Before his listless and restless audience the lecturer took in his hand a piece of chalk, turned to the blackboard, and touched it. Instantly he had the eager attention of all. He did nothing with the chalk; had not intended to do anything; he carried his point with it, nevertheless.

A teacher, plus a bit of chalk, is two teachers. And any one may double himself thus, if he choose to take a little pains.

Surely there need be no hesitation as to the materials. If you can have a blackboard, that is fine. I myself like best a board fastened to the wall, and a second board hinged to this after the fashion of a double slate. The outside may be used for "standing matter," and the inside opened up for the surprises.

But this is a great luxury. A portable, flexible blackboard will answer, if your class is away from the wall. You can roll it up and carry it home to practise there. You can use both sides of it. Such blackboards may be obtained now for two dollars.

Not even a flexible blackboard, however, is essential. A slate will serve you admirably, and some of the best chalk-talkers use simple sheets of manilla paper tacked to ordinary pine boards.

Then, as to the chalk, by all means use colored crayons. It is easy to learn effective contrasts of colors, and bright hues will increase many fold the attractiveness of your pictures and diagrams. But these crayons need not be of the square variety, sold especially for such work at thirty-five cents a box. They produce beautiful results, but the ordinary schoolroom box of assorted colors will serve your turn admirably and cost much less.

And if the materials are readily obtained, so is the artistic skill. Trust to the active imaginations of the children. Remember in their own drawings how vivid to them are the straight lines that stand for men, the squares that represent houses, the circles with three dots that set forth faces with eyes and mouth. I once saw Mrs. Crafts teach the parable of the Good Samaritan in a most fascinating way to some little tots, and her blackboard work was merely some rough ovals, each drawn half through its neighbor, to represent a chain of love,—love to papa, love to mamma, to sister, brother, friend, teacher,—neighbor. And as circle after circle was briskly added, every child was filled with delight. That same parable of the Good Samaritan I once saw perfectly illustrated—for all practical purposes—by four squares, each with two parallel lines curving from one upper corner to the opposite lower one, to represent the descent of the Jericho road, while the various scenes were depicted with the aid of short, straight lines, the man fallen among thieves being a horizontal line, the priest and Levite being stiffly upright and placed on appropriate points in the road, while the line for the Samaritan was leaning over as if helping his fallen brother rise! Surely that series of drawings was not beyond the artistic skill of any teacher.

One of the beauties of such simple work is that it may be dashed off in the presence of the scholars, while more elaborate pictures must be prepared beforehand; and half the value of blackboard work is in the attention excited by the moving chalk. I use the expression "dashed off," but I do not want to imply careless work. The straight lines should be as straight as you can make them without a ruler, the circles as true circles as can be drawn without a string, and the stars should have equal points. The simpler the drawing, the more need that every mark should have its mission and fulfill it well. A confused scrawl will only make mental confusion worse confounded. Don't be satisfied with rough work, or it will constantly become rougher. Try to do better all the time.

Of course, this means home practice, even for the simplest of exercises, like Mrs. Crafts' links of the love-chain. The nearer the links are to perfect ovals, the better. The more nicely they are shaded on one side, the more distinct will be the impression of a chain. And the more rapidly they can be drawn, the more tense will be the children's interest. A few easy lessons in drawing, from some public-school teacher or some text-book, will prove of inestimable value,—lessons enough to give you at least an idea of perspective, so that you can make a house or a box stand out from the board, and know which sides to shade of the inside of a door. Make such simple beginnings as I have indicated, and determine to advance, however slowly. It is hard to draw a man, but not so difficult if you are willing to begin with a little circle for the head, an oval for the body, and two straight lines for legs.

But even if you do not draw at all, it is well worth while to use chalk. Almost magical effects may be produced by a single sentence, sometimes a single word, written on the board. If your lesson is the last chapter of the Bible, the one word "Come!" will be blackboard work enough. Add to it, if you will, at the close of the recitation, this earnest question: "Why not to-day?" Every lesson has its key-word or its key-sentence. Write it large on your scholars' hearts by writing it large upon the blackboard.

