,note3 ,images of the original pages are
 available through        ,internet     
,archive_/,american ,libraries4 ,see    
http3_/_/archive4org_/details_/picturewo
rk#jj;herv      ,transcriber's note3    
,text enclosed by underscores is in     
italics 7italics74          ,text       
enclosed by tilde characters is in bold 
face 7bold74            ,,picture,,work 
by    ,,walter ,l4 ,,hervey1 ,ph4,d4    
,new ,york    ,chicago    ,toronto      
,fleming ,h4 ,revell ,company  ,london  
and ,edinburgh    ,copyright1 #ahif1 by 
,w4 ,l4 ,hervey    ,copyright1 #aijh1 by
  ,fleming ,h4 ,revell ,company         
,,contents4                             
,page       ,i4 ,the ,problem and ,one  
of ,its ,solutions                      
#e      ,,ii4 ,types of ,picture-,work  
#i     ,,iii4 ,a ,picture-,book1 and    
,how to ,use ,it                        
#bb      ,,iv4 ,side-,lights            
#bf       ,v4 ,stories and              
,story-,telling                         
#ca      ,,vi4 ,some ,first ,principles3

 ,unity1 ,reality1 ,order               
#dd     ,,vii4 ,how to ,learn ,how      
#ef    ,,viii4 ,books1 ,pictures1 and   
,illustrative ,material                 
#ga      ,,ix4 ,false ,picture-,work    
#hb       ,x4 ,a ,coperative ,study     
#hg          ,picture,work4          ,i4
    ,,the ,,problem ,,and ,,one ,,of    
,,its ,,solutions4      ,a friend of the
 writer1 who has since attained to the  
dignity of a  teacher of teachers1      
relates to the honor of his wise mother 
that when  he was a boy she did not make
 him promise not to smoke or chew or    
play  cards--probably compassing these  
ends in other ways--but she did exert   
her influence to lead him not to read   
,sunday-school books4 ,for this         
warning1 he says1 he has never ceased to
 be thankful4 ,in these days of         
supervising committees and selected     
lists1 when standard literature1        
undiluted1 has found its way into the   
,sunday-school library1 such a  course  
would not be warranted4 ,but there are  

still thoughtful persons  who do not    
feel that in the matter of              
,sunday-schools they are out of  the    
woods yet4    ,do you know anything     
about ,sunday-schools8 was asked of one 
of these1  a representative woman4      
,i'm sorry to say that ,i do1 was the   
reply4    ,and there are other signs    
that the number is increasing of those  
who  believe that in the choice of a    
,sunday-school the greatest care must be
  exercised4 ,some there are1 who1 it   
may be through over-conscientiousness1  
are fain to give up the search in       
despair1 preferring to teach their      
children at home4    ,there is probably 
no other ,sunday-school that1 in point  
of order1 quiet  seclusion of classes1  
professional preparation of 7paid7      
teachers1 can  compare with the         
,religious ,school of ,temple ,emanuel  
in ,new ,york ,city4  ,but there is no  
intrinsic reason why the mechanical and 
pedagogical  difficulties might not one 
day be as successfully removed          

everywhere as  in this model school2 and
 why they may not be removed in every   
grade4  ,in the infant classes1 through 
the beneficent influence of the         
kindergarten1 there are already signs of
 promise4 ,in the senior  departments   
the problem is less complicated4 ,but in
 the classes where  is found the        
restless1 wide-awake1 active1 intense1  
ingenious1  irrepressible boy1 or the   
girl who is just beyond girlhood and yet
  can scarcely be regarded as a woman1  
and her awkward1 self-conscious1        
misunderstood brother--here the problem 
remains1 and no one denies that  it is a
 hard one4 ,who cannot at this moment   
see with his mind's eye a  picture of   
such a class--on the one side a vision  
of inattention1  insubordination1       
irreverence1 on the other1 incompetence1
 blindly1  consecratedly1 painfully     
doing his--or her--best8    ,in all     
things relating to the common schools   
there is a quickening of  popular       
interest and of professional spirit4    

,the time is at hand when  none but     
trained experts will be allowed to      
teach4 ,is the instruction  and guidance
 of young minds in matters pertaining to
 the ,heavenly  ,father and the things  
of the unseen world a task less         
difficult1  delicate1 important1 than   
the teaching of arithmetic and          
geography8 ,the  question answers       
itself4 ,it follows that the religious  
and moral  instruction of our children  
will one day be put on a firmer and more
  scientific basis4    ,in this reform  
there are three steps3 the securing of  
proper external  conditions for thought 
and feeling--in blunter words1 the      
banishment of  hubbub2 the systematic   
training of the teacher2 the enrichment 
of the  lesson by giving to it reality1 
meaning1 and life4 ,the last of these   
ends is the only one here under         
consideration4 ,to this end there are   
doubtless several ways4 ,picture-work is
 one of these1 and1 it is  believed1 one
 of high importance4 ,that it is        

neglected is beyond  question4 ,to point
 out its value and set forth its method 
are the aims  of this little book4      
,,ii4    ,,types ,,of ,,picture-,,work4 
,in the ,dresden ,gallery1 the writer   
once saw two children1 brother and      
sister1 one ten and the other twelve1   
looking at the ,sistine ,madonna4  ,they
 entered the room1 and without heeding  
the crowd there gathered1  almost       
instantly fixed their gaze upon the     
picture4 ,for many minutes  they seemed 
to be under a spell4 ,they were drinking
 in something4 ,the  great picture was  
speaking to them--to their very souls4  
,and they  understood something of its  
message4 ,at all events they felt its   
influence--which is much better than    
merely to understand4    ,more striking1
 because more unexpected1 was the       
influence of a large  copy of the same  
picture upon a little boy not two years 
and a half  old4 ,although this child   
was passionately fond of pictures1 no   
other  picture ever seemed to appeal to 

him as this one did4 ,as soon as it was 
brought into the house he instantly     
began to examine it1 and pass  judgment 
upon it4 ,he at once found the center of
 interest1 the young  child and his     
mother1 then pointed to the angels1 the 
grandfather1  and lastly to the lady1   
but returned always to the dear little  
baby  ,jesus4 ,from this time the story 
of the birth of ,jesus was the one      
story most loved by the child4 ,and a   
collection of thirty or more  madonnas  
7mother-pictures1 the child called them7
 by other great  masters was a          
never-failing source of delight to him4 
,even very young children appreciate the
 best pictures and the best  stories4   
,in fact the younger they are the better
 sometimes seems to be  their taste4    
,are we doing all that we may to        
gratify1 and at the same  time to form1 
this taste8    ,but our term1           
picture-work1 includes more than        
pictures painted with  the brush4       
,literature is full of pictures no less 

beautiful in theme  and in execution1   
and even more important in meaning1 than
 ,raphael's  masterpiece4 ,the story of 
the good bishop1 ,monseigneur ,bienvenu1
 as it  is told for us in ,les          
,miserables1 is a picture1 and so are   
all such  stories4 ,literature is full  
of them4 ,the ,bible is a treasure-house
 of  masterpieces4 ,more wonderful1 too1
 are these story pictures1 just as  they
 are1 if told so that they can be seen  
and felt1 than they could  ever be made 
with brush or pencil4    ,how may we    
gain the power to paint these pictures1 
helping when help is  needed1 standing  
aside when our bungling efforts would   
only destroy the  interest and the      
charm--rub off1 as it were1 the delicate
 bloom8    ,to give help in finding the 
answer to these questions is the object 
of  the chapters that follow4 ,meanwhile
 we return to our present theme4  ,what 
is picture-work8    ,there is the main  
story and the telling of it--a work of  
art as we  shall see--and there are also

 the side-lights1 without which no      
story-teller can capture and hold his   
audience4    ,the story to be told1 let 
us say1 is the healing of the paralytic4
 ,but  before the story begins1 the     
ground must be cleared4 ,the oriental   
house  and bed must be pictured4 ,get a 
real specimen of each1 if you can1 of   
course4#a ,provide yourself with        
pictures in any case1 but first of  all1
 make an eastern house and bed yourself4
 ,a square paper box--a hat  box will   
do--with a hole cut in the top1 ready to
 be torn up when the  time comes2 a     
stairway made of paper1 leading up the  
outside of the  house to the roof2 a    
small piece of felt--an old bed-quilt   
will serve  equally well--with strings  
tied in each end1 for the bed1 to show  
how a  bed could be let down1 rolled1   
and taken up2 with these accessories    
the teacher is ready to begin the work  
of sketching the real picture1  the     
story of the miracle4              #a   
,see ,chapter ,,viii41 last heading4    

,not merely for children1 but for grown 
folk too is this kind of  picture-work a
 means of teaching4 ,in a densely       
populated quarter of ,new  ,york ,city  
there is to-day a minister who is not   
content with mere  word-pictures4 ,he   
brings into the pulpit the objects      
themselves--it may  be a candle1 a plumb
 line1 a live frog1 an air pump4 ,with  
him the  method is a success1 as it has 
been with others4 ,does this seem crude8
  ,so are the mental processes of every 
forty-nine out of fifty the world  over4
    ,dr4 ,parkhurst in the second of    
those memorable sermons with which he   
opened the public campaign against      
,tammany1 carried into the pulpit and   
showed his congregation the very bundle 
of indictments with which he  was to    
strike the first blow for civic purity4 
,ezekiel went still further1 and not    
only used objects but actions to        
enforce and illustrate his terrible     
sermon3    ,to the amazement of the     
people1 setting them all awondering what

 he  could mean1 he appears one day     
before them with fire1 a pair of scales1
  a knife1 and a barber's razor4 ,these 
were the heads1 and doom was the  burden
 of his sermon4 ,sweeping off1 what an  
easterner considers it a  shame to lose1
 his beard1 and the hair also from his  
head1 this bald  and beardless man      
divides them into three parts2 weighing 
them in the  balance4 ,one third he     
burns in the fire2 one third he smites  
with the  knife2 and the remaining third
 he tosses in the air1 scattering it on 
the winds of heaven4 ,thus the prophet  
under divine direction foretells  the   
disgrace1 division1 destruction1        
dispersion of his people4    ,not less  
striking is the story of ,jeremiah's    
dramatic sermon as  graphically told by 
,dr4 ,guthrie1 from whom the preceding  
account has  been quoted3    ,the       
preacher appears--nor book1 nor speech  
in hand1 but an earthen  vessel4 ,he    
addresses his hearers4 ,pointing across 
the valley to  ,jerusalem1 with busy    

thousands in its streets1 its massive   
towers and  noble temple glorious and   
beautiful beneath a southern sky1 he    
says1  speaking as an ambassador of     
,god1 ',i will make this city desolate  
and  an hissing' 444 pauses--raises his 
arm--holds up the potter's vessel1      
dashes it on the ground2 and planting   
his foot on its shivered  fragments1 he 
adds1 ',thus saith the ,lord of ,hosts1 
even so will ,i break  this people1 and 
this city as one breaketh a potter's    
vessel4'    ,it may have been the       
inspiration of such examples as these   
that moved  ,beecher when1 in the       
stirring days before the war upon the   
platform of  ,plymouth ,church1 after   
taking up one argument after another    
against  abolition and answering it1 he 
carried each one to the side of the     
platform and threw it over into the pile
 with its predecessors1 saying1  ,that  
disposes of you4 ,and in his famous     
,liverpool address1 did he  not1 when   
speaking of the freeing of the slaves1  

throw down and trample  upon actual     
chains8    ,at the heart of even the    
boldest of such instances of            
picture-work1  there lies a true and    
universal principle4 ,and we may be sure
 that we  are more likely to err on the 
side of stiffness and conventionality   
7which is often sheer laziness and      
ignorance71 than on the side of  reality
 and life4    ,the unaided              
imagination--the power of the eyes to   
see pictures while  they're shut--will1 
however1 often serve us more safely1 and
 not less  surely4 ,that was a vivid and
 memorable action-picture1 drawn for us 
by  ,bishop ,vincent1 at a vesper       
service at the close of a ,chautauqua   
,sabbath1 in the ,hall in the ,grove4   
,what if the ,master himself were  again
 on the earth at this hour1 here at     
,chautauqua1 and should come up  the    
hill1 through the trees yonder1 and     
should stand between these  pillars and 
speak to us now4444 ,the picture was    
complete and  irresistible4 ,we all saw 

and realized all that we needed to see  
and  feel1 in order to receive the      
lesson that followed4    ,but the       
imagination must be strengthened and fed
 by plenty of sense  material4 ,it can  
be trusted to respond with its pictures1
 provided it  has been given material   
enough and provided these materials are 
skilfully brought to mind4 ,in the      
following extract from the wonderful    
,story of ,jesus1#b which should be in  
the hands of every parent and  teacher1 
we find a type of picture-work which    
illustrates this point1  for it quickens
 and makes many calls upon the          
imagination3 ,imagine  traveling through
 a state no larger than ,vermont1 and   
finding not only  apples and pears1     
quinces and plums1 waving corn-fields1  
maples and  cedars1 but orange-trees    
fragrant with snowy blossoms1 and heavy 
with  golden fruit in ,january2 figs and
 dates1 pomegranates and bananas--all   
within a day's journey6 ,the fields over
 which you pass glow like  gorgeous     

