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 MAGIC PICTURES 
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 CURTIS CHANDLER, 
 
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 LIBRA* 
 
Courtesy of the Metropolitan Museum of Art. 
 
 FAIRY TALES 
 By James Shannon 
 
 Just as the little brown people of Egypt in the Time of Long Ago, and the children 
 of sunny Greece; and just as the boys and girls who lived in the time of brave 
 knights liked to hear stories, so do you and I! These little girls can hardly wait 
 to hear how the story is coming out! [Page 151.] 
 
BHJfc 
 
 MORE 
 
 MAGIC PICTURES OF THE 
 LONG AGO 
 
 STORIES OF THE PEOPLE OF MANY 
 LANDS 
 
 BY 
 ANNA CURTIS CHANDLER 
 
 WITH REPRODUCTIONS FROM WORKS OP ART AND 
 OLD MANUSCRIPTS 
 
 NEW YORK 
 HENRY HOLT AND COMPANY 
 
 1920 
 
COPYRIGHT, 1920 
 
 BY 
 HENRY HOLT AND COMPANY 
 
couc. 
 
 LIBRARY 
 
 TO 
 
 THE REVEREND AND MRS. CHARLES ASA MERRILL 
 
 IN WHOSE HOME AND CHURCH 
 I FIRST PLAYED THE PART OF STORYTELLER 
 
 J 
 
CONTENTS 
 
 PAGE 
 
 A Great Egyptian Queen, Hatshepsut; A Story of Egypt. ... 5 
 In the Land of the Minotaur; A Story of Greece and the Is- 
 lands of the ^Egean Sea 21 
 
 A Story from Colored Glass, or, Justinian and Theodora; A 
 
 Story of Constantinople 37 
 
 The Tale of a Great Crusade; A Story of France 53 
 
 A Buddha Story, or, The Tale of a Wonderful Prince; A Story 
 
 of India ' 72 
 
 An Early Painter, Giotto; A Story of Italy 87 
 
 A Great Sculptor, Michelangelo; A Story of Italy 103 
 
 At the Court of Philip IV; A Story of Spain 121 
 
 The Picture Children's Party; A Story of Many Lands 139 
 
 In the Time of Paul Revere; A Story of America 157 
 
 About Story Hours 173 
 
 vii 
 
The author is grateful to Mr. Henry W. Kent; to Mr. William 
 Clifford, Librarian of the Metropolitan Museum of Art, who has 
 been of assistance in looking up material; to Miss C. Louise A very, 
 Miss Helen Patten, and Miss Bessie D. Davis for their sugges- 
 tions and encouragement; and to Professor Halliday of Columbia 
 University for his help in public speaking. 
 
 Acknowledgment is due the Towle Manufacturing Company 
 for permission to use the Paul Revere engraving of the Boston 
 Massacre; to the Detroit Publishing Company for consent to 
 reproduce the Reid pictures of Paul Revere's Ride and the Boston 
 Tea-party; to the Essex Institute for permission to reproduce 
 the Institute bedroom; to the Jacobs Publishing Company for 
 permission to use the little Colonial figures at the end; and to 
 the authors of the various books which have been helpful in 
 writing and adapting the stories. 
 
 vm 
 
LIST OF ILLUSTRATIONS 
 
 Fairy Tales. By James Shannon Frontispiece 
 
 [The Picture Children's Party, p. 139] 
 
 PAGE 
 
 Dancing Figures. From an Egyptian Tomb 1 
 
 Temple of Queen Hatshepsut. 15th Century B. C 6 
 
 An Egyptian Boat. From a Relief in the Temple of Queen 
 
 Hatshepsut 12 
 
 Loading Egyptian Boats in Punt. 15th Century B. C 15 
 
 Chiefs of Punt Arriving Before the Egyptian Ruler 17 
 
 Head of Amon. 15th Century B. C 18 
 
 Cat Hunting a Pheasant. From a Late Minoan Wall Painting 23 
 
 A Cup Bearer. From a Late Minoan Wall Painting 25 
 
 Scene from a Minoan Circus. From a Wall Painting 33 
 
 Flying Fish. From a Late Minoan Wall Painting 35 
 
 Theodora and Her Attendants. Byzantine Mosaic 39 
 
 Justinian and His Attendants. Byzantine Mosaic 42 
 
 Interior of the Church of Sancta Sophia, Constantinople .... 47 
 
 Church of Sancta Sophia, Constantinople 50 
 
 Ivory Leaves of the Consular Diptych of Justinian 51 
 
 Blanche of Castile presiding over the Education of St. Louis. 
 
 By A. Cabanel 57 
 
 The Crusaders Landing at Damietta, Egypt 60 
 
 ix 
 
x LIST OF ILLUSTRATIONS 
 
 k 
 
 PAGE 
 
 Messengers of the Sultan. From a 13th Century Miniature . 62 
 
 St. Louis and his Two Brothers Made Prisoners by the Saracens 63 
 
 Ivory Chessman. French 13th Century 67 
 
 Crusade of St. Louis. French Parchment, 16th Century .... 70 
 
 Fighting Elephants. Miniature from an Indian Manuscript. 73 
 
 Head of Buddha. Indian Sculpture, 9th Century 76 
 
 Hunting Scene. Miniature from an Indian Manuscript 80 
 
 Illustration of an Indo-Persian Poem, 17th Century 83 
 
 Altarpiece. By a Sienese Artist, 15th Century 88 
 
 The Visit of the Magi. By the School of Giotto 96 
 
 St. Christopher. By Pollaiuolo 98 
 
 St. Francis Preaching to the Birds 100 
 
 Michelangelo 105 
 
 Mask of a Laughing Faun 110 
 
 Statue of David. By Michelangelo 114 
 
 Ceiling of the Sistine Chapel in the Vatican, Rome. By 
 Michelangelo 116 
 
 Athletic Figure from Sistine Chapel Ceiling. By Michelangelo 118 
 
 Philip IV, King of Spain. By Velasquez '. . . . 122 
 
 Mariana of Austria. By the School of Velasquez 124 
 
 Don Balthazar Carlos. By the School of Velasquez 126 
 
 The Maids of Honor. By Velasquez 130 
 
 Knight on Horseback. A Relief by a Spanish Sculptor, 13th 
 Century : 133 
 
 The Boy with a Sword. By Edouard Manet 141 
 
LIST OF ILLUSTRATIONS xi 
 
 . 
 
 PAGE 
 
 The Earl of Arundel and his Grandson. By Sir Anthony Van 
 Dyck 144 
 
 Georgiana Augusta Frederica Elliott. By Sir Joshua Reynolds 151 
 
 The Court of a Dutch House. By Pieter de Hooch 153 
 
 In the Garden. By George De Forest Brush 155 
 
 The Boston Tea Party. By Reid 160 
 
 The Boston Massacre From an Engraving by Paul Revere. . 162 
 
 Bedroom in Essex Institute, Salem, Mass 166 
 
 Paul Revere's Ride. By Reid 168 
 
 Little Colonial Children. Tailpiece 176 
 
 An Egyptian Ship. Cover Design. 
 
BIBLIOGRAPHY 
 
 Arnold, Sir Edwin: 
 
 Light of Asia. 
 Baikie, James: 
 
 The Sea Kings of Crete. 
 Breasted, James Henry: 
 
 a. Ancient Records of Egypt. 
 
 b. A History of the Ancient Egyptians. 
 
 Buttles, Janet R. : With a preface by Professor G. Maspero. 
 The Queens of Egypt. 
 
 Canton, William: 
 
 A Child's Book of Warriors. 
 
 Elliot, Frances Minto: 
 
 Old Court Life in Spain. 
 
 Hind, C. Lewis: 
 
 Days with Velasquez. 
 
 Holland, RupertS.: 
 
 Historic Heroes of Chivalry. 
 
 Holroyd, Charles: 
 
 Michael Angelo Buonarroti. With translations of the life of 
 the master by his scholar, Ascanio Condi vi, and three dia- 
 logues from the Portuguese by Francisco d'Ollanda. 
 
 Kingsley, Charles: 
 
 The Greek Heroes. 
 
 Lang, Andrew: 
 
 Book of Saints and Heroes. 
 
 Lethaby, W. R., and Swainson, Harold: 
 
 The Church of Sancta Sophia, Constantinople. A study of 
 Byzantine Building with quotations from Paulus Silentiarus, 
 
 xiii 
 
xiv BIBLIOGRAPHY 
 
 6th Cen. A. D., and the Anonymous of Combesis Originum 
 Rerumque Constantinopolitarium, variis auctoribus, manip- 
 ulus. Paris, 1664. 
 
 Lockhart, F. C.: 
 
 Spanish Ballads. 
 
 Morris, Charles: 
 
 Historical Tales: Spanish. 
 
 Mosso, Angelo: 
 
 The Palaces of Crete and their Builders. 
 
 Newbolt, Henry: 
 
 The Book of the Happy Warrior. 
 
 Plummer, Mary: 
 
 The Story of the Cid. 
 
 Southey, Robert: 
 
 Chronicle of the Cid. Translation from the Spanish. 
 Stories of Royal Children. Retold from St. Nicholas. 
 
 Vasari, George: 
 
 Lives of Seventy of the most Eminent Painters, Sculptors 
 and Architects. Edited by E. H. and E. W. Blashfield and 
 A. A. Hopkins. 
 
 Villehardouin and de Joinville : 
 
 Memoirs of the Crusades. Translated by Sir Frank Marzials. 
 
 Wilmot-Buxton, E. M.: 
 
 The Story of the Crusades. 
 
 Wilson, Richard: 
 
 Indian Story Book, drawn for the most part from the two great 
 Indian Epics, the "Ramayana" and the "Mahabharaba." 
 
MORE MAGIC PICTURES OF THE LONG AGO 
 
 Little Dancing Figures from an Egyptian tomb made thousands of years ago. 
 
ABOUT THE STORIES 
 
 In this book of Magic Pictures you are going to 
 find a story called Picture Children in which all the 
 little people we usually see quiet and still within their 
 frames, suddenly come to life and frolic and dance 
 together. Miss Chandler will tell you that all this 
 happened just because the real boys and girls were 
 wishing hard for it. In that same magic way all 
 these stories will unfold. Just for our wishing hard, 
 the wonderful people of the long ago will come back 
 to life, will take us with them in their great sailing 
 ships far up the river Nile, or will let us journey in 
 company with powerful kings and fearless knights 
 upon a great Crusade. Sometimes we shall see royal 
 children who never learned to romp but like little 
 old men and women moved sedately in and out of 
 gloomy palace halls. Another time we may be thrilled 
 by a wild midnight rider who reins in his steed, I do 
 declare, right under our window! 
 
 It matters not how many years may lie between 
 the now and the once-upon-a-time, nor how far away 
 the land, for with a storyteller to lead us we can 
 
4 
 
 ABOUT THE STORIES 
 
 travel, oh, a thousand times as far as did the Little 
 Lame Prince on his Magic Carpet! The gates to 
 marvelous realms will spring open when the story- 
 teller begins to speak. We shall feel, each time we 
 go into a museum, that we are about to embark upon 
 a wonderful adventure, for everything in a museum 
 has a story to tell if only we can find it everything 
 from the little figures that danced their way out of 
 Egypt "far away and long ago" and suddenly re- 
 appeared on our title-page, to the boys and girls of 
 Colonial days who bid us farewell at the end of the 
 
 book. 
 
 C. LOUISE AVERY. 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 1 am going to tell you a story about the Egyptians, over 
 three thousand years ago, when they were the most powerful 
 nation in the world, at the height of their power. This story 
 is of a great Egyptian queen called Hatshepsut, who lived in 
 the mighty city of Thebes on the banks of the river Nile, a city 
 filled with temples and palaces and beautiful gardens. Stronger 
 was she and better able to rule than the men who ruled with her, 
 who were kings in name rather than in deed. Sole ruler she 
 was for many years and she governed the land wisely and well. 
 On the walls of the wonderful temple which she built at the foot 
 of the cliffs by the desert, with colonnades and terraces shining 
 in the brilliant sunlight, were carved pictures and stories of her 
 life, the legendary story of her divine birth, and the history of 
 her great expedition to a far-away land. There they remain to 
 this day, having been kept in safety under the desert sands, 
 until they were excavated not so many years ago. This story 
 is based upon the translations of the accounts written in the 
 Egyptian picture-writing upon their paper made from the 
 papyrus-plant. 
 
 IN the fragrant and beautiful land of the gods, 
 Amon-Ra was king, the great god, creator of 
 earth, water, animals, and men: around about 
 him were Osiris, the sun-god; his noble wife, Isis; his 
 sister, Nephthys; Horus, his son; Ment, god of war; 
 
6 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 Geb, god of the earth; and Nut, the sky-goddess. To 
 all the assembled gods spoke Amon-Ra: 
 
 "A great queen shall I make who shall rule over 
 
 TEMPLE OF QUEEN HATSHEPSUT AT DEIR-EL-BAHRI, EGYPT 
 15th century B. C. 
 
 How beautiful it must have been as the sun shone upon its white walls with 
 their background of yellow Theban cliffs! 
 
 Egypt, Syria, Nubia, and Punt; she shall rule over 
 all lands, even the whole world, for I will give her 
 all countries." 
 
 While the great god was speaking, there entered 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 7 
 
 Thoth, god of arts and letters, in the form of an 
 ibis, that his flight might be swift, and he said to 
 Amon-Ra, mightiest of the gods, the maker of men: 
 
 "Oh Amon-Ra, in the fair land of Egypt there is 
 a maiden wondrous fair, fairer than the flowers which 
 the sun nourishes. Should not she be the mother of 
 this great queen of whom thou speakest?" 
 
 Then answered the great Amon-Ra, "Tell us the 
 name of this wondrous mortal, and where she may 
 be found!" 
 
 "Her name is Ahmose, wife of Thothmes I, King 
 of Egypt, and in his lofty palace you may find her. 
 Follow me!" 
 
 Thereupon Thoth in the shape of an ibis, flew far 
 away towards the land of Egypt, and with him went 
 Amon-Ra, followed by all the gods and goddesses. 
 
 As swiftly as the wind they reached the Egyptian 
 land and found Queen Ahmose in her magnificent 
 palace. She was sleeping upon a couch carved in 
 the form of a lion, and at the first glance they saw 
 that Thoth had spoken truly and that she was 
 wondrous fan*. The fragrance they had brought with 
 them from the land of Punt awakened the Queen who 
 gazed wonderingly at her strange visitors, and 
 especially at the magnificent king of the gods, 
 
8 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 Amon-Ra, disguised as the King of Egypt and 
 adorned with brilliant jewels, and his beauty and 
 strength were very great. He gave to the Queen 
 the emblem of life and power and promised her that 
 she should be honored among the gods, and that to 
 her a daughter should be born who would be a great 
 queen over all lands. 
 
 When the gods returned to the land of Punt, 
 Amon-Ra, the Maker of Men, called for Khnum ,who 
 fashioned the bodies of men, and said: 
 
 "Make for me, oh Khnum, the body of a daughter 
 for me and Queen Ahmose: I shall make her a great 
 queen and she shall be honored throughout the 
 lands." 
 
 Then replied Khnum, "Oh mighty Amon-Ra, as 
 thou hast commanded so shall it be done. Thy 
 daughter's beauty shall surpass that of her mother, 
 Queen Ahmose, and of the gods, and it shall be in 
 keeping with her glory and honor." Thereupon 
 Khnum fashioned the body of the maiden out of 
 clay by means of his potter's wheel, and the goddess 
 of birth stood by his side ready to hold out the sign 
 of life to the clay which he was molding so that 
 the child might be filled with the breath of life. 
 Great was the rejoicing when the child was born 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 9 
 
 and hymns were sung in her honor and a long pro- 
 cession proceeded to the temple in thanksgiving. 
 The child was named Hatshepsut, and she grew to 
 be a beautiful woman with "skin like kneaded gold" 
 and a face that "shone like stars in a festal hall": 
 she was beloved by Amon-Ra, the great King, Maker 
 of Men, and she became the great queen he had 
 planned she should be. 
 
 Now the beautiful Princess Hatshepsut was the 
 heiress daughter of King Thothmes I and of Queen 
 Ahmose, with no one but a half-brother, Thothmes 
 III, to claim a share of the crown, and the Princess 
 Hatshepsut became his wife. Splendid were the 
 coronation ceremonies and King Thothmes III and 
 Queen Hatshepsut reigned for thirteen years, most 
 of the ruling being done by the Queen who was of 
 a far stronger character than her co-ruler. It came 
 to pass that Her Majesty was "beautiful to look at 
 above all things, her voice was that of a god, her 
 frame was that of a god, she did everything like 
 a god, and her spirit was like a god." 
 
 In honor of her divine father, Amon, she built, as the 
 old account tells us, a great temple at Deir-el-Bahri, 
 against the rugged Theban cliffs, and overlooking the 
 desert. In a series of three beautiful terraces its white 
 
10 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 colonnades rose from the plain to the yellow cliffs be- 
 yond, and on the ivory-white walls were sculptured 
 pictures of her own life, all filled in with rich yellow 
 color which glowed against the white in warmth and 
 beauty. One day the Queen went up the great avenue 
 bordered with crouching sphinxes leading to the 
 temple entrance, each sphinx's head a portrait of her- 
 self, and she entered the great temple and stood before 
 the shrine of the great god, Amon. Thereupon she 
 heard a command from the throne, the voice of the 
 god himself bidding her lead an expedition to the 
 land of Punt, the original land of the gods. 
 
 "'It is a glorious region of God's Land, it is in- 
 deed my place of delight; I have made it for myself 
 in order to divert my heart. ... It is a secret 
 Land,' ... to which I will lead you by land and 
 by sea 'on mysterious shores which join the harbors 
 of incense, the sacred territory of the divine land." 
 
 "It shall be done according to all that the majesty 
 of the great god has commanded," said the Queen, 
 and at once, in obedience to Amon's request, the 
 Queen fitted out five great galleys and filled them 
 with Egyptian products to be used as barter with 
 the people of Punt. In charge of the great under- 
 taking was the Queen's chief treasurer, Nehsi. Then 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 11 
 
 with propitiatory offerings to the divinities of the 
 air for a fair wind and a safe and successful voyage, 
 the fleet sailed forth down the river Nile and through 
 a canal leading from the Eastern Delta to the Red 
 Sea. With much ceremony and rejoicing they sailed 
 down the great river when its waters were high; and 
 to the people watching on the shore very marvelous 
 indeed were the boats. There was one which had 
 a cabin and an upper deck and two pavilions for 
 officers of high rank, and these pavilions were adorned 
 with royal emblems a lion, a sphinx, and a bull tramp- 
 ling upon the enemies of the king. Two rudders had 
 this boat, though the others had but one, and the 
 prow of the boat was carved in the form of a lotus 
 flower. In the leading boat stood the pilot, sound- 
 ing the water with a pole and issuing commands 
 which were repeated by other pilots along the line 
 until it sounded to the groups on the shore like 
 a series of echoes growing fainter and fainter. In 
 the leading boat which was longer than the others 
 was a military escort; besides the huge sails there 
 were many oarsmen straining at their oars, and as 
 the favorable breezes filled the sails and the oarsmen 
 plied their sturdy oars, gracefully down the river 
 they sailed, while to those on the shore they sang: 
 
12 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 "'Sailing in the sea, beginning the goodly way 
 toward God's Land,' we go, 'journeying in peace to 
 the land of Punt . . . according to the command 
 of the Lord of Gods, Amon, lord of Thebes, presider 
 over Karnak, in order to bring for him the marvels 
 
 AN EGYPTIAN BOAT ON THE WAY 1X3 THE LAND OF PUNT AT THE 
 COMMAND OF QUEEN HATSHEPSUT. OVER THREE THOUSAND 
 YEARS AGO 
 
 From a relief in the Temple of Queen Hatshepsut, at Deir-el-Bahri, a part of 
 Thebes in Egypt. The oarsmen are diligently plying their oars and the favorable 
 breezes fill the sails 
 
 of every country,' because he is so much loved by 
 the ruler of Upper and of Lower Egypt, Hatshepsut, 
 for he is her father, e Amon-Ra, lord of heaven, lord of 
 earth, more than the other kings who have 'been in 
 this land forever." 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 13 
 
 The gods heard the prayers of the Egyptians, and 
 they sailed down the Nile and through the canal into 
 the Red Sea until they arrived safely in Punt, a mar- 
 velous country stretching along the two shores of 
 the Red Sea, the Divine Land, the birthplace of gods 
 and men: a wonderful land, where incense trees grew 
 in abundance, and rich palm and ebony trees, and 
 where were found gold, ivory, spices, and strange 
 animals. 
 
 With their ships at anchor, the Egyptian com- 
 mander pitched his tent on the strange shore, and the 
 royal messenger of Queen Hatshepsut advanced, fol- 
 lowed by his soldiers, their bodies protected by great 
 shields. He held in his hands an offering to the 
 goddess Hathor, and objects for trade with the Punt- 
 ites, necklaces, hatchets, and daggers. In friendli- 
 ness were they received by Perehu, the Puntite chief, 
 though at first he advanced rather distrustfully 
 towards his strange visitors, fearful of the armed men. 
 He wore a necklace, a dagger thrust into his belt; his 
 right leg was covered with rings of gold and he carried 
 a boomerang in his hand. Following him were his 
 wife, very great in size, his two sons, and a daughter 
 in a yellow sleeveless dress reaching halfway between 
 the knee and the ankle. There were also many other 
 
14 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 b 
 
 of the inhabitants of the land of Punt, somewhat re- 
 sembling the Egyptians. Then the people of Punt fell 
 upon their knees, and .their chief, bowing low before 
 the Royal Messenger of the Egyptians, cried, "'Why 
 have ye come hither unto this land which the people 
 of Egypt know not?' And how did ye come? 'Did 
 ye come down upon the ways of heaven, or did 
 ye sail upon the waters, upon the sea of God's 
 Land?' . . . Lo, as for the great Ruler of Egypt, 
 is there no way for us to go to her majesty, 'that 
 we may live by the breath which' she 'gives?'" 
 
 Then did the Egyptians offer to the Puntite chief 
 and his people gifts of bread, beer, wine, meat, and 
 fruit, and they erected a stone statue of Queen Hat- 
 shepsut. Much pleased were the people and they 
 gladly welcomed the strangers to their land. 
 
 Very queer to the eyes of the Egyptians seemed 
 this strange land of Punt. To protect themselves 
 against wild animals, the people built their huts on 
 piles and were forced to climb into them by means of 
 ladders. It was not long before the ships of the Egyp- 
 tians were drawn up on the beach, the gang-planks 
 run out and the vessels laden with marvels from the 
 country of Punt: fragrant woods, myrrh trees, pure 
 ivory and ebony, cinnamon- wood, and incense, bab- 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 15 
 
 oons, monkeys, dogs, skins of the southern panther, 
 and at last some of the people themselves with their 
 children. Long did it take to load the ships and 
 heavy was the work of the men going back and forth 
 along the gang-planks, carrying sacks and trees, and 
 
 
 LOADING EGYPTIAN BOATS IN PUNT 
 
 Relief from the Temple of Queen Hatshepsut, Deir-el-Bahri, Egypt. 15th 
 century B. C. 
 
 Heavy are the burdens which the Egyptians carry on board: myrrh, trees, 
 precious woods and stones, and strange animals which they had never seen before. 
 
 every once in a while an officer would shout, "'Look 
 to your feet, ye people! Behold! the load is very 
 heavy! Prosperity be with us' that we may take the 
 myrrh trees from the Land of Punt to our own 
 country 'for the house of Amon,' and for our Queen, 
 according to her command. Never has the like of 
 
16 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 this been brought before for any ruler of Egypt since 
 the beginning!" 
 
 When all was in readiness, and the vessels were 
 loaded with the wonderful products from the land of 
 Punt, they started homeward. Two years had passed 
 since the sailing of the great expedition, before they 
 reached Thebes in their own land and laid their spoils 
 at the feet of Queen Hatshepsut. Great was the re- 
 joicing and loud the shouts of the Egyptian people 
 as they watched the heavily laden ships slowly take 
 their places at the docks. Never before had they seen 
 such a marvelous sight as the strange Puntite people 
 when they came ashore, and the wonderful products 
 of that far-away country. A long procession passed 
 through the streets to the royal palace, in the great 
 audience hall of which sat the Queen, enthroned, staff 
 in hand, before the sacred image of the great god 
 Amon, and behind the Queen white-robed priests bore 
 the sacred barque of Amon before which Thothmes, 
 co-ruler with Queen Hatshepsut, offered myrrh and 
 incense. Then knelt all before her, four lines of kneel- 
 ing chiefs from the Land of Punt, two rows of men 
 with gifts, and many Egyptians and Puntites with 
 myrrh trees and the other splendid products they had 
 brought, while behind stood the Egyptian soldiers 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 17 
 
 with their shining shields. With low bows the chiefs 
 from Punt bore their tribute to Her Majesty who 
 had "set all the lands beneath her sandals." 
 
