,,stories ,,pictures ,,tell ---------------------------------------- -------------------------------- ,illustration3 ,decoration ,,stories ,,pictures ,,tell ,,book ,,six ,by ,,flora ,l4 ,,carpenter ,instructor in drawing at ,waite ,high ,school1 ,toledo1 ,ohio ,formerly supervisor of drawing1 ,bloomington1 ,illinois ,illustrated with ,half ,tones from ,original ,photographs ,,rand ,mc,n,a,l,l,y ,,company ,,chicago ,,new ,,york ---------------------------------------- -------------------------------- ,copyright1 #aiah ,,by ,,rand ,,mcnally ,,co4 ,illustration ---------------------------------------- -------------------------------- ,,the ,,contents ,,september ,,and ,,october ,,page 8,sir ,galahad0 ,watts #a 8,a ,reading from ,homer0 ,alma-,tadema #ac ,,november1 ,,december1 ,,and ,,january 8,the ,golden ,stairs0 ,burne-,jones #bg 8,aurora0 ,reni #cg ,,february ,,and ,,march 8,avenue at ,middelharnis0 ,hobbema #dg 8,the ,angelus0 ,millet #eh ,,april1 ,,may1 ,,and ,,june 8,sheep in ,spring0 7and 8,sheep ,mauve #fh in ,autumn07 ,review of ,pictures and ,artists ,studied ,the ,suggestions to ,teachers #gh ---------------------------------------- -------------------------------- ,,the ,,preface ,art supervisors in the public schools assign picture-study work in each grade1 recommending the study of certain pictures by well-known masters4 ,as ,supervisor of ,drawing ,i found that the children enjoyed this work but that the teachers felt incompetent to conduct the lessons as they lacked time to look up the subject and to gather adequate material4 ,recourse to a great many books was necessary and often while much information could usually be found about the artist1 very little was available about his pictures4 ,hence ,i began collecting information about the pictures and preparing the lessons for the teachers just as ,i would give them myself to pupils of their grade4 ,my plan does not include many pictures during the year1 as this is to be only a part of the art work and is not intended to take the place of drawing4 ,the lessons in this grade may be used for the usual drawing period of from twenty to thirty minutes1 and have been successfully given in that time4 ,however1 the most satisfactory way of using the books is as supplementary readers1 thus permitting each child to study the pictures and read the stories himself4 ,,flora ,l4 ,,carpenter ---------------------------------------- -------------------------------- ,,stories ,,pictures ,,tell ,illustration ,,sir ,,galahad ,questions to arouse interest4 ,who is this man8 ,how is he dressed8 ,what do his armor and title 8,sir0 tell us he is8 ,how many have read ,tennyson's poems telling the story of the knights of the ,round ,table8 ,what does ,sir ,galahad look as if he were about to do8 ,why do you think he is starting on a journey1 rather than returning from one8 ,why do you think it must be an important journey8 ,how will he go8 ,what was expected of a knight in those days8 ,tell of some of their good deeds4 ,what would you judge the character of this knight to be8 ,where is he represented in this picture8 ,is he walking1 or standing still8 looking at something in particular1 or lost in thought8 ,does he appear angry1 meek1 determined1 hesitating1 thoughtful1 or dreamy8 ,what do his clasped hands indicate8 ,what color is the horse8 ,upon what part of the man and horse does the light fall8 ,what would you consider the main thought expressed in this picture8 ,original ,picture3 ,collection ,alexander ,henderson1 ,m4,p41 ,london1 ,england4 ,artist3 ,george ,frederick ,watts 7wts74 ,birthplace3 ,london1 ,england4 ,dates3 ,born1 #ahag2 died1 #aijd4 ,the story of the picture4 ,many wonderful stories have been told of the famous knights of the ,middle ,ages1 but none perhaps more interesting than the adventures of the knight ,sir ,galahad when he went in search of the ,holy ,grail4 ,in those times the greatest praise a boy could hope to receive was 8,you are brave enough to become a knight some day10 or 8,you are as courteous as a knight02 and his greatest ambition was to receive this title as he knelt before his sovereign or a superior knight4 ,in those days boys were carefully trained for knighthood1 just as for any other profession4 ,they were sent away from home when very young1 and spent at least ten years under severe discipline and training4 ,the boy ,galahad had passed through these years of preparation4 ,he had been taught to be quick in action1--managing a horse so that he could jump on or off while it was in full gallop1--to throw his spear with sure aim1 to run swiftly1 to obey all commands promptly2 and1 more difficult still1 he had learned to wait patiently and uncomplainingly when he could not understand why he should wait4 ,now he was twenty-one years old4 ,knighthood had been bestowed upon him1 according to the custom1 by a blow with the flat of the sword on his shoulder as he knelt1 and the words1 8,arise1 ,sir ,galahad40 ,and now he was ready to start out on his quest for the ,holy ,grail4 ,the ,holy ,grail was the cup from which ,christ drank at the ,last ,supper4 ,it was bought from ,pilate by ,joseph of ,arimatha1 and placed in a castle where it was guarded night and day4 ,it was passed on to ,joseph's children1 who received the charge in sacred trust1 continuing to guard it faithfully4 ,the cup itself was most mysterious and wonderful4 ,it could be seen only by those who were perfectly pure in word1 thought1 and deed4 ,if an evil person came near1 it would seem to be borne away1 completely disappearing from view4 ,the sight of it was as food and new life to the one to whom it was revealed1 and hence would enable him to live forever1 make him very wise1 and of course preserve him from death in battle4 ,but there was one thing it did not do1--it did not take away temptation to sin4 ,no matter how perfect the knight1 he could still be tempted4 ,he must continue to resist evil as long as he lived4 ,after a time1 the ,holy ,grail was left in the care of a king named ,amfortas1 who1 weakly yielding to an evil enchantment1 was severely punished4 ,not only was the sight of the ,grail denied him1 but a spell was cast upon him and all his court1 so that they lived in a sort of trance1 neither sleeping nor waking4 ,thus they must remain and suffer until a knight should come1 pure in body and soul1 who should break the spell and set them free4 ,many a young man began to plan the quest of the ,grail4 ,he must so live that by his good thoughts and deeds he might reach the enchanted castle1 see the ,holy ,grail1 and so set free the unhappy knights4 ,he must be perfect1 indeed1 if he would achieve this1 and full of courage1 perseverance1 and patience4 ,in our picture we see ,sir ,galahad all ready to mount his snow-white horse and start out on his search for the ,holy ,grail4 ,he is in full armor4 ,his coat of mail1 which all knights wore1 was proof against any opponent of the time1 except one equally armed and armored4 ,it is said that a party of knights could ride unharmed through a host of common soldiers4 ,the horses1 too1 were protected4 ,but if the knight were once unhorsed and thrown upon his back1 he was so weighed down by the stiff and heavy armor that he could not rise again without help4 ,the knight's weapons consisted of the lance1 the two-handed sword1 and a short1 sharp dagger4 ,sir ,galahad had secured his sword and shield in a most mysterious way4 ,the sword had been discovered protruding from the side of a wonderful rock of red marble jutting out from the surface of a river4 ,this wonderful sword no one had been able to draw out of the rock4 ,but when ,sir ,galahad tried1 the sword came out without the slightest difficulty1 and when he placed it in his empty scabbard1 it fitted there exactly4 ,the shield had been found by ,sir ,galahad in an old church1 where it had been left for him by an ancestor1 and where it had remained undiscovered for those many years4 ,then1 too1 when ,sir ,galahad came to the ,round ,table of ,king ,arthur and his knights in ,camelot1 he found them in the midst of a solemn meeting4 ,launcelot had just declared that according to prophecy a knight should come that very day who should occupy the ,siege ,perilous4 ,the ,siege ,perilous was a chair over which the magician ,merlin had cast a spell3 only a stainless knight could sit in it without danger of instant death4 ,as ,sir ,galahad entered the room he was preceded by a strange old man1 whom none had ever seen before4 ,then the doors and windows quietly and mysteriously closed of their own accord1 and the room was filled with a strange light4 ,these words1 in letters of fire1 appeared over the chair3 8,this is ,galahad's seat40 ,by all these mysterious happenings the knights knew that ,sir ,galahad would be successful in finding the ,grail1 and many accompanied him on his quest4 ,sir ,galahad met with many adventures on his quest for the ,grail and1 in all of them1 came out victorious4 ,at length he reached the ,castle of the ,grail1 and here he met his first defeat4 ,entering the castle he gazed silently about him1 at the feeble old king and at the wretched company whom he had come to free from their living death4 ,before him passed the vision of the ,grail1 which he alone of all that company was permitted to see4 ,but it was not enough to see all this2 he was expected to ask the meaning of what he saw1 and by his question remove the enchantment4 ,but1 overconfident in his own knowledge1 he tried to solve the mystery without asking1 and so was forced to depart without success4 ,here1 at the very moment he was about to succeed1 he was found to be possessed of the one fault1 overconfidence1 lacking in that humbleness which seeks constantly for higher knowledge4 ,because of his failure to ask the necessary question1 the enchanted company had to continue to suffer4 ,his personal purity alone was not enough2 wisdom was necessary1 attainable not through himself alone1 but from the experience and understanding of others4 ,as he left the castle grounds the drawbridge closed with a crash1 there was a great sound of groaning and of voices reproaching him for having failed in his quest1 and the castle disappeared from his sight4 ,much discouraged1 he sought it again through many years1 until at last he found it once more1 and this time1 a much wiser man1 he asked the vital question1 broke the wicked spell1 and eventually found the ,holy ,grail4 ,tennyson has given us the story in verse in his 8,holy ,grail40 ,this picture is one we often see in homes1 as well as in schoolhouses1 and in many public buildings4 ,it stands for the search for higher ideals which we are all making1 and so its appeal is universal4 ,the earnest1 uplifted face of the knight is full of youth and beauty4 ,the horse1 with his great1 intelligent eyes1 seems to know the importance of his errand4 ,the light comes from before them1 brightening the pathway as if it would lead them on and on through the tangle of vines and deep woods which opposes them4 ,if you have been fortunate enough to see a suit of armor in some museum1 you know how the heavy steel coat is planned and how the helmet1 which ,sir ,galahad has taken off1 will protect his head and face4 ,it is a moment of deep meditation and prayerful thought1 for ,sir ,galahad is about to start out upon an undertaking in which many have failed and in which he cannot be sure of success4 ,there is much of humility in his expression1 nothing of the proud1 dashing air of the adventurer4 ,this earnest1 thoughtful youth1 starting out full of courage and determination1 will always have time for the little courtesies of life1 for they are a part of his creed4 ,a true knight1 he has been taught1 should defend to the uttermost the oppressed1 aid the weak1 and be brave1 