,persian carpets4444 ,this is a part of 
the author's picture of  ,palestine4    
#b ,see ,chapter ,,viii4    ,and here is
 a bit of ,archdeacon ,farrar's graphic 
word-picture of  ,nazareth1 where ,jesus
 spent nearly thirty years of his life  
on the  earth3        ,gradually the    
valley opens into a little1             
natural-looking      amphitheater of    
hills1 supposed by some to be the crater
 of an      extinct volcano2 and then1  
clinging to hollows of a hill1 which    
rises to the height of some five hundred
 feet above it1 lie1 like      'a       
handful of pearls in a goblet of        
emerald1' the flat roofs and      narrow
 streets of a little eastern town4      
,there is 444 a clear1      abundant    
fountain1 houses built of white stone1  
and gardens      scattered among them1  
umbrageous with figs and olives1 and    
rich      with the white and scarlet    
blossoms of orange and pomegranates4 ,in
      spring1 at least1 everything about
 the place looks indescribably          

bright and soft2 doves murmur in the    
trees2 the hoopoe flits about      in   
ceaseless activity2 the bright blue     
roller-bird1 the commonest      and     
loveliest bird in ,palestine1 flashes   
like a living sapphire      over fields 
which are enameled with innumerable     
flowers4    ,who having once read1 seen1
 and felt this picture can ever forget  
it or  fail to feel the atmosphere of   
this place8 ,it is thus we come to      
realize that ,jesus ,christ was really  
once a boy1 a young man1 a human  being1
 on the earth4 ,even here1 however1 all 
possible helps in the form  of pictures1
 maps1 etc41 must be called in as aids  
to the picturing  power of the mind4    
,the number of likes in the two         
foregoing selections 7there are at      
least eight of them expressed or        
implied7 suggests the remark of a       
humble woman regarding the parables1 ,i 
like best the likes of  ,scripture4     
,this word lies at the root of all      
picture-work4 ,whether in  the parables 

of ,jesus1 who was the prince of        
teachers1 or in the  discourses of great
 preachers whose sermons teem with      
likes1 or in  the story-teller's skilful
 comparison of place with place1 people 
with  people--,palestine with ,vermont  
as to size1 with ,england1 ,scotland1   
and  ,wales as to its                   
divisions--,galilee1 ,samaria1 and ,juda
 being united  because they had one     
government1 one ruler2 separate because 
of their  peculiar characteristics1     
their definite boundaries1 and jealous  
claims  to special privileges--in all   
the notion of likeness is the central   
point of the thought4    ,we never can  
know anything without having something  
to know it with4 ,a  like is the key    
that enables us to unlock and to enter  
the door of  the unknown4    ,it is     
through picture-work also--to go a step 
further--that we come to  have revealed 
to us our own characters4 ,this type of 
picture-work is at  once the most       
difficult and the most important of all4

 ,an example of  such picture-making is 
chosen from an account written by ,miss 
,wiltse1  setting forth her method of   
making stories in order to suit the     
needs  of specific cases among her      
pupils4 ,not every one has the love or  
the  genius of ,miss ,wiltse1 and no one
 can hope to win such success as hers   
at once2 but it may be that by catching 
some of her spirit1 studying  her plan1 
and patiently practicing1 we may learn  
this royal way of  reaching the hearts  
of our children4    ,there was in my    
kindergarten1 she writes1 a little boy  
whose deceit  and cruelty were quite    
abnormal2 he would smile in my face with
  seraphic sweetness while his heavy    
shoe would be crushing his  neighbor's  
toes4444 ,he seemed incorrigible4 ,at   
last ,i wrote a story  entitled ',the   
,fairy ,true ,child1' into which ,i put 
my strongest effort  to reach this      
untruthful child4 ,i told it to the     
class1 and before it  was concluded this
 boy's head was low upon his breast1 his

 cheeks  aflame with conscious guilt4   
,no direct reference was made to him2 no
  other child thought of him in         
connection with the story4 ,the next day
  he asked to have it repeated1 and his 
conduct was noticeably better2  the     
story became his moral tonic1 and one   
glad day he threw his arms  about me1   
saying he wanted to keep his ,fairy     
,true ,child always4    ,another child  
who was feeble-minded was helped to be  
free from his  mental inertia and       
day-dreaming by a story written         
expressly for him1  in which ',i ,,am   
,,that ,,which ,,wills' was pictured as 
a fairy1 coming softly  to the little   
boy whose power to try was lost1 kissing
 his eyes1  breathing softly upon his   
lips1 putting her finger softly upon his
  ears--making each more ready and      
attentive--and finally enthroning the   
little boy's own fairy in its place in  
his brain1 where the fairy grows  more  
and more princely1 and the little boy   
more and more manly1 trying  hard1 so   

very hard1 to keep the dear little fairy
 on his throne4    ,here1 then1 we have 
some of the types of picture-work3 the  
picture and  the story1 the parable in  
its various forms1 and the              
word-picture--whether  of things or     
actions2 illustrations or side-lights1  
the likes with  which a skilful teacher 
illumines his teaching1 and the objects1
 models1  maps1 and sketches on pad or  
blackboard1 with which he re-enforces   
the  lagging imaginations of his        
hearers4    ,what1 then1 is a picture8  
,a picture is anything that helps us to 
see  more clearly1 feel more heartily1  
and act upon more faithfully the  truth 
which is not or cannot be immediately   
present to our senses4 ,the  truth to be
 pictured may be the truth of people1   
places1 and  actions--external things2  
it may be the truth of character and of 
inner  life--the things that are unseen1
 which we could never see at all  except
 by the aid of real things or pictures  
of real things2 just as1  for example1  

our idea of ,god is built out of our    
experience of  mountains1 flowers1      
thunder-storms1 our mother's tenderness1
 and our  father's strength4 ,these     
pictures may be drawn or painted2 they  
may be  expressed in words or in deeds1 
with pen or brush1 with actions1 with   
things4    ,where to find our materials 
and how to use these tools with economy 
and  effectiveness are the questions    
that next claim our attention4          
,,iii4    ,a ,,picture-,,book1 ,,and    
,,how ,,to ,,use ,,it4      ,the ,bible 
is a picture-book4 ,it is history1      
literature1 logic1  philosophy2 but1    
more than all these1 for children and   
all who have the  heart of childhood1 it
 is a store-house of pictures4    ,the  
first thing needful for a teacher1 if he
 would touch his pupils1 is  to see     
these pictures himself4 ,this1 we must  
admit1 is seldom done4 ,for  it is one  
of the sad things about the human mind  
that it possesses the  power to read the
 words that set the picture forth       

without seeing the  picture1 and without
 being touched by the emotion which only
 the  picture can arouse4 ,we can seem  
to pray the ,lord's ,prayer1 for        
example1  while in reality we are merely
 making articulate--sometimes           
inarticulate--sounds4    ,i believe it  
would startle and move any one1 said    
,robert ,louis  ,stevenson1 referring to
 the gospel of ,st4 ,matthew1 if he     
could make a  certain effort of         
imagination and read it freshly like a  
book1 not  droningly and dully like a   
portion of the ,bible4    ,who of us has
 not been thus startled and moved8 ,it  
may have been on  hearing a story read  
by one who read as though he had seen   
the men and  the events face to face4   
,it may have been by being helped to    
realize  and see by pictures or by being
 ourselves on the ground made sacred by 
the story1 or1 perchance1 by being in   
the same case as those described4  ,it  
may have been on reading the old stories
 freshly1 like a book1  perhaps after   

many years1 when the old-time droning   
and the dulness are  forgotten1 and the 
simple beauty and power of the old      
stories come home  to us4 ,at such times
 we say1 ,this is the very ,word of     
,god4 ,were ever  pictures painted like 
these8    ,thomas ,hardy says of one of 
his characters that1 like every healthy 
youth1 he had an aversion to the reading
 of the ,bible4 ,some of us know  what  
that means1 though we did not know it   
was healthy4 ,better1 we  might almost  
say1 that the child spent his time in   
some other way than  to read the ,bible 
or be taught it1 only to conceive a     
dislike for its  stories4 ,better a     
child never went to ,sunday-school than 
that he should  go to have interest     
deadened4 ,he may wait many a year      
before the  freshness returns4    ,two  
grand qualifications are equally        
necessary in the education of  children1
 said ,horace ,mann1 love and knowledge4
 ,the teacher of the  ,bible must indeed
 know--not know about1 merely1 but be   

personally  acquainted with--the old    
patriarchs1 their dress1 occupation1    
country1  way of life1 and character2   
the judges1 likewise1 the prophets and  
kings1 the children of ,israel as a     
people1 the apostles and their  friends1
 and1 above all1 ,christ himself4 ,does 
it make little difference  whether we   
think of ,christ as an oriental or as an
 ,italian2 whether as  clad in the      
turban and flowing white robes of the   
,east or in more  conventionalized      
attire2 whether as he is pictured for us
 in the vivid  and startling colors of  
the artist ,tissot1 or in the cold      
conventional  steel of our grandmother's
 best parlor2 or the base wood-cuts of  
some  modern lesson leaves8    ,to us as
 well as to our ,lord himself it makes a
 vital difference  whether his youth was
 spent amid arid wastes--as many of us  
picture  ,palestine--or in the peaceful 
beauty of such a retreat as that        
described for us in ,archdeacon         
,farrar's picture4    ,we must indeed   

have knowledge1 as full1 as exact1 as   
personal as it can  be made for us or as
 we can make it for ourselves4 ,and from
 this will  come love4 ,the more full1  
exact1 and personal our vision1 the more
  deep-seated will be our love4 ,we     
should therefore seek our knowledge at  
first hand4 ,we should look upon helps  
as we regard crutches--good  until we   
can walk alone2 bad the instant they    
keep us from using our  own powers1     
seeing with our own eyes4    ,in        
picture-work1 as in everything else1    
love is the principal thing4 ,a  teacher
 of little children1 whose privilege it 
is to help them to enter  into loving   
appreciation of buds and leaves1 soil   
and roots1 winter and  how everything   
prepares for it1 spring and how it wakes
 everything to  new life1 must herself  
love nature4 ,no science falsely so     
called will  suffice4 ,do you really    
love nature8 as ,president ,g4 ,stanley 
,hall  has said with an indescribable   
emphasis on every word1 is the question 

of questions to ask such a teacher4 ,do 
you really love the pictures  of the    
,bible8 is likewise the question of     
questions for the parent  and teacher   
whose high privilege it is to lead      
children from the first  of their       
acquaintance to love the great          
,picture-,book4          ,,iv4          
,,side-,,lights4      ,can you apply a  
parable8 says one of ,robert ,louis     
,stevenson's  characters4 ,it is not the
 same thing as a reason1 but usually    
vastly  more convincing4    ,the        
spiritual truth which we would have     
enter the child's mind--how is  it to   
gain admittance8 ,not by a surgical     
operation2 much less by the  use of a   
foreign language or--what is quite the  
same thing--of abstract  language4 ,not 
by any direct means1 but indirectly1 by 
objects1  scaffolding1 types1 the story1
 and the illustration4    ,every natural
 fact is a symbol of some spiritual     
fact1 and no  spiritual fact can be     
understood except by first knowing the  

natural  fact1 which is1 as it were1 its
 double4 ,it is so with the child1 it is
  no less true of grown folk4 ,if it    
were not for the world of nature--of    
boundless horizon1 ceaselessly flowing  
rivers1 of deaths and  resurrections1 of
 parasites--we should be powerless to   
grasp the truths  of the world of       
spirit4 ,the circle in the water1 for   
example1 the  apples on the plate1 one  
specked1 then all rotten1 these all are 
but  letters of the alphabet by which we
 spell out ,influence4    ,there must   
first be in the thing-world--to give one
 more example--the  rolling-stone1 the  
last straw1 the bird in the hand1 the   
leaven1 the ore1 worth seventy-five     
cents as ore1 worth four dollars  as    
bar-iron1 worth #djj1jjj when worked up 
into hair-spring1 before we  can        
understand1 or explain1 or talk about   
the corresponding things in  the realm  
of the unseen4 ,which is only another   
way of saying that he  whose mind is not
 filled with the truths of nature is but

 ill furnished  for understanding the   
truth of ,god4    ,how may we gain this 
power to enrich our teaching with       
side-lights8    #a4 ,by studying the    
great masters of the art of             
illustration4 ,beecher1  ,spurgeon1 ,dr4
 ,parkhurst1 are all worthy of          
emulation4 ,beecher testifies  that in  
his early preaching the power to        
illustrate was only latent4 ,he  found  
that he was not reaching his hearers and
 he began to search for  likes4 ,he went
 about his farm1 upon the streets1 among
 mechanics1 in  fact everywhere1 with   
the thought of the next ,sunday's sermon
 in his  mind1 saying1 ,what is this    
like8 what will that illustrate8 ,a     
glance  at his sermons shows them full  
of side-lights from business1 life at   
sea1 from the farm and the home1 from   
mechanical processes1 as the  cutting   
and polishing of precious stones1 and   
very often from nature4    ,in a recent 
sermon ,dr4 ,parkhurst illustrated his  
single point from  botany1 physics1     

physiology1 a ship1 and from the actual 
experience of  two men engaged in a     
life-and-death struggle with the same   
appetite4    ,but the power of these    
great preachers is only the reflex of   
the method  of ,christ himself4 ,no man 
had greater power in picture-work4 ,in  
range1  fertility1 aptness1 and result1 
the word-pictures of ,jesus stand alone 
in the history of teaching1 just as in  
respect of beauty and power they  stand 
alone in literature4    #b4 ,the power  
of picturesque speech is acquired       
through earnestness and  love of truth1 
as well as through rich experience of   
nature and of  common life4 ,this is    
hinted at by ,emerson3 ,a man's power to
 think and  to speak depends on the     
simplicity of his character1 that is1   
upon his  love of truth4444 ,picturesque
 language means that he who employs it  
is  a man in alliance with truth and    
,god4 ,a man conversing in earnest1 if  
he watch his intellectual processes1    
will find that a picture arises in  his 

mind1 contemporaneous with every        
thought1 which furnishes the  vestment  
of the thought4 ,hence good writings and
 brilliant discourse  are perpetual     
allegories4 ,this imagery is            
spontaneous1 provided one  have lived   
sufficiently to fill his mind with the  
raw materials of such  pictures4 ,one   
bred in the woods shall not lose his    
lesson in the roar  of cities4444 ,at   
the call of a noble sentiment1 again the
 woods wave1  the pines murmur1 the     
river rolls and shines1 and the cattle  
low upon  the mountains1 as he saw and  
heard them in his infancy4 ,and with    
these  forms1 the spells of persuasion1 
the keys of power are put into his      
hands4 ,and as it is with contact with  
nature1 so it is with first hand        
experience of life in any form4    #c4  
,practice4 ,the effects of practice have
 already been cited in the  case of     
,beecher4 ,it is one of the mournful    
facts of human life that so  many powers
 that might have been brought out by    

practice always remain  in the latent   
state4 ,practice story-telling1 practice
 finding likes1  and you will find      
before long that there is growing up in 
you a new  power1 just as if you were to
 discover in your organism a stop1 by   
pulling which you could jump ten feet in
 the air4 ,practice is nine  tenths4 ,a 
course of mobs is good practice for     
orators4 ,all the great  speakers were  
bad speakers at first4 ,and a course of 
nephews and  nieces is the best of      
practice for story-tellers1 and for     
those who  would be adepts in the use of
 side-lights4    ,a word of caution4    
,great care must be used not to make the
 stories and  illustrations more        
prominent than the truth we wish to     
illustrate4 ,dr4  ,william ,m4 ,taylor  
tells of a conversation with a carpenter
 in which he  advised him to use certain
 decorations4 ,that1 said the carpenter1
  would violate the first rule of       
architecture4 ,we must never construct  
ornament but only ornament construction4

