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[Illustration: Book title decoration]

  STORIES
  PICTURES TELL

  BOOK TWO

  _By_

  FLORA L. CARPENTER
  _Instructor in drawing in Waite High School, Toledo, Ohio
  Formerly supervisor of drawing, Bloomington, Illinois_

  _Illustrated with Half Tones from
  Original Photographs_

  RAND McNALLY & COMPANY
  CHICAGO       NEW YORK




  _Copyright, 1918, by_
  RAND MCNALLY & COMPANY

[Illustration: Publisher's symbol]

  Made in U. S. A.




THE CONTENTS


  SEPTEMBER AND OCTOBER                                  PAGE

    "Shoeing the Bay Mare"        _Landseer_                1

    "Angels' Heads"               _Reynolds_               13


  NOVEMBER, DECEMBER, AND JANUARY

    "The First Step"              _Millet_                 21

    "A Fascinating Tale"        _Mme Ronner_               29

  FEBRUARY AND MARCH

    "A Helping Hand"              _Renouf_                 37

    "The Strawberry Girl"         _Reynolds_               43

  APRIL, MAY, AND JUNE

    "The Return to the Farm"      _Troyon_                 51

    Review of Pictures and Artists Studied

  _The Suggestions to Teachers_                            56




THE PREFACE


Art supervisors in the public schools assign picture-study work in
each grade, recommending the study of certain pictures by well-known
masters. 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 material. Recourse to a great many books was necessary and
often while much information could usually be found about the artist,
very little was available about his pictures.

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 grade.

My plan does not include many pictures during the year, as this is to
be only a part of the art work and is not intended to take the place
of drawing.

The lessons in this grade may be used for the usual drawing period of
from twenty to thirty minutes, and have been successfully given in
that time. However, the most satisfactory way of using the books is as
supplementary readers, thus permitting each child to study the
pictures and read the stories himself.

                                                  FLORA L. CARPENTER

[Illustration: SHOEING THE BAY MARE]




STORIES PICTURES TELL




SHOEING THE BAY MARE

  =Original Picture:= National Gallery, London,
                             England.
  =Artist:= Sir Edwin Landseer (l[)a]nd''s[=e]r).
  =Birthplace:= London, England.
  =Dates:= Born, 1802; died, 1873.


=Questions to arouse interest.= What is the man in this picture doing?
How many have watched a blacksmith shoe a horse? Why does he wear an
apron made of leather? From what do the sparks fly? What has the
blacksmith in his hand? Why do you suppose this horse wears no halter?
What other animals do you see in this picture? Which has the larger
ears, the donkey or the horse? Which seems to have the softer coat?
Which can run the faster? What do you see on the donkey's back? What
kind of dog is that in the picture? Why do you suppose the hound is so
interested in what the blacksmith is doing? What else can you see in
the picture? What makes you think the man is fond of animals? Where is
the bird? Why do you like this picture?


=The story of the picture.= Here in a building that once may have been
a home, we see an old-fashioned country blacksmith shop. The wide door
has been made in two parts so that the upper part can be swung open to
let in the sunlight. The lower part of the doorway remains closed and
is just high enough to keep the horse and donkey shut in. But the dog
could easily jump over it should he become frightened by the flying
sparks of fire.

The smith is trying a shoe on the hind foot of the beautiful horse,
but neither the man nor the horse seems quite satisfied with it. The
horse has an anxious look in her intelligent eyes as she turns her
head to watch the smith. Though she knows he will do the work
carefully she cannot help being a little nervous about it. The dog and
the donkey are also very much interested in what the smith is doing,
though the dog seems ready to run at any moment. Behind the dog we see
the blacksmith's anvil on which he hammers the shoe into shape. Every
time the hammer strikes the red-hot iron, burning sparks fly in all
directions and the blacksmith wears a leather apron, to keep them from
burning holes in his clothes.

On the ground beside the blacksmith is a box in which are the tools
the smith must use. It has a handle so that the smith may carry it
with him and place it within reach when he is fitting the shoe.

Years ago, when the artist painted this picture, a blacksmith had to
make each shoe by hand from a bar of iron. Now horseshoes are made
rapidly by machinery and the blacksmith gets them from the factory. They
are made in all shapes and sizes and the smith will try several shoes
until he finds one that fits the horse's hoof. If it needs to be shaped
a little he must heat it red hot before he can bend it. He puts it into
the great bed of red-hot coals in his forge, and then blows upon the
coals with his bellows to make the fire hotter. His heavy iron tongs are
used to take the red-hot shoe from the coals and to hold it upon the
anvil while he pounds it into shape. Next he drops it into cold water
