Stories Pictures Tell Volume II Part 5

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

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

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

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

[Ill.u.s.tration: _The Return to the Farm_]

The sun is steadily going down; soon all the animals will be at home, the cows will be milked, the sheep safe in the fold, and the donkey in his stall. Then the good old dog will be glad to have his supper and lie down and rest. It is wonderful how much a dog can help on a farm, and how many steps he saves the farmer by his willing, cheerful help.

It is very unusual indeed to find a farmer without a dog.

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

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

=Questions to help the pupil understand the picture.= Who goes after the cows and sheep? Where will they find them? Where is the man in the picture? Why do you suppose he is walking slowly? What does the dog think he must do? What is he trying to persuade that dark cow not to do?

What does the cow which is just leaving the water seem to want to do?

Why does the dog look so worried? Where was this picture painted? Where have you seen a road that looks like this? What will probably happen when these cows and sheep reach home? Of what use is the dog? Why do most farmers have a dog? How can a dog help his master in the city? In what direction are the cows and sheep going? What makes you think so?

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

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

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

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

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

THE SUGGESTIONS TO TEACHERS

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

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

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

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

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

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

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

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

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

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