 ,so it is in story-telling4  ,never    
tell a story for its own sake1 merely1  
but for the sake of the  truth that lies
 embedded in it4 ,a story or an         
illustration must grow as  naturally out
 of the subject as a flower grows out of
 a plant4          ,v4    ,,stories     
,,and ,,story-,,telling4      ,that was 
a profound and true saying uttered by   
,president ,g4 ,stanley  ,hall not long 
ago1 that of all the things that a      
teacher should know  how to do the most 
important1 without any exception1 is to 
be able to  tell a story4 ,and a student
 pursuing a university course in        
education1  after seeking to know what  
stories to choose1 where to find them1  
how  and to whom and wherefore to tell  
them1 touched the same truth when he    
said1 ,it gradually dawned upon me that 
if ,i knew how to tell a story1  ,i had 
mastered the main part of the art of    
teaching4 ,for to know a  good story is 
to have literary and pedagogic taste2 to
 adapt or make a  good story for        

children is both to know the secret of  
the mind of a  child and to have        
creative power2 to tell a good story is 
to be a  master of a noble art4    ,the 
child's thirst for stories--has it no   
significance1 and does it not  lay a    
duty upon us8 ,and yet the              
insatiableness of the child's thirst is 
often paralleled by the inadequacy of   
the teacher's power to satisfy  it1 and 
by the parent's despair at being so     
bankrupt of material4    ,in his        
admirable suggestions for making the    
,sunday-school able to  appeal to the   
interest and the respect of boys and    
girls who are no  longer children1 and  
whom to treat as children is an offense 
against  good taste and ,christian      
charity1 ,bishop ,vincent recommends1   
among  other things1 lectures and       
outlines1 and independent statements by 
individual pupils and teachers4         
,story-telling1 both by teachers and    
pupils1 is here suggested as a means of 
further enrichment4    ,the wholes of   

,scripture narrative1 whole books1 whole
 lives1 whole  stories told as wholes by
 the teacher or by a single pupil1 and  
not picked out piecemeal by the teacher 
from halting individuals--these  are the
 things that in the class give interest 
and that in the mind  live and grow and 
bear fruit4 ,moral power is the effect  
of large  unbroken masses of thought2 in
 these alone can a strong interest be   
developed1 and from these alone can a   
steady will spring4    ,he who has never
 read or heard as a whole1 at one1 or at
 most1 two  sittings1 the story of an   
entire book of the ,bible1 as ,jonah1   
,daniel1  ,job1 or one of the ,gospels1 
has missed one of the chief sources of  
interest and power4    ,our course      
through the ,bible--incident by         
incident1 verse by verse1  here a       
little1 there a little1 years of        
lessons1 but no idea even of  the life  
of ,christ as a whole--is not unlike the
 toilsome road  traversed by the boy    
reading ,csar as his first ,latin       

author3 so many  separate1 mutually     
repellant parts1 but no wholes1 no idea 
of what it  is all about2 or it may be  
compared to the route of the milk-man--a
  stop at every other house1 and never a
 good run4    ,not one of these         
plodders1 the ,sunday-school pupil1 the 
young ,latin  student1 the milk-man's   
hack1 can be looked upon as a model of  
spiritedness or of continuity4    ,a    
teacher of ,english in the old days1    
when literature was used chiefly  as a  
clothes-line on which to air grammatical
 linen1 was once guilty of  giving out a
 lesson in ,washington ,irving--so many 
constructions1  figures1 analyses1 so   
many pages1 and no more4 ,the end came  
in the  middle of the ride of the       
headless horseman4 ,but by the time the 
next class studied ,irving the teacher  
had met with a change4 ,the limit  of   
the first lesson was set according to   
the structure of the story4  ,the pupils
 were told to read the story4    ,only  
read it6 said they4 ,aren't we to do    

anything with it8    ,no1 said the      
teacher1 you are to read it for fun4    
,should one be in danger of being       
misunderstood in saying that we do not  
have enough of reading the ,bible for   
fun1 for the pure enjoyment of its      
stories and of its matchless pictures8  
,the rest will come in due  course4 ,it 
will come just so surely as the story is
 realized4    ,but important as reading 
is1 telling is incomparably better4 ,the
 eye of  the teacher is then fixed on   
the class1 not on the book2 the tone is 
conversational1 the hand is free to     
gesture and to draw4 ,one can grasp  the
 whole of the story and the whole of the
 situation4 ,one can bring  out dramatic
 power4 ,for there are few stories that 
do not have some  dramatic quality1 both
 in the making and in the telling4 ,the 
following  points kept in mind will aid 
the teacher3    #a4 ,the story must have
 a beginning1 concrete1                 
interest-compelling1  curiosity-piquing4
 ,all things have two handles2 beware of

 the wrong  one4    #b4 ,it must have a 
climax1 properly led up to1 easily led  
down from2 and  that never missed4      
#c4 ,many good stories have rhythm1     
recurrence1 repetition of the leit      
motiv4 ,the ,three ,bears is a favorite 
for this reason1 among  others4 ,the    
commands of the ,lord to ,moses were    
regularly repeated  thrice in the ,bible
 story2 in the book of ,daniel the      
sonorous catalogue  of flute1 harp1     
sackbut1 and the rest1 comes in none too
 often for the  purposes of the         
story-teller4    #d4 ,all good stories  
have unity2 parts well subordinated2 the
 main  lesson unmistakably clear2 the   
point1 whether tactfully hidden or      
brought out by skilful questions1 never 
missed4    ,this use of stories by      
exactly reproducing them is naturally   
the  teacher's first method4 ,there     
follow naturally the adaptation of      
stories and the making of original      
stories4 ,the latter way must  be       
dismissed with a single word of caution4

 ,beware of a certain fatal  facility in
 reeling off made-up stories4 ,have you 
not heard such  teachers and such       
stories8 ,the latter at least are not   
true1 or  healthy1 or wholesome4 ,they  
are about unreal people who do unnatural
  things4 ,they are a poor1 ragged      
device for covering the nakedness of    
barefaced moralizing4    ,no one who has
 tried to tell ,bible stories to        
children1 whether young  or old1 can    
fail to appreciate the need of          
adaptation3 of enrichment  and expansion
 on the one hand1 of condensation on the
 other4 ,suppose  the story to be told  
is the parable of the ,good ,samaritan4 
,there must  first be preliminary work4 
,the minds of the children must be made 
ready1 not merely for the lesson1 as1   
for example1 by a talk on the  meaning  
of neighbor1 but also for the story4    
,this latter kind of  preparation for   
three reasons3    #a4 ,to give your     
hearers something of the same knowledge 
about the road  from ,jerusalem to      

,jericho1 the relations of ,jews and    
,samaritans1 the  standing and dignity  
of high priests and ,levites possessed  
by those who  heard the parable from the
 lips of ,jesus4    #b4 ,to give the    
setting of the story--time1 place1      
people1 customs1  atmosphere4    #c4 ,to
 make the language1 the steps1 the      
moral1 as intelligible to your  hearers 
as they were to the young lawyer to whom
 the story was first  told4    ,the need
 of the first way of filling in the     
picture is brought out by  ,mrs4        
,gaskoin in the ,children's ,treasury of
 ,bible ,stories1 ,part ,,iii43         
,pages might be written about this      
parable1 for every line is full      of 
teaching1 wrapped in beautiful words4   
,but my object just now is      only to 
draw your attention to the circumstance 
that the third      person who passed   
the wounded man--and the only one who   
cared about      his sufferings and took
 pains to relieve them--was a           
,samaritan4 ,on      this the point of  

the story turns4 ,first a priest1 and   
then a      ,levite1 whose very offices 
alone should have made them ready       
helpers1 had shunned their poor         
countryman1 and had passed on           
without even a word of sympathy4 ,but   
the person who did pity him1      and1  
indeed1 showered kindnesses upon him1   
was1 not only neither      priest nor   
,levite1 not only a mere stranger--but a
 ,samaritan4 ,now      to say this was  
the same thing to the lawyer who was    
listening to      the tale as to say    
that he was an enemy4 ,the ,lord could  
have chosen      no stronger expression2
 in using it he spoke quite as plainly  
as      when1 once before1 his words had
 been these3 ',i say unto you which     
hear3 ,love your enemies1 do good to    
them which hate you1 bless them         
that curse you6' ,clearly1 then1 it is  
only by understanding how the      ,jews
 felt toward the ,samaritans1 that we   
can grasp what the blessed      ,savior 
meant when he said that every disciple  

of his must love his      'neighbor' as 
himself4    ,a striking example of the  
mode of using a full knowledge of       
customs and  people to enrich the story 
is given by the same author in the      
following  vivid word-picture of the    
thrilling experience of ,zacharias4     
,after  describing the method of        
choosing by lot the priests to take     
charge of  the temple services1 the     
narrative continues3        ,to         
,zacharias1 however1 one autumn1 the    
coveted lot did fall1 and      leaving  
his quiet home1 he went up to           
,jerusalem1 and there entered      at   
once upon his sacred duties4 ,they      
lasted for eight days1      including   
two ,sabbaths4444 ,every morning at nine
 o'clock1 and every      afternoon at   
three1 a priest entered the ,holy ,place
 to sprinkle the      incense-offering  
on the golden altar4 ,he was accompanied
 by an      assistant priest1 who       
withdrew as soon as he had made the     
necessary      preparations4 ,the       

privilege of sprinkling the             
incense-offering1      like the other   
priestly functions1 was bestowed by lot4
 ,one day1      during his week of      
attendance in the ,temple1 the lot fell 
upon      ,zacharias4 ,so1 in his white 
robes1 with bare feet and covered head1 
he went slowly up1 through court after  
court1 to the entrance of      the ,holy
 ,place4 ,then a bell rang1 all the     
other ministrants on duty      in the   
,temple took their places1 and the      
people assembled in the      various    
courts composed themselves for prayer4  
,zacharias      disappeared within the  
sacred enclosure1 and in due course his 
attendant left him alone there1         
separated from the ,holy of ,holies     
itself only by the splendid             
,veil-of-,partition4 ,silvery clouds of 
fragrant smoke presently arose from the 
kindled incense--then1      kneeling    
before the altar1 he paused1 in prayer  
and adoration4      ,suddenly he became 
aware that he was not alone4 ,lifting   

his eyes he      saw1 to the right of   
the altar1 a glorious angel1 who thus   
addressed him1 dispelling his gathering 
fear3 ',fear not1 ,zacharias1      for  
thy prayer is heard1 and thy wife       
,elizabeth shall bear thee a      son1  
and thou shalt call his name ,john4' 444
 ',whereby shall ,i know      this8' he 
asked1 hesitatingly4 ,and the angel1    
answering1 said unto      him1 ',i am   
,gabriel1 that stand in the presence of 
,god1 and am sent      to speak unto    
thee1 and to show thee these glad       
tidings4 ,and behold      thou shalt be 
dumb and not able to speak1 until the   
day that these      things shall be     
performed1 because thou believest not my
 words1      which shall be fulfilled in
 their season4'        ,meanwhile the   
people were anxiously waiting for       
,zacharias to      return4 ,his         
reappearance would be the signal for the
 laying of the      sacrifice upon the  
altar1 accompanied by a joyous outburst 
of the      beautiful ,temple music4    

