KINDEEGAETEN GUIDE 
 
BY THE SAME AUTHOR. 
 
 NEW RECITATIONS FOR INFANTS. Containing 43 Becita- 
 tions with Actions for Children of Four, Five, and 
 Six Years of Age. Crown 8vo, Is. 6d. 
 
 LONGMANS' FAIRY TALE READERS. 
 THE STORY OF A FOX, A DOG, A CAT, AND A MAGPIE. 
 
 With 21 Illustrations by W. G. Burn Murdoch. 
 Fcap. 8vo, 6d. 
 
 LONGMANS, GREEN, AND CO., 
 
 LONDON, NEW YORK, AND BOMBAY. 
 
KINDERGARTEN GUIDE 
 
 BY 
 
 LOIS BATES 
 
 AUTHOR OF "RECITATIONS FOR INFANTS," " SALTAIRB ACTION SONGS, 
 
 "SALTAIRE KINDERGARTEN GAMES," "GUESSING GAMES," 
 
 ETC., ETC. 
 
 WITH OVER 200 ILLUSTRATIONS AND 16 COLOURED PLATES 
 
 NEW 
 
 LONGMANS, GKEEN, AND CO 
 
 39 PATERNOSTER ROW, LONDON 
 
 NEW YORK, AND BOMBAY 
 
 1898 
 
PREFACE. 
 
 IT is a matter for regret that the Kindergarten system, 
 which is so well adapted to educate in the highest and 
 best sense of the word, has been so little understood 
 and practised in England. Any one who has carefully 
 studied the subject must be convinced that, for young 
 children, at any rate, it is the only right system of 
 education. But Frobel's principles can never be 
 understood by the superficial observer, any more than 
 a knowledge of plant life can be obtained by a superficial 
 glance at a plant. For this reason I would ask for 
 this book, not a cursory glance at the various chapters, 
 but a careful study of the whole. I have tried to show 
 how ordinary school subjects may be taught on Kinder- 
 garten principles, but this will only be understood by 
 those who have first apprehended the fundamental 
 laws of Frobel, as explained in the first Chapter, and 
 illustrated by the Gifts and Occupations following. No 
 Teacher will be likely to use all the Gifts and Occupa- 
 tions, but to gain an intelligent conception of any, it is 
 necessary to study the connection of all, so that one 
 may see] how each grows out of, and complements, the 
 one that precedes it, and how all are woven together 
 into a complete and beautiful whole. 
 
 Information concerning Books and Apparatus men- 
 tioned is given in the Appendix, when it is thought 
 that such information may be desired by the reader. 
 
Vlll PREFACE. 
 
 My thanks are due to Mr. Sachs of Bradford for his 
 skill and care in taking the photographs from which 
 many of the illustrations have been prepared. 
 
 I am also indebted to the Authors from whose works 
 I have quoted. If in any case the Author's name is 
 omitted, it is because I have failed to remember the 
 source from whence the idea originally came, and my 
 apology is herewith offered. 
 
 LOIS BATES, 
 
 SALTAIBE. 
 
CONTENTS. 
 
 PAGE 
 
 CHAPTER _ 1 
 
 1. FROBEL'S PRINCIPLES - n 
 
 II. DESCRIPTION OF A KINDERGARTEN - 
 
 KINDERGARTEN GIFTS. 
 
 - 19 
 
 III. GIFT I. - 29 
 
 IV. GIFT II. " _ 34 
 V. GIFT III. - 50 
 
 VI. GIFT IV. - _ 6Q 
 
 VII. GIFT V. . - 71 
 VIII. GIFT VI. - 
 
 IX. GIFT VH.-TABLETS - ' " g4 
 
 X. THE JOINTED LATH - gg 
 
 XI. THE LATH - 92 
 
 XII. STICK-LAYING - _ 99 
 
 XIII. RING-LAYING _ _ 103 
 
 XIV. THREAD-LAYING _ ^ 
 XV. DRAWING - 12 8 
 
 XVI. BEAD WORK 
 
 OCCUPATIONS. 
 
 - 133 
 
 XVII. PERFORATING _ _ 13g 
 
 XVIII. EMBROIDERY U5 
 
 XIX. PAPER-PLAITING OR MAT-WEAVIN ' ^ 
 
 XX. PAPER-FOLDING - _ 164 
 
 XXI. PAPER-CUTTING- "_ _ 16Q 
 
 XXII. PEA WORK _ _ 1?2 
 
 XXIII. MODELLING IN CLAY _ 176 
 
 XXIV. MODELLING IN SAND _ lg() 
 XXV. BASKET-MAKING 
 
 ORDINARY SCHOOL SUBJECTS. 
 
 - 186 
 
 XXVI. MORAL TEACHING _ 189 
 
 XXVII. READING . . 208 
 XXVIII. WRITING - - - 
 
x CONTENTS. 
 
 ORDINARY SCHOOL SUBJECTS continued. 
 
 CHAPTER PAGE 
 
 XXIX. NUMBER 219 
 
 XXX. FORM AND COLOUR 238 
 
 XXXI. NATURAL HISTORY AND OBJECT LESSONS - - - - 245 
 XXXII SIMPLE OBJECT LESSONS FOR BABIES 251 
 
 XXXIII. PICTURE LESSONS - 255 
 
 XXXIV. STORIES 258 
 
 XXXV. RECITATION - - - - - - - - . - - 264 
 
 XXXVI. SEWING 268 
 
 XXXVII. KNITTING - - 273 
 
 SINGING. 
 
 XXX VI II. KINDERGARTEN GAMES 275 
 
 XXXIX. ACTION SONGS 284 
 
 XL. MARCHING 287 
 
 XLI. TONIC SOL-FA 290 
 
 DRILL. 
 
 XLII. NOTES ON DRILL - - 292 
 
 XLIII. MUSICAL BELLS - - 295 
 
 XLIV. DUMB BELLS - - - - 301 
 
 XLV. HOOP DRILL - - 310 
 
 XLVI. RING DRILL - - - - - - . . . .319 
 
 XLVII. WANDS - - 328 
 
 XLVIII. SCARF DRILL 335 
 
 XLIX. GUN DRILL 342 
 
 L. CURVED WANDS - - 351 
 
 LI. FAN DRILL - - - - 361 
 
 LII. TAMBOURINE DRILL ----_.-__ 379 
 LI 1 1. MAYPOLE DANCE 373 
 
 APPENDIX 
 
 - 387 
 
LIST OF COLOURED PLATES. 
 
 IPLATE I. facing page 19 
 
 II. ,,80 
 
 n HI- 82 
 
 IV. M 105 
 
 V. ,,125 
 
 VI. ,,129 
 
 VII. 142 
 
 VIII. 144 
 
 IX. ?5 150 
 
 X. - 150 
 
 XL 150 
 
 XII. ,,150 
 
 XIII. - ,,156 
 
 XIV. 162 
 
 XV. 166 
 
 *, XVL 177 
 
CHAPTEE I. 
 FROBEL'S PRINCIPLES. 
 
 SINCE the days of the Teacher Divine, whose infinite tender- 
 ness and love for the children were expressed in those 
 memorable words, " Suffer the little children to come unto 
 Me," there has arisen no teacher who understood child-life 
 so well or penetrated so deeply into its secrets as Friedrich 
 Frobel. The early life of animals and plants has received 
 far more attention than the early life of childhood, and yet 
 most people will admit that the first six years of a child's 
 life are the most impressionable and important. " Give me 
 the first six years of a child's life, and I care not who has 
 the rest." 
 
 Everybody believes that moral training is of paramount 
 importance and that the formation of character is of the 
 greatest value. Surely it is a gross mistake to consider the 
 child merely as a physical being, during the most impres- 
 sionable years of its life ! If it is true that the well-being of 
 men and nations depends on w r hat the man is, and that the 
 well-being of the man depends on what the child is, then 
 how important it is that the child should develop all within 
 that is good and pure and noble ! Which of us knows what 
 latent powers of good may have been lost in his or her own 
 nature for want of tending in the early years of life, and who 
 can say what forces lie in the undeveloped childhood around 
 us ! Whether a man becomes a slave to his passions or a 
 conqueror of self depends a great deal on the foundation laid 
 in early life. 
 
 1 
 
2 FKOBEL'S PRINCIPLES. 
 
 " The child contains in germ all that it will be in man- 
 hood." It is ours, then, to see that these precious germs do 
 not wither for lack of culture in the little human plant. But 
 how shall we cultivate them ? Frobel's teaching gives the 
 answer. Every human being," he says, " is in his spiritual 
 origin a particular thought of God." The child is Divine as 
 well as human, and education does not fulfil its mission 
 unless it develops the Divine essence in the child. 
 
 Herbert Spencer defines education as " Preparation for 
 complete living". Another writer (Baroness von Maren- 
 holtz-Biilow) says " Education is emancipation the setting 
 free of the bound-up forces of body and soul. Its chief aim 
 should be the formation of character." 
 
 Frobel holds that the great object of life is to develop the 
 Divine in us, and that the spirit can and ought to be 
 developed with and at the same time as the body and mind. 
 It is this want of harmonious development of the threefold 
 nature, moral, mental, physical, that causes the discontent 
 and unhappiness of our race. Educational facilities are 
 greater than ever, and physical development is now made a 
 part of education, but, unless the moral nature is developed 
 at the same time, the child is not " prepared for complete 
 living ". 
 
 Frobel says, " Man is made in the image of God, and his 
 destiny is to become like Him. Man is at once the child of 
 nature, the child of humanity, and the child of God, and the 
 aim of education is to bring him, while he is a child, into 
 harmonious relations with all the three." 
 
 Linked together in one whole the parts of life must be, 
 The end and aim of child-life is blessed unity. 
 
 All Frobel's teaching is based on natural law. He felt sure 
 that just as the physical and mental capacities are developed 
 according to law, so should be the spiritual. In studying 
 childhood he noticed its great love of activity and movement ; 
 
FROBEL S PRINCIPLES. 3 
 
 how the child exercises its sense of touch by grasping things, 
 how it watches, and listens, and seems delighted to use its 
 senses, and Frobel determined that it was by directing these 
 natural expressions of child-life that the educator could aid 
 in the threefold development of his nature. A child's ac- 
 tivities should not be left vague and purposeless, but as 
 Baroness von Marenholtz-Biilow beautifully expresses it: 
 " Every delight of the senses should be used as a means 
 for loosing the fetters of the child's soul, for ministering food 
 to the spirit, and opening the gates into the region of the 
 beautiful. Without cultivation of the senses, cultivation of 
 the soul is impossible." 
 
 The child's education begins when it becomes interested in 
 the objects that surround it, and Frobel in his " Mother Play 
 and Nursery Songs " shows the mother how she may aid in 
 the child's development from the first dawn of intelligence. 
 The child, then, is to be educated by the direction of its own 
 natural activities, and in the early years of life there is only 
 one right form for these activities to take, and that is play ; 
 or, in other words, work is to be made such a delight to the 
 children that they will love it, and be just as happy in it as 
 they are at play. This was Frobel's great inspiration, to 
 organise play as a means of education, and in this he mani- 
 fested his genius. He saw that "to cram the child with the 
 ideas of grown-up people was to choke its natural growth," 
 and that the only right way to educate was to surround the 
 child with favourable conditions that would assist its natural 
 instincts. Frobel puts action in place of abstract learning, 
 and by the Kindergarten system seeks to place the child 
 in a little world of action in which it can develop itself. 
 Make the child happy, for " Virtue kindles at the touch of 
 joy ". Make it pleasant for the child to do right. Frobel 
 does not deny the existence of a disposition towards evil, 
 but he would have us give the child a bias in the direction 
 of good, and it is easier for him to be good when he is happy. 
 
4 FROBEL S PRINCIPLES. 
 
 The child, then, finds its greatest happiness in the exercise 
 of its faculties in work, which in the child-stage is only 
 another name for organised play. 
 
 "The games of childhood are the heart-leaves of the 
 future life," in them is expressed the child's innermost 
 nature. The child who plays earnestly will live in earnest 
 when he grows older. " The sources of all good are in 
 play." How then did Frobel use play as a means of educa- 
 tion ? He noticed that children loved to work in mud or 
 clay, hence he gave them clay-modelling. He saw them 
 examine their toys, and try to get at the heart of them, very 
 often by breaking the toy, and he invented the divided cube. 
 Children love to build and construct, so he provided material 
 for building ; they love colour, and in his 1st Gift, as in 
 many of the occupations, this desire is gratified. They are 
 fond of sketching and drawing, therefore a system of draw- 
 ing finds its place in the Kindergarten, and they are always 
 charmed by music and rhythmic motion, hence Frobel's 
 Kindergarten games. He noticed, also, that children love 
 to be out of doors, and so he would take the children of 
 his Kindergarten into the fields and woods and inculcate 
 a love of nature from the child's earliest years. " From 
 every object in nature," says Frobel, " there is a way to 
 God." 
 
 He noticed that the year-old baby, watching a revolving 
 ball, gradually took its eyes from ball to string, and followed 
 the string until it came to the hand that moved it. Just so 
 in nature, the child seeks to know the cause of things. 
 "Who painted the flowers?" he asks. "Who made the 
 glorious sun ? " The same God who made thee, dear child, 
 and as the flowers and the sunshine express what God 
 intended them to express, so must the child try to do the 
 same. We know how readily the child's heart responds. 
 To him the thunder is the voice of God, the sunshine is His 
 smile, all nature is an expression of His goodness, and the 
 
FBOBEL S PRINCIPLES. 5 
 
 child, seeing God in everything, loves Him. The child's first 
 music lesson should be from the voices of nature. Let him 
 listen to the murmuring brook, the rustling leaves, the gentle 
 tinkling of the harebells or ripe golden oats, and the harmony 
 will enter his soul. 
 
 A garden or plot of ground is an essential feature in 
 Frobel's system ; he would have one attached to every 
 Kindergarten. The following incident told by the authoress 
 of Child Nature illustrates the valuable use that may be 
 made of a garden : " Two little girls, of four and five years 
 of age, had, like the rest of the children, sown a few peas and 
 beans in their own little plot of ground. Day by day they 
 would grub up the soil with their little hands to see why the 
 seeds did not grow. It was explained to them that if they 
 wished to see the seeds come up they must wait patiently, 
 and leave them undisturbed. So the children waited and 
 watched, until one day the teacher found them bending over 
 the flower bed and gazing with delight at two or three little 
 green blades. Then she said, ' Who made the seeds grow?' 
 and the children answered, ' It was God ! ' ' Yes,' said the 
 teacher, ' He sent the sunshine and the rain to warm and 
 moisten the earth, so that the damp soil could soften the 
 seeds and make them grow. He did this to make you happy, 
 what will you do to please Him ? ' ' We will be very good,' 
 said the children, and the youngest one exclaimed earnestly, 
 ' I will do something to please God '. Later in the day 
 when the children had been weaving little mats with strips 
 of coloured paper and the teacher asked each child for whom 
 its work was intended, the child before mentioned replied, 
 ' I am going to give mine to God '." This little incident 
 shows how easily the higher nature may be touched, and 
 how gladly the child responds. 
 
 Frobel would also have the children taught to love and 
 care for animals, "their little brothers and sisters lower 
 down," as some one has happily termed them, and this, he 
 
6 FROBEL'S PRINCIPLES. 
 
 says, will lay the foundation for the love and care of human 
 beings in later life. 
 
 Frobel says that " Work is salvation," and so it is, if the 
 work be made to express the best and highest that is within 
 us; it becomes then a means of spiritual development. 
 When the fingers are moved by the mind, work is not a 
 curse, but " the highest blessing of mankind, and that which 
 bestows on it its nobility " (Baroness von Marenholtz- 
 Biilow). " Learn through doing," says Frobel, but " it 
 must be a doing which blossoms into being, for it is char- 
 acter building which has to go on in the Kindergarten " (K. 
 D. Wiggin in Children s Eights). 
 
 Man is a creative being, because he is made in the image 
 of God, and first and foremost he should be trained to create, 
 not to copy or imitate. Work should be a means to know- 
 ledge, and the beauty of Frobel's system is that it has dis- 
 covered a plan by \vhich " children, unconsciously, and even 
 while at play, are fashioned into workmen ". Eousseau says, 
 " Children easily forget what has been shown to them, or 
 what they have been told, but what they themselves have 
 made they never forget ". This has been confirmed by the 
 writer's experience. She has known boys of twelve or four- 
 teen years come into the Kindergarten school to see designs 
 in drawing, or other work done by their own baby fingers at 
 five or six years of age, which the teacher has preserved ; 
 and the boy's face has flushed with pleasure as he showed 
 the work to one or other of his boy companions. 
 
 When we can infuse into the child's work a sense of 
 obligation to others, or make it a means of giving pleasure 
 to others, it reaches its highest significance. The authoress 
 of Children's Eights illustrates this so beautifully that the 
 writer cannot help quoting the passage entire. 
 
 " In a high dormer window of a great city, in a nest of 
 quilts and pillows, sits little In grid. Her blue Danish eyes 
 look out from a pinched, snow-white face, and her thin 
 
FBOBEL S PRINCIPLES. 7 
 
 hands are languidly folded in her lap. She gazes far down 
 below to the other side of the square, where she can just see 
 the waving of some green branches, and an open door. 
 
 " Her eyes brighten now, for a stream of little children 
 come pouring from that door. ' Look, mother,' she cries, 
 ' there are the children ! ' and the mother leaves her wash- 
 ing and comes with dripping hands to see every tiny boy 
 look up at the window and flourish his hat, and every girl 
 wave her handkerchief or kiss her hand. They form a ring ; 
 there is silence for a moment, and then, 'mid great flapping 
 of dingy handkerchiefs and battered hats, a hearty cheer is 
 heard. 
 
 "'They're cheering my birthday,' cries Ingrid. 'Miss 
 Mary knows it's my birthday. Oh, isn't it lovely ! ' And 
 the thin hands eagerly waft some kisses to the group below. 
 
 11 The scene has only lasted a few moments, the children 
 have had their run in the fresh air, and now they go march- 
 ing back, pausing at the door to wave ' good-bye ' to the 
 window far above. The mother carries Ingrid back to her 
 bed (it is a weary time now since those little feet touched 
 the floor) ; but the bed is not as tiresome as usual, nor the 
 washing as hard, for both hearts are full of sunshine. 
 
 " Afternoon comes little feet are heard climbing up the 
 stair, and Ingrid 's name is called. The door opens, and two 
 flushed and breathless messengers stand on the threshold. 
 'We've brung you a birfday present,' they cry; 'it's a 
 book, and we made it all our own se'ves and all the chilluns 
 helped, and made somefin' to put in it. Miss Mary's 
 downstairs mindin' the babies, and she sends you her love. 
 Good-bye! Happy birfday.' ' Happy birthday,' indeed! 
 Golden, precious, love-crowned birthday ! Was ever such 
 a book so full of sweet messages and tender thoughts ! 
 
 " Ingrid knows how baby Tim must have laboured to sew 
 that red circle, how John Jacob toiled over weaving that 
 mat, and Elsa carefully folded the little drove of pigs. Every 
 
8 FROBEL*S PRINCIPLES. 
 
 body thought of her, and all the ' chilluns ' helped, and how 
 dear is the tangible outcome of the thoughts and the 
 
 helping ! " 
 
 Could any one imagine children trained in such an 
 atmosphere of loving thoughtfulness growing up into 
 selfish, cynical men and women ! This is love in practice 
 (for love comes before faith), and it is the only right way 
 of teaching the child to be good, for it is just as impossible 
 to attain goodness without practising it as it is to attain 
 mental capabilities without practising mental faculties. 
 " To help is to (Jo the work of the world." To a child it is 
 a great pleasure to help, he learns the joy of sharing, and it 
 is the highest honour he can reach. 
 
 The Kindergarten games teach unity, and also self-denial, 
 for each must do his part before the whole can be re- 
 presented, and sometimes a child may not be allowed to 
 take just the part he would choose. In the " Bird " game, 
 e.g., all cannot be birds, some children must be " trees," 
 and others must form a " wall " round the " wood ". The 
 pleasure of the one must be subordinated to the good of the 
 whole, and the child thus learns to consider the rights of 
 others, and to practise self-denial. He sees how other 
 lives touch his own. In the care of animals and plants 
 important traits of character are cultivated. We love that 
 which we tend, and the child who has learned to love 
 flowers and plants, to water them and care for them, and 
 to nurture animals and feed them (all of which means some 
 amount of self-denial), will, when older, be capable of 
 making sacrifices for human beings whom he loves. If it 
 is not possible to have a plot of ground in connection with 
 the school, let the children sow seeds in pots or boxes, 
 it will not do for the teacher to sow them ; the children 
 must do it for themselves if they are to be thoroughly 
 interested. If no other pets are available, there might be 
 a canary in a cage. English song-birds should never be 
 
FROBEL'S PRINCIPLES 9 
 
 confined, but as the canary could not live out of doors in 
 our country, it is not cruel to keep it in a cage. One teacher 
 had tadpoles in a large globe in school, which the children 
 eagerly watched day by day until they should see them 
 change into frogs, which were then taken back to the pond. 
 Other items of interest are described later, in the chapter 
 "Description of a Kindergarten". 
 
 In the early years of life the word and the object must 
 never be separated, the child should see that which it names 
 and learns about. Further, as Pestalozzi taught, " Every 
 new idea must be connected with something already known ". 
 But how? Here Frobel's " law of balance," or "reconcilia- 
 tion of opposites," comes in. The new object (for during 
 the first six years of life all teaching should be object teaching) 
 must be connected with an object already known by com- 
 parison. This is illustrated admirably in Gift II., where the 
 cube and cylinder are introduced with the sphere, whose 
 form the child has already recognised in the soft ball of Gift 
 I. The sphere and cube present a total contrast to each 
 other, and for this reason can be easily compared ; the 
 cylinder partakes of qualities of both, and is therefore the 
 connecting link between. This principle will be illustrated 
 more fully in treating of the different Gifts and Occupations, 
 etc. 
 
 The Teacher. Frobel compared the life of a little child 
 with plant life, and drew this obvious conclusion : that just 
 as it is necessary for the gardener to understand the nature 
 of the plant he is tending, and to know what conditions are 
 favourable to its well-being, even so is it of vital importance 
 that the " gardener " of the little human plant should under- 
 stand the nature of that which she trains, and know exactly 
 what means to use for its development. Whoever would 
 guide a child's soul should have some knowledge of its nature. 
 " The whole principle of Frobel's teaching is based on a perfect 
 love for children, and a full recognition of their nature," and 
 
10 FROBEL'S PRINCIPLES. 
 
 since Divine Wisdom has so created them as to find happi- 
 ness in the active exercise and development of their faculties, 
 we should try to direct these energies, and find means for 
 the child's activity to express itself. A true teacher becomes 
 in spirit a child with the children, so that she may fully 
 sympathise with them. Given the strong love for children 
 and a child-like nature, and enthusiasm, without which 
 nothing good or great is carried out in this world, we may 
 hope to attain some of that power (\vith which Frobel was 
 so richly gifted), to penetrate straight to the child's soul, and 
 to call out and foster the Divine spark that is latent there. 
 " Let it be our aim that every good thought should grow 
 into a deed." 
 
 To quote from Children's Eights once more, " The ideal 
 teacher of little children needs strength and delicacy. She 
 needs a child's heart, a \voman's heart, and a mother's heart 
 in one ; she needs clear judgment and ready sympathy, 
 strength of will, keen insight and oversight, the buoyancy 
 of hope, the serenity of faith, and the tenderness of patience. 
 The hope of the world lies in the children." 
 
11 
 
 CHAPTEE II. 
 DESCRIPTION OF A KINDERGARTEN. 
 
 PICTURE to yourself a bright, lofty room, with a large gallery 
 at one end. The classrooms are ranged on each side of the 
 principal room, from which they are separated by glass 
 partitions. The room is well lighted from above, and also 
 from one end, and the walls, which are of a pale green tint, 
 are adorned with bright, pretty pictures, and numbers of 
 brackets, on which we see vases of flowers, as also on the 
 teacher's desk and on the table and piano. At one end of 
 the room is the museum-cupboard, containing curiosities, 
 some of them contributed by former scholars, now grown up, 
 and some by interested visitors. Here is seen a lamb's foot, 
 the foot of a hen, the foot of a duck, and many models of 
 animals and birds. The manufacture of cotton, wool, and 
 other things is shown in the different stages. 
 
 On the top of the museum are two cages in which canaries 
 live, while in front is a large box with ferns growing in it. 
 
 Models of Objects. In another room are miniature 
 representations of a farmyard, a cornfield and jungle. 
 Each of these is in a wooden tray, one yard square. The 
 "jungle " is made by placing a layer of soil in the tray to 
 the depth of half an inch, the soil being damped before the 
 grasses, etc., are stuck in. The " cornfield " is made in the 
 same way, each stem being cut from nine to twelve inches 
 long; half the "field" is planted with corn, and the other 
 half with stubble, on which rest the sheaves of corn, and a 
 toy sickle. 
 
12 
 
 DESCRIPTION OF A KINDERGARTEN. 
 
 The "farmyard" has a stone trough, and groups of animals, 
 such as are seen in a farmyard, also a diminutive stack of 
 luiv, and another of corn. 
 
 FIG. 1. 
 
 The " desert " is a tract of sand with a tiny oasis, and 
 camels are crossing (see illustration above). There are 
 other objects of interest in this room, such as a " stable," a 
 " barn " and a " cowhouse " ; a mail-cart, which is used to 
 give the babies rides in the playground, a rocking-horse, a 
 see-saw, and a large bag containing tops, whips, skipping 
 ropes, etc., for use in the playground. 
 
 Classrooms. Now we will enter the rooms where the 
 children work. Each room contains forty little chairs, and 
 twenty dual Kindergarten tables, all of which are screwed 
 fast to the floor. 
 
 The sketch (Fig. 2) shows a Kindergarten table with two 
 sizes of chairs. The larger size is used with an ordinary 
 sloping desk for older children. The smaller chair is the 
 one used with the table here given. 
 
 In the classrooms again, we see numbers of pictures, and 
 brackets with plants or flowers, the latter also adorn the 
 
DESCRIPTION OF A KINDERGARTEN. 
 
 13 
 
 window sills. Every room is bright and pretty, for the 
 mistress believes with Frobel that it is easier for the children 
 to be good when their surroundings are pleasant and 
 attractive. The framing of pictures has been paid for with 
 the proceeds of Mayday Festivals which are held annually. 
 
 FIG. 2. 
 
 Each teacher prepares her classroom for the first lesson 
 before school commences. If it is building, the boxes of 
 cubes are all placed ready for passing, at the end of each 
 row, so that no time is wasted. The " Signal," which is 
 described later, is also laid on each teacher's desk ready for use. 
 
 Morning School. As the time approaches for beginning 
 school, the patter of little feet is heard, and the teachers 
 enter the cloakroom, and help the little ones to take off 
 
14 DESCRIPTION OP A KINDERGARTEN. 
 
 their outdoor wrappings. Then one of the teachers seats 
 herself at the piano, and the children march in to the sound 
 of happy music, in which the birds join heartily. By-and-by 
 the pupils take their places on the gallery, and sing a simple 
 morning hymn. After this is finished, a ''chord " is struck 
 on the piano, which the children know means "turn to right". 
 
 At the sound of a second chord, they turn to right again, 
 so that they are now facing their seats. 
 
 At the third chord they kneel on the seat, and the teacher 
 says softly, "Hands together, eyes closed". Then they 
 repeat a simple prayer. When this is finished, the chords 
 are again given thus : 
 
 First Chord. Hands down and open eyes. 
 
 Second Chord. Stand. 
 
 Third Chord. Turn to left. 
 
 Fourth Chord. Face teacher. 
 
 Now a pleasant good-morning is exchanged, and the teacher 
 invariably makes this the opportunity for a little chat with 
 the children. "What kind of a morning is it ? " " It is a 
 bright morning." " Why ? " " Because the sun is shining." 
 " Some of the children brought flowers to me this morning. 
 Why do we have so many flowers just now?" "It is 
 Spring." " What did you notice on your way to school ? " 
 Perhaps one child mentions the blue sky or the white clouds. 
 Another notices that the trees are budding, the birds singing, 
 and some may have seen little lambs in the fields. It is 
 quite wonderful what an amount of information is gleaned 
 by the children in these morning chats, which do not last 
 more than five minutes. They learn to note the seasons, 
 with their various changes, and to become deeply interested 
 in the springing of the flowers, the changes in the leaves, 
 the return of the birds, the hoar frost, the snow, etc., and all 
 the simple phenomena of nature. The teacher always 
 treasures up for the benefit of the children any little ex- 
 perience of her own, such as the following : 
 
DESCRIPTION OP A KINDERGARTEN. 15 
 
 " I went for a walk in the woods last evening and there I 
 heard a bird sing that always comes with the springtime ; 
 can you guess its name ? " "It was the cuckoo," say the 
 children. "Do you think I saw its nest?" "No, it does not 
 build a nest. It lays its eggs in another bird's nest," and 
 so on. 
 
 Bible Lesson. After this little talk the daily Bible or 
 moral lesson is given. This morning it is the story of 
 the " Good Samaritan," and the children listen with eager 
 interest to the description of the three men and what they 
 did. In answer to the question, " Which do you like best? " 
 they promptly reply, " The man with the camel". The 
 teacher then proceeds : " I do not think we shall be able to 
 help any one just as this man did, but there are other kind 
 things that we can do. I saw a little girl in the cloakroom 
 just now untying a hard knot for her little sister. I wonder 
 if you can think of any other way of helping? " " We can 
 help the little ones to fasten their coats, and we can help 
 them down the steps." "And what about mother, who does 
 so many kind things for you? " suggests the teacher. " We 
 will do what she tells us," says one. " There are other 
 things we can be kind to," says the teacher. " I will just 
 see if the birds are fed, and if not, one of you shall attend to 
 them ; or the plants may need water, and we will give them 
 some." 
 
