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diff --git a/old/63278-0.txt b/old/63278-0.txt deleted file mode 100644 index 5bb1832..0000000 --- a/old/63278-0.txt +++ /dev/null @@ -1,3429 +0,0 @@ -Project Gutenberg's Stories Pictures Tell Book 8, 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 8 - -Author: Flora Carpenter - -Release Date: September 23, 2020 [EBook #63278] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 8 *** - - - - -Produced by David Garcia, Larry B. Harrison, Barry -Abrahamsen, and the Online Distributed Proofreading Team -at https://www.pgdp.net (This book was produced from images -made available by the HathiTrust Digital Library.) - - - - - - - - - - STORIES PICTURES TELL - - - - ------------------------------------------------------------------------- - - [Illustration: Decoration] - - STORIES - PICTURES TELL - - BOOK EIGHT - - - - - - By - FLORA L. CARPENTER - - Instructor in drawing at Waite High School, Toledo, Ohio - Formerly supervisor of drawing, Bloomington, Illinois - - - - Illustrated with Half Tones from - Original Photographs - - - - - RAND McNALLY & COMPANY - CHICAGO NEW YORK - - ------------------------------------------------------------------------- - - - - - Copyright, 1918 - BY RAND MCNALLY & CO. - - - - - - - - -[Illustration] - - ------------------------------------------------------------------------- - - - - - THE CONTENTS - - - SEPTEMBER AND OCTOBER - - PAGE - - “The Death of General West 1 - Wolfe” - - “Portrait of the Artist’s Whistler 16 - Mother” - - - NOVEMBER, DECEMBER, AND JANUARY - - - Mural Decorations and 27 - Fresco - - “The Frieze of the Sargent 29 - Prophets” - - “The Holy Grail” Abbey 57 - - - FEBRUARY AND MARCH - - - “The Wolf Charmer” La Farge 79 - American Illustrators 92 - “Evangeline” Taylor 97 - - - APRIL, MAY, AND JUNE - - - Cartoons and Caricatures 108 - - Engravings, Etchings, and 120 - Prints - - Lithography 123 - - Review of Pictures and - Artists Studied - - The Suggestions to 125 - Teachers - - ------------------------------------------------------------------------- - - - - - 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] - - - - - THE DEATH OF GENERAL WOLFE - - -=Questions to arouse interest.= What is represented in this picture? -What have these men been doing? What makes you think so? Why have they -stopped? What can you see in the distance? Do you think the soldier -running toward the group in the foreground is the bearer of good or bad -news? What makes you think so? How many of you can tell what battle has -just been fought, or something about General Wolfe? - - - =Original Picture=: Grosvenor House, London, England. - =Artist=: Benjamin West. - =Birthplace=: Springfield, Pennsylvania. - =Dates=: Born, 1738; died, 1820 - - -=The story of the picture.= It is little wonder that the artist, -Benjamin West, who overcame so many obstacles to follow his chosen -calling, should admire a man like General Wolfe, who also had a great -many difficulties to overcome. Each was born with an overwhelming -desire,—the one to be a great artist; the other to be a great soldier. -Both achieved their desire through their own earnest and praiseworthy -effort. Perhaps the greatest difficulty James Wolfe had to contend with -was his poor constitution and constant ill health. He could scarcely -endure the long marches by land or voyages by sea—yet he would shirk -neither. Duty to his country was always first. - -He was only sixteen years old when he took part in his first campaign. -Abbé H. R. Casgrain tells us: “He was then a tall but thin young man, -apparently weak for the trials of war. Moreover, he was decidedly ugly, -with red hair and a receding forehead and chin, which made his profile -seem to be an obtuse angle, with the point at the end of his nose. His -pale, transparent skin was easily flushed, and became fiery red when he -was engaged in conversation or in action. Nothing about him bespoke the -soldier save a firm-set mouth and eyes of azure blue, which flashed and -gleamed. With it all, though, he had about his person and his manner a -sympathetic quality which attracted people to him.” Although a severe -illness compelled him to give up this first campaign and return home, -Wolfe was by no means discouraged, and he later on managed to -distinguish himself for his courage and military skill. - -It was not long after this that the great William Pitt decided that -Wolfe was a man to be trusted with great things. He appointed him -commander of the English troops to be sent against Quebec. - -American history had just reached the period when all the English -colonies had been founded except Georgia, and the long struggle had come -between France and England for the possession of Canada. - -There were many older generals who thought they ought to have been -appointed to the important command in place of Wolfe, and when the -elated Wolfe made some wild boasts in their presence, they were quick to -carry them to the king and to declare that James Wolfe was a mad fool, -and not fit to command. But King George III liked Wolfe none the less -for his enthusiasm, and declared that if “General Wolfe be mad, he hoped -he would bite some of his generals.” - -But even Wolfe’s enthusiasm could not break down the strong -fortification at Quebec. The city was located on a high, rocky cliff in -itself almost inaccessible, and the natural strength of the position was -increased by the strong defense maintained by the French soldiers and -the Indians. Wolfe spent the entire summer trying to find a way to take -Quebec, and probably would not have succeeded but for a combination of -circumstances which left one part of the cliff unprotected. - -With the aid of a telescope, General Wolfe had discovered a hidden -pathway up the side of the cliff behind the city at a point which was -lightly guarded. Then came a deserter from the French army who informed -him that the French were expecting some provision boats that night. - -Without hesitation, General Wolfe ordered thirty-six hundred of his -soldiers to prepare for the assault. Under cover of night, flying a -French flag and with the aid of those of his generals who spoke French, -Wolfe and his soldiers managed to sail past the sentry and enter the -harbor in the guise of the French provision boats. In absolute silence -they sailed up the river and landed at a spot since called “Wolfe’s -Cove.” The ascent up the steep hill side was difficult but soon -accomplished, and the few guards killed or taken prisoners. All the -British soldiers successfully gained the heights and the next morning -General Wolfe lined them up for battle on a field called the “Field of -Abraham” after the name of its owner. - -The French commander, Montcalm, surprised at the presence of the enemy -on his own shore, went to meet them hurriedly and without proper -support. A fierce battle ensued in which the English were victorious, -and the French fled. General Wolfe was wounded three times in this -battle, the last time fatally. Even then he called out to those nearest -him, “Support me; let not my brave fellows see me fall. The day is ours; -keep it.” - -In our picture we see General Wolfe half supported on the ground, with -his friends about him. At the left is the messenger who, history tells -us, bore the news, “They run; see how they run!” The dying general heard -the words and asked, “Who run?” Upon hearing the answer, “The enemy,” he -exclaimed, “Now God be praised. I will die in peace.” - -This victory not only gave Canada to England, but established the -permanent supremacy of the English-speaking race in North America. Is it -any wonder, then, that Benjamin West, a good American colonist, should -be interested in this battle and wish to paint a picture of it? - -He started it with great enthusiasm, and soon had the figures sketched -in, ready to paint. West was then living in London, and Archbishop -Drummond, happening in his studio at this time, was greatly shocked -because West had dressed his men in costumes such as they actually wore. -Strange as it seems to us now, it was the custom then to use classic -models for everything, and to represent all figures as wearing Greek -costumes, no matter in what period they lived. If we remember Benjamin -West for no other reason, we shall remember him because he was the first -in England and America to change this custom. He believed we should -paint people just as they are. The archbishop tried to dissuade him from -this, and failing, he asked Sir Joshua Reynolds to talk to West. - -Finally King George III heard of the artist’s intention and sent for -him. West listened to the king with great respect, and then replied: -“May it please your Majesty, the subject I have to represent is a great -battle fought and won, and the same truth which gives law to the -historian should rule the painter. If instead of the facts of action I -introduce fictions, how shall I be understood by posterity? The classic -dress is certainly picturesque, but by using it I shall lose in -sentiment what I gain in external grace. I want to mark the time, the -place, and the people; to do this I must abide by the truth.” - -The king could not fail to be convinced by so sensible an answer, yet he -would not buy the picture. When Sir Joshua Reynolds came to look at the -finished picture he praised it unreservedly, and not only told the -artist it would be popular but predicted that it would lead to a -revolution in art. His prediction was soon fulfilled. - -King George III also greatly admired the painting, and said, “There! I -am cheated out of a fine canvas by listening to other people. But you -shall make a copy of it for me.” - -And yet the critics tell us that West, with all his love for truth in -dress, took even a greater artist’s license when he painted this -picture. He represented men as standing near Wolfe (the two generals, -Monckton and Barré) who were not there at all. These two men were -fatally wounded in the same battle, but in another part of the field. -Surgeon Adair, too, who is bending over the dying hero, was in another -part of the country at the time. The Indian warrior, who intently -watches the dying general to see if he is equal to the Indian in -fortitude and bravery, was, it is claimed, an imaginary person. - -But a far greater number of critics uphold West and consider his -painting the more valuable because he has brought into prominence a -number of the important men of that time, and linked their names in -memory with that of General Wolfe and with the cause they represented. - -It is interesting to note the manner in which the artist has grouped his -figures in the foreground. We can separate them into at least three -distinct groups, each complete in itself, yet held together by the -direction of their gaze and the position of their bodies. For a moment -these brave men have forgotten, in grief at the loss of a beloved -companion and hero, even the joy of victory for a great cause. - -The interest is centered about the dying general in many different -ways—the light, the position of other figures, the direction of their -gaze, and his position in the picture. Our attention and interest might -remain with the group in the foreground of the picture but that it is -drawn, for a moment, to the figure in the middle distance running toward -us and from that figure to the mass in the background which, though -vaguely outlined, is still distinct enough to give us the impression of -troops in action. - - -=Questions to help the pupil understand the picture.= Why did the life -of General Wolfe appeal so strongly to the artist Benjamin West? What -great obstacles did General Wolfe have to overcome? Tell about his first -campaign. Describe his personal appearance. Why did William Pitt choose -Wolfe for an important office? What feeling did this cause among the -other generals? What did George III say about General Wolfe? Explain the -difficulties to be overcome in capturing Quebec. How did the English -effect a landing? Where was the battle fought? Which army was -victorious? What events aided the English in gaining this victory? What -new idea did West introduce in this picture? Who opposed him at first? -To what did this change lead? What can you say of the composition of -this picture? What is its value as history? - - -=The story of the artist.= “What is thee doing, Benjamin?” A small boy, -hearing this question, suddenly becomes quite confused and embarrassed -as he tries to cover up a sheet of paper he has in his hand. His mother -and sister, dressed in the severely plain clothing of the Quakers, are -standing behind him, waiting for an answer. The boy looks up timidly, -his face turning red as he answers hesitatingly, “N-nothing.” - -Of course this does not satisfy his mother, and she speaks more sharply -as she asks him again what he is doing and what he has in his hand. The -boy, a little fellow of six, hands her a sheet of paper and nervously -rocks the cradle in which his baby sister is sleeping. He expects to be -punished, for he has done something that must be wrong, for he never -heard of any one else doing it. - -The mother and sister study the paper carefully, and find only a drawing -done in red and black ink. They recognize it at once as a picture of the -baby sister Sally, sound asleep, and they are pleased in spite of -themselves. The mother asks him many questions, and he tells her that as -he was taking care of his baby sister he had suddenly felt a great -desire to copy the sleeping child’s face. He had found an old quill pen -and some ink, and they could see what he had been doing. The mother -looks pleased, but says, “I do not know what the Friends would say to -such like.” However, Benjamin feels encouraged, and determines to try -again soon. - -This story is often told in giving the history of American art, because -this same Benjamin West was our first native American artist. Other -American men had copied European paintings, but his was the first -original work in America. - -Benjamin’s grandfather came to America with William Penn, the two being -intimate friends. Later the West family moved to the small town of -Springfield, Pennsylvania, where, in 1738, the grandson Benjamin was -born, growing up under the stern observances of an early Quaker home. -His father kept a small store, but the family was a large one and many -hardships had to be endured in those early days. - -At the age of seven Benjamin began to attend the village school. You -will remember that the Indians remained very friendly after their treaty -with William Penn, and that in those days they often came to visit and -trade with the settlers. The boys in this little school always looked -forward to these visits, as they liked to talk with the Indians in sign -language and to trade with them for bows and arrows and other curious -things the Indians made. - -They came one day when Benjamin had been drawing some birds and flowers -on his slate. When shown the sketches they grunted their approval and -the next time they came the big chief brought Benjamin some red and -yellow paint, the kind they used to decorate their bodies. - -How delighted Benjamin was as he ran home with his colors; but what -could he do without blue? Then his mother remembered the bluing she used -for her clothes, and gave him a piece of indigo. Now he must have a -brush. You have probably heard of how he cut the fur from the tip of the -cat’s tail, and so made a very good brush, although it did not last -long. This made it necessary for him to cut so much fur that the cat -became a sorry sight indeed. Benjamin’s father thought it must have some -disease and was about to chloroform it, when his son told him the true -state of affairs. - -Not long afterwards an uncle who was a merchant in Philadelphia sent -Benjamin a complete painter’s outfit,—paints, brushes, canvas, and all. -It is said that the day these came Benjamin suddenly disappeared from -sight and could not be found either at school, where he should have -been, or in any of his favorite haunts. - -At last his mother thought of the attic, and there she found him so -busily absorbed in painting his picture that at first he did not hear -her. She had intended to punish him, but, seeing his pictures, she -forgot all else as she said, “Oh, thou wonderful child!” - -When the uncle came to visit them he was so delighted he took Benjamin -back with him to Philadelphia, where he could have good instruction in -drawing. At eighteen he began to paint portraits. Then, after living in -New York several years, he traveled extensively in Europe, finally -settling in London, where he remained the rest of his life. - -He became court painter for King George III, and succeeded Sir Joshua -Reynolds as president of the Royal Academy, holding this position until -his death. - -Benjamin West caused one complete change in the art of England. Until -his time all art had followed the Greek ideas, the artists using the -Greek costumes for figures of men of all periods. West believed we -should paint people just as they are, so he dressed his people in the -costumes of the day. At first, of course, he was criticized severely, -but soon all the artists were following his example. Benjamin West -became the founder of a school of his own, to which young artists from -both America and England went for help and encouragement. Although he -spent the last years of his life in England, Benjamin West always -remained a patriotic American. - -The first few painters of note who followed Benjamin West were greatly -influenced by him. The list of prominent American artists is constantly -increasing. J. Walker McSpadden, in his book called _Famous Painters of -America_, has classified a few of the most prominent in a way that may -help us remember them: - -Benjamin West, the painter of destiny. - -John Singleton Copley, the painter of early gentility. - -Gilbert Stuart, the painter of presidents. - -George Inness, the painter of nature’s moods. - -Elihu Vedder, the painter of the mystic. - -Winslow Homer, the painter of seclusion. - -John La Farge, the painter of experiment. - -James McNeill Whistler, the painter of protest. - -John Singer Sargent, the painter of portraits. - -Edwin Austin Abbey, the painter of the past. - -William M. Chase, the painter of precept. - - -=Questions about the artist.