,great1 then1 was their uneasy wonder at
 the      unusual delay4 ,but at last he
 did appear4    ,an illustration of what
 is meant by re-telling the old story in
 a  modern way for modern hearers is    
found in the following characteristic   
extract from a sermon of ,dr4           
,parkhurst's on the text1 ,and he arose 
and  came to his father3        ,the    
prodigal had not enjoyed nearly as much 
as he expected--what      he had        
arranged to enjoy4 ,his scheme had      
collapsed2 his experiment      broken   
down4 ,going away from home and living  
as though he had no      home had not   
worked as he expected that it was going 
to4 ,lonely1      ragged1 hungry1 he    
thought the thing all over and said to  
himself3      ',i think ,i had better go
 home4' ,he had let go of home1 but home
 had      declined to let go of him4 ,he
 had been his father's boy for twenty   
years or more1 and his experience in the
 far country had not been      quite    
able to cure him of it4 ,home still had 

a pull upon him4    ,while many of the  
stories both of the ,old and of the ,new
 ,testament need  expansion rather than 
contraction--think of trying to bring   
the  masterly story of ,jonah or the    
wonderfully simple tale of the          
,shunemite's son into any smaller       
compass6--yet the need of condensing    
the long stories1 of ,abraham1 ,joseph1 
,david1 ,daniel1 for instance1 is       
obvious1 for we must give the children a
 picture of the whole life and          
character of these great and simple     
figures4 ,to this end selection and     
suppression are necessary4    ,the      
various books mentioned in a later      
chapter are all more or less  successful
 in the attempt to recast the old       
original story4 ,so perfect  is the     
original form1 however1 that the task is
 one of extreme  difficulty4 ,yet it    
must be attempted by every teacher1 and 
it is  certainly worth a trial4 ,the    
following suggestions may prove helpful 
in  both modes of adaptation3    #a4    

,use direct discourse4 ,it will require 
an effort to keep yourself  7in your    
embarrassment7 from taking refuge behind
 the indirect form1  saying1 for        
example1 ,and when he came to himself he
 said that he  would arise and go to his
 father and tell him that he had sinned4
    #b4 ,choose actions rather than     
descriptions1 the dynamics rather than  
the statics of your subject4 ,those of  
us who have grown away from  childhood  
tend to reverse the true order1 to place
 the emphasis on the  question1 ,what   
kind of a man was he1 and not on1 ,what 
did he do4  ,let what he did tell what  
he was4 ,your story will thus have go1  
as  all ,bible stories have4    #c4 ,use
 concrete terms1 not abstract2 tell what
 was done1 not how  somebody felt or    
thought when something was being done2  
be objective1  not subjective4    #d4 ,a
 story-teller should1 in short1 have    
taste4 ,to form this taste it  is       
indispensable that he should not read1  
but drink in the great  masters3 ,homer1

 ,chaucer1 ,bunyan1 ,hawthorne 7,the    
,wonder ,book1 for  example71 and above 
all the ,bible itself4 ,no one can      
absorb these  without unconsciously     
forming a pure1 simple style and getting
 a more  childlike point of view and way
 of speech4 ,modern writers and modern  
ways of thinking are1 in general1 too   
reflective1 self-conscious1  subjective1
 and1 where children are concerned1 too 
direct1 bare1  preachy4    #e4 ,but the 
secret of story-telling lies not in     
following rules1 not in  analyzing      
processes1 not even in imitating good   
models1 though these  are all necessary1
 but first of all in being full--full of
 the  story1 the picture1 the children2 
and then1 in being morally and          
spiritually up to concert pitch1 which  
is the true source of power in          
anything4 ,from these comes spontaneity2
 what is within must come out2  the     
story tells itself2 and of your fulness 
the children all receive4    ,finally1  
the points of practical story-telling   

may be thus outlined3    #a4 ,see it4   
,if you are to make me see it you must  
see it yourself4    #b4 ,feel it4 ,if it
 is to touch your class it must first   
have touched  you4    #c4 ,shorten it4  
,it is probably too long4 ,brevity is   
the soul of  story-telling4    #d4      
,expand it4 ,it is probably meager in   
necessary background1 in  details4      
#e4 ,master it4 ,practice4 ,repetition  
is the mother of stories well told2     
readiness1 the secret of classes well   
held4    #f4 ,repeat it4 ,don't be      
afraid of re-telling a good story4 ,the 
younger  the children are1 the better   
they like old friends4 ,but every one   
loves  a twice-told tale4          ,,vi4
    ,,some ,,first ,,principles3        
,,unity1 ,,reality1 ,,order4            
,unity4    ,one of the greatest of      
,american preachers never goes beyond   
firstly4  ,he makes but one point in    
each sermon4 ,but he makes that point1  
drives  it home1 burns it in1 wears a   
crease in the brain that nothing can    

ever  iron out4 ,every picture--and     
those sermons are full of               
pictures--bears  upon that one point1   
and every argument and lesson1 for which
 the  pictures have been laying the     
foundation1 is a part of the same unity4
  ,you never hear him say1 ,and we learn
 further1 but always1 ,the same  truth  
comes out in another way4 ,one is never 
more than two bases away  from the home 
plate4 ,it is not a cross-country run1  
but a game of score  and tally4    ,at  
the opposite pole from this intensive   
method is the typical  ,sunday-school   
lesson4 ,the typical ,sunday-school     
lesson is--is it  not8--hodge-podge4    
,does the last lesson always bear upon  
the lesson of  to-day8 ,is to-day's aim 
single8 ,do you hold before your mind   
the one  point1 the one picture1 that   
your pupils shall carry away with them  
as  an everlasting possession1 or do you
 have in mind to display so many        
pictures1 so many points1 that some must
 needs take effect8    ,it is easier--at

 least it is lazier--to provide many    
things than  to prepare much4 ,one can  
rake over an acre more easily than dig  
one post-hole4 ,and the deeper you go   
the harder grows the digging4 ,but  it's
 the last six inches of hole that makes 
firm the top two feet of  post4    ,now 
pictures help toward unity of aim in a  
lesson in two ways3 they  help to       
elaborate the one main point--twenty    
illustrations of one  point1 not twenty 
points from one illustration2 they help 
to teach us  the law of unity1 for a    
true picture has but one theme1 is      
always  simple4      ,reality4    ,the  
great trouble with the stuff taught in  
our schools is that so much  of it      
always remains stuff1 and never gets    
worked up into boy4 ,so  said ,dr4      
,parkhurst1 in a sermon from the text1  
,taste and see that the  ,lord is good4 
,the only way to work up the raw        
materials of a boy into  real boy is to 
bring him into touch with them1 to have 
him taste1 see1  handle4 ,but in order  

to be tasted these materials must be    
real4 ,and to  make them real is the    
first duty of the teacher4 ,it is also  
his hardest  task4 ,for consider what it
 costs to make a thing so real to       
yourself  that it can't help being real 
to some one else6 ,ah6 there's the rub4 
,it  costs to do that--costs time1      
pains1 life4    ,how long did the ,lord 
make ,ezekiel lie on his left side1 and 
how long  on his right side1 without the
 relief of turning over from one side to
  the other1 before he judged him ready 
to deliver his message with a due  sense
 of the reality of its import8 ,three   
hundred and ninety days for  the        
iniquity of the house of ,israel1 forty 
days more for the iniquity  of the house
 of ,judah2 each day for a year4 ,after 
that there was no  lack of a realizing  
sense in ,ezekiel4 ,he had been there   
himself4  ,and was it by way of mere    
luxury or was it from pedagogical       
necessity  that the ,lord showed himself
 last of all to ,paul also1 and sent him

  into the desert1 for a year or more1  
to think it over and get a real  grip on
 the experience8 ,it was a true instinct
 that made ,thomas1 the  doubting one1  
want to reinforce a sight-picture by a  
touch-picture4 ,a  dose of the same     
doubt would be a tonic to much of the   
pale faith  in the world4    ,when ,i   
was a boy ,i wrote1 after the fashion of
 the day1 an essay on a  subject about  
which ,i had the slenderest knowledge4  
,a tannery lay on my  way to school1 and
 the tanner would have been friendly and
  communicative1 but the encyclopedia   
article1 ,leather1 was my sole          
authority4 ,you may imagine the result3 
a cold1 dead thing1 not in the  least   
savoring of real leather4 ,on the other 
hand1 when ,i became a man1  ,i traveled
 a thousand miles merely to see1 and    
hear the voice of1 a  master whom ,i    
admired and whose picture ,i wished to  
have hanging in my  mind4 ,who has not1 
when freed from the dead atmosphere of  
the schools1  done a like thing8 ,and   

with what gain to the precious sense of 
reality6    ,the whole country1 not long
 since1 was touched--many people were   
shocked--by the news that a ,christian  
minister had dared to see with  his own 
eyes the evils he was fighting1 the     
existence of which he had  been         
challenged to prove4 ,many good people  
at that time thought he had  made a     
mistake4 ,he said1 ,it is necessary that
 some one see these  things4 ,do you    
think that ,i would be so base as to ask
 another to do  what ,i would not do    
myself8 ,the result has proved the      
soundness of  this position4 ,no one now
 doubts that ,dr4 ,parkhurst was in the 
right4  ,for not only were the facts    
shown to exist as alleged1 but 7and this
 is  the point7 the man himself who had 
seen them was so filled with a  burning 
sense of their terrible reality1 that he
 clung to his point  with an everlasting
 grip1 carried it triumphantly1 and laid
 the  foundations of our civic          
renaissance4    ,the vast audience who  

heard ,bishop ,thoburn1 missionary to   
,india for  thirty years1 at            
,chautauqua1 was stirred to its depths  
by the simple  power of the man4 ,what  
was the secret of his power8 ,it did not
 lie in  his bodily presence2 it grew   
out of what the man had done4 ,he was a 
man  of action4 ,he had given his life1 
and had lived4 ,his speech was of that  
which he had lived4 ,you felt that he   
had a right to speak--for every         
sentence had behind it weeks of real    
life4    ,who has not felt the same when
 listening to one who speaks of that    
which he does know8 ,and who has not    
felt the difference when trying to      
listen to one who talks1 but whose words
 are not loaded with life8    ,you must 
have seen1 acted1 felt1 if you would    
make your hearers see and  feel and act4
 ,talk is cheap1 especially borrowed    
talk4 ,it is not the  story in the      
lesson quarterly that you can build into
 the lives of your  class2 it is the    
story in you4 ,it is the picture that   

has become a part  of your life1 that   
will be most likely to be built into the
 fabric of  theirs4      ,order4    ,the
 way in which a subject lies in the mind
 of an ordinary1  unregenerate adult1   
one may be safe in saying1 is just the  
wrong  way--the way in which it should  
not be presented to a child4 ,the order 
of exposition is in general the reverse 
of the order of acquisition4  ,the      
natural man who has forgotten how things
 look to the eyes of a  child has a     
tendency to put things wrong end to2    
word first1 thing  last2 precept first1 
example last2 to plunge in medias res   
without  introduction--in short1 to put 
the mental or spiritual cart before the 
horse4 ,and it requires self-sacrifice  
to reverse the order1 enter into  the   
limitations of a little child's mind1   
see with his eyes1 think his  thoughts4 
,it is a favorite simile among writers  
on education that the mind is not       
unlike a field1 and that the steps of   
instruction answer to the  successive   

stages of the farmer's work4 ,first     
there is the preparation  of the soil1  
then come the planting1 the cultivating1
 and in due time  the harvest1 the mill1
 and the market4 ,two of these steps1   
the  preparing and the applying1 concern
 us here2 the work of presenting and    
elaborating is a theme by itself1 and   
has been treated in a separate  chapter4
    #a4 ,preparing the ground3          
,approach4    ,the art of getting a good
 ready is an art worth mastering4 ,in   
sermon  or ,sunday-school lesson alike  
the beginning is the main concern4 ,it  
is  a good plan to seem to waste time at
 the start4 ,nine tenths plowing1       
harrowing1 marking out1 one tenth       
sowing1 and 7as we shall see7 no        
looking for a crop at all1 is a just    
proportion for the most of our  lessons4
 ,we shall be always safe in counting   
upon a sufficient number  of            
stony-ground hearers to justify us in   
clearing the ground1 and  making it     
mellow with interest and expectation4   

