Part 2

There were a good many boys in the class. One day their teacher, Rubens, went out for a long walk. He always locked the door of his private studio and no one else had a key, except a servant. The boys wanted so much to see what was in that room that they finally persuaded the servant to let them in. Once inside the studio, they crowded close around the new picture Rubens was painting, and one of the boys was pushed against it. His coat sleeve rubbed off the chin and arm of the Virgin the artist was painting. The boys were terribly frightened, and did not know what to do. Finally they decided that the chin and arm must be painted in again. All said that Anthony could do it better than any of the rest.

So well did he paint that even Rubens did not know anything had happened. When he did find out about it he was so pleased to know that his pupil could paint so well he did not scold the boys at all. After that he often let Anthony help him paint his pictures.

Sir Anthony Van Dyck went on many long journeys to see the work of other artists. He had eleven brothers and sisters, for whom he was always doing helpful things. He admired beautiful silks, satins, velvets, and lace, and liked best to paint people wearing fine clothes. He did it so well, too, that all the people of King Charles's court wanted him to paint their portraits. He could always make them good looking, for even if they had very ugly faces, he painted such beautiful clothes on them that they made lovely pictures.

He must have loved children, for all his paintings of them look as if he did.

=Questions about the artist.= Who painted this picture? Tell about his mother and father. What did Sir Anthony Van Dyck like to do when he was a little boy? Who taught him to draw? With what great artist did he study when he was older? What happened to one of Rubens's pictures? Who painted it over again? Why did Rubens not scold him? What did Sir Anthony Van Dyck like to paint best? What makes you think he must have loved children?

FOUR LITTLE SCAMPS ARE WE

=Artist:= Julius Adam ([)a]d´´[)a]m). =Birthplace:= Unknown. =Dates:= Unknown.

=Questions to arouse interest.= How many of you like little kittens? How many have a kitty at home? What are these little kittens doing? Where do you think they are? What makes you think they are all well fed and cared for? What is the color of their fur? How many of them look happy? How many have a ribbon around the neck? What do you suppose these little kittens have been doing? Which one would you choose for your pet? why? Do you think this is a good picture of kittens? Why do you think so? Why do you suppose it is called "Four Little Scamps Are We"?

=The story of the picture.= Once there was a man named Mr. Adam, who had four little kittens just like these. He liked to watch them play, and they loved him because he was so kind to them. He must have found it very hard to make them keep still long enough for him to paint their pictures. Probably he put them in a large glass cage with wire over the top, as so many painters of cats have done. The wire was placed over the top so the kittens could have plenty of air. Sometimes Mr. Adam would drop a ball or string down through the wire into the cage and play with the kittens. The sides of the cage were made of glass so that he could watch them while he painted, no matter in what part of the cage they might be.

Perhaps these four little kittens have just had a fine romp through the house. What do you suppose they had for breakfast? Probably a saucer full of milk, which is just what little kittens like best.

Mr. Adam has finally succeeded in chasing his four roguish little kittens into the cage. They do not mind staying in the cage to please him, for they like to have him talk to them and play with them. They try to look their very best for him, and wonder which one he will take up first. Sometimes he must like to take them up in his arms and pet them. Which one would you like to take in your arms?

These four pretty kittens must be very happy, for they look as if they were well cared for. That first little kitten at the left-hand side of the picture seems happy. We suspect she is purring. That is the way she lets us know she is happy, just as children sing when they are happy. I am sure she would like to lie in your lap and let you pet her. She holds her head a little to one side, and her bright eyes seem to say, "I may be little, but I'm spry. Just roll a marble toward me, and see."

How very wise the second little kitten looks! Perhaps she is proud of her white collar and cuffs. I am sure she keeps them nice and clean. Such a baby she is, to be so thoughtful! But she likes to play, too, no doubt. What do you suppose she is thinking about? Maybe she is thinking of a nice, soft red ball in a basket in the sewing room, and after her picture is painted perhaps she means to get that ball and surprise the other kittens. Then they will all roll over and over on the floor with it. Or maybe the mamma cat has told her she will show her how to catch a mouse. She will need to keep very quiet then, or the mouse will hear and run away.

The third little kitty is almost all white. She looks as if she saw a bird. We hope she is not such a naughty kitty as to try to catch our pretty birds. I am sure Mr. Adam will not want her to do that, and will teach her better. But, do you know, I believe it is a fly she sees, and I hope she will catch that. She surely does look as if she were planning some mischief as she crouches there ready for anything.

The last little kitten seems to say, "Oh, look at my pretty ribbon! I am the only one of us that wears a ribbon! Is it not fine?" No wonder he holds his head so high! His fur is striped, and he looks like a little tiger kitten.