 The Teachers. The teachers make a point of being 
 neat in their dress and appearance, so that they may incul- 
 cate with a good grace the same virtues in their pupils. It 
 is easy to see that teachers and children alike have their 
 hearts in their work, which might be more correctly named 
 " play," for to children " work made pleasant " is play. 
 Each Wednesday after school the head mistress and teachers 
 remain for an hour to talk over matters that affect the inter- 
 ests of the school. The " talk " is generally preceded by a 
 cup of tea, provided by the teachers in turn, then each one 
 
16 DESCRIPTION OF A KINDERGARTEN. 
 
 is free to introduce any point for explanation, or to state any 
 difficulty that has arisen in her work. Sometimes these 
 friendly gatherings afford occasion for the head teacher to 
 give further instruction in Frobel's methods and principles, 
 and it is here that much work of the school is arranged. 
 Perhaps a new game is about to be taught, and the head 
 teacher will say, " The next Kindergarten game is to be the 
 ' farmyard '. How can you connect it with your Kinder- 
 garten lessons? " 
 
 " My class can fold a duck or a hen," says one teacher, 
 who has paper-folding. " Mine will build a trough," says 
 the teacher of Class II., who teaches building. The " babies' " 
 class will be delighted to have a " duck pond" in sand. 
 The children who have stick-laying will lay the "hay stack," 
 the " barn " will be perforated and embroidered by another 
 class, the " dog kennel " and " farmyard gate." can be built 
 with Gift IV., and object lessons will be given on animals or 
 objects that are found in the farmyard. These suggestions 
 are all noted, and subsequently tabulated and kept for refer- 
 ence. (See the table showing connection of lessons at end 
 of chapter.) 
 
 Perhaps some happy idea has struck one of the teachers 
 in her work, some better method of making instruction clear, 
 and the happy thought is given for the benefit of all. There 
 is to be no such thing as self-interest, all are working for the 
 common good, and each tries to remember that the physical 
 and mental culture of her charge is to be made the means 
 of developing that part of it which lasts for ever its 
 character. This thought that the moral training of the 
 child is of first and utmost importance is frequently brought 
 before the teachers, and, to help still further, they read 
 together some portion of Scripture each morning, before the 
 time for opening. 
 
 The Signal.* The signal here illustrated has found its 
 * See Appendix 1. 
 
DESCRIPTION OF A KINDERGARTEN. 17 
 
 way into a great many schools, and for saving the teacher's 
 voice, and securing discipline with the minimum expenditure 
 of strength, it is, without doubt, most valuable. We find it 
 quite possible to stop the marching, or singing, or reading of 
 a number of children with one click of this little instrument. 
 It is held by the teacher as shown in the illustration, and 
 can be used to indicate a number of words of command, e.g., 
 suppose the children are standing, and the teacher wishes 
 them to sit, she strikes the signal and then waves it down- 
 wards. If they are standing in rows and the teacher wishes 
 
 FIG. 3. The Signal. 
 
 them to turn, she strikes the signal and points it in the 
 direction required. In a reading lesson the signal may be 
 used largely instead of the voice. If a mistake is made, the 
 signal is struck twice sharply, and the child goes back and 
 corrects the error. When another child is required to read, 
 the signal is struck once, and pointed at the child who is to 
 read next. It will be found that the children are on the 
 alert for signs, and the attention is much closer than where 
 the voice only is used, for, when the commands are given 
 by the signal, the children must look up to find out what 
 is required of them, and this teaches them to use their eyes. 
 
 2 
 
18 
 
 DESCRIPTION OF A KINDERGARTEN. 
 
 
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 Hay stack 
 Dog kennel 
 
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 1 Object Lesson. 
 
 Spring 
 Spring flowers 
 Sycamore 
 
 Farmyard 
 Duck 
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PLATE 
 
19 
 
 CHAPTER III. 
 
 GIFT I. 
 FIG. 4. (See Coloured Plate 1.) 
 
 What it is. Gift I. consists of six wool balls, contained 
 in a box, each ball showing one of the colours of the rain- 
 bow. There are also six coloured strings, one for each 
 ball, and three pieces of wood that form a movable frame- 
 work, from which the balls can be suspended, as shown in 
 Fig. 4. (See Coloured Plate I.) 
 
 "Why chosen, Frobel chose the ball as the child's 
 first plaything, because it is the most simple, and yet the 
 most complete of all forms. 
 
 The child's little hand holds it easily, for it is light and 
 soft, while the various motions, of which the ball is capable, 
 make it a source of delight. It is indeed a favourite play- 
 thing both with the young and the old, and in the hands 
 of an intelligent teacher it lends itself admirably to that 
 gradual unfolding of the child's nature which is so essential 
 a feature of Frobel's system. 
 
 The eyes are trained by watching its movements. 
 
 The ears by listening to the sounds it makes. 
 
 The sense of touch by handling it. 
 
 The muscles of the body are strengthened by the healthy 
 actions of the games. 
 
 Feelings of friendship and kindliness are cultivated when 
 the children combine to play the games. 
 
20 GIFT I. 
 
 The following pages show some of the ways in \vhich 
 Gift I. may be used. 
 
 Each division will occupy many lessons, but the divisions 
 should be alternated daily thus: if we take "colour" one 
 day, the " motions of the ball " might form the subject of 
 next day's lesson, and so on. 
 
 (a) Description of the Ball. Teacher : "What shape 
 is the ball ? " Child : " The baU is round ". " What other 
 things are round like the ball ? " " An apple, orange, the 
 sun, the moon." (In each of these answers, the teacher 
 should insist on a complete sentence, thus : " An orange 
 is round/' then the lessons on Gift I. will prove a valuable 
 means of training the children to express their thoughts, and 
 to speak correctly.) Let a child grasp the ball, then ask 
 how it feels. "The ball is soft." "What other things 
 are soft? " " My dress, my cheeks, etc., etc." " Now feel 
 the box." " It is hard." " What other things are hard?" 
 " Glass, coal, stone, gold, etc." 
 
 Teacher : " What is the ball made of ? " Child : "It is 
 made of wool". 
 
 " Tell me other things that are made of wool." " Stock- 
 ings, dresses, etc," always answering in a complete sentence. 
 
 Teacher : " Where did the wool come from ? " Child : 
 " It came from the sheep ". 
 
 Show a picture of a sheep, or, better still, let the children 
 see it in the fields, if this is possible. " How kind the 
 sheep is to give us its soft, warm wool to make the pretty 
 ball ! " Describe the shearing how the sheep are first 
 washed, and then their thick coats are taken off, because the 
 warm weather has come. The sheep is much too hot in his 
 heavy coat, just as little children would be if they wore 
 winter clothing in summer. 
 
 
KEY D. 
 
 GIFT I. 
 BALL SONG. 
 
 21 
 
 d 1 : s In : d 
 
 s la 1 :s 
 
 1. The ball is such a pret - ty thing, A - bout it 
 
 :d 
 
 CO 
 
 (I 
 
 s : G |s : s |f : f .n | r 
 love to sing, So round it is, 
 
 : s In : n.r I d : n 
 and light and soft, I 
 
 r :f 
 
 hold it 
 
 in 
 
 M 
 
 my 
 
 a :a ia 
 
 hand full oft. 
 
 2. Tis made of wool, and do you know 
 That on a sheep the wool did grow ? 
 Until some men the fleece did take, 
 Warm clothes and pretty balls to make. 
 
 (&) Colour. Arrange balls in box so that the red ball 
 appears first when the lid slides off, then yellow, blue, 
 orange, etc., follow. 
 
 Teacher : "I will slide the lid a little way, so that you 
 
 FIG. 5. 
 
 may see just one ball. What colour is it? " Child : " It is 
 red ". 
 
 Teacher: "What other things have you seen that are 
 red?" Child: "Some dresses are red, the fire is red, and 
 there are red flowers ". 
 
22 GIFT I. 
 
 Then teacher might say : " One evening just before it was 
 dark I saw a great red ball in the sky, and it sank lower and 
 lower, until it went quite out of sight. What was that?" 
 " It was the sun." " Johnny may hold the red ball in his 
 hand. Now you shall see another ball. What a pretty 
 colour it has ! Who can teU it ? " " It is yellow." " Tell 
 me all the things you know that are yellow." 
 
 When children have exhausted all they know, the teacher 
 may help them, thus : "I have something in my purse that 
 is yellow ". C. " Some money is yellow." " And what do 
 you see on mother's finger ? " " Her ring is yellow." " And 
 at her throat ? " "A brooch is yellow." 
 
 T. " What are all these made of ? " C. " They are made 
 of gold." " So we will say, ' Gold is yellow '. Mary shall 
 hold the yellow ball, because her hair is nearly the same 
 colour it is golden hair." Then comes the blue ball, and 
 the children will remember that the sky is blue, the sea is 
 blue, and some children have blue eyes. Perhaps we may 
 find a little girl with a blue dress, and she shall hold the ball. 
 
 When all the colours have been talked about in some 
 such way as this, the children to whom the balls have been 
 given may come out, and holding up each ball in turn say : 
 " My ball is red," " My ball is yellow," and so on. 
 
 Ball Song. The children stand in a row, keeping their 
 balls behind them, until the colour each holds is mentioned in 
 the song, then the ball of that colour is to be held out in front. 
 KEY E. 
 
 \.-Sj Id : :r|n: :f Is :d':l|s: mis : :f | f : :r J 
 Some balls are red, and some are blue, A yel - low one I'll 
 
 llf :- 
 
 :n | n : 
 
 :S| d : 
 
 -:r|n :- 
 
 :f is :c 
 
 I 1 ills :-:n J 
 
 show 
 
 to you, 
 
 Orange 
 
 and pur - 
 
 pie, too, 
 
 are seen, And, 
 
 (is^f 
 
 :n|f : 
 
 :ti ir : 
 
 - : d!d:- 
 
 I 
 
 
 here, 
 
 a pret 
 
 - ty ball 
 
 of green, 
 
 
 
GIFT I. 23 
 
 (c) The Ball in motion. Take a ball with string 
 attached. 
 
 T. " We will now see what the ball can do." 
 
 Draw it along the floor or table, holding by the end of the 
 string, children will say, " The ball can roll ". " Why can 
 it roll? " " Because it is round." " What else can roll?" 
 " An apple can roll, an orange, etc." 
 
 Now let the ball swing from right to left, children will say, 
 " The ball is swinging to and fro ". " What can swing 
 besides the ball?" "A child can swing, a little bird on a 
 branch, a pendulum in a clock, etc." 
 
 T. "In what other way could I swing the ball?" C. 
 "You could swing it backward and forward." 
 
 T. " Now I will tw r ist the ball round quickly, holding 
 by the end of the string," the children will see that it 
 makes a circle. If the string is twisted round the finger, 
 while the ball is whirling round, the circle is thus made 
 smaller, and children say, " The circle grows smaller, 
 smaller," and as the teacher untwists the string, "The 
 circle grows larger, larger, larger". Then the ball can 
 jump, it can bounce, it can be tossed into the air, can be 
 caught, can lie still, or can tumble. We can wind it 
 up (by twisting string round finger), and can unwind it (by 
 untwisting). " What else can we wind up ? " " The blind, 
 wool to knit with, a reel of cotton, a watch, clock, 
 etc." 
 
 Ball Game, Give balls w r ith strings attached to all the 
 children, if possible, and let them stand in a ring, or 
 in a row, with a space between each. The ball is held 
 by the string, and should keep time to the music in 
 the various movements, which are indicated by the 
 words : 
 
24: GIFT 1. 
 
 KEY Ek 
 
 (In : :fjs ;--: |d' : ;1 I s : : n : :n!n :r :c 
 1. Swing - ing, swing - ing, swing - ing to and 
 
 (Is :-:-ln ;-:f Is :-:-]! ;-:t [d' :-:Ht :-:d' } 
 fro, Back - ward, for - ward, pret - ty 
 
 :-:t|d' :-:- 
 
 ball can go. 
 
 2. Jumping, jumping, like a child so gay, 
 Rolling, rolling, what a pretty play ! 
 
 3. Circles, circles, circles large and small, 
 See us make them with the nice, soft ball. 
 
 4. Tossing, tossing, I can catch you so, 
 Please don't tumble on the floor below. 
 
 (d) Position. The following exercise is invaluable as a 
 means of training the children to answer in complete sen- 
 tences. 
 
 The ball (without string attached) may be placed on the 
 table. 
 
 T. " Where is the ball ? " C. " It is on the table." 
 
 (Then put it under the table.) 
 
 T. " Where is it now ? " C. " It is under the table." 
 
 The ball may be put on a chair, and under it ; on the 
 floor, in teacher's pocket, on a child's head, in a drawer, in 
 teacher's lap and many other places, the children always 
 giving complete answers. The teacher may hold the ball 
 above the table and ask " Where is it now ? " " It is over 
 the table." In this way the pupils will learn clearly the 
 meaning of under, over, upon, etc. Teacher holds ball 
 behind her, then before ; to right, to left, etc., and all these 
 terms, which are constantly used in the later Gifts, are thus 
 learnt in childish play. 
 
 Ball Song (with actions). At the commencement of the 
 
GIFT I. 
 
 25 
 
 song, the ball is in the teacher's pocket, then she places it 
 in the other places as they are mentioned. After the teacher 
 has played the game, six of the children should have balls 
 and play it with her, then the balls should be given to other 
 children until all have had a turn. 
 KEY E. 
 
 \|d 
 
 : d.r 'n : n 
 
 r.d : r.n I d 
 
 I.Where's the ball now? say, oh, say! 
 
 : t.l | s : n 
 
 your should-er, 
 
 I n 
 
 In 
 
 r.Pi :f 
 look, I 
 
 pray 
 
 id 1 
 On 
 
 :n.f s :s 
 
 your pock - et 
 
 your head, 
 
 (I 
 
 1 
 
 On 
 
 : t. dM s : n 
 
 the ta - ble 
 
 see 
 
 : r 
 
 it 
 
 Id :- 
 laid. 
 
 2. It will lie upon my hand, 
 And my feet, if still I stand, 
 In my lap it goes to sleep, 
 While I sing, and safe watch keep. 
 
 3. Near the window, on the floor, 
 Next we place it by the door, 
 On the chair it lies quite still, 
 We can put it where we will. 
 
 (e) The Box. Teacher might begin by saying : " You 
 would like to talk about the box where the pretty balls are 
 kept, let us look at it ! " Its faces have each two long edges 
 and two short edges, so all the faces are oblong. Think of 
 other things that are oblong " slate, door, table, window, 
 etc.". 
 
 "What is the box made of?" "It is made of wood." 
 ' ' Where did the wood come from ? " "It came from the trees. ' ' 
 " Who cut the trees down ? " Show the children a picture of 
 a woodman at work, or, if possible, let them see the actual 
 wood-cutting. When the tree is cut down the sawyer saws 
 it into slices (planks), and then who makes the box? "What 
 other things does the joiner make?" "Tables, chairs, etc. 
 etc." " Now look at the lid how does it come off ? " "It 
 
26 
 
 slides off." (Show a box which has a hinged lid that only 
 lifts up, and another from which the lid lifts off.) 
 
 The following illustration (Fig. 6) shows the three differ- 
 ent kinds of lids. 
 
 FIG. 6. 
 
 The box can lie on its side, can stand on end, or can be 
 turned upside down. 
 
 KEY D. 
 
 (Id : d .r I n : n 
 Here a box of 
 
 { f.n:f.s In :- 
 made for me, 
 
 ill :t.d'|s :n 
 By the pret - ty 
 
 SONG. 
 
 I r .d : r .n | d 
 wood you see, 
 
 :n.f 
 
 s :s 
 
 Itf 
 
 Six 
 
 t.lis :n 
 
 soft balls are 
 
 Which kind join - er 
 
 d. :t\. :- } 
 
 in it hid 
 
 f :r 
 
 slid - ing 
 
 d :- 
 lid. 
 
 (/) Ball Games. These should be interspersed with 
 the conversational lessons ; and, for this reason, an appro- 
 priate song or game has been given with each division. The 
 following may be played with any " Ball " lesson : 
 
GIFT I. 
 
 27 
 
 LULLABY SONG. 
 
 We pretend that the ball is a little bird, and the child's 
 lap is its nest, or the two hands put together, palms up- 
 ward, with fingers bent, may be a cradle, and the ball a 
 little child being rocked to sleep. 
 KEY F. 
 
 n : 
 
 r 
 
 :s 
 
 d : 
 
 r 
 
 :n 
 
 f 
 
 : r 
 
 : s 
 
 d 
 
 Ba - 
 
 by 
 
 in 
 
 crad 
 
 - 
 
 le safe 
 
 -iy 
 
 doth lie, 
 
 f : 
 
 r 
 
 : s 
 
 d : 
 
 r 
 
 : n 
 
 f 
 
 :r 
 
 : s 
 
 d 
 
 Bock 
 
 -a - 
 
 bye, 
 
 ba 
 
 - 
 
 by, rock 
 
 , rock 
 
 - a - bye. 
 
 or 
 
 Birdie in cosy nest safely doth lie, 
 Rock-a-bye, birdie, rock, rock-a-bye. 
 
 The children, holding their hands as described above, 
 sway them to and fro, keeping time to music. 
 
 Ball Game. The children stand in rows facing each 
 other, the rows being about two feet apart. One row might 
 be boys, the other girls, and the latter might hold the balls, 
 one each. 
 
 KEY D. 
 
 
 { d .r : n .f 
 
 s : s 
 
 1 :1 
 
 s 
 
 Stand - ing 
 
 in two ev - en rows, 
 
 llf.l :s.f 
 
 n .s : f .n 
 
 r .f :n .r 
 
 d 
 
 (1) To our 
 
 part - ner each ball goes. 
 
 (1. 
 
 n :d 
 
 1 :1 
 
 s 
 
 (2) Toss it back, and (3) hold it tight, 
 
 (If :, 
 
 n :n 
 
 r :r 
 
 d 
 
 (4) First in 
 
 left hand, (5) then in right. 
 
 Instructions continued on p. 28. 
 
28 GIFT I. 
 
 (1) Girls pass balls to partners, i.e., to the boy who stands 
 opposite. 
 
 (2) Boy tosses ball to girl opposite. 
 
 (3) Girl holds ball in both hands. 
 
 (4) Ball in left hand. 
 
 (5) Ball in right hand. 
 
29 
 
 CHAPTER IV. 
 
 GIFT II. 
 
 I. What it consists of. Gift II. consists of a sphere, 
 cylinder, and cube, all made of wood. They are enclosed in 
 an oblong box similar to 
 
 the box of Gift I., and 
 may be suspended in a 
 frame, the materials for 
 which are found in the 
 box. 
 
 2. Its use. (a) Gift 
 
 II. forms a perfect con- 
 necting link between 
 Gifts I. and III. 
 
 (b) It is an excellent 
 preparation for future 
 Gifts and Occupations. 
 The circle of the cylinder 
 and the square of the 
 
 cube prepare for drawing and writing, and also for Gifts 
 III., IV., V., and VI., which are all closely connected with 
 this one. 
 
 (c) The children are happy in watching the movements 
 and in learning all about the qualities of the different 
 objects. 
 
 The first lesson of Gift II. might begin with a talk about 
 the box. It is the same shape as the box of Gift I., but 
 shorter, because it has not so many things to hold. It has 
 
 FIG. 7. 
 
30 GIFT II. 
 
 a sliding lid in which are two holes to hold the frame (see 
 Fig. 7). 
 
 3. Comparison of the Sphere with Gift I. Show 
 the sphere with one of the soft balls, let a child feel both. 
 " The ball is soft, the sphere is hard." " Why is the sphere 
 hard?" "Because it is made of wood." "Why is the 
 ball soft ? " " It is made of wool." " The sphere is smooth, 
 while the ball is rough. Now let us feel the weight of the 
 ball and sphere." (Let a child hold the ball on one hand, 
 and the sphere on the other.) " The sphere is heavy and 
 the ball is light." " If we drop the ball it makes very little 
 noise, but the sphere makes quite a big noise." 
 
 The ball is soft, but hard the sphere, 
 That's why it makes the noise you hear ; 
 The sphere is heavier than the ball, 
 And smoother, say the children all. 
 
 All the games of Gift I. may be played with the sphere, 
 and the various motions, swinging, jumping, etc., may be 
 practised also. There is a brass loop on the sphere, to 
 which the string may be fastened when it is used for move- 
 ments. 
 
 4. Comparison of Sphere and Cylinder. " What can 
 the cylinder do that the ball can do?" "It can roll." 
 " Why can it roll? " " Because it is round." " But it is 
 not round like the ball. How is it different? " " It is flat 
 at both ends." " The ball has only one face, but the 
 cylinder has three, and on two of them it can stand. What 
 have you seen like a cylinder? " " A rolling pin, a jar, etc." 
 
 The cylinder may be suspended from the hook in the 
 centre of one of the flat faces, and may be used for the 
 motions of Gift I. 
 
 The cylinder is round, 
 It rolls upon the ground, 
 Or stands quite still, if we 
 Place it on end you see. 
 
GIFT II. 
 
 31 
 
 FIG. 8. 
 
 Fig. 8. If the cylinder be held with a double string at- 
 tached to the hook in its side thus (Fig. 8), and rotated 
 quickly, a sphere will be seen. 
 
 Turn, turn quickly and you'll see 
 Ball so round appear in me. 
 
 Fig. 9. If the string be attached to 
 the hook at the edge of the flat face 
 thus (Fig. 9), a double cone is seen. 
 
 Now another figure see, 
 
 Two round cones appear in me. 
 
 By means of these little exercises the 
 child begins to learn that one form is 
 contained in another. The sphere con- 
 tains both the cube and cylinder, and 
 the cylinder contains the cone. When 
 the children learn clay modelling they 
 prove this for themselves. 
 
 5. The Cube and Sphere. The 
 sphere is round, the cube has not one 
 round face, all its faces are square. 
 Let us see how many faces the cube 
 has. One at the front and one at 
 the back, two. One at the right side 
 and one at the left, two more ; one at 
 the top and one at the bottom, two 
 more ; (touch each face as it is men- 
 tioned, and let the children count). 
 The cube, then, has six faces, while 
 the sphere has only one, which is round, FlG - 9> 
 
 and all the cube's faces are square. Then the cube has corners, 
 count them, there are eight ; and the sphere has no corners. 
 The cube has edges round its square faces (count th'e edges), 
 there are twelve, and the sphere has not one edge. We will 
 try to make the cube roll. " Why cannot it ? " "Its corners 
 
GIFT II. 
 
 and edges will not let it roll." '' But it can stand. On what 
 does it stand?" "It stands on one of its -square faces." 
 "Can it stand on an edge or corner?" "Not unless we 
 hold it." (Let the children try to make it stand on its 
 edge.) 
 
 The Cube. Eight corners, and twelve edges, 
 
 see, 
 
 And faces six, belong to me ; 
 One face behind, and one before, 
 One top, one bottom, that makes four, 
 One at the right, at left side one, 
 And that counts six, if rightly done. 
 
 Exercises with the Cube. Fig. 
 10. If the cube be suspended by a 
 double string from the centre of one 
 of its square faces, and rotated quickly, 
 a cylinder is shown. 
 
 Turn me quickly, and you'll see 
 Like a cylinder I'll be. 
 
 Fig. 11. When the cube is sus- 
 pended by a hook in the centre of one 
 of its edges, and turned quickly, a 
 form is shown that resembles the hub 
 of a wheel. 
 
 A funny figure here is found, 
 When I am twisted round and round ; 
 You've seen it in a wheel, maybe, 
 It is the hub that looks like me. 
 
 "When the cube is suspended by a 
 hook in one of the corners, and quickly 
 turned, it looks like a double cone. 
 
 Swinging by my corner, 
 
 Quickly round I go, 
 Looking like two round cones, 
 
 With their points you know. 
 
GIFT II. 33 
 
 6. The Sphere, Cylinder and Cube. The children 
 should now see the three together, and note the points of re- 
 semblance. The cylinder can roll like the sphere, or stand 
 like the cube, it has the qualities of each, and is, therefore, the 
 connecting link between them. 
 
 Guessing Game. The children may be allowed to dis- 
 tinguish the objects of Gift II. by touch only. Let a child 
 come out and be blindfolded, or close its eyes without being 
 blindfolded, then give to it the sphere, or cylinder, or cube, 
 while the children say : 
 
 Close eyes tight, 
 That is right ; 
 As you stand, 
 Hold your hand : 
 Feel with care, 
 What is there ; 
 Tell its name, 
 That's the game ! 
 
 When the correct name is obtained the teacher asks, 
 " How did you know it was the cylinder ? " (supposing this 
 has been the form given), and the child is encouraged to give 
 the reason why he knew. 
 
CHAPTEK V. 
 GIFT in. 
 
 I. What it is. Gift III. consists of a box containing a four- 
 inch cube, divided into eight smaller cubes. The box has a 
 sliding lid, and is just large enough to hold the divided cube. 
 
 2. Why chosen. This Gift was chosen to meet an in- 
 stinct which is seen in every child the instinct of investiga- 
 tion. The child wants to look inside his toy to see what it 
 is made of. He is not satisfied with an outside, superficial 
 examination of an object, he would dive deeper, and get to 
 the heart of things, and herein he shows wisdom. To meet 
 this need Frobel invented a Gift which satisfies the child's 
 desire of investigation, but at the same time provides for 
 reconstruction. The ordinary toy has to be destroyed before 
 it can be examined, and the child tries in vain to put it 
 together again ; but in Gift III. the object can be taken to 
 pieces without being destroyed, and thus the spirit of destruc- 
 tion is checked. 
 
 Gift III. satisfies the child's desire to create, invent, make 
 something new. The power of representation is strength- 
 ened, the faculties of perception and imagination are culti- 
 vated, the child learns neatness and order, and gains an 
 intelligent knowledge of common things. 
 
 3- Gift III. compared with Gift 1 1. The children have 
 become familiar with the form of the cube in Gift II., there 
 they have the cube as a whole, here the same whole is 
 divided into parts, and now they begin to use the cube 
 (about which they learnt in Gift II.) for themselves, and to 
 make various shapes and forms with it. 
 
GIFT III. 
 
 35 
 
 Each child should have a box of cubes. The boxes may 
 be placed at the end of the desks, and passed, while the 
 following verses are sung : 
 
 KEYD. 
 
 {'d.r :n.f 
 
 S. rj 
 t 
 
 l.t :d.l 
 
 s :- 
 
 1. Care - ful - 
 
 ly and qui - et - 
 
 iy 
 
 { r.f :n.r 
 
 d :- 
 
 s : s 
 
 n : d 
 
 cubes to 
 
 mo ; Do not 
 
 let it 
 
 - f.l :s.f In.s :f.n 
 
 Pass 
 
 box of 
 
 slip or fall, 
 
 f :f 
 
 : r 
 
 Id :- 
 
 Gen - tie, care - ful, chil - dren all. 
 
 2. Now my box of bricks I see, 
 O how happy I shall be 
 When we build some pretty thing ! 
 * Clap, clap, children, as we sing. 
 
 4. The Desk or Table. Each child should have a 
 hequered desk or table on which to build. (See Chap. 
 
 FIG. 12. 
 
 I., Fig. 2, Description of a Kindergarten.) If this is 
 not possible, a square of cardboard (Fig. 12), ruled with 
 
 * All clap Lands. 
 
36 GIFT III. 
 
 inch squares, should be placed on the desk for each child. 
 Before proceeding to build, the children should learn 
 \vhich is the centre of the chequered square (marked x), 
 the front right corner (No. 1 on sketch), the front left 
 corner (No. 2), the back right corner (No. 3) and back 
 left corner (No. 4). Let the box be put in each of these 
 positions several times until the children know them quite 
 well. 
 
 5, Drill for Opening the Box. Each child places 
 its box in the centre of the table, and when the teacher 
 says 
 
 One. Eight hand is to be placed on box. 
 
 Two. Slide the lid off about half an inch. 
 
 Three. Lift box up with right hand and place left hand 
 under it. 
 
 Four. Turn box over and place on table, upside down, so 
 that the lid is at the bottom. 
 
 Five. Draw the lid out gently, and put it at the top of 
 the table. 
 
 Six. Lift the box carefully off the cube, and place it on 
 the lid. 
 
 When the above drill has been given a few times, the 
 children will remember what the various numbers indi- 
 cate, without the words being repeated. The following 
 rhyme may help them : 
 
 One. On the box our right hands go, 
 Two. Slide the lid a little, so, 
 Three. Lift the box, use left hand, too, 
 Four. Turn it over, that will do. 
 Five. Draw the lid out, place it there, 
 Six. Lift the box, take care, take care ; 
 
 On the lid it stands quite well, 
 
 All about your cube now tell. 
 
 6. The Cube. Let the children count the six faces of the 
 cube ; touching each face as they count. (When the bottom 
 
GIFT III. 
 
 37 
 
 face is counted the child should put its hand under the 
 table.) Then count the eight corners and twelve edges, and 
 repeat the rhyme about the cube given in Gift II. " What 
 is the cube made of?" " It is made of wood." "What 
 other things are made of wood? Who made the cube?" 
 "The joiner, etc." "What other things did the joiner 
 make?" "He made the box." " What kind of a lid has 
 the box? " " It has a sliding lid." " What other kinds of 
 lids are there? " (See Fig. 6 in Gift I.) " How is the box 
 different from the cube? " " It has a hole in it. The cube 
 has no hole in it. The box is hollow because it has spaco 
 inside." " What other things are hollow ? " "A cup, a jug, 
 a flower-pot, etc." 
 
 FIG. 13. 
 
 1. Cube. 
 
 2. \ Cube divided 
 
 3. f in different 
 
 4. / directions. 
 
 5. Wall. 
 
 C. High Wall. 
 
 7. Four Chimneys. 
 
 8. Two Chimneys. 
 
 9. Street. 
 
 10. Grandpa's Chair. 
 
 7. How the Cube can be Divided. " If I took an orange 
 and cut it exactly in two, and gave you one part, how much 
 would you have ? " "I should have a half." " Just as the 
 orange can be divided into halves so can the cube. We will 
 divide the cube from right to left (No. 2). How many 
 
in. 
 
 halves are there?" "There are two." "What do two 
 halves make ? " " They make a whole one." " What other 
 tilings can be divided into halves? " " A loaf, an apple, a 
 lemon, etc." " Now we will join the two halves together, 
 and cut the cube in another way ; we can divide it from back 
 to front (No. 3), and again there are two halves exactly alike, 
 and the two halves put together make a whole cube. In 
 what other way can I divide the cube?" "From top to 
 bottom (No. 4)." " So you see that we can halve the cube 
 in three different ways. Now we will put the two halves 
 together again. Suppose I wanted to divide an orange, so 
 that four little children could each have a piece, the halves 
 would not be sufficient, for there are only two. What 
 should I do then?" "You would cut each half in 
 two." "And what would you call the four parts?' 
 " We should call them quarters." "Can we divide the cube 
 into quarters?" "Yes." "First we will get the two 
 halves (No. 2), then we will divide each half into two 
 equal parts, and put one in each corner of the table. 
 How many quarters make a half? How many quarters 
 make a whole one?" When the children are older they 
 may learn eighths ; the above lays the foundation for 
 vulgar fractions. 
 
