Part 3

They will not lose their hats even if the wind does blow, for the little girl's bonnet is tied under her chin, and her father has pulled his rubber hat tight over his head. Often, when he is out fishing on the deep sea, the spray dashes over the fisherman's boat, and he is glad to have a rubber hat and coat to wear.

The little girl wears a large handkerchief around her neck, fastened under her arms. What do you think is in the pockets of her apron to make them puff out so? It must be in the summer time, or she would surely wear a coat and rubber boots. What a big, heavy boat it is! No wonder it takes such a large oar to row it.

=Questions to help the pupil understand the picture.= Tell something about a fisherman's day. When does he start? How does he go? Where? How does he keep his boat from drifting while he fishes? What is meant by "fisherman's luck"? What is his net for? What makes you think the fisherman is going home now? Why does he not use his sail? Why does he have a flat-bottomed boat? How does a good sailor care for his boat and sails? What is a "sailor's knot"? Of what use is it? Why does the fisherman wear a rubber hat and coat? How many think the little girl is helping? Why do you think her father is so pleased to have her try? What has she on her head? around her neck? What time of the year do you think it is?

=To the Teacher:= The children might be allowed to draw or cut out a sailboat and a fisherman's hat.

=The story of the artist.= Very little is known about the boyhood of the man who painted this picture. His paintings were usually of fisherfolk, and of boats on the water. We know that in 1886 he came to America and spent one year in New York City. It was during this time that he painted his picture of Brooklyn Bridge, now in the museum in Le Havre, the town in France where he died. "A Helping Hand" is the most popular of his pictures, and may be seen in the Corcoran Gallery at Washington, D.C.

=Questions about the artist.= Who painted this picture? What class of people did he like to paint? What did he paint during his visit to America? Where may this picture be seen?

THE STRAWBERRY GIRL

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

=Questions to arouse interest.= What do you see in this picture? Where do you think she is going? What has she on her arm? What is it for? Why do you suppose she stands so still? Do you think she looks frightened, or shy? What has she on her head? How is she dressed? How is she holding her hands? Why would she not carry strawberries in her apron? What can you see behind her? How many of you like this picture?

=The story of the picture.= We all know the story about the great artist, Sir Joshua Reynolds, and his picture called "Angels' Heads." We know, too, how very fond of children he was, and how much they liked to go to see him.

Having no children of his own, perhaps he would not have understood them so well if his little niece had not come to live with him when she was a very little girl. Her name was Theophila Palmer, but every one called her "Offy." When her father died the family was left very poor, and so Sir Joshua Reynolds wanted to help her mother, who was his sister. He offered to adopt Offy as his own little daughter and to take her home to live with him and his sister in his great house in London.

After living on a farm out in the country all her life, you can imagine how excited Offy was when it was finally decided that she should go. Her uncle came for her in that same big coach or carriage in which little Frances Isabelle Gordon liked so much to ride.

What a fine time she must have had playing in the great yard with Sir Joshua, and with the children who came to him to have their pictures painted! Very often she would go home to see her mother and sister. Then Sir Joshua would send his carriage to bring them all back for a visit with him. What fun it was to show them all around the great house and yard! There were fine, large trees in the yard, and behind the house was a small garden with a strawberry patch at one end.

One bright spring morning Offy woke up with a beautiful plan in her head. She would surprise her uncle. He had been so very busy she felt sure he had not looked at the strawberry bed for several days, and did not know the berries were ripe. She would take her little basket and pick it full of the largest ones for him.

It was great fun hunting for them, and her basket was almost full when suddenly she heard steps. It was her uncle and two strange men who walked with him. She did not have time to hide, but stood there with her basket on her arm, waiting to hear what they would say.

At first she thought her uncle was going to scold her, and that is why she looks so shy and half afraid. But no, Sir Joshua soon guessed why she was picking the strawberries, and he was very glad he could offer some to his friends. One of the men called Offy "the little strawberry girl," and kept her with him all the rest of the day.

Sir Joshua seemed to like to look at her that day, and she was not surprised the next morning when he asked her to bring the basket and come into his studio, for he wanted to paint her picture. She had had her picture painted several times before, and knew just about what he would want her to do.

But this time he had a surprise for her. It was a large mirror which he placed in such a way that she could look in it and see every stroke of his pencil and brush as he painted her. He had her stand just as she did when he surprised her out in the strawberry patch.

As she watched him paint he talked to her about the garden and the strawberries. Then she told him how she used to gather wild strawberries out in the country, and that she and her sister and brother started very early in the morning because they wanted to find them while they were still wet with dew. There was one place not far from their house where there were many rocks, and one that was very large. The very largest, sweetest berries grew in the shade of this great rock. The children used to try to see who would reach it first; then they would divide the berries they found, for there were only a few of them, and all wanted a taste.

As Offy told about the rock Sir Joshua Reynolds sketched it in the background of his picture, just as he thought it must have looked.

The little girl looks as if she had just started away with her basket of berries when we stopped her to take her picture. She is looking straight at us, with her head bent forward a little as she smiles shyly at us with her big eyes. Her basket, cap, and dress seem strange to us, for little girls do not dress that way now. She looks quaint and old-fashioned as she stands there, with her hands clasped so primly. But one glance at her face tells us that she is just a merry, happy little child, ready to dart away at any moment for a romp in the woods we can see in the distance.

Sir Joshua Reynolds always said that this was the best child's picture he ever painted.

Offy was very happy in his home, and lived there until she grew up and married. Then when she had a little girl of her own she let her visit Sir Joshua and have her picture painted, too. It is Offy's little daughter we see in the picture called "Simplicity." Her name was Offy, too.

With so many lovely pictures of children it is no wonder Sir Joshua Reynolds was called the "Prince of Child Painters."

=Questions to help the pupil understand the picture.= Who painted this picture? What other picture of his have we studied? Who can tell something about Sir Joshua Reynolds? What little girl came to live with him? How did she happen to come? Where had she lived? Who brought her, and how? Tell about Sir Joshua Reynolds's house and yard. Where was the strawberry patch? What did Offy plan to do to surprise her uncle? What happened? What did one of the men call Offy? What did her uncle do the next morning? How was Offy surprised? Of what use was the mirror? Tell how Offy gathered strawberries in the country. Where did the largest berries grow? Why did Sir Joshua Reynolds paint the rock in the picture? What did he say about this picture? What became of Offy? Why do you think Sir Joshua Reynolds liked to paint this little girl?

=To the Teacher:= Illustrate the story of a little girl picking strawberries. Use charcoal and manila paper. Ask some child to pose for the picture, and encourage the children to draw a background that tells the story.

=The story of the artist.= The great room or studio in which Sir Joshua Reynolds painted was a wonderful place for a child to visit. In it one could find all kinds of toys, as well as birds and other pets. Most of the children who came to see Sir Joshua were of very wealthy families, but he did not care for that. He always asked their mothers to please let them wear their oldest clothes so they could have a good time. In fact, he did not like fine clothes, and usually the children in his pictures are dressed so simply you cannot tell whether they are rich or poor. He played games with them and told them stories. They were always sure of a good time and so no wonder they liked to visit him.

Many artists have been poor, and have had to work very hard just to earn enough to eat, but Sir Joshua was not one of these. He was fortunate in being able to sell all his pictures as fast as he could paint them and so always had plenty of money.

Many strange stories are told of Joshua's father because he was such an absent-minded man. One day he rode to town on horseback. He was wearing high-topped boots which were so loose that one fell off while he was riding along. He did not notice it at all, for he was thinking of something else. But when he reached town and got off his horse he was very much surprised and embarrassed to find himself wearing only one boot.

When Sir Joshua went to London to learn how to paint he wrote to his father, "While I am doing this, I am the happiest creature alive." After he had been away several years he met a young sailor, Admiral Keppel, who invited him to go on a long sail on the Mediterranean Sea. This was a great opportunity for Sir Joshua, and he was glad to go. He spent some time in Italy, and when he came home he painted a portrait of his friend, Admiral Keppel, which every one admired. It was this picture that first made him famous.

=Questions about the artist.= Tell about Sir Joshua Reynolds's studio. Why did children like to visit him? How did he wish them to dress? why? Tell about his father and the boot. Was Sir Joshua Reynolds rich or poor? When he was away from home, learning to paint, what did he write to his father? Tell about Admiral Keppel and his picture.

THE RETURN TO THE FARM

=Original Picture:= The Louvre (l[=oo]´vr'), Paris, France. =Artist:= Constant Troyon (trwä´yôn´´) =Birthplace:= Sèvres (Sâ´´vr'), France. =Dates:= Born, 1810; died, 1865.

=Questions to arouse interest.= What do you see in this picture? Where are the animals going? Where do you think they have been? Who is driving them? What time of day do you think it is? Do you think it is a warm or a cold day? why? Which is the leader of the sheep? Notice the knees of the animals. What do they show? Where is the donkey? Why does the dog seem so anxious? From what direction are the animals coming? See if you can find any two sheep just alike. What can you see in the distance? Where is the shady part in the picture? Do you like this picture?

=The story of the picture.= It is at the close of day; the cows, the sheep, and the donkey have been out in the pasture all day, and when the dog and his master came for them they were ready to start for home.

We can hardly see the man in the picture. He is walking along the river bank farther back. Perhaps he is walking slowly so as to give the cows time to wade out into that cool little pond, where they can drink and refresh themselves. But the dog feels that he must look after them, so he tries his best to keep them out of the water. That one dark cow has just about made up her mind to follow the others into the water, and the dog is barking at her, trying to persuade her not to go. The cow just leaving the water turns around to call the rest, half wishing to go back herself. When the man comes along they will know it is time for them to be on their way again.

The dog has an anxious time of it, for he never knows when the sheep, too, may see a green field and start away from the road in spite of him. Even now one is looking away from the leader.

The donkey seems to be following along very quietly. It may be that the man has stayed behind to look after him, or perhaps there are more cattle coming around the curve in the road, or stopping to rest in the deep shade of those heavy trees.