courteous1 chaste1 temperate1 generous1 and pious4 ,questions to help the pupil understand the picture4 ,who was ,sir ,galahad8 ,upon what quest is he about to start8 ,what preparation has he made for it8 ,how old is he now8 ,how did he receive the title 8,sir08 ,what was the ,holy ,grail8 ,what power had this cup8 ,what could it not do for the person who saw it8 ,why was the sight of the ,grail denied to ,king ,amfortas8 ,what other punishment did he receive8 ,who could break this spell8 how8 ,what did ,sir ,galahad hope to do8 ,how is he dressed8 ,what protection was this armor8 ,what might happen if he should be unhorsed8 ,what weapons did he carry8 ,how had ,sir ,galahad secured his sword and shield8 ,tell about the ,round ,table of ,king ,arthur and the ,siege ,perilous4 ,what happened when ,sir ,galahad entered8 ,of what did all these mysteries persuade the other knights8 ,what happened when ,sir ,galahad came to the ,castle of the ,grail8 ,why did he fail8 ,what was the result of this defeat8 ,when did he succeed8 ,what was the result8 ,what is the main thought expressed in this picture8 ,the story of the artist4 ,george ,frederick ,watts was born and raised in ,london1 ,england4 ,he learned to draw1 we are told1 much in the same way he learned to talk4 ,his parents encouraged him always1 and he seems to have had very few obstacles to overcome4 ,though ,watts entered the ,royal ,academy school of painting at an early age1 he did not study there long4 ,his art education was thus gained largely by his own efforts and observation4 ,he studied ancient ,greek sculpture closely and his work was always influenced by the classical standard4 ,watts lived in an age when the spirit of reform was uppermost1 and men were preaching1 thinking1 and living it4 ,no wonder1 then1 his work is full of thoughtful purpose1 urging us on to the best that is in us4 ,he said1 8,i want to teach people to live 444 to teach something higher than money making or mere pleasure getting 444 to suggest great thoughts40 ,he did not paint1 as many others had1 for the mere pleasure of it1 or even from inspiration1 but rather for some definite purpose4 ,in the ,tate ,gallery at ,london is a great collection of the paintings which give the artist's message to the world4 ,in #ahdc the ,royal ,commission appointed for the decoration of the new ,houses of ,parliament awarded one of the prizes to ,watts for his fresco design4 ,this enabled him to study in ,italy for three years4 ,there he gained much in the richness of his coloring and ease in brush-work4 ,of his paintings for the government 8,the ,first ,naval ,victory of the ,english0 and 8,st4 ,george ,overcomes the ,dragon0 are perhaps the best known4 ,other famous pictures by ,watts are entitled 8,ganymede10 8,orpheus and ,eurydice10 and 8,psyche40 ,in #ahfg ,watts became a member of the ,royal ,academy4 ,he worked very hard1 producing a great many paintings4 ,with noble generosity he donated a large number of pictures to his country1 particularly portraits of famous men1 among them ,lord ,tennyson1 ,robert ,browning1 ,swinburne1 ,dante1 ,gabriel ,rossetti1 ,burne-,jones1 and ,william ,morris4 ,the last few years of his life were devoted principally to portrait painting4 ,when ,tennyson was writing 8,elaine10 he asked ,watts to tell him his idea of a good portrait1 and afterwards wrote this description from the answer3 8,as when a painter1 gazing on a face1 ,divinely thro' all hindrance finds the man ,behind it1 and so paints him that his face1 ,the shape and color of a mind and life1 ,lives for his children ever at his best40 ,questions about the artist4 ,who was the artist1 and where was he born8 ,what help did he have in realizing his ambition to become an artist8 ,what was his aim in painting pictures8 ,give in your own words ,mr4 ,watts's idea of what a good portrait should be4 ,what helped him to go to ,italy8 ,what benefit did he get from his study in ,italy8 ,name some great men whose portraits ,watts painted4 ---------------------------------------- -------------------------------- ,a ,,reading ,,from ,,homer ,questions to arouse interest4 ,what nationality is represented in this picture8 ,why do you think so8 ,to what are they listening8 ,what do their expressions indicate their feelings to be8 ,what musical instruments do you see in the picture8 ,from the picture1 would you say that the people are outdoors or indoors8 why8 ,artist3 ,sir ,lawrence ,alma-,tadema 7lm-tdm74 ,birthplace3 ,dronrijp1 the ,netherlands4 ,dates3 ,born1 #ahcf2 died1 #aiab4 ,the story of the picture4 ,let us imagine ourselves in that great walled-in city of ,athens at the time of its greatest prosperity 7fourth century ,b4,c474 ,at whatever gate we enter--and there are many of them--our attention will be drawn toward the high1 steep hill called the ,acropolis1 around which the city is built4 ,we may reach the top of this hill in a chariot driven over a road of marble1 or climb the marble steps1 entering the magnificent gateway where we find many beautiful statues1 temples1 and altars4 ,from this height we obtain a fine view of the city1 the sea1 other small hills1 temples1 and flat-roofed houses4 ,as we look about us1 we are surprised at the absence of spires or towers4 ,there are no high towers or tall buildings4 ,most of the houses we see are one-story4 ,the reason for this1 it is said1 is the frequency of earthquakes4 ,the exterior of the houses is very plain4 ,they are built of common stone1 brick1 or wood1 coated with plaster1 and so close to the street that if the door opens outward1 the owner is compelled to knock before opening it in order to avoid injuring the passer-by in the street4 ,there are no windows on the lower floor at the front of the house4 ,beside the door is a statue of ,hermes 7god of highways1 doorways1 and boundaries and the bringer of good luck71 or an altar to ,apollo 7god of light and the sun1 and the protector from all evil72 and over the door we may notice an inscription such as 8,to the good genius10 followed by the name of the master of the house4 ,we raise the handle of the great knocker1 and scarcely has the sound echoed back to us when the door is opened by the porter4 ,we must be careful to step in with our right foot first1 as it is considered unlucky to cross the threshold with the left foot4 ,a long corridor or hall leads us to the open court1 where all is as beautiful as the exterior is plain4 ,usually a fountain and flowers brighten the marble court1 while on each side of it are the banqueting1 music1 sitting1 and sleeping rooms1 picture galleries1 and libraries4 ,but the ,greeks spent so much time out of doors that a house was to them only a safe place for their families and their property--a shelter from storm4 ,most of the houses had porticoes or porches1 and often the second story consisted of nothing but these porches around the open court4 ,the flat tiled roofs were used as promenades4 ,probably the ,greeks in our picture are seated on one of these porches1 or they may be in one of the summer pavilions which so many wealthy ,greeks had erected in their yards or grassy plots back of the house4 ,here they spent their afternoons and were entertained with music or by the tales of wandering minstrels or readers4 ,the scene in the picture is represented as if it were in the open air2 the column and stone wall behind the reader suggest a part of a house4 ,in the distance we catch a glimpse of the blue sea4 ,the slightly raised seat of the reader indicates that it is a place built expressly for this purpose4 ,before the ,greeks wrote their stories it was the custom of certain bards or readers to go about from place to place singing or reciting the stories of events which have made their national history4 ,even when the stories were written1 these bards were in great favor1 for the ,greeks preferred to hear the music of verse recited1 and to feel the thrill of enthusiasm which could be aroused by the human voice1 and not by a lifeless tablet or book4 ,the swaying form of the reader1 his rapt expression1 his flashing eye1 his musical voice rising and falling like the sea1--these were the result of inspiration and had power to arouse men to noble actions4 ,in our picture we see such a reader giving an interpretation or reading1 much as our best elocutionists do now4 ,in his hand he holds a long scroll from which he reads4 ,the ,greeks used the ,egyptian papyrus1 and later the more expensive1 but finer1 parchment1 to write upon4 ,the reed pen was used1 and double inkstands for black and red ink1 which could be fastened to the belts or girdles of the writers4 ,in libraries1 the scrolls were arranged on shelves with the ends outward1 or in pigeon holes4 ,the reader unrolled one end of the scroll with one hand1 while with the other he rolled up the part he had read4 ,of all the ,greek stories none were more fascinating than those of the immortal ,homer4 ,according to tradition1 ,homer was a schoolmaster who1 growing tired of teaching1 began to travel4 ,wandering about from place to place1 he finally became blind4 ,after this great affliction came upon him1 he returned to his native town1 where he dictated his two great poems1 the ,iliad and the ,odyssey4 ,afterwards he wandered about from town to town1 singing them1 and adding to them as inspiration came4 ,it is not even known where he was born1 but1 according to an old ,greek epigram1 8,seven rival towns contend for ,homer dead1 ,through which the living ,homer begged his bread40 ,he was a beggar1 and yet he was a welcome guest at every home1 for he could play upon his four-stringed harp and sing of the wonderful deeds of the ,greek gods and heroes4 ,the subject of ,homer's ,iliad is the story of the siege of ,troy4 ,in a contest between ,aphrodite 7,venus7 and two other goddesses1 ,aphrodite1 the goddess of love and beauty1 had promised ,paris1 son of the ,king of ,troy1 that if he would declare her the most beautiful of the goddesses he should have for his wife the handsomest woman of his time1 ,helen1 wife of the ,king of ,sparta4 ,paris granted her request and1 going to ,sparta1 with ,aphrodite's aid he carried off ,helen to ,troy4 ,of course her husband1 the ,king of ,sparta1 objected4 ,he appealed to all the ,grecian princes to help him1 and soon a hundred thousand men sailed away in eleven hundred and eighty-six ships across the gean ,sea1 and camped before the walls of ,troy4 ,the siege lasted ten years4 ,troy was finally taken by stratagem4 ,the ,greeks pretended to abandon the siege1 leaving behind them a great wooden horse as an offering to ,athena 7,minerva71 goddess of wisdom1 and the special defender of citadels4 ,the ,trojans could not find out their reason for building the monster2 but while they were talking about it and gazing at it some shepherds brought into the town a young ,greek named ,sinon1 whom they had captured4 ,he told a pitiful story4 ,he said the ,greek leader hated him1 and had induced the ,greek soothsayer to declare that he must be put to death as a sacrifice for their safe return to ,greece4 ,he had escaped1 and hidden in a swamp until the ,greeks had gone4 ,the ,trojans were ready to be kind to any man whom the ,greeks hated1 and he was set free at once4 8,but tell us10 said the king1 8why that monster of a horse was built40 ,sinon declared it was a sacrifice to ,athena because she was angry with them4 ,he said1 8,it was made too large to pass through your gates1 for they knew that if it was once within your walls it would protect you1 and victory would come to you instead of to the ,greeks40 ,the ,trojans believed every word of this1 and ordered the huge horse brought within their city1 even though they were obliged to take down part of the wall in order to make the opening large enough4 ,that