x. 
those of avian psychology, and of the domestic and social relations of the birds,— 
in short, the /ife interests. 
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, 4s 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 marvel- 
ously 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. 
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 Mr. Brooks for his hearty and generous codperation 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 
