Part 2

The guests, of course, were much disappointed and scarcely tasted this poor fare. They supposed the meal was ended when the blue cloth was removed, but no, it was replaced by one of the finest linen, the old sailors disappeared, and a number of servants in fine liveries appeared, serving a banquet which excelled even their highest expectations.

Then the host spoke to them: “Such, gentlemen, has been the progress of our Republic. We began with short frugality, by means of which we became wealthy; and we end with luxury, which will beget poverty. We should, therefore, be satisfied with our beef and greens, that we may not have to return to our herrings.”

Unlike many pictures which seem to be made up of a majority of either curved or straight lines, this picture contains a great variety of lines. We find the straight line in the masts and sails of the boats, the walls and spires of the church, the main walls of the windmill, the posts of the breakwater, and the three little figures in white; the horizontal lines in the horizon, roofs, hull of the boat, and in the breakwater. The rolling clouds, round masses of the tree tops, and the balcony railing give us the curved lines, while we cannot fail to notice the oblique lines of the arms of the mill and the grasses near the river bank.

=Questions to help the pupil understand the picture.= What does this picture represent? How is Holland protected from the ocean? What are dikes? How are they used? What kind of a place was Holland when Caesar first entered it? What did the people do? How did they happen to build the first dike? What is the longest dike called? What would happen if the dike should give way? From what sea does it protect the people? How has the sea proved their friend? at what expense to them? Of what use are the windmills? How do they build houses in Holland? Why are the cellars full of water? Why are the houses damp? Which room is usually in the front of the house? How is the windmill in this picture built? What makes you think a storm is approaching? How does the water look? the sails? the trees? the windmill? What feeling does this picture give you—one of peace, expectancy, suspense, anxiety, or pleasure? Why is it typical of the people of Holland? Tell about the early Hollanders; the Dutch merchant and the banquet. What advice did the merchant give the Hollanders? What can you say about the composition of this picture? Of what kinds of lines is it made up? Where do you find the different kinds of lines?

=The story of the artist.= Jacob Van Ruysdael was born at Haarlem, Holland, in 1628. Although he was one of the greatest of the Dutch landscape painters, very little is known of his life. When he was only twelve years old he painted a picture in which he showed so much talent that his father consented to his giving up the study of medicine, for which he had been preparing. Ruysdael’s elder brother was probably his first teacher in painting. Later he went to Amsterdam to study, but his great desire was to be out in the country, where he could be alone with nature. His pictures are usually of landscapes, including a glimpse of the sea and land, with vast sky spaces overhead. In color, a rich, warm green predominates. It was always very difficult for him to draw people, so he usually had some other artist paint his figures for him.

Although his paintings are extremely valuable now, he could not sell them then, and he was so poor he was obliged at last to go to the almshouse, where he died in 1682.

People at that time were not interested in an ordinary landscape such as they saw every day. They thought Ruysdael was wasting his time painting such common things. Other artists painted pictures of people and of interesting events, real or imaginary, in brilliant colors and style. Ruysdael painted pictures in which the landscape and not the people was the center of interest. He was one of the very first artists with enough appreciation for the beauty of nature to use it as the subject for his paintings.

From what we read of Ruysdael’s life, it must have been a rather lonely one. Of a dreamy, thoughtful nature, he spent much of his time wandering alone by the seashore, among the sand dunes, and through the open country. These are the scenes he painted again and again. He loved to study the same scene in different lights, with different cloud effects, at different times and seasons; and so we find twenty pictures of a certain scene called “View of Haarlem from the Hill of Overveen.”

Few men have shown a more thorough knowledge of trees, the trunks, their branches, and the character of their leaves. In his earlier work this knowledge caused him to put too many details into his pictures, making them somewhat stiff. But he soon overcame this difficulty and began to put into his landscapes a peace and tranquility that rests the eye. But since his paintings still remained unpopular he tried a change of subjects, painting pictures of mountain scenery and rocky waterfalls.

It is generally believed that the artist Hobbema was Ruysdael’s friend and pupil. If this is true, the two must have spent many happy days together painting the quiet landscapes they loved so well. Neither of them ever traveled out of Holland.

So much alike was the work of these two artists that at one time long after their death, Hobbema’s name was removed from his paintings and that of Ruysdael placed in its stead in order to sell them. Later every effort was made to correct these errors. Some critics declared that every rocky landscape must be by Ruysdael, and every peaceful scene of cottages, high trees, and waterfalls must be by Hobbema, and so doubtless many mistakes were made. But it was not until after Ruysdael’s death that people awoke to his greatness and genius. Fabulous sums have been paid for many of his pictures and they hang in the best galleries of Europe.