 8. Building. The cubes forming the larger cube should 
 be named just as the corners of the table have been named, 
 thus (see Fig. 12) : the front right cube (1), the front left 
 cube (2), the back right cube (3), and the back left cube 
 (4), so that the children will be able to take any cube 
 named. The cube should always be taken out of the 
 box, as an undivided whole, in order to give the idea of 
 completeness. 
 
 No. 5. A Low Wall. Teacher says, " Take your front 
 right cube and place it in the front right square on your 
 table. (Now show your left hand.) Take the front left 
 cube with left hand and place it in the next square. (Show 
 
GIFT III. 39 
 
 your right hand.) Take the back right cube with right hand 
 and place it on a line with the other. (Show left hand.) 
 Take the back left cube and put it next the other. 'How 
 many cubes have w r e taken now? " " We have taken four." 
 "How much of the whole cube have we taken" ",Wo 
 have taken half." "How much is left?" "Half is left." 
 "Which half have we taken?" " We have taken the top 
 half." " Which half is left? " " The bottom half is left." 
 "Take the cubes that are left, in the same order as the 
 four top cubes were taken, and place them in a line (see 
 No. 5). We have now made a low wall. What is a wall 
 for?" 
 
 "Where have you seen a wall?" " Eound a field, 
 garden, etc." "What is a wall made of?" "It is made 
 of bricks or stones." " What might we have instead 
 of a wall?" "We might have a fence." "What would 
 that be made of?" "Of wood, or we might have iron 
 railings." 
 
 No. 6. If we take half the low wall and place it on the 
 other half, we shall have a high wall. 
 
 No. 7. Chimneys. Divide the cube into four quarters 
 and put one in each corner of the table ; these represent 
 four little chimneys. 
 
 No. 8. Take the chimney from back right corner, 
 and put it on the top of chimney in front right corner, 
 and the left side ditto, and we shall have two tall 
 chimneys. 
 
 No. 9. A Street. Let the chimneys lie down with a 
 space between, and we have a street. 
 
 No. 10. Grandpapa's Chair. Suppose the cube to be 
 built up again in centre of table. Take the front right 
 cube and place it on the back right cube. Take the front 
 left cube with left hand and place it on back left cube, 
 and we have a chair; we will call this Grandpapa's 
 Chair. 
 
40 
 
 GIFT III. 
 
 No. 11. If we divide Grandpa's Chair (No. 10) into 
 two chairs, there will be one for Father and one for 
 Mother. 
 
 FIG. 14. 
 
 11. Two Chairs. 
 
 12. Station House. 
 
 13. Two Towers. 
 
 14. Church. 
 
 15. Castle. 
 
 1C. Town Hall. 
 
 17. Engine. 
 
 13. Ruined Castle. 
 
 No. 12. By placing the two chairs back to back we get 
 a Station House. 
 
 No. 13. Turning them with the seats together we make 
 two Towers. 
 
 No. 14. A Church is made from the Towers by moving 
 three cubes. 
 
 No. 15. From the Church we get a Castle by moving 
 only one cube. 
 
 No. 16. The two uppermost cubes are next placed in the 
 centre, and we have a Town Hall; from- this we get the 
 Engine (No. 17), then the Euined Castle (No. 18). 
 
 Fig. 15, No. 24. Let each alternate child make a table (the 
 whole cube), and place it between the Father's and Mother's 
 chairs made by its neighbour. The children learn thus that 
 combined labour produces better results, and a spirit of kindli- 
 
GIFT III. 
 
 41 
 
 ness is fostered. Then will follow a conversation about the 
 chairs and tables. Who made them ? What other kinds of 
 
 FIG. 15. 
 
 19. City Clock. 
 
 20. Bridge. 
 
 21. Steps. 
 
 22. Double Steps. 
 
 23. Throne. 
 
 24. Table and Chairs. 
 
 chairs are there, arid what shape of table might we have 
 besides a square table ? 
 
 31. Armchair. 
 
 32. Garden Seat. 
 
42 
 
 GIFT III. 
 
 The Shed (No. 25) has four cubes for the roof. The Fold 
 (No. 27) has two cubes on each side. The Tunnel (No. 
 30) has three cubes on each side, and two for the roof. 
 The construction of the rest of the objects in Fig. 16 is 
 apparent. 
 
 
 FIG. 17. 
 
 33. Two Crosses. 
 
 34. Cross. 
 
 35. Maltese Cross on Ped- 
 estal. 
 
 36. Sign Post. 
 
 37. Sentry Box. 
 
 38. Draw Well. 
 
 39. City Gate. 
 
 40. Gate. 
 
 In making the Crosses (Nos. 33 to 35) the three upper 
 cubes must, in each case, be placed as they are shown 
 here, before being lifted to their position on the Cross. 
 The three uppermost cubes of the Sign Post (No. 36) 
 are first put in position like those of the Cross, and then 
 the two are turned outwards. The back of the Sentry 
 Box (No. 37) is formed by two cubes standing on the top 
 of each other. 
 
 In a building lesson it is well to remember the following: 
 
GIFT III. 43 
 
 (a) All the cubes should be used, and the children should 
 never be allowed to destroy the object, but should always 
 form some other figure (or the cube) from it. 
 
 (b) Sometimes one child might build and the rest imitate, 
 but, as a rule, the teacher should be the architect. 
 
 (c) Do not alter a child's mistake if it can possibly make 
 the correction itself. 
 
 (c?) When the children can build a number of forms fairly 
 well, the teacher may give different objects to be built at 
 the same time, e.g., one group may build a trough (No. 29), 
 another group might combine to make a field, a third may 
 make a well (No. 38), and so on, and then the teacher may 
 relate a story in which each object shall be named. 
 
 Story introducing field, wall, gate, well, trough, fold (No. 
 27), and shed (No. 25) : 
 
 " Two little children went out to play in a field. There 
 was a wall all round the field, and a gate' (No. 40). In one 
 corner of the field there was a well a deep, cool well, with 
 sweet, clear water. But the cows and sheep could not reach 
 the water, so what did the kind farmer do ? He made a 
 trough close by the well, and drew the water up with a pail, 
 fastened to a long rope, and poured it in the trough, so that 
 the sheep and cows might have water to drink. Then at 
 night the sheep were safely shut up in the fold, and the cows 
 went into a shed. The Spring-time had come, so there were 
 pretty little lambs in the field, jumping, and frisking, and 
 dancing about, and one, that was very fond of fun, the 
 farmer called Frisky, for it was never tired of play. One day 
 Frisky was playing by the well, and, sad to say, he tumbled 
 in. The farmer was not far away, so the two children ran to 
 tell him what had happened, and Frisky's mother soon called 
 him with her ' Baa, baa ' to come and get Frisky out." (The 
 children will be delighted when their respective objects are 
 named.) 
 
 The following verses introduce other objects : 
 
44 GIFT III. 
 
 Some have made a nice, low Wall (No. 5), 
 Some have built a Chimney tall (No. 8), 
 There's a chair for Grandpapa (No. 10), 
 Two for Father and Mamma (No. 11), 
 Here's a Tunnel, long and dark (No. 30), 
 How the Engine whistles, hark ! (No. 17) 
 Quickly goes the Train so fast, 
 Till the Station House is past (No. 12). 
 
 If any object is carelessly made, it should be omitted from 
 the teacher's story, and another put in its place. Let the 
 child understand v;hy such object is unnoticed. 
 
 If the children are allowed (in putting the cubes away) to 
 place them in the box, the following rhymes may be used : 
 
 1. All our work is over, 
 
 Bricks ar-a put away ; 
 (1) One goes in the corner, 
 (2) Two beside I lay. 
 
 2. (3) Three is snug and cosy ; 
 
 Just one corner more, 
 (4) This nice cube will fill it, 
 Then I've put in four. 
 
 3. Now another layer, 
 
 Five goes in, then six, 
 
 Seven and eight will follow, 
 
 Gone are all my bricks. 
 
 4. Good-bye, pretty playthings, 
 
 In your box please stay, 
 Till again we want you 
 With us all to play. 
 
 Instructions. Let the empty box stand in front of the 
 cube. (1) Take front right cube, put it carefully in front 
 right corner of the box. (2) With left hand take front left 
 cube, and put it next the first in front left corner. (3) Take 
 back right cube, put it in top right corner of the box. (4) 
 With left hand take back left cube, and place in remaining 
 corner. 
 
GIFT III. 45 
 
 The teacher should see that these four have been put in 
 properly before proceeding with the rest, which are taken 
 in the same order as the first four. 
 
 Many teachers find it better to let the children build up 
 the cube, and put the box over it, and for those who prefer 
 this method, the following rhymes are appropriate : 
 
 (1) Lift your empty box up so, 
 
 (2) On the cube now it must go, 
 Hold it very straight, and then 
 Cover up your cube again. 
 
 Before proceeding, see that every child has managed the 
 above. 
 
 (3) Beady all our left hands are, 
 
 (4) Slides the box so gently there, 
 
 (5) Turn it over, (6) take the lid, 
 (7) Put it on as you are bid. 
 
 Directions. (1) Box held in right hand. (2) Put it over 
 the cube. (3) Left hand out, palm upwards, tips of fingers 
 resting under desk. (4) Slide box forward with right hand, 
 until it rests on the flat palm of the left hand. (5) Box on 
 table, right side up. (6) Take lid in right hand. (7) Slide 
 lid on box. 
 
 N.B. Some teachers prefer to dispense with the lids alto- 
 gether. 
 
 Building with Four Bricks. For very little children, 
 it will be sufficient at first to give four bricks only. With 
 these they can make a wall, high or low ; two chimneys, 
 a tall chimney, a street, a chair, a bridge, a well, and a 
 train. 
 
 Co-Operation. Sometimes the children might combine 
 to make objects on a large scale. Take those mentioned in 
 the story, e.g. A number of children w r ould use their cubes 
 to make a wall round the field, which might be built on the 
 floor, or on a large table. Then one child would build the 
 gate, another the trough, another the well, and so on, until 
 
46 GIFT III. 
 
 all the objects are represented, and then the story would 
 follow. The children will see how much more can be 
 accomplished by the many than by the one, and they will 
 thus learn not to attach too much importance to their own 
 unaided work. 
 
 9. Forms of Beauty. Besides being used for the building 
 of objects, Gift III. can also be used for laying symmetrical 
 forms, which train the eye, and develop the sense of beauty. 
 The hand is also trained to move the cubes quickly and 
 correctly, and the forms laid are a preparation for drawing 
 on the chequered slates, just as the laying of sticks is a pre- 
 paration for writing. 
 
 FIG. 18. Forms of Beauty. 
 
 Before commencing, take two cubes and let them be 
 placed in different positions with regard to each other. 
 First, side to side (No. 1), second, corner to corner (No. 2), 
 third, side to corner (No. 3), fourth, corner to side (No. 4). 
 
 Forms of Beauty with Four Cubes as Centre. 
 No. 5. Take four cubes for the centre, and place the other 
 four round them. 
 
 No. 6.--Move the four outside cubes half a cube's length 
 to the right. 
 

 GIFT III. 
 
 No. 7. Then move them a whole cube's length to the 
 corner. 
 
 No. 8. Now the sides are turned to touch the corner. 
 
 No. .9. The corners are turned to the centre of each 
 side of the square. 
 
 No. 10. The four centre cubes are drawn out. 
 
 FIG. 19. 
 
 Forms of Beauty with Hollow Square as Centre. 
 
 Starting with No. 11, the corner cubes are drawn out 
 and placed alongside the other four in No. 12. Then they 
 are moved to the right, and stand corner to corner, No. 13. 
 In. No. 14 they are placed corner to side. In No. 15 they 
 fill up the spaces, and in No. 16 the four centre cubes are 
 drawn out. 
 
 Such, pretty figures we can lay 
 When with our box of cubes we play ; 
 Each cube just in its place we see, 
 Each face and edge exact must be. 
 
48 
 
 GIFT III. 
 
 Fig. 20. The hollow square is again formed with one of 
 the sides turned to us instead of the corner. In No. 17 the 
 corner cubes are turned so that their sides face the centre. In 
 No. 18 they are moved to form the cross, and in No. 19 we 
 
 FIG. 20. 
 
 see them corner to corner. In No. 20 they stand corner to 
 side ; No. 21 takes us back to the foundation form ; the 
 middle cube on each side is drawn out to make No. 22. 
 
 The children should be encouraged to find out new figures 
 for themselves ; they will have no difficulty in doing this if 
 they have been taught Frobel's " law of opposites," for even 
 a very young child soon learns to do the opposite of what it 
 did before. 
 
 Now try, dear children, as you can, 
 To follow out this pretty plan ; 
 More Forms of Beauty you may make, 
 If only you the pains will take. 
 
GIFT III. 
 
 FIG. 21. 
 
 Fig. 21, Nos. 23 to 28 show Forms of Beauty made in the 
 oblong. Nos. 29 and 30 are borders. 
 
 These forms might be multiplied indefinitely, and are only 
 given as examples of what can be done. 
 
 10. Number. It has already been shown how Gift III. 
 may be used as a preparation for the learning of fractions, 
 and it is equally useful in teaching analysis of number. One 
 example shall suffice : Divide the cube in halves. How 
 many cubes in each ? Four. Four and four are eight. 
 Divide the fours in halves. How many twos make eight ? 
 The children will see that four twos make eight. Put three 
 twos on one side the table, and one on the other. Six 
 and two are eight, and so on, until the analysis of eight is 
 completed. 
 
50 
 
 CHAPTEE VI. 
 GIFT IV. 
 
 I. What it is. Gift IV. is a cube, divided into oblon< 
 bricks. The cube is the same size as that of Gift III., bu 
 instead of being divided in every direction it is cut onc> 
 vertically and three times horizontally, to make eight equa 
 parts. 
 
 This Gift, like the third, satisfies the child's desire to in 
 vestigate and construct, and it can be used to make object! 
 more numerous and beautiful than can Gift III. It is i 
 source of endless delight to the children, and the following 
 incident shows how lasting is the pleasure thus produced 
 A young lady of twenty-five said that she rememberec 
 building with Gift IV. when she was five years old, and sh< 
 recalled distinctly how that, on one occasion, the clasi 
 made the bricks to represent two rows of soldiers, abou 
 which the teacher introduced a pleasant conversation, am 
 the pupil remembers it with pleasure after twenty years 
 This proves how indelible are the impressions made in earb 
 childhood. 
 
 2. How Gift IV. may be used. The different parts o 
 the table which were learnt in Gift III. should be revisec 
 before building with Gift IV. 
 
 The instructions for passing and opening the boxes giver 
 in the preceding chapter are equally applicable here, and th< 
 same verses may be said or sung in passing the boxes, sub 
 stituting the word " bricks " for " cubes ". 
 
GIFT IV. 51 
 
 Comparison with Gift III. When the boxes have 
 been carefully raised, so that the whole cube is left undis- 
 turbed, the teacher will say, " Now, what do you see?" 
 " We see a cube." Let the cube stand so that the ends of 
 the bricks face the children (No. 1, Fig. 22). " Is this like 
 the cube of Gift III.?" "No." "Why not?" "Gift 
 III. was divided into little cubes, this cube is divided into 
 bricks." " That is because it is cut differently " (show Gift 
 III.). " You remember how we divided Gift III. We cut it 
 in halves from right to left. Can you divide Gift IV. from 
 right to left ? " " Yes, it can be divided from right to left." 
 '' Then we divided Gift III. from back to front ; can we do 
 ihat with Gift IV. ? " " No, it cannot be divided from back 
 to front." " Next we divided Gift III. from top to bottom ; 
 can we do that with Gift IV. ? " " Yes, it is cut into four 
 slices from top to bottom." " Now we see the difference 
 between Gift III. and Gift IV. Gift III. is divided from 
 right to left, from back to front, and from top to bottom " 
 (show all these divisions with the cubes), " but Gift IV. is 
 only divided from right to left, and from top to bottom ; but 
 it is divided three times from top to bottom. Now take one 
 brick from Gift IV., and a small cube from Gift III. The 
 cube's faces are all of the same size, but how are they in 
 the brick ? The brick has two large faces so large that 
 it takes two cubes to cover one of them. Then it has 
 two little faces so little that it takes two of them to 
 cover one face of the cube ; the other two faces are of 
 middle size, it would take two of them to cover the 
 large face, but they are twice as large as the little faces 
 are. It reminds us of the Three Bears, one was big, 
 one was middle size, and the other was a tiny bear." 
 Let the children point to the two large faces, to the 
 two little faces, and to the two middle-sized faces. How 
 many faces in all? Six, just the same number as the 
 cube had. 
 
52 GIFT IV. 
 
 Two faces large belong to me, 
 And then two little ones you see, 
 Two more I have, a size between, 
 Which at the sides are always seen. 
 
 " We will put the brick on one of its largest faces. 
 What is it doing now ? " " It is lying down." " Now we 
 will put it on its smallest face. What is it doing now ? " 
 " It is standing up." "Now we will put it on its middle- 
 sized face, and we will say that it is sitting down." Let the 
 children put the brick in the different positions mentioned, 
 as they repeat the following verse : 
 
 I can stand, or I can sit, 
 
 Or can lie, if you see fit 
 
 Sit, or stand, or lie quite flat 
 
 Pray what do you think of that ? 
 
 All the faces of the brick, whether large .or small, or 
 middle size, have two long sides and two short sides, and 
 this shape is called oblong. 
 
 " What other things are oblong in shape? " " The door, 
 the window, the table, etc." Let the children mention all 
 the oblong shapes they can think of. Gift IV. can be 
 divided into halves and quarters, and may be used for 
 teaching number just as Gift III. was. 
 
 Bevise also the conversation about what the cube is made 
 of, who made it, etc. All that has been written about Gift 
 III. should be read and applied to this Gift. 
 
 Suppose each child to have the blocks of Gift IV. in front 
 of him. No. 1, Fig. 22. 
 
 No. 2. Take the two topmost bricks and place them in 
 the front right corner with the smallest faces towards you. 
 How many squares do they cover? Take the next two 
 bricks and place them with their middle-sized faces towards 
 you. 
 
 This is a Board, and we will make another just like it, in 
 the front left corner. 
 
GIFT IV. 
 
 53 
 
 No. 3. These again divided give us four small Boards. 
 No. 4. The bricks placed on end, side by side, make 
 a Wall which will lead to an interesting conversation. 
 
 FIG. 22. 
 
 1. Cube. 
 
 2. Two Boards. 
 
 3. Four Boards. 
 
 4. Wall. 
 
 5. City Gate. 
 
 6. Viaduct. 
 
 7. Passage. 
 
 8. Belfry. 
 
 9. Garden House. 
 
 10. Garden House with 
 Doors. 
 
 No. 5. The City Gate is easily made from the Wall. 
 
 No. 7. The Passage has three bricks on each side, two 
 at the back, and two on the top. 
 
 No. 10. The open Garden House has two at the back, 
 one at each side, and two on the top of each other for the 
 roof ; the remaining two form the doors. 
 
54 GIFT iv. 
 
 Fig. 23, No. 11. The Deep Shaft has a broad face of one 
 block, and a long narrow face of another on each side. Above 
 these' the bricks are arranged in the same way, but the 
 broad side rests on the narrow side of the brick below. 
 
 FIG. 23. 
 
 11. Deep Shaft. 
 
 12. Shaft. 
 
 13. Covered Well. 
 
 14. Fountain. 
 
 15. Closed Field. 
 
 16. Field with Gate. 
 
 17. Garden. 
 
 18. Trough. 
 
 19. Shooting-box. 
 
 20. Church and Buildings. 
 
 No. 12. In the next Shaft the four uppermost bricks are 
 placed round the lower four of No. 11. 
 
 No. 13. To make the Well take the four centre bricks out 
 of No. 12 and use them for the cover and the step. 
 
 No. 14. The Fountain has the same foundation form as 
 No. 13, with a brick lying on its broad face at each side. 
 
 Fig. 24, No. 22. The Covered Way has two bricks on 
 each side, and four for roof. 
 
 No. 23. In making the Piano the two blocks which stand 
 
GIFT IV. 
 
 55 
 
 on the key-board must be put in position before the latter 
 is lifted to its place. 
 
 No. 24. The Double Settee has four bricks laid on their 
 largest faces for foundation, and the two which form the 
 back are placed in the middle of the foundation so that 
 there is a seat on each side. 
 
 No. 25. The two bricks which form the back of the Sofa 
 rest on the two broad faces which form the seat. 
 
 No. 26. The Garden Seat has the whole width of the brick 
 
 27. Garden Seats. 
 
 28. Table and Seats. 
 
 29. Rustic Table. 
 
 30. Two Tables. 
 
 FIG. 24. 
 
 22. Covered Way. 
 
 23. Piano and Stool. 
 
 24. Double Settee. 
 
 25. Sofa. 
 
 26. Garden Seat. 
 
 for the'seat. The two bricks which form the back rest on two 
 below, placed in exactly the same position as the two upper ones. 
 No. 27. The Two Seats are obtained by dividing No. 26. 
 The rest of the figures show the position of the bricks 
 sufficiently clearly. 
 
56 
 
 GIFT IV. 
 
 Fig. 25, No. 37. The Long Tunnel has two bricks for 
 each side, and four for cover. 
 
 FIG. 25. 
 
 31. Monument. 
 
 32. Cross. 
 
 33. Table Cross. 
 
 34. Winding Stairs. 
 
 35. Stalls. 
 
 36. Cross Roads 
 
 37. Long Tunnel. 
 
 38. Chair. . 
 
 39. Throne. 
 
 40. Continuous Motion. 
 
 No. 38. The Chair has three bricks for the back, and two 
 for the seat. 
 
 No. 39. The back ofthe Throne is formed by two bricks, 
 one on the top of the other. 
 
 }QT 40. Shows continuous motion, and teaches the 
 
GIFT IV. 
 
 57 
 
 children that if an impetus be given to an object forming 
 one of a line, the impetus is conveyed from one to the 
 other. 
 
 GIFT IV. FORMS OF BEAUTY. 
 
 FIG. 2G. 
 
 These are numerous and beautiful. A very few are given 
 as examples, showing some of the centres from which to 
 work, but many more forms can be made from these centres. 
 It will be seen that one figure is developed from another. 
 
 No. 2 is obtained by pushing each of the four bricks half 
 its length outwards. 
 
 In No. 3 it is pushed quite out. 
 
 In No. 4 the blocks are placed end to end. 
 
 In No. 5 side to end. 
 
 In No. 6 end to side. 
 
 Fig. 27 (see next page) shows two centres, from each of 
 which the children w 7 ill construct numbers of figures without 
 any aid. 
 
 Fig. 28 shows a larger space enclosed in centre. 
 
58 
 
 GIFT IV. 
 
 FIG. 27. 
 
 FIG. 28. 
 
GIFT IV. 59 
 
 GIFTS III. and IV. combined. 
 
 FIG. 29. 
 
 1. Staircase. 4. Engine and Tunnel. 
 
 2. Tunnel. 5. House and Garden. 
 
 3. Covered Passages. 
 
 By using these two Gifts together many beautiful forms 
 can be obtained. A few arc shown here. 
 
 No. 1. Staircase. The first step of the staircase is formed 
 by one block of Gift IV., the second step by two blocks and 
 the third by three blocks. The four cubes of Gift III. form 
 the fourth step, and the other four rest under the fifth step, 
 which is formed by one brick of Gift IV., while another 
 brick placed on its long narrow side forms the back. 
 
 No. 2. The Tunnel. Four cubes of Gift III. are placed 
 at each side ; two blocks of Gift IV. rest on the four cubes 
 at each side, and four are used to cover. 
 
 No. 3. Here the cubes of Gift III. are placed a little dis- 
 tance apart and the bricks of Gift IV. form the roof. 
 
 No. 4. Engine entering Tunnel. The Tunnel has three 
 blocks on each side, and two for cover. 
 
 No. 5. House and Garden. The cubes of Gift III. are 
 used for the Garden, three on each side, and the remaining 
 two are below the windows, 
 
60 
 
 CHAPTEE VII. 
 
 GIFT V. 
 
 I. What it is. Gift V. is much more complex than the 
 preceding Gifts, and is therefore more suitable for older 
 children. It can be used as a preparation for more ad- 
 vanced studies, to which it is a valuable stepping-stone or 
 introduction, as will be shown later. 
 
 Gift V. consists of a three-inch cube, divided twice in each 
 direction, so that there are in all twenty-seven cubes. Three 
 of these are divided diagonally into halves, and three others 
 are divided twice diagonally into quarters. Up to this time 
 the child has had Gifts which introduced it only to the right 
 angle enclosed between the vertical and horizontal lines, 
 which it has called standing-up and lying-down lines. It 
 will now learn the intermediate, or slanting line, which 
 connects the two opposites (vertical and horizontal) and 
 illustrates Frobel's law of reconciliation of opposites. The 
 acute or sharp angle is seen in this Gift, where it forms an 
 exact half of the right angle. 
 
 2. How Gift V. may be used. For passing and open- 
 ing the boxes see the instructions given in Gift III. 
 
 When the box has been lifted off, and put in its place, the 
 teacher asks: "What is this?" "It is a cube." " How 
 is it different from the other cubes you have seen ? " " It is 
 larger." " W 7 hich Gift is it most like?" "It is most like 
 Gift.III." 
 
 3. Comparison with Gift III. (Let each child have 
 Gift III. as well as Gift V.) " Why is this Gift like Gift 
 
GIFT V. 61 
 
 III.?" "Because it is divided into cubes." "But it has 
 more cubes than Gift III., for it is larger, and is cut into 
 more parts. Gift III. is cut from right to left, how many 
 times?" " Only once into two equal parts." "Now look 
 at Gift V. How many times is it cut from right to left?" 
 "It is cut twice." " Into how many equal parts ? " " Into 
 three equal parts." In the same' way, it is cut twice from 
 back to front, into three equal parts ; and twice from top to 
 bottom into three equal parts. Let the children now divide 
 the cube in the three w r ays mentioned, and they will see 
 that there are nine whole cubes in each division, in three 
 rows of three cubes each. 
 
 " In what other way is this Gift different from Gift III. ? " 
 " Some of the cubes are divided." 
 
 Let the children take a cube which has been divided into 
 halves. Take one of the half cubes and tell me about its 
 faces. Two of them are square, and one is oblong. The 
 other two faces are a new shape. " How many edges are 
 round each face?" "Only three." This is called a tri- 
 angle. 
 
 Now take a cube that has been divided into four parts, 
 and take one of the parts in your hand. It has one square 
 face, two oblong faces, and two triangular faces. How 
 many quarters make a whole one? How many make a half? 
 And how many halves make a whole one ? 
 
 4. Building with Gift V. With the previous Gifts the 
 child has been able to build simple objects, such as a chair, 
 table, etc. 
 
 The increase of materials in this Gift affords scope for 
 larger objects, and helps accordingly to widen the child's 
 ideas. It can now build the schoolhouse, the factory, the 
 mill, etc., and by interesting conversation about these places, 
 the teacher may cultivate the child's sympathy with those 
 who work there, and so its love to humanity is broadened 
 and deepened; and not alone is the mind of the child trained, 
 
62 
 
 GIFT V. 
 
 but the heart is developed, and kindly, noble thought is 
 encouraged and strengthened. 
 
 FIG. 30. 
 
 1. The Cube. 
 
 2. A Flower Stand. 
 
 3. Three Staircases. 
 
 4. Chair. 
 
 5. Three Chairs. 
 
 6. Armchair. 
 
 No. 1. Suppose the cube to stand in the centre of the 
 table. It may represent a box or a table. 
 
 No. 2. Take the three front cubes and place them upon 
 the three back cubes. " What is this? " " It is a Flower 
 Stand." "What might we have on the Flower Stand?" 
 " We might have plants." " What plants could we have ? " 
 
 No. 3. Now divide the Flower Stand into three parts, and 
 we have Three narrow Staircases. A conversation should 
 follow. 
 
 No. 4. Join the Staircases together again to make the 
 Flower Stand. Take the three middle cubes and place them 
 on the three back ones. "What have we now?" "We 
 have a Chair." Divide it into Three Chairs (No. 5). 
 
 No. 6. Make the large Chair again, take the three top 
 back cubes (which should be the three cubes divided into 
 
GIFT V. 
 
 63 
 
 quarters), and put two quarters together to form an oblong 
 block ; two of these blocks are used for each arm, and two 
 for the footstool. 
 
 PIG. 31. 
 
 7. Bed. 10. Church. 
 8. Sofa. 11. Mill. 
 9. Trough. 12. Swiss Cottages. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 / 
 
 
 
 
 
 V 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 RO 
 
 JG 
 
 i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 N< 
 
 9. 
 
 
 
 
 
 
 
 
 
 S( 
 
 )F/5 
 
 N 
 
 >8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 MM 
 
 
 
 
 
 
 
 
 M^ 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
 t 
 
 HI 
 
 RC 
 
 HjV 
 
 91 
 
 ). 
 
 
 
 Mi 
 
 ,L 
 
 || 
 
 NO 
 
 II. 
 
 
 S 
 
 MS! 
 
 Co 
 
 FTA 
 
 3ES 
 
 N9I 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 FIG. 32. Ground Forms. 
 
64 GIFT V. 
 
 No. 7. The Bed. Fifteen whole cubes are used for the 
 foundation ; three cubes more are placed at the head, and 
 three cubes at the foot, and on these rest the half cubes. 
 The sides are formed by six oblong blocks, each of which is 
 made by placing two quarters together. 
 
 No. 8. The Sofa. The ground form shows the founda- 
 tion, and on this are placed four whole cubes for the back, 
 with a half cube at each side ; two whole cubes are used for 
 each arm, and two quarter cubes for each bolster. 
 
 No. 9. The Trough. The two walls of the trough 
 have eight cubes each, and the two end ones four cubes 
 each. The twelve quarter cubes are placed on the walls of 
 the trough, broad face downwards. 
 
 No. 10. The Church. Sixteen whole cubes are re- 
 quired for the walls of the church, the remaining cubes being 
 used to make the roof and steeple. Four half cubes are 
 placed on each side of the four whole cubes which form the 
 centre of the roof, and three quarter cubes rest face down- 
 wards on three of the whole cubes to form the point of the 
 roof. The steeple has two whole cubes and four quarter 
 cubes, the latter being placed two together to form oblong 
 blocks ; one quarter cube is left, which may be used to finish 
 the steeple. 
 
 No. 11. The Mill. The roof of the Mill is made of eight 
 half cubes. A block formed of two quarter cubes connects 
 the mill and the chimney, and the latter is finished by a 
 similar small block. 
 