With such bright eyes and such sharp ears it is no wonder cats hear and see the little mice that go about so quietly. Do you know why a cat has whiskers? They say that the whiskers are always as wide as the widest part of the cat's body, so that when she wants to go through a hole in the fence, or through any narrow place, she can tell whether the opening is large enough. If her whiskers just touch, she can go through all right; but if they are pushed back, then it is of no use for her to try, for there will not be room enough to pass.

Have you ever noticed the color of little kittens' eyes? They are nearly always blue when the kittens are very little, but turn yellow as they grow older. Their eyes are very different from ours, for they can see in the dark as well as in the daytime.

What soft little cushions they have on their feet! No wonder they can go about so quietly. When they like you, they keep their claws hidden in those cushions, and so they do not scratch when they play with you.

Did you ever watch a cat sharpen her claws? She usually sharpens them on the trunk of a tree, but sometimes she likes to sharpen them on the carpet or rug. Your mamma does not like that. Even little kittens have very sharp teeth and claws, and if you tease them, or they are afraid, they bite and scratch. These little kittens look as if they had never been teased or felt cross, and we would not be a bit afraid to pet them.

=Questions to help the pupil understand the picture.= Where do you suppose Mr. Adam put these kittens when he wanted to paint them? Why put them in a glass cage? Why have wire over the top? Why do the kittens like to stay in the cage? Which of the kittens has a ribbon around the neck? How does he seem to feel? What does the next kitten seem to be about to do? What color is she? What is the next little kitten doing? How does a kitten tell us that she is happy? Why does a cat have whiskers? How do a cat's eyes differ from ours? What have cats on their feet that help them to walk quietly? Of what use are their claws? What does a cat do when she is angry? How does she sharpen her claws? What does she do with them if she likes you?

=To the Teacher:= Allow the children to talk freely of their kittens at home. Have them draw a kitten with charcoal on manila paper. Even if the results are not much in themselves, their powers of observation will be quickened, as is always shown when the same drawing is attempted a few days later.

=The story of the artist.= We know that Mr. Adam must have been very fond of cats, because he has painted so many pictures of them; but that is all we really do know of him. One authority gives the first letter of his name as S., the dates of his birth and death as 1801 and 1867, and his birthplace, Italy. Another authority gives the same dates but the initial letter J. and the birthplace, France. The paintings are signed T. or J. Adam, but no record has been kept of the artist's life.

=Questions about the artist.= Who painted this picture? Why do you think he must have liked cats?

MADONNA OF THE CHAIR

=Original Picture:= Pitti Palace, Florence, Italy. =Artist:= Raphael Sanzio (rä´´f[+a] [)e]l sän´´zy[=o]). =Birthplace:= Urbino, Italy. =Dates:= Born, 1483; died, 1520.

=Questions to arouse interest.= Whom do you see in this picture? Who is sitting in the chair? Who leans against the mother's knee? What is he holding under his arm? At whom is he looking? Why do you think he loves the baby? How many have a baby brother at home? What has the mother on her head? Around her shoulders? What makes you think the baby is not sitting very still? Who painted this picture?

=The story of the picture.= A long time ago a good old man whose name was Bernardo lived all alone in a little house in the woods. If people were lost in the woods, or tired, or hungry, they always came to him and he would help them. It was his work to take care of the trees and see that only the oldest and largest were cut down. But there was one large oak near his house he never would let the men cut. Its branches kept his house cool in summer with their shade, and in the winter they sheltered it from the bitter cold winds. Bernardo, living all alone and with no one to talk to, used to talk to the tree. And the big oak would nod its branches as if it understood every word.

All the trees belonged to a man who used the wood to make barrels. He made hundreds and hundreds of barrels, and though it took a great many trees to give him wood enough, he always spared the oak tree. Sometimes when this man came out to see about his trees his little daughter Mary came with him. And so Bernardo and little Mary became great friends. In fact, the old man said he had only two friends, the oak to whom he talked and little Mary who talked to him.

One day there was a dreadful storm and Bernardo's little house shook so in the wind that he was afraid to stay in it. He looked at the oak tree, and it seemed to motion to him and tell him to come into its branches, where he would be safe. So he put some bread in his pocket, for he knew the storm would last a long time, and climbed up into the tree. It was a good thing he did so, too, for very soon his house was blown down. Hundreds of birds also hid among the branches of the big tree during the storm, which lasted three days.

The old man wished he had brought more bread to eat, for the ground was covered with water so deep he did not dare leave the tree. Just as he began to think he would starve, Mary and her father came in search of him and took him to their home. Little Mary had been thinking of him all the time, and just as soon as they could they had come for him. So you see his two friends, Mary and the oak, had saved his life, and Bernardo loved them more than ever. He prayed that in some way his two good friends might always be remembered together.