night the treacherous ,sinon opened a door in the body of the horse and let out the armed ,greeks who were hidden inside4 ,they quietly slipped to the ground by means of a rope1 killed the watchmen1 and opened the gates to the ,greek army which had returned and was waiting outside4 ,a terrible battle followed1 in which nearly all the ,trojans were killed4 ,helen was taken back to ,greece4 ,in ,homer's ,odyssey he tells the adventures of ,ulysses1 ,king of ,ithaca1 during the return journey from ,troy4 ,ulysses had been one of the bravest of the ,greek leaders1 and was one of the heroes concealed in the wooden horse4 ,the poem is full of vivid description and noble sentiments1 both pathetic and sublime1 and it stirred the hearts of the ,greeks with pride and joy4 ,it is easy to see the interest in the faces of the listeners in the picture4 ,partly robed in a rose-colored garment1 the reader sits on a chair of marble1 holding on his knees a roll of papyrus1 from which he is reading to a group of four persons before him4 ,a wreath of bay leaves crowns his head1 and as he leans forward his face expresses enthusiasm while he tells the thrilling adventures of the hero of ,homer's story4 ,in the center of the background we see a woman4 ,on her hair is a crown of daffodils1 and in her left hand something resembling a tambourine4 ,she half sits1 half reclines1 on a marble bench1 a resting place which the ,greeks always preferred to chairs4 ,on the floor near her1 in an attitude of careless ease1 sits a young man who is very likely her lover1 since he is holding her hand4 ,his face expresses his interest in the story4 ,in his right hand he holds a lyre1 which suggests that the company has been listening to music1 and that they will enjoy it again after this recital4 ,how intent their faces are as they follow in imagination all the adventures of their sturdy ancestors6 ,near the center of the picture and stretched out gracefully on the marble floor is a youth who appears anxious not to lose one word of the story4 ,at the left we see a man standing4 ,he wears a crown of flowers on his head1 and wraps his long cloak closely about him4 ,his face is wild and sad4 ,his appearance seems to tell that he has duties elsewhere and ought to leave1 but is being held by the story4 ,the people are all dressed in typical ,greek costumes4 ,the dress of ,greek men and women was very much alike4 ,when they appeared on the streets they wore a cloak which consisted of a large square piece of cloth so wrapped about them as to leave only the right arm free4 ,it required much skill to drape it gracefully1 and the manner in which this was done decided the taste and elegance of the wearer4 ,the women and men of the higher classes wore what they called a chiton1 or dress which consisted of two short pieces of cloth sewed or clasped together and fastened over the shoulder1 leaving open spaces for the arms4 ,it was fastened at the waist with a girdle4 ,a man usually wore this chiton1 although he was considered fully dressed in the cloak alone4 ,it was the lower classes who wore the tanned skins1 so the young man lying on the floor is probably a servant4 ,a touch of bright color is added to this picture by the flowers in the girl's hair and those scattered on the bench beside her4 ,the flesh painting in this picture is claimed to be the most perfect that ,alma-,tadema ever did1 and the painting of the girl and her lover1 one of his highest efforts4 ,the reader is the center of interest in the picture4 ,the light1 the lines1 and the position of the figures make this apparent4 ,the painting of these five large figures occupied the artist only eight weeks1 but the preliminary studies before he began painting took eight months4 ,alma-,tadema excelled in his painting of marble1 and this picture gave him every opportunity to display his genius1 since nearly the entire background is of marble4 ,the delicate colors of the young girl's costume1 with the few bright touches of color in the flowers2 the darker1 richer colors of the men's cloaks2 and back of it all the clear opalescent colors of marble and the deep blue of the sea beyond give the picture a distinctive beauty which is most pleasing to the eye4 ,a close student of ,greek history1 ,alma-,tadema has been particular to see that every little detail is in harmony1 and consistent with the age and country4 ,questions to help the pupil understand the picture4 ,what is the center of interest in this picture8 ,what lines in the picture direct your eye to the reader8 ,how does the light do this8 the position of the figures8 ,tell something of ,greek life2 of ,homer2 of the siege of ,troy4 ,why did it take the artist eight months to get ready to paint this picture8 ,to the ,teacher3 ,each pupil may be asked to draw one ,greek ornament from some history1 encyclopedia1 or dictionary4 ,,subjects ,,for ,,compositions ,a ,day in a ,greek ,home4 ,a ,greek ,library4 ,homer and ,his ,writings4 ,a ,description of 8,a ,reading from ,homer40 ,the ,artist4 ,the story of the artist4 ,sir ,lawrence ,alma-,tadema1 of ,dutch parentage1 was born in the little village of ,dronrijp near ,leewarden1 the ,netherlands1 in the year #ahcf4 ,when he was very young his father died1 leaving his mother with a large family and small means1 and it was decided from the first that ,alma-,tadema must learn a good trade or profession4 ,his progress at school caused his mother much anxiety1 for the boy cared for nothing except ,roman history1 which he began to study by himself4 ,having secured some quaint old coins in the neighborhood1 he spent much of his time copying the heads of the emperors on the coins4 ,he soon began to show remarkable talent for painting4 ,a portrait which he painted of his sister was exhibited when he was only fifteen years old4 ,but his mother wished him to become a lawyer1 because she felt it would bring the best financial returns4 ,he tried to please her1 but a serious illness was the result4 ,when the doctor advised the mother to let him become an artist she gave her consent1 and it is said the boy recovered with astonishing rapidity4 ,he studied at ,antwerp many years1 winning such success that he sent for his mother and sister to come to live with him4 ,then he began to make a special study of ,egypt1 ,greece1 and ,rome4 ,after his marriage to an ,english lady he moved to ,london1 where he lived the rest of his life4 ,his love for marble and the polished surfaces of bronze1 gold1 and other metals is clearly shown in most of his pictures4 ,even his portraits usually represent the sitter as glancing in a mirror or in some way reflected in it4 ,perhaps no other artist has ever made so much use of flowers in his pictures4 ,the flowers seem to add the one touch of bright color which beautifies the whole picture4 ,alma-,tadema gives us a clear understanding of the home life of the ,greeks and ,romans1 and so has become known as the 8,painter of the ,ancients40 ,alma-,tadema became a ,british subject in #ahgc4 ,his home in ,st4 ,johns ,wood1 in the northwest part of ,london1 is described as a most interesting place4 ,the first glimpse of it1 seen through the trees1 shows the gilded weather vane in the form of a palette2 later1 the stone pillars of the ,roman porch4 ,in all its details the house is carefully and beautifully furnished3 the brass knocker on the door1 the entrance into a sort of sun parlor paved with tiles and bright with beautiful flowers1 and the sound of a fountain near at hand4 ,a flight of marble steps leads to a hall in which beautiful painted panels 7the gifts of friends7 are the chief decoration4 ,great tiger skins cover the floor4 ,mrs4 ,tadema also is an artist1 and has her studio on this floor4 ,in her studio and the living rooms she has given full sway to her own fancy for the sixteenth-century old ,dutch1 most of their contents having been brought from the ,netherlands4 ,alma-,tadema's taste is purely classical1 and his studio is consistent in all respects--marble pillars1 carved wood-work1 chairs1 and cushions4 ,here he lived and worked with this motto before him3 8,as the ,sun colours ,flowers ,so ,art colours ,life40 ,questions about the artist4 ,of what nationality was the artist8 ,why was his mother so anxious to have him learn a trade or profession8 ,what did he like to study8 ,what picture did he exhibit when he was fifteen years old8 ,what prevented his becoming a lawyer8 ,what countries did he prefer to represent8 ,what materials did he excel in painting8 ,for what has he become famous8 ---------------------------------------- -------------------------------- ,illustration3 ,,the ,,golden ,,stairs ,,the ,,golden ,,stairs ,questions to arouse interest4 ,what does this picture represent8 ,what is there unusual about this stairway8 ,why do you suppose ,burne-,jones painted the stairs without a railing8 ,what is there unusual about these figures8 ,what are they carrying in their hands8 ,where are they going8 ,where did they come from8 ,do they seem to be standing still or moving8 ,what makes you think so8 ,are they noisy or quiet in their movements8 ,why do you think so8 ,why has the leader raised her hand8 ,what can you see in the window above the stairs8 ,is this a sad or a happy procession8 ,why do you think so8 ,what do you like best about this picture8 ,original ,picture3 ,private ,collection of ,lord ,battersea1 ,england4 ,artist3 ,sir ,edward ,burne-,jones 7brn-jnz74 ,birthplace3 ,birmingham1 ,england4 ,dates3 ,born1 #ahcc2 died1 #ahih4 ,the story of the picture4 ,the artist1 ,burne-,jones1 was a student and a dreamer4 ,as a small1 motherless boy he had been left much alone in a home in which storybooks were considered wicked1 so there were none for him to read4 ,his father was a strong churchman and intended his son for the ministry4 ,he was endeavoring as best he knew how to fit him for his high calling by a training which1 though perfectly sincere and honest in purpose1 was rather gloomy and severe for the delicate1 sensitive boy4 ,however1 little ,edward was naturally of an imaginative mind1 so he made up his own stories4 ,a relative sent him a copy of sop's ,fables1 and this book he was permitted to keep4 ,it seems to have brought the turning point in the boy's life4 ,from that time on he dwelt in a fairyland of his own making4 ,when he was sent away to school to prepare for the ministry1 he carried his fancies with him1 adding to them the many legends of ,greek mythology2 of literature1 especially those wonderful stories of ,king ,arthur's court2 and of the ,bible4 ,his desire to become an artist was aroused by another student1 ,william ,morris1 the two spending all their spare time drawing and painting4 ,nevertheless1 he was twenty-three years old before he saw any of the great masterpieces in painting4 ,from the very first1 ,burne-,jones chose subjects which were mysterious1 fairylike1 and unreal1 but his pictures were so filled with music1 beauty1 and happiness that it was a delight to look at them4 ,his idea of a good picture was very different from that of the practical1 painstaking ,millet1 who represented everything and everybody as they actually appeared before him in the very field or place he had found them4 ,burne-,jones tells us3 8,i mean by a picture a beautiful1 romantic dream of something that never was1 never will be1 in a light better than any light that has ever shone1 in a land no one can define or remember1 only dream40 ,and so when asked to paint a decoration for a hallway in one of the fine old ,london homes he thought at once of a stairway1 and the painting of 8,the ,golden ,stairs0 is the result4 ,it would seem indeed a dream1 this angel host descending from we know not where and halting at that mysterious closed door which leads we know not whither4 ,but hush6 the leader has half raised her hand1 turning this way as if to ask for silence4 ,each figure stops instantly1 holding herself motionless1 while the musical instruments are slightly lowered that all may listen more intently4 ,and yet1 this is a joyous procession1--the gayly colored wreaths of flowers which most of them are wearing1 the musical instruments1 the happy faces1 all tell us this is an errand of pleasure4 ,might it not be that this host of angels is descending upon the sleeping world to soothe the restless1 worried ones1 and smooth the puckered1 aching brows in quiet slumber8 ,lulled by their gentle music1 or the rustle of their approaching footsteps1 the weary one would soon find refreshing sleep4 ,the light in the picture seems to come from above1 yet is all about and around the figures1 as if they were the source of the illumination4 ,they come from a darkened doorway1 and enter one quite as dark except for the light they bring to it4 ,the greater part of the picture is painted in shades of gray1 but it is relieved by the flesh tints1 and the gayly colored flowers worn in wreaths or scattered on the steps4 ,here is delicate1 exquisite coloring1 and figures drawn with such careful attention to details that each seems complete in itself1 yet all are held together in one great harmony4 ,it is interesting to draw an oblong of this same proportion and then represent the curved lines in this picture2 it makes us feel the movement1 swing1 and rhythm which come to us like approaching music4 ,the picture is full of idyllic charm which takes us away from all the prosaic details of everyday life to a fairyland where this happy throng may come and go with music1 flowers1 and delight4 ,the calm1 thoughtful faces1 so full of kindly purpose and high ideals1 cannot fail to inspire us with good thoughts4 ,the dove in the upper casement window is typical of the peace that pervades this scene4 ,the faint1 far from earthly1 shadows1 the bare feet1 even the stairway without a railing or protection of any kind1 all suggest that our youthful maidens are celestial beings4 ,their destination we can only guess4 ,perhaps that is why the picture has had several names3 8,the ,king's ,wedding10 8,music on the ,stairs10 and the one by which it is now known1 8,the ,golden ,stairs40 ,burne-,jones made many beautiful designs for stained-glass windows1 and we can but regret that he did not produce this picture in that way also4 ,questions to help the pupil understand the picture4 ,tell about the boyhood and early training of the artist4 ,what book influenced him most8 ,how did it affect his choice of subjects to paint8 ,how did he happen to become interested in art8 ,how old was he before he first saw a great painting8 ,compare the subjects chosen by ,burne-,jones and by ,millet as to character and feeling4 ,what was ,burne-,jones's idea of a good picture8 ,how did he happen to paint 8,the ,golden ,stairs08 ,for what room was it intended8 ,what colors did the artist use in this painting8 ,in what ways does it suggest music8 ,how would you explain the destination of these maidens8 their errand8 from whence they come8 ,what would you consider the chief charm in the picture8 ,the story of the artist4 ,we have heard how the small ,burne-,jones was brought up by a rather strict but ambitious father1 and perhaps have felt sorry for the boy who used to spend hours before the windows of a book store1 gazing at the even rows of books with such wistful longing4 ,but we need not feel so1 for it was this very desire for books and stories that led him to use his own imaginative power4 ,when he was old enough to begin serious preparation for the ministry his father sent him to ,king ,edward's ,school4 ,here he earned a scholarship to ,oxford4 ,when he left home for ,oxford it seemed as if his real life had begun1 for it was here that he met friends who had the same tastes and longings as himself4 ,one friend in particular1 ,william ,morris1 shared with him his new-found delight in art4 ,both had intended to prepare for the ministry1 but now they decided to give up all else and pursue the study of art4 ,so at the age of twenty-three ,burne-,jones left ,oxford and went to ,london1 where he began painting in earnest4 ,from the very first he showed great originality both in his subjects and in his manner of representation4 ,many of his subjects were taken from the ,bible1 from ,greek mythology1 or from stories of ,king ,arthur's court4 ,sometimes he painted with but the one idea of making something beautiful1 as in this picture of 8,the ,golden ,stairs40 ,burne-,jones was fortunate in his first teacher1 ,rossetti1 who was a man so filled with the beauty of a scene that he must paint it for sheer joy4 ,in order to pay for this instruction ,burne-,jones made designs for stained-glass windows1 and became famous for the beauty of these windows4 ,the one at ,trinity ,church1 ,boston1 is called 8,david ,instructing ,solomon in the ,building of the ,temple40 ,at ,oxford is the famous ,saint ,cecilia window he designed for ,christ ,church ,college4 ,it seems strange that ,burne-,jones should wait until he grew to manhood before he discovered that he had the desire and the ability to draw4 ,other artists tell of the years spent in longing1 and their constant struggle for the sake of their art4 ,but when ,burne-,jones made up his mind1 he spent no time in experiment or even practice4 ,he devoted all his time to the one idea which filled his thoughts4 ,he made no effort whatever to find out whether his work would meet with popular favor or not1 beginning at once with what he knew to be his right material4 ,the only difference to be noticed in his first and his last paintings was a difference in the speed and skill with which he handled the paints4 ,new ideas occurred to him so rapidly that he formed the habit of making quick sketches and putting them aside until he had time to work them out carefully4 ,burne-,jones had never rebelled against the profession his father chose for him4 ,indeed1 he felt satisfied and made every effort to succeed in it4 ,perhaps if he had remained at home1 or even if he had not met the enthusiastic ,william ,morris just when he did1 he might never have discovered his power as a painter4 ,the knowledge of the disappointment at home and the small means at his disposal did not hinder him from forsaking the profession his family had chosen for him1 for was he not following the advice of the great painter1 ,rossetti8 ,not many young artists have found such a friend as ,rossetti was to ,burne-,jones4 ,he not only gave the desired instruction but helped his pupil get such work as he was capable of doing4 ,when the glass makers applied to ,rossetti for a design for a stained-glass window1 he declined to undertake the work but recommended his pupil instead4 ,a visit to ,italy gave ,burne-,jones new inspiration4 ,later when ,william ,morris married and went to live in a house which had been built for him at ,bexley ,heath1 he had difficulty in furnishing this house to suit his taste and desire for beautiful things4 ,this led ,morris to establish a firm to make such things4 ,of course ,burne-,jones was heartily in sympathy with his friend and put his talents as a designer at the disposal of the firm4 ,his wonderful imagination and fine powers of expression produced all kinds of decorative work1 such as tapestries1 embroideries1 carved chests1 book covers1 book illustrations1 and decorations for pianos1 screens1 and friezes4 ,although he received so much praise in his later years1 at first he1 too1 had to pass through the fire of criticism and even ridicule4 ,at one time ,burne-,jones was ridiculed in the pages of ,punch1 while in another magazine he was spoken of as the 8greenery-yallery ,grosvenor-gallery young man40 ,but these criticisms were soon forgotten1 and all ,england was proud to honor this artist with medals4 ,in #ahid ,burne-,jones was given the title of baronet4 ,questions about the artist4 ,tell about the boyhood of ,burne-,jones2 his education4 ,what kind of subjects did he choose for his paintings8 ,what was his idea of a good painting8 ,who was his first teacher8 ,why did he wait so long before he began to study painting8 ,what can you say of his imagination8 ,tell about ,william ,morris and his new home4 ,what did ,burne-,jones do for his friend8 ---------------------------------------- -------------------------------- ,illustation3 ,,aurora ,,aurora ,questions to arouse interest4 ,what goddess does this represent8 ,whom is she leading8 ,upon what do they rest8 ,over what are they passing8 ,what has ,aurora in her hands8 ,toward whom is she looking8 ,in what is ,apollo riding8 ,how many horses has he8 ,what has the cherub in his hand8 ,which way does the flame blow8 why8 ,what makes you think they are moving8 ,in what direction do their garments blow8 ,who painted this picture8 ,why do you like it8 ,original ,picture3 ,pavilion of the ,rospigliosi ,palace1 ,rome1 ,italy4 ,artist3 ,guido ,reni 7gw'd r'n74 ,birthplace3 ,bologna1 ,italy4 ,dates3 ,born1 #aege2 died1 #afdb4 ,the story of the picture4 ,imagine yourself in that far-famed city of ,rome1 driving through its white streets to the great ,quirinal ,palace to see the original of our picture4 ,the ,quirinal1 a very large and very ordinary looking building1 has been the scene of many interesting events1 and is always used as the meeting place for the cardinals who elect the pope4 ,our drive ends here1 but it is only the beginning of our journey4 ,after a delightful walk through a courtyard so completely surrounded by high stone walls that we should never have guessed its existence1 we come to another palace4 ,this palace is much more beautiful1 although not so large4 ,it is called the ,rospigliosi ,palace because it has always belonged to a family of that name4 ,then we pass on through a beautiful garden of magnolias until we reach the pavilion or casino of the palace1 where we find our picture4 ,there are several rooms in this pavilion1 but it is the middle room which holds our attention1 for it is up on the ceiling of this room that we see ,aurora1 goddess of the morning1 leading the way for the fiery steeds of ,apollo1 the sun god4 ,as we enter1 such a glow of color fills the room that we know instinctively this must be the place4 ,first1 we see ,aurora herself1 flying ahead1 scattering the clouds of night and showering roses and dewdrops over the sleeping earth4 ,she looks back toward ,apollo1 the sun god1 to see if he is following her on his journey around the heavens in his chariot of the sun4 ,the horses are restless and eager and it takes a steady hand to guide them4 ,some idea of the difficulties attending such a journey may be gained from the ,greek story of ,phathon4 ,according to this story1 ,apollo had a son named ,phathon4 ,one day the boy came to him1 complaining that the other boys made fun of him when he told them who his father was4 ,they said they did not believe that a boy who could do nothing at all could be the son of the mighty ,apollo4 ,this made the father very angry1 and when ,phathon asked him to let him do something that should prove to the world that he was ,apollo's son1 ,apollo told the boy he would give him permission to do whatever he asked4 ,the boy quickly asked permission to drive the sun chariot for one day4 ,but this request alarmed ,apollo1 who said1 8,none but myself may drive the flaming car of day1--not even ,jupiter1 whose terrible right arm drives the thunderbolts40 ,he urged his son to take back his request before it was too late1 warning him it would prove his destruction4 ,but the boy was only the more anxious to drive1 and held his father to his promise4 ,then ,apollo told ,phathon of the journey4 8,the first part of