= Who was the first American artist of note? -Where was he born? Of what faith were his parents? Relate the -circumstances which led to Benjamin West’s first drawing, and the -result. How old was he at that time? How did he secure his first paints? -his brushes? What gift did his uncle send him? What became of Benjamin -the day this gift was received? What did his mother say? Where did he go -to study art? In what way did he change art in England? What school did -he establish? Name five other American artists, and tell why they are -famous. - - -=To the Teacher=: Several pupils may prepare the subject-matter as -suggested here, then tell it to the class. Later, topics may be written -upon the blackboard and used as suggestive subjects for short -compositions in English. - -1. Relate an incident in the life of Benjamin West that persuaded his -parents he would be an artist. - -2. Explain some of the difficulties he had to overcome in order to -paint. - -3. What preparation did he make to become an artist? - -4. In what ways was he of special benefit to the world of art? - -5. Tell something of the progress of American painting from that time to -this. - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - PORTRAIT OF THE ARTIST’S MOTHER - - -=Questions to arouse interest.= What is the name of this picture? Who -painted it? Half close your eyes and tell what part of the picture -stands out most distinctly. Which part should be most distinct? (The -figure, especially the head, holds the center of interest.) From this -glimpse of her, describe the character and disposition of Whistler’s -mother as you would judge them to be. Give reasons. What would make you -think she was neat and orderly? Where is she sitting? How is she -dressed? What can you see in the background? - - - =Original Picture=: Luxembourg Gallery, Paris, France. - =Artist=: James McNeill Whistler. - =Birthplace=: Lowell, Massachusetts. - =Dates=: Born, 1834; died, 1903. - - -=The story of the picture.= Whistler called this picture “An Arrangement -in Gray and Black,” for he felt that the public could not be interested -in a portrait of his mother. He said, “To me, it is interesting as a -picture of my mother; but what can or ought the public to care about the -identity of the portrait?” However, this knowledge of relationship has -appealed so strongly to the people that by common consent the picture -has been renamed by them, “Whistler’s Mother,” or “Portrait of the -Painter’s Mother,” or even “Portrait of My Mother.” Then again many -critics declare the picture might well be called “A Mother,” for it -represents a type rather than an individual. The face seems to speak to -each and every one of us in a language all can understand. - -This dear old lady in her plain black dress, seated so comfortably with -her hands in her lap and her feet on a footstool, has an air of peace -and restfulness about her that is good to look upon. A feeling of -stillness and perfect quiet comes to us, and we do not at first realize -the skill of the artist in producing such an effect. - -Seated in this restful gray room, she seems to be in a happy reverie of -the days gone by. The simple dignity of the thoughtful figure is -increased by the refinement of her surroundings. A single picture and -part of the frame of another hang on the gray wall behind her. At the -left we see a very dark green curtain hanging in straight folds, with -its weird Japanese pattern of white flowers. - -All is gray and dull save the face. This contrast brings out its soft -warmth. The dark mass of the curtain with its severely straight vertical -lines, contrasted with the darker diagonal mass which represents the -figure of the mother, gives us a feeling of solemnity and reverence. The -severity of these dark masses is broken by the head and hands. The -dainty white cap with its suggestion of lace on the cap strings softens -the sweet face and relieves the glossy smoothness of her hair. In her -hands she holds a lace handkerchief which we can barely distinguish from -the lace on her cuffs. But the hands serve as an exquisite bit of light -to lead the eye back to the face, where we study again the calm and -tender dignity of the figure and the mysterious beauty of those -far-seeing eyes. - -By this very simplicity, quiet, and repose, Whistler has made us feel -the love and reverence he has for his mother. He leaves us to guess what -the mother herself may be thinking as she looks back over the life now -past. With what reluctance she may have at first consented to pose for -her portrait, believing that this great, wonderful son of hers had -better choose some younger, fairer model, more responsive to his magic -brush! But when she found his heart was set upon painting her portrait, -she would hesitate no longer. - -No doubt he knew just which dress he wished his mother to wear. We all -know the dress we like to see our own mother wear. Very likely Whistler -had planned the picture for days and knew exactly where he wished her to -sit and just how the finished portrait was to look. And the mother, with -her faith in her son’s talent, probably thought his wanting her picture -was only a token of his love for her, little realizing that this -portrait alone would make her son famous. - -We are moved by the silence and reserve of this gentle lady to an -appreciation of the love, reverence, and respect that are her due. - -Held at a distance, our reproduction of this picture seems to consist -merely of a black silhouette against a light gray wall. On closer -examination we soon discover two other values—that of the floor, which -is medium gray, and the darker mass of the curtain. - -Whistler was so fond of gray that he always kept his studio dimly -lighted in order to produce that effect. His pictures are full of -suggestions rather than actual objects or details. In his landscapes all -is seen through a misty haze of twilight, early morning, fog, or rain. -They suggest rather than tell their story. He makes us think as well as -feel. - - -=Questions to help the pupil understand the picture.= What did Mr. -Whistler call this painting? Why was the name changed? What is it often -called? why? Which name seems the most appropriate to you? What colors -did the artist use? How many values are represented in this painting? -What are they? What can you say about the division of space in the -picture? of the light and shade? of the interior of the room? - - -=To the Teacher=: Tell about the picture and the artist, or have some -one pupil prepare the story and tell it to the class. This may be -followed by a written description of the picture and a short sketch of -the artist’s life by the class, given in connection with the English -composition work. These questions may be written upon the blackboard as -a guide or suggestion. - - -=The story of the artist.= Perhaps there never was a boy more fond of -playing practical jokes than James McNeill Whistler. For this reason he -made many enemies as well as friends, for you know that, although very -amusing in themselves, practical jokes are apt to offend. - -But first we should know something about Whistler’s father and mother. -Of a family of soldiers, the father was a graduate of West Point -Military Academy, and became a major in the United States army. During -those peaceful days there was very little to keep an army officer busy, -so the government allowed its West Point graduates to aid in the -building of the railroads throughout the country. Civil engineers were -in great demand, and from a position as engineer on the Baltimore and -Ohio Railroad, Major Whistler became engineer to the Proprietors of -Locks and Canals at Lowell, Massachusetts. To Lowell, then a mere -village, Major Whistler brought his family, and here James was born. -Later the family moved to Stonington, Connecticut. - -Whistler’s mother was a strict Puritan and brought up her son according -to Puritan beliefs. Their Sundays were quite different from ours at the -present day. They really began on Saturday night for little James, for -it was then that his pockets were emptied, all toys put away, and -everything made ready for the Sabbath. On that day the Bible was the -only book they were allowed to read. - -When they lived in Stonington, they were a long distance from the church -and, as there were no trains on Sunday, the father placed the body of a -carriage on car wheels and, running it on the rails as he would a hand -car, he was able to take his family to church regularly. This ride to -church was the great event of the day for James. - -James’s first teacher at school, though a fine man, had unfortunately a -very long neck. In his wish to hide this peculiarity he wore unusually -high collars. One day little James came in tardy, wearing a collar so -high it completely covered his ears. He had made it of paper in -imitation of the teacher’s. As he walked solemnly to his seat, the whole -school was in an uproar. James sat down and went about his work as if -unconscious both of commotion and of the angry glare of his teacher. It -was not many minutes before the indignant man rushed upon him and -administered the punishment he so richly deserved. - -When James was nine years old the family moved to Russia. The Emperor -Nicholas I wished to build a railroad from the city of St. Petersburg -(now called Petrograd) to Moscow, and had sent all over Europe and -America in search of the best man to undertake this work, at last -choosing Major Whistler. It was a great honor, of course, and the salary -was twelve thousand dollars a year. Here the family lived in great -luxury until the father died. Then Mrs. Whistler brought her children -back to America to educate them. - -When only four years old James had shown considerable talent for -drawing, but although his mother admired his sketches she always hoped -and planned that her son should become a soldier like his father. So at -the age of seventeen she sent him to West Point, where he remained three -years before he was discharged for failure in chemistry. - -Although he had failed in most of his other studies, too, he stood at -the head of his class in drawing. He received much praise for the maps -he drew in his geography class, and some of them are still preserved. -Whistler himself tells us: “Had silicon been a gas, I would have been a -major general.” It was during an oral examination, after repeated -failures, that his definition, “Silicon is a gas,” finally caused his -dismissal. - -Another story is told of his examination in history. His professor said, -“What! do you not know the date of the Battle of Buena Vista? Suppose -you were to go out to dinner and the company began to talk of the -Mexican War, and you, a West Point man, were asked the date of the -battle, what would you do?” - -“Do?” said Whistler. “Why, I should refuse to associate with people who -could talk of such things at dinner.” - -Whistler’s real name was James Abbott Whistler, but when he entered West -Point he added his mother’s name, McNeill. He did this because he knew -the habit at West Point of nicknaming students, and he feared the -combination of initial letters would suggest one for him, so he -substituted McNeill for Abbott. He was called Jimmie, Jemmie, Jamie, -James, and Jim. - -The older he grew the more Whistler seemed to enjoy playing practical -jokes. Soon after he left West Point he was given a position in a -government office, but was so careless in his work he was discharged. As -he was going past his employer’s desk he caught sight of an unusually -large magnifying glass which that official used only on the most -important occasions and which was held in great awe by the employes. -Whistler quickly painted a little demon in the center of this glass. It -is said that when the official had occasion to use the great magnifying -glass again he hurriedly dropped it thinking he must be out of his head, -for all he could see was a wicked-looking demon grinning up at him. - -When Whistler began to paint in earnest he was very successful, and soon -became the idol of his friends. In fact, the admiration of his friends -proved quite a misfortune, for it sometimes made him satisfied with poor -work. A friend coming in would find a half-completed picture on his -easel and go into raptures over it, saying, “Don’t touch it again. Leave -it just as it is!” Whistler, pleased and delighted, would say he guessed -it was rather good, and so the picture remained unfinished. - -Many stories are told of the models he chose from the streets. Often -some dirty, ragged little child would find itself taken kindly by the -hand and led home to ask its mother whether it might pose for the great -artist. After some difficulty the mother would be persuaded to let the -child go just as it was, dirt and all. As soon as Whistler began to -paint, he usually forgot everything else and so at last the child would -cry out from sheer weariness. Then with a start of surprise Whistler -would say to his servant, “Pshaw! what’s it all about? Can’t you give it -something? Can’t you buy it something?” Needless to say, the child -always went home happy with toys and candy. - -Whistler saw color everywhere, and he was especially quick to feel the -beauty of color combinations. The names of his paintings suggest that -this love of color was of first importance in his work, even before the -object or person studied. So we have “A Symphony in White,” “Rose and -Gold,” “Gray and Silver,” “A Note in Blue and Opal,” and “Green and -Gold.” - - -=Questions about the artist.= Of what nationality was the artist? What -was his father’s profession? What important positions did he hold? How -did the family observe Sunday? What was the great event of the day for -James McNeill Whistler? To what country did the family move? What -happened after the father’s death? Where was James sent to school? Why -did he fail? Why did he change his name? Tell about the position in the -government office and what happened there. How did praise and admiration -affect him? Name some of his best paintings. - - ------------------------------------------------------------------------- - - - - - MURAL DECORATIONS AND FRESCO - - -The term “mural decoration” applies to the decoration of walls and -ceilings. These decorations may be done in fresco, oils, sculpture in -low relief, mosaics, carved and paneled woodwork, or tapestries. In -fresco painting a damp plaster ground is prepared on the wall, upon -which the moist colors are painted. These colors become fixed as they -dry, and appear to be a part of the wall. The work must be done while -the plaster is damp, so the painter prepares only that part of the wall -which he expects to cover that day. As it cannot be used after it is -dry, he must scrape away all that is left and prepare a new background -the next day. If the artist wishes to change any part of his picture, he -must scrape off the ground and repaint the entire picture. It is often -easy to see where the new plaster has been added, and hence how much the -artist did in one day. - -The damp atmosphere in northern countries soon destroys fresco paints, -while the warm, sunny climate of such countries as Italy and Spain -preserves them. Most of the fresco paintings of such old masters as Fra -Angelico, Raphael, Leonardo da Vinci, and Michelangelo are still to be -seen in much of their original beauty. - -In America, fresco is seldom used, as artists find that oil paints on -canvas, which may be fastened to the wall with white lead, are much more -lasting and satisfactory. - -Some of the best-known mural paintings in the United States are found in -the Boston Public Library, Boston, Massachusetts: “The Holy Grail,” by -Edwin Abbey (American); “The Frieze of the Prophets,” by John Sargent -(American); and “The Muses Welcoming the Genius of Enlightenment,” by -Chavannes (French). In the Congressional Library, Washington, D.C., the -artists represented are: Elihu Vedder (American), J. W. Alexander -(American), H. O. Walker (American), Charles Sprague Pearce (American), -Edward Simmons (American), G. W. Maynard (American), and Frederick -Dielman (American by adoption). In the Waldorf-Astoria Hotel, New York -City, E. H. Blashfield (American) and Edward Simmons are represented. At -the Carnegie Institute the work of John W. Alexander is represented, and -at the Walker Art Building, Bowdoin College, Maine, we find works by -Cox, Thayer, Vedder, and La Farge. - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - THE FRIEZE OF THE PROPHETS - - -=Questions to arouse interest.= Who were the “prophets”? How many are -represented in this picture? Relate some incident or event in the life -of any one of them. What book tells about the lives of these men? Of -what benefit were they to the world? How many groups are complete in -themselves? How are the five groups held together to form a single -composition? - - - =Original Picture=: Boston Public Library, Boston, Massachusetts. - =Artist=: John Singer Sargent (sär´j_ĕ_nt). - =Birthplace=: Florence, Italy. - =Dates=: Born, 1856. - - -=The story of the frieze.