 "'Hail to thee,' oh Rulers of Egypt," they cried, 
 "and to thee, oh great Queen 'who shines like the 
 
 $ 
 
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 s3m 
 
 .., .. : : ;.K;J..^. . _ ,v ' , y^ 
 
 CHIEFS OF PUNT ARRIVING BEFORE THE EGYPTIAN RULER 
 
 Relief from the Temple of Queen Hatshepsut, Deir-el-Bahri, Egypt, 15th cen- 
 tury B. C. 
 They are glad to see the great Egyptian ruler whose fame has reached all lands. 
 
 sun! Thy name reaches as far as the circuit of 
 heaven,' thy fame encircles the seas! Gifts have we 
 brought to Amon, the great God, Lord over Thebes 
 and Karnak, and may you have long life, and pros- 
 perity, and health, oh Queen of Upper and Lower 
 Egypt, and may you rule the two lands forever!" 
 
18 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 Then did the Queen inspect the results of her 
 great expedition, and at once offered a large portion 
 of the offerings to Amon. She offered to the god 
 thirty-one living myrrh trees, the like of which had 
 never been seen before, with their roots protected 
 by balls of earth fitted 
 into tubs. There were 
 also ebony, ivory shells, 
 many panther skins, and 
 a giraffe very strange to 
 the people of Thebes. 
 Huge piles of myrrh 
 measured in grain-meas- 
 ures, large rings of gold, 
 silver, lapis lazuli and 
 every splendid and costly 
 stone as well as plants 
 and fruits. The trees HEAD OF AMON, A GREAT EGYP- 
 
 . TIAN GOD. 15th Century B. C. 
 
 were planted in the gar- 
 den of the temple at Thebes where they grew abun- 
 dantly and furnished fresh incense for the service of 
 Amon. 
 
 When all had been divided as the Queen com- 
 manded, and the offerings made to the god Amon, 
 the Queen herself, of wondrous beauty, her face 
 
 Courtesy of the Metropolitan Museum of Art. 
 
A GREAT EGYPTIAN QUEEN, HATSHEPSUT 19 
 
 "shining as do the stars in the midst of the festival 
 hall," ruler of Upper and Lower Egypt, and favorite 
 of the gods, said: 
 
 "It has been done according to all that the maj- 
 esty of the great god, Amon, has commanded; far 
 have we journeyed into the distant land of Punt, 
 and choice ointments and incense have we brought 
 for my father, the divine Amon. Trees have been 
 taken from this Land of Punt, the far-away home of 
 the gods, and have been set up in his temple in 
 Thebes that a Punt might be established in his own 
 house; I have made for him 'a Punt in his own 
 garden, just as he has commanded me,' that he may 
 walk abroad in it and enjoy its fragrance." 
 
 As they listened, they seemed to hear from Amon- 
 Ra, Lord of Thebes, and King of the Gods, these 
 words : 
 
 "'Welcome, my sweet daughter, my favorite, the 
 King of Upper and Lower Egypt, Hatshepsut!' Thy 
 people have I led on land and on sea that they might 
 bring back these marvels from the far-away, glorious 
 land of Punt. Thou satisfiest my heart at all times, 
 thou it is who makest beautiful my monuments, and 
 to thee have I given all health and joy and all lands: 
 I have given to thee Punt with its treasures, the 
 
20 A GREAT EGYPTIAN QUEEN, HATSHEPSUT 
 
 myrrh-terraces which none have trod. Now do I re- 
 joice that these fragrant trees have been caused to 
 grow in the garden of my temple, in order that I may 
 delight my heart among them. 'My name is before 
 the gods, thy name is before all the living, forever." 
 
IN THE LAND OF THE MINOTAUR 1 
 
 At the same time that Queen Hatshepsut was ruling over 
 Egypt and leading her expedition far to the eastward, there 
 were people living on the shores and islands of the Aegean Sea. 
 Again and again was the story told of how Theseus slew the 
 monster called the Minotaur on the island of Crete, and often 
 people would wonder whether King Minos had really lived in 
 his magnificent palace. And then the marvelous happened! 
 In 1895 Sir Arthur Evans of England set men to work on the 
 island and what do you suppose they found as they began to 
 dig? They discovered a great palace of many rooms adorned 
 with bright pictures; stone jars, and benches, and a throne with 
 a high back all covered with beautiful designs. A big wall- 
 painting in brilliant colors of a man fighting a great bull was 
 found and another of a cupbearer. Then people knew that 
 long ago in Crete there was a civilization far advanced, and they 
 began to believe that the story of King Minos and Theseus may 
 have had to do with a real king and a real hero who lived so long 
 ago in Crete. Perhaps Theseus may have looked like the picture 
 of the youth fighting the terrible bull, the story about which was 
 told so many times that it became partly a legend. 
 
 In museums across the water are objects of this very time: 
 and from the copies of them which we have in our museums you 
 will notice the bright colors of the court ladies, dancing girls, 
 cupbearers and bull-fighters, and you will see how freely these 
 figures are drawn. 
 
 1 Based upon Kingsley's " Greek Heroes." 
 21 
 
22 IN THE LAND OF THE MINOTAUR u 
 
 So now I am going to tell you again the story of King Minos, 
 which name may have been given to Cretan kings just as the 
 name of Pharaoh was given to Egyptian kings. It is thought 
 that the Palace which was discovered in Crete may have been 
 connected with the "Labyrinth" of the story, so many long 
 corridors, winding passages and galleries it had. From the 
 painted and sculptured pictures found we know that bull- 
 fighting was really practised in Crete, both by men and by 
 women. Who knows, then, but that these bull-fighters may 
 have been slaves or captives won from different lands? And 
 who knows but that at last there was one, the Theseus of our 
 story, who proved himself a great hero by slaying the Minotaur 
 and freeing his fellow captives? 
 
 IN the fair city of Athens, thousands of years 
 ago, there was great excitement. A festival of 
 thanksgiving was being held on the hill of the 
 Acropolis in a temple dedicated to the goddess of 
 wisdom, Athena. 
 
 "Behold! there cometh this way the hero who has 
 rid our land of its terrible monsters, the pitiless 
 creatures who have brought terror to all our hearts ! 
 Hail to thee, oh hero, let us take thee to our King!" 
 cried the people who had gathered by the roadside. 
 Theseus, the hero, was tall and strong, clad in 
 armor, with a shining sword by his side and golden 
 sandals upon his feet. Thereupon they led him to 
 
IN THE LAND OF THE MINOTAUR 23 
 
 the great palace on the Acropolis and straight into 
 the banquet-hall where King ^Egeus sat among his 
 guests at the splendid feast. A minstrel was there 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 COPY OF A FRESCO OR WALL-PAINTING OF A CAT HUNTING A 
 PHEASANT. Late Minoan, 1600-1500 B. C. 
 
 From Hagia Triada, Crete. Now in the Museum at Candia, Crete. 
 
 There were people living on the shores and islands of the ^Egean Sea almost 
 three thousand years before Christ and they had many great cities. The growth 
 of this JSgean art in Crete is called Minoan art, from the period of Minos, and refers 
 to the art of the people of Crete where JSgean art had its first center, thousands of 
 years ago. There are three periods: early, middle, and late Minoan, dating from 
 2800 B. C. to 1100 B. C. 
 
 playing rich music on his golden harp, while the 
 young men of the court laughed as the wine-cup was 
 passed around: but false was their merriment nor 
 
24 IN THE LAND OF THE MINOTAUR 
 
 i, 
 
 did their words of affection for the old king ring true, 
 for all that they cared about were the riches and the 
 lands which belonged to him and not one of them 
 would have hesitated to do him harm. Among them 
 sat old ^Egeus, the King, white-haired and pale, and 
 when he saw Theseus he asked, "Who art thou, 
 stranger? Shouldst thou have come hither for our 
 hospitality, thou art full welcome, for thou lookest 
 like a bold warrior and a hero." 
 
 "Dost thou not know what this youth has done?" 
 eagerly cried the crowd who had followed Theseus to 
 the palace. "He is the hero who has rid our land of 
 its terrible monsters. He comes from Troezene, an 
 island far-famed for its temple to Poseidon, god of 
 the deep blue sea." 
 
 At the name of the land from which the stranger 
 came, King JSgeus started and trembled, and looked 
 at the youth strangely. 
 
 "Place a seat at the table for our guest," cried 
 the old King, "and set before him the best of the 
 feast, for still am I master of my own hall, though 
 others would take from me my throne." 
 
 When Theseus had finished with his feasting, he 
 rose from his seat and said: 
 
 "Oh King ^Egeus, I would demand audience of 
 
IN THE LAND OF THE MINOTAUR 
 
 thee alone!" At once did the 
 wicked youths seated near the 
 old king murmur among them- 
 selves, fearing lest the stranger 
 should find favor in the king's 
 sight. But King JSgeus rose 
 from his place and left the 
 banquet-hall, bidding his guest 
 follow him. 
 
 "Tell me thy story," he said 
 when they were alone. 
 
 "Not many months ago, just 
 after my nineteenth birthday," 
 "said Theseus slowly, "my mother 
 said to me, 'My son, go thou 
 into the thicket by the sea, and 
 lift the great flat stone at the 
 foot of the plane-tree which thou 
 wilt find, and bring me what lies 
 beneath.' Twice before had I 
 tried to lift that stone but 
 strength was lacking. This time 
 I cried, 'This stone shall be 
 lifted,' and behold, I rolled it 
 over on the ground. Beneath it 
 
 Courtesy of the 
 Metropolitan Museum of Art. 
 
 COPY OF A WALL- 
 PAINTING OF A CUP- 
 BEARER 
 
 Late Minoan, 1500-1350 
 B. C. From the Palace at 
 Knossos, Crete. 
 
26 IN THE LAND OF THE MINOTAUR 
 
 I found a sword of bronze with a golden hilt, and 
 near by a pair of golden sandals. When I took these 
 to my mother, long did she weep, and she led me by 
 the hand down by the sparkling sea. 'My son/ she 
 said, 'in Athens, the home of gods and of men, there 
 dwells a king, ^Egeus; take to him the sword and the 
 sandals, and call to his mind the pledge which he made, 
 for he is thy father.' Then I took the sword and 
 sandals and girded on my armor, and learned the 
 pledge I was to repeat. I journeyed far, leaving my 
 mother weeping, for both husband and son were gone, 
 and I said within my heart, 'I will make my father 
 love and welcome me, for I will show him that I am 
 worthy to be his son.' So on my journey I tried to 
 free thy land from robbers and strange monsters who 
 were bringing terror to thy people: thus did I hope 
 by the just use of my father's sword, to win his 
 love." 
 
 Then Theseus stepped close to the old king and 
 showed him the sword and the sandals and spoke the 
 words his mother had bade him say. 
 
 The eyes of ^Egeus grew dim as he thought of his 
 wife left alone so many years and as he saw his tall 
 son before him, and he said, "My son, thou art 
 a better man than thy father before thee! I will 
 
IN THE LAND OF THE MINOTAUR 27 
 
 keep my pledge of claiming thee as my son when thou 
 wert able to move the stone, and proud I am of 
 thee!" Then they went back to the banquet-hall, 
 the old king leaning upon the shoulder of his son, 
 and he cried to all those assembled there, "Behold 
 my son!" 
 
 Then were the wicked youths who were seeking 
 the land and wealth of King ^Egeus very angry, and 
 they cried, "Who is this pretender who comes from 
 far away?" They sprang for their weapons, but 
 Theseus stood tall and courageous and cried, "Your 
 blood be upon your own heads." But they rushed 
 upon him with their weapons, twenty against one, 
 yet Theseus conquered them all, till he was left 
 alone in the palace with his old father. Great then 
 was the rejoicing throughout the whole city that the 
 king had found his son, and that the wicked had 
 been driven from the land. 
 
 For many months were Theseus and his father 
 happy together and they ruled wisely and well, but 
 when the next spring came, a hush fell over the city 
 as though some great sorrow had overtaken it. 
 Theseus wondered at the great change, though no 
 one told him the reason: but one day at noon a swift 
 messenger came running into the market place and 
 
28 IN THE LAND OF THE MINOTAUR 
 
 cried, "Oh King ^Egeus, ruler over Athens, and all 
 ye people, I am come for thy yearly tribute!" At 
 that a great moaning and sighing was heard through- 
 out the city for all the people knew what their tribute 
 must be. But Theseus cried, "Why dost thou de- 
 mand tribute of these people? Why is this sorrow 
 forced upon them?" 
 
 Thus answered the herald to the angry Theseus, 
 "King Minos, ruler of hundred-citied Crete, has sent 
 me thither for the tribute which King ^Egeus has 
 promised him. The son of King Minos was slain in 
 thy city and King Minos came hither to avenge his 
 death and swore not to depart till a yearly tribute 
 of seven maidens and seven youths was promised 
 him." 
 
 Old King ^Egeus sadly agreed to what the messen- 
 ger had said, adding, "We must endure in silence." 
 
 Thereupon Theseus lifted his brazen sword high in 
 the air, crying, "I myself will go to the island of 
 Crete and save these youths and maidens from the 
 fate to which they are sent." 
 
 "Thou shalt not go, my son!" cried old Mgeus. 
 "Thou art but lately arrived, the joy of my old age, 
 and ruler of this land after I am gone. Thou shalt 
 not go to share the fate of these youths and maidens 
 
IN THE LAND OF THE MINOTAUR 29 
 
 whom King Minos thrusts into a labyrinth from 
 which no mortal can escape: there they are devoured 
 by the terrible monster of that land, the Minotaur 
 whom no mortal man can slay. Thou must not go, 
 my son!" 
 
 Silent then were all the people and they looked at 
 Theseus as he stood there so straight and tall and 
 stern. At last he spoke again: "Yet must I go, my 
 father, to slay this cruel monster. Fear not for me, 
 for have I not freed this land from monsters like to 
 this one? So shall I slay the Minotaur!" 
 
 "Promise me then, oh my son," said King ^Egeus, 
 " that if by some miracle thou shouldst return in peace, 
 thou wilt take down the black sail of the ship and 
 put out a white one. So shall I, who watch for it 
 upon the cliffs, know that thou art safe." 
 
 "Let us now go down to the black-sailed ship," 
 cried Theseus, when he had promised, and with great 
 mourning they went to the shore, seven maidens and 
 seven youths, Theseus one of that number, and all 
 the people followed them in sorrow. 
 
 "Have hope, oh my father and all ye many 
 people!" cried Theseus as the black-sailed vessel 
 slowly put off from the shore, "for this monster is 
 not immortal and he shall be slain!" Then they 
 
30 IN THE LAND OF THE MINOTAUR 
 
 h 
 
 sailed away, leaving old King ^Egeus and all his sub- 
 jects mourning on the shore. 
 
 A favorable breeze bore the dark ship swiftly over 
 the sparkling waves until they came to Crete, an 
 island in the blue waters of the Mediterranean, "in 
 the midst of the Great Green Sea." To the city of 
 Knossos they went, straight up to the palace of Minos 
 the King, ruler over the isles of the seas and favored 
 of the gods. Powerful was he, for he had conquered 
 all the islands in the ^Egean Sea, and many ships had 
 he with big white sails. They found King Minos 
 seated upon his golden throne-chair in the great hall 
 of his vast palace. Bright pictures were there on the 
 walls against which stone benches were placed; and 
 many were the rooms, the corridors and secret pas- 
 sages in the great palace. 
 
 Theseus stood before the Cretan king and cried, 
 "Of my own free will am I come, oh King, to ask 
 a favor of thee. Let me be thrown first to the mon- 
 ster called the Minotaur!" 
 
 "Who art thou?" asked the king, wondering at the 
 courage of the youth who had come. 
 
 "I am Theseus, son of ^Egeus, King of Athens, to 
 whom thou art an enemy, and I am come hither to 
 bring an end to the yearly tribute!" 
 
IN THE LAND OF THE MINOTAUR 31 
 
 Then said King Minos, "Thou art brave, and I am 
 loth to see thee die, but will keep thee in my palace." 
 
 "Thou shalt not keep me from meeting and con- 
 quering this monster!" returned Theseus boldly. 
 
 "Thou shalt not meet him!" commanded King 
 Minos. "Take this rash youth away!" 
 
 Twenty young men sprang forward and led Theseus 
 away with the other youths and maidens and im- 
 prisoned them. 
 
 But one there was who had taken pity on them, 
 Ariadne, daughter of King Minos. "He shall not 
 die!" she said to herself, for she greatly admired the 
 courage and strength of Theseus. So, when the dark- 
 ness fell and even the moon was hidden by passing 
 clouds, she went down to the prison and said softly, 
 "Brave youth, I would help thee and thy comrades, 
 and I bid thee hasten at once to thy ship. Easy it 
 will be for I have bribed the guards before the door. 
 Go back to thine own land of Greece, but take me 
 with thee, for my father would treat me full cruelly, 
 should he find what I have done!" 
 
 "Oh beautiful maiden, thou hast our thanks for 
 thy kindness, and thou shalt go to Athens with us 
 should I win, but I must not depart until I have slain 
 this terrible monster, the Minotaur, and thus avenged 
 
32 IN THE LAND OF THE MINOTAUR 
 
 the deaths of all the youths and maidens who have 
 been sent each year from our city!" 
 
 When Ariadne heard these words she admired 
 Theseus even more than before, and gave him a clue 
 of thread given her by Vulcan and so firm that it 
 would not break, that he might find his way out 
 again. Thereupon Theseus knelt before her and 
 thanked her, and then when the next evening came 
 with its darkness, she led him to the labyrinth with 
 its many windings from which no man had escaped 
 and in the very center of which lived the Minotaur. 
 
 Through winding and circular paths he went, now 
 over rocks, now in caves and now across turbulent 
 streams. To the left, to the right, up and down he 
 hastened until he became bewildered and completely 
 at a loss. But he had not forgotten the thread which 
 the good Ariadne had given him, and when he started 
 out on his wanderings in the labyrinth he fastened 
 one end of it to a rock and let it unravel as he went. 
 On and on he hastened, growing more and more dizzy 
 at his many turnings, until he came to a circular 
 space surrounded by dark and high cliffs, in the very 
 center of which was the Minotaur. Terrible was he 
 and strange, with the body of a man and the head of 
 a bull; the teeth of a lion he had with which to tear 
 
IN THE LAND OF THE MINOTAUR 
 
 33 
 
 his victims. When he saw Theseus he rushed upon 
 him with his head down and with so loud a roar that 
 it resounded among the cliffs. 
 
 Courtesy of the Metropolitan Museum of Art, 
 
 COPY OF A WALL-PAINTING SHOWING A SCENE FROM A MINOAN 
 
 CIRCUS 
 
 Late Minoan, 1500-1350 B. C. From Knossos, Crete, and in the Museum at 
 Candia, Crete. 
 
 Perhaps this really has something to do with the story of Theseus and the terrible 
 bull, the Minotaur! See how fiercely the bull is rushing forward with his head low, 
 while a woman is being carried on the horns she has seized. All the colors are very 
 bright, the costumes of the people and the border being of red, yellow, brown and 
 blue. Another girl is standing behind with outstretched arms while a boy is turning 
 a somersault on the bull's back. 
 
 Quickly then did Theseus step aside and he struck 
 at the Minotaur with his brazen sword again and 
 again as the monster charged upon him, till the 
 Minotaur fled, for never before had anyone wounded 
 
34 IN THE LAND OF THE MINOTAUR 
 
 i. 
 
 him and deprived him of his victim. As swiftly as 
 the wind did Theseus follow him through the caves 
 and over the rocks, while the hills around resounded 
 with the roaring of the monster. Up, up a high cliff 
 they went, in and out among the rocks, until Theseus 
 caught up with him and grasped him by the horns, 
 forcing his head back, back, until he could drive the 
 blade of his wonderful sword through the huge 
 throat. 
 
 Triumphant, then, Theseus started back through 
 the winding paths, finding his way by means of the 
 thread until he came to the entrance of the labyrinth 
 where Ariadne waited for him, calling upon the gods 
 to preserve him. 
 
 "The Minotaur is slain!" he cried to her joy, but 
 she put her finger on her lips for silence and softly 
 led him back to the prison from which she led forth 
 the captive youths and maidens while the guards still 
 slept. Swiftly down to the waiting boat they made 
 their way, and Theseus remembered his promise to 
 Ariadne to take her with him far away from her 
 father's anger. 
 
 So they set sail while the sky was yet dark. Swiftly 
 the favorable breeze bore them on their way, but so 
 excited were they and so eager to get home that 
 
IN THE LAND OF THE MINOTAUR 
 
 35 
 
 Theseus quite forgot to remove the dark sail and 
 hoist the white one as old ^Egeus had requested. 
 
 Day by day had King ^Egeus gone to the highest 
 hill to look far over the tossing waves for the first 
 glimpse of the returning ship. Then one day he saw 
 it just appearing against the horizon, and lo! the sail 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 COPY OF A WALL-PAINTING OF FLYING FISH 
 Late Minoan, 1600-1500 B. C. 
 
 From Melos, and now in the National Museum, Athens. 
 
 The Minoan artists loved to represent animals and birds and fishes full of life 
 and movement; these fishes really seem to fly! 
 
 was black. Great then was the grief of the old King, 
 for he thought that his son was dead, slain by the 
 Minotaur. Over and over again he thought how 
 cruelly he had neglected his wife for so many years, 
 and how through his own injustice the son of King 
 
36 IN THE LAND OF THE MINOTAUR 
 
 Minos had been slain, for which misdeed Theseus had 
 perished. In his grief he fell from the rocks into the 
 sea, the ^Egean Sea named for him, and perished. 
 
 So when Theseus arrived in Athens he found him- 
 self King and as he mourned over his father's death 
 and his own forgetfulness, he vowed to the gods on 
 Mt. Olympus that he would rule the land wisely and 
 well: and so well did he keep his vow that all his 
 people loved and honored him, and gladly obeyed his 
 wise laws, and he brought his mother to the fair city 
 of Athens that he might make up to her the years of 
 sorrow she had known. 
 
A STORY FROM COLORED GLASS, OR, JUS- 
 TINIAN AND THEODORA 
 
 We have heard stories about the wonderful Egyptian temples 
 at Karnak and Thebes, with their lotus flower capitals and 
 their carved wall pictures; of the most famous temple of the 
 Greeks, that great temple, the Parthenon, built on the hill in 
 Athens called the Acropolis; of the triumphal arches, theaters, 
 and temples built by the Roman emperors; of that marvelous 
 French cathedral, Rheims Cathedral where Joan, the French 
 maid, led the Dauphin, Charles VII, to be crowned, and which 
 has now been blackened by the smoke of war and shattered by 
 shells all save the statue of Joan of Arc which still stands to 
 inspire the French people and lead them on to victory; and now 
 we are going to hear a story about a great temple built in Con- 
 stantinople, one of the best preserved of the old churches; first 
 built by the Emperor Constantine, then burned and later re- 
 built by Justinian in the 6th century A. D., all over thirteen 
 hundred years ago. It has been called "A work as they report 
 surpassing every edifice in the world," J and " The fairest 
 church in all the world." 2 About this great emperor, Jus- 
 tinian, who rebuilded it, and his empress and their court were 
 pictures made from closely fitting cubes of glass called mosaics, 
 and we shall see here pictures of some of these. 
 
 1 William cf Malmesbury. 
 Sir John Mandeville. 
 37 
 
38 JUSTINIAN AND THEODORA 
 
 JUSTINIAN the Unjust ! " How the name rankled 
 in the mind and heart of the Emperor Jus- 
 tinian, thin, clean-shaven and plainly dressed, 
 as he sat in his palace in Constantinople in the East 
 over thirteen hundred years ago. That was what 
 the people had cried as they rose in their rebellion 
 against him. "Have I been unjust?" he asked him- 
 self again and again as he sat with bowed head re- 
 gardless of all the splendor about him, and his heart 
 answered that he had been, as he saw again the ter- 
 rible massacre in the Circus, and the fires kindled 
 in the city in which was destroyed that wonderful 
 church founded by Constantine. 
 