the way10 he said1 8is so very steep that1 although the horses start out in the best possible condition1 they can hardly climb it2 the next part is so high up in the heavens that ,i dare not look down upon the earth and sea below1 lest ,i grow dizzy and fall2 the last part of the journey is the most difficult of all1 because the road descends rapidly and it is hard to guide the horses4 ,and all this time10 ,apollo went on1 8the heavens are turning around and carrying the stars with them40 ,but even as he spoke1 ,aurora threw open the cloud curtains which hid the earth1 and there appeared the road upon which she cast her roses while beckoning to the eager boy4 ,hardly listening to his father's anxious warnings1 ,phathon jumped into the golden chariot1 grasped the reins of the four fiery steeds1 and off they started4 ,at first he remembered what ,apollo had said1 and was careful1 but he soon grew reckless1 driving at full speed4 ,the horses1 knowing it was not their master's hand1 took the bits between their teeth and were soon out of his control4 ,for a time they followed the road1 but when that was lost they began to descend toward the earth so rapidly it seemed as if they would be dashed to pieces4 ,then up again they started in reckless1 dizzy flight4 ,at times they came so close to fields and woods as to scorch and blacken them4 ,other fields they did not pass1 and these were frostbitten4 ,then a great wail of complaint went up from the earth4 ,this cry was heard by ,jupiter1 the most powerful of the gods1 who1 looking earth-ward and discovering the cause of all this trouble1 was very angry4 ,with his terrible right arm he drove a thunderbolt at the reckless youth1 and in an instant ,phathon fell from the chariot headlong into the sea4 ,the horses1 finding themselves free1 returned to ,apollo1 and never since then has any hand but his been permitted to guide them4 ,the ,greeks declared that the great desert of ,sahara in ,africa is the place where the sun's chariot scorched the earth1 and that it was then that the ,african negroes were burned black4 ,phathon's boy friend1 who was constantly diving down into the water trying to recover his body1 was turned into a swan1 and ,phathon's weeping sisters were changed into poplar trees4 ,in our picture we see ,apollo holding the reins1 accompanied by the ,hours and preceded by ,aurora and the cherub torch-bearer or morning star4 ,they seem to be moving rapidly on their way1 borne up by the clouds4 ,the sky is a brilliant1 golden yellow1 and its fleecy clouds are tinged with purple4 ,the graceful figures of the ,hours are each represented in pale or brighter-colored draperies according to the time of day to which they belong4 ,aurora herself is clothed in rainbow hues1 her draperies flying with her swift progress4 ,far below we see the land and sea1 wrapped in slumber1 awaiting the coming of the dawn4 ,questions to help the pupil understand the picture4 ,where is the original painting of the 8,aurora08 ,what goddess does it represent8 ,what is the ,greek myth concerning her8 ,what part has ,apollo in this picture8 ,how many horses does he drive8 ,how are the ,hours represented8 ,what does the cherub carrying a torch represent8 ,in what direction does the flame of the torch blow8 ,why is ,apollo's journey so difficult8 ,who was ,phathon8 ,what did he ask of ,apollo8 ,why did he wish to do this8 ,why was ,apollo alarmed8 ,tell about ,phathon's journey1 and what happened to him4 ,upon what does the chariot seem to rest8 ,over what are they passing8 ,what colors did the artist use in this painting8 ,to the ,teacher3 ,,subjects ,,for ,,compositions ,aurora1 ,goddess of the ,morning4 ,apollo1 the ,sun ,god4 ,the ,story of ,phathon1 ,apollo's ,son4 ,the story of the artist4 ,guido ,reni was born in the little village of ,bologna1 ,italy4 ,as a small child he gave every promise of becoming an accomplished musician4 ,his father1 himself a gifted performer1 began to teach him to play the flute and harpsichord as soon as he was old enough to handle the instruments4 ,guido had a beautiful voice1 and the father hoped to make a fine musician of him4 ,but the boy also had a beautiful1 sunshiny face which attracted the attention of an artist1 who asked permission to paint him as an angel in several pictures4 ,after watching this artist at work1 ,guido began to wish to paint pictures1 too1 and was permitted to take a few lessons4 ,his first picture was a surprise to the artist1 causing him to urge ,guido's father to allow the boy to develop his talent4 ,about this time1 too1 ,guido began to make all kinds of interesting figures in clay1 and his fingers were always busy4 ,at thirteen years of age he so excelled the other pupils of the artist that he was allowed to teach some of them4 ,later ,guido went to ,rome1 where he remained for twenty years in great favor4 ,he then moved to ,bologna and there opened a large school for art students4 ,he made his home in ,bologna during the rest of his life4 ,guido ,reni might have lived all his life in splendor and ease1 for he earned great sums of money2 but as his fame grew he became more and more extravagant in his habits1 and so was always in debt4 ,he was obliged to paint hurriedly1 and to the utmost of his genius1 that he might have more pictures to sell4 ,however1 his keen sense of beauty did not desert him1 and his popularity continued to the end4 ,he was especially skillful in representing beautiful upraised faces of women and children4 ,one day a young nobleman met ,guido ,reni and asked him where he found such lovely models for his paintings4 ,he said the other artists were wondering about it and thought him very selfish to keep them to himself4 ,guido replied in a mysterious voice1 8,come to my studio1 signor1 and ,i will show you my beautiful model40 ,so1 filled with delight and eager anticipation1 the nobleman tiptoed after the artist up the stairs to the studio4 ,you can imagine how he must have felt when ,guido ,reni called his color-grinder1 who has been described as 8a great greasy fellow1 with a brutal look10 and posed him4 ,as the color-grinder sat quietly looking up through the skylight1 ,guido took a pencil and after sketching very rapidly for a few minutes1 showed his guest a sketch of a beautiful ,magdalen gazing upward4 ,then turning to his visitor1 he said earnestly1 8,dear ,count1 say to your #8other artists' that a beautiful idea must be in the imagination1 and in that case any model will serve40 ,guido ,reni had the greatest admiration for the paintings of ,raphael and went to ,rome just to study them4 ,as he loved to work with clay himself1 he spent much of his time in ,rome studying the beautiful pieces of statuary there4 ,he tells us that his favorites were the ,venus de ,medici and ,niobe4 ,pleasant and courteous to all1 he made friends everywhere and was greatly beloved4 ,once when he was very ill his friends hired musicians to play just outside his door4 ,this pleased him greatly1 as he was always passionately fond of music4 ,he said to them1 8,and what1 then1 will be the melodies of ,paradise80 ,guido ,reni was a great favorite of ,pope ,paul ,v and many of his pictures were painted for the ,pope4 ,when he returned from ,rome to ,bologna1 he found himself more popular than ever and quite overwhelmed with orders for pictures4 ,of all his paintings1 the 8,aurora0 is generally considered his best4 ,the story is told of a little girl who had lived all her life in the country4 ,upon her first visit to her uncle in the city1 she discovered a large and splendid copy of the 8,aurora0 in his living room4 ,one morning her uncle came into the room and found his little niece gazing at the picture in rapt admiration4 8,well1 ,mary10 he said1 8what do you think of it80 8,oh1 uncle10 she replied1 8,i like it #8cause they are in such a hurry40 ,so young and old have found one reason or another for liking this picture4 ,guido ,reni painted many portraits as well as many historical and mythological pictures4 ,some of the best known of ,guido's paintings are3 8,reclining ,venus with ,cupid10 8,st4 ,michael and the ,dragon10 8,beatrice ,cenci10 8,little ,bacchus ,drinking10 and 8,the ,mater ,dolorosa of ,solimena40 ,questions about the artist4 ,where was the artist born8 ,what two talents had he8 ,how did he happen to study painting8 ,how did he succeed with his first picture8 ,what was his progress8 ,why was he never rich8 ,what subjects did he choose8 ,what did the young nobleman ask him8 ,tell of the nobleman's visit to the artist's studio4 ,whose paintings did ,guido ,reni admire greatly8 ,what statues8 ,how was he able to make so many friends8 ,what was his masterpiece8 ,what did the little country girl say about it8 ,name some of his paintings4 ---------------------------------------- -------------------------------- ,illustration3 ,,avenue ,,at ,,middelharnis ,,avenue ,,at ,,middelharnis ,questions to arouse interest4 ,what occupies the most important part of this picture8 ,describe the trees bordering the road4 ,where does the road lead8 ,what does it pass on its way to the village8 ,where must the artist have been standing8 why do you think so8 ,what can you say about the perspective of this road8 ,how much of this picture is sky8 ,what kind of lines predominate--curved1 straight1 vertical1 or horizontal8 ,in what country do you think it is8 ,why is it so level8 ,what are the people in the picture doing8 ,what do you like best about this picture8 ,original ,picture3 ,national ,gallery1 ,london1 ,england4 ,artist3 ,meyndert ,hobbema 7hb' m74 ,birthplace3 ,amsterdam1 the ,netherlands4 ,dates3 ,born1 #afch2 died1 #agji4 ,the story of the picture4 ,there is a little village in the ,netherlands by the name of ,middelharnis1 and if we should go there to-day we should find just such an avenue of trees as this one in our picture4 ,the artist1 ,hobbema1 spent many years in this village1 painting scenes in and around it4 ,probably he traveled over this very road countless times4 ,it would seem as if we1 too1 were walking down the road guarded by those tall1 slender trees which border each side of it4 ,they are poplar trees1 trimmed so high that we scarcely recognize them4 ,they lead direct to the little village beyond1 which we see between the tree trunks4 ,since the village is almost surrounded by the ,north ,sea1 its high church tower is not only picturesque by day but useful at night as a lighthouse or beacon to guide the sailor to a safe port4 ,in our picture the sun is half hidden in a sky as full of fleecy clouds as the sky near the ,north ,sea generally is4 ,we must expect no hills nor elevations of any kind in the ,netherlands1 a land lying lower than the ocean4 ,the great protecting dikes and the many canals extending in every direction make it one of the most interesting of countries4 ,in the picture we see on each side of the road a deep ditch full of water4 ,these ditches irrigate the land1 flowing into deeper1 wider canals on which sail boats of various sizes and kinds4 ,it is said that every true ,hollander can skate4 ,in the winter1 when these canals are frozen1 young and old go about upon their various errands on skates4 ,it is a common sight then to see women skating to market1 carrying upon their heads heavy baskets filled with rolls of butter1 cheese1 eggs1 or other provisions4 ,the children skate to school1 and men go about their business in this same pleasant way4 ,it is easy to reach all parts of the village or city by these canals1 for there are so many of them2 in some cities the people have no streets1 but use canals instead4 ,at the right of our picture we catch a glimpse of a thrifty1 well-kept nursery garden full of shrubs and fruit trees1 which the man is busily trimming4 ,he works contentedly1 for all