts and experiences of his childhood. Grown to manhood, and himself -a peasant, he, too, had heard the Angelus sounded forth from the village -church tower, and had dropped his work to bow his head in prayer. The -quiet and peace of such moments had left a deep impression which he -wished to share with us. - -The long stretch of field suggests the industry of the peasants; the -distant church and their bowed heads against the bright sky tell us of -their faith. - -Can you not see them on their homeward journey, the man pushing the -wheelbarrow with its heavy load, while the woman carries the basket? It -looks as if it would be a long, tiresome tramp across the uneven field -to the village so dimly visible in the distance. - -This is the time of year when the peasants’ work is hardest, for during -the winter there is little farm work to do. We are told that the women -spend their winter days in spinning, weaving cloth, and making clothes, -while the men weave baskets, make their garden tools, and do what little -work there is to do. - -The very simplicity of this landscape, with its lack of details, is part -of its great charm. The quiet dignity of the man and woman, standing -with bowed heads, the peace and quiet of the scene, and, above all, the -sound of the sweet-toned Angelus, give us a feeling of restfulness and -peace. - -The horizon line is high in this picture, yet the sky space is large -enough to contain the heads and shoulders of our two peasants. In this -way we are made to feel that although they are bound to earth and are a -part of it, their thoughts soar higher. There is another life besides -the one of toil and privation. - -At the time Millet painted this great picture he was wretchedly poor. He -sent the picture to a friend in Paris, begging him to sell it and send -the money as soon as possible. It sold for less than five hundred -dollars. Yet not many years ago a French collector paid one hundred and -fifty thousand dollars for this same picture. - - - THE ANGELUS - - “They stand within the field at prayer, - The rustic man and maid, - While silvery thro’ the amber air - The angel’s song is played! - - “They bow their heads in gratitude - For gift of life and health; - And for content—their highest good, - And love—their only wealth. - - “There is a closeness to the soil - In both their garb and mien - That tells of happiness and toil, - And quiet peace serene. - - “A lark above them sings and sings - A song of hope and youth. - Theirs is the joy of common things— - The beauty of the truth!” - —_Edward Wilbur Mason_ - - -=Questions to help the pupil understand the picture.= What time of day -does this picture represent? What can you see in the distance? In what -direction is the woman facing? How can you tell? What have these -peasants been doing? Why have they stopped their work? Why is the -picture called “The Angelus”? Tell about Millet and the new bells for -the church. Tell something of the life of these peasants. How did the -artist Millet know so much about their life? What can you say about the -composition of this picture? What was the financial condition of the -artist when he painted this picture? What did he do with this painting? -About how much is it worth now? - - -=The story of the artist.= Let us try to imagine the artist, Jean -François Millet, as a young man nineteen years old on his first visit to -the great city of Paris. Brought up on a farm among the lowliest of the -French peasants, he had met few except those with whom he labored in the -fields or those who, poorer than they, were made welcome under the ever -hospitable roof of the elder Millets. These neighbors and friends were -mostly sailors or farmers, who looked upon the journey to Paris as a -great event, as indeed it was. For weeks the kind old grandmother had -kept her spinning wheel busy, spinning and weaving the cloth for his new -suit of clothes. She was the tailor who cut, stitched, and pressed them. -All her savings of years had been sewed into a belt and given to him for -this journey. As he stood in the doorway, waiting for the old stagecoach -which presently came rattling down the stone road of the village, he -must have felt anew the great sacrifices they were all so willing to -make to send him where he could study his beloved art. - -In Paris, Millet presented an unusual appearance—six feet in height, -slender, a downy beard on his face, his brown hair hanging to his -shoulders. All his belongings were neatly packed in the sailor’s canvas -bag which he carried over his shoulder. Is it any wonder that many did -not see the straightforward, honest, manly look of the calm gray eyes? -There was in that gaze and in the rude bearing a certain quiet -confidence and strength which only the home folks recognized and valued. -The boy could draw, and draw well they knew, and had not the drawing -master of the village told them he would surely one day become a great -artist? - -Tired from the three days’ ride in the old stagecoach, jostled by the -hurrying crowds, for it was evening and all were on their way home, he -stood confused. A policeman, catching sight of the