= This painting is placed on the third floor of -the Boston Public Library, Boston, Massachusetts, in what is known as -Sargent Hall. The third floor of the library contains valuable -collections of books on special subjects, and to approach these rooms we -must pass through a long, high gallery. This is Sargent Hall, named in -honor of the artist who decorated its walls. At about the time that Mr. -Abbey was asked to decorate the walls of the Delivery Room, Mr. Sargent, -also an American, received a commission to decorate both ends of this -hall or gallery. He was paid fifteen thousand dollars for the work. So -successful was he in pleasing the people, and so much enthusiasm was -aroused, that immediately an additional sum of fifteen thousand dollars -was raised by popular subscription, and Mr. Sargent was urged to -complete the decoration of the entire hall. - -The “Frieze of the Prophets” is only a part of the decorations of -Sargent Hall. Mr. Sargent has described the complete scheme of -decoration as representing “the triumph of religion, showing the -development of religion from early confusing beliefs to the worship of -the one God upon the basis of the Law and the Prophets.” - ------------------------------------------------------------------------- - - -[Illustration: - - _Elijah, Moses, Joshua. The Frieze of the Prophets_ -] - - - MOSES - -One glance at the picture tells us that the central figure, that of -Moses, is the most important among the nineteen prophets represented. Of -all the prophets Moses is considered the most ideal and superhuman, and -thus Mr. Sargent has tried to represent him. By using more conventional -lines, and by modeling the figure in low relief so that it stands out -from the rest of the picture, he has produced this distinguishing -effect. The face, beard, shoulders, arms, and Tables of the Law stand -out in the painting as if they were carved from stone. In fact, as we -look at him we think more of a monument than of a painting. The wings -crossed so stiffly make the figure seem all the more erect, while the -feathers seem to send out rays of light over the entire picture. The -earnest face with its deep-set eyes suggests the strength and courage of -that great leader who felt that upon him lay the responsibility for the -restless, ignorant idolaters whom he was to lead. - -When we read the story of the prophet’s life we are filled with wonder. -From the very first it was unusual. Moses was born at the time when the -wicked king of Egypt commanded that all boy babies of the Israelites -should be drowned. But his mother kept him hidden until he was three -months old. Then she placed him in a small boat or ark which she pushed -out among the flags and grasses of the river. - -We all know how the daughter of Pharaoh found the child and adopted him -as her own son. She named him Moses, meaning “to draw out,” for, as she -said, she had drawn him out of the water. Grown to manhood among the -Egyptians, his open sympathy for his own people caused him to be -banished. Then, in the vision of the burning bush, which burns yet never -is consumed, the Lord appeared to him and told him that he was to -deliver the people of Israel out of the hands of the Egyptians. But when -he was told to go to speak to Pharaoh his courage deserted him, and it -was not until after several miracles had been performed and divine help -promised that he was willing to go. - -Aaron, brother of Moses, went with him to ask Pharaoh to permit the -Israelites to go on a three days’ journey into the wilderness to offer -sacrifices to the Lord. But Pharaoh only laughed at them. A great many -dreadful things had to happen to Pharaoh’s people before he would give -his consent—the water was turned to blood; the land was covered with -frogs, and lice, and flies; the cattle were afflicted with a dreadful -disease; man and beast were covered with running sores; hail destroyed -most of the crops; locusts came to devour the rest, and the whole -country, except the land in which the Israelites dwelt, was cast into -darkness. During each of these scourges Pharaoh would send for Moses and -beg him to ask God to deliver the land, saying he would let the -Israelites go. But as soon as the danger was removed he would refuse to -keep his promise. - -Then came the most dreadful scourge of all—the death of the first-born -in every Egyptian home. Again Pharaoh had failed to heed the warning of -Moses. There was weeping and wailing in Egypt that day, for every home -lost a loved one. In great haste the king sent messengers to Moses, -giving the Israelites his consent to go and even urging them on their -way. - -So with their families and their worldly goods the Israelites started -out in search of the promised land under the leadership of Moses and -Aaron. They had scarcely begun their weary journey before Pharaoh -regretted having allowed them to go, and sent spies and an army after -them. But a “pillar of cloud” came between the two camps and hid the -Israelites that night. In the morning the Red Sea, over which they must -cross, divided before them and they walked across on dry land between -the walls of water. When they had passed, the waters closed in again and -destroyed the pursuing Egyptians. - -Then comes the wonderful history of those forty years’ wanderings in the -wilderness, led by clouds by day and pillars of fire by night, until the -Israelites reached the promised land. During all this time, under the -guidance of the Lord, Moses taught his people and directed them in all -their affairs. Yet they were not capable of understanding his great -spiritual convictions, for at one time, when Moses remained on Mount -Sinai forty days and forty nights communing with God, he found upon his -return that his people had made themselves an idol and were worshiping -it. Their faith seems never to have been very strong, and they were -constantly in need of the help and encouragement of their great leader. - -From Mount Sinai, Moses brought them the two stone tablets, with the Ten -Commandments written upon them. - -In his picture Mr. Sargent has represented Moses with two little horns -on his forehead. After Moses came down from Mount Sinai, where God had -spoken to him, his face shone, or, as the Bible says, “sent forth beams -or horns of light.” These horns are also shown very distinctly in -Michelangelo’s wonderful statue of Moses. - -Here we see him represented as a sort of spiritual giant, holding toward -us for our observance the two stone tablets containing the Ten -Commandments upon which all Christian living should be based. - - - JOSHUA - -During the forty years’ wandering in the wilderness many hostile tribes -were encountered and had to be subdued. Then a young man, strong, -energetic, and skillful in arms, came forward to lead the army. This -young leader was Joshua, represented at the right of Moses in the act of -sheathing his sword. - -Moses himself saw the promised land far off from the top of a mountain. -The Lord had told him to go there to look upon it, as he could not live -to reach it. Moses then spent his last days instructing his people and -their new leader, Joshua the warrior, who was to guide them to the end -of their journey. - -Having received the promise of divine help, the Israelites under their -new leader again took up the march. When they reached the River Jordan, -it, like the Red Sea, divided and allowed them to walk over on dry land; -the guarded massive walls of Jericho fell that they might enter and -possess the land. But there were still other hostile tribes to be -conquered before they could feel that the land was really theirs. They -were successful in all their battles except one, in which defeat came to -them because one man had stolen plunder and hidden it in his house -contrary to his promise to God. The sin confessed, victory returned. - -When all the land was conquered it became Joshua’s duty to divide it -among the different tribes, a long and difficult task. This -accomplished, he gathered his people together and told them that his -time of leadership was about to end. Then he made them decide for -themselves whether they would henceforth worship idols or the one God. -They vowed they would worship the one God, and Joshua caused them to -erect a monument as a reminder of their vow. - -In our picture the simple, straight lines of the figure of Joshua are -suggestive of the determined, forceful character of the man. They give -an impression of great strength. Notice how the light falls upon his -upraised arm and the straight folds of his garment. It seems to come -directly from the wings of the figure of Moses, as if to acknowledge the -wisdom and inspiration which Joshua received from the great leader. The -face of Joshua, half hidden under his hood, is thoughtful yet -determined. Here is a man of strong, steady purpose, pressing on -persistently until he, with all his people, should reach the promised -land. - - * * * * * - -Of a quite different type is the prophet Elijah, whom we see at the left -of Moses. This enthusiastic leader, regardless of physical comforts or -earthly pleasures, bends all his energies toward the one great cause. -His complete forgetfulness of self is well represented here by the -careless draperies, the intense feeling in the face, and the strained -muscles of the neck and arms. We know little about his life until the -time when he was sent as messenger to the palace of the wicked King -Ahab. This king over the Israelites lived in a magnificent palace made -of ivory and gold, with beautiful gardens about it. But his wife, -Jezebel, was a wicked woman, and a worshiper of idols, and she persuaded -Ahab to build a great temple to one of her gods, Baal, and to worship -with her. - -One day, without any warning, a strange-looking man wearing a cloak of -camel’s hair and carrying a strong staff in his hand, appeared before -Ahab in the throne room of his magnificent palace. It was Elijah, and -without even bowing to the king or showing him any respect whatever, he -delivered this dreadful message in a loud voice: “As the Lord God of -Israel liveth, before whom I stand, there shall not be dew nor rain -these years, but according to my word.” Before the astonished king could -answer, Elijah had disappeared. - -Then the Lord warned Elijah to hide by a certain brook called Cherith, -for Ahab would pursue him. Here he lived three months, fed by the ravens -and hiding in caves in the rocks, for this brook was hidden between two -hills of rock covered with leaves. But soon the brook became dry, for -there had been no rain. Then again came the message of the Lord, telling -him to go to a certain widow’s home many miles away, where he would be -taken care of. As Elijah neared the gates of the city where she lived, -he met a woman gathering sticks. He asked her for some water and bread, -but she told him she had just enough meal to make one little cake for -herself and her small son. After that they must die, for she was very -poor. She had been gathering the sticks to bake the cake. Then Elijah -told her to make a cake for him first, and not to be afraid, for the -Lord had told him her meal and oil should not give out before the rain -came. She did as he said, and, sure enough, she had as much meal and oil -as before. Then she knew this to be a man of God, and offered to let him -stay in her home. - -Elijah remained there two years, during which time the drought continued -over Israel, and Ahab sought the prophet in vain. - -Then came the voice of the Lord commanding him to go again to the king -with a message. Ahab was very angry when Elijah again appeared; but -Elijah was not afraid. He ordered Ahab to gather all the Israelites at -Mount Carmel and to bring there also the prophets of Baal, the heathen -god. But the wicked Jezebel had caused all the prophets of the -Israelites to be put to death, so that Elijah was alone against the four -hundred and fifty prophets of Baal. While he waited, Elijah spent the -time in prayer. - -When all were gathered at Mount Carmel, the king in his royal purple -robes, the false prophets in their white robes and high pointed caps, -and all the attendants, officers, and servants, the great figure of -Elijah loomed up before them, demanding in a loud voice how long they -were going to take to decide whether to serve God or Baal. None dared -reply. He told them to bring two oxen; one, the prophets of Baal should -prepare for sacrifice, the other he should prepare. Each should call -upon his God, and the God that answered by fire should be supreme. The -people thought this very fair, as Baal was supposed to be the god of -fire. - -The prophets of Baal were allowed to try first. In vain they called to -the sun, and danced about the altar, waving their arms wildly, begging -Baal to hear them and to send the fire—but there was no response. Is it -any wonder Elijah said to them: “Cry aloud: for he is a god; either he -is talking, or he is pursuing, or he is in a journey, or peradventure he -sleepeth, and must be awaked.” They continued their supplication all -day, but to no avail. - -Then Elijah called the people close around him, prepared his offering, -and commanded them to pour water over it several times and also to fill -the ditch surrounding it with water, that they might be fully persuaded. -Then Elijah’s prayer was immediately answered by a fire, which not only -burned up the offering but licked up the water around it. Then the -people were persuaded, the false prophets were slain, and rain descended -upon the land. - -But Jezebel was very angry when she heard these things, and sent word to -Elijah that he, too, should share the fate of the prophets of Baal. -Elijah fled. It was at this time he rested “under a juniper tree,” which -has since been known as an expression of discouragement. - -Again came the message of the Lord, sending him to the land of Israel, -where he should proclaim his successor, Elisha. Elijah spent the rest of -his life instructing young men, of whom Elisha was his most devoted -follower. When his work was over he was taken up into heaven in a -chariot of fire. - - - DANIEL - -Next to Elijah in the frieze stands Daniel, that stanch leader whom -nothing could dismay, not even the fear of being placed in the lions’ -den. He does not look as if he could easily be persuaded to turn aside -from what he believed was right. The fixed folds of his garment -correspond with his features and his character as we know it. In his -hands he carries a piece of parchment upon which is inscribed in Hebrew, -“And they that be wise shall shine.” - -His was an unusual life full of strange experiences. He was fourteen -years old when the people of Judah were taken captives to Babylon by the -victorious King Nebuchadnezzar. Daniel was chosen with several other -boys to be trained as pages for the king; then many strange things -happened to him. In the first place his name was changed from Daniel, -which means “God is my judge,” to Belteshazzar, after one of the idols -of the Babylonians. All the pages were given these strange heathen -names. They were treated very kindly but were expected to eat the rich -food from the king’s table, most of which had been offered to the idols. - -[Illustration: - - _Amos, Nahum, Ezekiel, Daniel. The Frieze of the Prophets_ -] - -When Daniel found this out he made his first stand for what he believed -was right. Feeling that it was wrong to eat this food, he persuaded -three of the other boys to go with him and ask the king’s officers to -give them plainer food. The officers consented to test this diet with -the four boys, and at the end of three months found they had gained in -strength more than the other pages, who had continued to eat the rich -food; and so Daniel’s request was granted. All the pages had to study -very hard, for they had to learn the language of the Babylonians besides -many other things. When they were brought before the king to be examined -three years later, Daniel and his three friends were found to be the -brightest scholars of all. People began to look up to them, and to call -them very wise. - -Not long after this King Nebuchadnezzar had a very strange dream, but -when he woke up in the morning he could not remember what it was. He -called his wise men together, but none could tell him what he had -dreamed. He became very angry and ordered them all put to death, even -Daniel and his friends, whom he thought ought to be wise enough to tell -him. - -All that night Daniel and his friends prayed for help, until, utterly -weary, they fell asleep. In a dream the Lord told Daniel what to tell -the king. King Nebuchadnezzar’s dream had been about his kingdom, and -who should rule after him, and he was amazed that one so young as Daniel -should tell him what he had dreamed and what the dream meant. He gave -Daniel many presents and made him a great ruler. - -Daniel continued in favor with Nebuchadnezzar’s successor, Darius. So -much was he favored that the other officers of the king wished to -destroy him. Appealing to his vanity, they persuaded Darius to set aside -thirty days in which all his people should pray to him just as if he -were a god. He made this dreadful law among his people, who were Medes -and Persians. Of course we know how Daniel continued to pray to God, was -watched, and reported to the king. Then King Darius saw the trap which -his officers had set for Daniel. He was greatly distressed, but not even -a king could change a law among the Medes and Persians. He had said that -any one who disobeyed his law should perish in the den of lions. - -But we know how Daniel was taken care of; how the king rejoiced to find -him alive the next morning; and how all the people marveled and believed -in the God who had saved him. At this time Daniel was eighty years old. -God sent some wonderful dreams to him, and he was able to prophesy many -things that should happen to the Jews. It was through him that they were -delivered from their captivity. - - - JEREMIAH - -At the right of Joshua we see Jeremiah, the prophet who so bitterly -lamented the afflictions of his people. He is often called the “weeping -prophet.” So Mr. Sargent has represented him in that attitude of grief -and discouragement, standing there with his eyes cast down in sorrowful -meditation. His whole life was spent in what seemed a fruitless strife -against the evils of his time, for his warnings were disregarded, and -his people were hurrying toward their destruction. - - -[Illustration: - - _Jeremiah, Jonah, Isaiah, Habakkuk. The Frieze of the Prophets_ -] - - -Mr. Sargent has made us feel the hopeless despair of this strong man who -tried so hard to save his people from all the misery they so willfully -brought upon themselves. He even went about the streets wearing a yoke -on his neck, to symbolize the coming servitude of the nation which -refused to heed his warnings and repent. His life was in constant -danger; he was imprisoned, thrown into a damp, unwholesome cistern, and -was often obliged to hide for months in caves among the rocks to escape -the king’s anger. - -Other prophets could declare God’s protection and hold out some hope for -the good to come, but Jeremiah’s message spoke only of evil and sorrow. -It took great courage to go