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PRACTICAL STUDIES IN 
 THE GIFTS. 
 
 ILLUSTRATED 
 WITH.... 
 
 CHARACTERISTIC EXERCISES. 
 
 BY 
 
 JEANNETTE GREGORY WEST, 
 
 PRACTICAL SUGGESTIONS FOR KINDERGARTNERS. 
 
 ST. LOUIS: 
 
 WOODWARD & TIERNAN PRINTING CO. 
 
 1599. 
 

 TWO COPIES BHCEIVEB 
 
 Library of Congfe»% 
 
 Oni 1 - IRpq 
 
 R«gl«t»r of Copyrlghfi^ 
 
 48699 
 
 SECOND COPY. 
 
PREFACE 
 
 T 
 
 HIS wui-k is intended to J6j.-ilitate the work otVt^ie student in the Training Class, 
 by eliminating much of the mechanical work of copying necessary information, 
 
 Copyrighted, October 18th, 1899. 
 
 BY 
 
 JEANNETTE GREGORY WEST. 
 
 dozen ways uithciut completing any one. and thus his cai)rice is held in check hy creating 
 a love for accomplishment. 
 
 Xor slmuld the universal (|ualities which are presented in such variety in the 
 Gifts, fail t(i recei\e their proper share of attention: syin/^aflictic presentation (>( the 
 Gifts shijulil not he construed to mean i\';;//';;ir///(;/ presentation, and every child should 
 at least live through a definite experience, whether he has reached the point where he is 
 able to fcirmulale the experience or not. 
 

 TWO COPIES BKCElVEflk 
 
 SECOND COPY* 
 
PREFACE. 
 
 THIS work is intended to fccilitate the work of-t^ic student in the Training Class, 
 by ehniinating- much of tiie mechanical work of copying- necessary information, 
 and so jierniit I if more work in original application of the important characteris- 
 tics of each gift. 
 
 The student should he encouraged to invent exercises which are adai)ted to the 
 special conditions which she meets in the particular Kindergarten in which she takes 
 obserwatious or does practice work. 
 
 While the Gifts lend themselves readily to the expression of even the capricit)us 
 fancy of the child, it is wise to rememlier that there are certain fundamental principles 
 involved in their use. upon which depends largely the character-building of the child. 
 
 To build the character, we must form the habit; to form the habit we must direct 
 the tendency, and to direct the tendency wc must possess the ability to centralize the 
 interest of the child ; this ability can only be present in the Kimlergartner who has mas- 
 tered the full possibilities of the Gifts and is therefore in a position to recognize new 
 applications of the principles. She. it is who has inventive children in her Kindergarten 
 because site Iciiok'S Iioik' to be suggestive zvitlunit ilestroyiiig the cliilJ's original idea 
 ami rel^laeiiig it leilli her ozeii. She lets hini Imild his crude iKJUse and come to a con- 
 sciousness of its lack of doors and windows, through the exercise of his own observa- 
 tion and a silent comparison with the better ones which he sees : in every case where the 
 child can (liseoz'er an original illustration of the iilea which is being considered, he is 
 permitted to do so, but a whole idea is recpiired: he is not allowed to begin a half 
 dozen ways without comi)leting any one, and thus his caprice is held in check l)y creating 
 a love for accomplishment. 
 
 Xor should the universal cpialities which are ])resented in such variety in the 
 Gifts, fail to receive their proper share of attention; syiiihithetie presentation of the 
 Gifts should not lie construed to mean .sT;;//;;/r;//'i;/ presentation, and every child should 
 at least li\-e throngh a definite experience, wlietlier he h.as reacheil the point where he is 
 able to formulate the experience or in^t. 
 
THE KINDERGARTEN, 
 
 I. The Kindergarten system is an organic unity composed of many phases, all of 
 which bear some important relation to the deveIo])ment of the child, and are inteiifled to 
 arouse, stimulate and develop the activities by an appeal to Feeling, Thought and Will. 
 
 II. Keeping in mind the development which follows voluntary exercise of individual 
 power, the kindergarten places great stress upon creative activity. 
 
 III. Universal qualities are presented in direct contrast that the mind may be led to 
 comparison ; these contrasts are mediated and resolved into a unity by observing the law of 
 continuity or logical connection. 
 
 I\'. The objects used are typical in their nature and become therefore the bases for 
 classification of the objects of the external world, while at the same time, their suggestive- 
 ness and adaptability render them most valuable in securing the interest and arousing the 
 inherent powers of the child. 
 
 GIFTS AND OCCUPATIONS. 
 
 The division into Gifts and Occupations, of the material which the child handles daily 
 in the kindergarten, is liased upon the fact that one portiun is used for transitory expres- 
 sion, while the other portion is used for permanent expression. 
 
 L'nder the head of Gifts therefore is included all material which is held in readiness for 
 the use of the child, at certain times, to express through self-activity, the varied impressions 
 awakened by repeated experiences, after which use, the material is arranged in its proper 
 form and order and removed. 
 
 In contrast to these Gifts, the Occupations consist of material furnished the child for 
 the purpose of embodying in permanent outward form, the definite ideas which are the nat- 
 ural outgrowth of systematic expression of experiences through the gifts, and the results 
 are retained by the child as the outward visible evidence of his personal Icnowledge of the 
 elements used in combination. 
 
 The Gifts and Occupations together form a connected sequence, in which there is an 
 orilerly movement from solid to point, and from point back agaiii t<i solid, the movement 
 in the Gifts being analytic, beginning with the solid and liy grailnal elimination of the dimen- 
 sions, length, breadth and thickness, arriving at the point, where the Occupations be^rin a 
 synthetic movement by combining elements, point, line, surface, gradually restoring the di- 
 mensions, length, breadth, thickness, and thereby arriving at the starting point, i. c., solid. 
 
 THREE DIVISIONS OF GIFTS. 
 
 The Gifts divide naturally according to tluir gi-neral characteristics into three sets, or 
 groups, 
 
 1 ^-Trr. 
 
 Consisting of undivided solids, includes Iwd gifts, cal 
 objects in this set are complete in themselves and are not v 
 dependent one upon the other, the removal of ont- form, im 
 
 irst an<l Sec: 
 
 .nd Gifts; the 
 
 ■elated in the 
 
 sense of being 
 
 ■ting the oth 
 
 ers, vet all are 
 
necessary to maintain a unity based upon an external idea which connects them, and which is 
 developed by a comparison of resemblances and differences in the qualities of the objects as 
 wholes, these distinctions being made not in any one, but lietween the several objects. 
 
 The First Gift consists of six soft woolen balls, each having a string attached and 
 showing the six normal colors, red, orange, yellow, green, blue, violet. 
 
 The Second Gift consists of a wooden sphere, cube and cylinder. 
 
 II SET. 
 
 Consisting of divided solids, includes four gifts, called the Building Gifts, because of 
 their division into parts, which makes it possible to transform the original whole into new 
 and varied wholes. 
 
 In this set the unity is inherent and the relation between parts and whole is vital, be- 
 cause of the dependence of one upon the other; emphasis is placed upon the construction of 
 wholes and thus the tendency to use every element to create wholes is established; this con- 
 crete experience with external wholes leads to the development of the idea of wholes in the 
 mind of the child. 
 
 There is a progressive advance in the four gifts, involving increasing complexity in 
 number and form relations and demanding a constantly increasing capacity on the part of 
 the child. 
 
 The Third Gift is a two-inch cube divided into eight small cubes, the parts being simi- 
 lar to each other and to the whole gift. 
 
 The Fourth Gift is a two-inch cube divided into eight oblong prisms or parallelopipeds, 
 the parts being like each other, but unlike the whole. 
 
 The Fifth Gift is a three-inch cube divided into thirty-nine (39) parts, twenty-one (21) 
 of which are cubes resembling each other and also the whole gift, while eighteen (18) 
 parts are triangular prisms of two sizes, like each other, but unlike the whole. 
 
 The Sixth Gift is a three-inch cube divided into thirty-six (36) parts, eighteen (18) of 
 which are oblong prisms or parallelopipeds, twelve (12) square prisms whose bases are 
 one-inch squares, and six (6) square prisms whose liases are one-half (y'z) inch squares. 
 
 III SET. 
 
 Consisting of separate, unrelated elements, representing planes, lines and points, in- 
 cludes three gifts, Seventh Gift, Eighth Gift and Ninth Gift. 
 
 In this set of gifts the unity is not emphasized as the child is supposed to have passed 
 from the stage wdaere the external whole is necessary, and the idea of wholes having been 
 established in the mind, he is able to use the separate elements to express in visible form, 
 an idea which exists as a unity in his own mind. 
 
 The Seventh Gift consists of an assortment of wooden tablets representing geometric 
 l)lanes : square, right, acute, and obtuse isosceles triangles, right and obtuse scalene, and equi- 
 lateral triangles. 
 
 The Eighth Gift represents the line and slioiild include the slats for interlacing, sticks 
 of various lengths, and rings, half rings and quarter rings. 
 
 The Ninth Gift represents the point and consists of lentils or small seeds. 
 — 2 — 
 
^^^ 
 
 
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RELATIONSHIP OF THE GIFTS AS A WHOLE, 
 TO THE CHILD. 
 
 Since Froebel emphasizes so strongly the necessity for arousing every part of the child's 
 nature, it follows that the exercises with the gifts should make a well-balanced appeal to 
 Feeling, Thought and Will, and also suggest the relationship to Nature, to Man and to 
 God. 
 
 The sympathetic side is aroused by connecting the exercises with his home and daily 
 experiences; his thought is stimulated by observation, formulation, and analysis, and his 
 Will strengthened by requiring definite acts in accordance with established law. 
 
 In order that the child's relationship to Nature may be defined through the use of the 
 gifts, they are arranged to suggest the two great classes in Nature, the Inorganic and the 
 Organic ; through the quality of Form they are related to the material objects of Nature and 
 thus become types by which these objects maybe classified thereby serving as a key to unlock 
 the mysteries of the universe through a knowledge of universal qualities. 
 
 The relationship to humanity is suggested by the representation of the productions of 
 man which surround the child, familiarizing him with the activities of the producing world, 
 with the elements of artistic production, and the laws of proportion which govern harmon- 
 ious construction. 
 
 The relationship to God is manifest in the effort to lead the child from an external 
 sense of unity to an individual conception of unity back of all variety, by relating all sepa- 
 rate conditions into a connected whole bound together by a single vital thought ; thus the 
 conception of the created world as an expression of God's thought begins to be dimly felt 
 by the child, the more so because of the already existing power of spiritual discernment which 
 he possesses. 
 
 To this end we may deduce the folloiving points — All gift exercises should 
 
 1. Emphasize some salient idea. 
 
 2. Afford the child an opp(jrtunity for individual self-expression. 
 
 3. Arouse, stimulate and develop creative activity. 
 
 This is accomplished through the three sets of gifts, as follows: 
 
 I SET. 
 
 I. The salient idea is to bring the universe into the child's experience/through reflec- 
 tion,: by aruusiiig and directing observation upon familiar objects. ^ 
 
 II. They afford the child a simple means for self-expression because they arouse his 
 indefinite thought by their suggestive, adaptability. 
 
 III. They arouse creative activity, by .securing the child's interest in the active side of 
 life. 
 
 II SET. 
 
 I. The salient idea is to embody the idea of organic luiity and to hold up ])rogression 
 as a condition of development. 
 
 II. They stimulate self-expression, through constructive activity based upon individual 
 investigation. 
 
III. They stimulate creative activity, by the apphcation of the child's experiences in 
 the pr(i(hiction of new wholes which gratify his desire to see the result of his efforts. 
 
 Ill SET. 
 i. Salient idea, to emphasize the relation of elementary form to objects and design. 
 