 No. 12. Swiss Cottages. The roofs are similar to that 
 of the church ; two whole cubes in the centre, two halves 
 on each side, a quarter cube face downwards on one of 
 the roof cubes, and the remaining quarter on the chimney. 
 
 5 Forms of Beauty. Any number of these can be 
 made. The following will serve as specimens. 
 
 Fig. 33, No. 1, has nine cubes for the centre, with three 
 whole cubes and three halves for each corner piece. 
 
GIFT V. 
 
 65 
 
 The next five forms are made from each other by moving 
 different pieces as shown in the figures given. 
 
 FIG. 33. 
 
 Fig. 3$. The first triangular form (No. 7) has nine cubes on 
 each side. The next (No. 8) has eight. Nos. 9 and 10 have 
 
 FIG. 34. 
 
 seven cubes on each side, No. 11 has five cubes, and No. 12 
 has four. 
 
 6. Number. Before giving lessons on number with 
 
66 GIFT V. 
 
 Gift V. it would be well to give each child Gift III., and 
 take halves, quarters, and eighths, for which this Gift is so 
 well adapted ; then Gift V. may be given. First divide the 
 cube into thirds from right to left, then from back to front, 
 then from top to bottom ; the children will readily see that 
 three thirds make a whole one. Divide each third into 
 three columns. " How many parts have we now ? " " We 
 have nine." "These parts are called ninths. How many 
 ninths are there?" "There are nine. And nine ninths 
 make a whole one." "How many ninths in a third? 
 How many in two thirds ? How many in three thirds ? " 
 We may then add and subtract the ninths, thus : 
 
 Four ninths and three ninths = seven ninths. How 
 many more ninths to make a whole ? Or, eight ninths, 
 take two away, how many are left? and so on. The child 
 of course, demonstrates each step with the cube before it. 
 The cube can also be divided into twenty sevenths, but for 
 young children this is unnecessary. 
 
 Another useful exercise is to teach how to add halves and 
 quarters with whole numbers, e.g., 1| and 1J are 3. If 
 this were simply written on the blackboard, it would mean 
 nothing to the child, but demonstrated with the cubes and 
 hah* cubes, it becomes tangible and real, and easy to] 
 comprehend. Quarters may be added in the same way, 
 1 and l\ are 2J. This may be illustrated with the whole I 
 and quarter cubes, and the examples can be multiplied 
 indefinitely. 
 
 Multiplication and division of fractions can also be taugfit 
 with this Gift. 
 
 7. Geometrical Figures. Before using Gift V. for these' 
 figures, it would be well for the children to get a clear idea of the 
 three angles, right, obtuse (or blunt), and acute (or sharp). ( 
 Draw a standing-up line and a lying-down line, thus, |x 
 The angle is the space enclosed by the two lines, and 
 marked with X. Whenever this space is enclosed by a 
 
GIFT V. 67 
 
 vertical and a horizontal line, we have a right angle. Ask 
 the children what objects have right angles. " The room has 
 four right angles, so has the door." What is generally 
 called the corner of a room is in reality the angle ; the 
 corner is the point where the two lines meet. The jointed 
 lath is very useful for the purpose of showing the difference 
 between the various angles. Make the right angle with 
 the jointed lath. Now push the standing-up lath a little 
 nearer to the one lying down, ^X, and we have the sharp 
 angle, which is smaller than the right angle. It may be a 
 very little smaller, or it may be a great deal smaller than the 
 right angle, but it is still a sharp angle. The same result is 
 obtained if the lying-down line is pushed nearer to the 
 standing-up line, ^, or if both lines are pushed a little 
 
 nearer to each other, ^*. Let the children make the right 
 angle, and the different kinds of acute angles, on their slates, 
 and then show with the jointed lath again (or by a black- 
 board sketch), that the blunt angle is larger than the right 
 angle. It may be made larger in three ways, just as the 
 sharp angle was made smaller in three ways. We may alter 
 
 the standing-up line, pushing it further out, y , or the 
 
 lying-down line, | , or both lines,\ , and in each case we have 
 
 the blunt angle. These should be made on the slate. 
 
 " Now take half a cube and try to tell me what angles you 
 see on its triangular face." "It has a standing-up and a 
 lying-down line, so it has one right angle." " Now put the 
 two halves together and you see how many right angles." 
 "Four." " Divide the cube. What have you done to two 
 of the right angles ?" "We have cut them in two." "Then 
 what kind of angles do we get ?" "They are sharp angles." 
 "Why?" "Because they are less than the right angle." 
 "How much less are they?" "They are half the size." 
 "If we take a quarter cube we get exactly the same kind 
 
68 GIFT v - 
 
 of angle, because here, again, the right angle has been 
 cut in two." 
 
 FIG. 35. 
 
 1. Square. 
 
 2. Two Triangles. 
 
 3. Four Triangles. 
 
 4. Two Small Square 
 
 5. Oblong. 
 
 6. Rhomboid. 
 
 No. 1. Take the nine cubes which form the top thirc 
 of Gift V., and arrange them so that there is a divided cube 
 at each corner. 
 
 No. 2. "Divide the square diagonally, what do we get?' 
 " Two triangles." " How do you know they are triangles ?' 
 " Because they have each three angles." " What kind of an 
 angle is the largest ? " " It is a right angle." " Why ? ' 
 "Because it is enclosed by a standing-up line and a lying- 
 down line." " We call this figure a right-angled triangle. 
 What other kinds of angles do you see ? " " We see sharp 
 angles." " How do you know they are sharp ? " " Because 
 they are less than a right angle." 
 
 No. 3. Divide each triangle and we get four smaller tri- 
 angles ; but they are still right-angled triangles. 
 
 No. 4. Put two of these two smaller triangles together, 
 and we have two smaller squares ; each contains just the 
 same number of angles as did the large square. 
 
GIFT V. 
 
 69 
 
 No. 5. Put the two squares together to form an oblong. 
 " What kind of angles are these ? " " They are all right 
 angles." 
 
 No. 6. " Take the triangle which forms the left bottom 
 corner, and put it on the right. This is a rhomboid, and 
 now what kind of angles have we ? " " Two of them are 
 sharp angles." " Why ? " "And two are blunt." " Why ? " 
 
 Because they are larger than the right angle." 
 
 FIG. 36. 
 
 7. Two Small Rhomboids. 
 
 8. Trapezoid. 
 
 9. Triangular Prism. 
 
 10. Oblong Hexagon. 
 
 11. Oblong Octagon. 
 
 12. Oblong Pentagon. 
 
 No. 7. Divide the rhomboid (Fig. 35, No. 6) into two 
 smaller rhomboids (No. 7), and we see again the two blunt 
 and the two sharp angles in each. 
 
 No. 8. Take the triangle from the right, and place it with 
 its broad face upwards like the one at the left, and we have 
 the trapezoid. 
 
 No. 9. Divide into four triangles (Fig. 35, No. 3), 
 place triangles on each other, and we have the standing 
 prism. 
 
70 
 
 GIFT V. 
 
 N.B. In the following exercises the whole cube is 
 used. 
 
 No. 10. First we have an oblong hexagon. 
 
 No. 11. Take away the four quarter cubes, which 
 made the points at right and left, and we have an oblong 
 octagon. 
 
 No. 12. From this we get an oblong pentagon three cubes 
 high. 
 
71 
 
 CHAPTEE VIII. 
 GIFT VI. 
 
 I. What it is. Gift VI. consists of a cube of the same 
 size as Gift V. The latter contained twenty-seven cubes, 
 this Gift is divided into twenty-seven oblongs. As Gift V. 
 was an extension of Gift III., so is Gift VI. a sequence and 
 extension of Gift IV. Six of the oblongs are cut in halves, 
 transversely, and form twelve squares. Three oblongs 
 are cut lengthwise and make six pillars. We have in all 
 eighteen oblongs, twelve squares, and six pillars. In build- 
 ing with this Gift, a larger surface can be covered than with 
 Gift V. 
 
 2. How it may be used. The box is opened in the same 
 way as Gift III., etc. Then the teacher may ask : " How 
 is this cube similar to that of Gift V. ? " " It is the same 
 size, and it stands on the same number of squares." ''How 
 is it different from GiftV.? Look at the way it is cut." 
 "It is cut in oblongs. Gift V. was cut in cubes." " What 
 other Gift is cut in oblongs ? " " Gift IV." " What do you 
 see that is different from Gift IV.?" "We see squares." 
 "How do you think they are made? " Take two of them 
 and place them on one of the oblong bricks. " They are 
 made by cutting an oblong in halves." Take all the 
 squares and put them in the front right corner. " Do you 
 notice anything else different from Gift IV. ? " " Some 
 bricks are narrow." Take two of these and place them 
 on an oblong brick. " How are they made ? " " They are 
 made by cutting an oblong in two lengthwise." We will 
 
72 GIFT VI. 
 
 calHhese pillars. Take all the pillars and put them in the 
 front left corner. " Now count the oblongs." Let these 
 stand in the centre of the table. "There are eighteen." 
 "Count the squares." "There are twelve." "Count the 
 pillars." " There are six." 
 
 The oblong brick has been described in Gift IV. Take 
 one of the squares. "The two largest faces are square. 
 What shape are its other faces?" "They are oblong." 
 Let the square stand on one of its oblong faces. " How 
 many pillars can be made to stand on it?" "Two." 
 " Then how much larger is the oblong face of the square, 
 than the square face of the pillar ? " " It is twice as large." 
 Let the two pillars stand on each oblong face of the square, 
 and the children will see that the four oblong faces are all of 
 the same size. " Can you find a face the same size as this 
 on another brick?" "The oblong has two faces of this 
 size." Now take the pillar. " What kind of faces has it ? " 
 "It has two square faces, and four oblong faces." Take 
 two of the squares, and let them stand on one of the oblong 
 faces. " How much larger is an oblong face of the pillar, 
 than an oblong face of the square? " "It is twice as large." 
 " How do you know ? " " Because two of the squares will 
 stand on it." Let the two squares stand on each of the 
 oblong faces of the pillar, and the children will see that its 
 four oblong faces are of equal size. " Can you find a face 
 on the oblong that will fit the oblong face of the pillar?" 
 " The two side faces of the oblong are the same size as this 
 face." 
 
 3. Building. Some of the forms of Gift IV. may be 
 taken as the basis for larger buildings, and the objects that 
 can be built are so numerous and varied that it is possible 
 for the children to combine and build on a much larger 
 scale than heretofore. They might, for example, make a 
 Farmyard with barns, dog kennel, trough, etc., or a Village 
 with church, town hall, and streets of houses. The children 
 
GIFT VI. 73 
 
 learn thus that union is strength, and that by co-operation 
 great things may be accomplished. 
 
 FIG. 37 
 
 1. Children's Gallery. 4. School-front and Play- 
 
 2. Stalls. ground. 
 
 3. House. 5. Farmyard. 
 
 No. 1. Children's Gallery. Nine whole blocks are used 
 for the foundation ; three of these form the lowest step. 
 For the second layer six whole blocks are used. For the 
 third layer three whole blocks and three pillars (that is, 
 half blocks cut lengthwise). The fourth layer has three 
 whole blocks (or six halves) and the fifth layer has three 
 pillars. Six half blocks now remain, one and a half for each 
 side of the gallery. 
 
 No. 2. Stalls. Ten upright blocks form the long wall, 
 and four are used for each of the end walls. The divisions 
 between the stalls contain each two half blocks (square) and 
 one pillar. In the illustration only nine blocks are used for 
 the wall, and one is left for a mounting block, but it is 
 better to use ten for the wall, so that the divisions between 
 the stalls may be exactly one inch (the width of a brick) 
 apart. 
 
 No. 3. A House. The back wall of the house requires 
 
74 GiFT VI. 
 
 seven blocks, standing in the same position as those which 
 form the wall of the stable, and upon these are placed three 
 blocks and a half, the blocks lying lengthwise, and three 
 blocks are used for each of the side walls. The rest can be 
 seen from the illustration. 
 
 No. 4. School-front and Playground. This figure is 
 obtained by altering No. 3, the House ; take the two half 
 bricks which are over the door of the house, and put one at 
 each end, so as to leave spaces for windows. On these place 
 four bricks lengthwise, with one and a half in centre to finish. 
 Three blocks are required for the porch, and the remaining 
 eight are used for the playground, three for each of the 
 side walls, and two halves (squares) for each side of the 
 gate. 
 
 No. 5. The Farmyard. The side walls of the Farmyard 
 have three blocks each, with one and a half on each side of 
 the gateway. The trough has four blocks. ' The "dog 
 kennel" has one square half block on each side of the en- 
 trance, one square half block for each side wall, and one 
 square for the back, while two oblong half blocks form the 
 roof. The " barn " has two whole blocks for each side wall, 
 one for the back, and three for the roof. 
 
 Fig. 38, No. 6. Each " small chair " has one whole block 
 for the back, with two halves (squares) on the top of each 
 other for the seat. The " sofa " has four blocks for the seat, 
 four for the back and one at each end. The " easy chair " has 
 half a block (square) for seat, the same for each arm, and three 
 pillars for back. The " table " has two and a half blocks for 
 the top, which rests on two whole blocks. The "piano 
 stool" is one square block. The "piano" has been given 
 in Gift IV., Fig. 24, No. 23. 
 
 No. 7. Ten whole blocks form the base, on which rest 
 five blocks, and on these again are placed six half blocks, 
 then six pillars, then six more half blocks, and lastly three 
 whole blocks. 
 
GIFT VI. 
 
 75 
 
 No. 8. Seven whole blocks form the base, and on these 
 are placed three blocks. When the three pillars have been 
 
 FIG. 38. 
 
 6. Set of Furniture. 
 
 7. Colonnade. 
 
 8. Triumphal Column. 
 
 built, three whole blocks are placed on them, then two 
 blocks are placed on these ; the next two pillars are again 
 surmounted by two whole blocks, on which rests one block, 
 and on this the final pillar. 
 
 Khymes to accompany No. 6, Fig. 38 : 
 
 Here's a sofa snug and cosy, 
 
 If you like to take a rest, 
 Or the easy chair might suit you, 
 
 Choose the one that you like best. 
 
 Now the tea is nearly ready, 
 
 To the table chairs we bring ; 
 After tea we'll have some music, 
 
 For we love to dance and sing. 
 
76 
 
 GIFT VI. 
 
 FIG. 
 
 4. Forms of Beauty. In the examples given, all the 
 blocks are used, but in No. 1 the centre of each square is 
 left hollow, so that the construction may be seen. A half 
 block (square) should be placed in each corner square, and 
 two half blocks in the centre square. Each figure is made 
 from the preceding one. and each has two square half blocks 
 for centre, 
 
77 
 
 CHAPTEK IX. 
 GIFT VII. TABLETS. 
 
 IT is an acknowledged fact that in our present system of 
 education, the transition from the Kindergarten or infants' 
 school to the upper school is much too sudden and abrupt. 
 It is impossible for the child, who has been accustomed to a 
 world of concrete things, to plunge at once into the world of 
 the abstract. Frobel saw this difficulty, and met it by in- 
 venting Gifts which are adapted to fill the gap, and lead 
 naturally, by easy stages, from the concrete to the abstract. 
 The first six Gifts consist of solids, first whole, then 
 divided ; now we have a Gift which introduces surfaces, 
 next we shall find edges, and finally we shall come to the 
 point. With the preceding Gifts the child made real objects, 
 with this Gift he will make a picture of such objects. Gift 
 VII. is a valuable stepping-stone to drawing, paper- weaving, 
 and geometry. 
 
 The following instance related by M. Kraus Boelte in the 
 Kindergarten Guide shows that the tablets of this Gift are 
 useful in the practical work of life. 
 
 " I was at the time studying with Frobel's widow, who 
 had been selected by him, from among his best pupils, to 
 carry forward, under the prestige of his name, the work 
 which he had inaugurated. One morning a stranger, to 
 all appearances a working man, bringing with him some 
 large object carefully wrapped in paper, called upon Mrs. 
 Frobel. He apologised for the liberty he was taking, but 
 explained that his little boy, now about five years old, had 
 
78 GIFT VII. TABLETS. 
 
 been for two years past a pupil in the Kindergarten. He 
 stated that he himself was a joiner by trade, but as he had 
 not sufficient means to carry on this occupation with profit, 
 he had, some time since, become greatly discouraged and 
 disheartened. It was about this tune that he noticed his 
 little boy, who was accustomed to come into his workshop 
 to play when returning from the public Kindergarten which 
 Mrs. Frobel was conducting, and watched him as he played 
 with the chips which he found scattered around the shop. 
 At first the father had not paid much attention to the child's 
 play, but one day he noticed that he had made a combina- 
 tion of very beautiful forms, consisting entirely of triangles, 
 which he changed regularly and methodically from one form 
 into another. Becoming interested he sat down by the 
 child's side, learning from the little one. After a while he 
 too began to arrange forms in the same way, and according 
 to the law of opposites, so unconsciously carried out by the 
 child a law which the maturer mind of the man grasped at 
 once. The result of this occupation was that in time he had 
 manufactured some very beautiful tables, the surfaces of 
 which, formed according to the rules practised in the 
 Kindergarten, were inlaid with parti-coloured wooden 
 triangles. These tables he had disposed of at a consider- 
 able profit, he had been enabled to relieve the wants of his 
 family and better his own circumstances ; his trade had 
 materially increased and he was now becoming quite 
 prosperous. He therefore called upon Mrs. Frobel to 
 express his gratitude and begged to offer her as a token of 
 his thankfulness the little table which he had made, and 
 which showed upon examination the star forms produced 
 by following the law of opposites, which his little boy had 
 been taught to find in the Kindergarten." 
 
 I. What it is. Gift VII. consists of five boxes of tablets, 
 made of wood and painted in different colours. The first 1 
 box contains squares of the same size as a face of a cube in 
 
GIFT VII. TABLETS. 79 
 
 Gift III. The second box contains right-angled triangles, 
 made by cutting the square diagonally. The third box con- 
 tains equilateral triangles, the fourth right-angled triangles 
 with unequal sides, and the fifth obtuse-angled triangles. 
 
 2. How used. The boxes are placed at the end of the 
 desk and passed while the children sing : 
 
 KEY Eb. 
 
 : s | s : s f : 1 | 1 : 1 | s : t | t : 1 | s : d 1 | d 1 : s / 
 
 1. With tab-lets I should like to play,So kind-ly pass a box this way ; Such 
 
 PI : s | s : s 
 
 f :1 II 
 
 s :t It :1 s :d' | d 
 
 pret - ty pictures we can make,If we a lit - tie troub - le take. 
 
 2. * Just lift the lid off, gently, so, 
 t Then underneath the box 'twill go ; 
 The pretty tablets ready lie, 
 And we will place them carefully. 
 
 FIG. 40. (See Coloured Plate 2.) 
 
 1. Two Squares. 4. Castle. 
 
 2. Oblong lying and stand- 5. Engine. 
 
 ing. 6 to 10. Forms of Beauty. 
 
 3. Church. 
 
 (a) Squares. Let each child take out one tablet. 
 Teacher asks, "What shape is the tablet?" "It is 
 square." " Where have you seen a square of this size ? " 
 " On the table, on the cube." Give each child a cube, and 
 let him put one tablet on each of its six faces. " Suppose 
 we had a knife to lift off each of these tablets " (the Teacher 
 might take hers off with a knife), " it would belike cutting a 
 slice from each face of the cube. How then is the tablet 
 different from the cube ? " " It is flat, and has only two 
 square faces." " What is it made of? Who made it ? " etc. 
 "What has been done to the tablet to give it these pretty 
 
 * Raise the lid. 
 
 f Put the lid underneath the box. 
 
80 GIFT VII. TABLETS. 
 
 colours?" "It has been painted." Refer to the four 
 right angles, the four sides, etc. Let the child have eight 
 tablets, and make first two squares (No. 1), then an oblong 
 figure lying down and standing up (No. 2). From the 
 latter the children may learn that the two long edges are 
 parallel, because they are the same distance apart. Then 
 the child may lay objects as in Gift III., Nos. 3, 4, 5. Two 
 or three of these are given in the sketch, and many more 
 may be added by a glance at the illustrations given in the 
 chapter on Gift III. Every picture laid will furnish oppor- 
 tunity for intelligent conversation, without which the lesson 
 will be lifeless and useless. Forms of beauty made with 
 Gift III. can all be made with the tablets. A few, Nos. 6 
 to 10, are given, for the rest see Figs. 18, 19 and 20, Gift 
 III. 
 
 FIG. 41. (See Coloured Plate 2.) 
 
 11. Square. 17. Coffee Mill. 
 
 12. Right Angle in four 18. Cottage. 
 
 positions. 19. Pigeon House. 
 
 13. Mountains. 20 to 24. Forms of Know- 
 
 14. Trimming. ledge. 
 
 15. Rhomboid. 25 to 27. Forms of Beauty. 
 
 16. Boat. 
 
 (b) Right-angled Triangles. The box may be passed 
 and opened in the same way as the box of square tablets, 
 and the teacher says : " Take out two tablets. Join your 
 tablets to make a square. Now you can tell me how these 
 tablets were formed." "The square was cut in two, from 
 corner to corner." "You will remember that the square had 
 four right angles, look at the triangle, how many right angles 
 can you see?" " We can see one." "Where is it?" "It 
 is where the standing-up and lying-down lines meet to- 
 gether." " Then you have two other angles which are 
 alike. What kind are they ?" " They are sharp angles," 
 
FLATE 2 
 
 FIG. 40. 
 
 FIG. 41, 
 
GIFT VII. TABLETS. 81 
 
 "Why?" " Because they are smaller than the right 
 tingle." " How much smaller are they ? " " They are just 
 balf the size." "How do you know? " Let the child lay 
 the two tablets on a square tablet, and it will then see that 
 two of the right angles have been cut in halves (No. 11). 
 
 " What kind of a line do you see opposite to the right 
 ingle ? " " It is longer that the other two, which are both 
 alike." " We will call this long line the base line. Where 
 bave you seen a triangle of this shape before? " " In Gift 
 V." 
 
 No. 12. Place your triangle with its base line towards 
 you, now turn the right angle towards you. Place the 
 briangle with the base line towards the right, then towards 
 bhe left. 
 
 No. 13. Take four tablets and lay them with the base 
 line towards you and we have a chain of mountains ; from 
 these form two rhomboids. 
 
 No. 14. Place the tablets in a row, with the right angles 
 towards you, and it looks like pointed trimming for a dress. 
 
 Nos. 15 to 19 are all made with four triangles. 
 
 Nos. 20 to 24. Take the four tablets and place them in 
 various positions. 
 
 Nos. 25 to 27. Then all sorts of beautiful figures may be 
 Laid (see No. 25, etc.), and the children may combine their 
 productions to make a larger pattern. 
 
 FIG. 42. (See Coloured Plate 3.) 
 
 (c) Equal-sided Triangles. The triangle which is now 
 given to the child is entirely different from the previous one. 
 A. box containing nine is passed to each child, the same 
 verses being sung, or said, as for the square tablets. When 
 the box has been opened, the child is allowed to take out 
 two triangles, and the teacher says : " Let us see whether 
 these triangles are like the right-angled triangles. You 
 remember that two of those made a square." 
 
 6 
 
82 GIFT VII. TABLETS. 
 
 No. 26. " Put two of these together. Do they make a 
 
 square?" "No," say the children, or they may answer, 
 "that the triangles make a slanting square". We see, then, 
 that these triangles have not been formed from the square. 
 Make a circle on the blackboard with one inch radius, divide 
 the circumference into six equal parts, and join the points 
 to make a hexagon. 
 
 No. 27. Draw from each point of the hexagon to the 
 centre and we have six equilateral triangles, which the 
 children may call equal-sided. The teacher may then place 
 a tablet on each of the triangles drawn, to show the children 
 that the circle will hold six equal-sided triangles. They will 
 then measure the sides of the triangles, and will find that 
 these are all of the same length, that is why we call them 
 equal-sided. Now give two right-angled triangles to each 
 child and let them compare. " Has the equal-sided triangle 
 any right angles? " " No, for all its angles are smaller than 
 right angles." Then they are all sharp angles. Explain to 
 the children that a sharp angle may be a little smaller than 
 a right angle, or a great deal smaller, or half the size. Two 
 of these sharp angles put together (No. 26) make a blunt 
 angle, so you see they are larger than the sharp angles of 
 the right-angled triangle. The two equal-sided triangles are 
 then placed in every possible position with relation to each 
 other, side to side, corner to corner, side to corner, etc. 
 Then three triangles are given (see Nos. 28 and 29) and then 
 six. With the latter number many forms may be made 
 (Nos. 30 to 34) and the children may combine to make a 
 larger pattern (see No. 35). 
 
 FIG. 43. (See Coloured Plate 3.) 
 
 (d) Right-angled Triangles with Unequal Sides. 
 Each child would receive a box containing eight of these tri- 
 angles ; the boxes are passed and opened as before. ' ' In the pre- 
 vious triangle all the sides were equal, how are they here ? " 
 
PLATE 3. 
 
 FIG. 42. 
 
 FIG. 43. 
 
 FIG. 44. 
 
GIFT VII. TABLETS. 83 
 
 " They are all different." " Piit two of these triangles together 
 with their longest edges touching each other " (No. 36), " and 
 try to find out how they are made." The children will say they 
 are made by cutting the oblong across from corner to corner. 
 The oblong formed by joining the two triangles covers two 
 square inches, and the triangles are of equal size, so that 
 one of them is equal to a square inch. " Now look at the 
 angles, one of them is a right angle. How do you 
 know?" " Because it is enclosed by a standing-up and a 
 lying-down line." " The other two angles are sharp angles. 
 Are they both the same size ? " The child measures one over 
 the other and finds that they are not. Put the two tablets 
 together and many forms are produced (see Nos. 37 to 40). 
 Nos. 41 to 44 show other designs. 
 
 FIG. 44. (See Coloured Plate 3.) 
 
 (e) Obtuse-angled Triangles. This triangle contains 
 one blunt and two sharp angles, the latter being equal 
 in size. If three of these are placed together with their 
 blunt angles towards the centre, they form a large equal- 
 sided triangle (No. 45). Take one triangle, place the blunt 
 angle towards you, from you, to the right, to the left. Then 
 two triangles are placed in various positions with relation to 
 each other, then three (No. 46), then four (No 47). With 
 six triangles a number of forms can be made, and these may 
 be multiplied indefinitely by using more. 
 
CHAPTER X. 
 
 THE JOINTED LATH.* 
 
 I. Introductory. The laths form a stepping-stone from 
 the plane surface of the tablet to the representation of forms 
 by points and lines. In this Gift a broader surface repre- 
 sents the edge than is the case in Stick-laying, and there is 
 the advantage of being able to lift up the forms when they 
 are made. 
 
 2. What it is. The jointed lath here shown is a yard 
 in length when opened out, and it is divided into nine parts 
 of four inches each, which are jointed together, so that it 
 folds up into very small compass. It is marked in inches 
 and can therefore be used for measuring. 
 
 3. The Uses of the Jointed Lath. (a) If the jointed 
 lath had no further use than to teach the different kinds 
 of angles it would not be introduced in vain. How it can 
 be used for this purpose is fully explained in Gift V., page 
 67, so it will be sufficient merely to show the different 
 angles (see Fig. 45, Nos. 1, 2, 3). 
 
 (b) Another important use to which this Gift can be put 
 is measuring. Just as the child should have some idea of 
 the relative weight of different objects, so it will be a great 
 advantage if he is taught also how to measure distances. 
 Without this knowledge correct drawing is impossible 
 
 (c) A third important use is found in the facility with 
 which the different forms may be changed into one another, 
 as is illustrated later. 
 
 * See Appendix 5. 
 
THE JOINTED LATH. 
 
 85 
 
 4. How the Lesson is given. No. 1. Teacher says : 
 " Hold the jointed lath in your left hand, and with the 
 
 FIG. 45. 
 
 1. Right Angle. 
 
 2. Acute Angle. 
 
 3. Obtuse Angle. 
 
 4. A Triangle. 
 
 5. Square. 
 
 6. House. 
 
 7. Washing Tub. 
 
 8. Oblong. 
 
 right hand open out the first lath ; let the folded portion 
 lie on the table from right to left, and let the open part 
 stand up " (see No. 1), " and we have the right angle ". 
 
 No. 2. Bend the standing-up part downwards, and you 
 make the acute angle. 
 
 No. 3. Let it stand up again, and bend it backwards 
 towards the left for the obtuse angle. 
 
 No. 4. Now unfold another lath and make the triangle. 
 We could not enclose a space until we used three laths, 
 
86 
 
 THE JOINTED LATH. 
 
 ^ o> 5. With four laths we can make a square, and if we 
 pull this a little to one side it will be a rhombus. 
 
 No. 6. With five laths we can make a little house, penta- 
 gon shape, and the same number are required for 
 
 No. 7, A Washing Tub. 
 
 No. 8 requires six laths. 
 
 FIG. 46. 
 
 9. Rhomboid. 
 
 10. Hexagon. 
 
 11. Two Triangles. 
 
 12. Two Squares. 
 
 13. Rhombus and 
 
 Triangles. 
 
 14. Square and Oblong. 
 
 15. Two Pentagons. 
 
 two 
 
 No. 9. The Ehomboid is made from the Oblong of No. 8, 
 Fig. 45, by pulling the upper right comer a little to the 
 ight. 
 
 No. 10. The Hexagon is changed into No. 11, the two 
 triangles. With seven laths the heptagon may be made, 
 and with eight we may make the octagon. 
 
THE JOINTED LATH. 87 
 
 No. 12 can be made from the octagon by folding two of 
 its sides together, and placing them as a division between 
 the two squares. The children will call this form two 
 windows. 
 
 No. 13. Nine laths are used for this figure and the same 
 number is required for No. 14, which shows clearly to the 
 children the difference between the well-known forms 
 square and oblong. 
 
 These examples are sufficient to indicate how admirably 
 this simple apparatus lends itself to the formation of 
 geometrical figures, and how invaluable such teaching must 
 be as a preparation for later studies, such as geometry. 
 
 This is mostly for older children. If the jointed lath be 
 used by the younger children, they should only make the 
 very simplest figures. 
 
88 
 
 CHAPTER XI. 
 THE LATH. 
 
 I. Introductory. In this Gift, as in many others, Frobel 
 has noticed the natural bent of the child and has invented 
 means to satisfy it. Children have always been fond of 
 weaving grasses, or rushes, or even small twigs together. 
 Very few shapes could be made with these materials, but 
 Frobel's Gift provides material with which an infinite variety 
 of forms can be constructed. 
 
