Then let the child himself write, or print, as he is able, the names of the people he comes upon in due order, in their proper century. We need not trouble ourselves at present with more exact dates, but this simple table of the centuries will suggest a graphic panorama to the child’s mind, and he will see events in their time-order.
Illustrations by the Children.—History readings afford admirable material for narration, and children enjoy narrating what they have read or heard. They love, too, to make illustrations. Children who had been reading Julius Cæsar (and also, Plutarch’s Life), were asked to make a picture of their favourite scene, and the results showed the extraordinary power of visualising which the little people possess. Of course that which they visualise, or imagine clearly, they know; it is a life possession.
The drawings of the children in question are psychologically interesting as showing what various and sometimes obscure points appeal to the mind of a child; and also, that children have the same intellectual pleasure as persons of cultivated mind in working out new hints and suggestions. The drawings, be it said, leave much to be desired, but they have this in common with the art of primitive peoples: they tell the tale directly and vividly. A girl of nine and a half pictures Julius Cæsar conquering Britain. He rides in a chariot mounted on scythes, he is robed in blue, and bits of blue sky here and there give the complementary colour. In the distance, a soldier plants the ensign bearing the Roman eagle, black on a pink ground! In the foreground, is a hand-to-hand combat between Roman and Briton, each having a sword of enormous length. Other figures are variously employed.
Another, gives us Antony ‘making his speech after the death of Cæsar.’ This girl, who is older, gives us architecture; you look through an arch, which leads into a side street, and, in the foreground, Antony stands on a platform at the head of a flight of marble steps. Antony’s attitude expresses indignation and scorn. Below, is a crowd of Romans wearing the toga, whose attitudes show various shades of consternation and dismay. Behind, is Antony’s servant in uniform, holding his master’s horse; and on the platform, in the rear of Antony, lies Cæsar, with the royal purple thrown over him. The chief value of the drawing, as a drawing, is that it tells the tale.
Another girl draws Calpurnia begging Cæsar not to go to the Senate. Cæsar stands armed and perturbed, while Calpurnia holds his outstretched hand with both of hers as she kneels before him, her face raised in entreaty; her loose blue night-robe and long golden hair give colour to the picture. This artist is fourteen, and the drawing is better done.
Another artist presents Brutus and Portia in the orchard with a ‘south-wall’ of red brick, espaliers, and two dignified figures which hardly tell their tale.
Another child gives us the scene in the forum, Cæsar seated in royal purple, Brutus kneeling before him, and Casca standing behind his chair with outstretched hand holding a dagger, saying “Speak, hands, for me,” while Cæsar says, “Doth not Brutus bootless kneel?”
Again, we get Lucius playing to Brutus in the tent. Brutus, armed cap-à-pie, seated on a stool, is vainly trying to read, while Lucius, a pretty figure, seated before him, plays the harp. The two sentries, also fully armed, are stretched on the floor sound asleep.
Another, gives us Claudius dressed as a woman at the women’s festival—the ladies with remarkable eyes, and each carrying a flaming torch.
Another pictures, with great spirit, Cæsar reading his history to the conquered Gauls, who stand in rows on the hillside listening to the great man with exemplary patience.