about on so unpopular and sad a mission, -without even a miracle to prove his words true, and always alone among -people who were unfriendly and did not believe in him. - -The first one of Jeremiah’s predictions to come true was when Daniel and -the Israelites were taken captives to Babylon by King Nebuchadnezzar. -Again he warned them not to go into Egypt, but they not only went but -compelled him to go with them. - -The last we hear of Jeremiah is in Egypt, urging his people to give up -their idols and worship God. He is indeed, as Mr. Sargent has -represented him, “the prophet of sorrow”; and yet the figure is one of -strength. Neither in his face nor in his bearing is there any sign of -indecision or turning back. - - - JONAH - -Next, partly hidden from view, we see Jonah, the unwilling prophet, who -tried to run away when the Lord told him to take his message of warning -to Nineveh. The people in this city were known to be very wicked, and -Jonah feared they might kill him, so he took a boat and started away in -another direction. We all know of the fearful storm that arose and how -the sailors prayed to their gods and urged Jonah to pray to his. But -Jonah could not pray to God when he was disobeying Him. Then the sailors -drew lots, as was the custom, to find out who had sinned and brought the -fearful storm upon them. The lot fell to Jonah, who told them how he had -run away from Nineveh. He urged the sailors to throw him overboard, -saying the sea would then be still. The men did not want to do this, -but, fearful lest all should be lost, they finally threw him overboard. -At once the wind died down and the sea was still. We know how the whale -was sent to swallow Jonah and to carry him safely to the shore, where he -was left, now very willing to deliver his message to Nineveh. - -He was to tell these wicked people that in forty days their city would -be overthrown. He went about the streets dressed in a rough camel’s-hair -cloak, very much like Elijah, and called out his prophecy in a loud -voice. No wonder the people were frightened, and when he told them how -he had not wanted to bring the message and had been forced to, they were -more frightened than ever. All the people, and the king too, wept and -prayed God for forgiveness, neither eating nor drinking. Then God heard -their prayers and forgave them, and their city was not destroyed. - -But Jonah felt very much hurt because his message had not proved true. -He thought only of himself, and felt that he had been cheated. He went -away by himself and built a small place of shelter just outside the -walls of the city. Here he sat and waited, still hoping Nineveh would be -destroyed. Suddenly a tree sprang up, its dense leaves protecting him -from the hot sun. Jonah was greatly pleased and refreshed, but the tree -as suddenly withered, and he was left grieving for it. God then spoke to -him and asked him how he could grieve for the tree, yet harden his heart -against the people of Nineveh, who had repented. - -Jeremiah’s greatest grief was that the people would not heed his -warnings, while Jonah felt aggrieved because his prophecy was not -fulfilled. - -In the picture we see Jonah reading a scroll bearing the one word -“Jehovah.” - - - ISAIAH AND THE LESSER PROPHETS - -Next to Jonah we see Isaiah, the enthusiast, prophesying the coming of -Christ’s kingdom. Note how the light falls on the head and shoulders, -and on the upraised arms of the prophet, and is echoed, so to speak, by -the light on the lower folds of his robe. All lines and lights lead the -eye upward, even as Isaiah sought to lift his people up into a higher, -better world. He is the hopeful figure in this group of four. - -Habakkuk stands next with his far-seeing eyes missing the heavenly -visions which surround Isaiah, but seeing the sorrows and evils of the -world and trying in vain to remedy them. - -The next group to the right represents the three prophets of hope, -Haggai, Malacchi, and Zechariah, all pointing toward the section of the -wall where Mr. Sargent’s new painting, “The Sermon on the Mount,” will -be placed when finished. The one doubtful figure, Micah, who is looking -back, serves to hold this section of the picture to the other figures in -the frieze. - - - EZEKIEL AND THE LESSER PROPHETS - -At the left-hand side of the frieze and next to Daniel, stands Ezekiel. -Ezekiel lived at the same time as Daniel and, like him, began his -prophetic career after he was exiled to Babylon. During the twenty-seven -years of his exile he kept his fellow exiles informed as to all dangers -which were besetting and threatening their people at home in Jerusalem -and Judah. His book abounds in visions and poetical images. Mr. Sargent -has given him the absorbed expression of one who sees beyond the present -and whose vision includes both evil and good. - - -[Illustration: - - _Micah, Haggai, Malacchi, Zechariah. The Frieze of the Prophets_ -] - - -Nahum, standing next to Ezekiel, seems to be predicting the wickedness -and fall of Nineveh, of which he has given us such a powerful and vivid -account; while Amos denounces idolatry and the sins of the nations, also -predicting a brighter future for the people of Israel. - -The four figures in the last panel to the left of Moses represent the -prophets of despair. We cannot fail to notice that among the hopeful -prophets there is one discouraged figure, while among the prophets of -despair we find the hopeful figure of Hosea. - -Obadiah, Joel, and Zephaniah urged their people to repentance of sin, -and warned them of disaster to come, but their warnings were not heeded. -In the picture Joel is attempting to shut out the sight of the fearful -plague of locusts, of the famine, and of the drought which he knows must -come to his people because they will not repent. The other two prophets -seem crushed by a hopeless despair. But love is the keynote of Hosea’s -pleadings. He speaks of the unquenchable love of Jehovah for his erring -people. - -It is interesting to know that Mr. Sargent’s favorite figure in the -frieze is this young prophet in white, Hosea. Is it any wonder he should -choose this one? The name Hosea means salvation. In him we see beauty, -grace, and simplicity, and we feel the steady purpose, the earnest -faith, of that calm, quiet face. There is no despair in that face or -figure; the very folds of his robe give us a feeling of strength and -stability; they suggest marble. - - -[Illustration: - - _Obadiah, Joel, Zephaniah, Hosea. The Frieze of the Prophets_ -] - - -We are interested in this great mural painting, “The Frieze of the -Prophets,” not only for its intellectual and religious suggestiveness, -but for its composition, its masses of dark and light, and its beauty of -form. Each of the groups of figures is complete in itself, yet by the -position of the figures and by the light upon them, the frieze is held -together as one composition. - -Mr. Sargent spent many years, and studied his Bible very thoughtfully, -before he attempted to draw this great picture. - - -=Questions to help the pupil understand the picture.= Who were the -prophets? What had they to do with the development of religion? Who -painted this picture? Where is the original? What can you say of the -composition of this picture? of the light and shade? What do we call -paintings on a wall? What is there unusual about this painting? For what -do you admire it? Why was Moses given the most important place in this -picture? Tell the story of his life. Why is he often represented with -two little horns on his forehead? Tell something about each one of the -prophets. Which one is Mr. Sargent’s favorite? - - -=To the Teacher=: Certain pupils may be selected to study and give -orally a description of different portions of this picture. - - - SUBJECTS FOR COMPOSITION - - 1. How the Prophets Helped in the Development of Religion. - 2. The Most Interesting Prophet. - 3. The Most Pleasing Group of Prophets. - 4. Life of the Artist. - 5. Reasons Why This Painting Has Become Famous. - 6. How Fresco or Mural Painting Is Done. - - -=The story of the artist.= We are especially interested in Mr. Sargent -because he is one of the living American artists who has won fame both -in his own country and abroad. Although John Singer Sargent was born in -Florence, Italy, we claim him as an American because his parents were -Americans and because he has always considered himself an American. His -boyhood was spent in Florence, where it was his delight to wander in the -art galleries. He showed an early talent for drawing, and when he was -nineteen years old he went to Paris to become the pupil of some of the -best artists. - -Mr. Sargent is famous for his many portraits as well as for his mural -decorations. He has traveled extensively and has visited the United -States many times, painting and exhibiting his paintings here, but most -of his life has been spent in London, where he is now living. In 1908 he -was elected to the Royal Academy. He has won many medals of honor for -his paintings, and is a member of the leading art societies of America -and Europe. - -Among the noted pictures by Mr. Sargent are: “Carnation Lily, Lily -Rose,” “Fishing for Oysters at Cancale,” “Neapolitan Children Bathing,” -“El Jaleo” (Spanish Dance), “Fumes of Ambergris,” “Ellen Terry as Lady -Macbeth,” and “La Carmençita.” As a portrait painter Mr. Sargent has -been commissioned by men and women of high distinction in literary, -political, social, and artistic life in America and Europe. Among his -eminent sitters have been: Joseph Chamberlain, Carolus Duran, Theodore -Roosevelt, Secretary Hay, and Octavia Hill. - - -=Questions about the artist.= Why do we feel an especial interest in Mr. -Sargent? Where was he born? Why do we claim him as an American? Where -did he study drawing and painting? For what kind of paintings is he -famous? Where does he live? - - ------------------------------------------------------------------------- - - -[Illustration: - - Copyright by Edwin A. Abbey; from a Copley Print - Copyright by Curtis & Cameron, Publishers, Boston - GALAHAD THE DELIVERER. THE HOLY GRAIL -] - - - - - THE HOLY GRAIL - - -=Questions to arouse interest.= How many of you have read Tennyson’s -_The Holy Grail_? What was the Holy Grail? Why did men seek it? Tell -what you can of Sir Galahad and his adventures. - - - =Original Picture=: Public Library, Boston, Massachusetts. - =Artist=: Edwin Austin Abbey (ăb´ĭ). - =Birthplace=: Philadelphia, Pennsylvania. - =Dates=: Born, 1852; died, 1911. - - -=The story of the picture.= When asked to decorate the walls of the -Delivery Room of the Boston Public Library Mr. Abbey planned to -represent “The Sources of Modern Literature,” thinking this would be -most appropriate, as Mr. Sargent had chosen “The Sources of the -Christian Religion” for the subject of his pictures on the walls of a -gallery on the third floor of the same building. But as Mr. Abbey read -and studied the subject he became impressed with the story of the Holy -Grail, which seemed to be woven in and out through all our literature. -He realized also that he would be the first to represent this subject in -a large decoration, and that it was altogether worthy of his best -efforts. - -The paintings occupy the wall space between the wainscot and the ceiling -of this great room, where books of the library are given out and -returned. The pictures are eight feet in height, but vary in length from -the first, “The Vision,” which is six feet long, to the fifth, “The -Castle of the Grail,” which is thirty-three feet long and extends the -entire length of the north wall. - -Mr. Abbey spent seven years in careful research work before he was able -to complete these paintings. He received fifteen thousand dollars for -his work. - -According to an old legend, the Holy Grail was the cup from which Christ -drank at the Last Supper. It was bought from Pilate by Joseph of -Arimathæa, who caught in it the divine blood that fell from Christ’s -wounds. - -Joseph placed the cup in a castle, which he kept guarded night and day. -It was passed on to his descendants, who received the charge in sacred -trust and continued 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 was borne away as if by some invisible hand, completely disappearing -from view. - -The sight of it was as food to the one to whom it was revealed and -enabled him “to live and to cause others to live indefinitely without -food,” gave him “universal knowledge,” and made him invulnerable in -battle. But there was one thing it did not do. No matter how perfect the -knight, he could still be tempted. He must continue to resist temptation -as long as he lived. - -At length there came a king, keeper of the Grail, called Amfortas, the -Fisher King, who was not strong enough to resist temptation. He yielded -to an evil enchantment and 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 until a knight pure in body and soul should come -to break the spell and set them free. - -Little was known about the enchanted castle, where the king and his men -were held in the power of the spell, but 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, the stainless knight, who succeeds in -his quest of the Holy Grail. - -Mr. Abbey has told the story in fifteen pictures, beginning with Sir -Galahad as a child. - - - “THE INFANCY OF GALAHAD,” OR “THE VISION” - -Galahad was the son of Launcelot and Elaine, for it was according to an -old prophecy that these two should have a son who should become a great -knight and find the Holy Grail. - -They placed their small son in a convent to be brought up by the nuns. -In the first picture we see the child attracted by a bright light -visible to him alone. He laughs in great delight and reaches toward the -Grail as he sees it gleaming fiery red through its veil-like covering. -It is held in the hands of an angel radiant in white as the light from -the Grail illumines her face and wings. She is supported by the wings of -doves, upon which she seems to be borne along. These doves signify the -Holy Spirit and are also represented as hovering near the Grail and -acting as informants concerning good and evil. The odor of the incense -from the Grail furnishes a mysterious sustenance to the child which -causes him to grow in mind and body. He is held high in the arms of a -sweet-faced young nun who does not see the vision but seems to feel -vaguely that some unusual event is taking place. In the original -painting the bluish black of her outer robe throws into greater -prominence the creamy white of her draperies as they, too, are flooded -with light from the Grail. - -The background gives the effect of heavy tapestry and is made up of -tones of blue and white embroidered in gold. The figures of lions and -peacocks are used to signify the resurrection. - - - “THE OATH OF KNIGHTHOOD” - -When the child had grown to manhood, Sir Launcelot was summoned to make -him a knight. In this picture we see Galahad in the convent chapel, -where he has just passed the night in prayer preparatory to his -departure out into the world. - -As he kneels at the altar, he is clad in the red robe which is worn by -the hero throughout the series of pictures. Red is chosen as the color -of spiritual purity and means the “spirit cleansed by fire.” “It stands -for activity, conflict, human effort with the knowledge of good and evil -that imparts the strength to achieve the good and resist the evil.” - -The honor of knighthood is conferred upon Galahad by Sir Launcelot and -Sir Bors, who can be seen in their heavy armor kneeling behind him. They -fasten the spurs upon his feet as a signal that the moment of departure -has arrived. - - -[Illustration: - - Copyright by Edwin A. Abbey; from a Copley Print - copyright by Curtis & Cameron, Publishers, Boston - _The Oath of Knighthood. The Holy Grail_ -] - - -The time of day is shown by the two candles at the altar which have been -burning all night and are now burned low in their sockets, and by the -faint early light of dawn which comes stealing in through the small -windows at the left of the picture. Just behind the knights stand a -group of nuns, holding tall candles which light up the dark room and -reflect on the white robes and shining armor. The interior decoration of -the church is plainly shown. Our attention is drawn to the quaint -crucifix just back of the kneeling knights, and the figures surrounding -it. - -The architecture is that of the Early Christian Romanesque. Sir -Galahad’s face is partly in shadow, as if lost in deep thought. But the -moment of departure has arrived. He will take up the helmet, which lies -near him, and leave the convent for his first glimpse of the outside -world. He must go to the wise teacher, Gurnemanz, to learn not only the -rules of knighthood but the ways of the world, before he may start on -his quest of the Holy Grail. - - - “THE ROUND TABLE OF KING ARTHUR” - -Having been fully instructed in all the ways of the world by the good -Gurnemanz, Sir Galahad starts out on his quest. First he goes to the -Round Table of King Arthur and his knights in Camelot. He finds them -holding a solemn meeting, their leader having just declared that this is -the day when, according to prophecy, the stainless knight should come -who should occupy the Siege Perilous. The Siege Perilous was a chair -over which the magician, Merlin, had cast a spell, so that no man could -sit in it without peril of death. Even Merlin himself was lost while -sitting in his own chair. Only a blameless knight could hope for safety -in this perilous seat. While Arthur and the knights are discussing the -prophecy, there suddenly appears a strange old man clothed in white, -whom none has seen before. - -He comes toward the throne of King Arthur, leading Sir Galahad by the -hand. The door and windows quietly and mysteriously close of themselves; -the room is filled with a strange light. The Angel of the Grail appears -before them, and gently lifts the red drapery from the chair. The -encircling choir of angels look on silently as all read above the chair, -in letters of fire, the flaming words, “This is Galahad’s seat.” - -This picture shows them at that breathless moment when the letters of -golden light appeared over the