Famous paintings by Ruysdael are: “Landscape with Waterfall,” “The Tempest,” “The Swamp in the Wood,” “The Jewish Cemetery,” “Landscape with Ruins,” “Shore at Scheveningen,” “Oak Wood,” and “Agitated Sea.”

=Questions about the artist.= Who painted this picture? Where did he live? How did he rank? Tell what you can of his life. What subjects did he usually choose for his paintings? What color usually predominates? What did he find difficult to draw? Where did he pass the last days of his life? Why could he not sell his pictures? How did they differ from those of other artists? What artist studied with him? Of what value are Ruysdael’s paintings to-day?

PILGRIMS GOING TO CHURCH

=Questions to arouse interest.= Who are these people? What country does this represent? Why were they called Pilgrims, and why did they leave England? Where are they going in this picture? Why do the men carry guns? Where might foes be lurking? What time of the year is it? what time of day?

=Original Picture=: Lenox Gallery, New York. =Artist=: George Henry Boughton (bô´tȯn). =Birthplace=: Norwich, England. =Dates=: Born, 1834; died, 1905.

=The story of the picture.= We have read many stories about the lives of our forefathers in America, but perhaps we realize more clearly just what that life must have been when we look at this picture, “Pilgrims Going to Church.” It makes us realize why the Pilgrims came to this country and willingly endured such terrible hardships,—that they might go to their own church and worship according to their own conscience.

It was a brave and sturdy people who, although loyal in all else, defied the king when he would take away their freedom of worship. Little wonder there was much excitement when people of all ranks and conditions in England began to sell their homes and possessions, preparing to leave for a land almost unknown and full of danger.

The king tried to prevent their leaving, even putting some of them in prison. But our forefathers were not of the kind who are easily discouraged or defeated; and one day the little band which had collected on the shores of the great ocean said good-by to their sorrowing friends and were rowed to the little ship, the _Mayflower_, which was to carry them safely to the new land. We have read much of the perils of that journey, and how, in spite of accidents on shipboard and equinoctial storms, they finally arrived off Cape Cod one cold and wintry morning in December. They sent out parties to search the shores for a favorable place to build their homes, and on Monday, December 21, 1620, disembarked on the sandy beach, landing a few at a time on that greenish granite rock called Plymouth Rock. This famous rock is still to be seen, an object of veneration.

Arrived on this dreary, frozen land, the Pilgrims began to work with a will, cutting down the pine trees, building their rude houses, and trying in all ways to establish here a permanent home. Their religion was not forgotten. In fact, it is said that the party sent out to find this location landed there on the Sabbath day, and as they would not labor on that day, they did not cut wood for a fire, but walked back and forth all day and night to keep from freezing to death.

In our picture we see them in this dreary land in the midst of winter. Their rude, snow-covered homes were so roughly built that the cold winds whistled through them, and their provisions were so scant that they were often thankful for a meal of fish and a cup of water.

To-day is Sunday. They are on their way to church. They have realized their ideal—freedom of worship. Even the fact that they must go armed, keeping a careful watch for their treacherous foe, the Indian, cannot take away the comfort of that thought.

When they first landed, they found all the shore deserted except for a few empty wigwams which seemed not to have been inhabited for a long time. Later the Pilgrims were told that there had been a dreadful plague among the Indians at this very place, and all the survivors had fled.

At first the few Indians whom they saw were friendly, but later they began to resent the presence of these white people, whose number was constantly increasing and who seized upon their lands and fields as if they were the rightful owners. They began to plunder and burn the homes of the settlers, and all sense of security was gone.

But the common danger held the brave band closer together, making their religious freedom seem more precious. In this picture, guards are stationed at the front, center, and end of each group of people. The minister, the women, and the children are thus surrounded and protected.

Our chief attention is for the central figures—the minister, his wife, and the child. It is interesting to study the expressions on the faces of this stanch little band. We observe the light on the heads and faces of the Pilgrims and on the sides of the trees, and the absence of shadows on the snow. This tells us that the sun must be high in the sky.

This group of Pilgrims is only a part of those who will assemble in the little church just over the hill. We catch a glimpse of the first man in the next group.

Notice the quaint hats and collars which the men and women wear. The artist was very particular to show us the Pilgrims’ peculiar style of dress.