,and even those who  would receive the  
word with gladness cannot take it in    
unless they have  something to grasp it 
with1 cannot hear without something to  
hear with4  ,and this must be given them
 by the teacher4    ,we are here at the 
very heart of the science of teaching4  
,a little  two-year-old child will serve
 us as an example4 ,he is to be put in  
bed  in a strange room1 and is to go to 
sleep alone4 ,spring the idea upon  him 
and he will reject it4 ,prepare him for 
it1 by telling him a story  of a little 
boy who went to bed in a new room1 a new
 bed1 and all  alone1 and he is eager   
for the hour of bed-time4 ,when the time
 comes1  the picture already in his     
mind1 of a little boy1 a new room1 a    
peaceful going to bed1 welcomes the     
actual experience1 point for point4     
,the wise mother has made a nest for the
 experience4    ,so might a teacher     
prepare the minds of his pupils to      
receive the idea  of ninety millions of 
miles4    ,if any one there in the sun  

fired off a cannon straight at you1 what
  should you do8    ,get out of the way1
 would be the answer4    ,no need of    
that1 the teacher might reply4 ,you may 
quietly go to  sleep in your room1 and  
get up again2 you may learn a trade1 and
 grow  as old as ,i am--then only will  
the cannon-ball be getting near1 then   
you may jump to one side6 ,see1 so great
 as that is the sun's distance6    ,so  
writes a ,german teacher--explaining the
 law of apperception1 of  making a nest 
for the idea4    ,we cannot             
understand--cannot even see or hear--the
 absolutely new4  ,every new plan or way
 of looking at things1 or doctrine1 is  
received  into the mind on one condition
 only--that it be introduced by a       
comrade  already there4 ,then when the  
new idea calls from without1 its fellow 
answers from within1 and an entrance is 
effected4    ,the bearing of this upon  
our theme is illustrated by the plan of 
a  school principal1 recently described 
to me1 to eradicate the plague of       

stealing that had broken out in the     
school4 ,he talked to the pupils of     
giants1 drew out the children's ideas1  
and by effective picture-work  made the 
creatures out to be an ugly1 uncanny    
crew4 ,he then was ready  to declare to 
the children that he had discovered a   
giant in the  school1 and in due time   
told them his name--,selfishness1 ,i    
think it  was--and then described his   
evil works4 ,the moral of this story is 
that  the plan worked1 and stealing     
disappeared from the school from that   
day4    ,who of us teachers might not be
 emulous of becoming thus skilful in    
mellowing the soil and making it warm in
 the genial sunshine of true            
picture-work8    #b4 ,gathering the     
crop3 ,taste4    q,if deliberation is a 
virtue at the start1 brevity and        
patience  are a necessity at the finish4
 ,when the teacher has planted an       
interest-awakening picture in the minds 
of the children1 his main work  is done4
 ,he may safely leave them to make the  

application4 ,he has  supplied the      
cause2 the effect will take care of     
itself4 ,it is often  convenient and    
suggestive to remember that children are
 not fools4 ,a  child knows a thing or  
two1 'tis said1 before he knows much of 
anything4 ,and one of the very first    
things he knows is how to put his       
finger on the moral in a story2 and he  
can feel it long before he knows  it4   
,but that is when he is left to himself4
 ,if you take the helm1 ten  to one     
he'll know without feeling1 which is the
 curse of us all4  ,better1 if we must  
choose1 that he feel without knowing in 
terms1 than  indulge in mere            
intellectual casuistry4    ,in your     
childish haste to have a crop or to see 
what was going on under  ground1 did you
 ever unearth the newly-planted row of  
peas8 ,and was  that row ever so green  
and straight and thick-standing as those
 that  had been let alone8 ,but the     
plants of love to ,god and moral taste  
are  tenderer than these4 ,they must be 

shined upon1 warmed1 and watered many   
days before they are ready to give an   
account of themselves4 ,love is a       
silent thing before it is outspoken4    
,true feeling has few words1 is not     
self-conscious1 likes not to be asked   
questions4 ,in its own good time  it    
wells up and finds vent in deeds1 and   
even in words4    ,the deepest thing a  
teacher does is to form taste4 ,but all 
taste grows  slowly1 by unconscious     
accretion4 ,the ,chinese money-changer  
sets his  apprentice at work handling   
good money only4 ,for ten ,years he     
touches  nothing else4 ,he can then     
detect a counterfeit coin4 ,how8        
,perhaps he  cannot tell how4 ,his way  
is surer1 deeper4 ,he feels it4 ,he has 
taste4  ,so with the building of the    
taste for good books1 for pictures1 for 
nature4 ,it is a slow process--many a   
book to be absorbed1 picture seen  and  
loved1 and mountain and flower and      
sunset gazed upon1 before taste  is     
formed4    ,and the taste for godliness1

 for religion1 is no exception4 ,it is  
the  finest and rarest of all tastes1   
and hence is the slowest and quietest   
of all in its development4    ,but did  
you ever see1 in the hot house1 shall we
 say1 of the  ,sunday-school1 seed sown1
 harvest reaped1 yes1 and cakes taken   
from the  oven1 within the limits of a  
single half hour8 ,does the figure halt1
 or  was it a miraculous quickening of  
the processes of nature1 or was it in   
truth a great mistake and a sin against 
natural spiritual growth8    ,there need
 be no fear1 then1 that the children    
will not feel1 and in  time know1 the   
meaning1 for them1 of their stories and 
pictures4 ,and a  wise teacher well     
knows the ways of helping them3 by      
questioning1  not directly1 and by      
hiding the moral so near the surface    
that  it will come forth of itself4     
,,vii4    ,,how ,,to ,,learn ,,how4     
,the foregoing chapters have dealt      
chiefly with the theory of              
picture-work1 answering the questions   

what and why4 ,but practical  teachers  
will go a step further and ask where to 
find and how to use  materials1 what to 
do first1 what next1 in becoming expert 
in using and  making pictures1 stories1 
and illustrations2 in short1 how to     
learn  how4 ,those who are not of the   
practical sort should omit this chapter1
  and no one should expect to enjoy or  
profit by it who has not the time  and  
the will to go through the exercises    
described4    ,models4 ,a study of some 
of the remarkable pictures of secular   
literature will reveal many points in   
story-telling4    ,mark how ,chaucer    
made such a picture of his ,canterbury  
pilgrims that  not only the color1 the  
action1 and the characters of the scene1
 but  also the very atmosphere of the   
jolly crowd has been clear and vivid    
for more than four centuries4           
,macaulay boasted that he would write a 
history which would supersede  the      
latest novel on the tables of the young 
ladies of the day4 ,how did  he         

accomplish this8 ,read his ,history of  
,england and learn the secret  of the   
power to picture4    ,study ,george     
,eliot's ,silas ,marner to learn how to 
tell a story4 ,the  interest never      
flags1 the proper perspective is always 
maintained1  light and shade are in due 
proportion1 and the lesson to be learned
 is  taken1 not as a bitter dose1 but as
 one drinks in the fresh air of a  clear
 ,may morning4    ,study pictures of    
,bible scenes by great masters to see   
what aspect of  the scene--what moment  
of the event--the painter chose as the  
climax of  interest and meaning4        
,although the aim in ,sunday-school work
 is  spiritual and not artistic1 the    
heart will be reached more surely if    
the eyes are appealed to and a          
subordinate artistic aim is kept always 
in mind4    ,what is the favorite       
view-point in picturing ,noah's ark 7the
  procession--a source of never-failing 
interest to old and young--is a         
conspicuous feature72 in ,abraham's     

sacririfice 7,andrea del ,sarto seizes  
the moment when ,abraham is about to    
slay ,isaac and the ram appears in  the 
thicket72 in the early life of ,moses8  
,note also the subjects in the  life of 
,christ oftenest chosen by the artist4  
,in what parables does ,christ choose a 
definite locality well known to  his    
hearers1 definite characters1 a definite
 point and only one1 a  definite        
purpose1 and a clearly defined and      
applied moral8 ,in the  presentation of 
which parables do we not find simple    
language1  direct discourse1 a dramatic 
style1 and a question in order to drive 
home the point8    ,try the effect of   
substituting in any one of the parables 
indirect  discourse for direct1         
statements for questions4    ,make a    
study of the ,sermon on the ,mount with 
a view of finding  opportunities for    
picture-work4    ,on how many and on    
what occasions did ,jesus use objects in
 his  teaching8 ,might he not have      
gotten along without using the objects  

themselves on those occasions8 ,what    
seems to have been his purpose8  ,what  
was the result8    ,seeing4 ,suppose    
that you were an artist searching in the
 ,bible  for scenes to paint3    #a4    
,what picture would you find in ,matthew
 ,,viii41 verse #a8 verse #b8  verse #c8
 verse #d8 ,can you see 7and hear7 each 
of these8    #b4 ,what is the picture in
 the whole passage 7verses #a-d78 ,how  
many elements has it1 in respect of     
number1 form1 color1 sound1  atmosphere8
    #c4 ,which of these should be chosen
 in telling the story to children1  and 
in what order8    #d4 ,how many pictures
 are there in verses #e-ac8 ,what is the
 central  picture8    #e4 ,in verses    
#bc-bg4 ,how many pictures are there in 
this passage8 ,which  is the central    
picture8 ,how would you lead the pupils 
to see it8 ,what  first8 what next8 what
 last8    #f4 ,in ,matthew1 chapters ix4
 and xiii4 ,how many separate pictures  
are  there8 ,which are the most         
important to try to see8 ,what objects1 

pictures1 drawings1 maps1 would you use 
in making it real to your  class8       
,construction4 ,in the previous chapter 
there was brought out the  need of      
adapting the stories of the ,bible to   
the comprehension of  modern hearers4   
,suggestions were given both for cutting
 down and  filling in4    ,choose a     
story1 as of the brave ,hebrew boys who 
stood by what they  thought was right   
even in captivity2 the young king who   
asked ,god to  give him wisdom and whose
 way of ruling showed that his request  
had  been granted2 the shepherd boy whom
 the ,lord chose2 or choose an          
incident1 or a period of a year of the  
life of ,christ 7as the ,year of        
,beginnings1 the ,year of ,popularity1  
the ,year of ,opposition74    ,subdivide
 each of these into smaller stories or  
incidents 7,daniel1 for  instance1 had  
three great tests1 each complete in     
itself1 and lived  under three kings71  
then combine into a whole1 applying the 
principles  of story-telling and of     

adaptation4    ,test your story by      
telling it to a child or a group of     
children4 ,tell  the same story not once
 but many times4    ,choice4 ,do not    
pad4 ,avoid diffuseness4 ,put in only   
those details  that are salient--that   
leap out at you--that are necessary to  
the  picture and the meaning4 ,any one  
can put in everything4 ,it is only the  
born story-teller1 or the one who will  
sit down by the side of a child  and    
patiently observe the points that the   
child sees and likes to hear1  that can 
be trusted to put in and to leave out   
just the right points4    ,try writing  
out the story of ,jonah1 without the    
book4 ,compare your work  with the      
original4 ,how might you have been less 
diffuse8 ,what necessary  points did you
 omit8 ,did you use more or fewer       
general terms than the  original8 ,were 
your words and expressions so           
picturesque as those in  the text8      
,examples4 ,by way of illustrating the  
meaning of the foregoing points1  it may

 be interesting to note the difference  
in concreteness1 i4e41  in the picture1 
to be found in the following paragraphs1
 all of  which are intended to mean     
practically the same thing4    7a7 ,one 
bidden to obey and refusing1 but        
afterward obeying1 is a  better example 
of obedience than one who obeys in word 
but not in deed4    7b7 ,some one who   
was requested to do something refused in
 word1 but  obeyed in deed2 another     
complied1 but only in word4 ,which was  
the  better example of obedience8    7c7
 ,if some one in authority should tell  
some one to do something and  he should 
refuse but afterward comply1 and should 
tell another to do  something and he    
should say that he would without doing  
so1 which of  these really would perform
 the will of the one who gave the       
command8    7d7 ,a certain man had some 
children4 ,one day he told one of them  
to go and do some work that he wanted   
him to do4 ,but the child said  that he 
wouldn't1 etc4    7e7 ,compare with     

these the same thought clothed in the   
concrete  and picturesque words of our  
,lord himself3    ,but what think ye8 ,a
 certain man had two sons2 and he came  
to the  first1 and said1 ,son1 go work  
to-day in my vineyard4    ,he answered  
and said1 ,i will not3 but afterwards he
 repented1 and  went4    ,and he came to
 the second1 and said likewise4 ,and he 
answered and  said1 ,i go1 sir3 and went
 not4    ,whether of them twain did the 
will of his father8    ,it would be     
equally possible to take the same       
clear-cut1 dramatic  picture and load it
 down--smother it--with words4 ,but this
 kind of  picture-work it is unnecessary
 to illustrate4    ,expression4 ,read   
each of the parables of ,jesus1         
picturing in your  mind everything that 
can be seen1 heard1 or felt4 ,put       
yourself in his  place regarding every  
one spoken of4 ,when you have thus      
pictured the  story1 and while you are  
picturing it1 read aloud1 or tell the   
story4  ,the expression will take care  

of itself--if only you see and hear4 ,in
  this simple principle is contained the
 whole art of expression1 i4e41  of     
giving forth something which is within4 
,environment4 ,what kind of country was 
,palestine8 ,if ,palestine were  taken  
up from the shore of the ,mediterranean 
and planted on your state1  where would 
,dan and ,beersheba lie respectively8   
,wherein did its  divisions differ1 in  
respect of people1 surface1 products1   
occupations8    ,the four routes of     
,christ's principal journeys are given  
as follows3  ,bethlehem to ,jerusalem1  
#f miles north2 ,bethlehem to ,egypt1   
#bej miles  southwest2 ,nazareth to     
,jericho1 #fj miles southeast2 ,nazareth
 to  ,jerusalem1 #fe miles south4 ,trace
 these routes on a sand map and on the  
blackboard4 ,describe the country passed
 through1 the occupations of the        
people1 the mode of travel1 the length  
of time required4    ,account for the   
roughness of the road from ,jerusalem to
 ,jericho4    ,what kind of place was   