about him he sees the evidences of prosperity and peace4 ,coming toward us along this straight and level road is a huntsman carrying his gun over his shoulder and preceded by his dog4 ,a path leads away from the road to the picturesque little cottage or farmhouse at the right4 ,two peasants1 a man and a woman1 stand in the path talking4 ,we do not doubt they will turn to greet our hunter1 for it is a friendly countryside1 where all are treated cordially4 ,we cannot see much on the extreme left of the picture except the trees which grow luxuriantly1 and a flat meadow land which reaches almost to the village4 ,it is a common1 everyday sort of landscape1 yet its charm seems to lie in this very fact4 ,we would know at once if the perspective were not correct1 for we have solved just such problems ourselves with the tree tops1 or perhaps telegraph poles1 and it gives us an added sense of pleasure to be able to understand just the problem ,hobbema had to solve as he placed his easel in the middle of the road and started to paint his great canvas4 ,the light is rather uncertain on this cloudy day4 ,the artist used little color except grays and a peculiar green which he delighted in using in all his paintings4 ,a touch of brighter color appears in the cheerful red of the roofs of his houses1 which suggest something of the homely comfort and cleanliness that may be found in most ,dutch homes4 ,the most striking characteristic of ,hobbema's painting is his severe combination of vertical and horizontal lines4 ,the positive vertical lines of the tree trunks standing so tall and straight against the wide expanse of sky are rechoed in the shorter but equally slender trunks of the fruit trees in the nursery garden1 and of the trees at the side of the path leading to the farmhouse2 also in the two straight figures standing in the path1 and again in the church tower in the distance4 ,the horizontal lines are equally positive4 ,they separate the garden from the road2 they appear in the road itself1 and in the horizon line beyond4 ,if we make a sketch of the important lines in this picture1 we find them either vertical or horizontal1 and much more severe in outline than the usual diagonal or curving lines we have grown accustomed to looking for4 ,critics seem to vary as to the feeling with which this picture inspires them1 although all agree upon its value as a masterpiece4 ,some declare there is a sort of hopelessness in the landscape which suggests the unhappy life of the artist1 who often went hungry1 and whose paintings were not appreciated until after his death4 ,to them the scene is full of hopeless beauty1 suggesting all kinds of joys which are never realized1 yet continue just out of reach throughout a long and cheerless life4 ,so it is a sad beauty1 and gives one a feeling of desolation even in a land where all is prosperity4 ,other critics see only the thrifty1 contented life of the ,netherlands peasant1 who by his intelligence and labor has overcome even the sea itself1 and compelled it1 by means of dikes and canals1 to add to his safety and comfort4 ,we know how much ,hobbema must have loved his work1 for he received no return for it during his lifetime1 unless it was the joy of work2 and yet he persevered4 ,can we not imagine him on a pleasant day1 seated or standing at his easel in the middle of this road1 quite forgetting poverty and even hunger1 as he painted this beautiful landscape before him8 ,hobbema was certainly daring and full of courage when he attempted so severe and unusual a composition as this4 ,he has placed his road almost exactly in the center of the picture1 balancing the sides quite evenly1 yet he has not made it monotonous or tiresome4 ,the eye is constantly discovering new beauties in the landscape or the inclosing sky4 ,only a master could produce a work such as this4 ,questions to help the pupil understand the picture4 ,what country is represented in this picture8 ,what kind of trees are those bordering the road8 ,to what do they lead the eye8 ,of what use could the church tower1 in the distance1 be8 ,why is the ,netherlands such a level country8 ,what can you see on each side of the road8 ,of what use are the canals8 ,what is the man doing in the garden8 ,who else can you see in the picture8 ,what colors did the artist use8 ,how can you tell whether the perspective of the road is correct or not8 ,what can you say of the sky8 ,what can you say of the balance in the composition8 the kinds of lines8 ,what kind of a day is represented8 ,what do some of the critics say about this picture8 ,what is so unusual about this composition8 ,why do most artists avoid placing the center of interest in the middle of the picture8 ,why do you like this picture8 ,the story of the artist4 ,we know very little about the artist1 ,meyndert ,hobbema1 except that he was a ,hollander possessing so great a love for his native land that he continued to represent it on canvas in spite of the fact that his countrymen were quite indifferent to him and his work4 ,his pictures were disposed of somehow1 perhaps given away1 for when a hundred years after his death the world suddenly began to value them1 it was found that he had left enough canvases to have made him the wealthiest man in the country4 ,yet he died in the almshouse1 and was buried beside his wife in a pauper's grave4 ,now all the ,netherlands would give him honor1 but so neglected was he during his life that it is impossible to find out even where he was born4 ,three cities claim this honor1 but it is generally conceded that he was born at ,amsterdam4 ,it is certain he was married and died there4 ,we determine the date of his birth by the date and his age as given in the record of his marriage4 ,hobbema's paintings were so real that the people1 who were used to more fanciful1 idealized pictures1 thought his commonplace and of no especial interest4 ,now they recognize the great sympathy with1 and insight into1 the very life of their country which ,hobbema possessed in rare measure4 ,he made it real to us1 too1 in his scenes of thrift and industry1 prosperity1 and smiling peace4 ,we are told that ,hobbema was 8a plain1 practical1 matter-of-fact0 man and his pictures make us think he must have been4 ,like him1 they are plain1 unassuming1 and natural2 free from artificial grace or fancy4 ,he did not hunt for scenes of unusual beauty with romantic or weird stories1 but chose some pleasing view near at hand and painted it just as it was4 ,sometimes he painted the same scene several times from exactly the same position4 ,if all his works could be placed in one gallery for exhibition1 we might find it rather monotonous to see so many just alike4 ,but although he did not have the inventive genius of ,burne-,jones or of many other artists1 his paintings were always true to nature4 ,he has been called the painter of the afternoon sun because he seemed so fond of the sunlight showing through the trees and casting long shadows across the fields4 ,many believe that ,hobbema must have been a pupil of ,ruysdael's because their work was so much alike4 ,we know that they lived in the same place at the same time and it is generally believed they were friends4 ,dealers often substituted the name of one for that of the other and later1 when corrections were attempted1 it was impossible to tell which was ,hobbema's work and which ,ruysdael's1 because both had painted the same subjects4 ,at one time ,hobbema was appointed gauger for the town4 ,it was his duty to measure the quantity of all liquids imported into ,holland4 ,this position must have paid a fairly good salary1 for ,hobbema was married directly after his appointment4 ,it must have taken all his time1 too1 for he painted very little for nearly twenty years4 ,the fact that he had a means of livelihood did not spur him on to greater efforts4 ,he painted only when he felt like it1 not very often1 and small1 unimportant pictures4 ,whether he lost this office before or after his wife's death is not known1 but for some reason or other his last years were spent in extreme poverty4 ,twenty-six years after his death his pictures began to sell1 and soon picture dealers were scouring the country for his works4 ,his landscapes are not full of people1 animals1 or anything that might disturb the calm1 quiet restfulness of the scenes4 ,like ,ruysdael1 he too was compelled to call upon other artists to draw the few figures he did use1 as he found this part most difficult4 ,one thing we may be sure of when we look at his paintings1 and that is1 they were faithful representations of the place before him4 ,so we may know just how this road leading to the village of ,middelharnis really looked more than two centuries ago4 ,other famous paintings by ,hobbema are entitled3 8,showery ,weather10 8,village with ,water ,mills10 8,woody ,landscape10 8,ruins of ,brederode ,castle10 8,forest ,scene10 8,cottage in a ,wood10 and 8,entrance to a ,wood40 ,questions about the artist4 ,what kind of a man do you think ,hobbema must have been8 ,why8 ,in what ways do his pictures resemble him8 ,what kind of pictures did he like to paint8 ,what time of day8 ,why might an exhibition of all his paintings prove monotonous8 ,what would you consider one of the best things about his paintings8 ,what other great artist lived at this time and in the same place8 ,how did their paintings resemble each other8 ,what office did ,hobbema hold8 ,what were some of his duties8 ,how did this position affect his work8 ,what became of his paintings8 ,why was he so poor8 ,why were his paintings not appreciated8 ,how are they regarded now8 ,why do you think ,hobbema must have loved his work8 ---------------------------------------- -------------------------------- ,illustration3 ,,the ,,angelus ,by ,permission of ,braun ,co41 ,paris and ,new ,york ,,the ,,angelus ,questions to arouse interest4 ,in what attitude are these peasants standing8 ,what have they been doing8 ,with what have they been working8 ,what can you see in the background8 ,from what direction does the light come8 ,what time of day do you think it is8 in what country8 ,why have they stopped their work8 ,who of you can tell what the ,angelus is8 ,what feeling does this picture give you--one of sadness1 peace1 quiet1 noise prosperity1 poverty1 or happiness8 ,original ,picture3 ,collection ,chauchard1 ,paris4 ,artist3 ,jean ,franois ,millet 7ml74 ,birthplace3 ,gruchy1 ,france4 ,dates3 ,born1 #ahad2 died1 #ahge4 ,the story of the picture4 ,although our print is only black and white1 we are made to feel the brightness of the sunset in this picture4 ,the horizon1 veiled in a haze1 shows the church tower of the distant village faintly silhouetted against the sky1 while the sinking sun casts its long shadows across the field4 ,but our eyes do not dwell long on sky1 church1 or field1 for the two figures draw our gaze4 ,the bright rays from the setting sun fall directly upon the woman1 who faces the west2 the man1 turning toward her1 is partly in shadow4 ,no doubt these two peasants have been working in the fields1 the man digging potatoes1 as we may judge by those in the basket and the two well-filled bags on the wheelbarrow4 ,as he digs them1 the woman gathers them up in her basket and empties them into the sacks4 ,thus busily engaged1 they suddenly hear the church bell2 its great tone coming far across the field reminds them that it is the hour of prayer4 ,so putting down the pitchfork and basket1 they stand with bowed heads as they repeat the evening prayer4 ,the artist wished to paint a picture that would make us hear the bell sounding clearly across the deep stillness of the open field4 ,he wished to make us feel1 as do these peasants1 the quiet solemnity of the hour4 ,even as a little boy ,millet was greatly impressed by