 "Despair not, oh Caesar," said the Empress Theo- 
 dora advancing softly before him and laying her hand 
 gently upon his shoulder. Dressed in magnificent 
 robes was she, tall and stately, with a dignity in her 
 bearing that made her the fit companion of an em- 
 peror. "Thou art Emperor still though the fickle 
 people are plotting to put another in thy place. Thou 
 hast been a hard ruler, oh my husband, but it is not 
 too late to please and win thy people even now. Not 
 merely against thee have they taken up arms but 
 against their God, and God has allowed them to do 
 this thing and destroy His church, that the beauty of 
 
JUSTINIAN AND THEODORA ?9 
 
 the restored church might be twofold! Thou art the 
 one, oh Csesar, to thus please thy God and thy 
 people, so throw off thy sorrow and thy remorse and 
 
 THEODORA AND HER ATTENDANTS 
 
 A Byzantine Mosaic, 6th century A. D. Ravenna, Church of San Vitale. 
 Just think of the careful and delicate work in the forming of these pictures from 
 little cubes of glass, all cunningly fitted together. 
 
 think of the wonderful church which thou shalt re- 
 build!" 
 
 Thus did the noble Empress arouse and inspire her 
 husband, the Emperor, and far into the night he 
 
40 . JUSTINIAN AND THEODORA 
 
 i 
 
 thought and planned of the great church which he 
 should erect. The bright light of the moon was 
 shining upon the gardens and the terraces which 
 surrounded the palace, and as the Emperor gazed 
 into the distance, thinking, thinking, of this wonder- 
 ful church which should be built, he heard a clear 
 voice close beside him saying: "I am sent by the 
 Most High God to help thee erect a temple which 
 shall surpass all that have ever been built 'from the 
 time of Adam." 
 
 Then did Justinian raise his eyes and in the great 
 light all around him, far brighter than the moonlight, 
 he seemed to see before him an angel from whose 
 face and wings was coming a strange white light, and 
 the angel in low, clear tones, pictured to him the 
 finished church which he should build. In all its 
 completion he saw it, with its columns, its golden 
 dome, and its marble pavements. 
 
 "In height shall it rise to the heavens," said the 
 angel, "and of marvelous beauty and harmony shall 
 it be, and full of a wonderful light. A great golden 
 dome shall it have which shall appear to rest upon 
 no foundation but to be suspended from heaven by 
 golden chains, and its glory shall reflect upon the 
 marble pavement below. Of great beauty shall be 
 
JUSTINIAN AND THEODORA 41 
 
 the columns with their lace-like capitals, so that one 
 will seem to 'come upon a meadow full of flowers in 
 bloom!' Wonderful shall it be so that each wor- 
 shiper therein shall perceive that not by human skill 
 was it built but by the plan of God, who has chosen 
 it for his dwelling-place! Of little squares of gold 
 shall the vaulting be formed which shall dazzle the 
 eyes of men as the sunlight falls upon it, so that not 
 only without but within may be brightness. Thus 
 shall it be, oh Justinian, and God shall prosper thee 
 in thy great undertaking!" 
 
 Scarcely could the Emperor wait until the morning 
 light appeared so that he might begin his great work. 
 Skilled workmen he collected from every land: An- 
 themius of Lydia, well skilled in the art of building, 
 and Isidorus of Miletus, a man with the ability to 
 carry out the plans of the Emperor. 
 
 "A great and glorious church to the glory of God 
 shalt thou build," cried Justinian, standing erect and 
 strong before them, his eyes filled with the vision of 
 the church which had been revealed to him, while by 
 his side stood the Empress full of joy and ready with 
 words of encouragement. 
 
 As the Emperor talked and the plan of the church 
 unfolded itself, the workmen's eyes began to sparkle 
 
42 JUSTINIAN AND THEODORA 
 
 b 
 
 and they, too, were fired with enthusiasm, and with 
 swift fingers they sketched a plan of the church and 
 were eager to lay the foundations. 
 No time did they lose, and when the site was meas- 
 
 JUSTINIAN AND HIS ATTENDANTS 
 
 A Byzantine Mosaic, 6th century A. D. Ravenna, Church of San Vitale. 
 Here stands the great Emperor Justinian and his court in their long robes. 
 
 ured, the Emperor bade Eutychius, an old and holy 
 man, to offer prayers for its safe building. Then did 
 the Emperor take the first stone and lay it in its 
 place, saying, "Many thanks do I return for the 
 
JUSTINIAN AND THEODORA 43 
 
 angel who appeared to me in a dream disclosing to 
 me the form of the church to be built and may it 
 grow in all its glory and live through the ages to the 
 wonderment of men and the worship of God!" 
 
 "One hundred master workmen, each with a hun- 
 dred men, making ten thousand in all shall there be," 
 decreed the Emperor, "that the work may go quickly, 
 for I long to see the completion of this vision of my 
 dreams!" 
 
 Great then was the excitement, the hurry and the 
 bustle, and the Empress Theodora with her ladies-in- 
 waiting went often through the portico leading from 
 the palace to the site of the great church, to watch 
 it grow into a splendid whole. Thousands of work- 
 men were busy; some digging the foundations, others 
 preparing the lime and forming the bricks to be dried 
 in the sunlight. There were polishers, stonecutters, 
 carpenters and all kinds of laborers, each doing his 
 best with interest and enthusiasm kept alive by 
 the Emperor, who every day inspected the work 
 and the laborers, giving them weekly a higher wage 
 than that of the .week before. Ships laden with 
 marbles and woods arrived daily, and the sound of 
 hammering and pounding never ceased. One day the 
 Emperor came, clad in a long white linen garment, 
 
44 JUSTINIAN AND THEODORA 
 
 i. 
 
 his head covered with a kerchief, and by his side was 
 the Empress, noble and fair, in long white robes with 
 a gleaming necklace around her neck. 
 
 "Behold my ten-thousand workmen, how diligently 
 they work and how eagerly!" cried Justinian as he 
 saw the great piers and columns erected, and the 
 mighty vaults raised. 
 
 "Even so, oh Caesar," answered Theodora with 
 shining eyes, "soon shall those great piers carry the 
 golden dome high into the heavens, and the marbles 
 and the mosaics of colored glass and stones will 
 gleam in the sunlight." 
 
 Many people each day gathered to watch the prog- 
 ress of the work, and they understood the Emperor's 
 desire to please them and worship God, and no 
 longer did they call him the "Unjust," but "Justinian 
 the Upright!" 
 
 One day, at the third hour, when Strategius, 
 guardian of the treasures of the palace and adopted 
 brother of the Emperor, had ordered the men to 
 stop their work and go to their dinners, the little 
 fourteen-year-old son of Ignatius, the first mechanic, 
 was left behind to watch the workmen's tools. Sud- 
 denly there appeared before him a man, tall and 
 stately, and clad in shining robes, who said, "Where- 
 
JUSTINIAN AND THEODORA 45 
 
 fore do the workmen leave the work of God?" The 
 child, thinking the stranger a high officer from the 
 palace, bowed low before him, and said, "They have 
 gone to eat their noonday lunch, oh Master." 
 
 "Go thou and bring the Emperor," said the shining 
 stranger, "and I will stay here on guard until ye 
 return." 
 
 Quickly then ran the lad to find his father who led 
 him before the Emperor as he sat dining. When he 
 had heard the story of the boy he knew that no officer 
 of the palace had appeared before him, but an angel of 
 the Lord, just as one had appeared earlier to him in a 
 dream to inspire him to do his great work. "Behold! 
 God has accepted my temple!" cried the Emperor as he 
 rose hastily from the table. Then he turned to where 
 his Empress, Theodora, was seated, and taking her 
 by the hand, he said, "The temple shall be called 
 Sancta Sophia, the 'Word of God!'" 
 
 Then did the Emperor send the boy away with gifts, 
 but he allowed him not to return to the temple, fear- 
 ing lest the angel who was guarding it should depart. 
 
 "Truly this is a miracle!" cried the Emperor, as 
 he and all his people worshiped God and the great 
 work went swiftly on. Ten and thirty windows were 
 there in the great dome, and crowning it was a golden 
 
46 JUSTINIAN AND THEODORA 
 
 i, 
 
 cross of dazzling brilliancy To Rhodes sent the 
 Emperor for bricks of Rhodian clay made equal in 
 weight and length and on them was engraved, "God 
 is in the midst of her, therefore shall not she be 
 moved; God shall help her, and that right early." 
 With rare marbles were the walls covered, the many- 
 colored marble from the Phrygian range, the color of 
 rose and white; the emerald green from Sparta, and 
 from Lydia bright stone mingled with red. 
 
 On the twenty-fourth of December, Christmas Eve, 
 in 537 A. D., was the great church completed, after 
 nearly six years of work, and on that day was held 
 a splendid celebration. A long procession marched 
 from the palace, the Emperor and the Empress at the 
 head in a great chariot drawn by many horses. Loud 
 was the cheering as they passed, for the people knew 
 that the Emperor was now seeking to help and not to 
 oppress them, and among the poor on that very day 
 had he distributed sheep and fowls, and thirty thou- 
 sand measures of wheat. At the lofty entrance Eu- 
 tychius, the old and white-haired man of the city, re- 
 ceived them, but Justinian walked alone through the 
 doorway, crying, " ' Glory be to God who has thought 
 me worthy to finish this work. Solomon, I have 
 surpassed thee." 
 
JUSTINIAN AND THEODORA 47 
 
 Then the long procession of the court and the 
 church officials entered the church, and wonder filled 
 the hearts of all men, women, and children as they 
 gazed about them. It seemed as if "some midnight 
 
 INTERIOR OF THE CHURCH OF SANCTA SOPHIA, CONSTANTINOPLE 
 
 Just try to imagine how wonderful the church must have been with its gold and 
 jewels and little cubes of glass; and look for the graceful columns and the many 
 windows in the great dome. 
 
 sun illumined the glories of the temple," or as if they 
 were gazing on the stars of the heavens, so bright was 
 it, and its beauty was marvelous to behold, decorated 
 with gold and jewels from dome to pavement. Mo~ 
 
48 JUSTINIAN AND THEODORA 
 
 It 
 
 saics were there on the walls formed of glass and cut 
 into small cubes all gold and silver and bright in 
 colors, and formed into patterns of saints and angels: 
 while on the pavements were mosaics of colored 
 stones. In purple were Justinian and Theodora 
 dressed and on their heads were diadems of gold, and 
 they were led by the old and white-haired Eutychius; 
 they went to their royal seats, followed by the clergy 
 and by the lords and ladies of the court. The sol- 
 diers' armor gleamed, the sound of chanting was 
 heard, and the scent of incense was heavy on the air. 
 Justinian, with the Empress by his side, went forward 
 to the pulpit to which led steps of gold, and when it 
 came the time for prayers the Emperor and Empress 
 removed their crowns and stood with bared heads. 
 
 "By the favor of God has this work been com- 
 pleted!" cried the bishops: "He cannot be far off 
 for he has chosen this as his resting place!" 
 
 There were two among the vast throng whose 
 hearts were filled to overflowing, Anthemius and 
 Isidorus, who had carried out the plans of the won- 
 drous church, and who stood drinking in the singing, 
 the richness of the gold and the mosaics, the spark- 
 ling of the precious stones, and the majesty of the 
 dome and huge arches. 
 
JUSTINIAN AND THEODORA 49 
 
 "Art thou not well pleased, oh Caesar?" asked 
 Theodora softly of her husband, as they listened to 
 the hymns of praise which were being sung. "Not 
 by human strength has this been built, and never 
 before have such wonderful marbles been brought 
 together. The deep purple of some, the burning red 
 of others, the brilliant green and the gleaming white 
 are marvelous to behold, and the gold, the silver, 
 the stones, the gems, are so placed and welded to- 
 gether that they form a perfect whole." 
 
 "Long live the Emperor Justinian!" cried the de- 
 lighted people as they followed the long procession 
 to the palace. "Justinian the Upright!" 
 
 Far into the night the Emperor and his Empress 
 talked of the greatness of the church, the splendor 
 of its design and the marvel of its completion. 
 
 "All men shall admire it and know that I am the 
 Emperor and that I have far surpassed King Solo- 
 mon!" began Justinian boastfully; "who knows but 
 the East may be joined with the West, and I the 
 ruler of them both?" 
 
 "Remember, oh Caesar," said Theodora softly, "that 
 it was not to thy greatness that the church was built 
 but to the glory of God, that He might have a new 
 dwelling place far surpassing the temples built by the 
 
50 
 
 JUSTINIAN AND THEODORA 
 
 worshipers of all lands in olden times. Then did the 
 angel appear to thee in thy dream, oh my husband, 
 and prospered thee in thy great work, and has stood 
 guardian over its greatness. Boast not then that 
 
 CHURCH OF SANCTA SOPHIA, CONSTANTINOPLE 
 
 thou has surpassed Solomon, but rather that thou 
 hast been deemed worthy to build such a work!" 
 
 Then, as they looked out over the city, they 
 thought they heard again the voice of the angel, the 
 guardian of the great church, Sancta Sophia, "Holy 
 Word," and in the shining light which surrounded 
 
JUSTINIAN AND THEODORA 
 
 51 
 
 them, the Emperor saw once again his own vanity, 
 his desire for conquest, for glory, his injustice to the 
 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 IVORY LEAVES OF THE CONSULAR DIPTYCH OF JUSTINIAN, CONSUL 
 
 in 521 A. D. 
 
 A "diptych" means a book of two leaves and it was customary for consuls to 
 present these ivory diptychs upon their election, to the Senate and then- friends. 
 All over the leaves was a thin layer of wax upon which the deeds of the consul was 
 scratched. This diptych belonged to Justinian when he was made consul, the 
 same Justinian who later became Emperor. The one on the right says, ' Gifts of 
 little cost, it's true, but prolific of honors;' that on the left says, 'I the Consul of- 
 fer these to my Fathers,' meaning the Senate. 
 
52 JUSTINIAN AND THEODORA 
 
 i 
 
 people which had caused the great uprising in the 
 Circus where so many lives were lost, and he cried 
 as he stretched out his arms, "I have sinned, and 
 deserved was the name of the 'Unjust,' but this holy 
 church of Sancta Sophia I have built with a humble 
 heart and clean hands, to please my people and to 
 glorify Thee, that it might find favor in Thy sight!" 
 
THE TALE OF A GREAT CRUSADE 
 
 Many were the wars fought between the East and the West 
 aver the Holy City of Jerusalem, until at last a new spirit arose, 
 a spirit of religious devotion, when each knight took an oath to 
 treat all travelers with respect, not to fight for personal revenge, 
 always to defend women in distress, and to keep the three watch- 
 wards, Religion, Honor, and Courtesy. It was the beginning 
 of the spirit of Chivalry which plays such an important part in 
 the stories of the Crusades when pilgrims men, women, and 
 children took the long and hard journey to the Holy Land to 
 visit the places where Christ used to work, and sought to take the 
 Holy City from the Infidels. These pilgrims called themselves 
 " Soldiers of the Cross " and ware upon their breasts or shoulders 
 the sign of the Cross. 
 
 There was the First Crusade which was successful in the 
 taking of the Holy City, but the Second Crusade was a failure; 
 then came the Third Crusade with the adventures of Richard the 
 Lion-Hearted, followed by several other crusades, among them 
 that of the Children. This story is of the Eighth Crusade, that 
 of King Louis IX of France. King Louis was a wise and good 
 ruler and it was said of him that "it was hardly possible for any 
 man to reach greater excellence," and so he won far himself the 
 title of " Saint" Louis. 
 
 This story that I am going to tell you is based upon the writ- 
 ings of a great French noble, Sire de JoinviUe, who went with 
 King Louis on his Crusade, and who dearly loved him. 
 
 53 
 
54 THE TALE OF A GREAT CRUSADE 
 
 ITTLE Prince Louis of France had often heard 
 1 the story of the wonderful saint of Assisi, 
 St. Francis, whom all loved, men, women, 
 children, animals and birds. Best of all he liked 
 to hear the story of St. Francis and the birds 
 which he had heard again and again. His Queen 
 Mother taught him what the good St. Francis said 
 to the birds, and of how, when he walked in the 
 fields and the woods, birds of every kind would fly 
 around him and alight upon his shoulders, his arms 
 and his feet, filling the air with their songs: and the 
 little boy would say to himself, "I will be like the 
 good St. Francis when I grow up!" Then came the 
 time of the Saint's death about the same time that 
 the Prince's father died, in 1226, and little Louis and 
 his Queen Mother, Blanche of Castile, were very sad 
 indeed, for Louis VIII had been a good father, 
 husband and king. 
 
 "My son," said the Queen to her little boy, "thy 
 father died in camp on his way home from subduing 
 his unruly vassals in the south; well did he know, 
 when the fever attacked him, that he could never 
 reach Paris, so he called to his side the bishops and 
 nobles in his following. By thy father's bedside they 
 knelt and under oath promised to be true and loyal 
 
THE TALE OF A GREAT CRUSADE 55 
 
 to thee, his eldest son, and to support me, the Queen, 
 who will guide thee until thou shalt become a man. 
 Now has come the time, my son, for thee to be 
 crowned that all may know that thou hast taken 
 thy father's place and art king, to whom thy nobles 
 and thy people shall give support." 
 
 On the twenty-ninth of November, in 1226, came 
 the summons for the nobles of the land to appear at 
 Rheims, that city to which Joan of Arc, two hundred 
 years later, led her king to be crowned. There in 
 the Cathedral little Louis watched all alone the night 
 of the twenty-eighth of November, even until dawn, 
 before he took the oath of knighthood. His thoughts 
 were filled with dreams of the brave deeds he would 
 do as a knight and a king, when, with his sword held 
 upright, he knelt before the altar upon which his 
 armor was placed. The next day he was crowned 
 Louis IX, King of France, amid the cheers of his 
 people and their promises of loyalty. 
 
 Back then to court went the new little king and 
 every day he was taught by his Queen Mother some- 
 thing about kingship and the needs of his people. 
 He was not the only boy at court for besides his 
 younger brothers there were many pages, the sons of 
 nobles, who were sent there to be taught how to 
 
56 THE TALE OF A GREAT CRUSADE 
 
 serve and how to conduct themselves, and all those 
 accomplishments a knight should know, for one day 
 they, too, hoped to become brave knights. Queen 
 Blanche was not any more lenient with her own son 
 than with the pages intrusted to her care. 
 
 "Thou must not be idle," she would say to them, 
 "but be diligent at thy Latin, for knights and kings, 
 as well as priests, should be able to read the Latin 
 books. Pay attention to thy conduct as well as to 
 thy learning, and give no heed to those who flatter 
 thee to thy face, for remember that behind thy back 
 they may speak thee ill." 
 
 So the days went by and little Louis was brought 
 up to be good and honorable as well as to know 
 how to conduct the affairs of his kingdom. When he 
 was fifteen years old, he was old enough to be mar- 
 ried, so everyone then thought. Who should it be, 
 questioned Queen Blanche to herself, until at last 
 she decided upon Margaret, the eldest daughter of 
 the Count of Provence, a fourteen-year-old girl, of 
 good looks and manners, and, like herself, of Spanish 
 descent. A great feast was held in her honor and 
 she was met by the little king clad in a blue satin 
 tunic, and an ermine-lined mantle. Great was the 
 rejoicing throughout the court and little Margaret 
 
THE TALE OF A GREAT CRUSADE 57 
 
 BLANCHE OF CASTILE PRESIDING OVER THE EDUCATION OF 
 
 ST. LOUIS 
 
 By A. Cabanel. Paris, Pantheon. 
 
 She taught him to rule his people with justice and with kindness; and she taught 
 him to be good like the beloved St. Francis. 
 
58 THE TALE OF A GREAT CRUSADE 
 
 was crowned queen directly a^ter her marriage, and all 
 the people loved and praised their little rulers. Al- 
 though they were ever guided by the Queen Mother, 
 and were very busy with affairs at court and the 
 control of the government, yet they were still a boy 
 and girl in many ways, and sometimes the little king 
 would say, "I would take thee on a hunting party, 
 Margaret, to get away from all these cares and rules," 
 and then the little queen would put on a fine bro- 
 caded dress, and with her pet falcon on her wrist, 
 would join King Louis on horseback, and away they 
 would gallop, with their favorite dogs barking in 
 excitement at their horses' heels. 
 
 Then came the day, when Louis was eighteen years 
 old, that after an expedition against the King of 
 England it so happened that he fell very ill in Paris. 
 
 "My son must not die!" cried his mother, who had 
 been told that little more could be done for him. 
 "If he may only live I promise that he shall journey 
 to save the Holy Sepulchre at Jerusalem!" 
 
 "I, too, promise it, if only my husband shall not 
 die!" sobbed the little Margaret as she fell on her 
 knees by his side. 
 
 "Thy son breathes no longer," said one of the bishops 
 softly as he gently led the mother and wife away. 
 
THE TALE OF A GREAT CRUSADE 59 
 
 Then, according to Louis's faithful friend and 
 chronicler, Sire de Joinville, one of the ladies who 
 remained within the room cried out, "The King 
 breathes and still lives!" Whereupon those watching 
 saw that he did indeed live, and as soon as he could 
 speak he sent for the cross. Quickly did his mother 
 and wife hasten to his bedside, filled with joy that 
 Louis lived, but the Queen Mother grieved at the 
 thought of the vow she had made. 
 
 Just as soon as he was able did King Louis start 
 preparations for the great Crusade. At Christmas 
 time, according to custom, he presented to his cour- 
 tiers beautiful mantles, richly embroidered. In the 
 great hall of the castle the celebration took place. 
 High was the ceiling, and the light came from torches 
 fastened upon the walls, giving out uncertain light 
 though enough for the gold and the silver to be seen. 
 
 "How generous is our King, and how beautiful 
 his gifts!" cried the gay and thoughtless young 
 courtiers, who cared much for splendor but who had 
 not volunteered to go with their King on his Crusade. 
 They proudly drew over their shoulders the glittering 
 robes and watched them shimmer and sparkle in the 
 torch-light. But great was their consternation the 
 next morning when each one found embroidered upon 
 
60 
 
 THE TALE OF A GREAT CRUSADE 
 
 his shoulder a red cross, the sign of the crusader, and 
 they knew that they were thus summoned to ac- 
 company their king! 
 
 After two years all was in readiness : Queen Blanche 
 
 THE CRUSADERS LANDING AT DAMIETTA, EGYPT 
 
 From a 16th century wood-cut. Milan, Ambrosiana Library. 
 See the armor, the banners and the strange ships. 
 
 was once again to take charge of affairs and the King 
 felt sure that all would be well. 
 
 "I, too, shall accompany thee on thy quest," 
 Queen Margaret bravely insisted, so in 1248 the 
 King and Queen with all their following of Crusaders 
 sailed for Cyprus, and from there to Damietta in 
 
THE TALE OF A GREAT CRUSADE 61 
 
 Egypt, which land they hoped to subdue first, since 
 by the orders of the Sultan of Egypt a great multi- 
 tude of Asiatic tribes had besieged Jerusalem. 
 
 "Are you ready?" cried the master mariner, and 
 "Aye, aye, sir!" sang out the seamen's voices: where- 
 upon the master mariner shouted, '"Unfurl the sails, 
 for God's sake!" Then the wind filled out the sails 
 and away the ships sped, far away from the shore, 
 for many days with only sky and sea in view. 
 
 Long is the story told by Sire de Joinville of the 
 expedition; how after one victory in Egypt they were 
 overcome on every hand, and how in addition to all 
 their hardships a plague broke out. As Saint Francis 
 had tended the sick, so then did Saint Louis, until he 
 himself fell ill. Great was the suffering and awful 
 the famine which followed when the Saracens cut off 
 all means of getting supplies, for they lay between 
 the French army and the town of Damietta where 
 were their provisions. 
 
 "Jerusalem shall be yours if you will leave your 
 king with us and give up Damietta!" came the 
 message from the Saracen camp. "That shall never 
 be!" returned the horrified nobles, though there were 
 some in the French army who would have been 
 willing to agree. "Our king shall be sent with the 
 
6 THE TALE OF A GREAT CRUSADE 
 
 rest of the sick down the Nile by boat," said the 
 generals of the army, "for we would rather that the 
 Saracens should take us all, dead or alive, than 'bear 
 the reproach of having left the King in pledge!" 
 
 But King Louis refused to leave his people: "Never 
 will I abandon you," he cried, "never so long as 
 
 MESSENGERS OF THE SULTAN 
 
 From a 13th century miniature. England: formerly in the National Library of 
 Paris. 
 