 This Gift is more suitable for older children than for the 
 little ones, and to them, as well as to grown-up people, it 
 may be a training in self-control, for very often, when a 
 form is almost complete, a lath will slip out of its place and 
 spoil it. It needs much patience to intertwine the laths so 
 as to make correct shapes, and this is another virtue which 
 the Gift is well calculated to develop. Another lesson 
 learnt is, that to attain perfection is of more importance 
 than to do elaborate work. We learn also how easily one 
 misplaced lath will spoil a beautiful figure, and how im- 
 portant it is, therefore, to place each lath exactly in its 
 place. 
 
 2. The Lath. The lath is a piece of wood 10 inches 
 long, f of an inch wide, and only ^ of an inch in thickness. 
 It wiU, therefore, bend and vibrate. The child may be 
 allowed to prove this for itself. Press one end of the lath 
 firmly on the table with the left hand, and raise the other 
 end a little distance from the table with the right ; let it 
 fall sharply against the table, and the vibrating noise will be 
 
THE LATH, 89 
 
 heard. This shows the elasticity of the lath. The children 
 will think of other things that bound back again after being 
 pulled. 
 
 3. How the Laths are used. The laths should be 
 given to the children in bundles of about ten. If the child 
 has a Kindergarten table, marked in inch squares, the lath 
 can be measured, also the middle of it may be found, or the 
 child may even be allowed to mark it off in inches the whole 
 length. When one lath has been thoroughly examined, and 
 placed in various positions, two laths may be given, and 
 these can be used to show plainly the meaning of parallel 
 lines. Place the two laths on the table one inch apart. 
 These are parallel lines. If we move one of them so that it 
 slants a little away from the other, they are no longer 
 parallel. If we slant both, so that there is the same dis- 
 tance between them all the way, they are still parallel. 
 " Where have you seen parallel lines ? " " The railway and 
 tram lines are parallel." " If the railway lines were not 
 parallel, that is, if they were not the same distance apart all 
 along, what would happen ? " " The train would go off the 
 lines." " But if you stand on a bridge, where you can look 
 along the railway, the lines do not seem parallel ; in the 
 distance they seem to run closer and closer together, but 
 although they look like this, they are still the same distance 
 apart." With two laths, also, a right angle can be made, 
 and changed into the sharp and blunt angles, as with the 
 jointed lath. With two, three, four, or a larger number of 
 laths forms of life may be made, just as with the sticks, 
 for illustrations of which see page 95, etc. 
 
 It is not until we use four laths that we can make a form 
 which can be lifted up. Every lath must touch three other 
 laths if it is to keep in its place. 
 
90 
 
 LATH. 
 
 PIG. 47. 
 
 No. 1. The first form is made thus : 
 
 We will number the laths 1, 2, 3, 4. No. 1 is laid on the 
 table in a vertical position. No. 2 is laid over it at right 
 angles so as to cross No. 1 in the middle. No. 3 is passed 
 wider 1 and over 2. Then 4 is passed under 1, over 3, and 
 under 2. 
 
 No. 2 is made from No. 1 by drawing the laths together 
 at the ends. 
 
 In No. 3 a fifth lath is inserted. 
 
 No. 4 is a modification of No. 3. 
 
 No. 5 is made from No. 4 by drawing the laths together 
 at the ends. 
 
THE LATH. 
 
 91 
 
 FIG. 48. 
 
 In No. 6 six laths are used, and interlaced as in mat- 
 weaving. If this form be held at the corner No. 7 is seen. 
 Eight laths will make a large square with a smaller square 
 inside it (No. 9). 
 
CHAPTEE XII. 
 STICK-LAYING. 
 
 I. Introductory. As the Tablets formed a stepping-stone 
 from the concrete to the abstract, so the Sticks also carry 
 us another step in advance. 
 
 With the Tablets we were able to form pictures of objects, 
 with the Sticks we are able to make outline pictures only, 
 as the stick represents the line or edge of the surface.. In 
 the hands of a skilful teacher, a bundle of these simple 
 sticks opens up to the children a veritable fairyland, so 
 manifold and various are the uses to which they can be 
 put. 
 
 2. The Sticks. The sticks are round and smooth and 
 about as thick as a match, the first used are two inches in 
 length, and each child should receive a box or bundle 
 containing ten of these. The cost of material used in this 
 Gift is very trifling. 
 
 3. Conversation. The first thing is to make the child 
 thoroughly interested in the object it is about to use. The 
 teacher might begin by asking : " What is the Stick made of ? 
 Who made it?" 
 
 "What other things are made of wood?" Then a little 
 story might be told : " One day a little boy had some 
 beech-nuts in his pocket, and as he ran through the wood 
 one nut fell out, and by-and-by some one came along and 
 trampled it down into the soft earth. Then the sun warmed 
 the earth, and the rain made it moist, so that the nut began to 
 
STICK-LAYING. 93 
 
 grow. It sent its roots downward, and pushed a little green 
 shoot through the earth upward, and grew bigger and 
 bigger every year, until it was a fine large tree. In Summer 
 it was covered with beautiful, smooth, shiny, little green 
 leaves, a dress fit for a fairy, and the children loved to sit 
 under its branches ; then the Autumn came, and the leaves 
 turned yellow and brown, and dropped off, one by one, and 
 in the cold Winter the beech tree stretched out its bare arms 
 for the pretty white snow to cover them. But when the 
 Springtime came round, it began to put on its green fairy 
 dress again, for it was covered with tiny buds, and 
 birds flitted to and fro amongst its branches. But one 
 day the woodman came, and put a white cross on the tree, 
 and soon it was cut down, and from it the joiner made these 
 little sticks. You see, now, how much trouble it has taken 
 to make them : first the seed had to be planted, and then the 
 tree had to grow for many years before it was big enough 
 to be cut down. How good God is to make so many trees, 
 for there are plenty left for shelter, even when we have cut 
 many down to make things of the wood." 
 
 A conversation like this wih 1 invest the plaything with a 
 charm which it could not otherwise possibly possess. Another 
 time the teacher might talk about the different kinds of 
 trees, how some of them have leaves that do not fall off, 
 these are called evergreens ; and how others have lovely 
 blossom in the Springtime, and in the Autumn they bear 
 fruit which we eat. A Kindergarten game such as* " The 
 Spring Game " or " The Autumn Game " might appropriately 
 follow a lesson like this. The children would then them- 
 selves be trees, waving arms for branches, and the little 
 stick which came from the tree would be more deeply inter- 
 esting than before. 
 
 4. How the Sticks are used. The children are allowed 
 
 * See Appendices 2 and 3. 
 
94: STICK-LAYING. 
 
 to take out one stick from the bundle and the teacher asks : 
 " What does this stick look like ? " One child will answer, 
 " It looks like a pencil " ; another may say, " It looks like, a 
 match," and so on. When a number of answers have been 
 obtained the children may be asked to repeat all the objects 
 which the stick has been said to resemble. This exercise 
 will strengthen their memories, and the children will be 
 gratified to hear again the names of the objects they each 
 mentioned. " What shape is the stick ? " " It is round, so it 
 will roll." " If we try to bend it what will happen ? " "It 
 
 FIG. 49. 
 
 will break." " And if we throw it in the fire ? " " It will 
 burn." The stick should then be held in various positions. 
 We can make it stand up on the table if we hold it ; we can 
 also hold it in a lying-down position, or slanting upward to 
 the right, and the same to the left. We can lay it on the 
 table, so as to make a standing-up line, or a lying-down line, 
 or slanting lines. " When you laid one of the Gift IV. blocks 
 (which is just as long as these sticks) on the table, what 
 happened to the two squares on which it was laid ? " " They 
 
STICK-LAYING. 
 
 95 
 
 were covered up." " Now look at the stick, it is two squares 
 long. What does it cover up? " " It covers only the line." 
 Two sticks are now given to the child, and with them it 
 makes a longer standing-up line, or two slanting lines ; then 
 the two sticks may be laid parallel, and the children are 
 asked: "Where have you seen other lines running along 
 the same distance apart ? " " Railway lines, tram lines, 
 etc." 
 
 FIG. 50. 
 
 1. Candle-stick. 
 
 2. Tent. 
 
 3-. Triangle. 
 
 4. Table. 
 
 5. Flower-pot. 
 
 6. Open Box. 
 
 7. Chair. 
 
 8. Cottage. 
 
 9. Flower-pot. 
 
 10. Kustic Chair. 
 
 11. Larger Tent. 
 
 12. Funnel. 
 
 13. Bench. 
 
 With two sticks we. lay a candle-stick and a tent, Nos. 1 
 and 2. With three we form the objects 3, 4 and 5 ; and 
 as more sticks are given, larger and more varied objects can 
 be produced, as shown. 
 
96 
 
 STICK-LAYING. 
 
 14. Kennel. 
 
 15. Flag. 
 
 16. Flower-pot. 
 
 17. Anchor. 
 
 18. Hat. 
 
 19. Towel Rail. 
 
 FIG. 51. 
 
 20. Hexagon. 
 
 21. Flag. 
 
 22. Streamer. 
 
 23. Reading Stand. 
 
 24. Picture. 
 
 25. Pigeon House. 
 
 Nos. 14 to 19 are each made with five two-inch sticks, the 
 remaining figures on this plate have six sticks each. Every 
 figure affords opportunity for interesting and instructive con- 
 versation, and many of these objects can be used to illustrate 
 Kindergarten games. See table of Connective Lessons, p. 18. 
 
 Sometimes the children may be divided into groups, and 
 each group may lay a different object. Suppose the objects 
 given below are made by the different groups, the children 
 will be pleased to hear them mentioned in the rhyme. 
 
 An Anchor and a Reading Stand, 
 
 And Picture we have made, 
 A Kennel and a Pigeon House 
 
 Ail evenly are laid. 
 
STICK-LAYING. 
 
 97 
 
 FIG. 52. 
 
 26. House. 
 
 27. Two Windows. 
 
 28. Plant in Pot. 
 
 29. Church Window. 
 
 30. Spade. 
 
 31. Umbrella. 
 
 32. Street Lamp. 
 
 33. Envelope. 
 
 34. Cottage. 
 
 In No. 26 six sticks are again used. 
 
 No. 28 introduces four one-inch sticks. 
 
 No. 30. The Spade has three two-inch sticks laid length- 
 wise, then three more to form the triangle, and one for the 
 handle. 
 
 No. 31. The stick of the Umbrella is formed by three sticks, 
 each two inches in length ; there are two of the same length 
 on each side the stick, and two one-inch sticks form the 
 base of the triangle. 
 
 No. 32. The Street Lamp rests on a stem, formed by two 
 
 7 
 
98 STICK-LAYING. 
 
 two-inch sticks, and the same length of stick is used for the 
 lamp and base. 
 
 No. 33. The Envelope takes eight two-inch sticks. 
 
 No. 34. The Cottage requires ten. 
 
 5. Geometrical Figures. fFor older children.) The 
 right angle may be laid in four different positions, in the 
 four corners of the table. Then the children may be asked 
 to place the two sticks so as to form two right angles, 
 thus : | . Now try to place them so that you will have 
 
 four right angles, I . They can also form the sharp angle, 
 
 by making the right angle smaller, and the obtuse angle, 
 by making it larger. Now let one stick lie down, and 
 place the other so as to make one blunt and one sharp 
 
 an gl e b s^ Now can you place the sticks so as to 
 make two sharp angles and two blunt ones, 
 
 
 
 b ^"-~- 
 
 With three sticks, three parallel lines may be laid, and the 
 triangle may be formed. With four sticks we make the 
 square and the rhombus. With five, the pentagon, the 
 trapezoid and an isosceles triangle. Six sticks give the 
 hexagon, the oblong, the rhomboid and the trapezium. 
 From this it will be seen that the sticks, like the tablets, 
 are valuable as a preparation for geometry and mathematics. 
 
 Stick-laying is a direct preparation for drawing, and many 
 of the figures laid with sticks can be copied in pencil or 
 the chequered lines of the slate. It is also an aid to reading 
 for the letters can be formed with sticks ; it helps largely 
 in the teaching of writing as is shown in the chapter on thid 
 subject, and the sticks can be used for teaching number ir 
 the same way as the boxes of shells, which are mentionec 
 in the chapter on Number. 
 
99 
 
 CHAPTEE XIII. 
 RING-LAYING. 
 
 Introductory. Of all Frobel's Gifts none appeals more 
 rectly to the sense of beauty than this one. Matter-of- 
 ct people may object to a Gift whose chief object is the 
 jvelopment of the artistic. But if we believe that the 
 )preciation of beautiful things has an elevating effect on 
 own-up people, what must its influence be on the tender, 
 astic mind of a little child? By opening the gate "Beauti- 
 1" to its vivid imagination, do we not lead it a step for- 
 ard in the path of goodness, for true beauty is closely allied 
 ith goodness ? 
 
 2. Of what does the Gift consist ? The material used 
 made of wire, and consists of rings and half rings of 
 
 irious sizes an inch, an inch and a half, and two inches 
 diameter the half rings corresponding to the various 
 zes of the whole rings. Just as the sticks were a develop- 
 ent of the cube (its embodied edge), so the rings are a 
 ivelopment of the ball and cylinder, the ring being, in 
 ct, the embodied edge of the cylinder. 
 
 3. How the Gift is used. Give one ring to each child, 
 ik what is its shape, what other things have the children 
 sen similar in shape? "A hoop, Mother's ring, links in 
 chain, etc." The children will now be able to learn the 
 fference between things round like the ball, round like a 
 mny, and round like a ring. " How is the ring different 
 om the penny ? " " We can look through it, and put our 
 iger through it." " What would have to be done to the 
 
100 KING-LAYING. 
 
 penny to make it like the ring ? " " All the middle part 
 of it would need to be taken out, leaving only the edge." 
 " How does the penny differ from the ball? " " The penny 
 is flat and round, while the ball is round all over." " Take 
 up your ring and make it spin round like a top in the middle 
 of the table, listen to the noise it makes when it falls down. 
 Why does it make such a ringing sound?" " Because it 
 is made of iron." " Hold the ring in one hand, and a two- 
 inch stick in the other. How does the ring feel? " " It is 
 heavy." " See ! I will put it in a glass of water, what 
 happens?" "It sinks to the bottom." "Now I will put 
 the stick in the water and you will see what happens." " It 
 floats on the top." " Why does the stick swim, and why 
 does the iron sink?" Proceed to elicit from the children 
 that the iron is cold and hard, and will not easily break. 
 This will be quite enough for the first lesson. 
 
 In the second lesson another interesting conversation may 
 be given about different things that are made of iron. 
 " Think of the largest thing you have seen made of iron." 
 The children will probably reply, "A steam engine ". How big 
 and strong the steam engine must be to pull the heavy train 
 along ! and yet the same iron that makes the mighty engine 
 can be drawn out into a wire almost as fine as a hair, to form 
 the mainspring of a watch. Let the children see a mainspring 
 if possible. Other things made of iron, such as the grate, 
 steam pipes, iron gate, kettle, etc., will be mentioned, and the 
 children will learn that, although gold and silver are the most 
 costly of metals, yet iron is by far the most precious, because 
 the most useful. 
 
 Still another lesson might be taken in describing the 
 interesting process by which the iron is obtained. How 
 the miners go deep into the earth to dig out the iron ore, 
 which is brought up in baskets or buckets. The shaft 
 may be described (which the children probably built with 
 Gift IV.). " It is dark down in the mine, and each man has a 
 
RING-LAYING. 101 
 
 lamp or a candle to work by. How kind the miners are to 
 bring up the iron that makes so many useful things ! Their 
 faces are black with working in the mine, but that is no dis- 
 grace. Then the ore is melted in a furnace, and the red hot 
 liquid runs down into moulds made of sand, and it is now 
 called pig iron. Suppose that a little boy had an iron hoop 
 and broke it, how would the blacksmith mend it ? " " He 
 would take the two ends and make them red hot in the fire, 
 and while they were soft, he would hammer them together, 
 and the broken hoop would be whole again." " Iron will rust 
 with the damp, and the rust wears it away." Such conver- 
 sations as these invest the simple iron ring with a wonderful 
 charm, and the children learn to be deeply interested in the 
 common things around them, which, in itself, is an infinite 
 advantage ; for the more interest a person takes in the 
 common things of life, the more of joy and happiness he 
 gets out of it, and if the Gift teaches no other lesson but 
 this, a valuable one will have been learnt. 
 
 12 
 
 6 
 
 lo II 12 
 
 FIG. 53. 
 
 Fig. 53 shows figures first with two rings, then with three, 
 then with four, and, lastly, with four small rings and four 
 large ones. 
 
KING-LAYING. 
 
 FIG. 54. 
 
 Fig. 54 shows four larger illustrations with whole rings, 
 13 to 16, and the remaining figures, 17 to 21, introduce the 
 half rings. 
 
 FIG. 55. 
 
 No. 22 has a whole ring for centre with four halves sur- 
 rounding. 
 
 No. 23. Eye-glasses. 
 
 No. 24. Clover leaf. 
 
 No. 25. Four halves placed as in Fig. 17. 
 
 Nos. 26 to 28. The whole and half rings are combined to 
 make these figures. 
 
103 
 
 CHAPTEE XIV. 
 
 THKEAD-LAYING. 
 
 I. Introductory. Although the material used for this Gift 
 is perhaps the least costly, it is by no means the least valuable. 
 In Sticks and Eings we have the line, and in Thread-laying we 
 have it again, but differing from previous lines in this, that 
 it is not fixed. If we attempted to bend the straight line of 
 the stick, it broke, and the rings were already curved, and 
 were not intended to represent straight lines. Here we 
 have a material with which we can make curved or straight 
 lines at will, and much useful knowledge may be conveyed 
 through this simple medium. 
 
 2. Children's fondness for string. Who does not 
 remember his or her childish fondness for a piece of string or 
 coloured wool ! A boy's pocket is never completely fur- 
 nished unless it contains a little bundle of string to mend 
 his whip or tie up the tail for his kite. 
 
 Often we have seen children of both sexes amusing 
 themselves with the game of Cat's Cradle, little thinking 
 that by this simple exercise their fingers were being trained 
 and developed. 
 
 3. Materials used. Thread, slate, pencil and water are 
 needed. The material used furnishes opportunity for many 
 interesting conversations. The thread should be thick, red 
 knitting cotton, which is cut into lengths of about twenty 
 inches and knotted. Older children may learn to tie the 
 knot for themselves, and the lines following Fig. 56 may be 
 used. 
 
104 THREAD-LAYING. 
 
 The children will remember the conversations about wool 
 in Gift I., and how it was obtained from the back of the 
 sheep. "Here we have a thread made of another material 
 which you cannot see growing as you saw the wool, for it 
 comes from a country far over the seas. Suppose we went 
 in a ship to one of these warm countries, you would see the 
 cotton growing on a tree, in a snug little pod, and when 
 these pods burst open, and show the pretty white cotton 
 within, people begin to pick them. What kind of people do 
 you think they are who pick the cotton ? Their skin is not 
 white like ours, it is black, and they have curly black hair 
 and rows of shining white teeth." They are called negroes, 
 and just as we think kindly of the men who go down into 
 the earth, and get their faces blackened by working in the 
 coal and iron, so must we try to teach the children to think 
 kindly of a race, who are none the less human because their 
 outward appearance differs from ours. 
 
 The colour of the thread furnishes another topic of con- 
 versation. Keference may be made to the cochineal which 
 provides us with the red colour. Another conversation 
 would arise from the water with which the thread is damped, 
 where it comes from, how useful it is, etc. 
 
 In connection with this play the child learns two impor- 
 tant facts which were not presented in any of the previous 
 Gifts. Without being troubled with scientific names, he 
 learns that water travels along any hair-like thread (capillary 
 attraction), and also that the wet thread sticks to the slate 
 (adhesion). The teacher might take a piece of the cotton 
 thread and say : "I will place one end of this thread in the 
 mug of water, and you shall see what happens ". By-and- 
 by she takes up the thread, and shows the children that it 
 is all wet. " How has this happened?" "The water has 
 travelled all along the thread." "The same thing would 
 occur if the corner of a handkerchief were placed in water. 
 Why?" "Because the handkerchief is composed of threads, 
 
> 
 
 GVJ 
 
 (XI 2 i 
 
THREAD-LAYING. 105 
 
 woven together, and the water travels along them. We 
 should not be able to make nice figures on the slate, if the 
 thread were not wetted." This Gift is an excellent prepara- 
 tion for drawing, for besides giving the outline of forms, it 
 teaches also lightness of touch. The outline of the form 
 can be preserved by drawing round it, or if the thread be 
 allowed to remain in position until it is dry, and then be 
 removed, it will leave the outline of the figure on the slate, 
 which the child may trace over with its pencil. 
 
 FIG. 56. (See Coloured Plate 4.) 
 l.> gee 7. Crown. 
 
 2 ' I rhyme 8 * Ma S' 
 
 3. 9. Dumb-bell. 
 
 4.' 10. Egg-boiler. 
 
 5. Lying-down Line. 11. Symmetrical Form. 
 
 6. Square. 
 
 No. 1. The two cord ends together bring, 
 
 No. 2. Then twist them round to make a ring, 
 
 No. 3. Behind the ring the two ends go, 
 
 No. 4. And then we pull them through you know. 
 
 The children work with the teacher, who shows each step 
 on the blackboard, with a length of wet string. 
 
 In making the figures, the string is to be moved into 
 position by the point of the pencil. 
 
 No. 7. A Crown, made by drawing the upper side of the 
 square towards centre. 
 
 No. 8. Flag, made by pushing lower side of the square 
 towards centre. 
 
 No. 9. Dumb-bell. Both upper and lower sides pushed 
 to centre. 
 
 No. 10. Egg-boiler. Eight and left sides pushed to centre. 
 
 No. 11. All the sides drawn to centre. 
 
 FIG. 57. (See Coloured Plate 4.) 
 
 12. Circle. 16. Soft Hat. 
 
 13. Mug. 17. Boot. 
 
 14. Jug. 18. Pan. 
 
 15. Tall Hat. 19. Spoon. 
 
106 THREAD-LAYING. 
 
 A multitude of other forms will suggest themselves to the 
 teacher, and the children will be found to invent freely in 
 this simple play, and will amuse themselves for hours at 
 home in constructing fresh figures. 
 
 The oval, triangle and hexagon are excellent foundations 
 from which to start, the latter lending itself especially to 
 construction of forms of beauty. 
 
107 
 
 CHAPTEE XV. 
 
 DKAWING. 
 
 I. Introductory. There are two reasons why Drawing 
 plays an important part in the child's development. 
 
 (a) It is a preparation for the real afterwork of life ; there 
 is scarcely a trade or profession in which the need of drawing 
 is not felt. Just as the builder draws plans before making 
 his house, so the dressmaker finds it helpful to draw the 
 pattern she wants to cut, and the same is true of every 
 branch of industry. 
 
 (6) It satisfies the child's natural desire to represent, 
 produce, create ; as Frobel says, "It is in drawing, particu- 
 larly, that the child proves himself to be a free and capable 
 being," and able, therefore, to create. Children love to 
 look at pictures, and, better still, to have pictures drawn for 
 them, no matter how rude the representation, and when a 
 little story accompanies the drawing, the pleasure is greatly 
 increased. The child likes to outline its own little hand, or 
 a coin, or ring, and we have seen children drawing figures 
 on a misty window-pane, in the sand, or even with milk 
 spilt on the table. These rough attempts should not be 
 checked, but encouraged by providing better material ; for, 
 just as we like to express our thoughts in words, so does the 
 child like to express his ideas in drawing. The Chinese and 
 Egyptians wrote in symbols and forms, and the early 
 history of the child, like the early history of these nations, 
 shows the same tendency to express itself in symbols. We 
 
108 DRAWING. 
 
 are not surprised to learn that Frobel found means to satisfy 
 this innate desire on the part of the child to draw. 
 
 2. Materials for Drawing. The materials needed are 
 a slate ruled in squares, and a pointed pencil. The crude 
 spontaneous drawing of the child should now be succeeded 
 by more methodical attempts. The slate should not be made 
 of tin, or wood, with red or wiiite squares painted on it, 
 but it should be a real slate, so marked that the lines are 
 grooves, in which the pencil can be guided. Our aim is not 
 to get perfect work from the child, but to make the work 
 a means of development. It is not necessary to make one 
 set of lines perfectly before proceeding to another set. One 
 row of standing-up lines is quite sufficient for the child to 
 make atone time, and if these are named "little soldiers," 
 as in the writing lesson, or "little children ah 1 standing in a 
 row," the interest will be greater. When we come to lying- 
 down lines, the little children have gone to sleep, and are 
 represented as lying with one square between each. A 
 great many of the objects formed with sticks (see illustra- 
 tions of Stick-laying) may be drawn. Then come the com- 
 
 FIG. 58, p. 110. 
 
 binations of standing-up and lying-down lines, which are 
 shown in the illustrations. Many of these the children will 
 find out for themselves, and we must remember that what 
 the child produces himself is a greater aid to his develop- 
 ment than any number of patterns copied. There is no 
 Gift in which the child has more scope for invention than 
 in drawing. Many and beautiful are the designs which 
 the little fingers produce, unaided, after they have been 
 through the course of Drawing, which here follows 
 FIG. 59, p. 111. 
 
 Slanting Lines. Next come slanting lines, which cut 
 the squares in halves diagonally. 
 
 First we have a row sloping downwards from left to right, 
 then a row sloping upwards from left to right. 
 
DRAWING. 109 
 
 The two kinds of lines are next combined, first into a kind 
 of herring-bone pattern, and then into diamonds, and lastly 
 longer slanting lines are used. 
 
 The children will make patterns for themselves much 
 more numerous and varied than we have space to show. 
 
 Figs. 60 to 63, pp. 112, etc. These four figures show how 
 the three kinds of lines, vertical, horizontal, and slanting, can 
 be combined to make fresh designs. 
 
 Fig. 64, p. 116. In this figure lines of two lengths are 
 used. 
 
 Figs. 65 and 66, pp. 117 and 118. Half-slanting lines. 
 The half-slanting lines should not be given until the child 
 has had drawing lessons for a considerable time, and has ac- 
 quired dexterity in using the pencil to produce firm, clear lines. 
 
 Figs. 67 and 68, pp. 119 and 120. These show how the 
 half-slanting lines may be combined with the lines previously 
 learnt to produce many charming figures. 
 
 Figs. 69 to 72, pp. 121, etc. Curved Lines. In the four 
 figures shown, the curved line is introduced, and various 
 examples are given of the way in which these lines may be 
 combined with each other to form pretty designs. First the 
 curves are only one square long, then they are taken over two 
 squares, and so on. 
 
 Fig. 73. (See Coloured Plate 5.) Design made with 
 straight lines. 
 
 Fig. 74. (See Coloured Plate 5.) Design made with 
 curved lines. 
 
 Colouring. Long before the child has gone through this 
 course of drawing, he may be allowed to colour his little 
 productions. Crayons can be purchased at very little cost, 
 and nothing gives more pleasure to a child than to be 
 allowed to work with colours. Specimens of colouring are 
 given, Figs. 73 and 74. 
 
110 
 
 DRAWING. 
 
 FIG. 58. 
 
DRAWING. 
 
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116 
 
 DRAWING. 
 
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DBA WING. 
 
 117 
 
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DRAWING. 
 
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DRAWING. 
 
 123 
 
 FIG. 71. 
 
 X Or 
 
124 
 
 DRAWING. 
 
 FIG. 72. 
 
FIG. 73. 
 
 FIG. 74 
 
DRAWING. 
 
 125 
 
 Stencilling. 
 
 Stencilling is a somewhat me- 
 chanical occupation, but it requires 
 thoughtfulness and care to do it 
 neatly, and it affords pleasure to the 
 child. The pattern is cut out of the 
 cardboard, probably by machinery, 
 Fig. 75. Stencilling cards of various 
 designs can be obtained in packets. 
 The card is placed over a piece of 
 blank paper or cardboard, and secured 
 by drawing-pins ; or, the blank paper 
 may be cut a little larger than the 
 Stencilling Card, and then its edges 
 may be folded over the latter to keep 
 it in position. A finely pointed pencil 
 is needed, otherwise the lines will not 
 show clearly through the perforations. 
 The pencil should be passed carefully 
 along every slit, and pressed sufficiently 
 to make a good, firm line. Then the 
 card is removed, and the drawing 
 appears on the paper, Fig. 76. The 
 border might also be drawn if desired. 
 
 FIG. 75. Stencilling. 
 
 FIG. 76. 
 
126 DBA WING. 
 
 Frobel's Drawing. Frobel found that a child has very 
 little idea of the relative size of things ; he will, for example, 
 make a man just as high as a house. Nothing could be 
 simpler than the method which the great educator uses to 
 teach the child proportion of things. Five lines of different 
 lengths are used, arranged in every possible position, 
 Fig. 77, p. 127. 
 
 To make the lesson interesting a little story may be given, 
 ir- which the lines are introduced as objects of various 
 sizes, thus : the first line is a very little one, so we will call 
 ii Baby's stocking. The next is longer, that shall be little 
 Sister's stocking ; the third shall be the Brother's, the fourth 
 the Mother's, and the fifth the Father's stocking. 
 
 In No. 1 the Baby's stocking is first and the Father's last. 
 
 In No. 2 we draw the long line first and the short one last. 
 
 No. 3 begins with the short line, hanging from, instead of 
 resting upon, the line, and you will notice that each "stocking " 
 hangs down one square lower than the one in front of it. 
 
 No. 4 shows the long stocking hung first, and the short 
 one last. 
 
 No. 5 shows preceding figures combined, and the four 
 right angles are in the centre. 
 
 No. 6 has the four right angles outside. The talk about 
 the stockings may still be continued in these larger figures 
 
 No. 7 is the opposite of No. 6. 
 
 No. 8 shows a form representing a windmill. 
 
 These are only a few illustrations of a great number of 
 ways in which these lines can be used. After the vertical 
 lines come the horizontal, which are used in precisely the 
 same way. Then the vertical and horizontal lines may be 
 combined. 
 
 No. 9 shows the longer lines in the centre. 
 
 In No. 10 the small lines are in the centre, and this illus- 
 tration shows also the relative sizes of squares. The same 
 principle can be carried out with slanting lines. 
 
DRAWING. 
 
 127 
 
 FIG. 77. 
 
128 
 
 CHAPTER XVI. 
 BEAD WORK. 
 
 I. Introductory. As we have used various materials to 
 represent the embodied edge of the plane surface, so, in this 
 Gift, we represent the embodied corner. The representa- 
 tion is doubtless more or less crude, for the point is hardly 
 a tangible or visible quantity. But if we can manage to 
 convey to the child's mind a clear idea as to its position, 
 something will have been gained. 
 
