Chapter V: Front Matter (5)

Let us turn again to the realm of fancy, to fairyland, where we all once wandered. Who of us has not feared and trembled for Little Red Riding-Hood; who has not cordially detested the wolf, and wished to warn her against his wiles? The mixture of trust in the wolf and of doubt in her own judgment has in our picture been charmingly expressed by the painter. This is one of those pictures which have the merit of containing an idea which throws a new light on the story which it illustrates. Every child who has read the adventures of Little Red Riding-Hood has wondered why she felt no fear at the first appearance of the wolf. It was because he had the wit, as the picture clearly shows, to disguise his nature and, with all his cunning, to show nothing but his natural likeness to a big and friendly dog, in which it is quite easy for a child to trust, as in a playfellow rather than an enemy.

_From the Painting by Hiddeman._

By permission of the Berlin Photographic Co.]

In the picture, "Diligence," by Dieffenbach, there is perhaps no idea except what appears at first glance. Whether the child is really absorbed in her lessons, or whether the title is ironical and she is in fact dreaming over a fairy tale while the school-books repose in the basket, does not much matter; the reader may take his choice. The picture is most probably one of those which are painted solely for delight in their subject. Is not the whole thing perfectly charming?

_From the Painting by Paul Peel._

By permission of Braun, Clément, & Co.]

On this page we have two pictures which present as marked a contrast as may easily be conceived. "An Unexpected Meeting," by Paul Peel, depicting the sturdy little fellow with the irresistible air of manliness greeting the frog as a boon-companion, is as natural a study of boy-life as is that of the little girl of the characteristics of the opposite sex. "Little Caprice" stands before us in scanty attire which is not the beginning of her morning toilet, but is merely the result of her caprice. But what does it all mean? If she knew that, or you, or I, it would be no longer what it is--an inexplicable freak of the child's mind. She has been left unobserved for a moment whilst playing in a corner and found it amusing to take off her clothes, till she came to the critical point, which the painter has seized with so much humour and truth to life. Suddenly it strikes her that it is not very amusing to be without one's clothes, but she does not wish to put her things on by herself, partly for the simple reason that she does not know how to do it, and also because she does not know whether she really wishes to be dressed again. Oh, misery! oh, aggravation! she wants to do neither one thing nor the other. In fact, she does not know exactly what she wants--a state of mind which, when she grows to womanhood, will doubtless very often be repeated.

_From the Painting by Elisa Koch._

By permission of Braun, Clément, & Co.]

_From the Painting by Meyer von Bremen._

By permission of the Berlin Photographic Co.]

"A Kiss First" is the name of a delightful picture by Meyer von Bremen. The boy stands in the full knowledge of his strength and manly superiority before the fountain and prevents the little girl from filling her jug. His eyes are sparkling with the conviction that he has her in his power. And she? She is but a woman in miniature. Let those who flatter themselves that they understand women decide whether he will get his kiss or not.

_From the Painting by Meyer von Bremen._

By permission of the Berlin Photographic Co.]

The next picture is most realistic and amusing, and there can hardly be two opinions as to its obvious meaning--or, rather, its double meaning. The painter has entered the house for a moment to chat with the pretty girl--so _he_ is "in danger." In the meantime, the children coming home from school stop on their way to see the picture--and _that_ is in danger also. The young genius gets hold of the brush and adds, with a few strokes, a little more colour to the landscape. The little sister kneeling by his side encourages the artistic performance, while the elder one probably passes judgment on the perspective.

_From the Painting by Kate Perugini._

By permission of the Berlin Photographic Co.]

In looking at the beautiful child on the swing in the picture entitled "Butterflies," by Kate Perugini, one at first receives the impression that the painter wanted to give us a "thing of beauty," without any other suggestion of childish amusement but the swing. Indeed, the title might well have been "Three Butterflies," for the child in the graceful dress, patterned as richly as the insects' wings, is as much a butterfly as the other two. But there is a further idea in the picture than that. Look once more. The little toe is aiming to touch the butterfly whilst it passes; the intent expression on the childish face shows that all her attention is concentrated on this one achievement. This is a very subtle illustration of the fact that children seldom enjoy a planless physical movement. Their little minds are constantly working for their own small aims and so developing for bigger ones.

Of the pictures in the medallions on this page, that on the left is from Sir Joshua Reynolds's painting entitled "The Angelic Child." It requires no saying that Sir Joshua's studies of children are among the most charming that ever came from the brush of a painter. The upper right-hand medallion is from Bartolozzi's picture called "Merit," while the remaining one is a painting named "A Boy with an Anchor," by the Italian artist, Cipriani.

DIALSTONE LANE

BY W. W. JACOBS

Copyright, 1904, by W. W. Jacobs, in the United States of America.