This picture was painted in France, but it might well have been done in our own country, for we have all seen grass-covered, shady roads like this one, and just such a group of animals. Is it not strange that, although all the animals in the road are coming toward us, no two are in the same position?

The sun is steadily going down; soon all the animals will be at home, the cows will be milked, the sheep safe in the fold, and the donkey in his stall. Then the good old dog will be glad to have his supper and lie down and rest. It is wonderful how much a dog can help on a farm, and how many steps he saves the farmer by his willing, cheerful help. It is very unusual indeed to find a farmer without a dog.

If you look at the long shadows on the road of the sheep and the cows you can tell easily in what direction they are going so late in the afternoon.

Constant Troyon, the man who painted this picture, delighted in painting groups of animals coming toward us. No matter where we stand, so long as we can see them, they are coming to meet us. It makes us feel as if we must step aside and let them pass, they are so real.

=Questions to help the pupil understand the picture.= Who goes after the cows and sheep? Where will they find them? Where is the man in the picture? Why do you suppose he is walking slowly? What does the dog think he must do? What is he trying to persuade that dark cow not to do? What does the cow which is just leaving the water seem to want to do? Why does the dog look so worried? Where was this picture painted? Where have you seen a road that looks like this? What will probably happen when these cows and sheep reach home? Of what use is the dog? Why do most farmers have a dog? How can a dog help his master in the city? In what direction are the cows and sheep going? What makes you think so?

=The story of the artist.= When Constant Troyon was a little boy he used to love to go to visit his father at the big factory where all kinds of china and pottery were made. He liked to watch the men decorate the china, and as soon as he was old enough he went into the factory and learned how to do it himself. This was the way he first learned how to draw.

He was not long content with china painting, however, and soon began painting large pictures of places he cared about near home. He would take his paints and search out just the place he liked to paint; then he would stay there all day long, as happy as could be.

At first he painted just because he liked to, and did not try to paint pictures to sell or to please others, for he earned all the money he needed in the porcelain factory. After a while his friends persuaded him to exhibit his paintings so that all the people could see them, and when he did so he was amazed to find that every one admired them, and that he had become very popular.

Of a powerful frame, he could be seen tramping about in all kinds of weather. He made friends wherever he went, for he was always good-natured and kind-hearted. People usually speak of him as a painter of cattle, but he painted quite as many pictures of sheep and dogs.

=Questions about the artist.= Who painted this picture? What did he like to paint best? Where did Constant Troyon learn to draw? What was made at his father's factory? What did Troyon do when he was old enough? Where did he paint his large pictures? Why did he paint? How did people like his pictures? How did they like him? What other animals did he like to paint besides cattle?

THE SUGGESTIONS TO TEACHERS

=Studying the picture.= Several days before the lesson is to be taken up, the picture to be studied should be placed where every pupil can see it.

First of all, the children should find out for themselves what is in the picture. The questions accompanying the story of each picture are intended to help them to do this.

=Language work.= The pupils should be encouraged in class to talk freely and naturally. In this way the lesson becomes a language exercise in which the pupils will gain in freedom of expression and in the ability to form clear mental images.

If a lesson does not occupy the entire drawing period, the children should be asked to retell the story of the picture.

=Dramatization and drawing.= Most of the stories told by the pictures lend themselves readily to dramatization and, whenever practicable, such stories should be acted out. The stories also offer numerous interesting situations that may be used as subjects for drawing lessons.

=The review lesson.= The review lesson should cover all pictures and artists studied throughout the year. At this time other pictures available by the same artists should be on exhibition.

The review work may be conducted as a contest in which the pictures are held up, one at a time, while the class writes the name of the picture and the artist on slips of paper which have been prepared and numbered for that purpose. One teacher who used this device surprised her class by presenting those whose lists were correct with their choice of any of the large-sized Perry pictures studied.

Many teachers, however, will prefer to use this time for composition work, although the description of pictures is often given as an English lesson. Pupils may write a description of their favorite picture. In fact, the lessons can be made to correlate with history, geography, English, spelling, reading, or nature study.

In any event the real purpose of the work is that the pupils shall become so familiar with the pictures that they will recognize them as old friends whenever and wherever they may see them.

It is hoped that acquaintance with the picture and the interest awakened by its story will grow into a fuller appreciation and understanding of the artist's work. Thus the children will have many happy hours and will learn to love the good, the true, and the beautiful in everything about them.

[Transcriber's Note:

* Text enclosed between equal signs was in bold face in the original (=bold=).

* Some words have accents of different weights. The heavier accent is marked double (''). (Example: bo'nur'')

* Pg 21 Pronunciation guide for (zhäN fräN´ swä´ m[=e]l[)e]´´) presents a Latin letter small capital "N", a voiced uvular nasal.

* Pg 37 Emile Renouf (r[~e] n[=oo]f´´) and Pg 51 Louvre (l[=oo]´vr') contains [=oo] representing a "long oo" sound not represented in any charts.

* Pg 41 Changed "where" to "Where" in "How does he go? where?".]

End of Project Gutenberg's Stories Pictures Tell, by Flora Carpenter