 II. 'I'hey develop self-expression l»y removing the limitation of relationship of parts, 
 which, of course, removes all suggestiveness. 
 
 III. They develop creative activity by permitting absolute liberty in combination, thus 
 leading the child to plan his form mentally before attempting to produce it externally. 
 
 PRACTICAL PURPOSE OF THE GIFTS AS 
 A WHOLE. 
 
 I. To furnish an organized set of experiences, whereby the child may be led to abstract 
 the universal qualities common to ali objects by receiving concrete impressions of these qual- 
 ities in striking contrasts. 
 
 II. To furnish legitimate bases for the classification of external objects by presenting 
 the tyjiical form, a conception of which enables the child to recognize any modification of 
 type. 
 
 III. By simple application of concrete illuslration. to pre.>ent fundamental truths, such 
 as unity, continuity, mediation, sequence, etc. 
 
 IV. By engaging the child's interest in objects with which he is familiar, lo arouse 
 and stimulate creative activity. 
 
 While every part of the K. G. system takes cognizance of the threefold nature of the 
 child, it is the province of the Gifts to further his development by appealing more particularly 
 to his thought, hence we perceive in the gifts a great variety of opportunities for analysis 
 of universal qualities. 
 
DEFINITIONS. 
 
 1. (.ieometry is that branch of pure mathematics that treats of space and its relations; 
 the science of position and extension. 
 
 2. Extension is that property of matter, l)y virtue of which it has length, breadth, and 
 thickness. 
 
 3. A point has position merely ; no extension. 
 
 4. A line has length only. 
 
 5. A surface has length and lireadth. 
 
 6. A solid has length, breadth and thickness. 
 
 LINES. 
 
 1. A straight line is the shortest distance lietween any two points. 
 
 2. A polygonal line is one composed of a number of straight lines. 
 
 3. .\ curved line is one which changes its directi(.in at every point. 
 
 4. Parallel lines are straight lines which have the same direction. 
 
 3. Two curves which are everywhere the same distance apart, are called concentric 
 curves. 
 
 6. A vertical line is one which is perpendicular to the horizon. 
 
 7. A horizontal line is one wliich is parallel to the horizon. 
 
 8. .\n obliipie line is one which inclines between vertical and horizontal. 
 
 ANGLES. 
 
 1. An angle is formed by two lines meeting or crossing each other. 
 
 2. When one straight line meets or crosses another, so as to make the two adjacent 
 angles e(|ual, each of these angles is called a right angle and the lines are said to be perpen- 
 ilicular to each other. 
 
 3. An acute angle is one less than a right angle. 
 
 4. An iibtuse angle is one greater th.an a right angle. 
 
 PLANE FIGURES BOUNDED BY CURVED LINES. 
 
 1. .\ circle is a plane figure bounded by a curved line called the circumference, every 
 point nf wiiich is eciually distant from a point within called the center. 
 
 2. An elli])se is a plane figure bouniled by the intersection of a plane and cone, when 
 the ])lane passes ol)liqnely through the opposite sides of the cone. 
 
 3. An oval is a figure resembling the longitudinal section of an egg. 
 
POLYGONS. 
 
 1. A polygon is a plane figure terminated nii all siiles by straight lines. 
 
 2. A polygon of three sides is a Triangle. 
 
 A polygon of four sides is a Quadrilateral. 
 
 A polygon of five sides is a Pentagon. 
 
 A polygon of six sides is a Hexagon. 
 
 A polygon of seven sides is a Heptagon. 
 
 A polygon of eight sides is an Octagon. 
 
 A polygon of nine sides is a Nonagon. 
 
 A polygon of ten sides is a Decagon. 
 
 A polygon of eleven sides is a Undecagon. 
 
 A polygon of twelve sides is a Dodecagon. 
 
 TRIANGLES. 
 
 1. An Equilateral Triangle is one having three equal sides. 
 
 2. An Isosceles Triangle has only two sides equal. 
 
 3. A Scalene Triangle has no two of its sides equal. 
 
 4. y\. Right Triangle is one which has one right angle; the side opposite to the right 
 angle is called the hypothenuse. 
 
 5. Isosceles and Scalene Triangles may be distinguished as follnws: 
 Right, when one angle is a right angle. 
 
 Obtuse, when one angle is an obtuse angle. 
 .\cute, when all angles are acute. 
 
 QUADRILATERALS. 
 
 1. A Parallelogram is a Quadrilateral wliose op[iosite sides arc parallel: "f these there 
 are four : Square, Oblong, Rhombus and Rhomboid. 
 
 2. A Rectangle is a Parallelogram whose angles are all right angles ; of these there are 
 two; the Square and Oblong. 
 
 3. The Square is a Rectangle all of whose sides are equal. 
 
 4. The Oblong is a Rectangle whose adjacent sides are not e(|ual. 
 
 5. The Rhombus is a Parallelogram all of whose sides are e(|iial, but whose angles are 
 not right angles. 
 
 6. The Rhomboid is a Parallelogram whose arljacent sides are not equal ami whose 
 angles are not right angles. 
 
 7. The Trapezoid is a Quadrilateral which has only two sides parallel; of these, there 
 are two, shoe-shaped and boat-shaped. 
 
 8. The Trapezium is a Quadrilateral no two of whose sides are parallel. 
 
 SOLIDS. 
 
 1. A Sphere is a .solid bounded by one curved surface, all jioints of which are eiiually 
 distant from a point within called the center. 
 
 2. A Spheroid is a solid resembling the sphere, pmduced bv the revolution of an [ellipse 
 around one of its axes. 
 
 3. .'\n Oblate Spheroid is produced Ijv tiie revoluti.in of ;ni ellipse upon its conjugate 
 axis. 
 
4- -A Prolate Spheroid is produced by the revolution of an ellipse upon its transverse 
 axis. 
 
 5. A Polyhedron is a solid bounded by plane faces. 
 
 6. A Polyhedron of four faces is a Tetrahedron. 
 A Polyhedron of six faces is a Hexahedron. 
 A Polyhedron of seven faces is a Heptahedron. 
 A Polyhedron of eight faces is an Octahedron. 
 
 A Polyhedron of twelve faces is a Dodecahedron. 
 A Polyhedron of twenty faces is an Isosahedron. 
 
 7. A Prism is a solid, comprehended under several parallelograms, and having for 
 its bases equal polygons lying in parallel planes. 
 
 8. A Right Prism is one whose lateral faces are perpendicular to its bases. 
 
 9. An Oblique Prism is one whose altitude is less than the length of its sides. 
 
 TO. The Cube is a rectangular parallelopiped comprehended under six equal squares. 
 
 11. A Cylinder is a prism having for its bases polygons of an infinite number of sides, 
 (i. e.. circles.) 
 
 12. A Pyramid is a solifl formed by several triangular planes, proceeding from a point, 
 and lerniinating in the sides of a polygon. 
 
 13. .\ Pyramid whose base is a pi.ilygon of an infinite numlier of sides is called a cone. 
 
 14. The Frustrum of a Pyramid or Cone is that portion which remains after taking 
 away the smaller pyramid or cone, which has Ix'cn cut by a plane parallel to the base. 
 
 ELEMENTS OF MATHEMATICAL FORM. 
 
 'oint. _>. Lines. 3. Angles. 
 
 Curved. Right. 
 
 Straight. Acute. 
 
 Vertical. Obtuse. 
 Horizontal. 
 Oblicjue. 
 
 PLANES. 
 Plane Figures bounded by Curved Lines. 
 Circle. Ellipse. Oval. 
 
POLYGONS, OR PLANE FIGURES BOUNDED BY STRAIGHT LINES 
 TRIANGLES. 
 
 E(iui 
 
 Isosceles 
 It. .\oute, ( 
 
 farallelo-rams. 
 RectaiiLjles, .S(|uare and ( )l)loiig. 
 Rhombus. 
 Rhomboid. 
 
 QUADRILATERALS. 
 
 Trajjezoids. lioat and Shoe-shaped. 
 Trapezium. 
 
 I'olyg'ons of more than four sides. 
 
 I'entagon. 
 Hexagon. 
 Heptagon. 
 ( )etagon. 
 
 Sphere, 
 
 
 Nonagon. 
 
 
 
 Decagon. 
 
 
 
 ITndecagon. 
 
 
 
 Dodecagon. 
 
 
 
 SOLIDS. 
 
 
 I. SoHds liounded by curved 
 
 surface. 
 
 Spheroid, 
 
 
 Conoid 
 
 Oblate, Prolate. 
 
 
 
 Ovoid, 
 
 2. Solids bounded by Polygons 
 
 Prisms. 
 Triangular Prism. 
 
 Cube, which is also a Square L'rism. 
 .Stjuare Prism. 
 C)blong Prism. 
 Rhombic Prism. 
 Rbomboidal Prism. 
 Trapezoidal Prism. 
 Prism, whose bases are Trapeziums. 
 Pentagonal Prism. 
 Hexagonal Prism. 
 Heptagonal Prism. 
 Octagonal Prism. 
 
 Pyramids. 
 Triangular — ( Base niav be any triangle.) 
 Quadrangular — ( liase may be any quad.rilat- 
 
 3. Solids bounded by curved and straight surf.ace 
 Prism — Cylinder. P\ramid- 
 
 — 9 — 
 
KINDERGARTEN METHOD OF DEVELOPING 
 TYPICAL IDEAS. 
 
 PROCESS. 
 
 1. Begin with an activity. 
 
 2. Tell what you have done. 
 
 3. Does anything else do this ? 
 
 4. Does this do anytliing else? 
 
 5. Make the object. 
 
 6. Make things from the object. 
 
 GHNHRALIZATION. 
 
 1. Activity in contrast. 
 
 2. Observation and statement. 
 
 3. Illustration of the general idea. 
 
 4. Progressive definition of individual object. 
 
 5. Reproduction. 
 
 6. Transformation, or application. 
 
 INTELLECTUAL RESULTS. 
 
 1. Perception awakened. 
 
 2. Consciousness of the idea and furnuilatiim in words. 
 
 3. Knowledge of typical activities or qualities. 
 
 4. Deepens idea of individual object. 
 
 5. Exactitude in reproduction. 
 
 6. Develops type. 
 
 EXPLANATION. 
 
 Point I. By beginning our exercise with an activity we attract and hold the child's at- 
 tention and secure his interest upon the single activity, which is set up in contrast to the many 
 which constantly engage him from time to time; through liis interest a perception of the ac- 
 tivity is awakened and a basis thus secured for the growth of a definite idea. 
 
 Point 2. By telling what has been done the eye is led to observe and the mind led to 
 concentrate, which results in a conscious knowledge of the particular action through the 
 formulation. 
 
 Point 3. P.v telling what other things have the same activity leads to illustration of the 
 single activity, exercising the faculty of comparison by searching for resemblances, also ex- 
 ercises the power of recognition and prepares for classification. 
 
 Point 4. Deepens the knowledge of the individual object by discovering new ])ossil)ili- 
 lies and results in arousing the faculty of investigation. 
 
 Point 5. Making the object tests the clearness of the child's knowledge as well as his 
 ability to execute, revealing the limitation of his power and creating a desire for exactitude in 
 reproductions. 
 
 Point (1. Transforming into other objects forms the haljit of searcliing for the typical 
 foi'm under various modifications, and creates a desire to invent new forms from the already 
 known form. 
 
 — 10 — 
 
FIRST GIFT OUTLINE. 
 
 I. Description of the gift. II. Salient Characteristic of the gift. 
 
 III. Relationship in the sequence of gifts. IV. Practical purpose of the gift. 
 
 V. Relationship to the child. 
 
 I. The I'irst Cift consists of a set of six soft, woolen Kails, with strin.i;s attacheil, each 
 hall having one (.if the normal colors of the spectrum, red, orange, yellow, green, lihie, violet. 
 