 I live: it is I who am responsible for the expedition, 
 and for the lives of my soldiers, and we return or 
 die together!" 
 
 So the French army, sick from the plague and weak 
 from want of food, began the retreat, but were over- 
 taken by the Saracens and forced to surrender. 
 
 "Do what thou canst to procure the ransom," 
 sent word the King to his Queen at Damietta, "for 
 all shall be set free, both rich and poor alike!" 
 
THE TALE OF A GREAT CRUSADE 
 
 His brave wife, though filled with dismay at the 
 news of her husband's capture, lost no time in idle 
 mourning, but raised the ransom and added to the 
 force in defense of 
 the city some Pisan 
 and Genoese soldiers. 
 
 "Save us from the 
 Saracens, I pray 
 thee," she begged of 
 the knight who was 
 guarding her, for she 
 feared to fall in their 
 hands. But it so 
 fell that the city of 
 Damietta was not 
 given over to the 
 enemy and the brave 
 Queen was saved 
 
 ST. LOUIS AND HJS TWO BROTHERS 
 MADE PRISONERS BY THE SARACENS 
 
 From a 16th century wood-cut. Milan, Am- 
 brosiana Library. 
 
 with her little new-born son, and they sailed for Acre, 
 for the Crusaders did not go back to France after 
 they were released, but kept on for the Holy Land. 
 '"I will by no means abandon -the Kingdom of Jeru- 
 salem, which I came hither to guard and reconquer,' " 
 vowed the King. 
 
 For four years they stayed in the Holy Land, and 
 
64 THE TALE OF A GREAT CRUSADE 
 
 I.. 
 
 refortified the seaport towns which the Saracens had 
 destroyed. Although the Sultan would allow Louis 
 to visit Jerusalem, the latter refused, giving as his 
 reason that of Richard the Lion-Hearted in the Third 
 Crusade: that if he, "the greatest Christian King, 
 went on pilgrimage without delivering the city from 
 God's enemies, then would all other kings and pil- 
 grims, coming thereafter, rest content with going on 
 pilgrimage after the same manner as the King of 
 France, and give no thought to the deliverance of 
 Jerusalem." 
 
 The news of his mother's death made Louis feel 
 that France needed him, so he started homeward at 
 Easter time, in 1254. No easy journey had they, 
 says Sire de Joinville, for on the Saturday when they 
 came in sight of Cyprus, a great mist spread from 
 the sea to the land, keeping the sailors from knowing 
 the nearness of the shore, so that the ship in which 
 sailed the King and Queen struck a reef of sand and 
 damaged her keel, and a great cry arose of "Alas! we 
 drown!" Though the master mariners implored the 
 King to embark in another ship he once more refused 
 to leave his people. "Neither gold nor silver,'" said 
 they, "'can be set against your person and the per- 
 sons of your wife and children who are here; there- 
 
THE TALE OF A GREAT CRUSADE 65 
 
 fore we advise you not to put yourself or them in 
 danger." Thereupon answered the good King Louis, 
 "'Lords, I have heard your opinion, and that of my 
 people; and now I will tell you mine, which is this: 
 if I leave the ship, there are in her five hundred 
 people and more who will land in this isle of Cy- 
 prus, . . . and these peradventure, will never return 
 to their own land. Therefore I like better to place 
 my own person, and my wife, and my children in 
 God's hands than do this harm to the many people 
 who are here." 
 
 So on they sailed in the damaged ship until they 
 came in sight of an island inhabited by Saracens. 
 "Oh Sire," cried the Queen delightedly, "wonderful 
 fruit trees are growing on this island, and I beg of 
 thee that thou wilt send some of thy servants to 
 procure a portion of fruit for thy children, who have 
 long been wanting some." Thereupon the King con- 
 sented, for he could not bear to disappoint her, and 
 the three galleys which were sent entered a little port 
 on the side. 
 
 "Alas! the Saracens have captured thy servants!" 
 mourned the mariners after they had waited long for 
 them to return; "but we advise thee to sail forward 
 and wait no longer." 
 
66 THE TALE OF A GREAT CRUSADE 
 
 i 
 
 "'I shall not listen to you/" cried the King, "'and 
 leave my people in the hands of the Saracens without 
 at least doing all in my power to deliver them." 
 
 "Alas, oh Sire!" cried Margaret as she stood on 
 the deck and looked off over the water towards the 
 island whither the galleys had been sent at her re- 
 quest. "Mine is the blame and we must not sail 
 away and leave them!" 
 
 Just as they had turned the sails of the ships, the 
 galleys were sighted coming from the island. 
 
 "Why have ye tarried and so kept us waiting in 
 anxiety for your lives?" asked the King sternly when 
 they came alongside. 
 
 "Six of thy servants were determined to remain in 
 the gardens eating fruit," cried the mariners angrily. 
 
 Thereupon the King, indignant at their lack of 
 thought, commanded that those six should be put 
 "astern" in the barge, to their great shame, for there 
 it was that murderers and thieves were placed. 
 
 Yet another adventure befell them before they 
 reached land, more perilous than the others. "I 
 would retire early," said the Queen late one day, 
 worn out by excitement. Accordingly she went to 
 her cabin with one of her maids, who carelessly left 
 the Queen's kerchief which she had worn upon her 
 
THE TALE OF A GREAT CRUSADE 
 
 67 
 
 head, near to a candle which was burning. The 
 kerchief caught fire from the flame of the candle, and 
 from that, the bed. Queen Margaret awakened to 
 see her cabin in flames, but with the same presence 
 
 of mind which had served her K , 
 
 throughout the long voyage, 
 she flung the burning kerchief 
 into the sea and crushed the 
 flame of the sheets in her hands. 
 At length Louis reached 
 France, still filled with longing 
 for the Holy Land but know- 
 ing that he must take up once 
 more the cares of state: yet he 
 was unwilling to live in luxury 
 at the court while the Holy 
 City of Jerusalem still remained 
 in the hands of the Saracens. 
 Therefore, never again did he array himself in 
 the fur of the beaver or gray squirrel, nor in scar- 
 let nor gilded spurs, but dressed very soberly. He 
 ate what was set before him and he always caused 
 food and money to be given to the poor. Law and 
 order he tried to establish throughout his country, 
 and he was a friend to all his people. Often he would 
 
 Courtesy of the 
 Metropolitan Museum of Art. 
 
 IVORY CHESSMAN 
 
 French, 13th century. 
 We will say, for our story, 
 that this is St. Louis. 
 
68 THE TALE OF A GREAT CRUSADE 
 
 t, 
 
 go into a neighboring wood and lean against an oak 
 tree, bidding his people gather about him. "'Is there 
 anyone who has a cause in hand?'" he would ask. 
 Then would he hear each one in turn and he would 
 settle each affair with justice. He was an eager col- 
 lector of books and he welcomed every scholar who 
 came to his court. The great cathedrals were being 
 built throughout France and he watched their growth 
 with interest. Especially fond was he of his children, 
 and he would call to their minds the lives of great 
 and good men, saying, "Of such men as these take 
 example." 
 
 Then came another call from the Holy Land for 
 a Ninth Crusade and Saint Louis, whose heart was 
 already there, responded. All France was sad when 
 their king, his three eldest sons, and a following of 
 nobles, citizens and barons again publicly took the 
 Cross. 
 
 "I shall never see thee again!" cried Queen Mar- 
 garet as he bade her farewell, for she knew how weak 
 and worn he was, and unable to stand more hard- 
 ships. 
 
 Driven by a terrible storm to Sardinia, they turned 
 aside to Tunis, and encamped in the ruins of Carth- 
 age, where once more occurred the terrible misfortune 
 
THE TALE OF A GREAT CRUSADE 69 
 
 which had overtaken them at Damietta. A severe 
 sickness broke out, and the King was stricken. Then 
 King Louis, feeling that he had not long to live, 
 called his eldest son, Philip, to his side, and bade 
 him observe all the teachings he had taught. 
 
 "The first thing I would teach thee is to set thine 
 heart to love God; . . . Keep thyself from doing 
 aught that is displeasing to God, . . . 
 
 "'Let thy heart be tender and full of pity towards 
 those who are poor, miserable and afflicted; and com- 
 fort and help them to the utmost of thy power. 
 Maintain the good customs of thy realm, and abolish 
 the bad. . . . 
 
 "'Beware of undertaking a war against any Chris- 
 tian prince without great deliberation; and if it has 
 to be undertaken, see that thou do no hurt to the 
 Holy Church, and to those who have done thee no 
 injury. If wars and dissensions arise among thy 
 subjects, see that thou appease them as soon as 
 thou art able, . . . '" 
 
 '"A piteous thing, and worthy of tears, is the death 
 of this saintly prince who kept and guarded his realm 
 so holily and loyally/" wrote the Sire de Joinville, 
 "'and like as the scribe who, writing his book, il- 
 luminates it with gold and azure, so did the said king 
 
70 
 
 THE TALE OF A GREAT CRUSADE 
 
 illuminate his realm." With Saint Louis died the 
 religious side of the Crusades. 
 
 Although the Crusades had failed in the freeing of 
 the Holy Land, yet they helped the world's progress, 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 PARCHMENT SHOWING THE CRUSADE OF ST. LOUIS 
 
 French, 16th century. 
 
 You can see the River Nile with its many mouths, the fortifications of Damietta, 
 the tents of the soldiers, and the queer, high ships. 
 
 for the Crusaders brought back from the learned men 
 of the East some of their wonderful knowledge. The 
 Crusades opened up commerce between the East and 
 the West; great writers sprang up to commemorate 
 
THE TALE OF A GREAT CRUSADE 71 
 
 the Holy Wars and the wonderful adventures of the 
 Crusaders; and there were kept alive the high ideals 
 of honor and chivalry and the hope of getting beyond 
 and above personal and selfish ambitions, and men 
 turned their thoughts away from fighting to art and 
 literature, and to new discoveries in learning. 
 
 The quotations are from Sir Frank Marzial's translation of 
 the Memoirs of the Crusades by Villehardouin and De Joinville. 
 
A BUDDHA STORY: OR, THE TALE OF A WON- 
 DERFUL PRINCE 
 
 In India, when a baby is born, everyone is very eager to know 
 whether it is a boy or a girl. If it is a boy all are glad, but if it 
 is a girl, they are sad, for it means to them that the gods are 
 angry, and the father knows that the day she is married he will 
 have to pay a great sum to her husband. The Indian mothers 
 and fathers are never proud of their little daughters as our 
 mothers and fathers are, and the girls are kept in the background, 
 yet they play together while they are growing up, and have many 
 happy times. 
 
 Indian boys love to fly their square kites, blue and green, and 
 often they climb on to the flat roofs of two houses near each 
 other, and high up above the trees soar their kites. Sometimes 
 the children listen while snake charmers play weird music so 
 that the snakes glide to them and are shut up in baskets; and 
 sometimes they watch a sparrow which has been taught to climb 
 upon a string held in the air, and to thread beads on to the string. 
 If a boy lives near a jungle he will see the taming of a herd of 
 elephants, or the netting of tigers. Many of the children now 
 go to schools that are much like our own, but in far-away villages 
 the master still sits on the ground under a big tree, with his 
 scholars around him. They sway back and forth as they sing 
 out their lessons, or bend over the sandy ground to trace the out- 
 lines of the letters as they shout out the names of them. 
 
 Everywhere in the streets of India is a great deal of color. 
 
 72 
 
THE TALE OF A WONDERFUL PRINCE 73 
 
 The people wear robes and turbans of every shade black, white, 
 red, yellow, green, purple and as the crowds hurry to and fro 
 
 ( "S^*^ r- 
 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 FIGHTING ELEPHANTS 
 
 Miniature from an Indian manuscript, 17th century. 
 
 These elephants are being watched by the great Emperor, Shah Akbar, and the 
 artist who made the picture knew how to make them look real. Notice the beautiful 
 border all done by hand with great care and skill. When you see the picture itself 
 you will see gold lines in the border. 
 
 and the colors mingle, they give almost the effect of an endless 
 rainbow. The bazaars add to this wonderful coloring: a bazaar 
 
74 THE TALE OF A WONDERFUL PRINCE 
 
 u 
 
 is where the tiny, open shops are, and all day long people visit 
 them to buy and sell. People of every color white, brown, 
 black, yellow jostle one another in the crowded, narrow streets. 
 Let us suppose that we have been busy all day seeing these 
 wonderful sights of the cities in India, and towards night have 
 been carried by our elephants through the gay streets, between 
 the rows of shops and balconied houses, out into an Indian 
 village, with its small huts of mud walls and thatched roofs. 
 The women of the village are returning from the well, and the 
 men from the grain fields. We have stopped before one of the 
 larger houses, and soon take our rugs and blankets up on the 
 flat roof where we can see the stars which seem so close to us, 
 and as we lie there gazing up into that soft and bright Indian 
 evening sky, we will listen to the story of the village storyteller. 
 
 IN the north of India near the lofty Himalayas 
 with their snowy peaks, there once lived, over 
 twenty-four hundred years ago, a just and kind 
 king called Suddhodana and his noble queen named 
 Maya. They had a little son called Siddartha, and 
 great was the rejoicing in the palace, for the wise 
 men had foretold that the little new prince should 
 have all the gifts of perfect kingship. A great festival 
 was held in the royal city in honor of the birth of 
 the prince, and many guests came with rich gifts on 
 trays of gold and of silver. Among them was a white- 
 haired holy man, very wise and very good. When he 
 
THE TALE OF A WONDERFUL PRINCE 75 
 
 saw the little boy he said slowly, " 'Thou shalt preach 
 the Law and save all men who learn the Law." 
 
 Every tenderness was shown the little boy and 
 when he grew old enough, the king called a council 
 of his wisest men to decide who should have charge 
 of his son's education. An exceedingly wise man, 
 who was well acquainted with learning and all the 
 wise books, was selected, and he came to the palace 
 to live: but what was his astonishment to find that 
 his little pupil was beyond any instruction he might 
 give him. "I can count the grains in the finest dust, 
 I can number the stars which shine in the sky at 
 night, and count the drops of rain that fall!" said 
 little Siddartha, softly. 
 
 "Thou art the teacher of thy teachers, oh wonder- 
 ful Prince!" said the wise man and went his way. 
 Then was Prince Siddartha given into the charge of 
 men skilled in the chase and in chariot-racing. He, 
 too, became very skillful, though in the hunt be 
 would often stop when the chase was hottest to let 
 the deer go free. As he grew older, he watched the 
 country folk at their work and play, the birds and 
 animals in the woods, and all seemed bright and 
 happy. But the boy Siddartha saw more deeply 
 into the heart of things than even his wise and good 
 
76 THE TALE OF A WONDERFUL PRINCE 
 
 father. He saw that the laborers had to work far 
 beyond their strength to make a living, and these 
 things filled his heart with pity and with sorrow. 
 
 He thought and thought 
 about them until the 
 King, noticing his sad- 
 ness, called together his 
 wise men to ask their 
 advice. 
 
 "Seek a wife for him," 
 said one of them. "He 
 will forget his sorrow in 
 her grace and beauty. 
 Prepare a festival and 
 summon to it the fair- 
 est maidens in northern 
 India, and see if one 
 of them does not please 
 him." 
 
 Accordingly a great 
 festival was proclaimed, 
 and there came beautiful 
 maidens with their dark hair braided, and they were 
 dressed in brilliant robes, with their toes and finger-tips 
 stained with crimson dye. To the great despair of the 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 HEAD OF BUDDHA 
 
 Made by an Indian sculptor, in the 9th 
 century A. D. 
 
 This is the Prince Siddartha, the great 
 teacher. 
 
THE TALE OF A WONDERFUL PRINCE 77 
 
 King and all the wise men, however, the Prince showed 
 little interest in the maidens, and they were about to 
 give up their plan, when the last of those invited drew 
 near. Her name was Yas6dhara, and the Prince started 
 with surprise when he saw her. She was dressed in cool 
 green robes of the softest silk, and she gleamed with 
 jewels and gold ornaments: a girdle of rose with silken 
 tassles encircled her waist and fell to her feet in front. 
 Her long black hair was crowned with bands of jewels, 
 red and green, and her arms shone with bracelets of 
 gold inlaid with precious stones. But most beautiful 
 of all was her face, and she threw back her shimmer- 
 ing veil, smiled upon the Prince and asked, "Is there 
 a gift for me?" Now all the gifts which had been 
 prepared were already bestowed upon the other 
 maidens, but the Prince unfastened an emerald neck- 
 lace which he wore about his throat and clasped it 
 around her waist, and he rejoiced that he had found 
 a maiden who would be with him in his work and his 
 play. 
 
 The King was much delighted at the success of his 
 plan and sent messengers to the father of Yasodhara 
 to ask the hand of his daughter in marriage to his 
 son. "It is customary," answered the father of the 
 maiden, "that the suitor shall first prove his skill in 
 
78 THE TALE OF A WONDERFUL PRINCE 
 
 u 
 
 the arts of war. Let thy son show his strength in 
 the bending of the bow; let him wield the sword and 
 ride a horse better than the other suitors who have 
 already sought my child in marriage. He must prove 
 himself the most worthy of all!" 
 
 It was thereupon announced that seven days later 
 the Prince Siddartha would meet all those who wished 
 to match their skill against his, in order to win the 
 beautiful Yasodhara. On the appointed day the 
 suitors gathered, and among them was the Prince 
 upon his great white horse, and as he rode along his 
 eyes fell upon the crowds of common folk who had 
 gathered to see the contest, and he thought, "If all 
 these people, like kings and nobles, have their joys 
 and their ambitions, they are little thought of or 
 helped by the rest of us." Then he saw Yasodhara, 
 and he leapt to the ground and cried: 
 
 "He is not worthy of this great prize who is not 
 the worthiest; let my rivals prove whether I have 
 dared too much in seeking her!" 
 
 Then three of the suitors shot with their arrows 
 so far and so true that the Princess lowered her 
 golden veil so that she might not see if the Prince 
 should fail. But Prince Siddartha ordered his target 
 to be set at such a distance that it could scarcely be 
 
THE TALE OF A WONDERFUL PRINCE 79 
 
 seen, and he took up his strong bow as black as 
 ebony, which he had brought from the temple and 
 no one had been able to bend. Fitting an arrow, 
 he sent it through the air as swift as thought itself. 
 And behold! it reached the distant target, pierced it 
 through, and flew along the plain for a great distance 
 before it came to rest. 
 
 Then came the contest with the swords, and the 
 suitors, undaunted, showed wonderful skill, but Prince 
 Sidd&rtha surpassed them all. Finally, all was in 
 readiness for the race, when one of the suitors said, 
 "These steeds are tame! Bring forward an untamed 
 horse, one fit for the test!" So they brought forward 
 a fierce-eyed horse which had never been ridden, and 
 which was guarded by three strong chains. One by 
 one the rivals of Siddartha tried to ride the impatient 
 horse, but each one was thrown and scarcely escaped 
 alive. Then the Prince stepped forward, and taking 
 the horse by the forelock, spoke a gentle word into 
 its quivering ear, and stroked its neck and sides; and 
 so great a love and understanding did he have for the 
 horse, that the horse responded and soon stood quite 
 calm and subdued and allowed the Prince to mount 
 him and ride quietly away. Then all the people cried, 
 "'Strive no more, for Siddartha is the best.'" 
 
Courtesy of the Metropolitan Museum of Art. 
 
 i 
 
 HUNTING SCENE 
 
 A miniature from an Indian manuscript, 16th century. 
 
 If you could see this in color you would at once notice the dark foliage of the 
 trees against which the figures stand out. The Indian artists loved to paint hunting 
 scenes with people on horseback, and they made their pictures much more real and 
 natural than the Persian artists did. 
 
THE TALE OF A WONDERFUL PRINCE 81 
 
 A great shout rose from the spectators, and the 
 father of the Princess praised the victor. At his 
 bidding, Yasodhara slowly and gracefully advanced 
 to meet the Prince who stood by the side of the great 
 black horse. She bowed before Prince Siddartha and 
 placed a garland of fragrant flowers around his neck. 
 The Prince, filled with joy, took the maiden by the 
 hand and they passed slowly through the great crowd 
 who rejoiced and sang songs in their honor. 
 
 After the magnificent wedding feast, Prince Sid- 
 dArtha took his bride to a beautiful pavilion which 
 the King had caused to be erected at the foot of the 
 snowy Himalayas. It was set in the midst of a great 
 garden, with wonderful flowers, roses and lemon 
 blossoms sweetening the air, fountains, and walks 
 shaded by trees in which sang many birds. The 
 pavilion itself was of marble, white and shining and 
 beautifully carved, with great domes and stately 
 minarets against the dark blue of the sky. It was 
 ornamented with lustered tiles of marvelous colors, 
 and inlaid \vith designs made of carnelian, jasper, and 
 other precious stones, and tracery work of carved 
 flowers and birds. 
 
 Every effort was made to surround the Prince and 
 Princess with all that was bright and pleasant, and 
 
m THE TALE OF A WONDERFUL PRINCE 
 
 * 
 
 the King gave orders that no mention should be made 
 before them of sorrow or of pain. Each morning the 
 dying roses were plucked from the bushes, and the 
 withered leaves carefully hidden. "Let no sign of 
 sadness nor decay come to the Prince and Princess 
 to give them sorrow!" commanded the King, and he 
 had a great wall built around the pavilion and garden, 
 and a second and a third wall, giving this order to 
 his guards: "Let no man from the outside world pass 
 this triple wall, that the Prince may become the king 
 of kings, and see nothing but what is bright and 
 beautiful!" 
 
 For many days the Prince and Princess were very 
 happy, and undisturbed by the troubles of the out- 
 side world. They spent their days surrounded by 
 joyous people, and fragrant flowers, and listening to 
 the sweet music of the breezes among the trees. 
 Often, however, the young Prince would have a far- 
 away look in his eyes, and one day he gave orders 
 for his chariot to be prepared, that he might go forth 
 and see the world. The King safeguarded his son by 
 having this proclamation read in the streets of the 
 royal city: "Hear, ye citizens! It is the king's com- 
 mand that during this day there shall be seen in the 
 city no unhappiness: no blind, sick, sorrowful nor 
 
THE TALE OF A WONDERFUL PRINCE 83 
 
 Courtesy of the Metropolitan Museum of Art 
 
 ILLUSTRATION OF AN INDO-PERSIAN POEM 
 
 17th century, by a court painter. 
 
 Let us say that it shows the Prince and Princess of our story in the Garden of 
 the Palace of Pleasure. 
 
84 THE TALE OF A WONDERFUL PRINCE 
 
 aged person! Let the streets be perfumed and gay 
 flowers strewn before your houses, and let the trees 
 be decked with flags!" 
 
 The royal commands were at once obeyed, and 
 when the Prince and Princess drove forth in the great 
 gilded chariot drawn by two white oxen, the people 
 welcomed them with shouts of joy, and children threw 
 roses and rich orange-blossoms into the passing 
 chariot. On every side was beauty and brightness, 
 and the Prince cried, "The world outside my palace 
 is beautiful after all, and the people happy!" Hardly 
 had he finished speaking, when an old and ill-clad 
 man crept from a hovel by the roadside, and in pain 
 and suffering made his way towards the chariot of the 
 Prince. In vain the people, remembering the orders 
 of the King, tried to keep him back, but the Prince 
 caught sight of him and asked one of his attendants: 
 
 "Is the world filled with people like this?" "Even 
 so, oh Prince," answered the man sadly. "Shall we 
 who are young and happy come at last to be old and 
 weak?" asked the Prince. "It shall be so indeed," was 
 the reply. "Then drive me home again," said the Prince, 
 and there was a wistful far-away look in his eyes which 
 was reflected in the dark eyes of his beautiful bride. 
 