Many years after, Bernardo died. By that time the oak was so old it seemed as if it would fall over and break the other trees near it, or maybe hurt somebody. So it was cut down, and Mary's father had it made into fine new barrels. By this time the little Mary had grown up, was married, and had two fine boys of her own. She was sitting out on the nice big porch of her home one day, holding the baby in her arms, when the older boy came running to her to show her a stick which one of the workmen had carved into a cross. And who should happen to be passing the house at that very moment but the great artist, Raphael.

When he looked up and saw the lovely mother and her children, he thought he had never seen anything so beautiful. He was on his way home after a long walk, and did not even have his paints with him. But he saw the empty barrels in the yard, and choosing one with a nice smooth head, he drew on it, with a piece of charcoal, a picture of Mary and her children. He took the drawing home with him and painted this great picture. So the old man's wish came true, for this barrel end made from the old oak tree, with the picture of Mary and her children upon it, has become famous over all the world.

Such a round-faced, healthy, happy-looking baby, held tight in the loving clasp of his mother's strong arms! Perhaps he is getting tired of sitting so long for his picture, and wants to go down and see what the artist is doing. His chubby little arms and feet make us think he is not sitting very still. His lovely mother bends her head toward him. Her head is covered with a handkerchief, and there is such a beautiful shawl around her shoulders. The older boy looks with love and adoration at his sweet baby brother, who is looking toward us. What a beautiful old carved chair they must have been sitting in!

The mother's face was so good and kind, and she looked so lovely there on the porch with her children, that she reminded Raphael of that other mother, Mary, the mother of the baby Jesus. The elder brother looked like the little St. John adoring Jesus. So Raphael painted a halo around their heads and called the picture the "Madonna of the Chair." This halo is a ring of light which artists often paint around the heads of angels and saints. Raphael wanted to make us think loving and tender thoughts about the baby Jesus, Mary, and St. John.

=Questions to help the pupil understand the picture.= Who was Bernardo? Where did he live? What did he do? Why did he not cut down the oak tree near his house? To whom did he talk? How did the oak tree seem to answer him? Who was Mary? Tell about the storm. How long did it last? Who came in search of Bernardo? Why did he pray that his two friends might be remembered together? What became of the oak tree? of Mary? Who painted her picture? Where was she? On what did the artist paint the picture? why? Why is the picture round? How did this make Bernardo's wish come true? Of whom did Mary and her children make the artist think? Why did he paint the halo around their heads? What is a halo? Why is the picture called the "Madonna of the Chair"? Of whom did the artist want to make us think?

=To the Teacher:= Have the children retell the story of the picture.

=The story of the artist.= Raphael's father was a painter, and belonged to a family of painters. Perhaps there never was a more fortunate little boy born to more loving parents. And perhaps that, too, is the reason he grew up with such pleasant ways and such a sweet nature that every one who knew him loved him. It made people happy just to be with him.

Raphael's father taught him how to mix paints, and showed him how to wash and care for his brushes. He gave him his first lessons in drawing and painting. Raphael's mother died when he was only eight years old, but he had a stepmother who was very good to him indeed, and helped him all she could. A few years later his father died, and so it was through the help of a generous uncle that he was sent to the studio of the great artist, Perugino, to study. The artist-teacher was very fond and very proud of Raphael, whose work soon became even better than his own.

Raphael was never jealous or unkind toward others who did things better than he could do them. And he made those who could not do so well as he feel kindly toward him and be glad of his success. He did all he could to help poor artists, and was never too busy to see them. Whenever he went to court to see the king and queen he was just like a prince in a fairy story. About fifty of these poorer artists and friends always went with him to show everybody how much they loved and admired him. It was just like a parade.

One day the Pope--Pope Julius--sent for him and told him that he wanted him to paint some good pictures on the walls of four of the rooms in his palace, the Vatican. On these walls pictures had been painted which the Pope did not like, and he thought Raphael would know just what to do to make his palace the most beautiful in the world. Raphael worked very hard, for he wanted to please the Pope. Many of the pictures had to be painted on the ceilings, and he had to lie flat on his back on a large board placed across two ladders. You may be sure he grew very tired.

Some days he took long walks in the country. It was when returning from one of these long walks that he painted the "Madonna of the Chair." He painted over forty Madonnas. This Madonna is seated in a chair, and that is why it is called the "Madonna of the Chair," or "_Madonna della Sedia_." Most of his paintings are of stories told in the Bible. He painted over two hundred eighty-seven pictures. The artist's last name was Sanzio, but people have always called him by his first name, Raphael.

=Questions about the artist.= Who painted this picture? What kind of a boy was he? Why did people like him? Who taught him to draw and paint? Who else helped him? What happened when he went to see the king and queen? What did the Pope ask him to do? How did he paint the ceiling? Where did he like to walk? How did he happen to paint this picture? What kind of pictures did he usually paint? How many Madonnas did he paint? How many pictures all together?