 2. Materials used. Beads, lentils, peas or beans may be 
 used, or the shells, referred to in the chapter on Number. 
 Children are always fond of marking out, and enclosing spaces 
 with objectsof this kind,to make " gardens, ""parks, ""houses," 
 etc. A conversation on the object to be used will add interest 
 to the lesson. The beads or seeds should be placed in little 
 boxes or "patty" tins ; the paper box shown in Fig. 79, No. 
 7, is very useful for this purpose, and the method of making 
 it is fully illustrated in Fig. 103, Paper-folding, p. 160. Suppose 
 the boxes to be placed at the end of each desk, they may be 
 passed while the following lines are repeated or sung : 
 KEYD. 
 
 (:PKT |d :-.r:d Id : ri :s If :1 : d 1 Id 1 : :t.l| 
 Some nice, pretty box - es of beads read -y stand, And 
 
 XI s :f :n |r :d :r n : :nr d : -.r : d I d :n :s / 
 please.will you pass one to me ? From one to an - oth - er with 
 
 d 1 :-:tJ.s : d' :n r :-.d : r 
 care they must go, Up - set-ting would spill beads you see. 
 
OF THE 
 
 UNIVERSITY 
 
PLATE 6. 
 
 FIG. 78. 
 
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 FIG. 79. 
 
BEAD WORK. 129 
 
 3. Guessing Game. Another way of making this 
 subject interesting is to use the seeds for a Guessing Game. 
 The children should first learn the names of the different 
 seeds lentils, broad beans, haricot beans, peas, Indian 
 corn, etc. One child is then blindfolded, and stands in 
 front of the class. The Teacher places a seed in the hand of 
 the blindfolded child, after first holding it up, so that all the 
 children may see it, and then all repeat the lines which 
 follow : 
 
 Here are seeds, some large, some small, 
 
 We have learnt the names of all. 
 
 Hold your hand ! what seed is this ? 
 
 Mind you do not guess amiss. 
 
 The child tries to tell the name of the seed by feeling it. 
 This game, of course, develops the sense of touch, and 
 strengthens the memory, besides being a source of great 
 pleasure to the children. 
 
 FIG. 78. (See Coloured Plate 6.) 
 
 4. Laying Beads. In the diagram given (Fig. 78), the 
 figures are laid on the cardboard square referred to in Gift 
 III., Fig. 12, and instead of beads, we have substituted split 
 peas, which keep in place more easily, being curved only on 
 one side. 
 
 No. 1. The first step is to mark the intersections of the 
 squares. The children should be allowed to place all their 
 peas or beads where the squares cross, covering all the in- 
 tersections if possible. 
 
 No. 2. Then a lying-down line may be laid, not two 
 squares long, as shown here, but the whole width of the 
 table. 
 
 No. 3. Next comes the standing-up line, which should 
 also be taken across the table. 
 
 Nos. 4 and 5 show a pea laid in the centre of the inch line 
 as well as in the corners, and this is followed, 
 
 9 
 
130 BEAD WORK. 
 
 Nos. 6 and 7, by the placing of a pea on each side of the 
 one in the centre. 
 
 No. 8. Now the centre of the square is found, and one 
 
 pea is placed there, and one at each of the opposite 
 corners. 
 
 No. 9. We see the slanting line formed by placing a pea 
 on each side of the one which is in the centre. 
 
 No. 10. Two slanting lines are combined to form a Tent. 
 
 The remaining figures 
 
 11. Flag; 14. Hexagon; 
 
 12. Towel rail ; 15. Picture 
 
 13. Beading stand ; 
 
 are taken from Stick-laying. All the illustrations shown in 
 the last-named Gift may be laid with peas, beads, etc. 
 
 FIG. 79. (See Coloured Plate 6.) 
 
 5. Beads on Cardboard. Another way of using beads is 
 to let the children sew them on cardboard. This is a pleas- 
 ing occupation for the very little ones. Take a piece of card- 
 board four inches square, and perforate it at the five points 
 marked, No. 1, Fig. 79. A blunt needle, or baby-threader, is 
 used, threaded with a length of wool or thick cotton which 
 should have a knot at one end. Bring the needle through 
 the hole in the centre, then thread with four beads, and pass 
 it through the hole at the top of the cardboard. Bring the 
 needle through the centre again, thread four more beads, 
 and pass it through the opposite hole. Continue in this way 
 until the cross is completed. The manner of perforating the 
 cardboard for each pattern given is shown in the square 
 above the pattern. 
 
 As the children become more proficient the patterns may 
 be sewn on shaped pieces of cardboard, which are afterwards 
 made into various useful objects, as the " slipper," Fig. 79, 
 No. 6. 
 
 Nos. 1 to 5 show illustrations of beads sewn on cardboard. 
 
BEAD WORK. 131 
 
 ["he cardboard is perforated at the points shown on the white 
 square above the patterns. 
 
 No. 6. The Slipper has the pattern No. 3 worked on the 
 ioe, and No. 4 on the upper part. The edges ,are perforated 
 as if for buttonhole stitch, and the children sew the beads 
 round. The " toe " is then stitched in its place. 
 
 No. 7 is the paper box for holding beads, etc., the method 
 >f making which is described fully in the chapter on Paper- 
 olding, Fig. 103, p. 160. 
 
 Nos. 8 and 9 show baskets* with beads threaded on the 
 sticks. In No. 8 alternate sticks are threaded, and in No. 9 
 all the sticks have beads. When the beads have been threaded, 
 one end of the stick is inserted in the cardboard, which forms 
 she bottom of the basket, and the other end is inserted in 
 the rim, but this operation is delicate and difficult, and can 
 lardly be managed by the children themselves. 
 
 * See Appendix 6. 
 
132 OCCUPATIONS. 
 
 Occupations. 
 
 Up to this time, the child has played with a variety of 
 material, from which he has made a variety of forms, but he 
 has been able in every case to resolve the material into its 
 original condition. In all the Gifts this principle is carried 
 out, but with the Occupations it is different. 
 
 These afford material for the construction of various 
 designs and forms, but the forms, when constructed, are 
 fixed, and cannot be resolved into the original forms as could 
 the Gifts. 
 
 It is necessary for the child's development that this should 
 be so. If we could alter every mistake that we make readily 
 and easily, we should not be so careful to avoid making 
 mistakes. But as errors are not easily rectified in real life, 
 so the child should learn this lesson in its play, for the play 
 is to be a preparation for the business of life. One brick in 
 the wrong place, and the design is spoiled ; one wrong line, 
 and the pattern is imperfect. 
 
 When we try to prick and sew, 
 
 Very careful we must be, 
 Or some wrong and crooked lines 
 
 On our work we're sure to see. 
 
 Every prick just in its place, 
 
 Every line exactly true, 
 Neat and careful all the work 
 
 That we little children do. 
 
133 
 
 CHAPTEE XVII. 
 PEBFOKATING. 
 
 I. Introductory. This Occupation deals chiefly with the 
 point. The child has already learnt to mark the points 
 where the lines cross on its Kindergarten table, with shells, or 
 beads, and the same principle is carried out in Perforating. 
 We have often seen children take a pin and prick the outline 
 of a picture on a piece of paper, or they will, in the same 
 way, perhaps, outline the patterns of flowers printed on 
 materials. Cowper refers to this in his " Lines on my 
 Mother's Picture ". 
 
 A lesson of twenty minutes' duration, given once a week, 
 is almost sufficient for this Occupation. Children whose 
 sight is weak should not be allowed to perforate, as constant 
 application of the eyes is necessary. Perforating is not suit- 
 able for a large class of children, because it needs such con- 
 stant supervision. The class should have a room well lighted 
 on the left, and even then it would be well to postpone the 
 lesson if the day were dull or dark. 
 
 2. Materials used. () Pad. Each child must be pro- 
 vided with a pad of blotting-paper or felt. The latter is 
 more suitable for coarse perforating. If fine work is desired 
 the blotting-pad should be used, which is made as follows : 
 Take a piece of blotting-paper and fold it twelve times, into 
 a pad measuring eight inches by six. The pad thus made 
 should be gummed to a piece of cardboard of the same size, 
 and this again is gummed to the centre of a piece of brown 
 paper measuring twenty inches by twelve, so that the pad 
 
134 PERFORATING. 
 
 can be folded up and kept clean, and the child's work if not] 
 finished can be left inside. The child's name should be j 
 written on the outside. 
 
 (6) Perforating needle. A stout needle is fixed into a 
 round handle of wood, from which it should project about 
 an inch. 
 
 (c) The paper or cardboard. A piece of cross-lined 
 paper or cardboard should be used, with a network of J 
 inch squares, and if the lines could be drawn in black in- ; 
 stead of pale blue, as is usually the case, it would be much 
 easier for the child to see where they cross, and where to 
 put the point of the pricker. A piece of cardboard, three or 
 four inches square, is large enough to commence with. 
 
 3. Conversation about material. " What is the pad 
 made of ? " " It is made of paper." " What is paper made 
 of ? " An interesting description of paper-making should 
 here be given. How the rags are ground up into a pulp with 
 water, and then pressed out into thin layers to make paper 
 and cardboard. " How does the blotting-paper differ from 
 other kinds of paper? " " It is softer, and rougher, and not 
 so shiny." " Why is it made like this? " "So that it will 
 suck up the ink." 
 
 " The handle of the pricker you know about, but what is 
 the other part made of ? " " It is made of steel." " What 
 else is made of steel?" "Scissors, knives, needles, and 
 many other things." " We should be badly off without the 
 bright, shining steel that makes all these articles with which 
 to cut or pierce." 
 
 4. How the lesson is given. The Teacher should draw 
 a network of lines on the blackboard, showing as many 
 squares as the children have on their cardboard, and with a 
 piece of coloured chalk she should indicate the point where 
 the pricker is to be placed. We will begin at the upper left 
 corner, the pricker must be perfectly vertical, and the per- 
 foration must be made exactly where the lines cross. When 
 
PERFORATING. 
 
 135 
 
 FIG. 80. Perforating. 
 
136 PERFORATING. 
 
 this is done, the paper is held up and the child is delighted 
 to see the light shining through the little hole he has made. 
 Now make another hole very carefully (the Teacher showing 
 on the blackboard where it has to be made). If the blotting- 
 pad is used the pricker may be sent quite through the soft 
 folds until it reaches the cardboard. When a row of holes 
 has been made the card is again held up to the light and 
 fourteen shining points are seen. The work should proceed 
 slowly, and should be frequently supervised, so that no 
 careless or slanting perforations are made. In the first card 
 used the child perforates every place where the lines cross 
 each other. 
 
 The method followed is very similar to that which is 
 shown in the laying of Beads. 
 
 No. 1. First the holes are made where the squares cross 
 each other. 
 
 No. 2. The next step is to perforate the line exactly in 
 the middle. 
 
 No. 3 show r s five perforations, and before proceeding 
 further, squares and other combinations of vertical and 
 horizontal lines should be practised, each line being perfor- 
 ated like No. 3. 
 
 No. 4 shows the perforation in the middle of the square, 
 and 
 
 In No. 5 a prick is placed on each side of the centre to 
 make the slanting line. Various patterns of slanting lines 
 should be perforated before proceeding further, e.g., see 
 Fig. 83, Embroidery Cards. 
 
 Nos. 6 and 7 show combinations of slanting and other 
 lines ; for further illustrations see Fig. 84, Embroidery 
 Cards. 
 
 When the child has learnt to place the pricks at equal 
 distances, he may proceed to trace outlines of forms such as 
 a leaf, a house, an animal, etc., the pattern being drawn 
 in the first place on thin paper, and then placed over 
 
PERFORATING. 137 
 
 the cardboard or paper, to which it is to be transferred 
 by perforating. The pattern may be kept in place by 
 cutting the blank paper rather larger than the pattern, so 
 that its edges may be folded over the latter. When every 
 line has been evenly pricked the drawing is removed, and the 
 child sees the same pattern outlined by his perforating. 
 
 Embossing 1 or " Raising": Very pretty effects may be 
 obtained by " raising " the pattern, which is done as follows. 
 First the shape is outlined on cartridge paper, or very thin 
 cardboard ; then the card is turned over and perforated on 
 the wrong side. Suppose the pattern to be a walnut ; the 
 pricks on the wrong side would, in the first row, follow the 
 line of the oval pricked on the right side, the pricks for 
 "raising" being kept close inside the outline. The next 
 row follows closely inside again, and the plan is continued in 
 every row, the oval becoming smaller and smaller with each 
 row, until the centre is reached. Then if the figure be 
 turned over to the right side, the " raised" pattern is seen. 
 It is hardly necessary to add that a considerable strain is 
 put upon the eyes in the production of such a multitude 
 of fine perforations as are needed for "raising," and that 
 the sight should not be sacrificed by being used too much. 
 
138 
 
 CHAPTEE XVIII. 
 EMBKOIDERY. 
 
 Lffl 
 
 lfll 
 
 FIG. 81. 
 
 (The above patterns are designed and worked on cross- 
 lined cardboard ; the original measures about 24 in. by 12 in. 
 I. Introductory. Everybody knows how delighted a 
 child is to have a needle and thread given to it, with a piece 
 of material on which to sew. Children like to produce 
 something, and they like also to imitate the actions of grown- 
 up people, both of which desires are gratified in this occupa- 
 tion. Moreover, if it is gratifying to use a needle and thread, 
 even when nothing definite can be produced, how much 
 more gratifying must it be to work with these implements, 
 when beautiful results can be obtained ! A gardener, having 
 occasion one day to visit an Infant School in the West 
 
EMBROIDERY. 139 
 
 Eiding of Yorkshire, was struck immediately on entering 
 with the appearance of a frame containing specimens of the 
 children's work. They were patterns of embroidery which 
 had been designed by the children themselves in the drawing 
 lesson, and had afterwards been perforated and sewn on 
 chequered cardboard. The gardener asked permission of the 
 head mistress (by whose kindness also they are shown here, 
 Fig. 81) to allow him to copy the designs for his own use in 
 " carpet "-gardening. This proves that the occupation is a 
 preparation for some, at least, of the after- work of life. The 
 child also learns how to use a needle, which in itself is an 
 important acquisition. 
 
 The mental effect of this work is beneficial, for it soothes 
 and quietens. 
 
 Like perforating, this also teaches patience and care. 
 Sometimes a knot appears on the wool, and a sudden pull 
 would tear the card, or break the wool, so the child must 
 wait until the knot can be undone, otherwise its work 
 will not be neat, and neatness is always insisted upon 
 in the Kindergarten. As drawing complements the exer- 
 cises with beads or shells, so does this occupation of em- 
 broidery complement the previous occupation of Per- 
 forating, for it is a kind of " Drawing with coloured 
 threads ". 
 
 2. Materials used. We will suppose that the child has 
 before him a piece of cardboard four inches square, marked 
 with J inch squares, which he has already prepared for 
 himself in the perforating lesson. The other implements 
 needed are a rug needle with large eye and blunt point, and 
 a length of wool crewel, Shetland, or fine Andalusian are 
 the most suitable. Before commencing the work the mate- 
 rials should form the subject of interesting conversations : 
 how the wool came from the sheep's back and was dyed the 
 pretty colours that we see, and how the needle is made of 
 hard, bright steel, etc. At first the wool chosen should be 
 
140 EMBROIDERY. 
 
 one of the primary colours, red, blue or yellow, but later the 
 secondary colours may be used. 
 
 3. The First Lesson. The Teacher should have a piece 
 of stout cardboard, 16 inches square, ruled in inch squares 
 and perforated to match the children's squares ; she shoulc 
 also have a large darning needle and a length of thicker wooi 
 than that used by the children, so that all may be able tc 
 see. 
 
 The children might be supplied with a strip of cardboard 
 (say two inches by one inch) folded in halves, with which tc 
 hold the card they are working. 
 
 A small knot should be made at the end of the wool. 
 The Teacher now says : " Take the needle in your right handj 
 and hold the cardboard in your left. Put the needle behind' 
 the cardboard and send it through the hole in the upper left 
 corner, on the wrong side of the card. Now draw it through 
 on the right side, until only the knot can be seen behind." 
 (The Teacher does this on her larger card, and if the class is 
 large she must stand before them, holding the card in her 
 right hand and the needle in the left, otherwise the children 
 will be confused.) 
 
 "Now take the needle and put it through the next hole 
 below on the right side and draw it through. What have 
 you made ? " "We have made a standing-up line which joins 
 the two points together." The needle is then put through the 
 next hole below, on the wrong side, and brought out on the 
 right side ; then put it in again on the top row, and so on 
 until a row of vertical lines is seen. 
 
 If the cardboard has not been pricked correctly, the lines 
 will be imperfect ; the child will thus learn that careful pre- 
 paration is necessary if good work is to be obtained, and this 
 is a lesson which will be useful in the later years of life. In 
 the next line we work from right to left, and the wrong side 
 of the card now shows four rows of lying-down lines. 
 
 Sometimes coloured cardboard is used and makes a pleasing 
 
EMBROIDERY. 
 
 141 
 
 variety ; the child should be encouraged to find a colour of 
 vool that will harmonise nicely with the colour of the card- 
 board. 
 
 The steps in Embroidery are the same as in Drawing. The 
 llustrations which follow are taken from the A. L. Series * 
 )y the kind permission of the Publishers. 
 
 nnnnnnnn 
 nnnnnnun 
 nnnnnnnn 
 nnnnnnnn 
 nnnnnnnn 
 nnnnnnnn 
 nnnnnnnn 
 nnnnnnnn 
 
 FIG. 82. 
 
 Fig. 82 shows standing-up and lying-down lines, 
 >atterns formed by combining these two. 
 
 and 
 
 See Appendix 7. 
 
EMBROIDERY. 
 
 ; : ^^yyyyyz \ \ >OOOOOCO< 
 
 //////y/\\\\\\\\ i ; 
 
 FIG. 83. 
 Fig. 83. These cards show the steps in slanting lines. 
 
 FIG. 84. (See Coloured Plate 7.) 
 
 Fig. 84. The patterns here combine the three kinds of 
 lines, and also show how the cards may be coloured.* 
 
 FIG. 85. 
 Fig. 85 introduces the half-slanting lines. 
 
 * In examining Plate 7 the book should be held sideways, so that the 
 pattern showing octagons in rows appears first. 
 
Via, 
 
EMBROIDERY. 
 
 FIG. 86. 
 
 Fig. 86. The ''cup and saucer" pattern illustrates ob- 
 jects. The "Elephant," animals; the "Daffodil" and 
 " Poppy," spring and summer flowers respectively, and the 
 remaining figures are selected from another packet of objects. 
 
 FIG. 87. 
 
144 EMBROIDERY. 
 
 FIG. 88. (See Coloured Plate 8.) 
 
 Fig. 88. Two " tidies " (from a packet of Embroidery 
 Models *) show how the child's work may be made up into 
 useful articles. 
 
 When the child has sewn several cards he may be allowed 
 to use different shades of the same colour, thus : The first 
 line might be sewn in dark brown, the next in a lighter 
 brown and the third in fawn. The child learns also which 
 colours harmonise weh 1 together, as it is allowed to com- 
 bine different colours on its designs, and we can scarcely 
 conceive of a child, thus trained, wearing hideous contrasts 
 of colour when it grows older, for it has learned in early life 
 the proper combinations. As the child advances he may be 
 allowed to choose the colours with which to work for himself. 
 
 Inventive embroidery has already been mentioned, the 
 children first making their own designs in drawing, and if 
 the designs are coloured to match the wool or silk used the 
 effect is very pretty (Fig. 84). Outlines of animals, flowers 
 and other objects should also be given to the children to sew, 
 and these again may form the subject of interesting conver- 
 sations and may be used to illustrate Object, Natural History 
 and other lessons as shown on page 18. Both animals and 
 flowers should be sewn in colours natural to them. 
 
 In this Occupation the results of the child's labour may 
 be turned to good account. Various shapes of tidies and 
 wall pockets may be worked (Fig. 88), and made up as 
 presents for Mother or others at home. This is a source of 
 great delight to the child, and trains him, also, in lessons of 
 unselfishness and thoughtfulness for others. With a little 
 care the child learns to button-hole the articles when 
 embroidered, and can then make up its own work, an 
 important means of training in habits of self-reliance and 
 independence. The designs on these articles may be either 
 plain or coloured. 
 
 * See Appendix 8. 
 
145 
 
 CHAPTEK XIX. 
 PAPER-PLAITING OR MAT- WEAVING. 
 
 I. Introductory. In some of the previous Gifts and 
 Occupations, reference has been made to the utility of the 
 work there introduced as a grounding for occupations which 
 come later in life, but in none of these is the utility more 
 marked than in paper-weaving. A boy, who had passed 
 through the Infant school, and practised this occupation 
 among others, acknowledged that it had been of great 
 service to him when he entered the Textile school to learn 
 designing in cloth. In the manufacturing districts of 
 England, great numbers of the children, who pass through 
 the Elementary schools, are employed in mills, where 
 weaving is carried on, and if this occupation of Mat- 
 weaving could be continued until the children had a 
 thorough knowledge of its principles, how much intelligence 
 might be brought to bear on the actual weaving, and how 
 much more pleasure might the worker draw from labour 
 that is often looked upon as so much mechanical drudgery ! 
 
 Mat-weaving not only develops manual skill in both 
 hands (for the left is used as well as the right), but it 
 requires a considerable amount of intelligence to produce the 
 combinations which make up the designs. It is a good 
 training also in number, for the child cannot possibly weave 
 unless he counts. The aesthetic nature of a child is also 
 cultivated, for the patterns are pleasing to the eye ; the 
 love of colour is gratified, and combination of colours tends 
 further to strengthen the sense of harmony. 
 
 10 
 
146 PAPER-PLAITING OB MAT-WEAVING. 
 
 2. Materials used. These are, first, the mat, which is &\ 
 piece of cardboard or paper, cut into strips in the centre^ 
 with a border left all round ; and there are also the loose! 
 strips for inter- weaving. The strips of the mat are the 
 warp, and those woven in are the weft. Before the lesson is I 
 given the Teacher might say, " Look at your dress, you knowi 
 what it is made of?" "It is made of cloth," say the 
 children, " and the cloth is made of wool." " But how was- 
 the wool made into the cloth ? It was drawn out and spun 
 into long threads, and these were put in a machine called a 
 loom, just as the strips of your mat lie before you on the 
 table. Then the weaver came and took another thread, 
 which was wound on a reel, and put in a shuttle " (show the* 
 children a shuttle if possible), " and the weaver sent this 
 thread, which is called the weft, in and out of the threads 
 of the luarp, and wove the nice cloth which makes your 
 dress." 
 
 Busy little weavers, 
 
 Ready now are we, 
 With our mats before us, 
 
 Soon at work we'll be. 
 
 First the (1) warp we'll show you, 
 
 (2) These loose strips are weft, 
 In and out we weave them, 
 
 (3) With our fingers deft. 
 
 (1) Hold up the mat. 
 
 (2) Hold up strips. 
 
 (3) Show both hands. 
 
PAPEK-PLAIHNG OB MAT-WEAVING. 
 
 147 
 
 The Demonstra- 
 tion Frame * is a 
 very useful inven- 
 tion. It is so much 
 larger than an or- 
 dinary mat that it 
 can be seen by a 
 Large class, and the 
 loose weaving 
 " strips " (which are 
 Laths of wood) can 
 be easily passed in 
 and out of the fixed 
 vertical strips; the 
 latter are made of 
 worsted braid. 
 
 FIG. 90. (See Coloured 
 Plate 9.) 
 
 The cardboard 
 mat t is the best to 
 learn with. The 
 strips may be taken 
 out again and again, 
 and therefore all the 
 easy steps (Fig. 93, 
 No. 1, etc.) may be 
 practised on the one 
 mat 1 . Another great advantage is that no needle is required. 
 
 Each child should have an envelope made of stout brown 
 paper, with its name outside, in which to place the mat. 
 
 Suppose each child to have the cardboard mat (Fig. 90), 
 with loose strips, on the desk ready for working. The Teacher 
 
 FIG. 89. 
 
 See Appendix 9. 
 
 t See Appendix 10. 
 
148 
 
 PAPER-PLAITING OR MAT-WEAVING. 
 
 might say, " Take one of the strips in your right hand, put it 
 behind the border, before the first strip, behind the next, 
 before the third, and so on, until the other border is reached, 
 when we again go behind ". If a Demonstration Frame is 
 used, the Teacher would work with the children. 
 
 The first row is accomplished with little or no difficulty, 
 but in the next row, where we have to go not only be- 
 hind the border again, but behind the first strip, the child 
 is often puzzled, and the following method of illustration has 
 been found very useful in teaching large classes of children. 
 
 FIG. 92. 
 
 Let four or half a dozen children, of equal height, stand in 
 a row, a little distance apart, facing the class, with a taller 
 child at each end of the row. The four children represent 
 the strips of the mat, and the two taller ones stand for the 
 borders. A length of tape is attached at one end, to the left 
 shoulder of the first child (i.e., the child who represents the 
 border on the right), and the other end is held by the child 
 
PAPEB-PLAITING OR MAT- WEAVING. 149 
 
 who is the weaver. Teacher says, " Now we will do the first 
 row. Where will the ' weaver ' go ? " First behind the 
 border, then before the next child, behind the next, before the 
 next, and so on, until the left border is reached, when she 
 again goes behind, and the tape is secured to the right 
 shoulder of the last child. For the next row, the tape is 
 fastened a little lower down, and the " weaver," beginning 
 again, takes the other end of the tape in her hand, and passes 
 this time not only behind the border but behind the first 
 child, then, before the next, and so on, until the other side 
 is reached, when the tape is secured as before. It will now 
 be seen that the " borders " have no black tape in front of 
 them, and that the children who had the black tape passed 
 in front of them in the weaving of the first row, had it passed 
 behind them in the second row, while those who had it be- 
 hind in the first row, have it before in the second. However 
 dull the child may be, it seldom fails to grasp the idea thus 
 taught, and the second row of the mat is accomplished with- 
 out much difficulty. Many teachers use the words " over " 
 and "under" in teaching Mat- weaving, but "before" and 
 
 behind " should be used in this illustration, and the writer 
 has found it wise to continue their use in Mat-weaving as 
 well, for " behind " generally means out of sight (to a child 
 at any rate), and the end of the loose strip, when passing 
 behind the strip of the mat, is out of sight. The third row 
 is like the first. 
 
 The strips should always be taken out of the cardboard mat 
 by the Teacher. It is not wise to allow the children to do 
 this for themselves, nor to do it when they are present, for it 
 is discouraging to them to see their work destroyed. On the 
 other hand, if paper mats were used, and the children 
 were allowed to work a mat in each of the elementary steps, 
 the cost would be very considerable in a class, say, of forty 
 children. Moreover, the work is executed more quickly and 
 easily with the cardboard strips, and as no needle is required, 
 
150 PAPER-PLAITING OB MAT-WEAVING. 
 
 time is saved by not having this to thread. When the child 
 has reached the key pattern, Fig. 91 (Coloured Plate 9), with 
 the cardboard mat, a paper mat may be given to him, and he 
 will learn the use of the needle, shown in Fig. 91 (Coloured 
 Plate 9), and what it is made of, etc. 
 
 The best needles are those that open with a spring ; the 
 raised part is pressed slightly between the thumb and fore- 
 finger of the left hand, until it opens wide enough to admit 
 the end of the strip ; when the pressure is removed the 
 spring closes, and secures the strip, which is th^n earned 
 across the mat by the needle. When the left side is reached, 
 the spring of the needle is again pressed to release the strip, 
 which is then pushed carefully to its place. It is not by any 
 means necessary for the child to weave every step, and 
 great pains should be taken to give him clear ideas of the 
 numbers used. To young children no pattern should be 
 given that requires higher numbers than three ; and for 
 children up to six years of age, patterns where the counting 
 does not exceed five are sufficiently difficult. 
 
 PIG. 93. (See Coloured Plate 10.) 
 
 FIG. 94. (See Coloured Plate 10.) 
 
 FIG. 95. (See Coloured Plate 11.) 
 
 FIG. 96. (See Coloured Plate 12.) 
 
 FIG. 97. (See Coloured Plate 12.) 
 
 Fig. 94. The steps in Mat- weaving are shown in the 
 illustrations ; the simplest, of course, is the " 1 and 1 " 
 pattern shown in No. 1, then " 2 and 2 " follow, next com- 
 binations of 1 and 2, and then higher numbers. 
 
 When we come to the " step " patterns, No. 2, it will be 
 seen that Frobel's law of " reconciliation of opposites " is ap- 
 plied. First we have the steps sloping up to the right, then to 
 the left, No. 2, and in No. 3 the two directions are combined. 
 
 No. 4 shows broken steps. No. 5 contains patterns made 
 by combining the formulas " 2 and 2 " and " 1 and 1 ". In 
 
PLATE 9. 
 
 FIG. 91. 
 
 FIG. 90. 
 
 FIG. 98 
 
OFTHB 
 
 UNIVERSITY 
 
PAPER-PLAITING OB MAT-WEAVING. 151 
 
 No. 6 the patterns introduce " 3 and 3," combined with the 
 smaller numbers. 
 
 Fig. 95. In No. 8 we have the concentric and eccentric 
 patterns. In working these two patterns, two strips may be 
 put in the needle at the same time ; one strip being pushed to 
 the top, and the other to the bottom. The last strip to be put in 
 is the one in the centre of the pattern. The diamond patterns 
 in No. 9 are the exact opposite of each other. In No. 10 we 
 have the compound broken steps, and in Nos. 11 and 12 
 more difficult patterns are shown. 
 
 Fig. 96. In Nos. 13 and 14 the "law of opposites " is 
 again seen, and also in No. 18. 
 
 FIG. 98. (See Coloured Plate 9.) 
 
 1. Pin-tray. 4. Spill-case. 
 
 2. Needle-book. 5. Hair-tidy. 
 
 3. Blotting-case. 6 and 7. Baskets. 
 
 It is not wise to paste the children's work in a book ; it 
 should be put to some practical use whenever possible. Fig. 
 98 shows a few examples of how the mats may be utilised. 
 
 No 1. An oblong or square mat pasted on cardboard, and 
 turned up the width of the border all round, makes a pretty 
 Pin-tray. 
 
 No. 2. The Needle-book is also made from the oblong 
 mat, which in this case is folded exactly in half, the flannel 
 for the needles being secured by a length of ribbon tied 
 round. 
 