chair. King Arthur has risen from his -seat to greet Sir Galahad; a small page kneels beside the king, while -the jester half rises at the wondrous sight. Sir Galahad wears the same -red robe, fastened with a golden brown girdle—a gift from the nuns when -he was leaving the convent. - - - “THE DEPARTURE” - -A wonderful rock of red marble has been discovered, protruding from the -surface of a river. From its side projects a shining sword which none -has been able to draw out. The king and his knights hasten to see this -sword, but none succeeds in moving it. Now Sir Galahad arrives and draws -the sword without the slightest difficulty, placing it in his empty -scabbard, where it fits exactly. He also secures a shield which had been -left for him by his ancestor, and, thus armed, he is ready to start out -in search of the Grail. Most of the knights, persuaded by this series of -strange events that Sir Galahad is to be the true knight, decide to join -him in his search. - -Before they start on their long and perilous journey they gather in the -church for a final benediction. So here again we see the interior of a -church. The bishop’s hands are raised in a parting benediction over the -group of kneeling knights clad in shining armor and holding their lances -erect. Many strange banners float above them. Sir Galahad alone has -bared his head. His helmet is on the floor beside him. Other kneeling -priests may be seen just behind the bishop. The scene is one of -solemnity and dignity. - - - “THE CASTLE OF THE GRAIL AND THE FAILURE OF GALAHAD” - -King Amfortas, keeper of the Grail, who yielded to temptation and so was -denied the sight of the Grail, and his knights, upon whom was cast a -fearful spell which was neither sleeping nor waking, anxiously await the -arrival of Galahad. But, it is not enough that he should come; he must -ask a certain question which alone can free them from their living -death. - -Here we see Sir Galahad in the enchanted castle, a puzzled onlooker. He -looks silently about him at the feeble old king and his wretched -company. He sees, too, the procession of the Grail, which, although the -king and his court cannot see it, is constantly passing before them. -This procession includes the Angel, bearer of the Grail, a damsel -carrying a golden dish, two knights who carry seven-branched -candlesticks, and a knight holding a bleeding spear. - -Sir Galahad must ask the meaning of what he sees and by his question -remove the enchantment. But, over-confident in his own knowledge, he -tries to solve the mystery by himself, and fails. The procession of the -Grail is shown to the right of the throne upon which King Amfortas half -sits, half reclines, while the rest of the weird company look solemnly -on as Sir Galahad stands transfixed with amazement and perplexity -because the spell is not removed as he expected. Because of his failure -to ask the necessary question, these people must continue to suffer. -Several years later he returns, a wiser man, and releases them. Personal -purity alone was not enough; wisdom was necessary, and to secure this he -must ask a certain question. He could not attain knowledge through -himself alone, but must seek it from the experience and understanding of -others. - - - “THE LOATHLY DAMSEL” - -The next morning after his failure the castle seems deserted, but when -Galahad starts out he finds his horse saddled and waiting for him. The -drawbridge is down, so thinking perhaps the king and knights are in the -forest, he rides across the bridge in search of them. Instantly the -drawbridge closes with a crash, and there is a great sound of groaning -and of voices reproaching him for having failed in his quest. The castle -disappears from sight, and Galahad roams disconsolately in the woods. -Finally he sits down to rest and think. He is aroused by the passing of -three enchanted maidens, the Loathly Damsel and her two followers. - -In the picture we see her riding a white mule richly caparisoned. Her -form suggests beauty, yet the face is ugly and distorted, her head bald -so that she must wear a hood. In her hands she carries the ghastly head -of a king wearing a crown, and she seems depressed by her burden. Forced -by the spell to go about harming mankind against her will, she is angry -with Sir Galahad for having failed to release her. In her anger she -reproaches him for not having asked the question while within the -castle, and so here for the first time Sir Galahad learns why he failed. - -Once a beautiful woman, the Loathly Damsel must ride about thus -unhappily. The head and shoulders are all that is visible of the second -damsel, apparently riding. The third, dressed as a boy, carries a -scourge with which she forces the two mules onward. - -Sir Galahad bows his head in silence at their reproaches, humbly feeling -that he deserves them. - -Many years of sorrow and suffering must pass before he can again find -the Castle of the Grail. - - - “THE CONQUEST OF THE SEVEN DEADLY SINS” - -Continually seeking the Castle of the Grail, Sir Galahad wanders about -in this enchanted land. At length, catching a glimpse of a strange -castle, he makes haste to reach it, and finds it to be the Castle of -Imprisoned Maidens. These maidens represent the Virtues; and their -jailers, the Seven Deadly Sins. Arriving at the gate of the castle, he -finds it guarded by these seven knights. A fierce conflict ensues in -which Sir Galahad is victorious. This is the only picture in the series -in which he is represented in violent physical conflict; the others -represent more of the inner spiritual conflict. The seven knights, -wearing heavy armor and carrying immense shields, are represented in -dull gray colors, while our hero, wearing his chain armor over his red -robe, is easily distinguished by the shining gold of his helmet and the -red of his shield. - - - “THE KEY TO THE CASTLE” - -Sir Galahad defeats the seven knights but he does not slay them, and -they turn and flee. This signifies that although the seven sins can no -longer trouble the pure soul, yet they are still about in the world. - -Passing the outer gate, Sir Galahad is greeted by the keeper of the -inner gate, an aged man who blesses him and gives him the key to the -castle. With helmet in hand, Sir Galahad kneels reverently before the -saintly man who greets him kindly as he holds toward him the great key. - - - “GALAHAD DELIVERS THE CAPTIVE VIRTUES” - -Sir Galahad enters the castle and is welcomed by the maidens, who have -long been expecting him, for it was according to prophecy that a perfect -knight should come to deliver them. - -Mr. Abbey has represented these maidens as most beautiful in form and -feature. They are dressed in pale colors such as blue, white, rose, and -lilac, richly embroidered with gold. Our hero is turned away from us as -he humbly receives the shyly offered gratitude of the fair maidens. His -helmet and shield may be seen on the floor beside him. In size and -importance this large picture is a sort of companion picture to the one -on the opposite side of the room, “The Round Table of King Arthur.” Both -are beautiful in color and symmetry. - - - “GALAHAD PARTS FROM HIS BRIDE, BLANCHEFLEUR” - -Having released the imprisoned Virtues that they may go about in the -world doing good, Sir Galahad returns to King Arthur’s court and marries -the Lady Blanchefleur, to whom he had become betrothed while a pupil of -Gurnemanz. - -On his wedding morning the vision of the Grail appears to him many -times, and the thought of poor old King Amfortas, awaiting the knight -who is to release him, saddens Galahad. He is seized with a great desire -to continue his quest, and finding his young bride in sympathy with his -ambition, he decides to start out that day on his journey. - -The picture represents the bride Blanchefleur seated in her wedding -clothes, the wreath of roses still on her head and holding a bunch of -roses in her hands. Sir Galahad waves his hand in parting, preparatory -to donning his shield and sword, and goes forth to join the companion -waiting for him at the gate. The bride shows no signs of grief, for she -knows it is according to the prophecy that he should successfully -accomplish his quest, and she feels the high purpose which calls him. -And Galahad goes forth with renewed faith and inspiration to the final -accomplishment of his great quest. - - - “AMFORTAS RELEASED BY GALAHAD” - -After many days he again finds the Castle of the Grail. Upon entering, -he sees the same procession passing before the unseeing eyes of the -suffering King Amfortas and his unhappy knights. As before, he cannot -understand it, but grown wiser by his hard-earned experience, he now -knows that he must ask the question. His keen sympathy for the king -brings the involuntary question to his lips, “What aileth thee, O King? -And what mean these things?” At his words the spell is broken, and all -is light and life again. - -But King Amfortas wishes for nothing more in life than to be permitted -to die in peace. So in this picture we see Sir Galahad affectionately -bending over the dying Amfortas as he lifts him up that he may see the -vision of the Grail, at last made visible to him again. The Angel is -carrying it away from the castle, and it is not seen again until Sir -Galahad finally achieves it at Sarras. - - - “GALAHAD THE DELIVERER” - -Not only has Sir Galahad released the inmates of the enchanted Castle of -the Grail, but he has removed the spell that was upon all the country -round, the Loathly Damsel, and all others. But he has not yet achieved -the Grail itself. So he starts out once more on his noble white charger, -surrounded by the grateful people, chief among them the Loathly Damsel -who so bitterly upbraided him at his first failure. Now restored to -beauty and virtue, she is kneeling in the foreground of the picture. - -The hero rides erect, carrying his banner, and looking straight ahead. -We see the houses of the people in the background, and catch a glimpse -of the sea toward which Sir Galahad rides. - - - “THE VOYAGE TO SARRAS,” OR “SOLOMON’S SHIP” - -According to the legend it was in the time of the wise King Solomon that -a ship of mysterious and wonderful workmanship had been built. Just as -King Solomon was about to go on board strange letters of fire, written -in the air by an angel, warned him not to enter. As he stepped back, the -ship suddenly started off by itself and disappeared out to sea. In some -miraculous way it had been kept all these years to fulfill its destiny -and bring Sir Galahad to Sarras, where he should achieve the Grail. And -so, coming to the shore of the sea, he finds there the ship waiting for -him. Little is known of the city of Sarras, except that it is supposed -to have been in the Holy Land, and that this was the place where the -Holy Grail was to be found. - -In the picture is represented the voyage to Sarras on King Solomon’s -ship. It is a frail-looking ship, guided by the Angel of the Grail, -guarding her treasure. Two knights, Percival and Bors, have been -permitted to go with Sir Galahad on this journey. They cannot see the -Grail itself, having sinned once, yet their faith and persistent search -have made it possible for them to go with him. - - - “THE CITY OF SARRAS” - -When they arrived at the city of Sarras, Sir Galahad’s shield was at -once recognized, and the voyagers were treated as holy men. The knights -went about doing good, and through the power given them by their purity -they were enabled to heal the sick and the crippled. - -The news of their good works aroused the jealousy and anger of the -wicked king of that country, who cast the three knights into prison. -Here they were fed by the Holy Grail. The wicked king grew very ill and -at last sent for them, begging their mercy. Scarcely had they granted it -when the king died. The whole city proclaimed Galahad king. - -So here in this picture we see Galahad’s sword and shield laid aside, -his adventures over. Three ships are anchored in the bay of the quiet -city, and the tall buildings with their stately towers are surrounded by -a great red wall. - - - “THE GOLDEN TREE AND THE ACHIEVEMENT OF THE GRAIL” - -Galahad had been king of Sarras over a year when sailing one day, in his -ship, he prayed that “when he might ask it, he should pass out of this -world.” He is promised that his request will be granted and that then he -shall see the Holy Grail unveiled. - -In this picture the Golden Tree signifies his work on earth completed. -As he kneels and makes his request, his sword and shield, now useless, -fall from him and the Grail is revealed to his sight. Seven angels with -wings of crimson surround him. The Grail is borne heavenward, never to -be seen again on earth. Divine wisdom has been attained. - - -=Questions to help the pupil understand the picture.= Where are the -original paintings? Why did Mr. Abbey choose this subject? What -preparation did he make before he painted these pictures? What was the -legend of the Holy Grail? What power did the Holy Grail not have? What -happened to King Amfortas? Why did Sir Galahad wish to find the Grail? -What was required of the knight who should find it? What preparation did -Sir Galahad make? What strange events made the other knights decide to -follow Sir Galahad? Why did Sir Galahad fail when he reached the Castle -of the Grail? How did his failure affect the people about him? Tell -about the conquest of the Seven Deadly Sins. What became of the seven -sins, and what does that signify? Tell about Sir Galahad’s final -success. - - -=To the Teacher=: Pupils may be asked to prepare and give orally short -descriptions of at least one picture; class discussions should be -encouraged. - -After the entire series has been studied, pupils may choose one of the -pictures as a subject for English composition work. They will be -interested in reading Tennyson’s _Sir Galahad_, _The Holy Grail_, or -other selections from the _Idylls of the King_. - - -=The story of the artist.= Mr. Edwin Austin Abbey was born in -Philadelphia, Pennsylvania. He is one of the few great American artists -who has won fame both at home and abroad. Living in Philadelphia, he -attended the Pennsylvania Academy of Fine Arts, which he left at the age -of nineteen to enter the art department of Harper and Brothers, New York -City. His first success came as an illustrator for their publications. -It was through the Harpers, too, that he went to England, for they sent -him there to gather material for some poems which they wished him to -illustrate. He was especially interested in literary subjects, and while -in England prepared many of his best illustrations, among them those for -Shakespeare’s comedies and for Goldsmith’s _She Stoops to Conquer_. - -His water colors and pastels were also very popular. His most important -work in oils—“The Holy Grail,” is in the United States. When this -picture was almost finished he went, at the request of King Edward VII, -to paint a picture of the coronation. The groups of figures, with their -elaborate costumes and rich coloring, offered every inducement to one -who so loved these things. Mr. Abbey became very popular in England. He -received many medals, and all possible honors both at home and abroad. - - - SUPPLEMENTARY READINGS - - _Idylls of the King_, Tennyson. - _The Vision of Sir Launfal_, Lowell. - _The Legend of the Holy Grail_, Baxter. - _The Quest and Achievement of the Holy Grail_, Henry James. - _Handbook_ of the Boston Public Library. - - -=Questions about the artist.= Who painted this picture? Where was he -born? Where did he study? How did he achieve his first success? How did -he happen to go to England? What is his most important work? Where was -it painted? - - ------------------------------------------------------------------------- - - -[Illustration: - - From a Copley Print copyright by - Curtis & Cameron, Publishers, Boston -] - - - - - THE WOLF CHARMER - - -=Questions to arouse interest.= What does this picture represent? What -is the man doing? What effect does that have upon the wolves? Tell some -of the general traits of a wolf. How many ever saw a tame wolf? Why do -you suppose they have not become domesticated like other animals? On -what is the man playing? Why do you suppose this picture is called “The -Wolf Charmer”? What kind of a picture would you call it—realistic or -imaginative? - - =Artist=: John La Farge (lȧ färzh’). - =Birthplace=: New York City, New York. - =Dates=: Born, 1835; died, 1910. - - -=The story of the picture.