stupid-looking youth -blocking the sidewalk with his great bag, asked him where he wanted to -go. Is it any wonder that he answered, “Back to Gruchy”? We are told -that he even inquired when the next coach left for Gruchy, but there was -none until morning. - -The policeman sent him to a boarding house of moderate prices, and the -next morning he started out to find the great art gallery of the Louvre. -He had attempted to inquire the way at the boarding house, but the -boarders laughed at his Normandy accent and strange appearance and he -did not wait for the answer. And so he wandered the streets for three -days, not daring to ask the way for fear of being laughed at again, -until at last he stood before the great gallery, recognizing it at once -by the pictures he had seen of it. - -In writing of it years later, Millet says: “My feelings were too great -for words, and I closed my eyes lest I be dazzled by the sight, and then -dared not open them lest I should find it all a dream. And if I ever -reach Paradise I know my joy will be no greater than it was that first -morning when I realized that I stood within the Louvre Palace.” - -In the meantime he had found a room and place to board near by. The -landlady having suggested that he had better not carry much money about -with him, he immediately gave her all he had to keep for him; that was -the last he saw of his money. - -He spent a week just visiting the Louvre, and finally became acquainted -with a student who was copying one of the paintings. This student took -him to the artist Delaroche, who, after looking at his sketches, gladly -admitted him as a pupil. - -The other students were greatly amused at Millet’s awkward appearance -and called him the “man of the woods.” It was almost impossible to -persuade him to talk, and his answers to all questions were in -monosyllables; but if pressed too hard he could use his fists -effectively. They soon found out, too, that he could paint, and paint -well. All idea of going home was given up, and Millet spent twelve years -in Paris, enduring poverty and hunger but working faithfully and long. -When he went back to his home for a visit he was so nearly starved that -he fell fainting on the ground when he tried to work in the fields. - -Millet painted landscapes, portraits, and signs, but fortune never -seemed to smile on him long at a time. People said his pictures did not -sell because he painted such common things and such poor people instead -of choosing beautiful girls or fine gentlemen for his models. - -But he painted the people he knew about and loved best—the French -peasants—and as their lives were full of toil, he must represent them at -their labor. - -Returning to Paris, and finding his life there still one of continuous -struggle with poverty, Millet with his wife and children went to live at -Barbizon, a small village a day’s ride from Paris. Many descriptions -have been written and pictures painted of the modest white stone cottage -with its clinging vines and its thrifty gardens in which he spent the -rest of his life. - -It was not until the last few years of his life that he ceased to be -wretchedly poor, for then at last his pictures were appreciated and he -received the profit and honor that were his due. - -He died at Barbizon, January 20, 1875. - - -=Questions about the artist.= Tell about Millet’s early training and the -preparations made for his journey to Paris. How did he travel? Describe -his first evening in Paris. How did he find the great gallery of the -Louvre? Why did he not inquire the way? What became of his money? With -whom did he study, and how did this happen? What did the other students -call him? Why did they do this? How many years did he stay in Paris? -What was his success there? Why did his pictures not sell? Where did he -finally go to live? When were his paintings appreciated? - - ------------------------------------------------------------------------- - - -[Illustration: SHEEP IN SPRING] - - - - - SHEEP IN SPRING - - -=Questions to arouse interest.= What is there in this picture that -suggests the time of year? What are the sheep doing? How many have -watched sheep eat grass? Why do the shepherd and his dog stand in front -of them? Of what use is the shepherd’s crook or staff? What do you see -in the distance? Do you think this is a scene in our own country or in -some foreign country? How are the sheep farthest away represented? Where -does the light fall upon the sheep and upon the man? What kinds of lines -are there in this picture? Tell some of the duties of a shepherd; of a -shepherd’s dog. Why do sheep need so much care? Of what use are they? -Why do you like this picture? - - - =Original Picture=: Metropolitan Museum, New York City. - =Artist=: Anton Mauve (mōv). - =Birthplace=: Zaandam, the Netherlands - =Dates=: Born, 1838; died, 1888. - - -=The story of the picture.