 In spite of all the efforts of the joyous attendants 
 
THE TALE OF A WONDERFUL PRINCE 85 
 
 in the high-walled Palace of Pleasure, there was no 
 more happiness for the Prince and Princess that day: 
 and a few days later he started out with his bride to 
 see the city as it usually looked. "I wish to know 
 my people in their daily lives and find out how people 
 live who are neither kings nor princes," he said. The 
 old King sadly gave his consent, so on the next day the 
 Prince and Princess in disguise went on foot into the 
 city, and mingled with the crowds in the busy streets. 
 They saw the open shops and the traders sitting 
 cross-legged among their wares, and the buyers driv- 
 ing their bargains. They heard the shouts to clear 
 the narrow streets when some wealthy person rode 
 by on an elephant, or a closed litter was borne quickly 
 past. They saw a mother carrying water from the 
 well, followed by her black-eyed children. There was 
 a weaver of carpets and rugs busy at his loom, 
 a woman grinding corn, a tailor busily plying his 
 needle, a school in which the children were seated 
 round the teacher chanting their lessons. There were 
 maidens carrying great baskets of fruit balanced on 
 their heads and travelers from far-off lands. Then 
 as they passed, they heard a mournful voice crying, 
 "Help, masters! lift me to my feet; help!" They 
 looked down and saw a poor man stricken with the 
 
86 THE TALE OF A WONDERFUL PRINCE . 
 
 plague, and the Prince ran forward and tried to help 
 him. His eyes filled with tears as he said to his bride: 
 "At last I understand. We are like all others, sub- 
 ject to sickness and to sorrow, and we, too, must grow 
 old. We must help those less fortunate than we." 
 
 Many were the hours, then, that the Prince and 
 Princess spent in thinking, and at last they decided 
 that they would leave their wonderful palace with 
 its flower-filled gardens, its joyous attendants, and 
 go out into the world and take a part in righting the 
 wrongs of the poorer people and in relieving their 
 burdens. "Help us to help all living creatures!" 
 they cried. So they went forth from the Palace of 
 Pleasure and learned to know their people and the 
 people loved them in return: and Prince Siddartha 
 became a great teacher, Buddha, who taught his 
 people to be happy. Then one day they returned to 
 the palace, wiser and better rulers than they had 
 been, for they had learned that friendliness and love 
 make faithful friends and they did what they could 
 for those in their kingdom, knowing them all, rejoic- 
 ing in their pleasures and softening their sorrows by 
 their sympathy and kindness. 
 
 Adapted from Sir Edwin Arnold's " Light of Asia " and Richard 
 Wilson's " Indian Story Book." 
 
AN EARLY ITALIAN PAINTER: GIOTTO 
 
 Years and years ago, before people knew how to print, the 
 few books which were made were written by hand and it took 
 a very long time to do it; so only a few could have* them. The 
 only way most of the people could read their favorite Bible 
 stories was to read them in color, as they were painted on the 
 walls of the churches by the artists who lived at the time. The 
 men, the women, and the children would often go into the beauti- 
 ful churches to read these pictured stories and to pray before 
 their especial saints. These pictures were not painted in oil or 
 water-color and hung upon the walls, framed, but they were 
 painted on the walls themselves or on wooden panels covered 
 with plaster, and the background was covered with a thin layer 
 of gold leaf. The sky was not blue as we see it, but gold, and 
 everything was stiff and unreal. But a man who was born in 
 1182, seven hundred and thirty-six years ago, changed not only 
 the lives of the people but the subjects of the painted pictures, 
 making them become more human and real, and not done so 
 much by rule and according to a set pattern. 
 
 We all know about St. Francis who was born in Assisi and 
 who went about preaching charity to one's neighbors, obedience, 
 and the sharing of one's goods with the poor. He loved everyone, 
 all men from the king to the poorest person in the kingdom. 
 He loved animals and birds, too, and they loved him. 
 
 " When St. Francis spake words to them, the birds began all 
 of them to open their beaks and spread their wings and reverently 
 bend their heads down to the ground, and by their acts and by 
 
 87 
 
88 AN EARLY ITALIAN PAINTER: GIOTTO 
 
 u 
 
 their songs did showfliat the holy Father gave them joy exceeding 
 great." 
 
 Then after St. Francis died 9 his followers built churches and 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 ALTARPIECE 
 
 By a Sienese artist of the 15th century. 
 
 The Sienese school of the Italian painters cared a great deal about the telling of 
 the story, about color and decoration, but not about making things look real. 
 They made the sky of gold instead of blue as it really is, and you will see from this 
 picture that the people are not like real people with forms underneath the clothing, 
 but look like figures cut out of paper. The Florentine school of the Italian painters, 
 however, did study the human form itself and made their pictures just as real and 
 natural as they could. 
 
 upon the wet plaster of the walls, artists painted pictures of his 
 life. One of the scenes they loved to picture was that of St. 
 
AN EARLY ITALIAN PAINTER: GIOTTO 89 
 
 Francis with the birds, and to do this, the artists could not fol- 
 low the rules which had been laid down for so many years about 
 the figures in the Holy Pictures, but they had to look at real birds 
 before they painted them. So in this way their pictures began 
 to be much more real and human. I am going to tell you, now, 
 about Giotto, a painter of this time who made very real and vivid 
 pictures of the life of St. Francis on the walls of the church which 
 his followers built in his memory at Assisi. 
 
 THOU art old enough to take my sheep to pas- 
 ture and tend them," one day long ago said 
 a shepherd, Bondone by name, in Vespignano, 
 a little village about fourteen miles from the famous 
 city of Florence in Italy. He was talking to his 
 ten-year-old boy, Giotto, who was lying in the 
 cool, long grass brightened here and there with gay 
 flowers. Straight up at the soft summer sky the boy 
 was gazing and as he watched the delicate, veil-like 
 clouds flying past and listened to the bird music, he 
 dreamed and dreamed all about the big city of Florence 
 of which he had heard but never seen, and about the 
 names of the great men who managed the affairs of the 
 city, and above all of the painters who made beautiful 
 pictures. But his father's voice brought him back 
 from his dreams, and he jumped to his feet at once, 
 answering: 
 
90 AN EARLY ITALIAN PAINTER: GIOTTO 
 
 "I am ten years old, my father, and can well tend 
 thy sheep for thee, and I like to go with them up on 
 the hills all covered with greens and browns and 
 yellows, and I like to lie under the olive-trees and 
 think. Father, dost think that the great Giovanni 
 Cimabue will stay long in Florence?" 
 
 "He comes to paint the Blessed Virgin with the 
 Holy Child in her arms in the abbey of the Santa 
 Trinita, and I doubt that he has the time to stay 
 longer in the city, than to finish the picture, my lad: 
 but why dost thou ask?" 
 
 "Oh my father," cried the boy, his eyes flashing, 
 "if only I, too, could paint pictures for the church! 
 Dost think if I wish for it hard enough, it will come 
 true?" 
 
 "Thy duty now is to care for my sheep, Giotto my 
 son," answered his father, looking at him rather 
 strangely, for the boy had queer notions in his head 
 and was not content to play with the other peasant 
 boys after his work was done but was always found 
 with his piece of sharp stone which served him as 
 a pencil and with which he would draw trees and 
 flowers and sheep on the smooth surface of a rock, 
 or he. would mark pictures on the earth or sand. 
 
 "Yes, father," answered Giotto obediently, giving 
 
AN EARLY ITALIAN PAINTER: GIOTTO 91 
 
 him a bright smile, for he was a sunny lad even if 
 he did have queer notions compared with the other 
 village boys. 
 
 So away he went following his sheep on the hill- 
 sides wherever the grass was good to feed upon. 
 When they had found an especially good place Giotto 
 sat down beneath the silver leaves of a great olive 
 tree and watched the sheep feasting upon the grass. 
 He sat there idly, dreamily, for a few moments, then 
 he jumped to his feet and hurried to a great rock 
 a little distance away, one side of which was smooth. 
 From his pocket he drew out a little sharp stone, 
 his pencil, and looked about him eagerly. "Which 
 shall it be to-day, little piece of stone, a flower, a tree 
 or the clouds in the sky? I know! I have it! I shall 
 draw one of my sheep, that nice fleecy one over there, 
 right in front of me having such a good time munch- 
 ing the grass!" 
 
 With quick, skilful marks with his sharp stone, 
 Giotto drew his favorite sheep on the rock, and so 
 absorbed was he in his work that he did not notice 
 that someone was leaning over him, for the footsteps 
 of the stranger had been muffled in the soft grass. 
 
 "Who art thou, boy, and what art thou doing?" 
 asked a strange voice suddenly, close to Giotto's ear. 
 
92 AN EARLY ITALIAN PAINTER: GIOTTO 
 
 h 
 
 The boy jumped to his feet, the little stone falling 
 from his fingers in his amazement. "I am Giotto," 
 he cried, with flushed cheeks, "Giotto Bondone who 
 lives in that cottage in the little village below the 
 hills, and I am making a picture of one of my father's 
 sheep." 
 
 "So I have seen," answered the tall stranger, 
 smiling. "But who taught thee? What painter is 
 there here on these hillsides to give thee lessons and 
 why dost thou not draw with a pencil on paper?" 
 
 "No one has given me lessons, Sire," answered the 
 boy, embarrassed that a -stranger should see his draw- 
 ings. "While I am here on the hillsides, I just draw 
 what I see about me, sometimes the birds and the 
 flowers and the trees, and sometimes, as to-day, the 
 sheep; and there is no one here in Vespignano to 
 teach me and I have no paper and pencils. Dost 
 thou come from the great city of Florence and hast 
 thou, perchance, seen one of the beautiful pictures 
 painted by the great Master Cimabue?" 
 
 "I have, my lad, for I am Giovanni Cimabue, 
 whom thou art pleased to call 'great.' Turn not 
 away, boy," for Giotto, covered with confusion that 
 the great painter of whom all Florence was talking 
 had seen his rough attempts at drawing, had started 
 
AN EARLY ITALIAN PAINTER: GIOTTO 93 
 
 to run away. 'Thou hast a fine eye and hand and 
 wilt become a painter thyself, with training. Wouldst 
 thou like to go to Florence with me and study how 
 to paint?" 
 
 "With thee, the great Master?" cried Giotto, 
 scarcely able to believe his own ears. "If only I 
 might! But my father is old and needs me and 
 I know not if he will wish me to go." 
 
 "Let us find him and tell him of our plan," said 
 the painter, and down the hillside they went together, 
 following the sheep, until they came to the little 
 cottage. 
 
 "He is a good lad," answered Bondone gravely, 
 "a good lad and a bright one. I should miss his help 
 should he go, but more than that his laughter and his 
 merry ways, but if thou art ready to take him with 
 thee and teach him, I would not stand in his way, for 
 he has ever wished to paint." 
 
 So it was arranged, and one day Giotto started out 
 from the little village in the company of the master. 
 There were other men in attendance on the painter, 
 for he was far-famed and honored. Trumpets sounded 
 as the little procession left the village and all the 
 people gathered to see them go. Giotto himself, the 
 little peasant boy, rode on a beautiful horse, seated 
 
94 AN EARLY ITALIAN PAINTER: GIOTTO t 
 
 on a saddle inlaid with patterns of gold, and all 
 around him fluttered banners and plumes. 
 
 " God keep thee, my son, and teach thee what thou 
 wouldst learn!" cried Giotto's old father, as he waved 
 him farewell. 
 
 To Giotto, the shepherd-boy, Cimabue's workshop 
 was a marvelous place, full of all sorts of surprises. 
 He had to work hard and it was not always and 
 indeed not for a long time at drawing or painting 
 such as he wished to learn, but at all sorts of odd 
 jobs. "There is much hard work and a great amount 
 of patience required before thou canst become 
 a painter," the master would often say to the boys 
 who worked as apprentices in his workshop. "The 
 floors must be swept, colors must be prepared, brushes 
 cleaned, and cartoons pricked, but sometime will 
 come the opportunity to arrange the colors on my 
 palette and copy my drawings," Cimabue would say, 
 and always they could watch and study how the 
 master painted. Then, whoever was found worthy 
 would be given parts of the real painting to do, 
 draperies and portions of backgrounds and at last 
 whole pictures under the master's directions. 
 
 One day Cimabue was suddenly called away from 
 his workshop, leaving on his easel an unfinished figure. 
 
AN EARLY ITALIAN PAINTER: GIOTTO 95 
 
 Giotto was busy on a drawing at which the master 
 had set him, but each time he looked up, the face of 
 the figure on the canvas met his eyes, and the wet 
 paint glistened on the rather prominent nose. Giotto's 
 eyes began to twinkle: "That nose will not let me 
 work in peace until I have put upon it an ornament," 
 he chuckled. Accordingly he took one of the brushes 
 which Cimabue had thrown down as he hurried away, 
 and deftly painted a fly right on the tip of the nose! 
 It was a very life-like fly, so much so that you could 
 almost hear it buzz! When the master returned, he 
 hurriedly took up his brushes, eager to finish his 
 picture. He raised his hand to paint, and then ex- 
 claimed impatiently, "Thou bothersome fly, get thou 
 away from this fresh paint," and he tried to brush it 
 away, believing it was real. 'Thou mischievous 
 boy," he cried when he found out how he had been 
 deceived, "dost thou thus spend thy moments when 
 I am not here to watch thee? But I cannot scold 
 thee, my lad, for it has well shown thy skill in paint- 
 ing. See what thou canst do at painting a picture 
 by thyself." 
 
 Thi^s was just what Giotto had been longing to 
 do and he scarcely breathed until the picture was 
 finished; and behold, instead of the stiff figure of 
 
Courtesy of the Metropolitan Museum of Art. 
 
 THE VISIT OF THE MAGI 
 
 By the School of Giotto. 
 
 In this picture a follower of Giotto, the first of the Florentine painters, is trying 
 to get away from the old stiff rules and make the people and the landscape look 
 natural. The sky is still of gold but he has tried to make a landscape background 
 for his figures although he is not very skilful at it yet, and the high rock doesn't 
 look off in the distance as he meant it to be. But he has made real forms so that 
 they look like real people, and the folds in the draperies hang as they naturally 
 would in big folds following the figure beneath, and not in many meaningless lines 
 such as the Sienese artists made. 
 
AN EARLY ITALIAN PAINTER: GIOTTO 97 
 
 a Madonna and a baby looking like a little old man, 
 such as the people were accustomed to see in their 
 holy pictures, there was a real mother and a real 
 baby! Giotto looked at the mothers and babies he 
 saw in Florence, at the houses and the trees, and he 
 tried to paint from nature just what he saw instead 
 of copying the unreal figures which the artists before 
 him had made according to set rules. 
 
 To us his pictures look very queer, but they were 
 the beginning of all the beautiful, life-like pictures 
 which have come after them. "It is wonderful!" the 
 people of Florence said as they stood spell-bound 
 before his work, and mothers brought their babies to 
 see the pictures. Children peered delightedly into the 
 workshop to see the pictures of real animals which 
 were not like queer little figures cut out of paper with 
 no form at all, as they had been when painted by the 
 artists before him, who never studied real people and 
 animals but had copied the stiff, unreal figures of the 
 artists before them. 
 
 Not only did Giotto decorate the fair city of 
 Florence with wonderfully painted pictures and 
 marble ones for he was a sculptor and architect as 
 well as a painter, and built the beautiful bell-tower 
 reaching far up into the sky and skilfully decorated 
 
Courtesy of the Metropolitan Museum of Art. 
 
 ST. CHRISTOPHER 
 
AN EARLY ITALIAN PAINTER: GIOTTO 99 
 
 but he worked in other cities, Padua, Rome, and 
 Assisi, a city of Umbria. 
 
 "Thou must decorate our church of St. Francis," 
 said Fra Giovanni di Muro who invited him to Assisi; 
 and "Hail to Giotto Bondone, the beloved painter of 
 the Florentines!" cried the people who had gathered 
 to welcome the artist to their city. Now Giotto 
 dearly loved the story of the life of the good St. 
 Francis, and right gladly did he and Cimabue deco- 
 rate the church with many pictures. All about 
 St. Francis he wrote in color so that the people who 
 visited the church could read the story just as easily 
 as from a book, and to them the pictures took the 
 place of printed stories. Giotto was very fond of 
 animals and birds: he remembered his early life upon 
 the hills of Vespignano where he used to sit and 
 watch his father's sheep and the birds flitting across 
 the cloud-swept sky, so he took great delight in 
 painting the picture of "St. Francis Preaching to the 
 Birds." He pictured the Saint as he said to the birds 
 which had gathered around him, * Birds, my brothers, 
 you ought to praise your Creator much, who clothed 
 you in plumes, and gave you feathers for flying, who 
 granted to you the purity of the air, and without 
 anxiety of yours directs you.' Very tenderly did 
 
100 AN EARLY ITALIAN PAINTER: GIOTTO 
 
 Giotto tell this story in colors, and the figure of 
 St. Francis bending over his friends, the birds, is 
 made to show his love and sympathy for them; and 
 
 just as full of tenderness 
 and reality are the pic- 
 tures of the Madonna 
 and Child upon which 
 he worked in the Arena 
 Chapel at Padua: and 
 those of the two chapels 
 in the Franciscan Church 
 of Santa Croce in Flor- 
 ence where once more 
 he told the story of the 
 Saint of Assisi. 
 
 Finally the Pope, hav- 
 ing heard so much about 
 this great painter who 
 had once been a shep- 
 
 ST. FRANCIS PREACHING TO THE 
 BIRDS 
 
 Part of an altarpiece in the Louvre at 
 Paris, and said to have been painted by 
 
 The birds are flying all around St. Fran- herd boy but who had 
 cis and Giotto has made them look like fa^ become Very fa- 
 real birds and has put a real tree in the pic- 
 
 ture and made St. Francis and his com- H1OUS, Sent a messenger 
 panion look like real men. 
 
 ^ Florence ^ find 
 
 what manner of man he might be. "Seek out this 
 Giotto of whom all are talking," instructed the Pope, 
 
AN EARLY ITALIAN, PAINTER: GIOTTO 101 
 
 "and get him to give thee some of his designs that I 
 may compare them with those of other artists and dis- 
 cover for myself in what way he differs from them." 
 Accordingly the messenger, on his way to Florence, 
 visited artists in Siena and obtained designs from 
 them and when he reached Florence he set out in all 
 haste to the workshop of Giotto of whom he had 
 heard so much. 
 
 "My master, His Holiness, desires to have painted 
 the walls of the Church of St. Peter at Rome," an- 
 nounced the messenger, "and he has asked me to take 
 back to him designs from our well-known painters. 
 Wilt thou not give to me one of thy drawings that 
 I may present it to His Holiness?" 
 
 "Right willingly," answered Giotto courteously, 
 though if the messenger had been watching very 
 closely, he might have seen a twinkle in the painter's 
 eyes and noticed that a little smile hovered upon his 
 lips. Giotto at once took a sheet of paper and a pen- 
 cil which he dipped in red color, and then, forming 
 a compass by resting his elbow on his side, he drew 
 a very perfect and complete circle. :< Take this to 
 His Holiness," he said, smiling and holding the paper 
 out to the messenger. "Nothing but this?" the 
 latter questioned, disappointed, for he had expected 
 
102 AN EARLY ITALIAN PAINTER: GIOTTO 
 
 an elaborate drawing from the great Giotto. "That 
 is all," answered Giotto quietly, returning to his 
 work. What was the messenger's amazement when 
 he returned all the designs to the Pope, among them 
 Giotto's circle, telling him how it had been made 
 without the aid of compasses, to hear the Pope and 
 courtiers say, "This Giotto has far surpassed all 
 others!" 
 
 The round "O" of Giotto became a proverb with 
 the people of that time, and when anything was very 
 round indeed they would say, "As round as the O of 
 Giotto," and the Pope invited Giotto to Rome where 
 he was given every honor and where he painted an 
 altarpiece and several other pictures in the Church 
 of St. Peter, to the great delight of all the people. 
 
 So all through his life Giotto made the cities in 
 which he worked more beautiful by his art and made 
 his pictures seem real and human, pleasing the people 
 far better than the stiff and unnatural ones of other 
 painters; and those who came after him kept on try- 
 ing to make their pictures real and vivid, and well- 
 arranged, keeping in mind what the "Father of 
 Italian Painting," Giotto, had taught them. . 
 
A GREAT SCULPTOR: MICHELANGELO 
 
 The wonderful old city of Florence, in Italy, was governed 
 in the Middle Ages, by eight magistrates, called Priori. They 
 held their office for two months at a time, after which others were 
 elected in their places. Each of these magistrates had a trade 
 and belonged to one of the guilds of tradesmen, for Florence al- 
 ways encouraged her people to learn trades as well as the arts. 
 It was natural that some of these merchants should become very 
 rich and powerful, and of course there was jealousy among 
 them, and there were many parties in the city hostile to one 
 another. There was the famous Medici family who were at 
 first bankers but who were later Grand Dukes of Florence, and 
 this great family encouraged the writers and the painters of the 
 time, the architects and the sculptors. 
 
 It was in the 13th century that the dignified men who ruled 
 over Florence suddenly realized that Pisa, Siena, and other 
 neighboring towns were building great churches and cathedrals 
 to beautify their cities, while their own city, though larger, was 
 behind in this. There was always rivalry among them, so the 
 people of Florence lost no time in making their city more splen- 
 did. Great fortress-like palaces, cathedrals and churches were 
 built by skilful workmen, and often the builders were painters 
 and sculptors, besides, so that they could decorate the insides of 
 the buildings, too. 
 
 You have heard a story about the great painter Giotto who 
 made wonderful pictures on the walls of churches which served 
 the common people instead of books, for at that time they could 
 
 103 
 
104 A GREAT SCULPTOR: MICHELANGELO , 
 
 not read, but all could understand and enjoy these beautiful 
 sacred stories. I am going to tell you now about another great 
 artist who lived in Florence, later than Giotto, Michelangelo, 
 a wonderful sculptor and painter who rose far above most men 
 and whose works, like organ music, thrill one with their grandeur 
 and power. 
 
 HE shall be named Michelangelo," said Lodo- 
 vico Buonnarroti one Sunday morning four 
 hundred and forty-four years ago, for in the 
 little house among the mountains at Caprese a son 
 had been born the night before and the proud and 
 happy father, Lodovico, was much excited. 
 
 "He will become a great man!" he said to the 
 baby's nineteen-year-old mother. "We shall live to 
 be proud of him, Francesca mia, for late last night 
 the stars in the heavens, Mercury and Venus, were 
 wondrously bright and shining and favorable in their 
 omens. And, Francesca, Ascanio and Torrigiano, our 
 wise men, declare that there is in one born at that 
 time something divine and unusual and that to him 
 will be a great career; so Michelangelo shall be his 
 name, after our great Archangel Michael!" 
 
 "He shall be brought up near the great city of 
 Florence," murmured his mother: for Lodovico's 
 office of mayor came to an end just then and he took 
 
A GREAT SCULFPOR: MICHELANGELO 105 
 
 his little wife and two children to Settignano, a vil- 
 lage about three miles from the great city. There on 
 a farm they lived and the little Michelangelo was 
 
 MICHELANGELO 
 
 From the portrait in the Museum of the Capitol, Rome. 
 
 often cared for by a stone-cutter's wife, for in the 
 village were many stone-cutters and sculptors, so 
 rich was the place in stone quarries. 
 
 What fun it was to watch the chisels and the 
 
106 A GREAT SCULPTOR: MICHELANGELO 
 
 hammers! The little boy used to sit by the hour 
 watching the stone-cutters at their work. "But he 
 must go to school and not waste his time with these 
 people," his anxious mother would say: so one day 
 she took him by the hand and said,' "Come, little 
 son, I must take thee to the place of learning kept 
 by Messer Francesco: he will teach thee to read and 
 to write and to understand Latin." But the days 
 went on and the boy found that he did not care half 
 so much for the lessons that he studied in school as 
 for the leisure moments when he was free to busy 
 himself with pencil and paper. 
 
 "My son will become a dunce!" Lodovico would 
 angrily exclaim. "Behold, he does nothing but make 
 marks upon a paper and but yesterday he drew on 
 the clean walls of my house pictures of strange looking 
 animals and men! I fear me the wise men knew not 
 of what they talked when they said he would bring 
 us fame and honor! Francesca, the boy must be 
 taught!" 
 
 "But mother," Michelangelo would say in reply to 
 her anxious questions, "Francesco Granacci, my 
 friend in school, has already entered the workshop of 
 Domenico Ghirlandajo, a great master in Florence, to 
 study painting. Oh mother, tell father that I, too, 
 
A GREAT SCULPTOR: MICHELANGELO 107 
 
 can draw and learn to paint, and Francesco gives me 
 each day the designs which the master gives him, 
 and I want to enter the studio, too!" 
 
 "Let him go," impatiently agreed Lodovico at last, 
 several years later, finding that he could not keep 
 his son from drawing. So when Michelangelo was 
 fourteen years old his father placed him in Ghir- 
 landajo's studio, hoping that he would get so that 
 he could contribute towards the family expenses, for 
 there were then four children and little money. 
 