 No. 3. The Blotting-case has two oblong mats ; these are 
 button-holed and stitched together, and the blotting-paper is 
 kept in its place by a length of ribbon tied round. 
 
 No. 4. The Spill-case is made by joining together the two 
 short sides of an oblong mat. The edges should overlap 
 about half an inch. 
 
 No. 5. The Hair-tidy is made from a square mat. Two 
 
152 PAPER-PLAITING OB MAT-WEAVING. 
 
 of its sides are button-holed and sewn together as shown in 
 sketch. 
 
 Nos. 6 and 7. Baskets. In this case the paper is woven 
 in and out of sticks, which make the framework of the 
 basket. The cardboard pieces for these baskets can be 
 purchased in packets.* The rim and bottom are connected 
 by the sticks, the holes in the one part corresponding to 
 those in the other. 
 
 * See Appendix 6. 
 
153 
 
 CHAPTER XX. 
 PAPER-FOLDING. 
 
 I. Introductory. Paper is one of the most common and 
 plentiful objects of daily use, and for this reason it is often 
 wasted by children, but this tendency should be discouraged, 
 for the child is to be taught that everything is of use, and 
 that nothing should be wasted. 
 
 What better could have been invented for this purpose 
 than this wonderful Occupation, where the great Teacher 
 shows us how a simple square of paper can be folded into 
 hundreds of beautilul and attractive forms ! A child who 
 had learnt to put a tiny piece of paper to such noble use as 
 this would scarcely care to destroy and waste that which is 
 so valuable and necessary in everyday life. Perhaps the 
 Teacher would show some of these folded forms to the 
 children before they commenced to work, and it would act 
 as an incentive to the little fingers to try and produce similar 
 pretty figures. 
 
 2. Advantages of paper-folding. (a) This exercise is 
 well calculated to develop the use of the fingers. Great 
 delicacy of touch is required, also precision, exactness and 
 neatness. 
 
 (b) The child has the joy of feeling that he has produced 
 something. Formerly the mother would fold objects for the 
 child, but Frobel taught the children how to do it for them- 
 selves. 
 
 (c) Paper-folding cultivates the child's sense of beauty, 
 and strengthens his love of colour. 
 
154 PAPER-FOLDING. 
 
 (d) The simplicity of the material used is in itself a recom- 
 mendation. Tools are not required, the little hands being all 
 that is necessary. 
 
 (e) The children learn the value and usefulness of paper. 
 The Teacher might preface the lesson by saying, " Long ago, 
 when people did not know how to make paper, they wrote 
 upon the skins of animals that had been scraped and made 
 smooth ; these were called parchment, and cost a good deal 
 of money. Other people would write, or scratch on stone 
 or wood. How funny it would be to have a note written 
 on a chip of wood ! In those days the children would not 
 have numbers of pretty picture books, as we have. We 
 should be glad that we have paper for books, and parcels, 
 and writing, etc., and we should take care not to waste or 
 spoil it." 
 
 3. Materials used. A piece of paper four inches square 
 (obtained in packets of 100 *) should be given to each child. 
 Paper glazed and coloured on one side only is best, and red 
 is a good colour to start with. If the class is large, the 
 Teacher should have a square four times the size of the 
 children's, so that all can see it quite well. 
 
 4. How to proceed. " Look at your piece of paper, what 
 do you notice about it ? " " It is red on one side, and white 
 on the other. The coloured side is more shiny than the 
 other. The paper is smooth, and light, and thin, and it 
 will bend. It has four sides all the same length, so it is 
 square." "Measure these sides. They are each four inches 
 long" (if the children are sufficiently advanced, they may be 
 asked how many inch-squares are covered by the four-inch 
 square of paper). " Hold the square by one corner and shake 
 it. What do you hear?" "We hear a rustling sound." 
 " What have you seen that is like the paper in shape ? " 
 " A pocket-handkerchief, a window, etc." " Now place the 
 square on the desk with one of its sides towards you, and 
 
 See Appendix 11. 
 
PAPER-FOLDING. 
 
 the white face uppermost. Which is the right side ? Which 
 is the left ? Which is the top ? Which is the bottom ? 
 Take the bottom side, using both your hands, and fold it 
 to the top. It must not overlap the top side, nor come short 
 of it, but must just reach it." If the Teacher fastened her 
 square of paper at the two upper corners to the blackboard, 
 and then folded it, the children would be able to see exactly 
 what was meant. The crease is made by passing the back 
 of the thumb along the paper. 
 
 FIG. 99. 
 
 1. Book or Screen. 
 
 2. Tunnel. 
 
 3. Paper creased to show 
 
 four squares. 
 
 4. Table. 
 
 5. Stool. 
 
 6. Shawl. 
 
 7. Tent. 
 
 8. Paper creased in every 
 
 direction. 
 
 No. 1. The first crease, made by folding the paper side 
 to side, gives us a Book or Screen. 
 
 No. 2. Place No. 1 downwards, so that the crease is at 
 the top, and we have a Tunnel. 
 
 No. 3. Now the paper is folded side to side in the 
 opposite direction, and when it is opened out, we shall see' 
 
156 PAPER-FOLDING. 
 
 that the creases have divided it into four squares. (The 
 creases are shown by lines in the illustrations.) 
 
 No. 4. Next we take one side, and fold it exactly to the 
 line which runs across the middle of the paper. The oppo- 
 site side is then turned round towards us, and folded to the 
 same line ; this opened out gives the Table. 
 
 No. 5. Fold the two sides again to the centre, so as to 
 make the oblong, and then, by folding the two short sides 
 to the centre line, we make a smaller square, and this 
 opened out is a Footstool. 
 
 In No. 6 we see the square of paper folded from corner 
 to corner (the Shawl). 
 
 In No. 7 the Shawl opened out makes the Tent. 
 
 No. 8. The square is now creased in every direction, and 
 with it we proceed to make the foundation-form for 
 
 objects, etc. 
 
 FIG. 100. (See Coloured Plate 13.) 
 
 No. 9 shows one corner folded to the centre ; this form 
 may represent a sailing boat. 
 
 In No. 10 we have the opposite corner folded to the 
 centre (to do this the child should turn the boat, so that 
 the top of the sail is nearest him). 
 
 No. 11 shows the third corner folded to the centre, and 
 gives us the open envelope. 
 
 In No. 12 all the corners are folded to the centre, and we 
 have the envelope closed. 
 
 No. 13. Now turn the envelope over, so that the smooth 
 side is uppermost, and fold one corner to the centre. 
 
 No. 14. Fold the opposite corner to the centre. 
 
 No. 15 is the open envelope, but of smaller size. 
 
 In No. 16 all the corners are folded to the centre. 
 
 No. 17. Turn No. 16 over, and we see four small squares. 
 
 No. 18. Fold this from corner to corner, so that the four 
 squares are inside, and we have the foundation-form for the 
 " crown " and following figures. 
 
PLATE 13. 
 
 FIC.IOO. 
 
 9 
 
 10 
 
 I3 
 
 !4 
 
 |8 
 
 66 67 
 
PAPEE-FOLDING. 
 
 157 
 
 FIG. 101. 
 
 19. Crown. 
 
 20. Bed. 
 
 21. Cradle. 
 
 22. Trough. 
 
 23. Cruet. 
 
 24. Seed Vessel. 
 
 25. Salt-cellar. 
 
 26. Table and Cover. 
 
 No. 19. Hold the foundation-form (No. 18, Fig. 100) in 
 the left hand, and with the forefinger of the right hand lift 
 up carefully from the inside the left little square. The form 
 is then held in the right hand, and the opposite square is 
 raised by the forefinger of left hand, and we have the Crown. 
 
 No. 20. The Bed. This is made from the Crown by 
 folding the points which stand up in the centre, outwards. 
 
 No. 21. The Cradle. One of the little squares which were 
 made to stand up is now folded down inside, exactly in 
 half. 
 
 In No. 22 both the little squares are folded down inside 
 to make the Trough. 
 
 No. 23. Make the original form (No. 17, Fig. 100), push 
 the centre upwards, and then raise each square to make the 
 Cruet. 
 
158 
 
 PAPER-FOLDING. 
 
 No. 24. Push the centre of the Cruet downwards to make 
 the Seed Vessel. 
 
 No. 25. - The Salt-cellar is made from the Cruet by folding 
 the loose corner of each little square to the opposite cornei 
 inside. 
 
 No. 26. Table with cloth. Take No. 17, Fig.. 100, anc 
 fold the point of each little square to its opposite corne} 
 outwards, then turn it over so that the four squares arc 
 below. Now fold each point of the form to the centre 
 these are the four points on which the table stands, and thci 
 Table-cloth is formed by the small squares. 
 
 FIG. 102. Windmill form. 
 
 27 to 30. 
 
 31. Table-cloth. 
 
 32. Kite. 
 
 33. Windmill. 
 
 Preparation of form. 
 
 34. Claw. 
 
 35. Double Boat. 
 
 36. Duck. 
 
 1^ No. 27 we see the paper folded exactly as it was in No. 
 12, but instead of turning the form over and folding the 
 
PAPER-FOLDING. 159 
 
 points to the centre of the smooth side, we keep it with the 
 smooth side downwards. 
 
 No. 28 shows one point folded to the centre. 
 
 No. 29 shows all the points folded to the centre. 
 
 No. 30. Turn No. 29 over, and we see an unbroken surface, 
 nstead of the four small squares. 
 
 No. 31 shows the four corners dra\vn out to make a 
 rable-cloth. 
 
 No. 32. The Kite has one corner drawn out. 
 
 No. 33. The Windmill has all the four corners drawn out. 
 
 No. 34. By folding together three arms of the Windmill 
 n one direction, and one in the other, we make the Claw. 
 
 No. 35. Fold one of the three points of the Claw backward 
 until it is in a line with the hind Claw, and turn it upside 
 lown for the Double Bpat. 
 
 No. 36. Turn the Claw (No. 34) upside down. Eaise the 
 centre point of the three until it makes a right angle with the 
 aind Claw, and then fold it over outwards for the Duck's 
 Head. The points on each side the " head " are folded back 
 ior the " feet ". 
 
 Suppose the "Table and Cover," "Cruet," and "Salt- 
 cellar " to have been made by three different groups re- 
 spectively, the following lines would be appropriate : 
 
 Come to dinner, children dear, 
 Ready stands the Table here, 
 With its Cover clean and white ; 
 Surely 'tis a welcome sight. 
 
 You a Salt-cellar have made, 
 Knives and forks will soon be laid, 
 Cruets, dishes, plates as well, 
 Now I think we'll ring the bell. 
 
160 
 
 PAPER-FOLDING. 
 
 FIG. 103. 
 
 The open box (No. 43) is so useful for holding beads, shells, 
 etc., that it is worth while to illustrate fully the method of 
 making it. The box shown here and again in Fig. 79, Bead 
 Work, is made from a piece of stout paper, eight inches 
 square. 
 
 No. 37. First fold the four corners to the centre. 
 
 No. 38. Then without turning the form over, fold every 
 corner to the centre again, as in the form (No. 29, Fig. 
 102) from which the " windmill " figures are made. 
 
 No. 39. The next step is to fold every corner to the 
 centre again, without turning the form over. 
 
PAPER-FOLDING. 
 
 161 
 
 No. 40 shows the square half opened. 
 
 In No. 41 the folded sides are turned up half way to form 
 vo of the sides of the box. 
 
 No. 42 shows one of the open ends turned over. 
 
 In No. 43, the complete box, the other end is turned over, 
 id the four corners of the paper lie together in the bottom 
 
 the box. 
 
 
 FIG. 104. 
 
 44. Foundation-form. 
 
 45. Pig. 
 
 46. Double Trough. 
 
 47. Corner Cupboard. 
 
 48. Sofa. 
 
 49. Sail Boat. 
 
 50. Arch. 
 
 51. Form. 
 
 No. 44. The Foundation-form for the figures of 104 is 
 tained in the same way as the Stool, No. 5, Fig. 99. When 
 >ened out it shows the square divided into sixteen smaller 
 uares. 
 
 No. 45. The Pig. Fold the two opposite sides to the 
 ntre, then turn the paper over, so that the smooth side, 
 lich shows an oblong shape four inches by two, is upper- 
 ost. Fold in halves lengthwise, and then fold the corners 
 .ckward and downward to form the legs. 
 
 11 
 
162 PAPER-FOLDING. 
 
 No. 46. The Double Trough is made from the precedin 
 figure turned upside down. 
 
 No. 47. In the Corner Cupboard the opposite sides ai 
 folded to the centre, the corners are folded over each othe 
 and then turned in to form the top and bottom of the cuj 
 board. 
 
 No. 48. The back of the Sofa is double, and the arms ai 
 formed by folding the outside square of each side bad 
 ward diagonally. 
 
 No. 49. To make the Boat cut the foundation-form i 
 halves, and then fold it into four, lengthwise, and into eigh 
 crosswise, so that it shows thirty-two squares. 
 
 No. 50. The Archway is the boat turned upside down. 
 
 No. 51. The Form is made from the Arch. The centi 
 ridge of the Arch is flattened and forms the seat, and the t\v 
 squares on each side of the central ridge are folded over th 
 latter, so that their edges meet in the middle. 
 
 FORMS OF BEAUTY. FIG. 105. (See Coloured Plate 14.) 
 
 This figure shows eight simple forms combined so as 1 
 make a pretty pattern. No. 10 in Fig. 100 is the form usec 
 
 The two opposite corners are folded to the centre. Fou 
 of these forms are then put together to make a cross, aq 
 four others are placed in the four angles of the cross. Eacj 
 child might make two of these forms, and then combine h< 
 work with that of three others to make the figure illustrated 
 
 FIG. 106. (See Coloured Plate 14.) 
 
 Here again we have simple forms combined. In tr 
 former figure opposite corners were folded to the centr>| 
 here the two contiguous sides are folded to the centre creaw 
 
 FIG. 107. (See Coloured Plate 13.) 
 
 All these figures are folded from the simple foundation 
 form, the closed envelope, No. 12, Fig. 100. In No. 53 tj 
 
PLATE 14. 
 
 FIG. 1O5, 
 
 FIG. 103. 
 
PAPER-FOLDING. 163 
 
 ur corners are turned backward. In No. 54 they are turned 
 wards the centre. The figures are evolved from each other, 
 o. 59 is the opposite of No. 58, and so on. Nos. 66 and 67 
 ow only two sides folded. The Forms of Beauty which can 
 
 produced from the square of paper are endless. 
 In addition to the foundation-form illustrated above, Nos. 
 
 and 17 in Fig. 100, and Nos. 38 and 39 in Fig. 103, may 
 be used as foundation-forms, and worked into figures 
 merous and beautiful. One student alone made over 300 
 these Forms of Beauty. 
 
164 
 
 CHAPTEK XXI. 
 PAPER-CUTTING. 
 
 I. Introductory. Some have objected to this Occupatior 
 on the ground that scissors are not suitable instruments foi 
 a little child. But we all know how very eagerly the little 
 ones occupy themselves in using them, whenever they gel 
 the chance, and how often valuable things have been de- 
 stroyed by then- misguided use. This Occupation is anofchei 
 instance of Frobel's genius for observing a child's natural 
 inclination, and directing it into the right channel. Ij 
 the child does possess an inborn desire for cutting and 
 shaping, is it not much better to teach it to do this according 
 to fixed laws, which produce beautiful forms, than to let it 
 waste time and energy in destroying material and making as 
 untidy Utter ? 
 
 2. Cutting as a preparation for later work: It '4 
 very helpful to later work in school life, if the child learnfl 
 how to use a pair of scissors rightly, so that he or she knowf; 
 how to cut smoothly and correctly. Any one who has hai 
 experience in teaching older girls " cutting out " will kno^rt 
 how clumsily and timidly they handle a pair of scissors, an 
 what uneven, jagged edges are produced. The same is truij 
 of classes for dressmaking. In paper-cutting the plane SUM 
 face is again dealt with, but in this case it is divided and re 
 constructed in a different form. Here again is a lesson in 
 economy, for every piece is used. This Occupation is nqj 
 suitable for large classes, as will be seen from the material! 
 used. 
 
PAPER-CUTTING. 165 
 
 3. Materials used. (a) Square of Paper, which has 
 already been described in the previous chapter. 
 
 (b) Scissors. These should be blunt at the ends of the 
 )lades. There should be a conversation about different 
 dnds of scissors and their uses. The largest are called 
 shears, these are used for shearing sheep, etc. Then there are 
 Lressmakers' and tailors' scissors, and others, which are used 
 >nly for button-holes, and have a little piece cut out of each 
 )lade. Let the children see as many different specimens as 
 possible, and speak about the Scissors-grinder, and the round 
 stone on which he grinds. 
 
 (c) Gum. The unprepared gum should be shown to the 
 shildren, and they will be interested to know that these 
 >retty, yellow balls are the juice of a tree, which grows in 
 lot countries far away. The gum oozes out of the tree, and 
 s found on the bark. Before we can use it, we must pour 
 
 water over it, and let it stand all night. 
 
 (d) The Brush. This should be made of camel's hair, and 
 an interesting conversation would ensue about the camel. 
 
 4. How to proceed. The first square given should be 
 'olded exactly in halves by the child, and carefully creased ; 
 then he cuts carefully along the crease, and two oblongs are 
 )roduced. These again are each folded in halves, and cut. 
 When this is done the Teacher asks, " How many pieces 
 lave you now ? " " We have four." " What shape are 
 they ? Put one of the squares on your table, and see how 
 nany of the little squares are covered by it." " Four are 
 severed." " Fold each square in halves and cut again." The 
 jhild has now produced eight oblongs. Each of these is 
 igain folded in halves, and cut, and the child finds that he 
 las sixteen one-inch squares. Let him take a four-inch 
 square of paper, and place the small -squares upon it, he will 
 ihus learn that it contains sixteen square inches. The 
 small squares of paper may be threaded through the middle, 
 >n to a piece of string, with beads, or bits of straw between 
 
166 PAPER-CUTTING. 
 
 (the latter should be one inch long). Or the four-inch! 
 square of paper may be cut into oblong strips, and these^ 
 again may have the ends gummed together to form links in 
 a chain, each succeeding strip being passed through the lasij 
 link, before its two ends are fastened together. 
 
 FIG. 108. (See Coloured Plate 15.) 
 
 To prepare the ground form for all the figures shown, 
 proceed as follows : 
 
 No. 1. The paper (four inches square) is folded fronc 
 corner to corner. 
 
 No. 2. The corner marked b in No. 1 is folded over tc 
 the corner marked a. The paper is now four-fold. 
 
 No. 3. The corner marked d in No. 2 is folded ovei 
 to the corner marked c. The square of paper is now 
 eight-fold, and the closed end is towards the right. 
 
 N.B. The ground form No. 3 should be held in the lefi! 
 hand, with closed side towards the right, for cutting. 
 
 No. 4. The ground form is creased as shown by the 
 lines in No. 4 a. It is then cut exactly in halves, and we 
 get a small square and four triangles, which are arranged 
 to form a pattern No. 4. 
 
 No. 5. Hold the ground form with the closed end towards 
 the right, and cut as shown in No. 5 a. This gives ar 
 octagon and four smaller triangles. 
 
 No. 6. This cut is the opposite of No. 5, and being taker 
 from the closed side, gives us a small square, while the 
 larger square shows a hollow centre. 
 
 No. 7 is a combination of Nos. 5 and 6. 
 
 No. 8. Here we have two cuts, both on the closed side o 
 the form. In every figure illustrated, the ground form 
 held with the closed side to the right, and the open corner? 
 to the left, and in every cut the paper is eight-fold, 
 
PLATE 15. 
 
 FiC.IOS. 
 
PAPER-CUTTING. 
 
 167 
 
 \ 
 
 FIG. 109. 
 
 No. 9. In No. 9 the eight-fold ground form (No. 3, Fig. 
 108) is creased horizontally, and cut on the middle crease as 
 shown. This gives a pretty cross and four triangles ; the 
 latter may be arranged according to fancy in the angles 
 formed by the cross. 
 
 No. 10 has two cuts, one on the centre crease, and the 
 next half way between the centre crease and the base line. 
 As the result of these cuts, we have a cross, four small 
 triangles, and four L-shaped pieces, all of which may be 
 combined to make a pretty design. 
 
 The vertical and horizontal cuts may be combined in a 
 variety of ways which are not shown here, 
 
168 PAPER-CUTTING. 
 
 Cutting" out. The remaining illustrations show pieces 
 cut out of the ground form, which is now creased in both 
 directions. 
 
 No. 11. Hold the ground form with the closed side towards 
 the right, and cut through its eight folds as shown. We get 
 four tiny squares of paper, and the large square shows four 
 hollow squares. 
 
 No. 12. The same cut is now taken on the opposite side, 
 i.e., from the open side of the ground form, and this gives a 
 very pretty centre piece, and eight small triangles, which 
 may be arranged round the centre piece. 
 
 No. 13 combines the cuts of the two previous figures, and 
 provides material for a more elaborate design. 
 
 No. 14 is cut from the top, and gives a prettily shaped 
 centre piece, and four irregular pieces resembling a crown inj 
 shape. 
 
169 
 
 CHAPTEE XXII. 
 PEA WORK. 
 
 I. Introductory. This Occupation brings us back again to 
 the form with which we started, viz., the Sphere, and the 
 line is combined with it to make objects. We have had solid 
 figures, followed by the plane, then by the outline of the 
 plane- lines, and next by the point. Now we have the outline 
 of the solid figure represented, and the child is thus enabled 
 to see the construction of forms, which is a great help in 
 model, and other kinds of drawing. Moreover, the forms 
 have this great advantage, that they are made by the child 
 himself. 
 
 2. Materials used. The original materials were peas, 
 softened by being soaked in water, and sticks, considerably 
 thinner than those used for stick-laying. If the latter kind is 
 used, each stick must be sharpened, or it will split the pea. 
 
 Wires and corks can be used if preferred. Each cork is 
 in the shape of a tiny cylinder, and the wires, which are 
 pointed, are about the thickness of a hair-pin, and may be 
 obtained in five different lengths. The drawbacks to the use 
 of these materials are that the corks cost more than the peas, 
 and soon break with the frequent perforations ; the wires 
 bend, and the objects are not so pretty as those formed by 
 peas and sticks. The latter materials are used in these illus- 
 trations. The peas should be soaked for twelve hours and 
 then dried for one hour. The teacher will talk to the little 
 ones about the peas, and show them the pod where the peas 
 
170 PEA WORK. 
 
 lie so snugly all in a row. They will remember other kinds 
 of seeds that grow in pods, such as haricot, French and 
 broad beans, also the cotton seeds. Let each child examine 
 a pea, and find the growing point, or " eye," as they will per- 
 haps call it, also the " ring " round the pea. If we open the 
 pea along this ring, we shall find that it is made up of two 
 halves, and the "eye " will now be more clearly seen. The 
 teacher would perhaps let her pupils plant a few of the 
 soaked peas, so that they might see how the root shoots 
 downward from the " eye," or growing-point, and how the 
 stem shoots upwards. 
 
 If the finer sticks are used the children may break them 
 into the required length, measuring it on the Kindergarten 
 table. 
 
 3. How to proceed. We will suppose that each child 
 has four sticks two inches in length and four peas. Teacher 
 says: " Take up one pea in your left hand, and a stick in 
 your right, and push the end of the stick gently into the pea. 
 Be careful not to put the stick near the ' ring ' of the pea, or 
 it will split in two. Now take another pea and put it on the 
 other end of the stick. This looks like something that you 
 drill with." "It is like a dumb-bell." " Another dumb- 
 bell is made in the same way, and now we have two alike 
 a pair of dumb-bells. What else can you think of that go in 
 pairs ? " "A pair of hands, feet, shoes, gloves, etc." Two 
 children may place their dumb-bells together, and see that 
 two pairs make four, or three pairs may be put together to 
 make six, and so on. "You have now used all your peas, 
 but there are two sticks left. Lay the dumb-bells on the 
 table two inches apart. Take the two remaining sticks and 
 place them between to form a square. They must be put in 
 very carefully so as not to break the peas." The various 
 angles can be made with this Gift, also all the geometrical 
 figures that have previously been shown. 
 
PEA WORK. 
 
 171 
 
 FIG. 110. 
 
 1. Square. 
 
 2. Oblong. 
 
 3. Square with four tri- 
 
 angles. 
 
 4. Cube. 
 
 5. Square Prism. 
 
 6. Triangular Prism. 
 
 7. Pyramid. 
 
 8. Hexagonal Prism. 
 
 9. House. 
 
 10. Octagonal Prism and 
 Cone. 
 
172 
 
 CHAPTEE XXIII. 
 MODELLING IN CLAY. 
 
 I. Introductory. Those who remember the childish 
 delight of handling a piece of dough, putty, or clay, in by- 
 gone days will understand why Frobel places this amongst 
 his Occupations. Children love to shape and mould, and 
 are never happier than when they can indulge this inclina- 
 tion. They will even bite their bread into shapes when 
 eating, so strong is this innate desire for producing forms. 
 
 2. Materials used. Some prefer ordinary white clay* 
 and others the terra-cotta clay.* Both these have to be kept 
 moist. Another material is plastiline.* It is much more 
 expensive than clay, but it has the advantage of cleanliness, 
 and where large classes are taught this is a consideration, 
 as it takes some time for a class of forty or fifty children to 
 wash their hands, which must be done after an ordinary clay 
 lesson. The plastiline can be used again and again, and 
 unless it is made too soft by being kept in the warm hands 
 for a long time, no portion of it adheres either to the hands 
 or the table. The table or desk should be covered with a 
 piece of oilcloth, and modelling knives of wood should be 
 used. 
 
 3. How the lesson is given. The ball is the first 
 object made, and after this is done the children learn to 
 estimate quantity, thus : Divide the clay into two equal 
 halves, let these be made into balls, and then the children 
 
 * See Appendix 12. 
 
MODELLING IN CLAY. 
 
 173 
 
 will be able to see if they have divided it equally. Then 
 divide these two balls into halves again, and roll each into 
 a little ball ; see that they are all of similar size. Now 
 make the large ball again, and try to take a quarter away, 
 i.e., one fourth part. It is necessary to teach this, because 
 in modelling objects, such as the kettle, e.g., a proportion 
 must be taken away for handle and spout. 
 
 1. Apple. 
 
 2. Orange. 
 
 3. Potato. 
 
 4. Egg. 
 
 5. Walnut. 
 
 6. Brazil Nut. 
 
 FIG. 111. 
 
 7. Pear. 
 
 8. Nest. 
 
 9. Cottage Loaf. 
 
 10. Mallet. 
 
 11. Hat. 
 
 12. Boat. 
 
 The above have been taken from the A. L. Box of 
 Models.* The apple and orange, Nos. 1 and 2, are made 
 from the Sphere. The potato, egg, etc., are made from 
 the elongated sphere. To make the nest, No. 8, first form 
 a sphere, and then press the thumbs in to make the hollow ; 
 roll small pieces of clay for the eggs. For the Cottage 
 Loaf (No. 9) two spheres are needed, the larger one is 
 flattened for the lower part of the loaf, and the smaller one 
 
 * See Appendix 13 
 
174 
 
 MODELLING IN CLAY. 
 
 is pricked with a pencil to make the hole at the top. The 
 mallet, No. 10, is made from two cylinders. The hat, No. 
 11, has a cylinder placed on a round flat piece of clay. The 
 latter is turned up at the sides. The boat, No. 12, is too 
 difficult for very young children, but it is worth while to 
 attempt it for the purpose of impressing the fact that the 
 sharp end is the bow, and the broad end the stern ; a fact 
 which the children will remember much more readily if they 
 are allowed to fashion these parts of the boat with their own 
 little hands, no matter how clumsily this may be done. As 
 we have said before, the aim of the Kindergarten is not to 
 obtain perfect work from the children, but to develop their 
 faculties. 
 
 FIG. 112. 
 
 Models made by Children. 
 
 1. Cylinder. 8. Ammonite. 
 
 2. Cherries. 9. Hat. 
 3 - A PP le - 10. Cup. 
 * Pear. 11. Nest. 
 
 5. Lemon. 12. Nest with Bird. 
 
 6. Cottage Loaf. 13. Shoe. 
 
 7- Chain. 14. Horse-shoe. 
 
 Nos. 2, 3 and 4. The stalks of these are made by insert- 
 ing a short length of stick. Little pieces of twig answer the 
 purpose even better if they can be obtained. 
 
MODELLING IN CLAY. 175 
 
 No. 7. The chain is a favourite model with children. 
 First the clay is divided into equal parts. If a chain of four 
 links is desired, divide the clay into four equal parts, roll each 
 into a little ball, and from this make the long cylinder. The 
 four cylinders should be equal in length. Take one, and join 
 the two ends together ; this is the first link. The second 
 cylinder is passed through the first link, then the two ends 
 are joined together. The remaining links are made in the 
 same way. 
 
 No. 8 is easily made by first rolling the clay into a long 
 cylindrical shape and then winding it round and round. A 
 fossilised ammonite served as model for this figure. 
 
 No. 10. The cup is made from a cylinder, the thumb 
 being pressed in to form the hollow part. 
 
 No. 11. The nest is made from the ball. Press the 
 thumbs in to make it hollow, and when the correct shape is 
 obtained mark it outside with the point of a slate pencil to 
 roughen the surface. 
 
 No. 12. The second nest is made differently. Two long 
 cylindrical pieces are twisted together, and then the bottom 
 of the nest is fashioned in the same way as the centre of the 
 ammonite, No. 8, and the sides are made to slope outwards 
 as shown in the illustration. 
 
 No. 14. A long cylinder is first made, and then flattened 
 for the horse-shoe, the " nails " being put in afterwards. 
 
176 
 
 CHAPTEE XXIV. 
 MODELLING IN SAND. 
 
 I. Introductory. Any one who has noticed with what 
 interest and delight children dig in the sand on the sea-shore, 
 and pile up then* miniature castles and forts, will under- 
 stand how eagerly Sand is welcomed as a School Occupation. 
 A good-sized box full of sand, and a piece of oilcloth about 
 a yard square, are all we require. If it is not convenient 
 to obtain sand from the sea- shore, Calais sand can be pur- 
 chased from the chemist, or the ordinary sand can be ob- 
 tained * in bags. 
 
 2. How the lesson is given. The sand should be 
 damped before it is used. There are two ways in which 
 sand lessons may be given : (1) the Teacher may mould the 
 sand, the children looking on, or (2) each child may have a 
 small quantity given to it and mould for itself. Examples 
 will be given of both methods. 
 