= The artist has taken us to his own native -country, showing us the beauties of the fields in spring, and giving us -much of their feeling of calm and contentment. The shepherd has led his -sheep safely past the freshly plowed field which we see at the left of -the picture, and now he stands in front of them so they will go more -slowly and eat the grass closer. If one of the sheep should go too fast -he would probably reach out with his long crook, which he would place -around the sheep’s neck, and draw it back. The dog, too, would do his -part to keep it where it ought to be. Sheep prefer to run ahead, taking -a bit of grass here and a bit there, but when they are held back by the -man and dog as in this picture, they will mow the grass as closely and -thoroughly as if a lawnmower had passed over it. - -As we look at the picture we find that, though few details are shown, -the sheep in the first row are distinct, while the rest are merely -suggested. Anton Mauve has become famous for this very thing—the -omission of minor details in his pictures and the simplicity with which -he thus tells his story. - -We feel the warmth and vigor of this beautiful day in spring, the fresh -green grass with here and there a flower to relieve the green, the soft -green leaves of the young and slender trees planted on each side of the -road at the right of the picture. This road probably leads direct to the -farmhouse we see in the distance. The long meadow, too, seems to reach -as far as that same farmhouse, and no doubt will provide pasture all -summer for the sheep. Their fleecy white wool will grow long. Then will -come sheep-shearing time, and the wool will be sent away to be woven -into cloth. - -In the picture the light falls strongly upon the backs of the sheep, on -the head and shoulders of the man, and on the wooden shoes he wears. - -The dog stands there expectant, ready to pursue any wayward sheep. It is -wonderful how much these shepherd dogs know, and how much they help -their owners. In some countries the sheep are kept out in the fields or -among the hills all night. The shepherd rolls himself up in a blanket -and sleeps securely near them, knowing full well that the faithful dog -will remain on guard, allowing none to stray away or come to harm. - -Sometimes, when the shepherd wishes to collect his flock and drive them -to the fold or inclosure for the night, many of them have wandered up -into the mountains to almost inaccessible heights, but the dog will find -them, every one. He has a way of making the sheep understand what they -are expected to do. He circles around and around them so quickly that -none can escape, and he seems to have some mysterious way of counting -them, for if one is missing off he goes, seldom failing to return with -it. - -The story is told of a shepherd who, with but one dog, was guarding -seven hundred lambs. At midnight they suddenly took fright and, dividing -into three sections, disappeared over the hills. The man could do -nothing until daylight, but the morning found the lambs gathered in a -valley and guarded by the faithful dog, from whose vigilance not one had -escaped. - -These intelligent shepherd dogs can be made to understand their masters’ -wishes even at a great distance, for they understand and obey motions -made with the hands. - -Sheep are more helpless than most animals, because they cannot defend -themselves against wild animals and because, having no sense of -locality, they are so easily lost or led astray. - -If a flock of sheep is attacked by wolves, and there are several dogs -guarding the flock, very often the dogs will circle around the sheep -until they have crowded them as close together as they can; then one of -the dogs will continue walking around them, while the others attack and -usually beat off the wolves. - -[Illustration: - - _Sheep in Autumn_ -] - -Anton Mauve has painted a companion picture to this one. The two -pictures hang on the same wall in the Metropolitan Museum, New York -City. The companion picture is called “Sheep in Autumn,” and, as the -name suggests, it represents a scene in the fall of the year. - -The first picture brings to our mind visions of green meadows, newly -ploughed fields, tender grass, and tiny green leaves, quickening into -life and beauty with the arrival of the mild days of spring; but the -second picture has a different story to tell. It is autumn now; the -leaves and grass have ripened to a reddish brown, and the grain has been -gathered from the field at the right of the picture. - -The sheep are turned away from us here, and it is not necessary for the -shepherd and his dog to hold them back. There is no young and tender -grass to tempt them, and they are going home. There are many young lambs -with the flock now, born since their mothers went out to pasture, and -they lag behind the rest as if the journey were a long one. We can -almost hear the shrill bleating of the little lambs mingled with the -deeper calls of the sheep as they move along the road. - -The shepherd, this time an old man in the autumn of his life, tenderly -carries a little weak lamb under his arm. Perhaps after it has rested, -he will take up another tired one. The dog looks older too. No doubt he -has had a hard summer of it with the care of all these sheep and their -lambs. - -By the long shadows, Mauve has told us that it is the end of the day as -well as the