= The weird charm of this picture lies in the -strange, elfish sympathy which this man seems to have with the -evil-looking wolves, and is increased by our knowledge of the nature and -disposition of those fierce creatures. We have an instinctive fear of -them. Perhaps this is due to the fact that very little good has ever -been said or written about a wolf. - -History tells us that packs of wolves once howled around the city of -Paris all night and even tore people to pieces in the very streets of -the city. Stories are told of travelers pursued by hungry packs of -wolves and tales of horror are brought by the very few who have escaped -with their lives. Legends, fables, myths, and traditions which describe -the savage ferocity of the wolf are numerous. How often we hear the -expressions,—“a wolf in sheep’s clothing,” and “keep the wolf from the -door”! - -Such a reputation, coming from so early a date, we may be sure has a -foundation in fact. We have not been taught to fear these animals -without reason. Wolves are among the wildest and fiercest of animals, -and farther removed from human association than any others. Men have -tried again and again to tame them, but have been successful only in -rare instances. - -Some authorities argue that the fact that wolves have occasionally been -tamed goes to prove that the wild, ferocious disposition of the wolf is -the result of circumstances. Very rare instances are known in which -these creatures have been captured and tamed, following their masters -like dogs, even making good watch dogs, and learning to bark almost like -a dog. A merchant in Petrograd drove a pair in harness, having trained -them when very young. But then we have the story of the Duke of -Württemberg, who kept a tame wolf in his beautiful Castle of Louisburg. -It had been trained like a dog, and had never been known to attack any -one. But suddenly one day without any provocation whatever it flew at an -officer and bit a piece out of his cheek. - -Treachery, caution, and cunning are the qualities usually attributed to -wolves. No one has ever accused them of stupidity, however. On the other -hand, trappers have been amazed and chagrined by the shrewdness -displayed by these animals. When traps have been placed to which a fuse -of gunpowder was attached, they have frequently been known to gnaw the -strings so as to prevent the explosion, and then make away with the -bait, unharmed. Only extreme hunger, however, will ever drive them near -a trap. - -Wolves belong to the same family as dogs and look very much like them. -We can see in our picture that they are about the same size as a large -dog, only leaner and more gaunt, and with a wicked expression on their -faces. This expression comes partly from the eyes, which are oblique or -slanting, the pupils round; and partly from the muzzle, which is -somewhat longer than that of most dogs and displays their cruel-looking -teeth. The ears are rather small and are held erect. - -Wolves are very powerful and very active, and their claws and teeth are -formidable even to look at. All their senses seem unusually well -developed, so that they can hear, smell, and see an object long before -we could. - -They travel with great speed. Hunters tell us of the tireless gallop -with which they pursue their prey. A horse can outrun them, but only -when the distance is not too great. - -Wolves are born in dark caverns or in gloomy holes in trees or rocks. -They are of many different kinds and colors—red, black, white, and gray. -They are still to be found in many countries, and chiefly in the -unfrequented and mountainous regions in the northern parts of Europe, -Russia, and North America; but man has almost succeeded in exterminating -them. We usually think and read of wolves in packs, but authorities tell -us that they do not live in communities, and do not go about in groups -or packs unless in search of prey. - -Ernest Thompson Seton describes the three calls of the hunting wolf. The -first is “the long-drawn, deep howl, the muster that tells of game -discovered but too strong for the finder to manage alone”; the second -call is higher, “that ringing and swelling is the cry of the pack on a -hot scent”; the last is a sharp bark and short howl, which, “seeming -least of all, is yet a gong of doom, for this is the cry, ‘Close in! -This is the finish.’” - -The “Charmer” in this picture does not impress us as a hunter who has -been surrounded by wolves and is now turning his music to account in -making his escape, but rather makes us feel that he has been far within -the wilderness of rocks and woods calling these animals to him with the -music of his bagpipe. He has a sort of wild, wolf-like look himself. One -critic has suggested that he seems to be gnawing the pipes rather than -playing upon them, and that his toes look like the claws of the wolves. - -No doubt he sat on one of those great rocks and played in his most -seductive way, until he was quite surrounded by the savage creatures. - -Can you not imagine him seated thus, drawing the weird yet sweet notes -from his pipe, as first one pair of shiny eyes peered through the leaves -or around the rocks, then another, and another, until gradually the -creatures surrounded him? That music has charms has never been disputed. -From the earliest history we have read stories of its wonderful subduing -effect upon animals. A familiar quotation is this of Congreve’s: - - - “Music hath charms to soothe a savage breast, - To soften rocks, or bend a knotted oak.” - - -You will remember in the poem by Robert Browning, _The Pied Piper of -Hamelin_, how the old rat explained why he followed the piper: “At the -first shrill notes.... I heard ... a moving away of pickle-tubboards, -and a leaving ajar of conserve-cupboards.” He smelled the most delicious -old cheese in the world, and saw sugar barrels ahead of him, and then, -just as a great sugar-puncheon seemed to be saying, “Come, bore me,” he -felt the Weser rolling o’er him. Perhaps it is in some such way as this -that the music holds these wolves as they follow the narrow path between -the rocks. Charmed they are no doubt, but not tamed. See how the first -two fellows seem to be keeping step with the man and the music, as they -move with that soft, cautious tread of the wild animal. - -With the artist, La Farge, this picture was purely imaginative. He -delighted in all subjects dealing with fairyland or witchcraft. - -In this picture we are left to guess what sort of a man this is, and -where he is going. Some critics speak of him as a sort of centaur, only -instead of being half horse and half man, he is half wolf and half man. -However that may be, he is able to control these animals through the -power of music. He seems a strange, wild creature, indeed, and as we -look at the picture it almost seems as if he were leaving the trees and -the companionship of men to go with these wolves to their caves among -the rocks. - -The glimpse of the thick woods in the distance is interesting because of -the variety in the arrangement and size of the tree trunks, the spots of -light, and the suggestion of wildness. The picture is made up of curved -lines which help give us the feeling of rhythm and music. - - -=Questions to help the pupil understand the picture.= What is there -unusual about this picture? Describe it. Describe the wolves. Tell -something of their characteristics; their habits. Why are they feared? -To what extent should you judge this man has tamed them? Where do they -usually live? Where can we find wolves now? Why are they such a terror -to travelers there? In what ways are they stronger than a horse? -Describe the man in the picture. - - -=To the Teacher=: Fairy tales which may be read in connection with the -study of this picture are “The Pied Piper of Hamelin,” “The Sorceress,” -“The Fisherman and the Genii,” and “The Siren’s Song.” - - -=Story of the artist.= In reading the life of John La Farge, the artist, -we cannot fail to be interested also in the more adventurous one of his -father before him. For it was in the days of Napoleon the Great that -Jean La Farge, then a young officer under General Leclerc, was sent to -the West Indies to suppress an insurrection in Santo Domingo, Haiti. -Here he was offered the rank of lieutenant if he would remain with the -land forces, and this he decided to do. - -Hardly had the small force of men which he commanded reached the shore, -when they were surrounded and captured by the natives. He endured the -agony of looking on while every member of his company was put to death -by slow torture. Expecting every moment that it would be his turn next, -he was quite overcome when told that his life would be spared that he -might teach the rebel leader how to speak and write French. But he was -closely guarded and allowed very little liberty while the rebellion -lasted. Then, although still under guard, he was given more freedom. - -Most of the natives were of African blood, or a mixture of Spaniard, -Indian, and negro; but after the rebellion many white men settled on the -island on account of the advantages of commerce. About a year after La -Farge was taken prisoner he learned that a general massacre of all the -white people on the island had been planned. Feeling sure that he would -be included this time, with two others he made his escape. They secured -a small rowboat and rowed along the shore until they reached a part of -the island that belonged to Spain. Here they were fortunate enough to -find a ship just ready to sail to Philadelphia. All took passage at -once. - -Arrived in America, Jean La Farge became much interested in this -country. He saw at once the great possibilities in this new land and -decided to make it his home. He became a trader and for twenty-five -years he went from place to place, growing very wealthy. Then he bought -plantations in Louisiana and farm lands in northern New York. - -A number of French aristocrats and others formed a French colony in New -York City, and here Mr. La Farge finally came to live. He married the -daughter of a former Santo Domingan planter who had joined the colony, -and it was in New York that their boy, John La Farge, the artist, was -born, March 31, 1835. The boy was named after his father, Jean Frédéric -de La Farge, but the name was abbreviated and the English spelling used, -so that it became John La Farge. - -It was a very comfortable home, in some ways luxurious, and his boyhood -was passed under most favorable circumstances. His grandfather was a -miniature painter of some note and he gave La Farge his first drawing -lessons. The boy, however, showed no especial interest or talent for -drawing. After he had finished a classical course at school, he decided -to become a lawyer. When he had completed the law course he was sent -abroad to Paris, to visit his father’s relatives, who were very -prominent people. Here he met many writers and artists of note, and -finally began to study painting under Couture. He spent most of his time -copying the famous paintings in the Louvre, and the etchings of -Rembrandt. His idea at this time was not to become a painter by -profession but only to use art as a pastime—he was to earn his living as -a lawyer. He says, “No one ever struggled more against his destiny than -I. Nor did I for many years fully acquiesce in being a painter, though I -learned the methods and studied the problems of my art.” - -It was about this time that he met the enthusiastic American painter, -William Hunt, who so inspired La Farge that he left everything and -followed him back to Newport, Rhode Island, where he began studying in -earnest under his new master. The two men became close friends. - -It was at Newport that La Farge married Miss Margaret Perry, who was the -great-granddaughter of Benjamin Franklin and the granddaughter of -Commodore Perry, so well known as commander of the American fleet in the -Battle of Lake Erie. They lived in Newport during the summer, but spent -their winters in New York City. - -At the time of the Civil War, La Farge wished to enlist, but failed to -pass the physical examination because he was nearsighted. Then, giving -himself entirely to his art, he succeeded in working out his own -methods. - -His first paintings were for church decorations—the most important being -“Saint Paul,” “The Madonna,” and “Saint John.” The last two were painted -for the Church of St. Peter in New York City. - -Then came a severe illness from which La Farge recovered very slowly, -and it was nearly three years before he could become an active painter -again. In the meantime he began drawing on wood, illustrating Browning’s -and Longfellow’s poems, and Tennyson’s _Enoch Arden_. Later another trip -abroad resulted in the exhibition of his paintings in the galleries -there. He made a careful study of stained-glass windows and by much -experimenting he discovered a way to produce an opalescent effect in -stained glass and to make the glass look like that in the very old -cathedrals. - -La Farge was always interested in mural or wall decorations for public -buildings, and he felt that our buildings in America lacked very much in -that respect. He made a special study of this work, and ten years later -he began his mural decorations for Trinity Church in Boston. It was one -of the first buildings so decorated in this country, and the work was -accomplished under great difficulties. The workmen did not understand -just what they were to do, the right kind of materials could not always -be obtained and so had to be prepared, and the people, having no idea of -the task, required that the work be finished in an unreasonably short -time. The result was that La Farge and his assistants were compelled to -work night and day, in very cold weather, and under many disadvantages. -However, when the scaffolding was finally removed the decoration was -considered a great success. La Farge was then asked to decorate St. -Thomas’ Church in New York. - -The artist now began to decorate windows too, that they might be a part -of the mural decorations. One of his first window designs was placed in -the Congregational Church at Newport, then one in Memorial Hall, Harvard -University. They are wonderful in color and design, containing almost -every known kind of glass and every precious stone. Then came demands -from all over the country for both public buildings and private homes. -He was honored both in this country and abroad. - -In 1886 La Farge went to Japan. While there he sent a series of very -interesting letters to the _Century Magazine_ describing his travels. -These letters have since been published in book form. La Farge also -wrote _Considerations on Painting_, a series of books on the _Great -Masters_, and the Japanese _Hokusai_. - -Some of his best-known windows and mural decorations are the Watson -Memorial Window in Trinity Church, Buffalo; “The Ascension,” a fresco in -the Church of Ascension, New York City; “Athens,” in the Art Gallery at -Bowdoin College, Maine; “Law,” in the Supreme Court Room, St. Paul; and -“Lawgivers,” in the Court House, Baltimore. - - -=Questions about the artist.= Who painted this picture? Tell about his -father’s experiences in the West Indies. How did the elder La Farge -happen to come to America? What did he do in this country? Where and -when was the artist born? What education did he receive? Where did he go -after he finished college? How did he seem to regard painting at this -time? What American artist encouraged him to study art? Tell about his -progress; his marriage; his travels. Tell about his first mural -decoration. Why was it so difficult to accomplish? To what did this -lead? Tell about his window designs. Where can we see some of La Farge’s -work? What books did he write? - - ------------------------------------------------------------------------- - - - - - AMERICAN ILLUSTRATORS - - -=The antiquity of illustration.= The desire for pictures illustrating -ideas dates back no doubt to the beginning of the world. The cave -dweller left a record of such an ambition on the carved walls of his -rude house and on the handle of his battle ax. Savages made of -themselves living illustrations, by painting their bodies in gay colors -and designs representing their ideas of beauty. The Egyptians used stone -and papyrus for mediums of expression, while a century later parchment -and vellum were used. - -Each illustration was a finished piece of work. In order to reproduce -it, the artist must make a new one each time. Then some one discovered -the block print. The design or illustration was cut in wood, then inked -and placed on sheets of paper much as we use block prints now. Playing -cards were produced in this way long before books appeared. It was but a -step from printing a whole page of type to separating the letters so -they could be rearranged and used many times. The Chinese understood -printing with movable type centuries before we ever thought of it. - -Since the time the printing press was finally invented there have been -new processes and new methods, but an illustration as such has remained -unchanged. Joseph Pennell tells us in his book on the _Illustration of -Books_ that an illustration “is a design intended to give an artist’s -idea of an incident, episode, or topographical site, or it may be but a -mere diagram referred to by a writer.” - -=Requirements for an illustrator.= A good illustrator requires good -preparatory training. He should know how to draw well, and should have a -good education in general subjects, that he may be able to illustrate -intelligently the various subjects that will come before him. He must be -able to select the important things in the author’s work and so -represent them that the attention of the public will be drawn to them. -In order that his pictures may be properly reproduced he must understand -the process and make his work comply with its limitations for good work. -To be successful he must be sure of his material, and his subjects must -please both the author and the general public. - -=The process of illustration.= An illustration is usually first sketched -with a pencil on stiff paper or bristol board, the size it is to be when -completed or in some relation to it. That is, it may be enlarged or -reduced when printed. Perhaps the most popular method is to make the -drawing twice as large as the finished print. This pencil sketch is then -corrected and finally drawn in with pen and ink or brush. - -The finished drawing is photographed on the plate to be used, and -finished according to some one of many different processes. - -=Illustration in the United States.= It was not until after the Civil -War, in 1861, that illustration began to play an important part in the -magazines and books of this country. To be sure, caricature had long -been popular in the newspapers of the day, Thomas Nast having made his -famous political cartoons during the war. Illustration in its more -serious sense, however, received its first awakening when La Farge -illustrated Tennyson’s _Enoch Arden_ and other poems. Some authorities -declare that E. A. Abbey’s pen-and-ink drawings and illustrations of the -works of Goldsmith were the first of importance in America. - -Most of our best illustrators have contributed to the leading magazines, -and so we are able to judge their work. - -A few of the most prominent names are: - - ARTIST CHARACTERISTIC WORK - - Howard Pyle Colonial times in New - England. - - W. A. Woolf Life of street arabs; - humorous. - - E. W. Kemble Negro life. - - W. A. Rogers Tenement districts; - pathetic. - - A. B. Frost American life. - - Elihu Vedder Rubáiyát of Omar Khayám. - - C. D. Gibson American girl. - - F. Remington The Indian. - - Reginald Birch Children’s stories. - - A. B. Wenzell Society life. - - Alice Barber Childhood. - Stevens - - Howard C. The Christy girl. - Christy - - H. B. Taylor Longfellow’s poems. - - -=Questions about the art of illustration.