,csarea ,philippi1 and what kind of     
stream is the  ,jordan at that point8   
,sketching4 ,the teacher should practice
 until he can make1 with  the flat      
crayon1 something that looks like a     
mountain1 a road1 a  tree--a scumble for
 the foliage and a stroke or two for the
 trunk1 a  man--two strokes will do for 
him 7some teachers prefer to cut out    
pictures and pin them on the board74 ,it
 must be admitted that this  method of  
trial and error is dangerous4 ,but there
 are self-taught  teachers who do pretty
 well4    ,map-drawing4 ,to learn to    
sketch a map is a more hopeful task4    
,every  one should be able to follow on 
pad or blackboard a campaign1 a flight  
into ,egypt1 and a march up into        
,canaan2 and to trace the journeys of   
,jesus and of ,paul4    ,the following  
directions will be found helpful in     
drawing1 free-hand  and with only two   
construction lines1 the map of          
,palestine3    ,draw a horizontal line1 
and on it with the span of the hand1 or 

with  any convenient unit1 measure three
 units1 indicating their extremities  by
 the figures #a1 #b1 #c1 #d1 from left  
to right4 ,at the right extremity  of   
this line1 which we designate #d1 draw a
 vertical line five units in  length    
7#d-i74 ,from the upper extremity of    
this line draw to the left a  line      
parallel to #a-d1 one unit in length    
7#i-aj74 ,join points #a and #aj  with  
an irregular line1 thus indicating the  
coast4 ,a perpendicular let  fall from  
#aj to #c would indicate the course of  
the ,jordan1 the source  lying nearly   
opposite #h1 the ,sea of ,galilee       
opposite #g1 the ,dead ,sea  between #d 
and #e2 and ,juda1 ,samaria1 ,galilee1  
and ,phoenicia will  each occupy1       
roughly speaking1 one and a half units4 
,the principal  mountains1 cities1      
routes1 may be indicated by initials1   
signs1 or in  any other appropriate     
ways4 ,each unit being #dj miles in     
length1 the  dimensions of ,palestine   
and its parts may be derived4 ,this same

 system  may1 of course1 be used in     
drawing any map4    ,miss ,lucy         
,wheelock says that the most            
satisfactory map is one which  the      
teacher makes herself1 drawing the      
outlines with a blue marking  crayon on 
a sheet of white silesia1 or finished   
cotton cloth1 and  putting in thin      
strips of wood or rollers at top and    
bottom1 so that it  will hang easily4   
,the sand table1 especially with work   
for younger children1 is  indispensable4
 ,this every one can learn to make and  
manage and can fit  out with the needed 
materials4 ,let no one shrink from the  
simple task  of getting together the    
equipment and learning to model a map of
  ,palestine4    ,the following         
description of the way of making a sand 
map of ,palestine  has been kindly      
furnished by ,miss ,juliet ,e4 ,dimock  
of ,elizabeth1 ,n4,j41  whose theory and
 practice in primary classes are alike  
admirable3    ,any carpenter will make  
for you a board1 four feet six inches   

long1  and two feet six inches wide1    
with a raised edge of one and one half  
inches4 ,paint the surface a bright     
blue1 to represent the waters of the    
,mediterranean4 ,procure about fifty    
pounds of molders' sand from a stove    
foundry4 ,the new sand is preferable to 
that which has been used for  casting1  
owing to its lighter color4 ,study a    
good map of ,palestine  until you have a
 clear idea of the coast-line1 the      
sea-coast plain1 the  mountain region1  
with its principal peaks1 the ,jordan   
valley1 and the  eastern table land4    
7,a relief map is desirable as a guide4 
,the relative heights of  mountains are 
given in ,hurlbut's ,bible ,geography4  
,a cross-section of  ,palestine showing 
relief is given in the ,bible ,study    
,union ,lessons1  ,old ,testament       
,history1 ,progressive ,grade1 ,first   
,quarter1 ,appendix pp4  7,v471 7,,vi474
 ,the ,bible ,study ,publishing ,co41   
#ba ,bromfield ,street1  ,boston1       
,mass47    ,cut a paper pattern of the  

rivers and have them cut out of tin by a
  tinsmith4 ,use mirrors for the waters 
of ,merom1 the ,dead ,sea1 and the  ,sea
 of ,galilee1 and white cord for the    
roads4    ,when you are ready to go to  
work1 place the board on a table and    
empty  upon it your box of sand1 which  
should be dampened until it can easily  
be molded by the hand4 ,raise the head  
of the board1 until the children  can   
see your work2 if the sand is damp      
enough to keep its place1 it can  be    
inclined at an angle of forty-five      
degrees4 ,at first the children  will be
 interested in seeing you form the map2 
the coast-line1 with its  camel's hump  
for ,mt4 ,carmel1 the mountains1 with   
snow-capped ,hermon  towering above them
 all1 the seas1 rivers1 roads1 and      
finally the white  paper boats on the   
,mediterranean4    ,take five minutes   
every ,sunday for a supplemental lesson 
on the  history of the land1 beginning  
with the first settlement of the country
  by the ,canaanites1 the family of     

,noah's grandson4 ,use the map also1    
whenever it is possible1 to illustrate  
the lesson for the day2 either  as a    
map1 or by building up the sand into a  
city1 a garden1 a temple1  or a palace4 
,the supplemental course might begin    
with the ,garden of  ,eden1 with as     
great a variety of trees1 flowers1 and  
animals1 as may be  easily obtained4    
,and by turning the board around1 the   
map of the  ancient world may be made1  
and the stories of ,noah1 ,babel1 and   
,abram's  journey from ,ur of the       
,chaldees4 ,use small objects to make   
the places  on the map1 and replace them
 with initial blocks when the children  
are  sufficiently familiar with the     
story to tell it to you4 ,a very little 
ingenuity on the part of the teacher    
will suggest the objects to be  used1   
which can be readily cut out of colored 
card-board4    ,after school1 return the
 sand to its box and pour at least a    
quart of  water over it4 ,it will then  
be in good condition for next ,sunday's 

use4    ,specifics4 ,true picture-work  
has1 as we have seen1 a true bearing    
upon the question1 ,how to help children
 conquer their faults4 ,don't1  even    
,please don't1 is ineffectual and       
unpedagogical4 ,so is every  means that 
is direct and negative instead of       
indirect and constructive4  ,it is a    
thousand times easier to empty a tumbler
 of air by filling it  with water than  
by the use of the air pump4    ,and so1 
just as we know that singing has a      
marvelous power to sweeten  and calm the
 spirit of a young child1 so a story is 
often the shortest  and the most        
effective means to bring him to himself4
 ,a story is a  specific4 ,the right    
story will heal its proper disorder4    
,there is  danger here1 'tis true2 the  
intent to teach1 as ,herbart writes1    
spoils it all4 ,stories should be given 
as food rather than as medicine4  ,there
 is all the greater need1 therefore1 for
 practice4    ,find1 adapt1 make up     
stories to meet the needs of a child who

 is idle2  of one who is mean1 lacks    
self-control1 is slovenly1 careless1    
untruthful1 etc4    ,texts4 ,on the     
other hand1 it is just as necessary that
 illustrations  attach themselves to    
their proper principles1 as that        
principles find  the concrete key that  
will serve as their open sesame into the
 child's  mind4    ,mr4 ,barrie tells of
 a newspaper writer who never conversed 
five minutes  with a friend without     
getting a suggestion for a leader or a  
story4  ,the teacher ought to be no less
 fertile in finding texts1 and in       
pressing everything he meets--whether in
 books1 in newspapers1 or on  the       
street--into the service of the         
,sunday-school lesson4    ,for example1 
the street car on which you ride to     
school or to business  in the morning   
suddenly stops4 ,it stands still three1 
five1 fifteen  minutes4 ,you are late4  
,twenty others are late4 ,reason1 a     
careless  truck-driver has driven an    
inch too near the track4 ,what does this

  illustrate8    ,a pound of cotton1    
worth a few cents1 may be made into yarn
 and become  worth more2 into chintz and
 be worth still more1 etc4 ,what is the 
truth  hidden in this fact8    ,a       
thoughtful teacher1 in reply to the     
question1 ,what stories have you  found 
especially helpful8 contained in the    
blank on story-telling  7,chapter ,x471 
gave the following3    ,cato's words1   
',carthage must be destroyed' 7the power
 of words72  ,hercules at the parting of
 the ways 7the necessity of choice72    
,macbeth's ',i have lived long enough'  
7the end of a wasted life72 ,the        
,ancient ,mariner--',he prayeth best'   
7the secret of prayer72 the parable  of 
the wicked husbandmen 7irreverence74    
,,viii4    ,,books1 ,,pictures1 ,,and   
,,illustrative ,,material4      ,the    
teacher should be a capitalist4 ,he     
should not run dry every ,sunday1  and  
fill in during the week only enough for 
the next lesson2 as a  schoolboy who    
fills his mind with facts and empties it

 on examination  day4 ,the true teacher 
is independent of the ,quarterly4 ,he   
uses it but  does not lean on it4 ,for  
the facts there given are1 as a rule1   
isolated1 and so half dead2 the         
illustrations are at best warmed over4  
,neither can give a strong head of      
steam4 ,there is not enough1 and what   
there is is cold4    ,other remedies for
 this condition are suggested elsewhere4
 ,here it is  urged that the teacher    
must be a reader of books4 ,the         
following are  given as types4 ,they    
have been selected after searching the  
lists of  many publishers1 and are      
recommended only after a personal       
examination3      ,books ,telling the   
,story of the ,bible4    ,there are many
 ,bible stories for children1 some of   
them good1 but most  of them far from   
ideal when both the story and the       
pictures are  considered4 ,those with   
highly colored1 gaudy pictures should be
 shunned  as they tend to give low      
ideals morally and spiritually as well  

as to  corrupt the child's artistic     
taste4 ,to publish a story of the ,bible
  with illustrations taken only from    
great masters is a good work waiting    
for some one who wishes to be of service
 to the world4    ,the ,story of the    
,bible from ,genesis to ,revelation1 by 
,charles ,foster4  ,charles ,foster     
,publishing ,co41 ,philadelphia1 ,pa4   
#ge cents4    ,of the many ,bible       
stories published this is the most      
complete and the  most popular4 ,in the 
matter of pictures1 however1 it is poor4
    ,children's ,treasury of ,bible     
,stories1 by ,mrs4 ,herman ,gaskoin4    
,macmillan  ,co4 ,three parts1 #ahmo1   
#cj cents each4    ,the best ,bible     
story we have found4 ,it is most        
suggestive and  interesting1 showing how
 to picture ,bible scenes4    ,stories  
from the ,bible1 ,rev4 ,alfred ,j4      
,church4 ,macmillan  ,co4 #bef  pp41    
#a4be4    ,excellent as giving a        
condensed account of the ,bible         
narrative in ,bible  language4 ,the     

teacher who uses these stories will     
often find it  necessary to supplement  
them with suitable introductions and    
side-lights4    ,the ,sweet ,story of   
,old1 by ,mrs4 ,haskell4 ,dutton4 #dto1 
#ej cents4    ,a small book of ,bible   
stories for young children1 with        
pictures which  are quite good4         
,first ,steps for ,little ,feet1 by     
,charles ,foster4 ,charles ,foster      
,publishing ,co4 #ej cents4    ,bible   
stories told in simple language for the 
youngest children4 ,fair  outline       
pictures4    ,the ,story of ,jesus1 by  
,louisa ,t4 ,craigin4 ,illustrated with 
one  hundred full-page illustrations    
from the designs of ,alexander ,bida1   
together with many other pictures of the
 ,holy ,land4 ,fords1 ,howard           
,hulbert4 #aj4jj4    ,a beautiful and   
sympathetic account of the life of      
,jesus1 especially  rich in descriptions
 of ,palestine and in other materials   
for  word-pictures4 ,the numerous       
pictures of landscapes and scenes from  

the  life of ,christ are helpful4       
,the same in paper covers in #ae        
numbers1 #ej cents each4    ,from       
,olivet to ,patmos4 ,the ,first         
,christian ,century in ,picture and     
,story4 ,by ,louisa ,seymour ,houghton4 
,american ,tract ,society4 #a4ej4       
,the ,life of ,christ in ,picture and   
,story1 by ,louisa ,seymour ,houghton4  
,american ,tract ,society4 #a4be4       
,the last two books contain some poorly 
executed but well-chosen  pictures of   
,bible lands1 showing architecture1     
costumes1 street scenes1  etc4          
,books ,about ,palestine4    ,the ,land 
and the ,book1 by ,w4 ,m4 ,thomson4     
,harper  ,bros4 #h4jj1 #f4jj4           
,recommended by a high authority as the 
best book on ,palestine for a  teacher  
who can own only one4    ,boy ,travelers
 in ,egypt and the ,holy ,land1 by ,t4  
,w4 ,knox4 ,harper   ,bros4 #c4jj4      
,sinai and ,palestine in ,connection    
with their ,history1 by ,dean  ,stanley4
 ,a4 ,c4 ,armstrong4 #b4ej4    ,an      

excellent standard work4    ,pictured   
,palestine1 by ,james ,neill4 ,anson ,d4
 ,randolph4 #b4be4    ,shows the        
contrast between eastern life and our   
own4 ,very good pictures  illustrating  
many phases of oriental life4    ,in    
,scripture ,lands4 ,scribner's4 #c4ej4  
,beautiful pictures4    ,earthly        
,foot-,prints of the ,man of ,galilee1  
by ,bishop ,john ,h4 ,vincent1  ,d4,d41 
,,ll4,d41 ,jas4 ,w4 ,lee1 ,d4,d41       
,robert ,e4 ,m4 ,bain4 ,new ,york and   
,st4  ,louis3 ,n4 ,d4 ,thompson         
,publishing ,co4 #d4ge4    ,four hundred
 fine1 large photographic views and     
descriptions of places  connected with  
the earthly life of our ,lord and his   
apostles4      ,books on the ,use of    
,stories and ,illustrations4    ,the    
,use of ,stories in the ,kindergarten1  
by ,anna ,buckland4 ,ginn  ,co4  #ae    
cents4    ,the ,place of the ,story in  
,early ,education1 by ,sara ,e4 ,wiltse4
 ,ginn   ,co4 #acb pp41 #ej cents4      
,two suggestive and helpful essays that 

every teacher should read4    ,yale     
,lectures on ,preaching1 by ,henry ,ward
 ,beecher4 ,fords1 ,howard   ,hulbert4  
#b4jj4    ,an inspiring book4 ,the      
chapter on ,rhetorical ,illustrations is
  especially applicable1 but the entire 
work1 although written for  preachers1  
has rich stores of instruction and      
guidance for teachers4    ,the ,art of  
,illustration1 by ,c4 ,h4 ,spurgeon4    
,wilbur ,b4 ,ketchum4 #a4be4    ,a book 
by a master giving the secret of his    
art4      ,stories and ,themes4         
,parables from ,nature1 by ,margaret    
,gatty4 ,macmillan  ,co4 #b vols41      
#ahmo1 #a4ej4    ,a wonderful book1 in  
which nature is used to typify spiritual
 truths4  ,it should be owned by every  
mother and teacher4    ,parables4 ,laws 
of ,nature and ,life1 or ,science       
applied to ,character1  by ,louisa      
,parsons ,hopkins4 ,lee  ,shepard4 #ae  
cents4    ,brief and suggestive4        
,stories of the ,saints1 by ,mrs4 ,c4   
,van ,d4 ,chenoweth4 ,houghton1 ,mifflin

