those of avian |)syclioIojj\ , and of tin- tlomotic ami Micial rclatinn- oi iIr- l>iri|s, — 

 in short, the life inti-rcsts. 



While the anthnr's point of view has been that of a hinl-lover, some things 

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

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

 interests of sport and the interests of science must sometimes come into conlhct 

 with those fif sentiment: and if one confesses allegiance to all three at once he 

 will inevitably a[)pear to the partisans of either in a ba<l light. However, a real 

 principle of unity is found when we come to regard the bird's value to society. 

 The (juestion then becomes, not. Is this bird worth more to ;;;»• in my collection or 

 u|}on my ]>late than as a living actor in the drama of life? but. In what cajiacity 

 can this bird best serve the interests of mankind? There can be no doubt that the 

 answer to the latter (|uestion is usually and increasingly, .Is a Ihiiuj bird. StutTed 

 specimens we need, but only a representative number of them; onlv a limited few 

 of us are fitted to enjoy the ])leasures of the chase, and the objects of our passifin 

 are rapidly passing from view anyway : but never while the hearts of men arc set 

 on peace, and the minds of men are alert to receive the im])ressions of the Inlinite, 

 will there be too many birds to sjjcak to eye and ear, and to minister to the 

 hidden things of the s|)irit. The birds belo?ig to the jieople. nf>t to a cli(|uc or a 

 coterie, but to all the peo])le as heirs and stewards of the good things of (iod. 



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 i)leasant conviction, 

 born of desire ])erha])s, that the bird in art is ilestined to tignre much more largely 

 in future years than heretofore. We have learned something from the Japanese 

 in this regard, but more perha]>s from the camera, whose revelations have marvel- 

 ously jiistilied the conventional conclusions of Japanese decorative art. Nature 

 is ever the nursing mother of Art. While our function in the text has necessarily 

 been inter])retative, 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 ])hotographs are faithful jiresentations 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 u|)on the <liscovery. 

 virtually in fuir midst, of such a promising bird-artist as Mr. .Mian Finxiks. I 

 can testify to the ti<lelity of his work, as all can to the delicacy and artistic feeling 

 displayed even luider the inevitable handica]) of half-tone re]>roduction. My 

 sincerest thanks are due Mr. lirooks for his hearty an<l generous coiiperation in 

 this enter])rise: 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 i- a 

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