 Michelangelo's heart sang as he took his place in 
 the workshop of the master with Francesco and the 
 other boys who were there to help in the grinding and 
 mixing of colors and the cleaning of brushes, and who 
 would thus have the opportunity to watch the painter 
 at his work and learn from him. Many easels were 
 there and canvases and beautiful drawings on huge 
 sheets of paper. How proud he was the first time the 
 master said, "Michelangelo, thou mayst help me 
 transfer this drawing of one of my paintings of the 
 life of the Blessed Virgin, to the wall in the chapel of 
 Santa Maria Novella." There in the chapel the boys 
 helped their master all they could, and one day when 
 Ghirlandajo had gone out, Michelangelo, whose fingers 
 could not long keep from handling paper and pencil, 
 
108 A GREAT SCULPTOR: MICHELANGELO u 
 
 took a sheet of paper and with rapid strokes drew 
 the scaffolding upon which the master sat as he 
 painted his beautiful figures upon the wall, the lad- 
 ders, and the men working there, helping. Absorbed 
 in his work, he did not hear footsteps behind him 
 until he felt a hand laid upon his shoulder and look- 
 ing up, saw Ghirlandajo himself standing behind him. 
 
 "'This one knows more of it than I!'" cried the 
 astonished Ghirlandajo turning to his assistants. "He 
 shall be of great aid to me!" So wonderful was the 
 boy's gift for drawing that sometimes he would 
 better the drawings of figures made even by the 
 master, until Ghirlandajo began to realize that he 
 had a pupil who would soon surpass him. 
 
 In Florence at this time was a member of the 
 famous Medici family, Lorenzo the Magnificent, who 
 helped and encouraged all artists and writers and 
 who was especially fond of all the arts. He kept in 
 the gardens of the Medici at San Marco the sculptor 
 Bertoldo as guardian of the many beautiful statues 
 he had placed there, and he encouraged students to 
 come there where they might have this Bertoldo for 
 a guide, hoping to form a school of painters and 
 sculptors. So one day Lorenzo honored the workshop 
 of Ghirlandajo with a visit and asked him, "What 
 
A GREAT SCULPTOR: MICHELANGELO 109 
 
 pupils hast thou, Domenico, whom thou wouldst 
 select as most worthy to come to my gardens for the 
 sake of study? Those whom thou shalt select will 
 I help and encourage, that Florence may bring up 
 great artists who will do her honor in later years." 
 
 "Michelangelo and Francesco shall go," answered 
 Ghirlandajo, "and watch well the first, son of Lodo- 
 vico of Settignano, for he has many gifts." 
 
 "What fun this will be, Francesco," said the eager- 
 eyed Michelangelo delightedly as they entered the 
 garden the next day. "See, there is a youth copying 
 a relief! I will see what I can do!" Thereupon he 
 set to work to copy it out of terra-cotta, and was 
 busy at it when the great Lorenzo appeared. 
 
 "My boy, thou art skilful, but spend not thy time 
 at this; see what thou canst do in marble at copying 
 this head of an old faun," he said, pointing to a head 
 with a beard and a laughing face although the mouth 
 was so marred by time that it could scarcely be seen. 
 
 Michelangelo set quickly to work and such a mar- 
 velous copy did he make in a few days that Lorenzo 
 was amazed. "Thou hast made a good likeness of 
 the laughing mouth," he said, smiling, "but thy 
 fancy has led thee astray in that thou hast shown 
 the teeth of the old fellow: 'thou shouldst have re- 
 
110 A GREAT SCULPTOR: MICHELANGELO 
 
 membered that old folks never retain all their teeth, 
 but some of them are always wanting!'" 
 
 Michelangelo thought that he was in earnest in 
 
 what he said, and after 
 Lorenzo had turned 
 away, he hastily broke 
 out a tooth. "Bravo, 
 m y boy," cried Lor- 
 enzo, much amused, 
 upon his return, "thou 
 wilt succeed, I know. 
 I shall ask thy father 
 to intrust thee to my 
 care for I will look 
 after thee as my own 
 son." 
 
 Lodovico finally 
 agreed and Michelan- 
 
 , 
 g^lO Was given a TOOm 
 
 m tne pa l ace o f t he 
 
 Medici where he met many people of rank and Lor- 
 enzo's three sons, Piero, Giuliano and Giovanni who 
 afterwards became Pope Leo the Tenth. For several 
 years Michelangelo lived in the Palazzo Medici, where 
 he met the most prominent men of the time and heard 
 
 A COPY OF MICHELANGELO'S MASK 
 OF A LAUGHING FAUN 
 
 Florence, Bargello. 
 
 See where Michelangelo has knocked out 
 some of the teeth! 
 
A GREAT SCULPTOR: MICHELANGELO 111 
 
 them talk about the great preacher of Florence, Sav- 
 onarola, and heard his inspiring sermons at the 
 Duomo. He learned to love the wonderful Florentine 
 poet, Dante, and it was here that he formed his 
 admiration for the Bible which he felt all his life. 
 
 Sometimes he would go with other young artists to 
 the little chapel of the Carmine to study from the 
 great wall paintings by Masaccio, the wonderful 
 painter who knew how to make all his figures seem 
 real and alive. Often he would copy some of them, 
 to the great amazement of his friends. But there was 
 one fellow student, Torrigiano, who was jealous of 
 his success and one day he became angry and cried 
 out, "Thou thinkest that thou art better than the 
 rest of us! Thou boasting fellow, take that!" There- 
 upon he gave him a resounding blow upon the nose 
 with his closed fist, making him have a crooked nose 
 for the rest of his life! 
 
 When Lorenzo the Magnificent died in 1492, 
 Michelangelo was full of sorrow over the death of the 
 great man who had been so true a friend to him. 
 Piero de Medici, Lorenzo's son, was far different from 
 his father and did not love the arts as he had. He 
 thought to rule the affairs of Florence as his father 
 had done, but he was weak where Lorenzo had been 
 
A GREAT SCULPTOR: MICHELANGELO 
 
 b 
 
 strong, and trouble came between him and the 
 Florentine people. But before the storm broke and 
 the Medici were driven from the city, Michelangelo, 
 warned by a dream as he said, left by night only 
 a few weeks before Piero and his brothers fled from 
 the city. With two companions he traveled to 
 Venice, Bologna and Rome, ever studying the works 
 of art which he found in those cities. After a time, 
 however, he said to himself, "Once more I wish to 
 return to my city of Florence where I may see the 
 great Tower of Giotto, the wonderful palaces with 
 their gardens, and the olive and cypress trees on the 
 hills beyond." 
 
 So after his year's wandering he returned to Flor- 
 ence. The Medici were still in exile, though no one 
 treated Michelangelo ill because of his connection 
 with them. "My son, my son," said his old father, 
 receiving him with open arms, "to think that I once 
 opposed thy becoming an artist! Full of pride am 
 I now at the great works that thou hast made and 
 the fame which thou hast won!" 
 
 Then one day, soon after his return, it was sug- 
 gested to him that he try to carve a statue out of 
 a great block of marble which for thirty-five years 
 had remained in the Works of the Cathedral of 
 
A GREAT SCULPTOR: MICHELANGELO 113 
 
 St. Mary of the Flowers. Many artists had tried to 
 make something out of it but had failed. "I shall 
 make a statue of David," Michelangelo said, "for 
 just as David, the Hebrew boy, defended and saved 
 his people, so should the rulers of this city 'defend it 
 with courage and govern it uprightly." Then he 
 made a little wax model of David with a sling in his 
 hand, and finally carved it out of marble and it was 
 set up in the courtyard of the Palazzo Vecchio. 
 When the people of Florence gathered to see it, great 
 was their admiration: white and shining stood the 
 lad in the brilliant sunshine, every muscle firm and 
 strong, and ready to send forth from his sling the 
 stone which would slay the giant. Strength there 
 was in every part, strength of body and of face, and 
 everyone marveled at the work. 
 
 "Greater works even than this shall he do!" the 
 old and wise men of the city cried, "for was he not 
 born under the most favorable of stars?" Greater 
 things he did; he carved holy pictures and statues, 
 prophets, angels, and the Madonna and Child. Then 
 a second time he visited Rome where he accomplished 
 his mightiest works. Julius II was Pope, broad- 
 minded and ambitious and a patron of the arts. Both 
 he and Michelangelo were, impetuous, energetic and 
 
114 A GREAT SCULPTOR: MICHELANGELO 
 
 ambitious, filled with great schemes, and it was this pope 
 who, admiring what he had heard of Michelangelo, 
 
 invited him to Rome. 
 "Thou shalt build a 
 monument to me, a 
 marvelous tomb," the 
 Pope said, "and I will 
 watch thee daily at 
 thy work." Thereupon 
 he had a drawbridge 
 built joining the cor- 
 ridor of the church 
 and the artist's studio 
 in the Castello. With 
 his usual splendid en- 
 ergy Michelangelo set 
 to work planning the 
 great pieces of sculp- 
 ture which were to 
 make famous the life 
 
 STATUE OF DAVID 
 By Michelangelo. 
 
 Florence, Accademia diBelle Arte. Michel- 
 angelo, who belonged to the Florentine School 
 of artists just as Giotto, has studied the hu- 
 
 oi artists just as oiotto, nas siuuieu me iiu- p -r\ TV j."L 
 
 man form very carefully and has put every f Pope JullUS as the 
 
 bone and muscle in place. source of freedom f rom 
 
 darkness of mind and of spirit. A huge statue of 
 Moses, the lawgiver, he made, and the figures of 
 slaves straining and struggling to be free, but the 
 
A GREAT SCULPTOR: MICHELANGELO 115 
 
 tomb was never finished although Michelangelo was 
 trying to complete it for forty years. Pope Julius 
 already had another plan in mind, the painting of the 
 ceiling of the Sistine Chapel in the Vatican, the walls 
 of which had already been decorated by such great 
 Italian painters as Botticelli, Ghirlandajo and Peru- 
 gino, and he bade Michelangelo leave off working on 
 his tomb saying, "It is a bad omen to work on one's 
 tomb during his lifetime for it might be taken as an 
 'invitation to death.' Thou shalt paint the ceiling 
 of my chapel in the Vatican, a work much more 
 glorious for thee and for me." 
 
 "Holy Father," answered Michelangelo, "I am 
 a sculptor and know well how to carve figures out of 
 stone but I know little of the use of colors in painting, 
 except what I learned of mixing colors in the work- 
 shop of Ghirlandajo." 
 
 "I have heard much about thy success in his 
 service and of how thou wert wont to take the paper 
 and pencil thyself and make drawings of thy com- 
 rades as well as correct those made by the master, 
 so I know that thou art well able to do the work, 
 an' thou wilt." 
 
 So Michelangelo made up his mind to do it, and 
 when once he had determined a thing he let nothing 
 
* 
 
 co o 
 
 II 
 
 .5 3 
 
 II 
 II 
 
 CEILING OF THE SISTINE CHAPEL IN THE VATICAN, ROME 
 
 Painted by Michelangelo. 
 
A GREAT SCULPTOR: MICHELANGELO 117 
 
 stand in his way. A high scaffolding he had erected 
 and on it he worked, lying on his back, for he was 
 painting on the ceiling above. "Truly it makes my 
 neck ache and mine eyes," he would say, but still he 
 would keep on with his work, alone and silent. So 
 many days did he paint there with his face turned 
 upwards that he injured his eyes so that for several 
 months he could neither read letters nor look at 
 drawings. Day after day he worked, sleeping and 
 eating little and sometimes working during the night, 
 wearing a little cap of paste-board with a candle 
 placed in the center to give him light and yet keep 
 his hands free. 
 
 "Art thou not almost finished?" Pope Julius would 
 impatiently ask again and again as he watched the 
 figures grow. 
 
 "When I shall have done all that I can to make 
 them perfect," answered Michelangelo firmly. 
 
 'We command that you satisfy our wish to have 
 it done quickly,"' returned the angry Julius, "else 
 thou shalt be thrown headlong from the scaffold!" 
 
 So at last, although the figures were not yet 
 finished, Michelangelo was forced to uncover them, 
 so impatient had the Pope become, and the people 
 of Rome thronged to see the great frescoes. "This 
 
118 A GREAT SCULPTOR: MICHELANGELO -. 
 
 Michelangelo is a marvel, a giant!" they exclaimed. 
 "Such beauty of form and of line and such a feeling 
 of strength have we never seen before!" 
 
 ATHLETIC FIGURE ON THE CEILING OF THE SISTINE CHAPEL IN 
 THE VATICAN AT ROME 
 
 By Michelangelo. 
 
 Here is one of the marvelous human forms which Michelangelo painted looking 
 almost as if it were a modeled figure, and showing the perfection and beauty of the 
 human body. 
 
 Marvelous indeed were the human forms, picturing 
 God the Creator making the world and the first man 
 and woman. There were, too, the mysterious figures 
 
A GREAT SCULPTOR: MICHELANGELO 119 
 
 of the Sibyls who had foretold the coming of one to 
 redeem the pagan world, and of the Prophets who 
 prophesied the coming of a Redeemer to the Jewish 
 people. Glorious figures of athletes he made, each 
 one aglow with physical beauty and the strength and 
 joy of life, and just as skilfully did he understand 
 how to make the forms of children, each one full of 
 the joy and the happiness of child life. 
 
 "It is truly wonderful, this story of the Creation 
 to the time of Noah," pronounced the art lovers, 
 "and thou hast done it in so reverent a manner as to 
 make it all majestic and grand." 
 
 "I have ever been a great admirer of the Bible," 
 replied the artist gravely. 
 
 Besides these marvelous paintings on the ceiling 
 of the Sistine Chapel and the Last Judgment painted 
 upon the end wall, Michelangelo worked on the 
 Tombs of the Medici in the Church of San Lorenzo 
 at Florence, representing all the parts of the Uni- 
 verse, Dawn and Day, Twilight and Night. 
 
 For many years Michelangelo lived, until he be- 
 came an old man. So far above others did he tower 
 in the grandeur of his thoughts and plans, that he 
 had few companions and was much alone. It was in 
 Florence that he had begun his work and there he 
 
120 A GREAT SCULPTOR: MICHELANGELO . 
 
 had the closest ties, so that when he died in Rome, 
 he was taken back to Florence, the city which he 
 loved, and buried in the Church of Santa Croce. 
 But Michelangelo, the great genius, will always live 
 so long as his marvelous and powerful figures shall 
 last. 
 
AT THE COURT OF PHILIP IV OF SPAIN 
 
 Until the seventeenth century the Spanish artists had to make 
 pictures just for the church and they could not make them of 
 the real people they saw around them, but had to make stiff and 
 gloomy pictures of only the subjects which the church wanted, 
 just as the Italian artists had to do at a much earlier time. 
 Then came the seventeenth century when two great artists 
 changed all this, breaking away from the old stiffness. One of 
 these painters was Murillo who liked to paint pictures of re- 
 ligious subjects in quite a new way, not at all stiff and formal 
 as they had been before, but human and beautiful, and who 
 painted many pictures also of the everyday life of the poor 
 people. The other great artist was Velasquez who made very 
 truthful and charming pictures of the royal family in Spain and 
 became court painter to Philip IV of Spain, just as Anthony 
 Van Dyck became court painter to Charles I of England. Both 
 liked to put on canvas the children of their kings, and they made 
 them look very real indeed. So now we are going to pretend 
 that we are living about three hundred years ago in Spain, in 
 the royal palace, at the time when Velasquez was court painter, 
 and we will get acquainted with the royal children and with them 
 listen to the brave deeds of the Cid, a great hero of Spain about 
 whose life are woven many stories, and just as with all the 
 other great heroes of the Long Ago, so many stories have been 
 told about them for so many centuries, that it is hard to say 
 just what is truth and what is fancy, but all is true to the spirit 
 of the times. 
 
 121 
 
m AT THE COURT OF PHILIP IV OF SPAIN 
 
 k 
 
 IT will be so very 
 tedious," sighed 
 the little Infanta 
 Maria Theresa to her 
 brother Don Balthazar 
 Carlos. The royal chil- 
 dren of King Philip the 
 Fourth of Spain in 
 the seventeenth cen- 
 tury, were seated in 
 a big, dreary room in 
 the Alcazar palace at 
 Madrid. There were 
 no great windows, such 
 as we have to let in 
 the light, but it was 
 all very gloomy and 
 cold indeed. On the 
 walls of the great 
 woven 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 PHILIP iv, KING OF SPAIN tures of trees and ani- 
 
 By Velasquez. mals, not bright in 
 
 It is said that this King who presided over i i j i j 
 
 the solemn Spanish court, smiled only three Col r but dark > and 
 
 times in his life! the ceiling was very 
 high, the carved woodwork heavy, and the pavement 
 
AT THE COURT OF PHILIP IV OF SPAIN 
 
 of marble. There was nothing homelike in the 
 great palace room, not even when the tall wax 
 torches and the candles in the huge chandeliers were 
 lighted, making the ceiling seem all the more high, 
 while the drawn curtains of dark green silk em- 
 broidered with gold thread into patterns of scrolls, 
 made the room seem all the more heavy. 
 
 As the little Infanta spoke, she too, looked weary 
 and gloomy, and she was not flitting about playing 
 games as most children of eleven would be doing, but 
 sat very still and straight in a high chair with a tall 
 back and very heavy carving. She did not look like 
 a real little girl, either, because of her clothes, but far 
 more like a little girl pretending at being grown up. 
 She was dressed in a most magnificent gown of rose 
 and silver with a very wide and heavy skirt spread 
 out over a hoop and extending way down to the floor, 
 a tight, uncomfortable looking waist, a beautiful 
 broad lace collar fastened in front with a bright bow, 
 and over all skirt, waist and sleeves much heavy 
 silver braid. But most uncomfortable of all, she wore 
 a wig frizzed in many ringlets. 
 
 At last, from across the big room the figure of 
 a boy emerged from the shadows and he listlessly 
 asked, "What will be tedious, sister?" He was Don 
 
124 AT THE COURT OF PHILIP IV OF SPAIN 
 
 Balthazar Carlos, her brother, heir to the throne of 
 Spain, and several years older than she. He, too, 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 MARIANA OF AUSTRIA 
 
 By the School of Velasquez. 
 
 Do you wonder that this little grown-up girl looks sad when you think of the 
 way she had to dress and behave at the gloomy Spanish court? 
 
 was elaborately dressed in a black velvet suit trimmed 
 with heavy silver braid, and a black velvet cape 
 falling from his shoulders, but he was a real boy for 
 
AT THE COURT OF PHILIP IV OF SPAIN 125 
 
 all that, once he got out with his favorite pony and 
 rode galloping away with his pet dogs following close 
 behind. 
 
 "Once more I must be painted! Should you not 
 think, brother, that Diego Rodriguez de Silva y 
 Velasquez would be tired of being court painter and 
 making our pictures so many times?" asked the 
 Infanta Maria Theresa, languidly putting into a vase 
 some beautiful roses, while with her handkerchief, 
 so big that it resembled a table covering, she flicked 
 away a petal which had caught itself in the heavy 
 silver braid of her gown. 
 
 "But think of the honor conferred upon Velasquez 
 in being permitted to paint so often our father, His 
 Majesty, King of Spain, our late mother, the Queen, 
 and us, their royal children!" Don Balthazar spoke 
 quite formally as became the heir to the throne, for 
 he was a true prince, this little boy who was born to 
 command and rule, yet who died in boyhood. 
 
 'Thy betrothed, Mariana of Austria," said the 
 Infanta very formally, also, although the Princess of 
 Austria was but a child herself, only twelve years of 
 age, "the Princess Mariana likes to be painted! No 
 doubt she desires to send back to her home pictures 
 of herself at the Spanish court during her visit to us." 
 
126 AT THE COURT OF PHILIP IV OF SPAIN 
 
 Courtesy of the Metropolitan Museum of Art. 
 DON BALTHAZAR CARLOS 
 
 By the School of Velasquez. 
 He looks like a real little boy in spite of the elaborate way he is dressed! 
 
 "That is just what I wish to do," said the little 
 Princess in question, entering the great room at that 
 
AT THE COURT OF PHILIP IV OF SPAIN 127 
 
 moment, followed by her ladies-in-waiting and one of 
 the funny little court dwarfs with his big head and 
 small body: for the Spanish court kept many of these 
 queer little people as jesters and toys to keep them 
 from forgetting how to laugh, so gloomy was the 
 Royal Palace. 
 
 "Come, Pachito, give us more of thy pranks! His 
 Majesty tells me it is not comely for me to laugh too 
 heartily at thy tricks, but I tell him that I cannot 
 but do so, so delightfully funny thou art! But stay, 
 Pachito, thou shalt make us smile when our court 
 painter next puts us on canvas! To-morrow is the 
 day for Maria Theresa, but remember to curb thy 
 antics lest we laugh rather than smile sedately!" 
 Mariana, too, wore a very long and wide hoop-skirt 
 with far more elaborate trimming than that of the 
 little Prince and Princess of Spain. Indeed, her heavy 
 skirt was so wide that she looked as broad as she was 
 long! On her fingers and wrists were rings and brace- 
 lets, and her wig was formed of many ringlets with 
 a little red bow tied at the end of each and a long 
 white feather drooping over at the right. She had 
 not been long enough at the Spanish court to have 
 lost all her gayety and to have become wholly 
 grown-up and dignified, and the novelty of it all still 
 
128 AT THE COURT OF PHILIP IV OF SPAIN 
 
 amused her. "At the hour of two, then, to-morrow," 
 she added, sinking slowly down to the floor and 
 rising very slowly as she had been taught, careful in 
 the managing of her hoop-skirt which sometimes 
 played her queer tricks. She had only recently 
 learned to make one of the deep courtesies which 
 were all the fashion at the Spanish court, and she de- 
 lighted in showing her skill. Little did she dream that 
 in two years' time she was to become the fourteen-year- 
 old bride of King Philip, three times as old as she! 
 
 After the little Prince and Princess had courtesied 
 properly in return to their guest, the Princess Mari- 
 ana, they sat themselves down again upon their high 
 and heavily carved chairs. 
 
 "It is so very stupid," sighed the Infanta Maria 
 Theresa again. "Far more would I enjoy riding on 
 my new horse or going to a bull-fight. Shall you 
 ever forget the last one we went to, Don Carlos? 
 How skilful the toreadors were and how fierce the 
 bulls!" Even the thought of the spectacle caused 
 the little girl's eyes to sparkle, for she saw nothing 
 cruel in it but had been brought up to enjoy it as 
 boys and girls to-day enjoy going to the circus. 
 "What are you thinking about, brother? You look 
 as if you had some fine secret plan." 
 
AT THE COURT OF PHILIP IV OF SPAIN 129 
 
 "And so I have," answered Don Carlos, smiling. 
 "The Princess Mariana has given me an idea. We 
 will induce our court painter to let Pachito tell us 
 a story to-morrow when you are having your picture 
 painted, and I shall be there in the background, and 
 perhaps even Princess Mariana if the tale Pachito 
 tells us shall be exciting enough to keep her quiet." 
 
 "How wonderful you are, Don Carlos!" said Maria 
 Theresa admiringly, almost clapping her hands, 
 though that would not have been in keeping with 
 a Spanish princess. "I shall not mind being painted 
 if only I have something to hear and to see, and I can 
 hear with my ears even if I cannot turn my head!" 
 
 So it was decided, and when the next day came, 
 they found the court painter very willing to have 
 a story told by the dwarf Pachito, who was well 
 known to have marvelous tales ready at a moment's 
 notice. "It is well, for I shall have more pleasant 
 expressions on your faces," said the court painter, 
 smiling, and then, as the King entered the room, he 
 bowed low before him. Tall and slender was the 
 great painter and he wore a black cloak and stiff, 
 broad collar, above which rose his head, surrounded 
 by heavy and long black hair. Very bright and 
 searching were his eyes, as if he saw everything at 
 
130 AT THE COURT OF PHILIP IV OF SPAIN 
 
 THE MAIDS OF HONOR 
 By Velasquez. Madrid, Prado. 
 
 This little picture of life in the great palace in Spain, looks very real indeed. 
 It looks like a real room in which are real people. There stands Velasquez at his 
 easel and in the center is the little Spanish Princess who is so tired of having her 
 portrait painted! The queer little dwarfs are there to amuse her. 
 
AT THE COURT OF PHILIP IV OF SPAIN 131 
 
 a glance, and seeing, knew well how to transfer it to 
 his canvas just as it really was, real people in real 
 surroundings of light and depth and atmosphere. 
 
 "We greet thee, Diego Velasquez," said King 
 Philip, his patron and friend, as he stood before him 
 clad in black heavily decorated with silver and gold 
 embroidery; "and we would have thee paint once 
 again our daughter. Pachito, what art thou doing 
 here? None of thy pranks, else thou might do mis- 
 chief to the painting." 
 