   ,co4 #a4jj4    ,supplies a want which
 should be more felt than it is4 ,is it 
not as  important that our children     
should know the story of ,christian     
saints  and martyrs as that of ,greek   
gods and heroes8    ,kindergarten       
,stories and ,morning ,talks1 by ,sara  
,e4 ,wiltse4 ,ginn  ,co4  #bab pp41 #ge 
cents4    ,stories for ,kindergartens   
and ,primary ,schools1 by ,sara ,e4     
,wiltse4  ,ginn  ,co4 #ej cents4    ,a  
,brave ,baby and ,other ,stories1 by    
,sara ,e4 ,wiltse4 ,ginn  ,co4 #ej      
cents4    ,these three books are        
storehouses of inspiration and models of
  story-telling4    ,child ,stories from
 the ,masters1 by ,maude ,menefee4      
,kindergarten  ,literature ,co41        
,chicago4 #a4jj4    ,an excellent       
selection of themes from poets1         
dramatists1 and the ,bible4  ,the       
teacher will do well to study the       
originals and try to improve upon  the  
stories given4    ,child's              
,christ-,tales1 by ,andrea ,hofer4      

,woman's ,temple1 ,chicago4  #a4jj4     
,choice illustrations from the masters4 
,suggestive tales and parables4    ,the 
,kindergarten ,sunday-,school1 by       
,frederika ,beard4 ,kindergarten        
,publishing ,co41 ,woman's ,temple1     
,chicago4    ,an attempt to solve the   
infant class problem4 ,three series of  
lessons1  each having sequence and      
unity4 ,suggestive in its plan1 and     
likely to  help teachers to improve upon
 the models given4      ,books to be    
,read for the ,sake of a ,better        
,understanding of ,child  ,nature4      
,study of ,child ,nature1 by ,elizabeth 
,harrison4 ,chicago ,kindergarten       
,training ,school4 #a4jj4    ,children's
 ,rights1 by ,kate ,douglas ,wiggin4    
,houghton1 ,mifflin  ,co4  #a4jj4    ,a 
,boy's ,town1 by ,w4 ,d4 ,howells4      
,harper  ,bros41 ,new ,york4 #a4be4     
,being a ,boy1 by ,charles ,dudley      
,warner4 ,houghton1 ,mifflin  ,co4      
#a4be4    ,the ,story of a ,bad ,boy1 by
 ,t4 ,b4 ,aldrich4 ,houghton1 ,mifflin  

,co4  #a4be4    ,the ,mill on the       
,floss1 by ,george ,eliot4 ,harper      
,bros4 ,popular ed4 #ge  cents4         
,cuore1 ,an ,italian ,schoolboy's       
,journal1 by ,edmondo de ,amicis4 ,n4,y4
  ,crowell4 ,illustrated edition4 #a4ej4
      ,pictures and ,books from which   
,pictures may be ,culled4    ,the ,life 
of ,christ as ,treated in ,art1 by ,f4  
,w4 ,farrar1 ,d4,d41 ,f4,r4,s4          
,macmillan  ,co4 #h4jj1 #e4jj4    ,the  
,christ ,child in ,art1 by ,henry ,van  
,dyke4 ,harper  ,bros4 #d4jj4    ,sacred
 and ,legendary ,art1 by ,mrs4 ,anna    
,jameson4 ,longmans1 ,green  ,co4  #b   
vols41 #afmo4 #b4ej4    ,the ,history of
 ,our ,lord as ,exemplified in ,works of
 ,art1 by ,mrs4 ,anna  ,jameson4        
,illustrated4 #b vols4 ,longmans1 ,green
  ,co4 #h4jj4    ,all the above are     
standard works and are excellent4       
,the ,earthly ,footprints of ,our ,risen
 ,lord1 by ,fleming ,h4 ,revell4 #dto4  
#a4ej4    ,a continuous narrative of the
 four gospels according to the revised  

version1 illustrated by numerous        
half-tone pictures4 ,the selection is   
not so choice as one could wish1 yet    
many of the pictures are by the  best   
artists1 and present a consecutive      
pictorial story of the life of  ,christ4
    ,the ,photographs of the ,holy      
,land4 ,globe ,bible ,publishing ,co41  
,philadelphia4 #c4jj4 ,the same in      
cheaper style in eight portfolios at    
#aj cents apiece4    ,photographs of    
classic and modern pictures of the child
 ,jesus and of  other ,biblical         
subjects4 ,unmounted1 card size1 #c-c_/d
 cents each2  cabinet size1 #g-a_/b     
cents each4 ,a catalogue in ,german will
 be sent on  application4 ,r4 ,tamme1   
,dresden1 ,germany4    ,there is no duty
 on pictures4    ,blue print copies of  
pictures of ,biblical scenes by the old 
masters and  by modern artists4 ,mr4    
,alfred ,a4 ,hart1 #bba ,west #ajith    
,street1 ,new ,york  ,city4 ,card size1 
one cent each4    ,clear1 durable1      
excellent2 of a kind likely to develop  

good taste4 ,the  low price makes it    
possible to encourage children to make  
collections  of their own4 ,a single    
secular school has used over twelve     
thousand of  these pictures4    ,the    
,christmas catalogues of publishers     
often contain serviceable  pictures4    
,the standard histories of art are full 
of illustrative material4 ,the  teacher 
should be ever on the alert4            
,objective ,helps2 ,blackboard          
,sketches4    ,cards for children to    
prick and sew4 ,bible ,study ,publishing
 ,co41 #ba  ,bromfield ,street1 ,boston1
 ,mass4    ,scroll of history4 ,see ,the
 ,modern ,sunday ,school1 p4 #big4 ,john
 ,h4  ,vincent4    ,sunday-school       
,museum4 ,read description of one at    
,akron1 in ,the ,modern  ,sunday        
,school1 p4 #cja4    ,illustrative      
,blackboard ,sketching1 by ,w4 ,bertha  
,hintz4 ,e4 ,l4 ,kellogg   ,co4 #ec pp4 
#cj cents4    ,a helpful guide designed 
for those entirely ignorant of the art  
of  drawing1 who nevertheless like to   

work out their own way of putting a     
lesson1 for the eye as well as for the  
ear1 in preference to ready-made        
blackboard exercises and pictured truth 
at second hand4          ,,ix4          
,,false ,,picture-,,work4      ,a book  
on helps1 to be truly helpful1 must deal
 with negative as well  as with positive
 matters--those things which we ought to
 leave undone  as well as those we ought
 to do4 ,any treatment of true          
picture-work is  lacking in             
completeness1 not to say in candor1     
which does not say a  word about false  
picture-work4    ,if there were only    
some way of crawling into the inside of 
the  children's brains1 and marking the 
effect of the alliterations1            
juxtapositions1 and symbolisms of what  
goes by the name of  picture-work6      
,can't we devise a meter for estimating 
the precise  emotional and spiritual    
value of a board filled with marks in   
various  colors in the form of anchors1 
hearts1 keys1 crosses1 not to mention   

other less sacred things8    ,i once saw
 a chalk talk given to two hundred      
,sunday-school children4  ,dramatis     
person3 three parrots2 one              
unrecognizable1 it was so badly  drawn2 
a second1 indifferent2 the third1       
capital1 a speaking likeness4  ,the last
 was perched on ,s4 ,t4 ,moral3 ,honesty
 is the best policy4 ,the  children were
 as delighted as if the text had been   
taken from the ,bible  and as interested
 in the display as if it had possessed  
the slightest  value4    ,but1 it is    
urged1 the children are always          
interested in such things4  ,yes1 and   
they would be more interested still if  
you showed them a monkey  or displayed  
red1 green1 and blue lights4 ,the law of
 interest tells us  what shall not be   
placed before the children--,nothing    
that is not  interesting--but as a guide
 to what we shall give them it tells but
  half the story4 ,the other half is1   
,not everything that is interesting1    
and not anything just because it is     

interesting4    ,let this caution not be
 misunderstood4 ,the children must use  
their  eyes4 ,to expect children to     
follow your stories by ear1 and make up 
their mind-pictures out of whole cloth  
or from the few objects and  pictures   
that can be shown them1 or to remember  
texts and lesson points  out of hand1 is
 to suppose them ready to graduate into 
the senior  department4 ,let us have    
more blackboards4 ,an individual board  
for every  pupil1 if possible1 and the  
more use--wise use--of blackboards the  
better4 ,but many blackboardists have   
yet to learn that it is possible  to be 
apt without being alliterative1 that one
 may be extravagant  without being      
effective1 sensational without being    
spiritual4 ,in short1  they seem not to 
understand that common sense applies    
even to  blackboard work4    ,what are  
the points in good blackboard work8 ,to 
be quite dogmatic1 for  the sake of     
brevity1 good blackboard work is3    #a4
 ,simple4 ,blackboard ingenuities1      

dissolving from acrostic into  enigma1  
and from enigma into rhyme are not      
necessary and they are  harmful besides4
 ,they distract1 distort1 make dizzy4   
,the best  blackboard work has the      
fewest lines1 the most unity in its     
variety1  the least approach to anything
 like a maze4    #b4 ,clear4 ,the best  
blackboard work is that which is easiest
 to follow1  hardest to forget4    #c4  
,varied4 ,our stock symbols are worked  
to death4 ,is it right to  use the cross
 as commonly as you would a letter of   
the alphabet8 ,find  something new or   
give the blackboard a vacation4 ,it is  
not necessary  that there be a quarter  
hour on every day's program for         
blackboard  work4 ,who has not spent a  
bad quarter of an hour when the exercise
  was perfunctory8    #d4 ,descriptive4 
,all maps and plans1 sketches of roads  
and rooms1 of  mountains and rivers1 are
 good1 because they help us to form for 
ourselves the picture which we must see 
in order to grasp the meaning  of the   

story4 ,for example1 we may illustrate  
the ,mount of  ,transfiguration2 first  
with four figures1 then six1 then four2 
the  winding road to ,emmaus1 two       
figures--straight lines1 merely--and a  
little farther on1 a third2 the upper   
room1 its occupants represented  by     
marks or initial letters4 ,anything is  
helpful that gives a notion of          
position1 number1 form1 contrast1       
sequence1 change4    #e4 ,free1 living1 
personal4 ,the best blackboard work is  
that which is  freest4 ,children are    
impressionists4 ,for them the broad side
 of the  crayon is better than the      
point2 two strokes better than twenty4  
,the best blackboard work is that which 
grows before the children's  eyes1 which
 is made1 not unveiled4 ,two minutes of 
rough sketching in  the lesson hour is  
better than two hours of patient putting
 in of  finishing touches beforehand4   
,the best blackboard work is that which 
is original1 personal4 ,that  which is  
given in the lesson helps is just what  

you should not use4  ,it is not yours4  
,if it does not help you to find your   
own way1 it is  useless--and worse than 
useless1 because it tempts you to borrow
  without inspiring you to create4      
#f4 ,in fine1 the mission of the        
blackboard1 as of all picture-work1 is  
to help us to see the truth in the world
 or the truth in our own selves  by     
showing us a truth that is easier to see
 or that is nearer at hand  than that   
which we would learn4    ,like all      
picture-work1 it fulfills its mission   
when it serves as a  scaffolding1 when  
it is kept subordinate4 ,it fails when  
it obscures the  truth1 not helps to    
build it4 ,false picture-work is        
anything that  stands in the way of our 
seeing truth2 as when we cannot see the 
woods  for the trees--cannot see the    
,sunday-school lesson for the bizarre   
exhibitions on the blackboard4          
,x4    ,a ,,co,,perative ,,study4       
,in order to find out what              
,sunday-school teachers are doing in the

  matter of stories1 illustrations1 and 
picture-work generally1 the  writer     
prepared and distributed to a thousand  
teachers the following  blank3          
,one response ,,now is worth twenty a   
month hence4        ,,story-,,telling4  
,to ,sunday-school ,teachers3           
,for the purpose of devising means for  
the better preparation of               
,sunday-school teachers1 the ,president 
of the ,teachers ,college1 ,new         
,york1 requests the teachers in your    
,sunday-school to answer the            
following questions4        ,to save    
time and trouble use both sides of this 
sheet4        ,whenever possible answer 
by crossing out the term that does not  
apply4        ,in every case where the  
answer is based on experience with      
children1 state the age of the children4
        ,please do not hesitate to      
return this blank1 even if you have     
answered but a few questions4           
,sources4--,to illustrate the lesson do 
you use ,bible stories1      stories    

from good literature1 or stories        
invented by yourself8                   
,subject4--,do you find your children   
more interested in stories      of      
people or of nature8                    
,kind4--,which of the stories have you  
found more effective1 modern      or    
classic8 ,stories told or read8 ,true or
 fictitious8 ,those based      on poetry
 or prose8 ,stories in which the moral  
is set forth or      hidden8            
,experience4--,what stories are you     
going to use in the      ,sunday-school 
lesson for next ,sunday8                
,precept4--,if you do not use stories1  
what other means do you      employ to  
enforce religious and moral lessons8 ,do
 you moralize1      and if so1 with what
 obvious result8                        
,environment4--,what means do you use of
 making the dress1      customs1 etc41  
of ,bible people seem real to children8 
,picture-work4--,do you use blackboard  
illustrations8 ,what      other         
objective helps8                        

