be
possible to find only in large libraries,--"Coast of Norway," by Walton;
"Travels in the Island of Iceland," by Mackenzie; "Voyage en Islande et
au Greenland," by J. P. Gaimard. If the landscape is studied from the
point of view of formation, the images will be more accurate and more
easily gained, and the study will have a general value that will
continue past the reading of these stories into all work in geography.

Trustworthy pictures of Norse houses and costumes are difficult to
obtain. In "Viking Age" and "Story of Norway," by Boyesen (G. P.
Putnam's Sons, New York), are many copies of Norse antiquities in the
fashion of weapons, shield-bosses, coins, jewelry, wood-carving. These
are, of course, accurate, but of little interest to children. Their
chief value lies in helping the teacher to piece together a picture that
she can finally give to her pupils.

Metal-working and wood-carving were the most important arts of the
Norse. If children study products of these arts and actually do some of
the work, they will gain a quickened sympathy with the people and an
appreciation of their power. They may, perhaps, make something to merely
illustrate Norse work; for instance, a carved ship's-head, or a copper
shield, or a wrought door-nail. But, better, they may apply Norse ideas
of form and decoration and Norse processes in making some modern thing
that they can actually use; for instance, a carved wood pin-tray or a
copper match holder. This work should lead out into a study of these
same industries among ourselves with visits to wood-working shops and
metal foundries.

Frequent drawn or painted illustration by the children of costumes,
landscapes, houses, feast halls, and ships will help to make these
images clear. But dramatization will do more than anything else for the
interpreting of the stories and the characters. It would be an excellent
thing if at last, through the dramatization and the handwork, the
children should come into sufficient understanding and enthusiasm to
turn skalds and compose songs in the Norse manner. This requires only a
small vocabulary and a rough feeling for simple rhythm, but an intensity
of emotion and a great vividness of image.

These Norse stories have, to my thinking, three values. The men, with
the crude courage and the strange adventures that make a man interesting
to children, have at the same time the love of truth, the hardy
endurance, the faithfulness to plighted word, that