There is danger in exhibiting more than one bulletin at a time—exception being made, of course, for such bulletins as illustrate allied subjects, thus forming an exhibition. The display of too many pictures on any one bulletin is equally inadvisable. Have we not all of us at times felt oppressed and confused by the seemingly endless array of pictures at a large art exhibit? The mind is overtaxed in the effort to grasp it all. Knowing the patience with which little children study a picture, even dwelling on the smallest detail with delight, it would be better to choose with discrimination, and avoid bewildering the minds of the children, and fatiguing their attention by a large collection of pictures. A miscellany of pictures or bulletins defeats its one purpose—that of making a definite impression which should lead to further investigation of a subject.
The arrangement of the bulletin should make its central thought and object apparent. A bulletin on Lincoln's life if properly arranged could easily tell the story of the experiences between the log-cabin and White House. The pictures should have some logical grouping, whether by succession of events, or according to some natural relationship, as bringing a collection of wild flowers together in the order of their appearance, birds and animals by families, etc.
Concerning the composition of the bulletin, we may borrow the rules of pictorial composition and adapt them to bulletin purposes. According to John C. Van Dyke, "Pictorial composition may be defined as the proportionate arranging and unifying of the different features and objects of a picture.... There must be an exercise of judgment on the part of the artist as to fitness and position, as to harmony of relation, proportion, color, light; and there must be a skilful uniting of all the parts into one perfect whole." In a bulletin as in a picture there must be a center of interest. We should strive to effect this by selecting for this purpose a picture which has earned its place, because it best suggests the subject, or because pictorially, either through tone or color, it best adapts itself to the principles of composition. The other pictures should be grouped accordingly, always taking account of the subject and artistic value of each in placing them. The bulletin should be built up architecturally as well, letting the heavy pieces support the light. Such a picture as Rosa Bonheur's "Ploughing" should not surmount Breton's "Song of the lark."
Color has its legitimate place in bulletin work as children are keenly alive to its attractiveness. It is because they are so sensitive and impressionable in this regard that our responsibility is proportionately greater; this alone should make us most discreet and careful in its use. Van Dyke cautions us in the following terms: "Beware of your natural taste, beware of bright pictures for they are generally bad." He tells us "That 'color' does not mean brightness alone; and that a 'colorist' is not one who deals in flaming colors with the recklessness of a crazy-quilt maker, but one who justly regards the relationship, the qualities, and the suitableness of his colors one to another...." Harmony strives to associate colors which are congenial to each other; however, it cannot be comprehended in the abstract. We bring to our bulletin work the results of our previous standards of taste, be these high or low. But we may raise our standards by holding ourselves receptive to the influence of art, whether it be decorative, ceramic, textile, or pictorial, and appropriate the lessons which it teaches in blending color into harmony. The love of prime colors is characteristic of primitive man, while the appreciation of the neutral tones is the acquirement of civilization. Intellectual development conforms to the epochs of racial progress. Children love crude and elementary colors. But while we make concession to their taste we should also educate it to an appreciation of the refined in color.
The question of economy often arises in connection with bulletin work. Are bulletins sufficiently useful and effective to pay for the outlay of time and money? In a system of central and branch libraries this is not so serious a problem as the same bulletin may be of service in the various libraries. The tendency toward extravagance would appear in the excessive quantity of bulletins exhibited, rather than in the expensive quality of any one of them. Certainly we should strive to be economical in the sense of planning the material without loss or waste, but "whatever is worth doing at all is worth doing well," and the main question is, are bulletins worth doing at all? The bulletin justifies itself by the results it accomplishes in calling attention to subjects, guiding the reading, circulating books, and increasing the children's observation and enjoyment of pictures.
[REFERENCE WORK WITH CHILDREN.]
By Harriet H. Stanley, Brookline (Mass.) Public Library.
Preliminary to preparing this report, a list of 15 questions was sent to a number of libraries in different parts of the United States, from 24 of which replies were received. So far as space would permit, the facts and opinions obtained have been embodied in this paper.
Reference work with grown people consists in supplying material on various topics; we consider it sufficiently well done when the best available matter is furnished with as little cost of time and trouble to the inquirer as is consistent with the service we owe to other patrons of the library. To a certain extent this statement is true also of reference work with children, but I think we are agreed that for them our aim reaches further—reaches to a familiarity with reference tools, to knowing how to hunt down a subject, to being able to use to best advantage the material found. In a word, we are concerned not so much to supply information as to educate in the use of the library. Seventeen of the 24 libraries reporting judge children to be sent to them primarily, if not wholly, for information. One of the first steps towards improving and developing reference work with children will have been taken when the teacher appreciates the larger purpose, since the point of view must materially affect the character and scope of the work. Another forward step is for the library to have definitely in mind some plan for accomplishing these ends. Whatever the plan, it will in likelihood have to be modified to accord with the teacher's judgment and needs, but a definite proposal ought at least to give impetus to the undertaking.