end of the year. - -There is a strong appeal in this picture when we think of the homecoming -of this little company—the tired young lambs following their mothers, -the tired dog that will now have a long rest, and the kind old shepherd -with the helpless lamb under his arm. - -Through both these pictures Mauve has expressed the same sympathy with, -and love for, nature and its many changes of season and weather. It is -difficult indeed to choose one for study in preference to the other, and -it is perhaps for that reason that they are usually studied together. - -In our picture of the sheep in spring, with all its suggestions of -growth and beauty, the grass and leaves are luxuriant, and yet the days -and nights are still too cool for the sheep to be sheared. When the warm -days come, the shepherd will probably drive his flock to the river or -some clear stream where, in spite of strugglings to escape, their long, -woolly coats will be scrubbed and cleaned. Then when the wool is -thoroughly dried it will be cut off with large shears and sent to the -manufactories, where it will be made into cloth for the garments we -wear. - -Long ago, in our great grandmother’s day, wool was carded, spun, and -woven into cloth by hand. Many families still keep the old spinning -wheels and hand looms which were used in those times. - - -=Questions to help the pupil understand the picture.= In what country -was this picture painted? What time of year is represented? Why does the -shepherd keep the sheep back? How can he prevent them from going too -fast? How do the sheep prefer to eat the grass? What can you see at the -right of the picture? What is on each side of this road? To what does it -lead? Of what use are the sheep? In what ways can the dog help the -shepherd? How does he keep the sheep together? Tell about the dog and -the seven hundred lambs. How can a trained dog understand his master -even at a distance? In what ways are sheep helpless? How can a dog -protect them from wolves? What is the companion picture to this one -called? How does it differ from this painting? Which one do you like -best? Why? Where are the original paintings? - - -=The story of the artist.= Anton Mauve was born near the sea in a little -village called Zaandam, the Netherlands. His father was a Protestant -clergyman in this thriving little town known for its oil and paper mills -and its extensive timber trade. When Anton was but a boy, the family -moved to Haarlem where he grew to manhood. - -His talent for drawing was soon discovered, but it did not meet with any -favor at home. His father’s strong objections to his becoming an artist -were finally overcome by a compromise. If Anton would promise to win a -diploma as a drawing master, so that he would be sure of earning his -living in case he failed as an artist, then his father would give his -consent. As definite rules were laid down for teaching drawing, and -these rules permitted little or no originality, Anton Mauve found his -promise very hard to keep. However, he persevered. When the course was -finished, he packed his grip and with little in his purse started for -the village of Oosterbeek where a number of other artists lived and -worked. Later he settled in Amsterdam where he worked hard, earning -enough with his painting to support himself. - -Mauve painted a great number of pictures, many of them in water color. -He is best known by his flocks of sheep, which he represents in all -seasons and in every kind of weather. Although he lived by the sea, very -few of Mauve’s pictures were of the sea, for he preferred the country -roads leading through green fields, with here and there a flock of sheep -or herd of cattle. He seldom painted a landscape without some figure in -it—a wood-cart, a man on horseback, a peasant woman, or a woodcutter -were his most frequent models. The birch tree, with its graceful, -silvery stem was his favorite tree. - -It is said that Mauve was in the habit of making his sketches on his -cuffs, and by keeping the colors in his mind he was able from these -suggestions to paint the pictures which soon brought him fame and honor. - - -=Questions about the artist.= Who painted this picture? Where was he -born? What compromise did he make with his father? Why did he find it -difficult to do his part? What did he do then? What subjects might we -have expected him to choose for his paintings? What subjects did he -choose? Upon what did he often make his first sketches? How did he -finish these pictures? What were his favorite models? What was his -favorite tree? - ------------------------------------------------------------------------- - - - - - 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 6, by Flora Carpenter - -*** END OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 6 *** - -***** This file should be named 63199-0.txt or 63199-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/1/9/63199/ - -Produced by David Garcia, Barry Abrahamsen, and the Online -Distributed Proofreading Team at https://www.pgdp.net - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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