 II. The Salient characteristics of the First ( iitl, are simple unit\' and ready movahilit\-. 
 
 III. The I'"irst Gift forms the starting point in the se<iuencc of gifts; containing as it 
 does, all the universal cjualities, without emphasizing any one, a basis is thus laid for a pro- 
 gressive knowledge of these qualities, as the child moves out of his general experience with 
 the first gift into more particular experiences with objects more definite and restricted in their 
 nature; the contrast which exists in color results in defining the form of the ball, while the 
 contrast between straight and curved illustrated by liall and string results in laying a basis 
 for classification of solids bounded liv curvilinear ;uid lectilinear surfaces. 
 
 I\'. The practical purpose ..f the gift is toawaken and utilizelheobser\ ;Ui. m of the child, 
 li\ leading him In gather up his v.irinus experiences and become nieasurabl\ conscious of them 
 by an attempt to express them; in the first stage this self-expression takes the form of an 
 indefinite activity, which is gradually made over into a definite and conscious experience 
 through the avenue of suggestive words which explain the activity. 
 
 W The gifts being designed to meet the needs of the child at characteristic stages of his 
 development, it follows that each gift must in a manner correspond to the condition of the 
 mind at the stage for which it is intended; the First Gift reflects the unity of the ciiild's 
 mental condition, by the simple unity of its form; also, the instinctive activity of the child 
 by its ready adaptability to motion. Through manifold experiences with the first gift, the 
 power of recogifition is developed and the chikl is led to view the external world a[iart 
 from himself. 
 
 CHARACTER OF FIRST GIFT EXERCISES. 
 
 The keynote of the I'irst Gift exercises being activitv, the child is readily attracted to 
 and interested by them, s(_i the kindergartner finds the First Gift invaluable in helping her 
 to bring about that absence of self-consciousness which is the forennmer of spontaneous 
 self-expression, without which she cannot arouse the faculties to that voluntary action which 
 is so greatly emphasized by Froebel. 
 
 The exercises are arranged so as to include the dailv life-experiences with which the 
 child is familiar in an accidental and transitory fashion, but which are now presented in a 
 definite manner, and repeated under various condi 
 lying quality has been made ; the presentation alwn 
 threcff>ld appeal to Feeling, Thought and Will is ma 
 
 The exercises illustrate noticeabh the follow in 
 
 ons until some impressio 
 ■s takes on the svmpathet 
 e though Melo,ly, Word 
 
 n of th 
 ic forn 
 and Gi 
 
 ■ general ideas: 
 
 
 M( 
 
 >\\ 
 
 ■me 
 
 nts 
 
 of 
 
 nati 
 
 in 
 
 il 
 
 Ab 
 
 ,ti, 
 
 HIS 
 
 ci in 
 
 nec 
 
 •ted 
 
 w 
 
 ith 
 
 Goi 
 
 lor 
 
 in 
 
 eibjc 
 
 ■cts 
 
 
 
 
 ijects. 
 
I. DIVISION. 
 
 Under this division would be included all the sympathetic songs which attract attention 
 to the life in Nature; activities, of birds, being emphasized. 
 
 II. DIVISION. 
 
 Includes songs which illustrate moving wheels, bells, pendulum, rolling balls. 
 
 III. DIVISION. 
 
 Includes songs which illustrate color in birds, fruits, flowers. 
 
 SUGGESTED EXERCISES. 
 
 In giving exercises with the First Gift it is well to maintain one dominant idea through- 
 out the exercise, as children are prone to confuse the symbolic terms employed, and thus 
 gain false impressions through too rapid change from one idea to another. 
 
 Very little word analysis should be given to the yovmger children, but they should be 
 encouraged tn f'lrnndate simply, the activities which engage them: however, it is not well 
 to stop in the middle of a song-sequence to ask questions, as it breaks the logical connection 
 and tends to divert the attention ; after concluding the following set of songs, questions might 
 be asked about the nest and its fitness for the birds, its location, and leading out from this 
 a short talk upon the varieties of nests, would interest the children, and tend to leave a defi- 
 nite impression upon their minds. 
 
 EXERCISE No. 1. 
 
 Dominant idea — Bird life; attention attracted to the nest as the home of the bird, with a 
 view to giving a sense-impression of the form of the ball, by concentrating observation 
 upon it. 
 
 Just see our nice, warm nest. 
 Where the baby birds may rest ; 
 Until they learn to hop and fly 
 To take good care of them, we'll try. 
 So here we will let them stay 
 Until they learn to fly away. 
 
 Up in a large, green tree. 
 Far from the ground, yoti see : 
 The mother robin builds her nest, 
 A cherry tree she likes the best. 
 There are plenty cherries, j-ou see 
 For the robins, and you and me. 
 "Now lake this little Ijall," page 67, "Merry .Songs and Games." 
 
 — 12 — 
 
2. "Hush-a-bye birdies, 
 I'll sing you a song; 
 
 Une that is sweet and not very long ; 
 Peep, peep, go to sleep, 
 Peep, peep, go to sleep." 
 
 3. "Hush-a-bye birdies, 
 ril sing you to rest, 
 
 Nothing shall harm you safe in your nest. 
 Peep, peep, go to sleep. 
 Peep, peep, go to sleep." 
 
 4. Rock-a-bye birdies on the tree top. 
 When the wind blows the cradle will ruck. 
 And the birds sleep so snug in their nest : 
 While tlieir mothers keep watch o'er their rest. 
 
 Tunc, page 69, "Merry Songs and Games." 
 
 5. "Sleep, birdies, sleep, thy nrnthcr watch will keep. 
 The stars are shining high up in the sky. 
 
 The moon i.s quietly watching nigh. 
 Sleep, birdies, sleep." 
 
 (1. .\nd, now, while the birdies rest. 
 Each in his uwn little ne.st. 
 We'll softly put each (..ne away, 
 Then again Sduie nthi-r da\-. 
 We'll all together play 
 .\ happy, happy play. 
 Tune, page 67, "Mcrrv .Sinigs and (janies." 
 
 E.XERCISE No. 2. 
 
 Dominant idea — Progressive development of the activity of the bird : after linishing the 
 song-sequence, draw from the children, in story form, the successive steps in the growth of 
 the bird. 
 
 1. Repeat the first nest song of Exercise Xn. i. 
 
 2. "The little bird hups in its nest, so cozy and su warm. 
 It tries to do its very best in sunshine and in sturm." 
 
 3. "The little l)ird Imps ,);(/ of its nest, su cuzy and .so warm. 
 It tries to do its very best in sunshine and in slurm." 
 
 4. The little bird hops back to its nest, su very tired is lie. 
 
 And cuddles down to take a rest up in this sliady tree. 
 
 And then his wings will be strong enuiigh tu dv awav, vun see. 
 
 5. b'ly little bird up, up so high, * 
 Where the sunbeams live in the bright, blue skv. 
 
 When you are sleepy, fly back to your nest. 
 And we'll sing you a song wdiile you sweetlv rest. 
 Tune, page 83, "Merry Songs and Games." 
 
 — 13 — 
 
6. "O, fly little birds on the hill-top, fly away, 
 We love to see you gaily flying day by day. 
 
 But soon you will come back to your mother's nest. 
 She'll keep you safe from every harm and give you rest." 
 Tune, "My Song I Sing," "Merry Songs and Games." 
 
 7. Birds fly up, birds fly down. 
 Birds go hopping all around ; 
 Birds fly up, etc., repeat. 
 
 Tune, "Skating Song," "Merry Songs and Games." 
 
 8. "We birds we are a merry set, we hop and fly together, 
 Our merry tunes cheer up the world, 
 
 They sound through field and meadow." 
 
 (One-half the balls, for hopping birds, the other half for flying birds.) 
 
 "So happy and so free we are, .we find what gives us pleasure; 
 
 Prepared for us, we find our fare, and in no scanty measure. 
 
 And when we have passed a cheerful day. 
 
 We nestle in the bushes. 
 
 And dream sweet dreams as we slumber still 
 
 Till morning early blushes." 
 
 E.XERCISE No. 3. 
 RuUing Games. 
 Dominant idea — Rhythmic motion ; devebipment of conscious concentration of attention. 
 
 1. "Roll over, come back liere, so merry and free. 
 My play-fellow dear, who shares in my glee!" 
 
 2. One, two, three, now you sec, 
 Balls roll over, light and free ; 
 One, two, three, now you see. 
 Balls roll over, light and free, 
 
 3. "Si-x little balls on the table, I see, 
 Bright and soft as balls can be : 
 
 If your aim shall be quite true, 
 Tlien we all will clap for you." 
 
 Tune : 
 
 4. I, 2, 3, roll— varv counting so as to hold attention to the word "roll." 
 T.2, 3. roll, 
 
 EXERCISE No. 4. 
 Dominant idea — Circular motion. 
 I. "Round and round it goes, as fast as water tlrnvs. 
 
 The dripping, dropping, rolling wheel 
 
 That turns the noisy, dusty mill. 
 
 Round and round it goes, as fast as water flows." 
 
 — 14 — 
 
2. "See the water wheel, how it goes, 
 While the water swiftly flows. 
 Always turning round and round, 
 Never idle is it found." 
 
 3. "See the windmill, how it goes. 
 While the wind so briskly blows ; 
 Always turning round and round. 
 Never idle is it found." 
 
 4. "See the ball go round and round 
 Like the wheel upon the ground." 
 Always turning round and round. 
 Like the wheel upon the ground 
 
 5. "Move quickly round and round, like a wheel upon the ground. 
 And as thus round and round you move, 
 
 You're still the little ball I love, 
 Move (|uickly round and round. 
 Like a wheel upon the ground." 
 
 EXERCISE N.I. 5. 
 Dominant idea — Active presentation of the iilea nf direction. 
 
 1. A ball on the table there, I take in my hand right //.vv, 
 Balls of yellow, red and blue 
 
 Some for me and some for you, 
 
 I hold mine in my hand, and quite still let it stand. 
 
 2. "Now, let your soft ball rise, up, uijwartl U< the skies, 
 
 Trees and flowers all things below, upward, upward try to grov 
 Now let your soft ball rise, up, upward to the skies." 
 
 3. "I'.ell high in the steeple. 
 Calls to church the people. 
 
 Ding, (long, ditig, dong, ding, dong bell." 
 
 4. "b'rom front to back now swing, you |)r.;tty little thing. 
 Like the church bell slowly ring. 
 
 Ding, dong, ding, dong, ding dong, ding. 
 
 From front to Iiack now swing, you pretty little thing." 
 
 5. "Now swing from left to riglit, while I the string hold tight. 
 The pendulum moves thus you know. 
 
 Tic, tac, it says, not fast, not slow. 
 
 Now swing from left to right, while T the string hold tight." 
 
 6. "Now, dear little friend, our play is at an end, 
 
 .Since we have done our very Iiest, we now will take a nice Ion; 
 And on another day, again together play." 
 
 — 15 — 
 
EXERCISE No. 6. 
 
 Dominant idea — Atttraction to and observation of color in fruits. 
 I. We all are little market men, with fresh, ripe fruit to sell. 
 And if you'll come and buy of us, we'll surely treat you well. 
 Ripe cherries, ripe cherries, ripe cherries to sell. 
 Ripe oranges, ripe oranges, ripe oranges to sell : 
 Yellow lemons, yellow lemons, yellow lemons to sell : 
 Green apples, green apples, green apples to sell : 
 Blue plums, blue plums, blue plums to sell ; 
 Ripe grapes, ripe grapes, ripe grapes to sell, 
 O ! come and buy of us we'll surely treat you well. 
 The children take up the refrain in order, holding up the halls which correspond in color 
 ) the fruits as they sing about them ; all join in the last line ; then choose one child to sell 
 ;veral of the same kind, the children putting them away as they receive them ; after all are 
 lid different children find them, thus developing observation and memory. 
 
