those of avian psycholog}-, and of tlie domestic and social relations of the birds, — 

 in short, the life interests. 



\\hile tlie autlmr's point of view has been that of a bird-lcjver, some things 

 herein recorded may seem inconsistent with the claim of that title. The fact is that 

 none of us are (|uite consistent in our attitude toward the bird-world. The 

 interests of spurt 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 unitv is found when we come to regard the laird's value to society. 

 The question then becomes, not. Is this bird worth more to iiic in my collection or 

 upon my plate than as a living actor in the drama of life? but. In what capacity 

 can this Ijird best serve the interests of mankind? There can l)e no doubt that the 

 answer to the latter (|uestion 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 jileasant 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, wdiose revelations have marvel- 

 ously justified the conventional conclusions of Japanese decorative art. Nature 

 is ever the nursing mother of Art. While cmr 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 

 anv retouching or modification of photogra])hs. Excejit, 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. 



In this connection we have to congratulate ourselves upon the discovery, 

 virtually in our midst, of such a promising bird-artist as Mr. Allan Brooks. I 

 can testify to the fidelity of his work, as all can to the delicacy and artistic feeling 

 displayed even under the inevitable handicap of half-tone reproduction. My 

 sincerest thanks are due ^Nlr. Brooks for his hearty and generous cooperation in 

 this enterprise; and if our work shall meet with approval. I shall feel that a large 

 measure of credit is due to him. 



The joy of work is in the doing of it. while as for credit, or "fame," that is a 

 mere by-product. He who does not do his work under a sense of privilege is a 