,examples4--,what stories have you found
 especially helpful8                    
,purpose4--,what is your purpose in     
using stories in the                    
,sunday-school8        ,principles4--,do
 you succeed in having such unity in the
 lesson      that the stories all       
contribute to one main thought8 ,mention
 five      requisites for a good        
story-teller4        ,mention five      
qualities in a good story4    ,to these 
questions fifty-eight replies were      
received4 ,very few1  however1 gave the 
ages of the children1 and the smallness 
of the number  of replies--which after  
all is by no means discouraging--tends  
to  vitiate the data as bases for       
generalization4    ,space forbids giving
 more than a single group of typical    
answers4 ,some  of the most helpful of  
the suggestions have been embodied in   
the  foregoing4 ,further replies from   
thoughtful teachers will be welcome4    
,question--,mention five requisites for 
a good story-teller4        ,answers3   

,sympathetic voice1 manner1 and face4   
,more knowledge of the subject than one 
wants to use4        ,the teacher must  
be interested1 bright1 imaginative1     
clear in      thought and expression4   
,clear apprehension of the point to be  
made1 clear knowledge of the            
subject1 understanding of the           
peculiarities of his hearers1 tact in   
making application1 and dramatic power4 
,power in word-painting--with a sense of
 perspective4        ,unconsciousness of
 self4        ,a gift for mimicry4      
,graphic description4        ,sympathy  
with children4        ,power to hold    
attention and keep to the main thought4 
,animation1 personal magnetism1         
originality1 wit4        ,conciseness1  
force4        ,pleasant manner4         
,ability to repeat a story without      
hesitation4        ,power to put one's  
self into the time1 circumstances1 etc41
 of the      story4        ,love of     
story-telling4        ,quiet manners4   
,gestures1 good voice4        ,small    

easy8 words4        ,ability to make the
 children help tell the story1 by making
 them      gesture1 point1 express      
sorrow1 surprise1 etc41 and answer      
questions4        ,a good story-teller  
asks intensely interesting questions at 
exactly      the right point4    ,a     
passage from ,herbart forms a fitting   
close to this study3        ,the intent 
to teach spoils children's books at     
once2 it is      forgotten that every   
one1 the child included1 selects what   
suits      him from what he reads1 and  
judges the writing as well as the       
writer after his own fashion4 ,show the 
bad to children plainly1 but      not as
 an object of desire1 and they will     
recognize that it is bad4               
,interrupt a narrative with moral       
precepts1 and they will find you a      
wearisome narrator4 ,relate only what is
 good1 and they will feel it            
monotonous1 and the mere charm of       
variety will make the bad      welcome4 
,remember your own feelings on seeing a 

purely moral play4      ,but give to    
them an interesting story1 rich in      
incidents1      relationships1          
characters1 strictly in accordance with 
psychological truth1 and not beyond the 
feelings and ideas of      children2    
make no effort to depict the worst or   
the best1 only let      a faint1        
half-conscious moral tact secure that   
the interest of the      action tends   
away from the bad toward the good1 the  
just1 the      right2 then you will see 
how the child's attention is fixed upon 
it1 how it seeks to discover the truth  
and think over all sides of      the    
matter1 how the many-sided material     
calls forth a many-sided      judgment1 
how the charm of change ends in         
preference for the best1      so that   
the boy who perhaps feels himself a step
 or two higher in      moral judgment   
than the hero or the author1 will cling 
to his view      with inner             
self-approbation1 and so guard himself  
from a coarseness      he already feels 

beneath him4 ,the story must have one   
more      characteristic1 if its effect 
is to be lasting and emphatic2 it       
must carry on its face the strongest and
 clearest stamp of human      greatness4
 ,for a boy distinguishes the common and
 ordinary from the      praiseworthy as 
well as we2 he even has this distinction
 more at      heart than we have1 for he
 does not like to feel himself small1 he
      wishes to be a man4 ,the whole    
look of a well-trained boy is           
directed above himself1 and when eight  
years old his entire line of      vision
 extends beyond all histories of        
children4 ,present to the boy           
therefore such men as he himself would  
like to be4      ,printed in the ,united
 ,states of ,america4          ,,the    
,,primary ,,department    ,old          
,testament ,stories ,for ,little        
,children4 ,illustrated1 #abmo1 cloth1  
net #a4be4      ,by ,,laura ,,ella      
,,cragin          ,more ,kindergarten   
,stories from the ,old ,testament in    

language        little tots can take in4
 ,the value of the book apart from the  
excellence of the manner of telling the 
stories1 lies in the fact        that   
,miss ,cragin has made these stories    
follow closely the events        of the 
,old ,testament4    ,experimental       
,object ,lessons ,bible ,truths ,simply 
,taught4 #abmo1 cloth1  net #ge;c4      
,by ,,charlotte ,e4 ,,gray          ,the
 simple and instructive character of    
this book including its                 
adaptation to young minds and hearts1   
makes it the very thing        for      
,sunday school scholars and             
teachers4--,religious ,telescope4       
,object ,lessons for ,children ,or      
,hooks and ,eyes1 ,truth ,linked to     
,sight4  ,illustrated1 #abmo1 cloth1 net
 #a4jj4      ,by ,c4 ,h4 ,,tyndall1     
,ph4,d4          ,for busy              
,sunday-school workers and others1 we   
know no better        work of its       
kind4--,cumberland ,presbyterian4       
,talks to ,children #abmo1 cloth1 net   

#ej;c4      ,by ,t4 ,t4 ,,eaton3 ,d4,d4 
,it ,reproduces ,scripture ,history in  
the terms of modern life1 and           
gives it both a vivid setting before the
 youthful imagination and        a firm 
grip on the youthful                    
conscience4--,independent4    ,the      
,shepherd ,psalm for ,children ,with    
half-tone ,frontispiece and #ac  outline
 ,illustrations1 #afmo1 cloth1 net      
#ce;c4      ,by ,,josephine ,l4         
,,baldwin          ,equally adapted to  
teach the teacher how to teach1 to teach
 the        child how to learn1 and to  
teach what ought to be                  
learned4--,christian ,advocate4    ,the 
,lord's ,prayer for ,children           
,illustrated4 #abmo1 cloth1 net #ej;c4  
,by ,,martha ,k4 ,,lawson          ,miss
 ,lawson is a specialist in the science 
of child study4 ,the        book is     
invaluable to ,primary teachers and     
leaders of ,junior                      
classes4--,n4,y4 ,observer4    ,seed for
 ,spring-time ,sowing ,a ,wall ,roll for

 the use of ,primary1  ,sabbath ,school 
and ,kindergarten ,teachers4 ,compiled  
by ,,mrs4 ,,robert  ,,pratt1 #ge;c4     
,practical ,primary ,plans ,illustrated 
with diagrams4 ,revised and  enlarged4  
#afmo1 cloth1 net #a4jj4      ,by       
,,israel ,p4 ,,black          ,the      
author goes through all the material1   
physical and spiritual                  
requirements for successful primary     
teaching4--,christian        ,advocate4 
,our ,children for ,christ ,a ,series of
 ,catechetical ,lessons on the          
,religion of ,our ,lord ,jesus ,christ4 
,new ,improved ,edition4 #afmo1  paper1 
net #aj;c4      ,by ,,rev4 ,,doremus    
,,scudder      ,the ,conversion of      
,children #abmo1 paper1 net #be;c4      
,by ,e4 ,,payson ,,hammond1 ,m4,a4      
,,for ,,the ,,superintendent    ,the    
,sunday ,school of ,to-day ,a           
,compendium of ,hints for               
,superintendents  and ,pastors1 with    
,suggestions and ,plans for             
,sunday-,school ,architecture  by ,c4   

,w4 ,,stoughton1 ,a4,i4,a4 ,graphically 
illustrated1 #abmo1 cloth1 net  #a4be4  
,by ,,wm4 ,,walter ,,smith1 ,a4,b41     
,a4,n4          ,a veritable mine of    
information and inspiration4 ,it is not 
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superintendent1 officer1 or teacher     
of the ,sunday-school1 can afford to    
neglect this        volume4--,standard4 
,secrets of ,sunday ,school ,teaching   
#abmo1 cloth1 net #a4jj4      ,by       
,,edward ,,leigh ,,pell1 ,d4,d4         
,the key-note of this book is given by  
the author in his ,preface1        where
 he says3 ,i have tried not to lay too  
much stress on        methods4 ,while he
 puts motives first1 however1 he does   
not        ignore methods1 but presents 
those which modern practice has         
proved to be effective4    ,how to      
,conduct a ,sunday ,school #abmo1 cloth1
 net #a4be4      ,by ,,marion           
,,lawrance1 ,general ,secretary of the  
,international    ,s4 ,s4 ,association4 
,every superintendent1 teacher1 pastor1 

officer1 should own it4 ,a              
perfect mine of hints and plans from the
 most experienced        ,sunday-school 
leader of the day4--,sunday ,school     
,times4    ,thirty ,years at the        
,superintendent's ,desk ,lessons        
,learned and ,noted4  ,a multum in parvo
 of practical suggestions4 ,net #be;c4  
,by ,j4 ,r4 ,,pepper    ,the ,working   
,manual of a ,successful ,sunday ,school
 ,cloth1 net #ej;c4      ,by ,,marion   
,,lawrance          ,valuable           
suggestions for superintendents1        
ministers4--,s4 ,s4        ,world4      
,the ,modern ,sunday ,school in         
,principle and ,practice #abmo1 cloth1  
net #a4jj4        ,by ,,henry ,f4 ,,cope
          ,we know of no more scholarly 
nor practical manual4 ,thoroughly       
scientific1 intelligible to the man of  
average experience1 it        gives the 
newest experiments with all             
grades4--,heidelberg        ,teacher4   
,the ,school of the ,church ,its        
,pre-eminent ,place and ,claim4 #abmo1  

cloth1 net #a4jj4      ,by ,j4 ,m4      
,,frost1 ,d4,d4          ,commended for 
its careful analysis of the relation of 
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spiritual factors in that               
function4--,standard4    ,the ,church   
and ,her ,children ,a practical         
,solution of the ,problem  of ,child    
,attendance4 #abmo1 cloth1 net #a4jj4   
,by ,,henry ,w4 ,,hulbert               
,pierces to the heart of one of the most
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concerns of the present-day church--the 
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church attendance in                    
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,school ,success #abmo1 cloth1 gilt top1
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,the best hand-book on methods of work  
and mastery of        difficulties we   
have yet seen4 ,there is not a dull     
chapter in        it4--,evangelical     
,messenger4    ,the ,work of the ,sunday
 ,school ,a ,manual for ,teachers4      

#abmo1 cloth1  net #a4jj4      ,by ,,ray
 ,,clarkson ,,harker          ,a manual 
for teachers4 ,treats of some of the    
supremely        significant factors    
that must be properly handled in every  
school4--,united ,presbyterian4         
,three ,years ,with the ,children #abmo1
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,,wells          ,abundant and          
suggestive methods for all sorts of     
addresses to        children1 blackboard
 talks1 object lessons1 conversations1  
etc4--,baptist ,union4    ,children's   
,story-,sermons #abmo1 cloth1 net #a4jj4
      ,by ,,hugh ,t4 ,,kerr1 ,d4,d4     
,the story sermons are so attractive1 so
 simple1 so full of        action1 and  
interest and incident1 that they will be
 valued for        the re-reading and   
re-telling to the delight of the        
child4--,sunday ,school ,times4         
,little ,ten-,minutes ,talks of a       
,pastor to ,his ,children4 #abmo1 cloth1
  net1 #a4jj4      ,by ,,frank ,t4      
,,bayley          ,the ,advance says3   

,dr4 ,bayley seems to be able to create 
a        good story out of the commonest
 experiences4      ,,for ,,the          
,,beginners    ,kindergarten ,bible     
,stories ,old ,testament4 ,illustrated1 
#abmo1 cloth1  net #a4be4      ,by      
,,laura ,,ella ,,cragin                 
,altogether it is the best book of      
,bible stories we have seen in        a 
long time4 ,the author's gift in        
bringing out the lessons of the         
stories is especially noted4--,christian
 ,observer4    ,old ,testament ,stories 
for ,little ,children ,illustrated1     
#abmo1 cloth1  net #a4be4      ,by      
,,laura ,,ella ,,cragin                 
,insight1 historic imagination1 graphic 
fancy and tender love in        these   
narratives are combined with            
faithfulness to                         
,scripture4--,western ,recorder4        
,bible ,stories to ,tell ,children      
,illustrated1 net #a4jj4      ,by ,w4   
,d4 ,,murray          ,the idea in      
re-telling some of the old ,bible       

stories by means of        conversations
 carried on by the actors is to make the
 children        feel what the heroes   
thought and felt4--,christian ,endeavor 
,world4    ,tell ,me a ,true ,story     
,tales of ,bible ,heroes for ,children  
of ,to-day4  ,illustrated1 cloth1 net   
#a4be4      ,by ,,mary ,,stewart        
,henry van ,dyke says3 ,it brings the   
meaning of ,christianity        to the  
children's level4    ,the ,shepherd of  
,us ,all ,stories of the ,christ ,retold
 for ,children4  ,illustrated1 net      
#a4be4      ,by ,,mary ,,stewart        
,there is a touching beauty and         
clearness about ,miss ,stewart's        
pictures of the ,christ life which will 
ineffaceably impress        itself upon 
the child heart4                99      
99      99      99      99      99      
,transcriber's note3    ,minor          
typographical errors have been corrected
 without note4  ,irregularities and     
inconsistencies in the text have been   
retained as printed4