= When and how did people first -begin to illustrate? How did these illustrations differ from ours in -execution? Of what use was a wood-block print? To what did this lead? -What preparatory training does a good illustrator need? Tell something -of the process, or how illustrations are made. Tell something of the -history of illustration in the United States. Name some of the -best-known illustrators. Who is your favorite illustrator? why? Is it -the subject of his illustration or his execution that appeals to you the -more? - - -=To the Teacher=: The lesson may be assigned by topics to various pupils -for preparation and recitation. - - 1. The History of Illustration. - 2. Illustration in the United States. - 3. What Constitutes a Good Illustration? - 4. Your Favorite Illustrator and Why. - ------------------------------------------------------------------------- - - -[Illustration: - - Copyright by the Curtis Publishing Co. From a Copley - Print copyright by Curtis & Cameron, Boston -] - - - - - EVANGELINE - - -=Questions to arouse interest.= How many of you have read _Evangeline_ -by Henry Wadsworth Longfellow? Why do you suppose this picture is so -named? Describe the Evangeline in this picture—her appearance, -expression, and surroundings. Where do you think she is going? why? How -many of you think she is coming home from church? why? Describe the -house near the road; the people you see. What can you say of the -perspective of this road? What impression does this picture give you—one -of peace, plenty, quiet, or the reverse, and why? - - - EVANGELINE - - - “Fair was she to behold, that maiden of seventeen summers. - Black were her eyes as the berry that grows on the thorn by the - wayside, - Black, yet how softly they gleamed beneath the brown shade of her - tresses. - - Fairer was she when, on Sunday morn, while the bell from its turret - Sprinkled with holy sounds the air, as the priest with his hyssop - Sprinkles the congregation, and scatters blessings upon them, - Down the long street she passed, with her chaplet of beads and her - missal, - Wearing her Norman cap and her kirtle of blue, and the ear-rings, - Brought in the olden time from France, and since, as an heirloom, - Handed down from mother to child, through long generations. - But a celestial brightness—a more ethereal beauty— - Shone on her face and encircled her form, when after confession, - Homeward serenely she walked with God’s benediction upon her. - When she had passed, it seemed like the ceasing of exquisite music.” - —_Evangeline_, by Henry W. Longfellow - - - =Artist=: William Ladd Taylor. - =Birthplace=: Grafton, Massachusetts. - =Dates=: Born, 1854. - - -=The story of the picture.= In illustrating Henry Wadsworth Longfellow’s -poem _Evangeline_, Mr. Taylor has chosen to represent the heroine during -the happiest part of her life, and before anything very exciting or at -all strange began to happen, unless, perhaps, we feel that it is strange -and wonderful that there should be such a little village as Grand-Pré, -where Evangeline lived. History tells us that such a village did exist -in Acadie—or Nova Scotia, Canada, as we call it now. The French and -English had quarreled bitterly over this island, for each wanted -possession of its fisheries. The English claimed the territory by right -of discovery, and they finally secured possession of it. - -Most of the people living there were French and had been given the -privilege of leaving within two years. Though they desired to remain, -yet they refused to take the oath of allegiance, and their oath of -fidelity to the British king was accepted instead. They were exempted -from bearing arms against their own countrymen, allowed to enjoy their -religion, to have magistrates of their own selection, and, in fact, they -had been permitted to do about as they pleased. Each man owned his farm -and his stock, and all that goes to make a life of usefulness as well as -of plenty and content. - -Mr. Longfellow tells us: - - - “Vast meadows stretched to the eastward, - Giving the village its name, and pasture to flocks without number. - - Sea-fogs pitched their tents, and mists from the mighty Atlantic - Looked on the happy valley, but ne’er from their station descended. - There, in the midst of its farms, reposed the Acadian village. - Strongly built were the houses, with frames of oak and of hemlock, - Such as the peasants of Normandy built in the reign of the Henries. - Thatched were the roofs, with dormer windows; and gables projecting - Over the basement below protected and shaded the doorway.” - - -How carefully Mr. Taylor studied all these details is shown by the way -he represents the main street of the little village of Grand-Pré. How -much more picturesque these thatched-roofed houses are than some of our -more costly and elaborate modern homes! A roof made of simple framework, -however, covered with thick layers of skillfully arranged straw or -reeds, called thatch, does not seem very practicable to us in these -days. - -It is not difficult to determine who is the center of interest in this -picture. We recognize Evangeline with her white Normandy cap, her kirtle -or short jacket with its flowing sleeves, and we can even distinguish -her beads. Her missal, or Roman Catholic mass book, is clasped in both -hands as she passes quietly down the street, and the expression in her -face is one of perfect peace and happiness. - -She has passed the group of visiting women, as well as the two men -standing by the gate who have turned to look after her. We know that she -has greeted them all pleasantly, if a bit absently, and it is plain that -she has now forgotten them again in the absorption of her mind. - -Although the picture does not even suggest the strange and adventurous -future before her, still it is all the more pleasing because it gives us -a glimpse of Evangeline in the hour of peace and happiness. We are made -to feel the secret of the reserve strength of our heroine who, thus -fortified, will be equal to all that must befall her. We shall wish to -read again Mr. Longfellow’s poem _Evangeline_. - -According to the story, Evangeline keeps house for her father, who is -known as the wealthiest farmer of Grand-Pré. He is well on in years, -genial, kindly, always looking on the bright side of life, and his home -is known far and wide for its hospitality and cheer. The house is out a -little way from the village and is built on the side of a hill, so that -it commands a fine view of the ocean. Meadows, orchards, great barns -with their dovecotes, beehives, a well with its moss-grown bucket, -weathercocks, and sheepfolds complete the picture. - -One of the farmer’s best friends is Basil, the blacksmith, who is a much -honored man in the village. He has one son, Gabriel. Evangeline and -Gabriel have played together as children, have grown up together, and -now they are engaged to be married. Already the contract is signed, the -dower of the bride in flocks of sheep and in cattle has been determined, -and all is ready for the wedding feast. - - - “Fairest of all the maids was Evangeline, Benedict’s daughter! - Noblest of all the youths was Gabriel, son of the blacksmith!” - - -But their wedding is almost forgotten because of the terrible events -which prevent it. For several days a fleet of English ships has been -observed approaching the harbor with their guns pointed toward the -peaceful little village of Grand-Pré. On the very day set for the -wedding, the English soldiers land and demand the surrender of all their -arms in the name of the king. All the men are commanded to assemble in -the meetinghouse at noon of that day. The people drive in from all the -country around, a happy, care-free crowd, thinking that, since they have -harmed no one, no harm can come to them. - -But once in the meetinghouse the soldiers lock and bolt the door while -the commander reads the king’s proclamation from the pulpit. It is -terrible beyond all belief, for it not only commands that they forfeit -all their lands, dwellings, and cattle to the crown, but that they and -their families shall be transported to other lands. A great cry arises, -and all the men rush to the doorway. But there is no means of escape, -for the soldiers are well armed and prepared. - -Then Basil the blacksmith calls upon them all to resist and is promptly -felled by a soldier. All is angry commotion when the door of the chancel -opens and Father Felician, whom all revere, stands before them -commanding their silence. He appeals to their faith, and their reverence -for the house of God, and by his wise counsel succeeds in quieting his -people. Meanwhile the women wait outside in the churchyard, fearful when -the tumult is greatest but reassured when all is quiet again. Hour after -hour passes by and still they wait. - -At length the door of the meetinghouse opens and a soldier appears. -Again the fearful proclamation is read. Then the women are commanded to -pack their household goods and be ready for sailing on the fifth day. - -Now indeed a great cry of distress arises, echoed by the men, who are -still held prisoners. Then, in obedience to a second command, the women -depart for their homes. With heavy hearts they begin their packing. -Evangeline, left alone without father or lover, looks at the table set -for the wedding feast and at all the signs of rejoicing, then softly -goes back to the meetinghouse. There she calls Gabriel by name several -times but receives no answer. - -On the fifth day all is ready. The great wains empty their loads on the -shore, and the women and children are waiting. At last, at a signal, the -church door is thrown open and the prisoners march to the boats. Then -comes the most terrible part of all. In their haste the soldiers -separate families, placing some members in one ship, some in another. - -Gabriel and his father are placed in different ships, while Evangeline -and her father remain on the shore awaiting the last boat. And then -comes the fearful sight of their homes and barns in flames, and the -utter destruction of the village. - -The horror and injustice of it all are too great for Evangeline’s -father, who dies there upon the shore. Evangeline, left thus alone and -crushed by her sorrow, scarce knows when she is led into the ship or -when the ships depart. - -Many days pass before the people are landed on a foreign shore. Then the -first thought of all is to seek relatives and friends. - -The rest of the story tells of Evangeline’s long search for Gabriel and -her many discouragements as she follows this rumor and that. The priest, -Father Felician, goes with her on the journey, encouraging and helping -her. - -Once Gabriel and Evangeline pass each other on the water, but it is -during the night and neither is aware that the other is so near. Gabriel -finds his father but, restless and unhappy, he does not remain with him -long. And so it happens that when Evangeline at length finds Basil the -blacksmith, Gabriel is not with him. He had left just the day before. So -Basil sets out with Evangeline in search of his son. - -After years of patience and perseverance, rewarded only by failure, -Evangeline ceases her wandering and becomes a nurse. And then it is she -finds Gabriel, on his deathbed. - -It is a sad but beautiful story, and it is all founded on facts. Not -only was there such a village as Grand-Pré with just such people living -in it, but it is also true that in 1755 King George II of England sent -his fleet to scatter them among the other British provinces. He believed -that these people aided the Indians and, because of the almost -independent character of the colony, embarrassed the local government. - -As we read the story we cannot but be glad that Mr. Taylor chose the -Evangeline of the happy days of Grand-Pré, rather than any other picture -of her that he might have shown us. - -The soft tones in the picture are especially pleasing, as well as the -few strong notes of color in the dresses and the houses. The perspective -of the road is made interesting by the figures in it, as well as by the -houses and trees on each side. Note the difference in size of the -various figures according to their distance. This makes the road appear -longer and more winding. - - -=Questions to help the pupil understand the picture.= Where did -Evangeline live? Describe the village of Grand-Pré. Of what nationality -were most of the people? How did they happen to be under English rule? -What special privileges were they given? Who was the British king at the -time of this story? Why did he wish to dispose of the Acadians? How did -he do this? What became of the village? of the houses? of the people? -their cattle, horses, sheep? Who was Evangeline? Gabriel? Basil the -blacksmith? What event was to take place the day the king’s proclamation -was read? Where was the proclamation read? What effect did it have upon -the men? upon the women? What part of the story is represented in the -picture? If you were to draw just one picture from this story, which -would you choose? why? - - -=The story of the artist.= As in the case of so many of our living -artists, we know very little of the details of Mr. Taylor’s life. We do -know that William Ladd Taylor was born at Grafton, Massachusetts, -December 10, 1854, and that most of his education was received at -Worcester, Massachusetts. He attended art schools in Boston and New -York, and studied one year in Paris, France. He has traveled -extensively, making a special study of mediæval architecture, costumes, -and customs. - -Owing to ill health, Mr. Taylor spent a year in Colorado, which proved -most beneficial. There he produced several paintings, two of the best -known being “The Caribou Hunter” and “Shooting the Rapids.” Mr. Taylor -has lived most of his life in or near Boston. - -He has painted a series of pictures representing nineteenth-century New -England; a series of pictures of the pioneer West; and the Longfellow -series, including “Evangeline,” “Minnehaha and Hiawatha,” “The Village -Blacksmith,” “The Hanging of the Crane,” “Maidenhood,” “The Old Clock on -the Stairs,” “The Building of the Ship,” “Priscilla and John Alden,” -“The Children’s Hour,” and others. Other paintings are the Psalm Series; -Old Song Series; Our Home and Country, a book of pictures of American -life; “The Earl’s Return,” illustrating Owen Meredith’s poem; and -“Rosita,” illustrating Bret Harte’s _The Mystery of the Hacienda_. - - -=Questions about the artist.= Who painted this picture? Where was he -born? What education did he receive? Name some of his best paintings. - - ------------------------------------------------------------------------- - - - - - CARTOONS AND CARICATURES - - -=Significance of this form of illustration.= Very little or no -distinction is made between the two words, caricature and cartoon, as we -use them at the present day. Yet the word caricature instantly suggests -something made ridiculous or absurd in a spirit of attack or burlesque, -while a cartoon may be merely a suggestive representation of any person -or idea of present interest. A caricature always makes ridiculous, but a -cartoon may either ridicule or praise, and although usually humorous, it -is more serious in its aims and subjects. - -To cartoon a public man once meant to insult him. If by any chance he -had some prominent physical defect it was hailed with delight, and made -the butt of the cartoonists’ characterizations. Now our best cartoonists -would not stoop to secure recognition by such means; they are more -considerate, and we are allowed to appreciate their clever -representations without feeling the sting of resentment, even though our -sympathies are on the other side. But our cartoonists of to-day do not -spend all their time representing the political issues; they also deal -with the affairs of everyday life. - -We are told that the word cartoon originally meant a design or model for -a large picture in fresco, oil, tapestry, statuary, glass, or mosaic. -The most famous of these are the cartoons of Raphael, Leonardo da Vinci, -and Michelangelo. But in 1843 a great exhibit of cartoons was held at -Westminster Hall, London, from which the fresco decorations for the new -houses of Parliament were to be chosen. At that time _Punch_ declared -itself a competitor, and presented its claims in its most humorous -manner. The most absurd caricatures were dignified by the name cartoon, -and the reasons why they should be accepted were set forth in a most -laughable manner. For some time after this _Punch_ continued to use the -name cartoon for its representations, and when it would have gone back -to the term caricature the public would not permit it. Perhaps the fact -that the word cartoon is so much easier to pronounce had something to do -with it. - - -=To the Teacher=: Pupils should be encouraged to bring good cartoons to -school. These may be collected, and the best put up where all can see -and be ready to discuss as to size, composition, variety, number, and -color of lines used in expressing the idea. - - -=History of caricature and cartoon.