the sound of the ,angelus1 or bell for prayers1 which was rung each morning1 noon1 and night4 ,one of his earliest remembrances was of a time when the villagers bought new bells for the church1 and he went with his mother and a neighbor to see them before they were hung4 ,it seems that two of the old bells had been used to make a cannon1 the third was broken1 and these new bells were in the church waiting to be baptized before they could be hung in the tower4 ,they seemed immense to the small boy1 and of course they must have been larger than he4 ,millet tells of the delight and awe he felt when the neighbor struck the bells with the great key to the church door1 which she carried in her hand4 ,no wonder1 then1 that this picture was one of ,millet's favorites1 for it reminded him of his boyhood home and brought back memories of the thoughts and experiences of his childhood4 ,grown to manhood1 and himself a peasant1 he1 too1 had heard the ,angelus sounded forth from the village church tower1 and had dropped his work to bow his head in prayer4 ,the quiet and peace of such moments had left a deep impression which he wished to share with us4 ,the long stretch of field suggests the industry of the peasants2 the distant church and their bowed heads against the bright sky tell us of their faith4 ,can you not see them on their homeward journey1 the man pushing the wheelbarrow with its heavy load1 while the woman carries the basket8 ,it looks as if it would be a long1 tiresome tramp across the uneven field to the village so dimly visible in the distance4 ,this is the time of year when the peasants' work is hardest1 for during the winter there is little farm work to do4 ,we are told that the women spend their winter days in spinning1 weaving cloth1 and making clothes1 while the men weave baskets1 make their garden tools1 and do what little work there is to do4 ,the very simplicity of this landscape1 with its lack of details1 is part of its great charm4 ,the quiet dignity of the man and woman1 standing with bowed heads1 the peace and quiet of the scene1 and1 above all1 the sound of the sweet-toned ,angelus1 give us a feeling of restfulness and peace4 ,the horizon line is high in this picture1 yet the sky space is large enough to contain the heads and shoulders of our two peasants4 ,in this way we are made to feel that although they are bound to earth and are a part of it1 their thoughts soar higher4 ,there is another life besides the one of toil and privation4 ,at the time ,millet painted this great picture he was wretchedly poor4 ,he sent the picture to a friend in ,paris1 begging him to sell it and send the money as soon as possible4 ,it sold for less than five hundred dollars4 ,yet not many years ago a ,french collector paid one hundred and fifty thousand dollars for this same picture4 ,,the ,,angelus 8,they stand within the field at prayer1 ,the rustic man and maid1 ,while silvery thro' the amber air ,the angel's song is played6 8,they bow their heads in gratitude ,for gift of life and health2 ,and for content--their highest good1 ,and love--their only wealth4 8,there is a closeness to the soil ,in both their garb and mien ,that tells of happiness and toil1 ,and quiet peace serene4 8,a lark above them sings and sings ,a song of hope and youth4 ,theirs is the joy of common things-- ,the beauty of the truth60 --,edward ,wilbur ,mason ,questions to help the pupil understand the picture4 ,what time of day does this picture represent8 ,what can you see in the distance8 ,in what direction is the woman facing8 ,how can you tell8 ,what have these peasants been doing8 ,why have they stopped their work8 ,why is the picture called 8,the ,angelus08 ,tell about ,millet and the new bells for the church4 ,tell something of the life of these peasants4 ,how did the artist ,millet know so much about their life8 ,what can you say about the composition of this picture8 ,what was the financial condition of the artist when he painted this picture8 ,what did he do with this painting8 ,about how much is it worth now8 ,the story of the artist4 ,let us try to imagine the artist1 ,jean ,franois ,millet1 as a young man nineteen years old on his first visit to the great city of ,paris4 ,brought up on a farm among the lowliest of the ,french peasants1 he had met few except those with whom he labored in the fields or those who1 poorer than they1 were made welcome under the ever hospitable roof of the elder ,millets4 ,these neighbors and friends were mostly sailors or farmers1 who looked upon the journey to ,paris as a great event1 as indeed it was4 ,for weeks the kind old grandmother had kept her spinning wheel busy1 spinning and weaving the cloth for his new suit of clothes4 ,she was the tailor who cut1 stitched1 and pressed them4 ,all her savings of years had been sewed into a belt and given to him for this journey4 ,as he stood in the doorway1 waiting for the old stagecoach which presently came rattling down the stone road of the village1 he must have felt anew the great sacrifices they were all so willing to make to send him where he could study his beloved art4 ,in ,paris1 ,millet presented an unusual appearance--six feet in height1 slender1 a downy beard on his face1 his brown hair hanging to his shoulders4 ,all his belongings were neatly packed in the sailor's canvas bag which he carried over his shoulder4 ,is it any wonder that many did not see the straightforward1 honest1 manly look of the calm gray eyes8 ,there was in that gaze and in the rude bearing a certain quiet confidence and strength which only the home folks recognized and valued4 ,the boy could draw1 and draw well they knew1 and had not the drawing master of the village told them he would surely one day become a great artist8 ,tired from the three days' ride in the old stagecoach1 jostled by the hurrying crowds1 for it was evening and all were on their way home1 he stood confused4 ,a policeman1 catching sight of the stupid-looking youth blocking the sidewalk with his great bag1 asked him where he wanted to go4 ,is it any wonder that he answered1 8,back to ,gruchy08 ,we are told that he even inquired when the next coach left for ,gruchy1 but there was none until morning4 ,the policeman sent him to a boarding house of moderate prices1 and the next morning he started out to find the great art gallery of the ,louvre4 ,he had attempted to inquire the way at the boarding house1 but the boarders laughed at his ,normandy accent and strange appearance and he did not wait for the answer4 ,and so he wandered the streets for three days1 not daring to ask the way for fear of being laughed at again1 until at last he stood before the great gallery1 recognizing it at once by the pictures he had seen of it4 ,in writing of it years later1 ,millet says3 8,my feelings were too great for words1 and ,i closed my eyes lest ,i be dazzled by the sight1 and then dared not open them lest ,i should find it all a dream4 ,and if ,i ever reach ,paradise ,i know my joy will be no greater than it was that first morning when ,i realized that ,i stood within the ,louvre ,palace40 ,in the meantime he had found a room and place to board near by4 ,the landlady having suggested that he had better not carry much money about with him1 he immediately gave her all he had to keep for him2 that was the last he saw of his money4 ,he spent a week just visiting the ,louvre1 and finally became acquainted with a student who was copying one of the paintings4 ,this student took him to the artist ,delaroche1 who1 after looking at his sketches1 gladly admitted him as a pupil4 ,the other students were greatly amused at ,millet's awkward appearance and called him the 8man of the woods40 ,it was almost impossible to persuade him to talk1 and his answers to all questions were in monosyllables2 but if pressed too hard he could use his fists effectively4 ,they soon found out1 too1 that he could paint1 and paint well4 ,all idea of going home was given up1 and ,millet spent twelve years in ,paris1 enduring poverty and hunger but working faithfully and long4 ,when he went back to his home for a visit he was so nearly starved that he fell fainting on the ground when he tried to work in the fields4 ,millet painted landscapes1 portraits1 and signs1 but fortune never seemed to smile on him long at a time4 ,people said his pictures did not sell because he painted such common things and such poor people instead of choosing beautiful girls or fine gentlemen for his models4 ,but he painted the people he knew about and loved best--the ,french peasants--and as their lives were full of toil1 he must represent them at their labor4 ,returning to ,paris1 and finding his life there still one of continuous struggle with poverty1 ,millet with his wife and children went to live at ,barbizon1 a small village a day's ride from ,paris4 ,many descriptions have been written and pictures painted of the modest white stone cottage with its clinging vines and its thrifty gardens in which he spent the rest of his life4 ,it was not until the last few years of his life that he ceased to be wretchedly poor1 for then at last his pictures were appreciated and he received the profit and honor that were his due4 ,he died at ,barbizon1 ,january #bj1 #ahge4 ,questions about the artist4 ,tell about ,millet's early training and the preparations made for his journey to ,paris4 ,how did he travel8 ,describe his first evening in ,paris4 ,how did he find the great gallery of the ,louvre8 ,why did he not inquire the way8 ,what became of his money8 ,with whom did he study1 and how did this happen8 ,what did the other students call him8 ,why did they do this8 ,how many years did he stay in ,paris8 ,what was his success there8 ,why did his pictures not sell8 ,where did he finally go to live8 ,when were his paintings appreciated8 ---------------------------------------- -------------------------------- ,illustration3 ,,sheep ,,in ,,spring ,,sheep ,,in ,,spring ,questions to arouse interest4 ,what is there in this picture that suggests the time of year8 ,what are the sheep doing8 ,how many have watched sheep eat grass8 ,why do the shepherd and his dog stand in front of them8 ,of what use is the shepherd's crook or staff8 ,what do you see in the distance8 ,do you think this is a scene in our own country or in some foreign country8 ,how are the sheep farthest away represented8 ,where does the light fall upon the sheep and upon the man8 ,what kinds of lines are there in this picture8 ,tell some of the duties of a shepherd2 of a shepherd's dog4 ,why do sheep need so much care8 ,of what use are they8 ,why do you like this picture8 ,original ,picture3 ,metropolitan ,museum1 ,new ,york ,city4 ,artist3 ,anton ,mauve 7mv74 ,birthplace3 ,zaandam1 the ,netherlands ,dates3 ,born1 #ahch2 died1 #ahhh4 ,the story of the picture4 ,the artist has taken us to his own native country1 showing us the beauties of the fields in spring1 and giving us much of their feeling of calm and contentment4 ,the shepherd has led his sheep safely past the freshly plowed field which we see at the left of the picture1 and now he stands in front of them so they will go more slowly and eat the grass closer4 ,if one of the sheep should go too fast he would probably reach out with his long crook1 which he would place around the sheep's neck1 and draw it back4 ,the dog1 too1 would do his part to keep it where it ought to be4 ,sheep prefer to run ahead1 taking a bit of grass here and a bit there1 but when they are held back by the man and dog as in this picture1 they will mow the grass as closely and thoroughly as if a lawnmower had passed over it4 ,as we look at the picture we find that1 though few details are shown1 the sheep in the first row are distinct1 while the rest are merely suggested4 ,anton ,mauve has become famous for this