MISS BOWLES

=Artist:= Sir Joshua Reynolds (r[)e]n´´[)u]ldz). =Birthplace:= Plympton, Devonshire, England. =Dates:= Born, 1723; died, 1792.

=Questions to arouse interest.= What is the little girl in this picture doing? Why does she keep such fast hold of the little dog? Where do you think they are? Do you think she looks happy or frightened? why? What has she in her hair? How is she dressed? What makes you think you would like to play with her? What do you think they have been doing? Where have they been playing? Do you like this picture? why?

=The story of the picture.= How pleased little Miss Bowles must have been when her mamma and papa told her she was to go to the studio of the great Sir Joshua Reynolds to have her picture painted! She must have clapped her hands, for, as every one knew, Sir Joshua Reynolds was the most delightful man in the world. He not only loved children but he always played with them and kept a great many wonderful toys in his studio just for them. Then, too, he had invited her and her mamma and papa to have lunch with him before she sat for her picture.

Sir Joshua had told her mamma to dress the little girl in the simplest white dress she had, so she could play, and because he did not like fine clothes.

It was a lovely drive from her home to the studio, and the two fine horses held their heads up and stepped very high as if they, too, were glad they were going to Sir Joshua's house. Just as Miss Bowles stepped out of the carriage the cutest little black and white dog came racing down the walk to greet her. Little Miss Bowles was not a bit afraid. How could she be, when the little black and white dog came right up to her and stood wagging his tail? When she had petted him, perhaps he ran to bring a stick for her to throw, so he could find it and bring it back to her, just as your dog does. Sir Joshua heard her laughing and the dog barking as he came out to welcome them.

Almost at once, luncheon was announced and they all went in to the big dining room. Sir Joshua Reynolds sat next to little Miss Bowles and told her all about the little dog, whose name, perhaps, was Spot. A lady whose picture he had painted had given the dog to him, and she had taught Spot several very clever tricks which Miss Bowles should see right after luncheon.

Sir Joshua loved to surprise his little friends. When they were not looking he would take their handkerchiefs from them, or suddenly put some strange toy in their laps. He loved to see their look of surprise and delight.

After luncheon came a good romp in the yard. Perhaps the little dog would bite Miss Bowles's shoes and try to keep her from running. How she must have laughed!

When she went back into the house Spot went in with her. Little Miss Bowles is so afraid the artist is going to send her pet away that she holds him fast in her arms, and looks at Sir Joshua Reynolds as much as to say, "Now you can't send him away, can you?" Her eyes fairly sparkle with glee as she squeezes the little dog much too hard for his comfort. He knows that she holds him so fast because she wants to keep him, and he is glad to be with her, but oh! if she just would not squeeze quite so hard!

Show me how little Miss Bowles is sitting. I suppose she is afraid to look away even for a second for fear Sir Joshua will play some trick on her and get the little dog away. Sir Joshua painted so very fast that I don't suppose she knew just when he drew her picture, although he probably asked her to sit still when he was ready to paint. But she must have gone to his house several times before the picture was finished. Her father and mother were very much pleased with the picture, and said it looked just like their little girl.

Sir Joshua Reynolds loved the woods and nature so much that he nearly always painted them in his pictures. So in the background of this picture we catch a glimpse of the woods in the yard where the child and dog have been playing, and where they have just stopped a moment to rest.

=Questions to help the pupil understand the picture.= Where was this picture painted? Why was little Miss Bowles so glad to go? How did she go? What came to meet her? What color was the dog? How did he act? Who gave the dog to the artist? How did Sir Joshua Reynolds know little Miss Bowles had come? How did he tease her? What did they do after luncheon? Why did she hold the dog so fast? What can you see behind the little girl?

=To the Teacher:= Let the children illustrate the story of little Miss Bowles playing with her dog in the park. Use charcoal, or colored crayon, on manila paper.

=The story of the artist.= Sir Joshua Reynolds's father was a teacher in a private school, and to this school Joshua was sent as soon as he was old enough to study. Even when a very little boy Joshua liked to draw. He liked it so well that it was hard for him to study in school. He always saw so many things he wanted to draw that he could not wait until after school, but drew them on the back of his lesson papers. One day he drew all over his number paper, and when he handed it in his father could not read the numbers on account of the drawing. His father was disappointed because his son's paper did not look so neat as the other boys', and so he wrote at the top of the sheet, "Done by Joshua out of pure idleness."

Joshua had five brothers and sisters who liked to draw just as well as he did, and who could all draw very much better than he could. It took so much paper and so many pencils for all his children, that finally the father told them they might draw on the walls of one of the halls. The walls had been whitewashed and the children used burnt sticks for pencils.