 "It is quite in order, Your Majesty," answered 
 Velasquez. "The Prince and Princess have requested 
 Pachito to amuse them with one of his tales while 
 I paint the Princess Maria Theresa, and by keeping 
 her in good humor, he will help me in my work." 
 
 Philip's long sallow face and his pale eyes lighted 
 for a moment with the flicker of a smile. "So be it, 
 then," he replied, "but Pachito! Tell thou a tale 
 which shall not call for amusement but for an ex- 
 pression befitting the countenance of our royal 
 daughter. What hast thou in mind?" 
 
 "The story of our great Spanish hero, the Cid, 
 Your Majesty," answered the dwarf humbly, on his 
 knees before his sovereign. The King graciously 
 nodded his long head in approval, and followed by 
 
132 AT THE COURT OF PHILIP IV OF SPAIN 
 
 his attendants, he slowly walked to the rear of the 
 room. 
 
 "If it please you, Princess, I am ready to begin," 
 said Diego Velasquez, taking his stand before the 
 easel, . and getting ready his paints and brushes. 
 "Stand there, just so, with that flower in your hand. 
 Arrange her skirt and her hair!" he commanded her 
 ladies-in-waiting, and in a moment the little princess 
 was arranged, her exceedingly long and wide skirt in 
 place, her hair in order, and upon her face a look of 
 expectant interest which Velasquez hastened to paint. 
 Don Carlos seated himself comfortably in the ba.ck- 
 ground and at his feet crouched the queer little dwarf, 
 Pachito, while the Princess Mariana sat by his side. 
 "Begin!" commanded the Prince, so Pachito com- 
 menced the story, swaying back and forth as he 
 talked. 
 
 "A great hero have we, my royal master and 
 mistress, as great as Roland the Brave of France, 
 Rodrigo Diaz by name, who was born near Burgos 
 six hundred years ago, and of wondrous fame was he 
 as a knight. No insult would he brook nor treachery 
 from high nor low, and honor he held always before 
 him. The *Cid' or 'Lord' he was called because 
 five Moorish kings in one battle proclaimed him their 
 
AT THE COURT OF PHILIP IV OF SPAIN 133 
 
 lord and victor, and he was 'campeador' or 'cham- 
 pion' of his country against the Moors. He was 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 A RELIEF A PICTURE CARVED AGAINST A BACKGROUND-OF A 
 KNIGHT ON HORSEBACK 
 
 By a Spanish sculptor of the 13th century. 
 
 Let us pretend that this knight in armor, with his shield on his arm, is the Cid 
 of our story, starting out to perform all sorts of wonderful deeds. 
 
 married to the fair Dona Ximena Gomez who be- 
 lieved him greatest of all the Spanish men, and whom 
 
134 AT THE COURT OF PHILIP IV OF SPAIN 
 
 he dearly loved, and splendid were the marriage 
 festivities. 
 
 * From house to house all over, in the way where they must 
 
 march; 
 They have hung it all with lances, and shields, and glittering 
 
 helms, 
 Brought by the Campeador from out the Moorish realms. 
 
 6 They have scattered olive branches and riches on the street, 
 And the ladies fling down garlands at the Campeador } s feet; 
 With tapestry and broidery their balconies between, 
 To do his bridal honor, their walls the burghers screen. 9 
 
 "Soon after his marriage, the brave knight went 
 on a pilgrimage and everywhere he went he was 
 careful to help the poor and the needy. One day he 
 saw a leper lying by the roadside calling, 'Help! 
 Help! or I perish!' None of the knights who trav- 
 eled with the Cid would draw near to the leper, 
 fearing lest they might fall ill of his awful disease, 
 but straight up to him went our knight and raised 
 him up and put him on his far-famed horse, Babieca, 
 and kept him with him during the night. And lo! 
 as the hour of midnight drew near, the Cid felt 
 a cold wind upon him and he sat himself up and put 
 out his hand to touch the leper by his side, but he 
 was no longer there! A man in shining white ap- 
 
AT THE COURT OF PHILIP IV OF SPAIN 135 
 
 peared before him and said, 'I am St. Lazarus, and I 
 was the leper whom thou didst help for the sake of 
 God, and in return He hath granted that whenever thou 
 shalt feel this cold wind blowing upon thee, thou shalt 
 know that thou wilt be successful in thy undertaking 
 whatever it shall be. A great victor shalt thou be, 
 and thy enemies shall fear thee mightily, for God has 
 blessed thee.' 
 
 "Valiant deeds did the Cid perform and whenever 
 he felt the cold blast he knew that victory was his 
 as St. Lazarus had said. Many cities did he conquer 
 and vast multitudes of the enemy Moors, for it was 
 the desire of his King, Fernando, to release Spain 
 from the hands of the Infidels. He served Fernando's 
 sons Sancho and Alfonso as faithfully and valiantly 
 as their father, though through the jealousy of his 
 enemies, he was banished by both the kings and in 
 sorrow he left his 'hall deserted, the household chests 
 unfastened, the doors open, no cloaks hanging up, 
 no seats in the porch, no hawks upon the perches.' 
 But three times came he back from exile by order of 
 the King who missed him in his battles against the 
 Moors. Then, when once again he was banished, the 
 Cid Champion forswore his allegiance to Alfonso and 
 rode away with his brave followers. Many adven- 
 
136 AT THE COURT OF PHILIP IV OF SPAIN 
 
 tures had he on his journeys, among them the cap- 
 ture of the city of Valencia whose ruler he became and 
 where he made his dwelling place of great magnifi- 
 cence. It is true that the Moors encamped round about 
 it, but the Cid cried, * Sound thy drums, oh warriors, 
 for we shall conquer!' Many thousands of the enemy 
 were put to flight and the wonderful sword, Tizona, 
 belonging to the Moorish King Yusef fell into the 
 hands of our Cid, with which he later won count- 
 less victories. Yet merciful was the Champion to 
 the people in the cities he besieged and he spared 
 their lives and protected their wives and their 
 children. 
 
 "But the time came when this wonderful cham- 
 pion of our country fell sorely" ill, and to him while in 
 that state, was brought the word that Bucar, the 
 brother of Yusef, both of whom he had defeated in 
 battle before, was coming again against Valencia with 
 a force three times as strong. That night, as the hour 
 of midnight approached, and the King lay in his 
 weakness ever trying to plan how to save his city, a 
 marvelous brightness enfolded him, and he saw an old 
 man before him with keys in his hand. 
 
 "'I am St. Peter,' the old man said, 'and am come 
 to tell thee that in thirty days thou shalt leave this 
 
AT THE COURT OF PHILIP IV OF SPAIN 137 
 
 world, but even in thy death shalt thou conquer the 
 Moorish King Bucar, and save thy city!' A wonder- 
 ful plan did the Saint unfold, and the Cid assembled 
 his people and bade them bring him rose-water and 
 balsam and myrrh and mix it together for him to 
 drink each day. Day by day he grew fresher and 
 fairer though his strength was ever failing. At last 
 he called his wife, the Bishop, and his three faith- 
 ful friends, and said, 'when I am gone, ye shall not 
 mourn and cry aloud lest the Moors hear of my 
 leaving, but sound the trumpets and the drums! 
 Dress my body as in life and bind me on my good 
 horse Babieca with my sword, Tizona, in my hand, 
 and my banner flying. Then enter into battle with 
 Bucar the Moor, and be assured ye shall win!' 
 
 "Concealing their grief as best they could, his wife 
 and his friends did as he had requested. In full 
 armor was he clad, with his sword, his shield and 
 his banner, and straight through the gates of the 
 city did his army ride against the foe, who, when 
 they saw the Cid coming against them, broke and 
 fled, for they knew well his valor. Victorious were 
 our men and after the battle they took the great 
 Cid, in grief, to Burgos and placed him in the Church 
 of San Pedro, where many people came to look in 
 
138 AT THE COURT OF PHILIP IV OF SPAIN 
 
 u 
 
 awe upon the great Spanish Champion who had 
 done such marvelous deeds at all times." 
 
 As Pachito ceased speaking, Don Balthazar heaved 
 a deep sigh: "Is that all?" he inquired, wishing for 
 more. "If only I could be as brave as our Cid!" 
 
 "I would not mind being painted if I could hear 
 a story each time," said the Infanta Maria Theresa, 
 stretching herself after being still so long, but full of 
 interest in the story. 
 
 "That will be all for to-day, but thou must come 
 each time, Pachito, and amuse us with one of thy 
 tales," said Velasquez, the court painter, smiling, 
 "for never before have I made so charming a pic- 
 ture." 
 
THE PICTURE CHILDREN'S PARTY 
 
 Very often this year we have used that magic gift of ours 
 which we call "Imagination," and it has taken us into all sorts 
 of marvelous adventures and introduced us to many strange and 
 interesting people. "Let's make-believe" or "Let's pretend" 
 is all we have to say, words just as magic as "Open Sesame" 
 was to All Baba of the "Arabian Nights." So to-day, we are 
 going to say those magic words which will enable us to bring to 
 life, for a little while, some of the "Picture Children" in the 
 Metropolitan Museum of New York City and perhaps, if we 
 say the words times enough and earnestly enough, some of the 
 "Picture Children" from other Museums will visit us, too. 
 
 Of course it is only very seldom that we can get them to step 
 out of their frames, so we shall have to be ever so quiet and yet 
 very glad to see them when they do come, else they will all run 
 back into their places and become just pictures once more. 
 
 So now let us wish very hard and long that by means of our 
 wonderful magic gift these little folk will move and talk, just for 
 this once; all ready now we will wish together and see what 
 will come to pass! 
 
 LL the doors of the Metropolitan Museum in 
 New York City had been closed and se- 
 curely locked and bolted to make everything 
 ready for the night. The lights had gone out and 
 the night watchman with his flashlight had made his 
 
 139 
 
140 THE PICTURE CHILDREN'S PARTY 
 
 k 
 
 rounds. Not a sound was there except for the rumble 
 of the traffic outside. 
 
 The hours slipped by, and once more the watchman 
 made his rounds and saw that "all was well." Again 
 there was the deepest of silences until suddenly there 
 came a queer sound of something heavy falling upon 
 the floor with a ringing noise. Had the watchman 
 been going by, he would have been sure that some 
 one was breaking into one of the cases and had 
 dropped his heavy tools. Silence for a moment, and 
 then unmistakably the sound of a little voice: "Oh 
 dear! I just knew that some day I should drop that 
 big sword and now I have! I've wanted to, times 
 enough, but never did before until to-night when I was 
 able to move because real boys and girls were wishing 
 for me to change from a Picture Boy into a Real Boy 
 again. I must say, it's rather quiet and dark here, 
 but how good it is to step out of that frame and 
 move once more. I say! Is any one else alive?" 
 
 "Mother!" called a little voice from across the 
 room, "Mother!" See, I can move and so can sister, 
 and, oh mother, the little French boy on the opposite 
 wall whom I have been looking at for so long is alive 
 too, and outside of his frame, sword and all! I won- 
 der if he knows that we are French!" 
 
Courtesy of the Metropolitan Museum of Art. 
 THE BOY WITH A SWORD 
 
 By Edouard Manet. 
 
 The sword looks almost as big as the boy, and no wonder that, in our story, he 
 got tired of holding it and let it drop on the floor! 
 
142 THE PICTURE CHILDREN'S PARTY 
 
 b 
 
 "The real live children of to-day have done this 
 for us," answered the mother's voice as she, too, rose 
 from the couch where she had been sitting, took by 
 the hand each little girl in her blue-frilled frock, and 
 stepped down upon the floor. 
 
 "Hush! Do not waken your dog," she whispered, 
 "for that would put an end to our adventure! The 
 man who walks by every once in a while with a little 
 light would come back and away we should go within 
 our frames, so let Pierre sleep. Listen, children, do 
 you not hear other voices? Come, Little Boy with the 
 Sword, come with us and we will go to meet the other 
 children. It is only children, and grown-ups who are 
 with them in their pictures, who can speak and move 
 to-night. Step carefully, my little ones." 
 
 "I am here! Let me come, too!" they heard as 
 they crept along through the dark galleries, and "Let 
 me, and me, and me!" It was so dark that they 
 could see very little, but by the voices which they 
 kept hearing they knew that more and more little 
 people had joined them. "Where shall we go and 
 what shall we do?" asked someone. "A party, 
 a party!" cried a girl whose quaint colonial costume 
 could be dimly seen as she came nearer. "A party 
 in the rooms with the old English and American 
 
THE PICTURE CHILDREN'S PARTY 143 
 
 furniture! I know, because some children from the 
 schools talked about them one day when they stood 
 in front of me looking at my fireplace and the rosy 
 light from the fire shining on my apples on the hearth. 
 I am quite sure I can find them and I have heard the 
 children say there are candles which perhaps we could 
 light in some way or other!" 
 
 "A party, a party!" cried all the voices delightedly, 
 and with the 'Colonial Girl in the lead, they stole 
 softly through the shadowy galleries until they came 
 to those in which shapes of chairs, tables, and cabi- 
 nets stood out from the darkness, and where a stray 
 moonbeam lighted up the brass handles and candle- 
 sticks. 
 
 "Here we are," said the Colonial Maid at last, "and 
 there are some tall candles over that mirror in its 
 beautiful mahogany frame if only we could light 
 them!" 
 
 "Allow me to assist you," answered a deep and 
 very courteous voice from among the shadowy group 
 of "Picture People." 
 
 "Who is it? Can it be the night watchman come 
 to spoil our party?" came the whispers from every 
 side. 
 
 "He is no watchman, but my grandfather!" piped 
 
144 THE PICTURE CHILDREN'S PARTY 
 
 Courtesy of the Metropolitan Museum of Art. 
 THE EARL OF ARUNDEL AND HIS GRANDSON 
 By Sir Anthony Van Dyck. 
 
 Here stands the stately Earl in shining armor with his arm around his devoted 
 little grandson. 
 
THE PICTURE CHILDREN'S PARTY 145 
 
 an indignant little voice, which went on to say in 
 a most dignified manner, "Allow me to present my 
 grandfather, the Earl of Arundel! He is in the 
 picture with me and so came to life when I did!" 
 
 'You are very welcome, Sir," answered the Colo- 
 nial Maid, making a deep courtesy before the tall 
 English gentleman, "and we should be greatly in 
 your debt if you would give us some light so that we 
 may see one another and have a grand ball and 
 party." 
 
 At that was heard the clanking of armor, and the 
 Earl of Arundel, in sixteenth century English ar- 
 mor, stepped forward. He took out one of the tall 
 candles from its holder at the side of the mirror, 
 and handed it to his little grandson: "Hold this taper, 
 my boy, and be ready with it the moment you see 
 a spark!" Then came the sound of hard surfaces 
 rubbing together and after a very few moments the 
 little boy held the candle to the spark and lo! it was 
 lighted! Another and another followed, till that 
 room and the one beyond were filled with a mellow 
 candle-light. 
 
 "How fine it is!" cried one and another looking 
 around them at objects in the rooms before they 
 looked at their neighbors. 
 
146 THE PICTURE CHILDREN'S PARTY 
 
 I 
 
 "I have often slept in a bed like that!" cried the 
 little boy who had held the candle, as he stood in 
 front of the high English bed with its silk and em- 
 broidered coverlet and dainty curtains. "And I in 
 a bed like this!" echoed the voice of the Colonial 
 Maid from the next room where she stood in front of 
 the high American bed with its hand-woven spread 
 and its side-curtains. "Oh, and the gilded mirrors 
 and beautiful mahogany tables and chairs and desks, 
 just like those we had in our day!" she added. "We, 
 too, have found our beautiful bright French chairs 
 and tables and mirrors!" cried the children from 
 France who had taken a candle with them and found 
 their way across the corridor into the French galleries. 
 
 "I tell you what let us do," said a very charming 
 American lady with two little girls in white by her 
 side. "We will begin our party by playing a game!" 
 
 "May I inquire what a 'party' may be?" gravely 
 asked a queer little figure in a queerer costume: her 
 skirts were so wide that it was with difficulty she sat 
 or rather balanced herself on the very edge of a ca- 
 pacious chair. "In Spain, we children at the Royal 
 Court had no 'parties'!" 
 
 "Had no parties!" gasped the other children 
 together in one breath. 
 
THE PICTURE CHILDREN'S PARTY 147 
 
 "It is time you had one then," smiled the tall 
 American mother, looking with compassion upon the 
 stiff little Spanish Princess. "But before we begin 
 our party, I am going to ask our good friend, the 
 Earl, if he will kindly walk through this great build- 
 ing and see whether any more of us have come from 
 OUT frames." 
 
 The Earl bowed in a very courtly manner, and 
 started off at once, the candle-light shining upon his 
 armor as he moved. It was not so very long before 
 he was back with nine or ten strange boys and girls 
 delightedly tiptoeing along behind him. 
 
 "A wonderful thing has happened!" cried the little 
 grandson of the Earl who had stolen away and fol- 
 lowed his grandfather. "All the frames were filled 
 and we were just returning when we were sure we 
 heard voices from downstairs: so down we went in the 
 direction of the sounds and as we were going through 
 a long corridor at the left of the grand staircase, we 
 heard the voices quite distinctly, and then we saw 
 all of these boys and girls pressed close to the door of 
 a big room which seemed to be a Library. Grand- 
 father told them just how to turn the handle of the 
 door and out they came, and here they are!" 
 
 "Oh! They, too, felt the children of to-day wishing 
 
148 THE PICTURE CHILDREN'S PARTY 
 
 k 
 
 for them and so came from book-pictures, is that not 
 so?" asked the American lady turning to the new- 
 comers. 
 
 "Yes, yes!" they answered. "We are really in 
 pictures far away, but they had copies of us in the 
 Library here, so we can join you, too." 
 
 Then, just as soon as all had seated themselves 
 and there were not chairs enough to go around, so 
 many curled up comfortably on the floor not one 
 of them disturbing the immaculate coverings of the 
 big beds, although several looked at them with long- 
 ing eyes the American lady continued, "Now then, 
 our party will begin with a game I am going to call 
 'Names, Nations, and News,' and by that I mean 
 that each picture person or group will tell who they 
 are, where they lived and anything about themselves 
 which will be of interest to the rest of us. We will 
 go right around in turn, beginning with our good 
 friend, the Earl." 
 
 "My .little grandson and I," began the Earl, put- 
 ting his arm around the small boy in the orange- 
 colored suit just as he was in the habit of doing in 
 the picture, "my little grandson and I are English, 
 and we lived over three hundred years ago. I was 
 made commander of the army in Scotland and that 
 
THE PICTURE CHILDREN'S PARTY 149 
 
 is why my good friend, the great Flemish painter 
 Anthony Van Dyck, whom I had the honor of bring- 
 ing to the attention of King Charles I, and who later 
 was made court painter, painted me in this suit of 
 armor. This little lad is my grandson, Thomas, and 
 very fond I am of the boy. And now, good 'picture' 
 friends, may I introduce this little group by my 
 side all English children and let them speak next? 
 First, the children of His Majesty, our martyred 
 King Charles I, shall begin. God save the present 
 King and bring him victories!" 
 
 "I am Prince Charles," said the little boy in the 
 lace collar and cap and embroidered frock, "and 
 I later became Charles II, King of England, after 
 many exciting adventures of which you have probably 
 heard. This is my sister Mary who afterwards 
 married the Prince of Orange, and this little boy," 
 pointing to a chubby little fellow in a long gown and 
 little lace cap, "is my brother James whom you know 
 as 'Baby Stuart.' Sir Anthony Van Dyck, my 
 father's court painter, as the Earl of Arundel told 
 you, pictured us all many times both as children and 
 after we grew up, and everyone says that they like 
 our pictures very much." 
 
 "I am very glad to meet your Royal Highness," 
 
150 THE PICTURE CHILDREN'S PARTY h 
 
 chirped the little lady next in turn. "I am little 
 Miss Bowles and this is my dog who never barks, so 
 you need not be afraid that he will make a noise and 
 break up our party. I lived almost a hundred years 
 after your Highness and I was painted by Sir Joshua 
 Reynolds, a great English artist who lived in the 
 eighteenth century. He liked to paint children and 
 one day mother invited him to dinner and we had 
 a splendid time together for he told me wonderful 
 stories, so I didn't mind a bit going to his studio the 
 next day. He let me have a good romp with my dog, 
 and then he painted us together and when I am in 
 my frame, I am in London. Here is another little 
 English girl waiting to tell her story." 
 
 "I am called, when I am in my frame, 'The Age 
 of Innocence/ said the little girl, "and I, too, was 
 painted by Sir Joshua Reynolds who was my grand- 
 uncle. I am not dressed up very much and you see 
 I have no shoes, but I sit in a beautiful landscape 
 where I can see the trees and the sky and think won- 
 derful thoughts as I watch the clouds: and I am so 
 glad that all the living children like me and that 
 copies of me hang in many of their rooms." 
 
 "I am Master Hare and I was painted by this 
 very same English artist," announced a very little 
 
THE PICTURE CHILDREN'S PARTY 151 
 
 boy with light hair and a white dress and purple 
 sash. 
 
 "And I am Georgiana Augusta Frederica Elliott," 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 My! what a long name for a little girl! Georgiana Augusta Frederica Elliott, 
 and she was painted by a great English artist named Sir Joshua Reynolds. Isn't 
 she a demure little maiden, and don't you think that the pattern made by the 
 branches of the trees against the 'sky is beautiful? 
 
152 THE PICTURE CHILDREN'S PARTY 
 
 h 
 
 added a very demure maiden, bowing sedately, with 
 her little hands folded in front of her. Her face 
 looked demure, it is true, as it peered out of her little 
 cap with its pink bow, but somehow you felt that 
 she would not be such a bad playfellow after all. 
 
 "My name is Jack Hill and my picture is in the 
 same gallery with Georgiana Elliott: her name is too 
 long to say it all! My father and I lived on the edge 
 of a great wood and father was a woodcutter at first 
 and then later another great eighteenth century artist 
 painted pictures of us. Everybody liked to be painted 
 by the great Gainsborough and I did, too. I am 
 holding my cat very tightly because I am afraid that 
 unless I do, she will scratch Miss Bowies' dog." 
 
 "We, too, were painted by a great English artist 
 who lived at the same time, and we live in the same 
 gallery with you," cried a dear little boy and girl. 
 "We are the little Godsal children and we have the 
 most beautiful colors to watch, don't we, mother? 
 And the artist who painted us was the famous John 
 Hoppner. All the hours long we sit out-of-doors and 
 watch the sun going to rest: it makes such a wonder- 
 ful golden glow." 
 
 "The artist who painted me," said the next little 
 person, "knew how to paint a golden light too, only 
 
THE PICTURE CHILDREN'S PARTY 
 
 153 
 
 this time the light is indoors, and coming through 
 a window in the next room to where I am standing, 
 receiving a jug from our maid-servant. I can re- 
 member how fearful I 
 was lest I should drop 
 that jug but Pieter de 
 Hooch painted us in 
 very quickly and then 
 we were framed and 
 hung in the Museum at 
 Amsterdam for all girls 
 and boys to enjoy." 
 
 "He painted me, 
 too," chimed in another 
 little Dutch girl in long 
 dress and cap, "just 
 
 THE COURT OF A DUTCH HOUSE 
 
 By Pieter de Hooch. 
 London, National Gallery. 
 Just an everyday scene with everyday 
 people and yet how very real and beautiful 
 it is. 
 
 coming into our brick- 
 paved courtyard with 
 our servant-girl. We 
 had been out feeding 
 our hens arid gathering 
 fruit, and I was hurrying back to join mother who was 
 standing at the door waiting for father to come home 
 from work. The light in the picture is that of the 
 sunset and I know you would say it all looks very 
 
154 THE PICTURE CHILDREN'S PARTY 
 
 IK 
 
 real and homelike. I wish mother had come with 
 me to-night but she'd rather stay watching for father. 
 Maybe you can all see us sometime in London." 
 
 "This same artist painted me and my mother and 
 my dog, and you can see us without going to London, 
 for we are in the very same room with the Earl of 
 Arundel," said a little girl's voice, "and this Dutch 
 girl next to me is here in this Museum and was 
 painted by another Dutch painter who lived at the 
 same time, Nicolaes Maes. See, isn't her red dress 
 pretty? In the picture she sits by a table with a gay 
 cover and peels apples, so she brought the dish with 
 her and we can all have one now!" 
 