= It is hard for us to realize that -caricature is as old as man’s ability to express himself with chisel, -pen, or ink. Away back in the time of the Assyrians and Egyptians we -find certain caricatures representing grotesque figures drawn on -papyrus. The Greeks caricatured their gods and heroes, although their -sense of the beautiful made it impossible for them to distort the human -figure. In Rome they were not so particular, and one caricature -representing a dwarf philosopher preaching to a fox has been handed down -to us in many different forms. During the Middle Ages caricatures were -made of such unpopular ideas and experiences as Satan, death, pride, -hatred, and so forth. - - -[Illustration: - - By permission of Mr. John T. McCutcheon - _Baseball, Golf, Election Returns, and Swatting the Fly_ -] - - -The invention of the printing press greatly increased the power and -influence of the caricature, in spite of the many regulations and -hindrances that had to be complied with. During the Revolution, Napoleon -I tried to repress caricature in France, and on this account the English -made him a special victim of their ridicule. The kings and aristocracy -that held sway after the Restoration next became the subject of satire. -Then in 1830 came the invention of lithography and, with the increasing -freedom of the press, caricature, of course, reached its height. Poor -Louis Philippe, of France, was the most caricatured of all the kings, -because of his pear-shaped head, which was so easy to draw. In London, -caricature became more and more popular with the founding of _Punch_ in -1841. The best-known contributor to _Punch_ was Du Maurier, whose -burlesques of aristocratic society in England were taken in good part. -In Germany, Wilhelm Scholz’s caricatures of Bismarck are famous. And so -on through all the countries, we find traces of the art of caricature. - -In America we find Benjamin Franklin first on the list. We are told that -the talent came naturally to him, as his grandfather and father before -him had shown considerable ingenuity in that direction but had not -ventured to express it except in the signs and printed handbills -advertising their trade. It was the custom at that time to advertise by -means of pictures or representations—a gilt Bible in front of a store -meant a book store; an anchor, naval supplies; the figure of a mermaid, -an ale house; a gilt sheaf, a paper store, and so on. The figure of an -East Indian queen gayly dressed in a many-colored gown advertised the -store belonging to Franklin’s grandfather, where he offered “to dye into -colors” all cloth, silk, and calico. The handbills which he sent out -were more elaborate, representing the same queen but with two servants, -one holding up her train, the other holding a parasol over her. All -public buildings were easily recognized by the carved royal lion and -unicorn. - -Benjamin’s brother James started the first sensational newspaper in -Boston, Massachusetts, in 1721. This paper was called the _Courant_, and -to it Benjamin Franklin first contributed his articles and caricatures. -Their wit was not appreciated by the sober people of Boston, and it was -not long before the brother was put in prison on account of his -editorials. Benjamin continued the paper, fearlessly ridiculing in -writing and pictures not only Harvard College but the ministers and -well-known church members. The people were now thoroughly aroused, and -soon both brothers were forbidden to print their paper. - -So far, however, work in caricature had been crude and was to be -completely overshadowed by the brilliant Thomas Nast, the great -political cartoonist. Mr. William M. Tweed was the first political -“boss,” and the subject of Mr. Nast’s cartoons. He represented that -leader’s face as a money bag with dollar signs as features, and in this -strange way he somehow managed to secure a very good likeness of the -man. It is even said that when at last Tweed was forced to run away to -escape imprisonment, he was recognized and caught through the -familiarity of all with his cartooned face. Mr. Nast’s cartoons were -published in _Harper’s Weekly_, and became so popular that they opened a -way for the publication of a new humorous magazine, _Puck_. Then came -_Judge_ and _Life_. These three are devoted mainly to cartoons. - - -[Illustration: - - By permission of Mr. John T. McCutcheon - _The Mounted Policeman’s Lot Is Not a Happy One_ -] - - -Now many weekly journals, as _Harper’s_, _Leslie’s_, and a monthly -magazine called _Cartoons_, make this a special feature. Nearly every -newspaper in the country contains at least one cartoon in each issue, -and many have their own cartoonists, whose time is busily occupied -preparing drawings for the daily issues. - -Then, too, the Sunday supplements are full of them, and we have become -well acquainted with Frederick Burr Opper, creator of “Happy Hooligan,” -“The Folks in Funnyville,” “Alphonse and Gaston,” “Maud, the Matchless,” -“John Bull,” and others; Richard Felton Outcault, creator of “Hogan’s -Alley,” “Yellow Kid,” “Buster Brown,” “Buster, Mary Jane, and Tige”; A. -B. Frost, creator of “Tragedy of the Kind Hearted Man and the Ungrateful -Bull Calf” and “The Spinster’s Cat That Ate Rat Poison,”; Carl Emil -Schultze, known as “Bunny,” creator of “Foxy Grandpa” and “Bunny’s Blue -Book,” and many others. - -=Requirements.= A good cartoon must show the real characteristics of the -original, exaggerated, yet easy to recognize. A picture that will tell -its story at a glance can be understood by all, and will be remembered -long after paragraphs are forgotten. So it is readily seen what a power -for good may be found in the daily cartoon. - -It is necessary that a good cartoonist have a clear sense of form, -although great freedom is allowed in his drawing and no attempt is made -for a studied or accurate representation. He should be a keen observer -and well informed, especially on all topics of daily interest, and -possessed of much originality and a ready pencil. - -=Process of making a cartoon.= A general idea may be given of how a -cartoon is made. First, the cartoonist must have a subject or an idea to -be represented. This is sometimes suggested by the city editor, by -members of the staff, or more often left entirely to the judgment of the -artist. Then the idea is usually sketched in with pencil on a piece of -medium weight cardboard, corrected, and then finished in pen and ink. -Black ink is used with pens of various sizes depending upon the width of -line desired. The best cartoonists use lines of different widths. Often -we find a strong bold line for the foreground, a medium line for the -middle distance, and a thin line for extreme distance. The drawing is -usually made twice the size it is to appear in the paper. When sent to -the printer a photograph is made of the drawing of the size required. -The film is then stripped off the plate and put on a heavier, thicker -plate and printed through on a piece of zinc, covered with some -substance which is not affected by acid. The zinc is then placed in an -acid bath which eats away the parts exposed to light in the printing, -leaving the lines of the drawing untouched. - - - JOHN T. McCUTCHEON - -One of the best-known of our cartoonists is Mr. John Tinney McCutcheon, -of the _Chicago Tribune_. He is one of a comparatively small number of -cartoonists who have studied art and understand the principles governing -it. Many have not had this special training, and must rely entirely upon -the clever idea represented and the natural skill which they possess. -Besides this preparation Mr. McCutcheon is a graduate of Purdue -University, Purdue, Indiana. He has traveled around the world, and seems -to have qualified himself for his work in an ideal way. An eyewitness of -the Battle of Manila Bay during the Spanish War, he sent a detailed -account to the _Chicago Record_ which was one of the “most notable -events of journalism in connection with the war.” He also visited many -places in the Orient, in the Philippines, and was with the Boer Army in -Africa as correspondent for the _Record_. In 1900 he returned to Chicago -as political cartoonist for this paper, but later accepted a position -with the _Chicago Tribune_. - -Mr. McCutcheon is also an author, having published _Stories of Filipino -Warfare_, and several series of cartoons in book form, as _Boy in -Springtime Series_, and others. As a lecturer he has proved very popular -in Lyceum and Chautauqua courses. - -It is interesting to know that the dog appearing so often in his earlier -cartoons was first introduced merely because there was a space in his -picture that needed filling. The same thing happened several times, and -when later he made a cartoon without the dog, people wrote and asked him -what had become of it. - - -[Illustration: - - By permission of Mr. John T. McCutcheon - _When Newspapers Are Scarce_ -] - - -George Ade, in his introduction to the _Boy in Springtime Series_, has -summed up Mr. McCutcheon’s qualities as a cartoonist in this way: -“Clever execution, gentle humor, considerate treatment of public men, -and wisdom in getting away from political subjects and giving us a few -pictures of everyday life, which is our real interest.” - - -=Questions about the art.= What is the difference between a cartoon and -a caricature? How did the word cartoon come to have its present meaning? -What kind of a magazine is _Punch_? Tell something of the early history -of caricatures and cartoons. What effect did the invention of the -printing press have upon them? Who was the first American caricaturist? -Tell about Benjamin Franklin and his newspaper. What magazines publish -cartoons now? What is your idea of a good cartoon? What subjects are -usually chosen in newspaper cartoons? What good can they do in the -world? what harm? What preparation is it necessary for a cartoonist to -have? What preparation has Mr. J. T. McCutcheon made for his work? Tell -something of his life and his cartoons. - - -=To the Teacher=: The lesson may be prepared by assigning subjects to -various pupils as follows: - - 1. Meaning of the Terms Caricature and Cartoon. - 2. Events Leading to the New Meaning of the Word Cartoon. - 3. The History of Caricatures and Cartoons. - 4. Caricatures and Cartoons To-day. - 5. A Good Cartoon. - 6. A Good Cartoonist. - 7. Of What Benefit to the World Are Caricatures and Cartoons? - - ------------------------------------------------------------------------- - - - - - ENGRAVINGS, ETCHINGS, PRINTS - - -When we visit an art gallery we find pictures in all mediums—oil, water -color, pastel, charcoal, pencil, pen and ink; and then farther on we -find photographs, etchings, engravings (steel, copper, and wood), and -lithographs. - -It takes much careful study and practice before we can expect to -recognize the medium or process used. Most of us recognize water color, -oil, pencil, charcoal, and pastel work, but prints made from engravings, -etchings, and photographic plates are more difficult to distinguish. - -At the time most of our famous old masters were painting, photography -was unknown and the first etchings and engravings were laboriously done -by hand and usually by the artists themselves. Now, the time and expense -of hand work are so great that, although the important lines are still -put in by hand, yet the camera plays an essential part in most etchings -and engravings. Originally the artist drew direct on the steel, copper, -or wood block, but as the drawing must be reversed, it required a great -deal of skill to do this. It was only after much practice that the -engraver could reverse his sketch as he drew it, and in most cases he -either made a reversed study on paper to work from, or fastened his -drawing opposite a mirror and drew from that. As soon as photography -came into use all this was simplified, as the drawing was reversed in -the photograph and much time was saved. In the case of wood engraving, -which is the cheapest and most perishable, the picture is photographed -directly upon the block of wood. The steel, copper, or zinc plates are -often covered with some waxy substance and the design drawn upon them -with fine engraver’s tools. After the drawing is completed there are -three distinct processes of engraving: - -1. The lines of the drawing are sunk below the surface of the plate, as -in etchings and steel and copper-plate engravings. - -2. The background is cut away or eaten by acids, leaving the lines in -relief as in wood engravings, half tones, and zinc plates. - -3. There is no relief or depression, but the surface is smooth, as in -lithographs. - -In etchings and steel and copper plates the surface is usually covered -with a waxy substance, or something which resists the action of acid. -Then it is often smoked so that it will be easier to see the lines of -the drawing which are made with fine steel tools, cutting through the -wax to the surface of the metal. It is not the intention to cut the -metal, but merely to scratch through the coat of wax to expose the -metal. Then the plate is put in acid, and each line is eaten into a -groove varying in depth according to how long it is left in the acid. If -some of the lines are not deep enough, the rest of the plate may be -covered with the waxy substance and it may be put in the acid many times -until all lines are the desired depth. - -A print is made from this plate by covering it with ink, allowing the -ink to fill the grooves, and wiping the rest of the plate clean. Then -paper is pressed upon it. - -Rembrandt ranks first among etchers. Other well-known artists are -Albrecht Dürer, Van Dyck, and James McNeill Whistler. - -In wood engravings, half tones, and zinc plates the picture is either -drawn or photographed upon the plate. Then the spaces between the lines -are either cut away with the sharp steel tools of the engraver, which -vary in shape and size, or, the lines being protected by the waxy -substance, the surfaces between are eaten away by acid. Thus the -original lines are raised higher than the rest of the plate. The raised -lines are then inked and pressed against the paper. A wooden block may -also be molded into a “metal cast” in order to preserve the engraving. - - ------------------------------------------------------------------------- - - - - - LITHOGRAPHY - - -“Lithography is the art of drawing or writing upon stone.” The best -lithograph stone is found in Bavaria, and is usually cut from three to -four inches thick, varying in size from six by eight inches to -forty-four by sixty-four. The larger sizes are very rare. It is said -that drawings may be removed and one stone used as many as two hundred -times. Sometimes zinc or aluminum plates are used as a substitute. - -The drawing must be reversed and should be drawn direct upon the stone, -although transfer paper is sometimes used. The ink or crayon used is -made of fatty substances, and when the drawing is complete the stone is -bathed with a solution which fixes the lines permanently and gives them -a greater attraction for fatty substances, such as printers’ ink. The -spaces between the lines, however, do not attract the ink, so that when -a roller of ink is passed over the stone, only the lines are affected. A -piece of paper is then pressed upon the stones by the aid of the -printing press, and every line of the drawing is reproduced. - -The art of engraving on metal plates is not new. It is mentioned in the -Bible in the twenty-eighth chapter of Exodus, thirty-sixth verse. The -Israelites probably learned the art from the Egyptians, for they, as -well as the Assyrians, engraved upon both stone and metal. Copper -engravings have been found in mummy cases. The Egyptians do not seem to -have thought of printing from these plates, however. In India and China -the art dates back to remote times. Marco Polo describes money made in -China by stamping it with a seal covered with vermilion. - - ------------------------------------------------------------------------- - - - - - THE SUGGESTIONS TO TEACHERS - - -=Studying pictures.= A few days before a picture is to be studied, it -should be placed where all members of the class can see it. - -As a preparation for the lessons on Illustration and Cartoons, pupils -should be told at least a week in advance, so that they may save good -examples to bring to class. - -Most teachers seem to feel that the pupils are more interested in this -work when it is prepared and presented by members of the class. Equally -good results, however, are sometimes secured when the teacher provides -the subject-matter and leads the discussion. - -Pupils are sometimes able to bring in specimens of copper, steel, or -zinc plates, and if a friend or a member of some pupil’s family is a -printer, engraver, or lithographer, permission may be obtained for the -class to visit his place of business. In that case, a visit would be -much more beneficial than a classroom lesson. - -Visits to an art museum, when possible, are equally instructive. Pupils -of grammar-school age have a tendency to criticize pictures, or, perhaps -we should say, to make remarks about them which often cause others to -laugh. This practice soon grows into a habit which, unfortunately, is -not confined to children alone, as any visit to an exhibition of -paintings will show. I have used the following little story many times -and found it helped to discourage this habit: The students at an art -school in New York were taken for their first visit to the great -Metropolitan Art Gallery. It was their first week at school, and they -were strangers to the city, to the school, to the teacher, and, with but -few exceptions, to each other. The afternoon passed all too quickly. The -next day their instructor began to question them. What did they think of -this picture? Of that? The first pupil gave a severe criticism of the -picture mentioned, as did his neighbor and others in the class. Were -they not there to study art and to learn how to tell what is wrong in -pictures? Suddenly they were amazed to find their instructor laughing -heartily at them. - -“There,” she said, “you have done just what beginners always do. You -have looked only for faults, and you have found faults.” - -She then tried to tell them that until they could learn to put -themselves in the artist’s place and to see with his eyes, so to speak, -the picture he wished to paint (which is always infinitely less than the -picture he does paint) they could not hope to appreciate his picture. -They were advised to study carefully two or three pictures which -appealed to them and to leave the others until greater knowledge, gained -through experience, travel, pain, or pleasure, should make it possible -for them to understand the message of the artist. - -=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. - -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: - ○ The Table of Contents includes “Review of Pictures and Artists - Studied” but there is no section containing that information. - ○ 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 8, by Flora Carpenter - -*** END OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 8 *** - -***** This file should be named 63278-0.txt or 63278-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/2/7/63278/ - -Produced by David Garcia, Larry B. 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