In such work, as in drawing, you may begin with simple writing (your best script, however!) and go on to as high a degree of elaborateness as you fancy. A printer's book of samples will introduce you to fascinating and varied forms of letters. Your colored chalks may be used in exquisite illumination. You may learn from penmen their most bewitching scrolls. And all of this will be enjoyed by the children, and will contribute to the impressiveness of the truth, provided you are jealous to keep it subordinate to the truth. Otherwise, plain longhand is to be preferred to the end of the chapter.

Another easy way to use the blackboard—still without venturing on drawing—is by constructing diagrams. What a key to Scripture chronology, for instance, is furnished your scholars when you draw a horizontal line to represent the four thousand years from Adam to Christ, bisect it for Abraham, bisect the last half for Solomon, bisect the third quarter for Moses, and continue to bisect as long as a famous man stands at the bisecting-point! How it clears up the life of Christ to draw two circles, the inner one for Jerusalem, the outer for Nazareth, dividing them into thirty-three parts for the years of our Saviour's life, and running a curved line in and out according as his journeys took him to Nazareth and beyond its circle, or back to Jerusalem at the feast-times! Such circles will also serve to depict graphically Paul's missionary journeys, the outer circle representing Antioch. Any series of historical events may well be strung along a vertical line divided into decades, and parallel series, as in the history of the northern and southern kingdoms, along two parallel verticals. An outline map, such as the teacher may draw from memory, will furnish an excellent basis for another kind of diagram, the progress of persons or of series of events being traced from place to place by dotted lines, a different color for each person or journey or group of incidents.

Acrostics furnish still another use for the blackboard. For example, draw out from the class by questions a list of the prominent characteristics of David. He was

• Daring
• Active
• Vigilant
• Inspired
• Dutiful

Not until the list is completed does the class see that its initial letters spell David's name. You have attained the element of surprise, so valuable in work of this sort. Again, in a lesson on the rich young man, or on Dives and Lazarus, or on Zaccheus, write in a vertical column the letters of Christ's name, and draw straight lines to the right in various directions, as shown in the following diagram. Transferring the letters, or getting some scholar to transfer them, to the points indicated, you quickly insert an E, and it reads: "Christ—richest."

The application is obvious, and will never be forgotten.

Often, in seeking for such an effective presentation of a lesson's truth, we hit upon alliteration, and then our blackboard work is easy. Three P's:

P P P

Fill them out, as the lesson proceeds, thus:

harisee ompously
P Prayed P
ublican enitently

And often, again, our form will be based upon similar terminations or beginnings of words, such as:

Suggestions and examples of such work might be indefinitely multiplied. It is one of the easiest, yet one of the most effective, methods of fixing the points of a lesson.

The earnest teacher will be drawn irresistibly from the use of the chalk in diagrams, acrostics, and the like, to simple drawings; and by this time he will realize the importance of simplicity. A set of steps, for instance, is easy to draw; we may use only the profile; but the drawing will fix forever in your scholars' minds the events in Solomon's life. To a certain point the steps are all upward. Yellow chalk shows them to be golden. A word written over each step gives the event it symbolizes. On a sudden the steps turn downward, become a dirty brown, each representing a sin, and break short off as Solomon takes his terrible fall.

Who cannot draw a number of rough circles? They will stand for the stones thrown at Stephen. A word or initial written in each will represent the different kinds of persecutions that assail faithful Christians in our modern days. Who cannot draw a shepherd's crook, and write alongside it the points of the Twenty-third Psalm, or the ways in which Christ is the Good Shepherd? Who cannot draw a large wineglass, and write inside it some of the evils that come out of it? Who cannot draw a rectangle for a letter, and write upon it a direction, to make more vivid some of the epistles? or a trumpet inside seven circles, to brighten up the lesson on the fall of Jericho? As a rule, the very best chalk-talks are the simplest, and require the least skill in drawing.

But how to get the ideas? Where to find the pictures?