=Questions to help the pupil understand the picture.= Who were our forefathers in America? Why were they so called? Why did they come to America? What kind of people were they? What did they know of America before they came? Who tried to prevent their coming? Upon what boat did they sail? Tell about the journey. Why was it so dangerous? When did they reach America? Upon what did they land? What has become of this rock? What did the Pilgrims do as soon as they arrived? Tell about the party sent out to find a permanent location. Why could they not build a fire? What time of year is represented in this picture? Where are the people going? How many churches did they have? Why do they carry guns? Who occupied this land before the Pilgrims came? Why did the Indians leave? Why did they dislike the Pilgrims? What effect did this danger have upon the Pilgrims? To which members of the group in the picture is our attention directed? How is this accomplished? What makes you think the sun is shining? What time of day is it? What makes you think there are more people coming? How are these Pilgrims dressed?

=To the Teacher=: Let the pupils illustrate the various scenes in the story with charcoal on manila paper.

=The story of the artist.= George Henry Boughton was born in a little village near Norwich, England. His father was a farmer. But the farm he possessed was so small that he found it difficult to provide for his large family. So he decided to sail to America where there were better opportunities for farming. The long voyage was taken the year following George’s birth.

The family settled near Albany, New York, and there George Boughton was raised and educated. It was decided that he should be trained for a business career and so he was sent to a commercial school. But the young artist had other plans in his head. At school he began to show great skill in drawing, gained, as he said afterwards, “by drawing every mortal thing that came under my notice.” While he was still in school, Boughton’s father and mother died and he was left to the care of his older brothers and sisters. They regarded his efforts in art with little favor and offered him no encouragement.

But George Boughton would not be discouraged. Drawing and painting had more attraction for him than even the sports that are dear to every boy’s heart. He has himself told the story of how he once went into a store to buy hooks and a line to use on a fishing trip to a neighboring creek, and how he came out with a set of oil colors and paint brushes instead. The picture he painted at that time was the beginning of his success. When he was nineteen years old he sold enough of his sketches to pay his way to London. He spent a few months in London and then went on a long trip through England, Scotland, and Ireland, making sketches of the scenes that appealed to him.

With these he returned to New York, where they were quickly sold. A few years later, with the help of a millionaire patron who bought the artist’s pictures in advance, Boughton went to Paris. After a year in Paris he went to London again, finally making his home there. Then, of course, his studio in New York City was given up, but, though he lived in England, his art remained distinctly American.

He was especially interested in the history and literature of our country and has been called “the interpreter of New England life in the seventeenth century.”

Besides painting, Mr. Boughton wrote stories for magazines, illustrating his own stories.

In 1879 Mr. Boughton was elected Associate of the Royal Academy in London, and in 1896 he became a member of the Academy with all the honors and privileges of that position.

Among his most noted pictures are the “Return of the Mayflower,” “Pilgrim Exiles,” and “The Scarlet Letter.”

=Questions about the artist.= Who painted this picture? Where was he born? What was it decided that he should become? Tell the story of the fishing tackle. What did he do with the money he received for his first pictures? What did he do in England? Who helped him to go to Paris? Where did he settle down? What part of the United States interested him most? What kind of pictures did he paint? What has he been called? What is meant by that? Why might he be considered an American artist? What could he do besides paint?

THE CHILD HANDEL

=Questions to arouse interest.= Where are these people? At whom are they looking? Why do you think it is night? Upon what has the boy been playing? What does the man carry in his hand? Why do they look so surprised? Does the boy look frightened, anxious, or pleased? How is he dressed? How is the man dressed? the woman? What can you see hanging from her belt? Who is behind her? Where do you think they have come from? Why do you suppose they dressed so fully? What can you see scattered upon the floor? What do you like best about this picture?

=Artist=: Margaret Isabel Dicksee. =Birthplace=: London, England. =Dates=: Born, 1858; died, 1903.

=The story of the picture.= It is midnight; the small boy Handel has forgotten everything in the world as he plays upon the old harpsichord hidden in the dark old garret. He feels safe, for he has taken all precautions—first, by going to bed at the regular time; then, by feigning sleep until all the household was wrapped in slumber. Ah! how long the time seemed, and how impatiently he went over and over again in his mind the beautiful melody he had been composing all day as he worked or played.

But no one must know. He had not even dared hum, lest he should be suspected, for his father had forbidden him the use of the harpsichord, the only musical instrument the family possessed. Humming a tune was something to be frowned at because this small boy loved music so dearly that, if permitted, he would neglect all else to sing or play upon the old harpsichord.

The father had long ago planned that his son should become a lawyer, and he wished to educate him for that profession. But the boy did not apply himself to his lessons, and was at the foot of the class. After much discussion, it was decided that the harpsichord must be banished to the garret and the boy forbidden to touch it until he had mastered his other studies.