 EXERCISE No. 7. 
 Dominant idea — Color in birds. 
 
 1. I'm a red bird, a red bird, and the whole winter long, 
 In the far-away south, I sing gaily my song; 
 
 .\nd my neighbor, the oriole, hangs her nest up so high 
 Where the soft winds are blowing, a sweet lullaby. 
 
 2. And this is a canary, a bright little bird. 
 
 Who sings sweetly and softly, I know you have heard ; 
 
 And here is the parrot, from over the sea. 
 
 Where the orange tree blossoms his home used to be. 
 
 3. See the blue bird, the blue bird, so early in spring. 
 From trees that are leafless, his song he will sing. 
 And the last is a pigeon with a violet ring. 
 
 Which he wears round his neck and he shows in his wing. 
 
 4. We are birdies, we are birdies, so fearless and true, 
 We are happy, we are happy be the skies dark or blue. 
 Like us little children be happy and gay. 
 
 If sunshine or shadow come over your way." 
 ( .Adaptation of the si.x bird songs in "Merry Songs and Games.") 
 
 EXERCISE No. 8. 
 
 Diiminant idea — Color in flowers. 
 1. My ball is like the red, red rose. 
 
 Mine like the nasturtium when it blows, 
 
 Mine is like the buttercup light. 
 
 Mine, like the leaf so green and bright ; 
 
 Mine is like the cornflower blue, 
 
 And mine like the violet, sweet and true. 
 
 — 16 — 
 
SECOND GIFT OUTLINE. 
 
 I. Description of the Gift. II. Salient characteristic of the Gift. 
 
 III. Relationship in the sequence of Gift. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 I. The second gift consists of a sphere cylinder and cube, upon which are fastened 
 eyelets so that strings may be inserted for use in the twirling games. 
 
 II. The salient characteristic of the gift is the variety in form which is presented, thereby 
 .illracting attention to differences rather than to resemhlancf > ; tlio mediation of the contra.sts 
 in form suggests the possibility of the connection of all objects. 
 
 III. The Second Gift connects with the First Gift through the quality of form, the 
 spliere suggesting the ball, but this gift makes an advance, by the introduction of two entirely 
 new forms, cylinder and cube, thereby demanding the conscious use of the power of com- 
 parison in distinguishing between the several ol)jects, and detecting differences rather than 
 resemblances. The introduction of the cube points forward to the Third Gift and the 
 change of form produced in the twirling games suggests the idea of change as a permanent 
 feature in the succeeding gift. 
 
 1\'. The Second Gift off'ers the three typical furms as bases for the classification of e.\- 
 trrnal objects, and by stimulating the power of comparison thnjugb thus presenting striking 
 contrast the child is led to recognize the type-form under any modification which he per- 
 il ives. The three separate and distinct objects are connected through the mediation of their 
 contrast ; the sphere and cube, united by the cylinder which contains qualities similar to both, 
 thus apparent separation is resolved into a unity and the child led to seek for a relationship 
 betw'een two extremes in the mediation which connects them. 
 
 V. The child, having been led through the use of the First (^iift to separate and hold 
 v.part from himself, the external world, it now becomes necessary that he shall consciously 
 separate the objects of this external world from each other, in order to properly classify them. 
 The Second Gift constantly demands the exercise of the power of comparison, and thus in- 
 creases the observation and power of concentration by defining the child's experiences of 
 form. 
 
 SUGGESTED EXERCISES. 
 
 A connection with the First (lift should be esiahli^heil, first, through the avenue of activ- 
 ity, by repeating the motion exercises of the ball with the sphere; such as the rollmg games, 
 the wandering game and some of the swinging games: the child is then i)repared t(^r a con- 
 nection through observation and comparison of qualities. 
 
 — 17 — 
 
EXERCISE No. 1. 
 
 1. "Roll over, come back here, etc." 
 
 2. I, 2, 3 roll; 1, 2, 3 roll, etc. 
 
 3. "In a straight line the little sphere. 
 Rolls over there and comes back here." 
 "In a straight line the sphere rolls along, 
 Singing for each a little song." 
 
 4. "A sphere I am wherever I go, 
 Howe'er I turn, myself I show." 
 
 5. "A sphere is in my hand, you see, 
 
 Anil where the sphere is the cube cannot be." 
 
 E.XERCISE No. 2. 
 I. Sing I, 2, 3 roll, letting children roll sphere against the face of cube, thereby attract- 
 ing attention to it in an active way; after rolling and striking several faces of the cube, put 
 spheres away and sing : 
 
 1. "Be quiet, little cube, it is my will 
 
 That you should stand quite still, quite still ; 
 The cube now is resting upon its flat face, 
 And standing so firmly it can't lose its place." 
 
 2. "The cube can not stand on edge, 
 It tumbles there and tumbles here; 
 See how it stands and does not fall 
 When it leans against a wall." 
 
 3. "How nicely on one point I stand, 
 When steadied by your little hand ; 
 Now look and you will quickly learn 
 How well upon one point I turn." 
 
 Tl-.rough this exercise the stability of the culic is emphasized in contrast to the move- 
 aliility of tlie sphere, and having represented these two contrasting ideas to the child, the 
 c\-linder shnuld be introduced in an exercise combining both moveahility and stability. 
 
 EXERCISE No. 3. 
 Rolling games with the cylinder. 
 
 1. "Roll over, come back here, so merry and free. 
 My playfellow, dear, who shares in my glee." 
 
 2. ".See the cylinder roll along, 
 Singing for each a little song." 
 
 3. "Jie quiet, my c\linder, it is my will. 
 
 That you should stand quite still, quite still ; 
 The cylinder is resting upon its flat face. 
 And standing so firmly, it can't lose its place." 
 
 4. We will roll tliem together, little playmates, you see. 
 
 And the chililren all may share in their glee. ( S|)here and cylinder roll togi-tber. ) 
 
 5. Now for these two little friends, it is my will. 
 That they should stand quite still, quite still, 
 And quietly resting, each on a flat face. 
 
 They both stand so firmly they can't lose the place. (, Cylinder and cube stand to- 
 jether.) 
 
 — 18 — 
 
EXERCISE No. 4. 
 r'ernianency of form of the .sphuc established througli variety of motion. 
 
 1. "Round I rim when in a plate, (have plate to illustrate idea) 
 On the table I go straight ; 
 
 Move your hand and bid mc go, 
 Strict obedience will I show ; 
 Let me rest, or run, or roll, 
 Make a bell of me to toll. 
 Swing me there or twirl me here, 
 Always I am your little sphere." 
 
 2. If you twist up a string and spin nu> around 
 A little .sphere I shall always be found. 
 
 Tra la, la, etc. 
 
 EXERCISE No. 5. 
 Twirling cui)e to emphasize change in form; cube changes every time it spins. 
 
 1. "With a string through my face, I rapidly run, 
 My eight little corners delight in the fun ; 
 
 To you they are hidden, but there they remain. 
 And when I stand still, you will see them again." 
 
 2. "i'ut a string through my edge, and give me a twirl. 
 And then round and round in a circle I'll whirl." 
 
 3. "And last, but not least, like 1 kp I am found. 
 
 If with a string through my edge \-ou spin me arnuml." 
 
 H.XERCISE No. 6. 
 
 Twirling cylinder to show the mediation : it remains the same when spinning one way and 
 langes when spinning the other two ways 
 
 1. "If on my flat face you turn me around, 
 A cylinder still, I shall surely be found." 
 
 2. "If on my curved face you spin me, you'll see 
 What a nice little sphere is hidden in me." 
 
 3. "Put a string through my edge and spin me aroinid, 
 And a nice little top in nie will be found." 
 
 EXERCISE No. 7. 
 Discovery (if the separate parts of the cube; (faces) after singing faces may b;- "ocaied. 
 .. ".X.ithing but two hands I .see. 
 
 Where can the quiet little cube be"''" 
 
 2. .\n<l n.nv I've found mir- little face. 
 1 am sure every one is in its place. 
 
 3. "( )f the cube two faces I see. 
 Where can the other faces be?" 
 
 4. "Now count the faces, one, two, three. 
 More at one time you can not see." 
 
 5. \m\v count all the faces, one. two, three. 
 Four, five six, now this is all you see. 
 
 — 19 — 
 
EXERCISE No. 8. 
 
 Discovery of corners. 
 
 1. "Here is one corner, where are the others? 
 Ask your little sisters, ask your little brothers." 
 
 2. "Here are two corners," etc. 
 
 3. "Here are three corners," etc. 
 
 4. Count the corners above, one, two, three, four, 
 And now do you think you can find any more ? 
 
 5. Here are four corners, where are the others? 
 You'll find four below, say your little brothers. 
 
 6. And now all the corners I am sure we can show, 
 Four above and four below. 
 
 EXERCISE No. 9. 
 
 Discovery of edges. Use same songs as in Exercise No. 8, substituting the word "edge" 
 for "corner." Use songs i, 2, 3, 4, 5. 
 
 6. Although we've found eight, I am sure there are others, 
 They are straight up and down, say your little brothers. 
 
 7. Four edges above and four below, 
 
 And four up and down, this is all, I know. 
 
 EXERCISE No. 10. 
 
 Defining parts of cylinder. 
 
 1. "Nothing but two hands I see, 
 Where can the little cylinder be ?" 
 
 2. Only one curved face I see, 
 
 Two others are flat, and these make three. 
 
 3. No corners on the cylinder, I see, 
 
 But two curved edges, as round as can be. 
 
 SUMMING UP. 
 
 Sphere — Moveability. 
 
 Cube — Stability. 
 
 Cylinder — Moveability and stability. 
 
 Sphere — Form the same at rest and in motion. 
 
 Cube — Form changes in every motion. 
 
 Cylinder — Form the same in one motion, changes in two motions. 
 
 Sphere — Has one curved surface, no corner, no edges. 
 
 Cube— Has many flat faces, many corners, many edges. 
 
 Cylinder — Has one curved face, two flat faces, no corners, two edges. 
 
 Music for Fir.st and Second Gift Songs found in "Merry Songs and Games." — Mrs. 
 Hubbard. 
 
GENERAL OUTLINE BUILDING GIFTS. 
 
 I. Description of the Gift. II. Salient Characteristics of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child, 
 
 I. The building gifts arc fdiir in nunilHT and ci insist of cubes divided into parts; the di- 
 visions are at first simple and the parts few in mniiber. l)ut the complexity in number of 
 jiarts and quantity of material increases as we advance, while they offer progressively, more 
 subtle contrasts in qualities. 
 
 II. Tile salient characteristic of the Building Gifts is the illustration of organic unity 
 which is kept before the child by the emphasis placed upon the necessity for using every part 
 of the gift in each new whole which he creates, thus keeping up the vital relationship between 
 part and whole. 
 
 III. The Building (_;ifts coiniect with the .Second Gift through the form of the cube, and 
 realize, as a permanent feature, the idea of transformation, which was foreshadowed by the 
 twirling games ; by the constant presentation of the universal qualities, form, size, number, 
 position, direction, they prepare for the conscious use of the separate elements of the third 
 set of gifts, wherein the child must create wholes according to an inner sense of unity. 
 
 IV. The practical value of the Building Gifts lies in the fact that they gratify the in- 
 stHict of investigation, and direct what would otherwise be a destructive tendency into a con- 
 structive channel ; hence, it is at once apparent that the emphasis sh(.nild be placed upon the 
 building exercises and the opportunity to give the child fundamental perceptions of form, 
 size, number, position, direction, should be secondary in imp<.irtance to the development of the 
 creative activity. 
 
 .-icairatc experiences with these universal qualities, however, in the construction of forms, 
 leads to the formation of accurate ideas of these qualities, through the awakening of correct 
 perceptions in regard to them. 
 
 V. The Building Gifts meet two very strongly marked tendencies of the child: 
 1st — Tiie tendency to investigate. 
 
 2d — The tendency to transform. 
 
 In the first stage of development the child was satisfied with the external appearance of 
 objects, but as he begins to assimilate the experiences gained from contact with the external, 
 he manifests a desire to understand them and to search for a cause which shall explain the ap- 
 pearance and frequentlx- destroys the outer form in an effort to comprehend the inner condi- 
 tion. 
 
 The nature <:>f the Building Gifts renders it [lossible for him to penetrate the outer, visible 
 form, by separating and transforming into a new whole, after which he may reconstruct tlie 
 original form and find it uninjured by the change. 
 
ORGANIC UNITY. 
 
 Ill considering- the suliject cif Organic Unity in connection with the LSuikiing Gifts, an 
 organism may be defined under the foUowing heads: 
 
 I. An organism is a whole composed of parts, each part dependent upon each other and 
 
 An ol)ject complete, yet deijendent for its completion upon the parts which go to make it 
 up ; organisms will be of a lower or higher order, according to the variety of parts of which 
 they are composed. The word organic is suggestive of the animate world as opposed to the 
 inanimate, but does not necessarily imply life, in the plant or animal sense, hence an object, in- 
 stitution, organization or a system may be correctly termed an organism. 
 
 II. The life of the whole pervades each part. /. c: 
 
 The vital element upon wdiich the organism depends for its existence must go into every 
 individual part of it in order to preserve harmony and promote unity. In the plant, this 
 element is the life giving sap, in the animal, the vitalizing life fluid which circulates through- 
 out the body ; in an institution or organization, it is the dominant idea upon which it is 
 based and which it is intended to further. 
 
 III. Each part is an end in itself and a means In ;m end. /. c: 
 
 The parts of an organism have a distinctive indiviilnality and purpose, which they separ- 
 ately fulfill ; the leaf uses up the vital force which it receives in shaping itself into a cnni- 
 plete leaf ; but each part also serves as a means toward promoting the final (Uvelupment of 
 the aggregate whole, so that every leaf also serves to present a surface for moisture absorp- 
 tion and to furnish shade for the roots, which prevents too rapid an eva])oration of moisture 
 from the ground. 
 
 ]\'. The universal is found in the I'.arlicidar and the ]iarliiular in the universal. /. c: 
 
 Every class or species has its own peculiar characteristics, whereby it may be recog- 
 nized as belonging to a certain class. These general characteristics repeat themselves (with 
 more or less modifications) in every special object which belongs to the class, so that we may 
 know its class by recognition of the universal elements in the particular object. On the other 
 hand, a knowledge of the characteristic qualities of the special object enables us to recognize 
 the particular (jualities in the class as a collection, thus finding the particular in the 
 universal. 
 
 \Ve may illustrate this |ioint bv considering the Trades World as an organism com- 
 posed of a number of indi\iduals forming a connnunity which ministers to humanit}' at 
 large, from the stand|)oint of physical necessities, hence we may expect to find pervading this 
 organism, general characteristics, which represent the universal qualities of the class as a 
 whole; for example, the manual labor, the muscular strength, the matter of exchange of com- 
 modities, marks the institution of civil society. These universal qualities repeat themselves 
 again in the particular tradesman, and assign him as an integral part of the trades' world, thus 
 is the uni\-ersal found in the particular while the presence of these general characteristics in 
 
tlic indixidual so stam[)s him that we may recognize thu .similar ([iiahtit-s in the class at large 
 after an acquaintance with them in the iniHvidiial, thus finding the particular again in the 
 universal. 
 
 W Ideal Type. 
 
 Every organism is in a measure a type of the class to which it belongs, inasmuch as it 
 ])resents the qualities which the class universally possesses. 
 
 'Idle organism which would [iresent the ideal type of its class would be the one which 
 embodied in itself these universal qualities in an approximately perfect degree, and which 
 would, therefore, create in the mind a typical conception which would enable the individual 
 to recognize the type tmderlying manifold modifications such as would be found in the world 
 about him, /. c, we should .select as the typical oak, a tree having the essential characteristics 
 of the oak family, well defined, so that the mind would receive a definite impression of these 
 characteristics, and thus be enabled to recognize the oak tree under various modifications 
 which climate and soil would produce ; however, the ideal type would be created by the mind 
 from a deduction of its observations of a number of objects belonging to a certain class and 
 woidd liecome a standard to which they might all be related. 
 
CHARACTER OF BUILDING GIFT EXERCISES. 
 
 The Building Gifts are essentially adapted to the production of architectural forms, and 
 while forms of beauty are possible they are not to a high degree artistic, because of the re- 
 strictions, imposed by the nature of the material. 
 
 The exercises with the Building Gifts fall under three distinct heads: 
 
 1. Forms of life. 
 
 2. Forms of beauty. 
 
 3. Forms of kniiw leilge. 
 
 The forms of life are valuable because they appeal strongly to the sympathies of the 
 child, and thereby hold his interest ; they develop the observation in regard to the familiar ob- 
 jects which surround him and thus develop accuracy of form and ideas of proportion and 
 balance. 
 
 Forms of beauty emphasize the law of opposites as the basis of true balance and develop 
 a sense of symmetry in c(.>nstruction. 
 
 Forms of knowledge attract attention to geometric forms and to the relations nf lines, 
 angles, surfaces and solids, showing the relation of geometric forms to artistic production, by 
 giving the child ideas of definite forms which he may consciously use in producing symmet- 
 rical figures. 
 
OUTLINE THIRD GIFT. 
 
 I. Description of the Gift. 11- Salient Characteristics of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 r. The 'riiird (iift is a two-inch cube dividi-d ciinally uncc in earli ilinicnsiun. jiroducing 
 
 II. The salient chaiactenstic is the contrast \n size, uinch resnhs ni inipiessin.i; the form 
 (•///'(• upon the ciiild's mind, the eight small cubes reiieating the (|ualities contained in tlu- 
 large cube and differing from it in size only. 
 
 III. In the Third Gift the transition is made from the undivided to the divided solid, 
 and the connection is maintained through the form of the cube. It introduces the organic 
 principle in contrast to the inorganic principle of the first two gifts, and realizes the idea of 
 change (in its sequences of forms) hinted at in the Second Gift. When separated into its 
 parts it foreshadows the elimination of the dimension, thickness, by a slight approximation 
 to surface; as the first of the Building Gifts it illustrates a simple form of organism because 
 it shows so little variety in the parts. 
 
 IV. The practical value of the Third Gift lies in its possibility of easy manipulation, sat- 
 isfying the child's desire to transform without requiring great technical skill, also in the sug- 
 gestiveness of the material which renders it possible for him to produce objects with which he 
 is familiar, by slight transitions; analytically, it offers the cube, square prism, oblong prism or 
 rectangular parallelepiped, also the square and oblong in a variety of sizes and positions, as 
 different objects are produced. 
 
 V. The Third Gift is intended to meet the necessities of the child at the stage when he is 
 no longer satisfied with the mere appearance of things, but seeks to know how they came to 
 be ; he thus begins to realize the many possibilities of the same clement, and puts forth his 
 constructive powers in an effort to produce new and varied wholes, when provided with a 
 gift which readilv lends itself to his transforming activity. 
 
 CHARACTER OF THIRD GIFT EXERCISES. 
 
 With the use of the Third Gift we note a marked elimination of the song element and 
 a corresponding emphasis upon the individual creative activity, which seeks to express out- 
 wardly the impressions which have been received through observation of surrounding ob- 
 jects, said impressions having been modified by tb.e individual stamp of the child's mind. 
 
 In connection with the development of the ccFustructive ability, a iimgressive analysis uf 
 the constantly recurring universal qualities is kept up, so that the child masters qualities as 
 well as quantities of material. Language is developed through the word formulation which 
 is required of him, in making correct statements of his activities, also in telling of objects 
 which resemble his gift in the quality emphasized. 
 
 — 25 — 
 
SUGGESTED EXERCISES. 
 
 EXERCISE No. 1. 
 
 Dominant idea — Tu attract attention to the divisions and to the p(jssibiUty of separation 
 into parts, with a view to fostering and directing the desire to construct. 
 
 Place a Third Gift before each child and a Second Gift cube in the middle of the table; 
 notice the fact that the box resembles the cube. Take out cube in an orderly manner. Is the 
 new cube just "like the old one? How does it differ? It has lines on the faces. Can any one 
 think of some way to take this cube apart? Watch for the child who lifts the top, and have 
 all the others do likewise. Who can change it again? Watch for the child who separates 
 into four parts and have others do likewise. Now let some one discover the separation into 
 eight parts, and the others do likewise. Now we have taken it all apart, we will count how 
 many: Count i, i, i, i, i, i, i, i many; then i and i and i and i and i and i and i and i 
 are many, then i, 2, 3, 4, 5, 6, 7, 8. All pile the little blocks up as high as you can; show 
 above on post, then below ; take down four, place to the right side, making a door ; take down 
 four again, place in front, making cube ; five minutes for free building during which ask 
 different children to show face above on a form then below. 
 
 EXERCISE No. 2. 
 
 Life Frnns. 
 Iiowing windows and doors foreshadowing enclosure of space in the Fourth 
 
 EXERCISE Nl 
 
 Life I'oniis I'.iilpliasiziii;^ Hiildiir 
 
 Cabin, 
 rch. (Side 
 
 2. Arcli. 
 
 4. Church. (Side vie 
 
 0. Boat. (Gondola.) 
 
EXERCISE No. 4. 
 
 FORMS OF BEAUTY. 
 
 ANALYTIC EXERCISES. 
 
 The previous exercises are intended to develop the constructive pov, ers of tlic child and 
 would admit of very little analysis; the following will show the analytic possibilities of the 
 Third Gift with regard to the uni\-ersal qualities. 
 
 FORM. 
 
 Attention is directed to the square faces initially by placing the hand upon them in locat- 
 ing each one; when forms are made having only two square faces, these are found also and 
 attention drawn to the unlike faces, which furnishes the contrast in form by which the child 
 is enabled to abstract the square form. Through a gradual ])rocess in the exercises, the .square 
 is defined by oliservations uf ii, in a \ariit\ i>i pusitions :ind in a \-ariety of sizes, so that the 
 child recognizes it under any conditinn. With the defini-(l experience of the square as a basis 
 we proceed to define the oblong by comparison with the alread\- kni>wn S(iuare. and when the 
 child is able to recognize these two surface forms regardless nf size ^r pusitinn lu' is ready 
 to master the relationship of several squares and oblongs in the soliil s(iuare prism and nMcjug 
 prism, or parallelopiped and to find out that the bases must be etjual polygons, l\ing in jiar- 
 allel planes, and that the lateral faces must sustain a given relation tn the bases. 
 
 These snlids are pre.-^ 
 I'lp reci Ignition of tin 
 
 It variet; 
 jntlv of 
 
 if si 
 
 in abstracting the one quality eniphasizei 
 
WAYS TO COMPARE SQUARE PRISMS. 
 
 Compare two alike in size and form liut placed in different positions. 
 
 2. Alike in size, different in form. 
 
 ffiil 
 
 z:z 
 
 i 
 
 3. Alike in form, different in size. 
 
 m 
 
 4. Different in form, different in size. 
 — 28 — 
 
 /) 
 
FORMS OF KNOWLEDGE. 
 
 
 
 \ 
 
 \ 
 \ 
 \ 
 
 
 
 
 
 
 
 ^ 
 
 ^ 
 
 Comparison of square prism and oblong prism or parallelopiped. Find the two faces 
 which are alike on post : Where are they? Above and below. What kind? Square. Are 
 they the same size? Yes. How many oblong faces? Four. Where are they? Front, 
 back, right, left. Place post in a lying position nii the table ; dues it change any of the faces? 
 No, the square faces are still opposite, and the oblong faces still connect them. Analyze 
 the second form in similar manner, after which let the children try to reproduce these forms 
 in different sizes. 
 
 Size implies space filled; the child will gain clear impressions of the quality .size by 
 having his attention drawn to it in connection with form and position. 
 
 I. Similar size, similar form, similar position. 
 
 I 
 
 Z^ 
 
 / / / 
 
 Similar size, similar form and <lissimilar position. 
 
 / / X 
 
 J 
 
3- Similar size, similar position, dissimilar form. 
 
 / / A 
 
 
 1 
 
 
 i 
 
 
 1 
 
 
 i 
 
 4. dissimilar size, similar form ami similar position. 
 
 ffip r r r r r r i 
 
 5. Dissimilar size, dissimilar form, similar position. 
 
 ffiP 
 
 6. Dissimilar size, dissimilar position, similar form. 
 
 (3 
 
 H 
 
 
 (fS* 
 
NUMBER. 
 
 The number possibilities of tiie Third Gift ma 
 rniin;emciils nf the cubes. Make S in different \v; 
 I. Parts equal: 
 
 4 and 4. 2 and 2 and 2 and 2. 
 
 I and I and 1 and I and i and r and i ai 
 
 d to the chile 
 
 Two jiarts imequal 
 
 and V '' ^i»'I 
 
 and 3 and 4. 
 and 4 and 3. 
 
 anc 
 
 3 and 4 and 
 
 4 and I ;uid 3. 
 T and I and 2 
 
 an.l I. 
 and I 
 and 4. 
 
 Two parts equal, i part unequal; 
 
 2 and 2 and 4. 
 
 3 and 3 and 2. 
 
 6 and i and I. 
 4 and 2 and 2. 
 2 and 3 and 3. 
 
 anil b 
 an,l 4 
 and 2 
 
 Four parts : 
 
 1 and I and i and 5. 
 
 2 and I and l and 4. 
 
 3 and I anil i and 3. 
 
 4 and I and i and 2. 
 
 5 and I and i and i. 
 
 4 and 1 a, 
 
 and I and r and 
 and I and I and 2 
 and I and l and 1 
 
 en parts; 
 
 d I and I and 1 ai 
 
 ition : 
 
 1 + I + I+I + I + I+I + Ir=S 
 
 2 + 2 + 2 + 2 =8 
 2 + 2=4, 4+-'=^6, 6 + 2 = 8. 
 
1 from 8 leaves 7. 
 
 2 from 8 leaves 6. 
 
 3 from 8 leaves 5. 
 
 4 from 8 leaves 4. 
 
 Multiplication : 
 8X1=8. 
 4X2=8. 
 2X4=8. 
 2X2=4. .•?X2=d 
 
 5 from 8 leaves 3. 
 
 6 from 8 leaves 2. 
 
 7 from 8 leaves i. 
 2 from 8 leaves 6. 
 
 2 from 6 leaves 4. 
 2 from 4 leaves 2. 
 2 from 2 leaves o. 
 
 4X2= 
 
 Division : 
 
 8 ones in 8. 
 4 twos in 8. 
 2 fours in 8. 
 
 tional Divisions: 
 
 2 halves=i whole. 
 4 quarters=i whole. 
 8 eighths=i whole. 
 
 2 quarters=i half. 
 2 eighths=i quarter. 
 4 eighths=i half. 
 
 ; front, back; right, left. 
 
 ( )ne point in position (faces). 
 Positions emphasized are above, belt 
 
 Two points in position (corners) : 
 
 2. Above in front. 
 
 2. Below at the back. 
 Three points in position (corners) : 
 
 I. Above in front on right side. 
 1. Below at the back on left side. 
 
 Above in front on left side. 
 
 Below at back on right side. 
 
 DIRECTION. 
 This quality is emphasized in connection with edges. 
 4 edges straight up and down. 
 4 edges from left to right. 
 4 edges from front to back. 
 
 Build post with long edges up and down ; change it so that long edges will be from 
 nt to back ; change again so that long edges will Ix- from left to right. 
 
 Above at the back. 
 Below in front. 
 
 Above at the back on right side. 
 Below in front on left side. 
 Above at the back on left side. 
 Below in front on right side. 
 
 riuild a wall with longest edges from left 
 medium edges up and down. 
 
 right, shortest edges from front t( 
 
 Change the position so that longest edges will I)c up and down, shortest edges from 
 front to back and medium from left to right. 
 
FOURTH GIFT OUTLINE. 
 
 I. Description of the Gift. II. Salient Characteristics of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 I. Tlie Fourth Gift is a two-inch cube, divided once vertically and three times hori- 
 zontally, producing eight parallelopipeds, each of which is two inches long, one inch broad, 
 one-half inch thick. 
 
 II. The Salient Characteristic of the Fourth Gift is the difference in dimension in the 
 parts, which results in defining length, breadth and thickness; it also illustrates a nearer ap- 
 proximation to surface; (2) Enclosure of space, the material illustration of the value of 
 boundaries in defining form and contents; (3) I'alance, the material illustration of the value 
 of proportion; (4) Communicated motion, the material illustration of tlie value of concen- 
 trated activity. 
 
 III. The Fourth Gift is the second building gift and by the introduction of variety in 
 the parts represents a higher organism than the preceding gift ; it emphasizes the same 
 forms as the Third Gift, and divides into the same number of parts, yet the variety occa- 
 sioned by the dift'erence in dimension gives rise to new presentations of form and number ; 
 it prepares for the use of the Fiftli Gift by developing dexterity in handling and keen ob- 
 servation in detecting differences in dimension. It suggests the realization of surface Iiy the 
 forms which show only a part of the object, such as house fronts, etc. 
 
 IV. The practical purpose of the gift is to stimulate greater constructive power, sup- 
 ply material adapted to produce more perfect forms, and to deepen the ideas of form, size, 
 number, position, and dimension, by presenting them in new combinations. 
 
 V. The Fourth Gift continues to hold the child's interest in organic wholes and af- 
 fords better opportunities for transforming the original whole into new forms, showing- 
 more detail than those of the Third Gift, while, at the same time, the amount of material is 
 not increased, he thus receives material which furnishes new possibilities without demand- 
 ing too great concentration of effort to produce its forms. 
 
 CHARACTER OF FOURTH GIFT EXERCISES. 
 
 The emphasis, as in all the building gifts, should be upon the constructive element, Init 
 the special features of the gift should be developed in the exercises ; through its variety it 
 is possible to intensify by more varied illustration, the universal qualities which were found 
 in the Third Gift, and the child will be able to formulate more definitely his concrete ex- 
 periences. 
 
 In form there is no advance, InU emphasis is placed upon the oblong which is defined 
 mure completely by contrast in its dimensions. 
 
 In number, there is a slight advance in the introduction of the half-inch, which admits 
 of new combinations in counting. 
 
 In size, there is a greater variety of contrasts. 
 
 — 83 — 
 
In dimension, there is great variety, and the gift affords manifold opportunities for 
 definite experiences with the ideas of length, breadth and thickness. 
 
 Position is more definitely defined through the variety in size. 
 
 The exercises should develop the ideas of dimension, approximation to surface, en- 
 closure of space, balance, communicated motion. 
 
 Free building should be allowed frequently, the child often gaining control of the ma- 
 terial more readily, when he is not conscious of the necessity for handling it well, and the 
 power thus gained may be utilized in exercises where it is desirable to have the children 
 carry out some special idea. 
 
 In giving the child experiences in dimensions decide upon some definite rule in the 
 matter of which direction you shall designate as length, — which breadth. If you accustom 
 them to calculate the left to right distance as length, then front to back is breadth in refer- 
 ence to yards, parks, etc., while fences are long, high and thick, and wells are long, broad 
 and deep. Doors and windows are high and wide. 
 
 SUGGESTED EXERCISES. 
 
 BATTLESHIPS. 
 
 Life Forms. 
 
 mM^^ 
 
ENCLOSURE OF SPACE. 
 
 I Set. Enclosures attracting attention to square contents, such as yards, parks. 
 II Set. Enclosures attracting attention to divisions of a surface, such as doorways, 
 windows in fronts of houses. 
 
 EXERCISE No. 1. 
 
 Make a fence around a square yard. Around an oblong yard, around a three-sided 
 park ; around an eight-sided park. Add together the length of sides ; find out square con- 
 tents by counting the squares enclosed, in first two forms. 
 
 EXERCISE No. 2. 
 
 Give problems in space enclosure according to dimension. 
 
 I. (Inside Dimensions.) Enclose yard 4 inches Imig, 4 inches wide; fence 1 inch 
 high, ; 2 inch thick. 
 
 II. (Inside Dimensions.) Enclose yard 6 inches long, 2 inches wide; fence, i inch 
 high, y'z inch thick.' 
 
 III. (Inside Dimensions.) Enclose yard 2 inches long, 2 inciies wide ; fence 2 inches 
 high, 3/2 inch thick. 
 
 IV. (Inside Dimensions.) Enclose well i inch long, i inch wide; sides 4 inches deep, 
 ]/2 inch thick. 
 
 V. (Inside Dimensions.) Enclose well y2 inch long, y^ inch wide; walls 4 inches 
 deep, Yi inch thick. 
 
 EXERCISE No. 3. 
 
 I. Build doorway enclosing oblong door. 
 
 II. Build house front enclosing an oblong door and an oblong window. 
 
 III. Build house front enclosing an oblong door and two oblong windows. 
 
 IV'. Build house front enclosing an oblong door and two square windows. 
 
 V. Build house front enclosing an oblong tloor, oblong window, and 1 square win- 
 dow. 
 
 VI. Build house front 6 inches long, 4 inches high, with two square windows. 
 
 VII. Build house front 4 inches long, 5 inches high, with two oblong windows. 
 
 VIII. Build house front 5 inches long, 5 inches high, with i oblong doorway and i ob- 
 long window. 
 
 IX. Build store front 6 inches long, 5 inches high, with 2 oblong doors ; one 4 inches 
 high, 2 wide and one 2 inches high, i wide. 
 
 X. Build house front 5 inches long, 4 inches high, with one oblong door 2 inches 
 high, I inch wide, and one square window i inch wide. 
 
BALANCE. 
 
 Suggestions only, not connected exercises. 
 
 I. Divide cube into parts; place all bricks in a standing position. Change them to a 
 lying position ; change to a sitting position ; notice which faces they rest on, when standing ; 
 when lying; when sitting. 
 
 II. Place four bricks standing; place foui bricks lying in front of them ; lift the four 
 in front; place one on top of each standing brick; then place a sitting brick on top of each 
 standing brick; combine sitting and lying positions in the same way. 
 
 III. Pile bricks ; i lying front to back, i lying left to right, etc., using all the bricks. 
 Pile them sitting, in like manner; also standmg. 
 
 IV. Combine standing and lying, sitting and lying, standing and sitting. Combine 
 standing, lying, sitting. 
 
 APPROXIMATION TO SURFACE. 
 
 I. Lay floor 4 inches long, 4 inches broad, _' j inch thick. 
 
 II. Lay floor 8 inches long, 2 inches broad, I 2 inch thick. 
 
 III. Lay floor 16 inches long, i inch broad, Jj inch thick. 
 
 IV. Lay two floors 4 inches long, 2 inches broad, >j inch thick. 
 V. Lay four floors 2 inches long, 2 inches broad, 34 inch thick. 
 
 COMMUNICATED MOTION. 
 
 SUGGESTIVE EXERCISES. 
 
 1. Stand two bricks, one front the other one inch back of it; arrange the other six 
 bricks similarly. Touch the one in front each time, notice that it helps the other to move. 
 
 2. Arrange in groups of four; touch front one. 
 
 3. Arrange the eight bricks one inch apart in a row from front to back ; touch front 
 one. 
 
 4. Arrange in a row from left to right. 
 
 5. Arrange diagonally from right in front to left at the back ; from left in front to 
 right at the back. 
 
 6. Arrange in a continuous line across the table combining all the cubes. 
 
 7. Children take boxes to the circle; arrange in a circular effect and touch one. 
 
 8. Arrange like a winding stream ; touch one. 
 
 — 36 — 
 
SUGGESTED EXERCISES. 
 
 Exercises combining Third and Fourth Gifts which may be used as a preparation for 
 handhng the Fifth Gift. 
 
 E.XERCISE 1. 
 Sequence Life Form.'!. 
 
 ^ilhfl 
 
 EXERCISE II. 
 
 Forms of Bcniil \ 
 
 
 x^^x^ 
 
 EXERCISE 111. 
 
 Foriu.'; of Beauty. 
 
EXERCISE IV. 
 
 Numerical Divisions. 
 
 ^ 
 
 
 £^s 
 
 ^ 
 
 s 
 
 m 
 
 ^r" 
 
 BALANCE. 
 
 (i) Brick lying from left to right; (2) cube placed above it in middle; (3) brick ly- 
 ing; (4) cube; (5) brick; (6) cube, etc. 
 
 (i) Brick standing; (2) cube; (3) brick; (4) cube, etc. 
 III. 
 
 I 
 
FIFTH GIFT OUTLINE. 
 
 I. Description of the Gift. II. Salient Characteristics of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 1. The Fifth (iift makes an advance in size of whole and in numljer of parts being a 
 three-inch cube divided twice in each dimension, producing twenty-seven small' cubes, six of 
 which are again divided ; three into halves and three into quarters, making in all thirty-nine 
 parts. 
 
 TT. The Salient Lliaracteristics of the gift are the nitroduction of the oblique direction 
 as a permanent feature, and the division into three and multiples of three ; both these fea- 
 tures were hinted at in the two preceding gifts, the oblique edge appearing in several forms 
 and the number three suggested by the three-sided spaces enclosed in some of the forms. 
 As a result of the new features, the forms are more artistic atul the possibilities greater. 
 
 III. The Fifth Gift is the third in the sol of building gifts, and emphasizes the rela- 
 tionship of part and whole more strongly by a pronounced individuality in some of the parts 
 which renders them not interchangeable in position, as is quite possible in either of the pre- 
 ceding gifts, because of the similarity in the parts : the advance in number and form is 
 most pronounced, requiring dexterous handling and mental alertness to manipulate its possi- 
 bilities. 
 
 IV. The Practical Purpose of the gift is to serve as a complement to the Third Gift, 
 to which it is related ; its building possibilities assume a general character similar to those 
 of the Third, although there is less suggestiveness in the gift as a whole, the parts lend 
 themselves more readily to complete representation of architectural forms and the child is 
 furnished a concrete experience with many new forms, i. c.. Triangular Prism, Rhomboidal 
 Prism, Trapezoidal Prism, Pentagonal, Hexagonal and Octagonal Prism, and a Prism 
 whose bases are Trapeziums; planes — Right Tsoceles Triangle, Rhomboid, Trapezoid, Tra- 
 pezium, Pentagon, Hexagon, Octagon. 
 
 In number the gift emphasizes thirds, niiillis and twenty-sevenths, rather than halves, 
 quarters, and eighths. 
 
 V. The Fifth Gift demands, on the part of the child — (i) Physically, more technical 
 skill; (2) Mentally, more definite conceptions through variety of observation; (3) Morally, 
 more self-control, and more concentration, resulting in a strengthening of will. 
 
 The idea of Unity being gradually transferred from an external experience to an inter- 
 nal conception, the Fifth Gift affords the child an opportunity to express his individual con- 
 ception of forms without imposing definitely suggestive material, and the constant demand 
 upon him to relate parts and wholes prepares him for the use of separate elements to produce 
 wholes. 
 
CHARACTERISTICS OF FIFTH GIFT EXERCISES. 
 
 The exercises in this gift take on a mure cumplex form, since there is a marked advance 
 in quantity of material as well as variety in form ; we note a decided adaptability to the 
 production of forms of knowledge, i. e., mathematical forms and a decided emphasis upon 
 cubical contents, for which the child is prepared by the experience in dimension which he 
 received in the Fourth Gift. 
 
 eviden'ce in the exercises, and 
 triangular prisms into a cube, 
 
 The new characteristic, the oblique line, should be in 
 those forms which utilize it only by combining two or foui 
 do not bring out the possibilities of the gift. 
 
 In number, the new division into thirds should be recognized and the child let 
 ize the possibilities of the number three and its multiples. The older children sIkiuU 
 the various prisms according to number, form, relations and contents, and have \-ar 
 riences in discovering problems described according to form, and contents. 
 
 to real- 
 analvzc 
 ■d ex,.e- 
 
 Lifc Forms 
 
 Forms of Heaiity. 
 Develop Sequences from following Bases; 
 
 NUMBER. 
 
 The cube divides naturally into thirds, ninths, twenty-sevenths, but may be arranged to 
 include some divisions of the preceding gift, lialves and quarters, and because of this possi- 
 bility gives rise to the new divisions of sixths and twelfths. 
 
 40- 
 
SUGGESTED NUMBER ARRANGEMENTS. 
 
 
 
 i + i + i + i, etc., to . 
 3+3, etc., to . 
 0+9+9. >-^tc., to . 
 
 ~7- 
 ^7- 
 
 
 
 1+26=27. 
 
 2+25=27. 
 
 3+24=27. 
 
 
 II. 
 
 HI. 
 
 
 4+23=27. 
 5+22=27. 
 6+21=27. 
 
 etc. 
 
 1+1+25=27. 
 2+2+23=27. 
 3+3+2^=27. 
 
 
 4+4+19=27- 
 5 + 5+17=27- 
 6+6+15=27. 
 
 IV. 
 
 
 
 7+7+U^^7- 
 8+8+11=27. 
 ')+9+ 9=27. 
 
 1+ 2+24=27. 
 
 2+ 3 + 22 = 27. 
 
 3+ 4+20=27. 
 4+ 5+18=27. 
 
 
 5+ 6+16=27. 
 6+ 7+14=27. 
 7+ 8+12=27. 
 8+ 0+10=27. 
 
 
 
 9+ 10+ 8=27. 
 10+11+ 6=27. 
 11 + 12+ 4=27. 
 T2+13+ 2=27. 
 
 1 + 1 + 1+24= 
 2+2+2+21= 
 3+3+3+18= 
 4+4+4+15= 
 
 =27. 
 =27. 
 =27. 
 
 =27. 
 
 V. 
 
 
 5+5+5+1 
 6+6+6+ 
 7+7+7+ 
 8+8+8+ 
 
 9=27. 
 6=27. 
 3=27. 
 
 VI. 
 
 1+2+3+4+17=27. 
 2+3+4+5+13=27- 
 
 4+5+6+7+ 5=27- 
 5+6+7+8+ 1=27. 
 
 t+2+3+ 7+14=27- 
 2+3+4+ 8+10=27. 
 
 1^+2+1+3+1+4+15. 
 1+3+1+4+1+5+12^ 
 1+4+ 1 +5+ 1 +6+ 9^ 
 
 VIII. 
 
 3+4+5+ 9+ (5= 
 4 + 5+6+10+ 2= 
 
 1 + 5+ 1+6+ 1 +7+ 6=27. 
 I +6+ 1 +7+ 1 +8+ 3=27- 
 
 FRACTIONS. 
 
 nivisiotis iiilt 
 
 Thirds, ninths, twenty-sevenths. 
 
 Halves, fourths, thirds, sixths, twelfths. 
 
 By concrete arrangements of the parts suggest the 
 
 ddition and subtraction of frac 
 
 %+M=>'- 
 /.Xi-3=^. 
 /H-/2= I. 
 
 i=^. 
 
These experiences with fractions may move from the very simple to more complex 
 arrangements, according to the ability of the children, care being observed to have the 
 arrangement discovered by the child in a concrete manner with the blocks. 
 
 FORM PRISMS, USING THE WHOLE GIFT. 
 
 Make one prism, using the whole gift, if possible, then make as many of the kind men- 
 tioned as possible. 
 
 1. Make square prisms. 
 
 2. Make oblong prisms or parallelopipcds. 
 
 3. Make rhomboidal prisms. 
 
 4. Make trapezoidal prisms. (Boat and shoe.) 
 
 5. Make prisms whose bases are trapeziums. 
 
 6. Make triangular prisms. 
 
 7. Make pentagonal prisms. 
 
 8. Make hexagonal prisms. 
 
 9. Make heptagonal prisms. 
 10. Make octagonal prisms. 
 
 PRISMS CONTAINING SPECIFIED CONTENTS. 
 
 Make a .square prism containing 2. Make a square prism containing 18. 
 
 Make a square prism containing 4. Make a square prism containing 25. 
 
 JVIake a square prism containing 8. Make a square prism containing 3/2. 
 
 Make a square prism containing 9. Make a square prism containing 4^. 
 
 Make a square prism containing 16. 
 
 Using the whole gift make ; 
 
 1. One square prism containing 16, one containing 9 and one containing 2 cubes. 
 
 2. One containing 16, one containing 4.^2. one containing 4, one containing 2, one 
 containing 5^. 
 
 3. Make one square prism containing 9, one containing 8, one containing 4. one cor 
 taining 2, four containing t. 
 
 4. Make two square prisms containing q. (inc containing 4^ j. one containing 4, one 
 containing J^. 
 
 5. Using the whole gift make square prism containing 4, oblong prism cont-ining 8, 
 rhomboidal prism containing 4, boat trapezoidal prism containing ■)4. shoe trapezoidal 
 prism containing 6, prisms whose bases are trapeziums containing 4%. 
 
 Triangular prisms as well as all the other forms may be worked out similarly. 
 
 — 42- 
 
SIXTH GIFT OUTLINE. 
 
 letion 
 
 of 
 
 the 
 
 Possi' 
 
 Lilitiei 
 
 new 
 
 ar 
 
 utra: 
 
 ^ts. it 
 
 : com- 
 
 thc n 
 
 uml 
 
 )er 
 
 possi' 
 
 bilitiof 
 
 I. Description of the Gift. II. Salient Characteristic of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 I. The Sixth Gift is a three-inch cube divided into thirty-six parts, eighteen of which 
 are oblong prisms or parallelopiped, like the I'Viurth Gift, twelve parts arc square prisms 
 whose bases are one inch scjuares, while six parts arc square prisms whose liases arc one- 
 half inch squares. 
 
 II. The .'Calient Characteristic of the Sixth Gift is the a 
 which grow out of a difference in dimension ; while it introduce 
 bines many of the contrasts of the preceding gifts, uniting a 
 by illustrating two and multiples of two as well as three and multiples of three. 
 
 III. The Sixth liift is the fourth and last in the set of building gifts and gatliers to- 
 gether many of the possibilities of the three preceding .gifts, emphasizing particularly num- 
 ber, size and dimension; the demand for accui'acy in cdustruction renders its nffice in devel- 
 oping definite ideas, valuable. 
 