Of course, in the first place, from the books of first-rate chalk-talkers, such as Pierce's "Pictured Truth," Frank Beard's "The Blackboard in the Sunday-school," and Belsey's "The Bible and the Blackboard" (an English book). Of course, also, from the many admirable periodicals that publish blackboard hints, such as the "Lesson Illustrator," the "Sunday-school Times," and the teachers' magazines of the various denominations. Get hints also from the blackboard work of the public school and the kindergarten, as to manner, if not as to matter.

But as for the design, your own is the best for you, and not another's. Study all the blackboard work you can find, and retain whatever gravitates to you; but your own original design is the one you will best understand, and in presenting it you will have more of that enthusiasm which makes success.

Learn to find pictures all through the Bible. I have just been searching my mind for a Bible text that promised nothing in the way of a picture. At last I thought that "All have sinned and come short of the glory of God" would do. But in another second two pictures popped into my mind. I saw a river whose further bank was beautiful with flowers and trees, the paradise of "the glory of God," and across the river a bridge—lacking its final portion. I saw a ladder reaching up into some golden clouds back of which shone heaven, the city of "the glory of God"; but all the top rounds of the ladder were missing. Bridge and ladder had "come short." God's hand was needed, reaching across, reaching down, to help us over the sin-gap into "the glory of God." I do not believe it possible to find any Bible texts, still less any twelve consecutive verses of the Bible, that do not hide somewhere a capital picture.

Read your Bible pictorially. Make sketches everywhere upon the margin. For practice, often take some passage sure to come up in the International Lessons, such as Psalm 1, Isaiah 53, Proverbs 3, Matthew 5, Luke 2, John 14, Acts 9, Romans 12, 1 Corinthians 13, Hebrew 11, James 3. Delve into the passage, meditate long over it, and see how many pictures you can get out of it.

Of the greatest assistance will be a book,—indexed as to texts, and also as to subjects, such as "temperance," "missionary," "resurrection," "courage,"—in which you will preserve every drawing you make, and all the most suggestive blackboard hints you clip from the teachers' magazines, together with simple outlines of all sorts of common subjects. These last will be particularly useful. There will be a ladder, an anvil, a horse, a lily, a broom, a fountain,—anything likely to be of use for a symbol. You will clip these from advertisements, catalogues, the illustrated papers and magazines, and you will find your collection useful in many ways.

I have spoken as if the teacher should do all the blackboard work. On the contrary, he should do none that he can get his scholars to do for him. No matter if they do not do it as well as he. Get them to practise beforehand. Let them begin with only the simplest work; they will soon astonish you with their proficiency. And the class will take far more interest in a poor drawing by one of their own number than in a good drawing by you.

Yes, and even when you preside at the blackboard yourself, give the class pencils and paper occasionally, and let them copy what you draw. Their attention will be assuredly fixed, and an ineffaceable impression made on their memory. The drawings they complete, however crude, they will be glad to carry home to show their parents, and treasure as souvenirs of the lesson, or keep, if you choose, against the coming review day. If you use this method, you will soon come to cherish a deeper liking for that prime pedagogical virtue, simplicity.

For a final word: Take pains that your word-pictures keep pace with your chalk. Don't ask your class what you have drawn—that might lead to embarrassing results! Tell them. Put in all sorts of graphic little touches, even though you cannot draw a tenth of what you are talking about. The man on the Jericho road—how full of fear he was as he walked; how he whistled to keep up his courage; how one robber peeped from behind a rock, and another whispered, "He's coming!" how they sprang out, and he ran, and a third rascal sprang out in front and knocked him down; how he shouted, "Help! Thieves! Help!" and how only the echo answered him in that lonely place—all this must have happened many a time on that Jericho road, and you have a perfect right to stimulate with such natural and inevitable details the imagination of the children.

That is what they are for—both our word-picturing and our chalk-picturing: not to exhibit our nimbleness of wit or of finger, but to quicken the minds of the children,—that alone,—and make them more eager in the pursuit of truth.