etched on the stone. By printing one color over another this way, the different shades were made. No better way is known for reproducing colored pictures. The border was drawn with pen and ink. The title page was set up in type and two plates were made, one showing the red and one the black. Two printings only were necessary, as the black letters were set into the black border. The end sheets of the gold paper are decorated by a zinc etching reduced from a large drawing made by Mr. Stevens. The title and ornaments on the back of the books are made from strong brass dies that were engraved from a drawing by Mr. Stevens. Gold leaf is laid over the leather and the dies are pressed upon it with such force as to fasten the gold upon the leather. Then the parts of the gold leaf that have not been pressed into the leather are brushed away and the design is perfect.

To learn what a picture really contains, to appreciate its purpose and merit, we should study it systematically. The following topics suggest themselves:

As in other cases, the best way to explain a method is to apply it. Accordingly, let us study

by this method the picture Take Warning, on page 41 of Volume One.

1.

The general view. Here is a picture of a sailor looking at a rainbow in the sky.

2. The details. On the seashore are a barrel, a flagon, a post, stones, etc.; in the distance a village, some boats, a lighthouse on a point, and, away on the horizon, the outline of a ship under sail. Perhaps we have made a mistake; is the immediate foreground the deck of a ship? The sailor is dressed in the customary garb: wide trousers; dark blouse; wide, square collar; flattopped cap, with the ends of the band flying. He is barefooted and stands back to us with one arm outstretched and the other half bent at the elbow.

3. The center of interest. The center of interest of most pictures is found near the center of the picture and in this case it is the sailor who attracts our attention to the point of secondary interest, the rainbow.

4. The purpose. The artist's intention is to illustrate one of the two lines below the picture.

5. The artist's conception and its appropriateness. The artist has chosen to represent the first line, and conceives the idea of making the attitude of a sailor, even when his back is turned to us, express the surprise and alarm he might feel when he sees in the morning a beautiful bow, the sign of storm and disaster. To us the conception seems highly appropriate.

6. Elements of beauty. Perhaps this is not a beautiful picture, but it is a suggestive one, and

we cannot but admire the way in which Mr. Werveke has brought out the lights and shades by the skilful use of lines, dots, and patches of clear black. The sailor's attitude, too, is certainly very expressive.

Another profitable study can be made on the halftone that faces page 204, in Volume Ten. Questions best induce an interest in a picture, but the questions should be asked systematically. The following is a model on the picture named above, We Examined Our Treasure.

1. General view. How many men do you see in the picture? How does one differ from the other two? What do they appear to be doing?

2. Details. What man is kneeling? How is he dressed? What is he looking at? What is the expression on his face? What can you say of the dress of the man who is standing? What has he in his hand? Can you tell the expression on his face? What is the third man doing? What has he in his hand? What expression has he on his face? What things are on the table? What can you see on the floor? What is the square object in the lower right hand corner? Is it full or empty? What kind of walls has the room? What kind of a floor? Where does the light in the picture come from? What do you think gives the light ?

3. The Center of Interest. Are all the men looking in the same direction? Are all looking at the same things? Where did they come from? (Tell the story in part and read the paragraph

beginning on page 204, covering page 205, and extending a few lines on page 206.) What is the center of interest for the three men? On what does your chief interest center?

4. Purpose. What did the artist intend to do by means of this picture? Did he select an important and interesting event in the story?

5. Conception and Appropriateness. Would you have thought of making the long chain the real center of interest to all three? Is it natural to think of the negro as kneeling on the floor, taking things out of the chest and handing them to the other men? Who is the man standing? Who is the man sitting? Would you have thought of drawing the three rings on the side. of the chest? Was the chest very heavy? What were the rings for? Do you think the artist has given appropriate expression to his characters? Do you think the picture in general and in details appropriate to the paragraph the artist intended to illustrate? Has he made the story any clearer by his picture? Do you call the picture a success ?

What does the light do man? What effect has

6. Elements of Beauty. Do you like the soft, warm tones of the picture, the smoothness and neatness of it all? Does the light bring out the jewels and riches? to the face of the sitting it on the faces of the other two? Where are the shadows thrown? Do you think it makes the picture more beautiful to have the light come all from one spot in the center of the picture ? What other beautiful things can you see in the

picture? How does this picture differ in execution from the one on page 202? (In this picture the lights and shadows shade smoothly one into another and there are many different tones or shades of brown. In the other there is nothing but clear white and clear black; the effects of light and shade are produced by lines and dots and black patches. The original of the former was made with ink and pen; the latter was painted with a brush.)

After the children have been taught to observe properly, you have in the pictures numberless interesting subjects for language exercises. A good, clear-cut description of a picture is worth reading, and to write one means thought and study. The exercise may be varied by asking the child to describe the picture before he has any knowledge of the subject and then asking him to call his imagination into play and write a story to fit the picture. Later you may read him the story the artist meant to illustrate.

Besides the color plates and halftones which are found in their proper places in the several volumes, the following pen and ink drawings are good examples of the kind of pictures that best repay study: