Pictures are in themselves a language--the oldest as well as the most universal tongue of the world. The primitive man of all races resorted to a picture-writing in his first efforts to transcribe his thoughts and emotions into a more lasting form than the oral expression. Our earliest authentic history of the customs, beliefs and life of the ancient Egyptians, the Babylonians, the Chinese and even our own American Indians comes to us from the pictured records they left on stone, wood or clay. In the present age, what child does not yield to the magic rhythm and the compelling lilt of the old nursery rhymes! With what added joy does he discover that there are pictures for these treasured jingles! And long before the printed words can be recognized he enters the alluring world of books by "reading" the illustrations. With glowing eyes on the picture he repeats the rhyme he had learned from its many demanded repetitions. By giving him simple, clear, realistic conceptions through pictures, we influence the child to read eagerly the text, to discover the whole story, of which such a fascinating hint is given in the portion illustrated. These first pictures must satisfy the child's love of action and movement, and portray only the most dramatic scenes, the big important facts with all superfluous happenings omitted. In fables, where the primary purpose is to convey an abstract truth, a something bigger and broader than the mere interesting events described, the illustrations add much to the meaning and purpose of the text. Here the artist shows not only the physical attributes of the real animal, but in a subtle way goes a step further and through the features or the attitude suggests the characteristics attributed in the fable. Thus unconsciously the little reader gets from the picture an increased conception of the sly, clever, crafty ways of the fox or the slow, plodding, steadfast patience of the tortoise. As literature develops from the simple nursery rhyme and the brief, abrupt fable to the fairy tale with its illusive beauty, so the pictures should advance in a parallel and a closely related manner. The illustrations now take on a mysterious, unreal, esthetic quality, in harmony with the world of fairy lore, and train the imagination as much as the direct words of the author. The child realizes that the forest scenes which furnish the background for so many of his favorite fairy tales have a subtle beauty which has never been seen by him. Gradually through such pictures he is led to seek an ideal beauty in the real world. He also becomes able not only to appreciate the poetic rendering of this expression of the ideal but is capable of forming more varied mental images of things about which he reads; to put more of his own individuality, his own conceptions, into his mental picture.