While the author’s point of view has been that of a bird-lover, some things herein recorded may seem inconsistent with the claim of that title. The fact is that none of us are quite consistent in our attitude toward the bird-world. The interests of sport and the interests of science must sometimes come into conflict with those of sentiment; and if one confesses allegiance to all three at once he will inevitably appear to the partisans of either in a bad light. However, a real principle of unity is found when we come to regard the bird’s value to society. The question then becomes, not, Is this bird worth more to _me_ in my collection or upon my plate than as a living actor in the drama of life? but, In what capacity can this bird best serve the interests of mankind? There can be no doubt that the answer to the latter question is usually and increasingly, _As a living bird_. Stuffed specimens we need, but only a representative number of them; only a limited few of us are fitted to enjoy the pleasures of the chase, and the objects of our passion are rapidly passing from view anyway; but never while the hearts of men are set on peace, and the minds of men are alert to receive the impressions of the Infinite, will there be too many birds to speak to eye and ear, and to minister to the hidden things of the spirit. The birds belong to the people, not to a clique or a coterie, but to all the people as heirs and stewards of the good things of God. It is of the esthetic value of the bird that we have tried to speak, not alone in our descriptions but in our pictures. The author has a pleasant conviction, born of desire perhaps, that the bird in art is destined to figure much more largely in future years than heretofore. We have learned something from the Japanese in this regard, but more perhaps from the camera, whose revelations have marvelously justified the conventional conclusions of Japanese decorative art. Nature is ever the nursing mother of Art. While our function in the text has necessarily been interpretative, we have preferred in the pictures to let Nature speak for herself, and we have held ourselves and our artists to the strictest accounting for any retouching or modification of photographs. Except, therefore, as explicitly noted, the half-tones from photographs are faithful presentations of life. If they inspire any with a sense of the beauty of things as they are, or suggest to any the theme for some composition, whether of canvas, fresco, vase, or tile, in things as they might be, then our labor shall not have been in vain.