Then it was that Handel began to pay those nightly visits to the garret where, with closed windows and doors, he played half the night or until the first hint of dawn told him he must hurry back to his bed. No wonder his mother found it hard to get him up in the morning, and that he began to look pale and delicate.

On this one night he had so completely lost himself in his music that he used the swell at its greatest volume, fairly flooding the garret room with his happy music. Faint sounds had crept down through the garret floor; now they grew loud, now soft and weird, as if the house were haunted. Finally the whole family was awakened, but no one could explain the source of those mysterious sounds. It could not be the wind, for all was still and quiet outside; but whatever it was, they could not sleep until it stopped.

Now all were up and dressed, but no one thought of the boy as the father lighted the great lantern and led the way in search of the ghost or spirit which had so disturbed them. Still the sounds continued, growing fainter, then stronger again, but always seeming to come from the top of the house. So they climbed up the steep and narrow stairs to the garret,—first the father, carrying the lantern, then the mother, who had hurriedly caught up her bag and bunch of keys; the elder brother, and the grandmother and grandfather came last of all. Even when they reached the garret door they did not suspect the boy, for they thought him safe in bed; only a ghost would play in a dark garret at that time of night.

Handel did not need a light, for he knew his keys by heart; his very finger tips were full of the music which had been singing in his head all day long.

Can you not imagine the father swinging the door open and quickly flashing the lantern about until the light rested upon the frail, ghostlike little figure at the harpsichord? They must have been startled, indeed, but not half so much as poor Handel, who felt his last chance of happiness slipping from him.

How very real to us the artist has made it! We seem to be in the big garret ourselves, looking first toward the small boy at the quaint old instrument and then at those who have discovered him. The harpsichord looks something like our grand piano, and was used for many years before the piano was invented. There sits Handel in his night clothes and cap, looking pathetically first at his father, then at his mother, while his sensitive face twitches with anxiety. He had been so intent on his playing that he had not heard their approach, had had no warning, and now it was too late.

And will they punish him? We do not know whether they did in any way except to keep the garret door locked, but that was punishment enough for poor Handel. We do know it was not until he was nine years old that his father reluctantly consented to Handel’s studying music, and then it came about by accident.

One of the great days in Handel’s life was the day his father went to visit his older son (Handel’s half-brother), who held a position under the Duke of Weissenfels. Handel was then only seven years old and had been refused permission to go, but when, many miles from home, the father discovered the tired but determined boy following on foot, he was finally taken. One Sunday, at the close of the service in the court chapel, the boy was permitted to try the great organ. The duke, who had remained in the chapel, heard the playing and immediately inquired who the musician was. “Little Handel from Halle” was the reply.

Becoming interested, the duke soon had the story of the boy’s secret playing, and it was through his talk with the father that Handel was at last placed under a skilled instructor and given every chance to cultivate his great talent.

Soon he was without a rival on the organ and the harpsichord. From the first he wrote his own music, and before long was composing great oratorios such as the famous “Messiah.”

In the picture the artist has centered our interest and attention upon the small boy in several ways: by his position, the light, the inclination of the other figures toward him. At whatever part of the picture we glance, our eyes are almost immediately drawn back to the boy musician. The childish figure, sensitive face, and startled, appealing glance arouse our sympathy and interest.

=Questions to help the pupil understand the picture.= Where is this boy? What is his name? Why is he in the attic? Why did he not play the harpsichord during the day? What precautions did he take before coming to the garret? Why was he discovered? What warning did he have? Who found him? Why was Handel so anxious? How was he punished? Why was it not good for him to spend his nights or days in this way? When was he permitted to study music? How did this happen? What had his father wanted him to study? How did Handel succeed with his music? Upon what is our attention centered in this picture? By what means is this accomplished? What appeal does this picture make to you? Does it arouse your sympathy and admiration, or does it give you a feeling of disappointment?

=The story of the artist.= Margaret Isabel Dicksee was the daughter of a noted English artist, Thomas Francis Dicksee. Her parents lived in a section of London where many successful artists and art students had their quarters. Thus Margaret Dicksee’s very earliest memories were associated with pictures and painters, and she had doubtless absorbed all the rudiments of drawing and color long before she began her A B C’s.

Her brother Frank, five years older than Margaret, was already well started on the road to fame in art when the little Margaret first began to trace the queer figures that children draw. No doubt it was he who first guided her hand, scarce strong enough yet to hold the crayon firmly. But Margaret made rapid progress, for the desire to draw and paint the things she saw about her was part of her nature. Soon brother and sister were students together at the same art classes.

The children’s uncle, too, was an artist, as well as their cousin, Herbert Dicksee. In after years Herbert became a noted etcher and made engravings of his cousins’ pictures.