 IV. The Practical Purpose of the gift is a manifest intentimi lu cuniplete the experi- 
 ence of dimension which was begun in the Fourth Gift, and to define the child's ideas of 
 number as an element in securing proportion in architectural design. It tends to emphasize 
 independence in construction and conscious planning to secure the use of every part. 
 
 V. The Sixth Gift provides the child with a quantity of material wliich requires a 
 careful regard for balance in its manipulation and which gratifies his love of the beautiful 
 in its forms, as well as stimulating the number instinct by the calculation of dimensions in the 
 forms ; it prepares for tlie use of the Seventh Gift, because the parts are so many that the child 
 must of necessity hold their relation to each other in his mind and in a measure plan his 
 form in order to utilize his material. In the Sixth Gift he utilizes all his experienees with 
 universal qualities and enters a larger field for constructive activity. 
 
 -43 
 
CHARACTER OF SIXTH GIFT EXERCISES. 
 
 The exercises in this gift re-estabhsh the experiences in dimension, balance, commnni- 
 cated motion, enclosure of space, and cause the child to desire more accurate forms in con- 
 struction. 
 
 Life Forms. 
 
SEVENTH GIFT OUTLINE. 
 
 I. Description of the Gift. II. Salient Characteristics of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 I. The Seventh Gift consists of a number of wooden tablets which represent plane fig- 
 ures, as follows : 
 
 1 . S(|uare. 
 
 2. Right Isosceles Triangle. 
 
 3. Acute Isosceles Triangle. 
 
 4. Obtuse Isosceles Triangle. 
 
 5. Right Scalene Triangle. 
 
 6. Obtuse Scalene Triangle. 
 
 7. Equilateral Triangle. 
 
 II. The Salient Characteristic of the Seventh Gift is tlic abstraction of the surface fnnn 
 the solid, which results in a conscious idea of plane figures ai)art from solid forms. 
 
 III. The Seventh Gift is the tinst in the third set i,\ gifts and marks the elimination of 
 one dimension of the solid, namely, thickness nidxiu;;. tlnis from cnncrete representation tn 
 abstract or surface representation. 
 
 It connects with the cubical form of the building .gifts through the square, wliich is the 
 surface directly derived from the face of the cube ; the triangular planes are derived, bv 
 comparison, from the square. By attracting direct observation to the sides and angles of 
 the plane figures, the Seventh Gift foreshadows the embodied line and point in tlie succeed- 
 ing gifts. 
 
 IV. The Practical Purpose of the gift is to supply separate elements based upon geo- 
 metric form, with which new wholes may be created in accordance with a definite internal 
 idea. 
 
 The representation deals with the surface only and suggests the advantages of Drawing, 
 for which it is a valuable preparation. 
 
 V. The Seventh Gift leads the child from construction of the object itself to a surface 
 representation of it, eliminating in a measure its reality to him, yet developing the power to 
 conceive the whole, by means of the part produced, and thus aiding the inind in forming its 
 own ideals. The organic unity is set aside in an external sense and the parts bear no rela- 
 tion to each other except as they are set in a relation to fulfill certain conditions in produc- 
 ing a form which exists as a unity in the mind of the child ; it is necessary that the child 
 shall express himself individually in this gift, hence there is a pronounced emphasis upon 
 free invention in the use of the elements. 
 
 The following points may be worked out. with each of the seven planes composing the 
 Seventh Gift. 
 
I. 
 
 Describe, derive and define the plane figure. 
 
 II. 
 Find the possible positions of one plane figure. 
 
 III. 
 Find the relative positions of two plane figures. 
 
 IV. 
 Find the mathematical figures with two. 
 
 V. 
 Find the mathematical figures with three. 
 
 VI. 
 Invent Forms of Life with given numbers i, 2, 4, 8, 16, 32, 64. 
 
 VII. 
 
 Invent Forms of Beautv in four wav.s. 
 
 1. From a given center. 
 
 2. By repetition of the same figure. 
 
 3. By combination of two or more figures. 
 
 4. A sequence. 
 
 VIII. 
 
 Develop the mathematical figures, which are possible, increasing the size of each suc- 
 ceeding one, by adding regularly to the preceding one, in a similar manner each time. 
 
 IX. 
 
 Comparison of mathematical figures made with the same number of planes in each. 
 
 X. 
 
 Analyze by separating into mathematical forms. 
 
 1. A form of Life. 
 
 2. A form of Beauty. 
 
 3. A form of Knowledge. 
 
 CHARACTER OF SEVENTH GIFT EXERCISES. 
 
 In Life forms the representation of one surface, or the picture of the object is empha- 
 sized. In forms of Beauty the proper balance is sustained by relating opposites to a given 
 center which gives strength to the design by holding it together. 
 
 — 46 — 
 
SUGGESTED LIFE FORMS. 
 
 I I I I I I I D 
 
 
 I 
 
 <>^ 
 
 o 
 
 ^ m 
 
 ^^ 
 
 F 
 
 iTT-n 
 
 \iza 
 
 i7i;^7i^ 
 
EIGHTH GIFT OUTLINE. 
 
 I. Description of the Gift. II. Salient Characteristic of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 t wniilil CMnsist of slats, sticks ami rin.-s; tlu- slats arc frr(|iuiitly rrlcL^atnl In tin- i. 
 Hit tit in with the g'fts, forming- a iiKMhatory step hitwcen tlic s;irl'acc and ihi.- \u\c 
 n^,' the dimension of hreailth in a slight degree. 
 
 II. 'i"he .Salient Iharacteristic of the Eiglith ( litt is the ahstraction ,,i hne fro 
 hereliy eliminating the dimension hreadth, and furthering the analytie prngressi^ 
 he point. .\s a result it emjihasizes the (|ualit\ "i <h'reetinn nmst partieuhirl}-. 
 
 Ilf. The Ei.ghth ( iift supphes separate elements which ha\x 
 seventh, as well as less individuality. It relates hack to the ■ 't 
 edge in the solid forms and the si<le in the surface forms. 
 
 ]\'. The I'raetieal I'urpnse -f the f iift is u, cm]diasize Inie: 
 tract attention to the relation of angles au.I si.Ics. it lends itsidf 
 tion of artistic forms anil alTords an ( ippi irtunit\ for cultivating ; 
 design. 
 
 \'. The Ei.ghth (.iift demands skillful manipulati. m on tlie p 
 poses definite experiences of form in order to create new and var 
 
 .■uess than tlie 
 
 tlle p 
 
 imlimatious 
 
 CHARACTER OF EIGHTH GIFT EXERCISES. 
 
 anil also the elements of mathematical form, lines and angles, in various p. .siti..ns. I 
 sil)le to have a great variety hecause of the dilYen-uce in length >>i sticks and sizes 
 and half rings; cliililren should he encouraged {>< invent freely witli these elements an 
 serve the relative positions and the size of anules ami length of siiles in the huures. 
 
 LIFE FORMS WITH STICKS, 
 
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LIFE FORMS WITH STICKS AND RINGS. 
 
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 MOSAICS. 
 
 
NINTH GIFT OUTLINE. 
 
 I. Description of the Gift. II. Salient Characteristic of the Gift. 
 
 III. Relationship in the Sequence of Gifts. IV. Practical Purpose of the Gift. 
 
 V. Relationship to the Child. 
 
 [. The Ninth (.ift cnnsists <if lentils or small seeds, intended U> rei)resent the i>(iint. 
 11. The Salient ( liaracleristie <>i the Xinth (lift is the eliniinalidn nl the .Innensic 
 
 ill. The Xinlh l iilt arrives at the iniint and supplies a nnmher nl' .separate elements w iti, 
 which t.i pn.duee the i.nllme.s (if ..hjeels. It completes the se(|Uence of (iifls and forms the 
 eonnectint- link lietween (iifts and l Iccnpation li\ cnijiliasi^'inL; the point which is produced in 
 'he tirst occupation, ;. c. |)rickmi;. 
 
 means of a succession of points; |ioints in position are emiihasi/eil ; front, hacls, nnddle, rii^ht, 
 left, etc. 
 
 y. The Ninth Gift may be used with youno children to outline forms which are drawn 
 Iireviously ; with the older children it is well to have them outline without d.rawin-s, as it cul- 
 tivates accuracy of observation in regard to form. 
 
 CHARACTER OF NINTH GIFT EXERCISES. 
 
 e exercises with the .\intli liift should be s|„ ,rl , where sm.all lenlds .are Used, as 
 ration is rather tedious and the form s: , easilN disturbed: for (his reason llie leiili 
 llv displaced bv Mrs, I Lailman's Second (,ifl Heads, which .-inswer lb.' purpose 
 esiH-cts and are a.hnirable for s|rii-,n- in \arious combinations ,,f niimber and c, ■! 
 
OUTLINES OF CURVILINEAR FORMS. 
 
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 • • • 
 
 OUTLINES OF MATHEMATICAL FORMS. 
 
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SUGGESTIONS FOR ORIGINAL WORK. 
 
 I. GIFT. 
 
 ;u'fi\ities often repeatcil. 
 
 _>. Invent exercises clevelopini;- Foiin, Colur, Dircrtioii, Number, for older children. 
 .V Tn\en9' exercises developing rhythm of movement. 
 
 II. GIFT. 
 
 I. Invent exercises which wih he pnrely movement games, for tlie young chihlren. 
 J. Invent an exercise which shaU hring out the relation hetween the three type forms. 
 3. Invent exercises developing qualities of the individual ohjects. 
 
 III. GIFT. 
 
 1. Invent simple life forms for younger children, in which the material is massed to- 
 gether. 
 
 2. Invent life forms illustrating huilding materials, wdhch are used in the construc- 
 tion of a house. 
 
 5. Invent tools. 
 
 6. Invent forms of beauty. 
 
 IV GIFT. 
 
 1. Invent life forms. 
 
 2. Invent forms emphasizing enelnsurc of sjiace. 
 
 3. Invent forms emphasizing dimension. 
 
 4. Invent exercises combining 111. and 1\'. Gifts. 
 
 V. GIFT. 
 
 1. Invent life forms, introducing the various prisms as bases. 
 
 2. Invent furniture. 
 
 3. Invent ships. 
 
 4. Invent forms of beauty. 
 
VI. GIFT. 
 
 1. Invent military forms, forts, etc. 
 
 2. Invent churches. 
 
 3. Invent fronts of large puhlic buililings. 
 
 4. Invent forms of beauty. 
 
 VII. GIFT. 
 
 1. Invent life forms, with various nun.ihers of tablets of differenl kimN. 
 
 2. In\-ent forms of beauty ; single forms and sequences. 
 
 3. Invent fiirms cnmbining t\\i> or more kinds of tablets. 
 
 VIII. GIFT. 
 
 1. Invent border arrangements, liringmg out the mathematical forms.. 
 
 2. Invent life forms from simple bases. 
 Invent more elaborate life forms. 
 Invent designs from bases of s<|uare and nctagon. 
 Invent life forms with wings and half wings. 
 Invent borders, with sticks and rings. 
 Invent designs with sticks and rings. 
 
 SLATS OR INTERLACING. 
 
 T. I'sing large slats invent life fnrms such as gates, doors, etc.. such as are capable 
 eing changed fn>m cne f. .rm into annther. 
 
 IX. GIFT. 
 
 1. With lentils, invent outlines of fruits, vegetables and 111 iwers, 
 
 2. Invent ,sim|)le outlines of curvilinear objects. 
 
 3. Invent designs. 
 
Ti; "t 
 
LIBRARY OF CONGRESS » 
 
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 019 823 294 4,