very thing--the omission of minor details in his pictures and the simplicity with which he thus tells his story4 ,we feel the warmth and vigor of this beautiful day in spring1 the fresh green grass with here and there a flower to relieve the green1 the soft green leaves of the young and slender trees planted on each side of the road at the right of the picture4 ,this road probably leads direct to the farmhouse we see in the distance4 ,the long meadow1 too1 seems to reach as far as that same farmhouse1 and no doubt will provide pasture all summer for the sheep4 ,their fleecy white wool will grow long4 ,then will come sheep-shearing time1 and the wool will be sent away to be woven into cloth4 ,in the picture the light falls strongly upon the backs of the sheep1 on the head and shoulders of the man1 and on the wooden shoes he wears4 ,the dog stands there expectant1 ready to pursue any wayward sheep4 ,it is wonderful how much these shepherd dogs know1 and how much they help their owners4 ,in some countries the sheep are kept out in the fields or among the hills all night4 ,the shepherd rolls himself up in a blanket and sleeps securely near them1 knowing full well that the faithful dog will remain on guard1 allowing none to stray away or come to harm4 ,sometimes1 when the shepherd wishes to collect his flock and drive them to the fold or inclosure for the night1 many of them have wandered up into the mountains to almost inaccessible heights1 but the dog will find them1 every one4 ,he has a way of making the sheep understand what they are expected to do4 ,he circles around and around them so quickly that none can escape1 and he seems to have some mysterious way of counting them1 for if one is missing off he goes1 seldom failing to return with it4 ,the story is told of a shepherd who1 with but one dog1 was guarding seven hundred lambs4 ,at midnight they suddenly took fright and1 dividing into three sections1 disappeared over the hills4 ,the man could do nothing until daylight1 but the morning found the lambs gathered in a valley and guarded by the faithful dog1 from whose vigilance not one had escaped4 ,these intelligent shepherd dogs can be made to understand their masters' wishes even at a great distance1 for they understand and obey motions made with the hands4 ,sheep are more helpless than most animals1 because they cannot defend themselves against wild animals and because1 having no sense of locality1 they are so easily lost or led astray4 ,if a flock of sheep is attacked by wolves1 and there are several dogs guarding the flock1 very often the dogs will circle around the sheep until they have crowded them as close together as they can2 then one of the dogs will continue walking around them1 while the others attack and usually beat off the wolves4 ,illustration3 ,sheep in ,autumn ,anton ,mauve has painted a companion picture to this one4 ,the two pictures hang on the same wall in the ,metropolitan ,museum1 ,new ,york ,city4 ,the companion picture is called 8,sheep in ,autumn10 and1 as the name suggests1 it represents a scene in the fall of the year4 ,the first picture brings to our mind visions of green meadows1 newly ploughed fields1 tender grass1 and tiny green leaves1 quickening into life and beauty with the arrival of the mild days of spring2 but the second picture has a different story to tell4 ,it is autumn now2 the leaves and grass have ripened to a reddish brown1 and the grain has been gathered from the field at the right of the picture4 ,the sheep are turned away from us here1 and it is not necessary for the shepherd and his dog to hold them back4 ,there is no young and tender grass to tempt them1 and they are going home4 ,there are many young lambs with the flock now1 born since their mothers went out to pasture1 and they lag behind the rest as if the journey were a long one4 ,we can almost hear the shrill bleating of the little lambs mingled with the deeper calls of the sheep as they move along the road4 ,the shepherd1 this time an old man in the autumn of his life1 tenderly carries a little weak lamb under his arm4 ,perhaps after it has rested1 he will take up another tired one4 ,the dog looks older too4 ,no doubt he has had a hard summer of it with the care of all these sheep and their lambs4 ,by the long shadows1 ,mauve has told us that it is the end of the day as well as the end of the year4 ,there is a strong appeal in this picture when we think of the homecoming of this little company--the tired young lambs following their mothers1 the tired dog that will now have a long rest1 and the kind old shepherd with the helpless lamb under his arm4 ,through both these pictures ,mauve has expressed the same sympathy with1 and love for1 nature and its many changes of season and weather4 ,it is difficult indeed to choose one for study in preference to the other1 and it is perhaps for that reason that they are usually studied together4 ,in our picture of the sheep in spring1 with all its suggestions of growth and beauty1 the grass and leaves are luxuriant1 and yet the days and nights are still too cool for the sheep to be sheared4 ,when the warm days come1 the shepherd will probably drive his flock to the river or some clear stream where1 in spite of strugglings to escape1 their long1 woolly coats will be scrubbed and cleaned4 ,then when the wool is thoroughly dried it will be cut off with large shears and sent to the manufactories1 where it will be made into cloth for the garments we wear4 ,long ago1 in our great grandmother's day1 wool was carded1 spun1 and woven into cloth by hand4 ,many families still keep the old spinning wheels and hand looms which were used in those times4 ,questions to help the pupil understand the picture4 ,in what country was this picture painted8 ,what time of year is represented8 ,why does the shepherd keep the sheep back8 ,how can he prevent them from going too fast8 ,how do the sheep prefer to eat the grass8 ,what can you see at the right of the picture8 ,what is on each side of this road8 ,to what does it lead8 ,of what use are the sheep8 ,in what ways can the dog help the shepherd8 ,how does he keep the sheep together8 ,tell about the dog and the seven hundred lambs4 ,how can a trained dog understand his master even at a distance8 ,in what ways are sheep helpless8 ,how can a dog protect them from wolves8 ,what is the companion picture to this one called8 ,how does it differ from this painting8 ,which one do you like best8 ,why8 ,where are the original paintings8 ,the story of the artist4 ,anton ,mauve was born near the sea in a little village called ,zaandam1 the ,netherlands4 ,his father was a ,protestant clergyman in this thriving little town known for its oil and paper mills and its extensive timber trade4 ,when ,anton was but a boy1 the family moved to ,haarlem where he grew to manhood4 ,his talent for drawing was soon discovered1 but it did not meet with any favor at home4 ,his father's strong objections to his becoming an artist were finally overcome by a compromise4 ,if ,anton would promise to win a diploma as a drawing master1 so that he would be sure of earning his living in case he failed as an artist1 then his father would give his consent4 ,as definite rules were laid down for teaching drawing1 and these rules permitted little or no originality1 ,anton ,mauve found his promise very hard to keep4 ,however1 he persevered4 ,when the course was finished1 he packed his grip and with little in his purse started for the village of ,oosterbeek where a number of other artists lived and worked4 ,later he settled in ,amsterdam where he worked hard1 earning enough with his painting to support himself4 ,mauve painted a great number of pictures1 many of them in water color4 ,he is best known by his flocks of sheep1 which he represents in all seasons and in every kind of weather4 ,although he lived by the sea1 very few of ,mauve's pictures were of the sea1 for he preferred the country roads leading through green fields1 with here and there a flock of sheep or herd of cattle4 ,he seldom painted a landscape without some figure in it--a wood-cart1 a man on horseback1 a peasant woman1 or a woodcutter were his most frequent models4 ,the birch tree1 with its graceful1 silvery stem was his favorite tree4 ,it is said that ,mauve was in the habit of making his sketches on his cuffs1 and by keeping the colors in his mind he was able from these suggestions to paint the pictures which soon brought him fame and honor4 ,questions about the artist4 ,who painted this picture8 ,where was he born8 ,what compromise did he make with his father8 ,why did he find it difficult to do his part8 ,what did he do then8 ,what subjects might we have expected him to choose for his paintings8 ,what subjects did he choose8 ,upon what did he often make his first sketches8 ,how did he finish these pictures8 ,what were his favorite models8 ,what was his favorite tree8 ---------------------------------------- -------------------------------- ,,the ,,suggestions ,,to ,,teachers ,studying the picture4 ,several days before the lesson is to be taken up1 the picture to be studied should be placed where every pupil can see it4 ,first of all1 the children should find out for themselves what is in the picture4 ,the questions accompanying the story of each picture are intended to help them to do this4 ,language work4 ,the pupils should be encouraged in class to talk freely and naturally4 ,in this way the lesson becomes a language exercise in which the pupils will gain in freedom of expression and in the ability to form clear mental images4 ,if a lesson does not occupy the entire drawing period1 the children should be asked to retell the story of the picture4 ,dramatization and drawing4 ,most of the stories told by the pictures lend themselves readily to dramatization and1 whenever practicable1 such stories should be acted out4 ,the stories also offer numerous interesting situations that may be used as subjects for drawing lessons4 ,the review lesson4 ,the review lesson should cover all pictures and artists studied throughout the year4 ,at this time other pictures available by the same artists should be on exhibition4 ,the review work may be conducted as a contest in which the pictures are held up1 one at a time1 while the class writes the name of the picture and the artist on slips of paper which have been prepared and numbered for that purpose4 ,one teacher who used this device surprised her class by presenting those whose lists were correct with their choice of any of the large-sized ,perry pictures studied4 ,many teachers1 however1 will prefer to use this time for composition work1 although the description of pictures is often given as an ,english lesson4 ,pupils may write a description of their favorite picture4 ,in fact1 the lessons can be made to correlate with history1 geography1 ,english1 spelling1 reading1 or nature study4 ,in any event the real purpose of the work is that the pupils shall become so familiar with the pictures that they will recognize them as old friends whenever and wherever they may see them4 ,it is hoped that acquaintance with the picture and the interest awakened by its story will grow into a fuller appreciation and understanding of the artist's work4 ,thus the children will have many happy hours and will learn to love the good1 the true1 and the beautiful in everything about them4 ---------------------------------------- -------------------------------- ,transcriber's ,notes3 ,missing or obscured punctuation was silently corrected4 ,typographical errors were silently corrected4 ,inconsistent spelling and hyphenation were made consistent only when a predominant form was found in this book4 ,text that was in italics is enclosed by underscores 7italics72 text that was bold by 8equal0 signs 7bold74