 "I never before ate a common apple served in this 
 simple way," commented the stately little Spanish 
 lady, Mariana of Austria. "Don Balthazar Carlos 
 and I who were painted many times by our great 
 court painter Velasquez, always had our food pre- 
 sented to us by our ladies-in-waiting who received it 
 from the gentlemen-in-waiting who received it from 
 the servants of the table." 
 
 "I am so glad I am an American child," announced 
 one of the two little girls who stood close by the side 
 of the tall lady in white. "I think these apples are 
 best just like this. Often after mother has told us 
 
THE PICTURE CHILDREN'S PARTY 155 
 
 a fairy story as she is 
 doing in our picture we 
 have a feast of apples be- 
 fore we go to bed." 
 
 "We get apples from 
 our own trees," announced 
 a boy in a soft green 
 frock. "Mother and sis- 
 ter and I had just been 
 picking apples one day, 
 when father came out and 
 painted us all together, 
 mother holding sister, 
 whom I call 'Goldilocks,' 
 while I stood close to her 
 side and took hold of her 
 arm. We are called 'In 
 the Garden,' and from 
 where we stay we can 
 see the picture of 'Fairy 
 Tales'." 
 
 "I am sorry to inter- 
 rupt the game," said the 
 Earl of Arundel in his 
 most stately manner, "but 
 
 Courtesy of the Metropolitan Museum of Art. 
 
 IN THE GARDEN 
 By George De Forest Brush. 
 I wish you could see this painting in 
 all its beautiful colors, but at any rate 
 you can see how the long lines of the 
 draperies fit into one another and are full 
 of rhythm and grace. 
 
156 THE PICTURE CHILDREN'S PARTY 
 
 b 
 
 if we wish to have our ball before the watchman ap- 
 pears, let us go down to the main hall at once." 
 
 "All ready, now," cried the Colonial Girl, "lets 
 form a procession, and those who did not get a chance 
 at the game can have all the more dances downstairs. 
 Our stately 'Magnolia' shall lead, the Earl shall go 
 next with his grandson, Princess Mariana of Austria 
 with the Little Boy with a Sword, the children of 
 Charles the First, our visitors from far away, followed 
 by our little Dutch guests: then the French lady and 
 her two little girls, and you two little Italian boys; 
 that's right, take the little Italian girl with the cher- 
 ries along with you! Now little Miss Bowles and the 
 Godsal children, the 'Fairy Tale' girls and their 
 'Fairy Tale' mother, Mrs. Brush and her children. 
 We must hurry now, so all the rest of you fall in 
 line and go down the great staircase just as softly as 
 possible. Be careful not to fall, and I will be the 
 rear guard. Then when we reach the main hall and 
 that splendid, smooth stone floor, what a dance we 
 shall have, until we hear the watchman's footsteps 
 in the distance! Then we must hurry back to our 
 frames and books, hoping that some other time the 
 living boys and girls will use their magic gift once 
 more, and 'imagine' us back again!" 
 
IN THE TIME OF PAUL REVERE 
 
 Often when ue go out of doors we see flags in the windows, on 
 poles, and floating from the very tops of buildings. All these 
 flags waving so proudly in the breeze, tell us that we must be 
 true and patriotic American citizens, loyal to our country and 
 to our government in Washington which has so many important 
 affairs to decide. 
 
 In these days, all our newspapers have representatives in 
 Washington at the different meetings, to keep track of what is 
 going on; they telegraph the news to the different newspaper 
 offices, the newspapers print articles in the papers, and the news- 
 boys carry them through the streets, selling them to the people. 
 That is how we find out when important and exciting events 
 have taken place. 
 
 Many years ago, in 1775, some very important news had to 
 be taken through the colonies; but it was done very differently 
 from the way we would do it nowadays. The man who carried 
 the news so long ago was Paul Revere of Boston, a silversmith, 
 engraver, a maker of cartoons and medals, and even a dentist as 
 well as a patriot! This story I am going to tell you now I have 
 woven about the time of Paul Revere. You may at once say 
 that you wish you had lived then with Betty and John, but 
 maybe you will be glad you live nowadays, when you read how 
 they were instructed to behave at the table! 
 
 "Never sit down at the table till asked, and after the blessing. 
 Ask for nothing; tarry 'till it be offered thee. Speak not. Bite 
 not thy bread but break it. Take salt only with a clean knife. 
 
 157 
 
158 IN THE TIME OF PAUL REVERE 
 
 b 
 
 Dip not the meat in the same. Hold not thy knife upright but 
 sloping, and lay it down at right hand of plate with blade on 
 plate. Look not earnestly at any other that is eating. When 
 moderately satisfied leave the table. Sing not, hum not, wriggle 
 not." 
 
 IN the morning of the 18th of April in 1775, in 
 Medford, a little town of Massachusetts, Mas- 
 ter Jonathan Rowland rang the bell at the 
 usual time for school to begin. The school-room 
 was a large room with a sanded floor, the light com- 
 ing in through little windows made of sheets of oiled 
 white paper. At one end was a great fireplace, and 
 bright flames were leaping up into the huge chimney. 
 In tramped the boys and girls and took their seats at 
 the long benches with much marked desks in front of 
 them. Buzz! Buzz! Buzz! The whispering was 
 even worse than usual that morning, and there seemed 
 to be everywhere an air of great excitement. But 
 a stern tap! tap! tap! of Master Rowland's heavy 
 ferule brought silence, for they knew that disobedi- 
 ence to that command would mean the use of the 
 birch-rod hanging over the fireplace. Almost every 
 lad there had felt that rod at one time or another, 
 and knew that Master Rowland wielded it "with no 
 light hand. 
 
IN THE TIME OF PAUL REVERE 159 
 
 The forenoon wore on, but it seemed as if twelve 
 o'clock would never come! Never before had classes 
 dragged so slowly, nor such stupid answers been 
 given. A puzzled frown gathered on Master How- 
 land's brow: what was the trouble with them all? 
 The boys were most unruly, but even the little girls 
 had their thoughts on something besides the lesson. 
 The feeling of excitement began to communicate it- 
 self even to the teacher. He had cause to be excited, 
 however, for had not King George been unjustly tax- 
 ing the colonists, causing the great "Boston Tea 
 Party" when a band of colonists, dressed as Indian 
 warriors, boarded the ships in Boston harbor con- 
 taining the tea which was to be taxed, broke open the 
 tea chests and threw the contents into the water? 
 And worse than that, was not every patriot on 
 guard, for news had come that the Boston patriots 
 were very anxious, knowing that the British had 
 certain plans on foot. Doubtless the youngsters 
 had heard these rumors, and were made uneasy and 
 excited by them. So Master Rowland overlooked 
 much of the confusion and bad lessons, and won- 
 der of wonders, dismissed school at a quarter of 
 twelve! 
 
 Scarcely had the children crossed the threshold of 
 
160 
 
 IN THE TIME OF PAUL REVERE 
 
 the door, when the subdued buzzing which had filled 
 the school-room burst into a veritable roar. 
 
 Courtesy of the Detroit Publishing Company. 
 
 BOSTON TEA PARTY 
 
 By Reid; in the Boston State House. 
 Over goes the tea which has been unjustly taxed! 
 
 "Dost think there'll be war?" asked little Betty 
 Prescott timidly, looking up with wide eyes at big 
 Nat Warren. 
 
 "Father says it is likely to come/' answered the 
 
IN THE TIME OF PAUL REVERE 161 
 
 big boy gravely. "But don't be afraid, Betty; 
 I won't let them hurt you!" 
 
 "My father says that our minute-men will soon 
 lick the red-coats!" boasted Tom Pickering, saunter- 
 ing up to the little group with his hands in his 
 pockets. 
 
 "'Twould be an idle boast to say that would be 
 an easy task," replied Nat Warren thoughtfully, 
 "the red-coats are many in number, and well- 
 equipped, but our minute-men would every one fight 
 to the last for their homes and their country." 
 
 "Hooray!" cried the boys and girls, waving their 
 hands excitedly. 
 
 But rather a solemn hush fell over the little group 
 which several other boys and girls had joined. To 
 hear one of the older boys, and especially one who 
 was held in such high esteem as "big Nat," talk so 
 seriously made them think. It is true, they had 
 many times during the past months, heard their 
 mothers and fathers discussing the serious condition 
 in which the colonies were placed. News of the 
 famous "Boston Tea Party" in 1773 had been most 
 exciting, and many times had they begged to hear 
 the story repeated; and they knew that their fathers 
 and brothers were ready to fight at a minute's warn- 
 
162 IN THE TIME OF PAUL REVERE 
 
 k 
 
 ing, and that their mothers were often sad over the 
 thought that "father" or "son" might have to give 
 his life for his country. Yet it had never seemed so 
 near before, and there was a dark rumor afloat that 
 very day that the British were about to leave Boston 
 
 Courtesy of the Towle Manufacturing Company. 
 
 THE BOSTON MASSACRE 
 
 From an engraving by Paul Revere, Boston. 
 
 for a secret expedition, perhaps even to seize the 
 war-stores at Concord! 
 
 "Father said this morning that medicine chests, 
 linen and ammunition have been placed in every vil- 
 lage round about here," said Patience Barrett, whose 
 father was a most enthusiastic patriot. 
 
 It surely did look as if their very homes were in 
 
IN THE TIME OF PAUL REVERE 163 
 
 danger, and a sobered and unusually silent crowd of 
 children went thoughtfully back to school that after- 
 noon. 
 
 At the close of school they felt no better and the 
 excitement in the air had increased rather than 
 lessened. 
 
 Little Betty Prescott and her twelve-year-old 
 brother John hurried home. They had a long way 
 to go and it was quite dark before they reached there. 
 Mistress Prescott and her husband were already 
 seated at the supper table, a beautiful one of old 
 mahogany with its polished surface reflecting the 
 silver spoons, cups, and tankards, some of them made 
 and designed by Paul Revere of Boston, a silversmith 
 and engraver, the very man who was often sent, in 
 behalf of his country, on secret missions by the Com- 
 mittee of Safety. There was not a child in the 
 neighboring towns who had not heard mentioned 
 by the older folk the name of Paul Revere, and his 
 bravery and daring. 
 
 "Father," said John, as he hurriedly took his place 
 at the table, hungry after his long walk, "Is it true 
 we are going to war?" 
 
 "I hope not, my son," answered his father, gravely. 
 
 "Why do they call you a 'minute-man,' father?" 
 
164 IN THE TIME OF PAUL REVERE 
 
 b 
 
 questioned Betty looking up from her big white 
 biscuits spread with golden honey. 
 
 "Because I am ready to fight for liberty at any 
 minute!" answered father with a strange ring in his 
 clear voice. 
 
 "Let us pray that you will never be called upon to 
 do so," said the good mother Prescott hastily, with 
 an anxious look upon her face. 
 
 They ate silently after that, each one thoughtful, 
 until father said, "I must go to see whether anything 
 new has been heard, and, Mary, if any one should 
 come for me or you should have need of me in any 
 way, send John down to Captain Clarke's house. 
 We are holding a meeting of the Sons of Liberty." 
 
 It was all very well to try to get their lessons that 
 night; but every time John started to solve the 
 problem which Master Rowland had given him, his 
 thoughts would wander to the "minute-men" and 
 the "Sons of Liberty." Ah, if he only had a gun 
 like father's! Wait a minute! There was one in 
 the garret which Neighbor Dawes had left when he 
 started for Philadelphia a week or so back. "Just 
 for safety, I think I'll get that gun, for I might have 
 to protect Betty," thought John, making up all sorts 
 of reasons to soothe his conscience, for he well knew 
 
IN THE TIME OF PAUL REVERE 165 
 
 that neither mother nor father would allow him to 
 handle a gun unless father were near him. However, 
 he crept upstairs while mother was helping Betty 
 with her spelling, and had deposited it safely in his 
 little room next to Betty's before he was called. 
 
 Bedtime came all too soon that night, for they 
 wanted to wait up until father came home and hear 
 what news he might have, but mother was firm, and 
 Betty and John were soon tucked cosily in their high 
 old-fashioned beds, and mother had snuffed out the 
 candle-light, although she left their doors open. 
 
 "John!" whispered Betty, "has Paul Revere any 
 little girls?" 
 
 "Um-m, lots of 'em an' boys too," returned John, 
 almost asleep, but remembering to feel once more of 
 the gun standing by his bedside. 
 
 Little Betty did not fall asleep so easily; over and 
 over in her active little mind did she hear the con- 
 versation among the boys and girls at school about 
 "minute-men" and "King George" and "war" and 
 it was not until she heard her father's voice that she 
 fell asleep. 
 
 It seemed to John that he had slept a long time, 
 when suddenly something awakened him and he sat 
 straight up in bed. There it was again, that strange 
 
166 IN THE TIME OF PAUL REVERE 
 
 fci 
 
 noise: what could it be? "One, two, three, four, five, 
 six, seven, eight, nine, ten, eleven, twelve!" just then 
 sounded the old grandfather's clock on the stairs, 
 and in spite of his twelve sturdy years John shivered 
 a bit and started to pull the bed-clothes over his 
 head, for all sorts of things might happen at the 
 
 Courtesy of the Essex Institute. 
 
 BEDROOM IN ESSEX INSTITUTE, SALEM, MASS. 
 
 No doubt Betty had a room like this with the curtained bed, the ladder-back 
 chair, the big fireplace, and the candles on the little stand. 
 
 stroke of twelve, you know. But just then he heard 
 it again, through the stillness of the April night. 
 Clot-clot-clot-clot! Why it sounded for all the world 
 like a horse galloping at full speed! Who could it 
 be? A runaway horse? John jumped out of bed, 
 and poked his head out of the window which looked 
 down on the village street. Clot-clot, clot-clot ! It 
 
IN THE TIME OF PAUL REVERE 167 
 
 was coming nearer now although he could see nothing. 
 Hark! Was that someone shouting? From far off 
 in the distance he could hear a faint shout but not 
 a word could he make out. Nearer and nearer came 
 the hurrying hoof-beats, and more and more distinct 
 the shout. Ugh! It was cold standing in the night 
 air, and the sound of the fast coming horse and the 
 strange cry borne in to him through the stillness 
 made him feel rather queer and uneasy. Hark! what 
 was that? Did he not hear the word "British"? 
 Nearer and nearer came the galloping horse, and yes, 
 far off in the distance he could hear bells ringing, and 
 he thought he heard the report of guns. Suddenly 
 John heard faintly but distinctly the words: "The 
 British are coming! Hurry! The Regulars are out!" 
 
 It was war! war! thought John, just what they had 
 been talking about the day before. 
 
 "Father! Mother!" he cried, as he seized the old 
 gun which he had placed near his bed little dreaming 
 what was going to happen. "Father! Wake up! 
 The red-coats are coming! Father!" 
 
 By this time the hoof-beats were near and loud, 
 and clear and distinct on the night air was heard the 
 shout, "The British are coming! Hurry! The Regu- 
 lars are out!" 
 
168 IN THE TIME OF PAUL REVERE fc 
 
 No need to waken father for he was already down 
 stairs, and mother too, with white face, but strong 
 
 Courtesy of the Detroit Publishing Company. 
 
 PAUL REVERE'S RIDE 
 
 By Reid; in the Boston State House. 
 
 Down the village street he galloped awakening the countryside that they might 
 defend their homes and their country. 
 
 and calm, and helping father into his coat and hand- 
 ing him his gun. 
 
 On and on the good horse galloped, his rider 
 shouting his message of warning, "Hurry! The 
 
IN THE TIME OF PAUL REVERE 169 
 
 British are on the way!" The shouts of people could 
 be heard, some of them peering from their windows, 
 rubbing their sleepy eyes, but most of them running 
 out of their houses, ready to give their all for the 
 sake of "Liberty." 
 
 "May I go too, father?" asked John excitedly, as 
 he followed his father to the door, still keeping tight 
 hold of his gun. 
 
 "No, John," answered father, "your place is here 
 to look out for your mother and Betty," stooping to 
 kiss the little girl who stood .silent and wide-eyed, one 
 hand tightly grasping a fold of mother's skirt. So 
 John stood guard over his mother and sister, holding 
 firmly in both hands the old gun which was almost 
 as big as he. 
 
 Soon they heard the tramp of men's feet and knew 
 that the minute-men were assembled and ready to 
 fight, if need be, and now they went marching down 
 the road. The ringing of the bells continued, and 
 the report of the alarm guns in the neighboring vil- 
 lages, while Mistress Prescott, with her arms around 
 her boy and girl, stood looking from the window, 
 listening to the tramp of feet, the bells, the guns and 
 the shouting of the awakened country-side, and 
 praying that her husband and other women's hus- 
 
170 IN THE TIME OF PAUL REVERE fc 
 
 bands and other children's fathers might come safely 
 home. 
 
 "Who was the man who came riding by, mother?" 
 asked little Betty in a hushed voice. 
 
 "I know," answered John eagerly, before his mother 
 could reply. "It was Paul Revere of Boston! I heard 
 father say so! Isn't he the bravest man, mother?" 
 
 "Paul Revere has been of great service to all his 
 country people this night, and is indeed a brave 
 man," answered his mother. 
 
 On and on was Paul Revere riding on his galloping 
 steed, towards Lexington. Our poet, Longfellow, has 
 very vividly told us about his daring ride. 
 
 "He said to his friend, 'If the British march 
 By land or sea from the town to-night , 
 Hang a lantern aloft in the belfry arch 
 Of the North Church tower as a signal light, 
 One, if by land, and two, if by sea; 
 And I on the opposite shore will be, 
 Ready to ride and spread the alarm 
 Through every Middlesex village and farm, 
 For the country folk to be up and to arm. 9 
 Then he said 'Good night 9 and with muffled oar 
 Silently rowed to the Charlestown shore; 
 
 Meanwhile, impatient to mount and ride, 
 Booted and spurred, with a heavy stride 
 
IN THE TIME OF PAUL REVERE 171 
 
 On the opposite shore walked Paul Revere, 
 
 Now he patted his horse's side, 
 
 Now gazed at the landscape far and near. 
 
 Then, impetuous, stamped the earth, 
 
 And turned and tightened his saddle-girth; 
 
 But mostly he watched with eager search 
 
 The belfry tower of the Old North Church, 
 
 As it rose above the graves on the hill, 
 
 Lonely and spectral and sombre and still. 
 
 And lo! as he looks on the belfry 9 s height 
 
 A glimmer, and then a gleam of light! 
 
 He springs to the saddle, the bridle he turns, 
 
 But lingers and gazes, till full on his sight 
 
 A second lamp in the belfry burns! 
 
 A hurry of hoofs in a village street, 
 
 A shape in the moonlight, a bulk in the dark, 
 
 And beneath, from the pebbles, in passing, a spark 
 
 Struck out by a steed flying fearless and fleet: 
 
 That was all! And yet, through the gloom and the light. 
 
 The fate of a nation was riding that night; 
 
 And the spark struck out by that steed, in his flight, 
 
 Kindled the land into flame with its heat. 
 
 It was twelve by the village clock 
 
 When he crossed the bridge into Medford town. 
 
 He heard the crowing of the cock, 
 
 And the barking of the farmer's dog, 
 
 And felt the damp of the river fog 
 
 That rises after the sun goes down. 
 
172 IN THE TIME OF PAUL REVERE 
 
 You know the rest, in the, books you've read, 
 
 How the British Regulars fired and fled, 
 
 How the farmers gave them ball for ball, 
 
 From behind each fence and farmyard wall; 
 
 Chasing the red-coats down the lane, 
 
 Then crossing the fields to emerge again 
 
 Under the trees at the turn of the road, 
 
 And only pausing to fire and load. 
 
 So through the night rode Paul Revere! 
 
 And so through the night went his cry of alarm 
 
 To every Middlesex village and farm, 
 
 A cry of defiance and not of fear! 
 
 A voice in the darkness, a knock at the door, 
 
 And a word that shall echo forevermore! 
 
 For borne on the night-wind of the Past 
 
 Through all our history to the last, 
 
 In the hour of darkness and peril and needy 
 
 The people will waken and listen to hear 
 
 The hurrying hoof-beats of that steed, 
 
 And the midnight message of Paul Revere" 
 
ABOUT STORY HOURS 
 
 TELL me one of your own stories, Mother," I 
 used always to ask, for nothing pleased me 
 more when I was a little girl, than* to hear 
 one of my mother's "made-up" stories in which 
 little people worked and danced and frolicked, and 
 became real companions: often my father was called 
 upon, too, and the story hour was looked forward to 
 each night. So with every one of us, our mothers 
 and fathers were our first story-tellers, then our 
 teachers, for it is only in recent years that story- 
 telling as a profession has regained much of the 
 dignity and popularity of the olden times when 
 story-tellers were the chief entertainers of kings. It 
 is significant of the unique value of story-telling that 
 even to-day with the many different ways of getting 
 stories from the moving pictures, theaters, and 
 books that the story hour is not only revived but 
 that it is more and more becoming one of the most 
 effective methods of education; for it is the most 
 human, concrete, and vivid way of reaching and 
 teaching the children: and not only the real children 
 
 173 
 
174 ABOUT STORY HOURS 
 
 IK 
 
 enjoy the story hours, but grown-up children as well. 
 The people of long ago become real and vivid, the 
 stories correlate with the school studies of the chil- 
 dren and their own experiences and become not mere 
 words, illustrated, but mean something to them 
 personally. Primarily they bring happiness but at 
 the same time they teach in a delightful way; to 
 quote from Sir Philip Sydney's "Defense of Poesie," 
 "even as the child is often brought to take most 
 wholesome things by hiding them in such other as 
 have a pleasant taste." 
 
 There can be no barrier between the story-teller 
 and the audience, for just as the story-teller of old 
 was a part of the fireside group, so the story-teller 
 of to-day belongs to her audience and is their friend. 
 She impersonates the characters in the story but she 
 is always essentially herself, and upon the personality 
 of the story-teller and her contact with not only the 
 children but their families and teachers, depends a 
 great part of the success of the story hour. 
 
 Story hours in Museums have a special value in 
 that there is so much illustrative material to make 
 the stories vivid. Art museums, as a whole, no 
 longer exist just for the grown-up student and re- 
 search worker: they are no longer merely a store- 
 
ABOUT STORY HOURS 175 
 
 house of treasures, but they exert a vital influence 
 on the lives of those who come, especially the children. 
 The story hours bring delight to the children and 
 also, through the study of the lives of great painters 
 and sculptors, knights, kings, and queens, and the 
 arts of various peoples, strengthen ambitions and 
 create ideals. The boys and the girls, and the grown 
 people too, through the story hours, the illustrative 
 slides, and the trips to see the real objects in the 
 galleries bearing on the stories, learn how to see and 
 enjoy beauty of workmanship, line, form, and color: 
 and having seen it in the Museum they will see it 
 elsewhere out-of-doors, and in their homes. This 
 is true of the grown people, but especially true of the 
 children, for as children they are pliable, easily in- 
 fluenced, and just as ready even those who have 
 had the least advantages to respond to the good 
 and beautiful as to the bad and unlovely. Many 
 of the children have become acquainted with the 
 Museum through the story hours for the first time. 
 "Is it on Thoird Avenoo?" they often ask, when I go 
 into a distant school. Then, when they do come, 
 they draw deep breaths of delight and exclaim in 
 tones of wonder, "O-o-h! It's just like a Fairy Pal- 
 ace!" A little later, when they have become steady 
 
176 
 
 ABOUT STORY HOURS 
 
 visitors at the story hours, the Children's Hours and 
 in classes from the schools, they say, "I'd rather 
 come here any day than go to the movies, and my 
 mother, she says she likes to have me come 'cause I 
 learn somethin'." It is often that the mothers, fathers 
 and teachers come with the children, and many times 
 I have heard a mother say, "If only I could have found 
 out how to enjoy these things when I was a child." 
 
 The biggest thing of all is that the story hours not 
 only bring happiness but they help towards the en- 
 joyment of life, the ability to see, the will to do, the 
 making of better men and women, more able teachers, 
 and the training towards citizenship. A f C 
 
 NEW YORK, July 1, 1919. 
 
 Courtesy of the Jacobs Publishing Company. 
 
 LITTLE COLONIAL CHILDREN. 
 
BERKELEY 
 
 7 DAY USE 
 
 RETURN TO DESK FROM WHICH BORROWED 
 
 EDUCATION - PSYCHOLOGY 
 LIBRARY 
 
 This publication is due on the LAST DATE 
 stamped below. 
 
 
 OCT 7 
 
 OCT7 
 
 RB 17A-5m-3,'63 
 (D5808slO)4188B 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
YCI09I39