 (i) Sand Models by Teacher only. The oilcloth is 
 spread on the floor or on a large, low table, so that all may 
 see ; then the sand is turned out of the box, having first been 
 damped. Teacher asks : " Why do we mix a little water 
 with the sand ? " "So that we can make the shape we 
 want." " What is the sand made up of ? " " It is made up 
 of tiny grains." " What else do you know that is formed 
 of grains?" "Sugar, rice, etc." "What can we do with 
 these things something that can be done with water ? " 
 
 * See Appendix 14. 
 
MODELLING IN SAND. 177 
 
 " We can pour them." " Why ? " " Because they are in 
 little grains." "What colour is the sand? How does it 
 look when the sun shines on it?" "It looks shiny." 
 " What can be done to the sand ? " " We can dig in it, can 
 pile it up, make a hole in it, or make pies, houses, etc." 
 
 (a) A Farmyard. " Suppose we make a farmyard, what 
 shall we want first?" "A wall all round." "We must 
 leave a place for the gate. In the centre we will make a 
 trough, so that all the animals may drink. What animals 
 do we see in the farmyard? " " We see cows, hens, pigs, 
 horses, ducks, etc." In one corner we will make a hen- 
 house, and in another a barn. These are made by the 
 3acher as the conversation goes on. To make the farmyard 
 omplete, models of the animals mentioned should be brought 
 i. 
 
 (b) A Field. A Field is made by enclosing a larger space, 
 hen the wall is made the Teacher asks : " What might we 
 
 ave round the field instead of a wall?" "We might have 
 hedge or a fence." " What flowers might be growing in 
 
 e field?" " Buttercups, daisies, etc." "What have you 
 jen in the field eating grass?" "Sheep, cows, horses." 
 
 these can be put in the field it becomes much more real 
 
 the children. 
 
 (c) A Garden (Fig. 113, Coloured Plate 16). In Summer- 
 me a Garden makes an excellent model. The beds may be 
 ade of different shapes, with paths all round. When real 
 >wers are stuck in these beds, the garden is complete, and 
 akes quite a pretty picture. The flowers should be such as 
 e found in a garden ; the children thus learn to distinguish 
 tween " field," or wild flowers, and " garden " flowers. 
 
 (d) A Pond. A ridge of sand, circular shape, represents 
 e bank of the pond. A soup plate full of water may be 
 t in the centre with a few ducks, swans, fishes, etc. (which 
 n be purchased at one penny each), swimming in the water, 
 lis is the children's favourite sand lesson, and it affords 
 
 12 
 
178 MODELLING IN SAND. 
 
 scope for much interesting conversation, e.g., "What migh 
 we have in the pond besides ducks, swans, etc. ? Why ca; 
 ducks swim? " " Because they have webbed feet." " Wh 
 cannot hens swim?" "They have no skin between thei 
 toes." Let the children see a duck's foot, also a hen's. 
 
 (e) A Boat. " To-day we are going to make somethin 
 that goes on the water. What do you think it is?" "] 
 is a boat." If there is a toy boat in school, let the childre 
 see it ; ask what they notice about the ends of the boat on 
 is sharp, the other is square or rounded. " Why is one en 
 sharp?" "It has to cut through the water." "That i 
 called the bow. Which part of the boat goes first 
 Why? The other end is called the stern." In making th 
 boat with sand, the two ends should be clearly defined. I 
 the case of young children, the conversation should be ver 
 simple, but older ones may be asked: "What other kind 
 of boats are there? What makes them go? Where d 
 they go ? " etc. 
 
 (/) Other objects may be made, such as steps (by formin 
 the sand first into a solid block and cutting it with a lath; 
 a river, or stream ; a road with causeway, and tram linei 
 formed by two rows of laths. An easy chair, a hut, a couc 
 or sofa, a trough, a tub, a well, a bath, a pail (with a length c 
 bent wire for a handle), may be made and many other things 
 Whatever the model is, the making of it should always b 
 accompanied by a pleasant conversation led by the Teacher < 
 
 (2) Sand Models by Children. Each child should hav 
 a square of oilcloth, or, better still, each desk should b 
 covered with oilcloth. The cost is not great, and the oL 
 cloth lasts a number of years. Then the Teacher, havin 
 first made the sand damp, gives a little scoopful to eac< 
 child. Many of the objects made before by the Teacher mai 
 now be repeated by the children themselves. A bird's nesi 
 a bed, and many other things can also be made. Loave 
 and cakes are favourite objects, and pies, which may b 
 
MODELLING IN SAND. 179 
 
 shaped either with the hand or with a mug. If the children 
 use the little patty tins for Bead Work, the tins may be used 
 to shape the pies, and the children will enjoy a little game in 
 which they sell pies. 
 
 Directions for playing the game : 
 
 Take a large slate and cover it with oilcloth. Get a 
 number of wooden lids from the Kindergarten Gifts. Let 
 the children turn their pies on to the lids. Take as many of 
 these as will fill the slate, and give the latter to the " Pieman," 
 a little boy who walks about the room, and calls : 
 
 Man. Hot pies, fresh pies, come and buy. 
 Chil. There's the pieman, hear his cry ! 
 
 Pieman stops in front of one of the children, and says : 
 
 Man. This pork pie for sixpence take, 
 And a bargain you will make. 
 
 Child takes it and gives money, or pretends to do so. 
 'he ''Pieman " then calls again, " Hot pies, etc.," until all are 
 old. 
 
 3. Drawing Letters in Sand. Spread the sand 
 venly over the oilcloth and then draw the letter with a stick. 
 
 If the children have been taught letters by means of the 
 etter stories, the Teacher would refer to these in tracing the 
 itters, e.g., " You remember the name of the little boy who 
 ras glad to go to school?" The children at once reply, 
 
 Ibby," or " Isaac ". The letter " i " is then drawn, and 
 le Teacher asks again, " What was the name of his sister? " 
 nd when this has been given makes "1" and so on until the 
 jetter Story is finished. The children may also make the 
 jtters themselves. 
 
 4. Drawing Forms in Sand. The circle, oval, square, 
 blong, and many other forms may be traced in sand, and 
 lis makes a pleasant change from the shapes in wood, which 
 :e found in the form and colour box. Other figures may be 
 rawn, such as a chair, a bed, a sofa, etc. 
 
180 
 
 CHAPTEE XXV. 
 BASKET-MAKING. 
 
 FIG. 114. 
 
 I. Introductory. Cane-weaving is essentially an Occupa 
 tion for training the hand and eye. It teaches the fingers t 
 be deft and nimble, and gratifies the child's love of invention 
 for the basket may be moulded to any shape that is desired. 
 
 Another great advantage of this Occupation is that thi 
 child may learn to produce by its own effort, from ra~v 
 material, an object at once beautiful and useful, and thoa 
 who have taught basket-making to children know hot 
 delighted they are to carry home to mother the " work " a 
 " egg " basket made by their own little hands. 
 
 There is hardly any occupation more attractive to the littl 
 ones than basket-making, and it may, with advantage, b 
 continued in the upper schools by older children. Tb 
 baskets can always be sold for as much as the cane costs 
 
BASKET-MAKING. 181 
 
 2. Material used. Cane is the only material needed, 
 
 ind an interesting conversation about it should precede the 
 
 Lesson. Show the children a length of cane, and ask, " Where 
 
 lo you think this came from? " They will probably answer, 
 
 ;< It grew ". The Teacher would then continue, " Cane grows 
 
 in a warm country over the sea called South America. What 
 
 her things do we get from over the sea ? " " Coffee, tea, 
 
 ce, etc." " The cane grows in lengths, perhaps as long as 
 
 ie schoolroom (sixty feet), and it is much thicker than the 
 
 eces you see here. The thick cane is stripped of its bark 
 
 id then cut into long square pieces, which are after- 
 
 ards passed through a machine to be made round. 
 
 .ovf is the cane different from the little sticks (Gift X.)? " 
 
 It will bend." " That is why we use it to make the basket, 
 
 r you know that we cannot weave without bending the 
 
 aterial backwards and forwards." (Show the children a 
 
 isket.) " You will notice that the cane is not all of the same 
 
 dckness. The foundation on which we work is made of 
 
 icker cane, and the fine is used to weave with." The 
 
 me should be soaked in cold water for two hours before 
 
 sing used. 
 
 Baskets for flowers, 
 
 And work we have here ; 
 Which shall we make for 
 
 Our mother so dear ? 
 
 Long lengths of fine cane 
 
 For weaving we take, 
 In and out winding, 
 
 A nice shape to make. 
 
182 BASKET-MAKING. 
 
 FIG. 115. FIG. 116. 
 
 3. How to proceed. Take eight lengths of stout cane,* 
 about eight inches long, lay four in one direction, and four 
 in the other. Hold them firmly at the point where they 
 cross. Then take a length of fine weaving cane, and bind 
 them together in the manner shown by Fig. 115. Commence 
 to weave, going over the first, under the second, and so on, 
 until we reach the point from which we started. In the 
 second row two of the spokes are worked together, so as to 
 make the odd number, and this is continued for several 
 rounds, then one of the two spokes is cut off, see Fig. 116, 
 which shows where the spoke has been severed. We have 
 now fifteen spokes to work with. 
 
 If the children have mastered the " 1 and 1 " pattern of 
 Mat-weaving, Fig. 90, there will be no difficulty in teaching 
 them to weave baskets, but supposing that this is their first I 
 experience in weaving, they will invariably get the cane 
 before and behind the same spokes, row after row, instead I 
 of alternating these movements. As in Mat- weaving, we j 
 
 * See Appendix 15. 
 
BASKET-MAKING. 183 
 
 will use the words " before " and " behind," believing that 
 they convey a clearer meaning to the child's mind than 
 
 over " and " under ". What we want to make the child 
 understand is this that if the weaving cane was carried 
 behind a spoke in one row, it must be carried before that 
 spoke in the next row. The following method answers 
 admirably in giving a clear idea as to how this should be 
 done. 
 
 Let thirteen children form a ring, kneeling, and facing 
 outwards ; the same principle is illustrated similarly in Mat- 
 weaving, Fig. 92, where the children stand in a row. 
 
 Take a ball of string, or tape, and let one of the kneeling 
 children hold the end firmly in his left hand ; the Teacher 
 or one of the children is to be the " weaver," unwinding the 
 ball as she goes ; the tape is carried behind the first child (i.e., 
 behind the child who kneels to the left of the one holding 
 the string), before the second, behind the third, and so on, 
 until the starting-point is reached, when the Teacher will say, 
 " Now notice where the tape goes ". The children will see 
 that every child in the ring, who had the tape passed 
 before him in the first row, has it passed behind him in the 
 second. If the weaving is continued for another row, it will 
 be seen that the third row is like the first. Suppose the 
 " weaver " should pass the string behind two spokes instead 
 of one, the basket would be wrong at once. It has been 
 found in this demonstration, as in the one which illustrates 
 Mat- weaving, that if the children once grasp the idea con- 
 veyed by .this method, they have no difficulty in weaving 
 correctly. 
 
 In the actual weaving, the cane is to be carried before 
 and behind the spokes, just as the tape was carried before 
 and behind the children. 
 
 When children are learning to weave, it is well to give 
 them a mat with a few rows woven to commence with ; 
 they may learn to begin for themselves later. 
 
184 
 
 BASKET-MAKING. 
 
 FIG. 117. 
 
 This figure shows how the end of the fine weaving cane 
 is pushed down the side of the spoke to finish it off, and how 
 the new length of cane is pushed down the opposite side of 
 the same spoke. 
 
 The same illustration shows how the spoke is bent over, 
 and pushed alongside the next spoke but one, to finish the 
 mat. 
 
BASKET-MAKING. 
 
 185 
 
 FIG. 118. 
 
 No. 1. Mat. This should be the first object attempted by 
 the child. 
 
 No. 2. In No. 2 we see how the spokes are turned up to 
 make the sides of the basket. First we turn up every spoke 
 which the cane passes behind. We have now turned up 
 alternate spokes all the way round. In the next row we 
 pass behind the remaining spokes, i.e., the ones that are still 
 lying down, and each of these is bent upwards as we come 
 to it. 
 
 No. 3. The Clothes-basket has the spokes pushed quite 
 down at the finish, so that the edge may be very firm. 
 
 No. 4. The Fan is simply a mat with a strong piece of 
 cane for handle. A useful little book on cane-weaving has 
 recently been published.* 
 
 * See Appendix 16. 
 
186 
 
 ORDINARY SCHOOL SUBJECTS. 
 
 CHAPTEE XXVI. 
 MORAL TEACHING. 
 
 Bible lessons. Apart from the higher significance of Bible 
 teaching no person can be said to be well educated without 
 a knowledge of Bible history, and in the hands of a wise 
 teacher imbued with its spirit, it may be made potent in the 
 formation of right principles. Frobel intends all his teach- 
 ing to lead up to goodness God. " Teach the children," 
 he says, "to love the beautiful, and it will help them to 
 love the good," for goodness is always beautiful, and evil 
 is wwbeautiful. Beauty is completeness, but wrong-doing 
 misses the mark, and is, therefore, incomplete. In the 
 Bible we get the one complete, and therefore beautiful char- 
 acter, and, studying it, we see the highest and best. The 
 heart of a little child is like plastic clay, and to mould it 
 after a pattern of beauty is the highest art. To lead the 
 child to look up to God as a loving Father who cares for all, 
 and especially for the little ones, just as a shepherd cares 
 most for his lambs, is the right attitude of mind to encourage 
 in a child. To speak of Him as some terrible Power, chiefly 
 employed in meting out punishment to evil-doers, is at once 
 untrue and unjust. How often we hear mothers say to their 
 children, " If you are not good, God will not love you ". 
 What a cruel libel! If we grown-up people were loved 
 solely for our goodness, we should get far less love than do 
 
MORAL TEACHING. 187 
 
 the children. But the love of God is Infinite, and we are 
 loved in spite of our wrong-doing. Teach the children by 
 all means that wrong-doing displeases God, and that it is 
 ungrateful to displease One who is so good to us. 
 
 In every school the first morning exercise should be an act of 
 worship, and this may always be used to raise the children's 
 thoughts to goodness and God. The Teacher might begin in 
 some such way as this, e.g. (if it is a sunny morning) : " How 
 bright and warm the sunshine is ! How glad it makes us 
 feel ! Who made the glorious sun ? What else has God 
 made that gives us joy? " " The birds to sing, the trees to 
 shelter us and look beautiful, the bright pretty flowers, the 
 kind mother to wash and dress us, and the father to work 
 for us." After all these have been elicited from the children, 
 Teacher says, " I am sure you would like to sing a hymn of 
 thanks to God, would you not ? " or the conversation may 
 be used to introduce some such prayer as the following : 
 " We thank Thee, O God our Father, for all Thy love. We 
 thank Thee for the sunshine and the flowers, for our father 
 and our mother. We thank Thee for our clothes and food, 
 but we thank Thee most because Thou dost love us, and 
 didst send Thy Son to be our Saviour. Help us to live like 
 Him, for Christ's sake. Amen." Then follows the Bible or 
 moral lesson- events in the life of Christ, simply told how 
 He blessed the children, raised the daughter of Jairus, 
 healed the lunatic child, or gave sight to the blind ; all these 
 are- intensely interesting to children, and need no further 
 application than this : " We cannot cure blind people, but 
 we can do other kind things, and if we only give a cup of 
 cold water to some one who is thirsty, that pleases God. 
 We do not find Christ giving long applications ; He tells the 
 story, as in the ' Good Samaritan,' and then says, ' Go thou 
 and do likewise '." There are many Bible stories that would 
 not be understood by, and are, therefore, not suitable for, 
 children of tender years. In relating incidents of history, 
 
188 MORAL TEACHING. 
 
 the aim should be to emphasise the struggle of right and its 
 ultimate victory. The horrors of war and bloodshed should 
 never be dwelt upon. In the story of David and Goliath, 
 emphasise the fact that Goliath was a great tyrant, that he 
 defied the armies of the living God, and that David by con- 
 quering him released the Israelites from serving the Philis- 
 tines. It is not at all necessary to tell the children that 
 David cut off the giant's head, the sling and stone are quite 
 sumcient. As is remarked in the chapter on Stories, the 
 children learn only too soon to like tales of cruelty. Perhaps 
 it may be objected that children must know sometime, why 
 not now ? To which we reply, Let the child's unconscious 
 innocence remain as long as it may. It is to him what the 
 bloom is to the peach, and a rude hand may soon destroy it. 
 Let us take care not to destroy it before its time. 
 
 It is essential that lessons should be given on such sub- 
 jects as truthfulness, honesty, generosity, etc., and these 
 should be fully illustrated by anecdotes, such as might occur 
 in the everyday life of the child. Manners also should re- 
 ceive special attention. It is not too much to give one lesson 
 a week to this subject. Each particular point may be made 
 interesting by the relation of facts which have come under the 
 teacher's own notice, e.g., " I was at a railway station one 
 day, for I wanted to go by train. Just as I was going to buy 
 my ticket, a big rough boy pushed in front of me, and I had 
 to step back. He was in such a hurry to get his ticket that 
 he did not mind how any one else managed. What kind of 
 a boy was that?" " He was a rude boy." "Why?" 
 "Because he pushed in front of you." We must always 
 remember, then, that it is rude to push in front of people. 
 
 Many other similar illustrations will suggest themselves. 
 
189 
 
 CHAPTER XXVII. 
 READING. 
 
 I. Introductory. Frobel did not introduce reading until 
 the children had passed through the Kindergarten, and had 
 reached the age of seven years. As, however, Reading is part 
 of the curriculum of our English schools, long before the 
 children reach the age of seven, and as also it can be taught 
 by means of stories, and made as interesting as any other 
 " play," it is given here, and the writer has found that 
 children taught on this system take as much pleasure in 
 sounding and finding out words as they do in making de- 
 signs in drawing. Where reading is so taught as to have 
 this effect on the children it must be a means of self-develop- 
 ment, and Frobel himself would hardly be willing to deprive 
 the child of an occupation that proved so fascinating. 
 
 2. How should Reading be taught ? Most teachers 
 would say, '" Let the alphabet be taught first," yet few 
 proceed to the learning of words by the old method of 
 spelling. 
 
 Unfortunately the learning of the alphabet, as it stands, 
 does not convey to the child the true powers of the letters as 
 we find them in the very simplest words. Take b, a, g, bag, 
 e.g., here b does not sound bee, nor a ay, nor g gee, and yet 
 the child has been taught these for the three sounds b, a, g. 
 
 Every intelligent teacher admits that word-building is the 
 most sensible system of teaching both reading and spelling, 
 and for this we must have the phonic sounds of the letters ; 
 then why burden the child's tiny mind tQ learn a senseless 
 
190 BEADING. 
 
 alphabet, out of which it can build nothing ? Let it learn 
 each letter as a sound for which that letter is most commonly 
 used, then it can build the sounds into little words from the 
 very first. If we follow Frobel's principles, and obey his 
 rule which teaches that nothing must be isolated or discon- 
 nected in the ideas presented to the child's mind, but that 
 every new idea must be linked with something that the child 
 already knows, then the same rule must be applied here, and 
 we must find a means of linking the signs of the alphabet 
 with some idea already in the child's mind. Bemembering 
 the great powers of imagination possessed by children who 
 can readily transform a father's stick into a horse, we have 
 associated each letter with a character or object, and woven 
 these into little stories. This method has been tried for some 
 years, and the children are fascinated and delighted with it, 
 and learn to read with as much pleasure as they play a 
 game. 
 
 3. Stories for teaching Phonic Sounds. 
 
 Story I., teaches sounds a, h, d, e, j. 
 
 (The Teacher should have the five letters on the table 
 beside her.) The " Giant " * letters are best, with long 
 strings attached which can be put round the child's neck. 
 
 " There was once a little girl called Alice, who liked very 
 much to help do things about the house. One day Alice 
 went to her mother, who was washing the clothes, and said, 
 'May I help you, mother?' 'Yes,' said her mother, 
 ' you may hang out these things for me.' So Alice tied 
 on the peg-bag, and took the basket of clothes into the yard. 
 (Show letter a.) This is Alice you see with the peg- bag 
 tied in front of her. I will give this letter to a little girl, 
 and she shall hang it round her neck ; perhaps there is a 
 little girl called Alice ! When Alice had finished hanging 
 out all the clothes she felt a little tired, and as there was a 
 nice hut in the garden, she went in and sat down to rest. 
 * See Appendix 17. 
 
READING. 191 
 
 (Here show h.) This is the hut you see, and it has a little 
 flag at the top. Tommy shall have the ' hut '. I will put 
 the string round his neck. As Alice sat in the * hut ' she 
 could see her little dog, Dombey, on the grass. He was 
 sitting in the sun with his head up and his front paws out 
 on the ground, as you see them here ; this is Dombey, see ! 
 (Show d and give it to a child.) Soon Dombey sprang up 
 and ran off to the gate barking all the time, oh, so loudly, 
 what could be the matter? Alice ran after Dombey, and 
 there ! coming up the street, was a circus show, and what do 
 you think she saw walking first ? A great big elephant ! 
 He had a long trunk that curved upwards like this (show e), 
 so we will think of the elephant when we see this letter. 
 
 " Now Alice had a brother called John, who was out in the 
 field kicking his football, so she ran and called him to come 
 and see the wonderful elephant (show j). This is John you 
 see, he has kicked the football high above his head. Then 
 Alice and John ran to ask mother if they might go to the 
 circus to see the elephant there, and mother said she would 
 ask father to take them, so they were very glad and happy." 
 
 How to apply the Story. When the story is ended, 
 the children who bear the letters come out and stand in 
 front of the class, and the other children are asked to point 
 out (individually), " Alice," the "hut," etc., etc. When the 
 story has been told a few times, and the children have be- 
 come quite familiar with the "dog," "John," etc., the 
 Teacher will say : " Now I want you to call this picture not 
 Alice but a (sounded exactly like A in Alice), that is the first 
 sound in Alice's name. Then this is the first sound in 
 John's name, j ; " and so on with d, e and h. " The first 
 sound in ' hut ' is just a breathing sound, as if you had a hot 
 potato on your plate, and gave it a little ' blow,' scarcely 
 making a noise at all." 
 
 The children soon learn to give the sound only, and they 
 love to help the Teacher tell the story. 
 
192 
 
 EEADING. 
 
 FIG. 119. 
 
 A frame similar to this (see Fig. 119) is very useful for hold- 
 ing the letters ; the children soon grow tired of standing still, 
 and should therefore be relieved after a very few minutes. 
 
 Story II., to teach i, 1, m, s, n. "I will tell you about 
 a little boy with a very funny name he was called Ibbie. 
 Now Ibbie had never been to school, but one day his 
 mother said he might go, and Ibbie was so glad that he 
 threw his cap up in the air, for he wanted very much to go 
 (show i). This is Ibbie and there is his cap as he threw it up. 
 
 " Now, as I told you, Ibbie was only a little boy, and the 
 school was a good way from his home, so he could not go 
 alone. But he had a nice big sister called Lucy, here she is ! 
 
READING. 193 
 
 (showing 1), and she would take good care of little Ibbie, so 
 off they went ! When they had gone a little way, they came 
 bo a bridge that had two arches like this (show m), and Lucy 
 told Ibbie that it was called the Mill Bridge. A river went 
 under one archway and a road under the other. Ibbie and 
 Lucy went under the road-arch and then they came to a 
 field in which were some pretty flowers. Lucy wanted some 
 ind was stooping to gather them when she saw a funny long 
 wisted thing in the grass ; it was a snake, and when it saw 
 jucy it said sss. Just then a man came up and said : ' Oh 
 hat is my snake ; the door of its cage was left open last 
 light, so I lost it '. Then he lifted the snake up and put 
 t on his shoulder, saying : ' It is tame, it will not hurt 
 rou,' and he walked away (show s). This is the snake, you 
 ee how twisted it is. Ibbie and Lucy then set off to run, 
 soon they came to another bridge, but this had only one 
 brch (show n), and Lucy said this was called the Narrow 
 3ridge. So they went under the Narrow Bridge and were 
 oon at the school." 
 
 Each letter should be placed on the frame, as it is shown, 
 >r hung round the neck of a child. See Parag. N.B., p. 196. 
 
 Story III., to teach r, o, t, z. "I once knew a little boy 
 ailed Robert, such a nice little boy he was with a curl on 
 ds forehead like this (show r). We will let this little picture 
 tand for Eobert, because it has a curl like he had. One 
 ay Robert's mother gave him a penny to buy an orange. 
 ?his is the orange (show o), and he bought it at a funny 
 ttle shop, that was kept by a funny little man called Tom. 
 lobert liked to go to the little shop, because Tom was always 
 ind to him. We will have this little picture for Tom (show 
 ). As Robert went home with his orange, he met a poor 
 Id woman whose name was Zilla. This stands for Zilla 
 show z), and she looked so sad that Robert wanted to help 
 er, and so he gave her the orange he had just bought, and 
 
 think he felt happier than if he had eaten it himself." 
 lee N.B., p. 196. 
 
 13 
 
194 READING. 
 
 Story IV., to teach f, v, x. " There was once a little girl 
 whose name was Fanny. I think you will be able to re- 
 member Fanny, for she always has a sash tied round her 
 waist. Here she is (show f). One day Fanny's mother 
 told her to dust the room, so she took a duster and carefully 
 dusted all the things, and she was just going out of the room 
 when her duster caught a pretty vase. It was this shape 
 (show v), and it fell on the floor and was broken. ' What 
 must I do ? ' thought Fanny. ' I will go straight to mothei 
 and tell her how sorry I am.' Her mother was sorry too, 
 but she soon kissed Fanny's tears away, and told her to be 
 more careful another time. If you say the word ' kiss ' 
 very quickly it makes this sound (show x), so you must 
 think of the kiss that Fanny's mother gave to her when you 
 want to remember x, and the sound has to be made, not 
 with your lips, but in your throat. It is a funny little sound." 
 
 Letters to be placed on frame, or hung as before. Parag. 
 N.B., p. 196. 
 
 Story V., to teach u, y, k, p. " There was once a little boy 
 whose name was Yesso. Perhaps this picture will help you 
 to remember his name (show y), though it is not at all like a 
 little boy, it is like the vase that Fanny broke, only here the 
 vase has a stem to stand on. Now Yesso had a little sister 
 called Undine, this is the picture (show u) of Undine's 
 skipping-rope, for she was always skipping when she went 
 out to play. One day she went skipping along the path in 
 the wood, until she came to a little house. 'I will ask for 
 a drink of water,' said Undine, so she knocked at the door! 
 But no one came. By-and-by she heard a footstep behina 
 her, and then she saw an old man coming towards thel 
 house, with a large bundle of sticks. He took a small ke\j 
 out of his pocket (show k), this is the key, and opened tha 
 door. When he had given Undine a drink of water he earner 
 and sat on a bench outside the house, for it was a verjj 
 warm day, and began to smoke his pipe. We will say thai 
 
BEADING. 195 
 
 this is the pipe he smoked (show p). As Undine stood 
 talking to the old man, she heard a shout in the wood. It 
 was Yesso calling her. ' I must go now,' said she. 
 ' Good-bye, and I thank you for the nice drink of water.' 
 ' Good-bye,' said the old man, ' come and see me again 
 some day, little maid. I like to see you skipping through the 
 wood.' So that ends the tale of Yesso and Undine. Here 
 are the key (k) and the pipe (p) and the skipping-rope (u), 
 and this (y) stands for Yesso's funny name." See Parag. 
 N.B., p. 196. 
 
 Story VI., to teach g, c, q, b, w. " There were once 
 three little children, two sisters and a brother. The first little 
 sister was called Gertie, you must think of Gertie when you 
 see this funny picture (show g), it is not at all like Gertie, 
 only she had a little feather which came out in front of her 
 hat, just as this does in the picture. The next sister was 
 Carrie, and she had very curly hair, it was curly all over ; I 
 think this might be one of Carrie's curls (show c). The little 
 brother had a very funny name it was Quilla, perhaps this 
 might help you to remember Quilla (show q). One day, 
 when it was Quilla's birthday, his mother bought him a 
 present, can you guess what it was ? (let children try to 
 guess). It was a bat and ball. Here is the bat with the 
 ball quite close to it (show b), it is a little like Alice's dog, 
 Dombey, only you remember the dog had his paws out on 
 the floor (d). (In this way the children learn to distinguish 
 b from d, two letters which are often taken one for the other 
 by little children.) Then Gertie and Carrie and Quilla took 
 the bat and ball and went out into the field to play. Now 
 in this field there was a well, it was not very deep, and its 
 shape was like Fanny's vase (show w), here I have two wells 
 joined together. They had not been playing long when 
 Quilla hit the ball so hard and sent it such a long way that 
 it fell into the well, and the poor children were afraid they 
 would never see it again. 
 
196 HEADING. 
 
 "But I am glad to say that the kind gardener brought a long 
 ladder and went down into the well, and as it was nearly 
 dry he was able to get the ball again, and all the children 
 said ' Thank you/ and were very glad." 
 
 N.B. After each story proceed according to the instruc- 
 tions given after the first story, but do not separate the 
 sound of the letter from its object until the latter is perfectly 
 well known, and easily recognised. The stories should be 
 told again and again before the sounds are given. 
 
 Alphabetic Method. For those who prefer to teach the 
 letters as they are sounded in the alphabet the stories are 
 given in a different form, and the following rhymes may 
 help the children, also, to remember the alphabetic names : 
 
 A stands for Acorn, 
 B stands for Bee, 
 C stands for Cedar, 
 A very large tree. 
 
 D stands for Deer-hound, 
 E stands for Ear, 
 F is in Effie, 
 
 A good girl, and dear ! 
 % 
 
 " Gee-gee " says baby, 
 
 When " horse " he does mean ; 
 H sounds like Aitch-bone, 
 In beef it is seen. 
 
 I stands for Iceberg, 
 J stands for Jay, 
 K is for Katie, 
 
 Who plays all the day. 
 
 L is in Elbow, 
 
 Two elbows have we ; 
 M is in Empty, 
 
 As all will agree. 
 
 N is in Engine, 
 
 Which often you see ; 
 O stands for Oval, 
 P stands for Pea. 
 
BEADING. 197 
 
 Q sounds like Cube, 
 
 Tho' it is not found there ; 
 R is in Arm, 
 
 We each have a pair. 
 
 S is in Esther, 
 
 A good queen was she ; 
 T is in Teapot, 
 
 From which we pour tea. 
 
 U begins Unicorn, 
 V stands for Veal ; 
 W is W 
 
 And it begins Wheel. 
 
 X is in Exercise, 
 Y sounds like Wine ; 
 Z stands for Zeddie, 
 A brother of mine. 
 
 4. Letter-stories for teaching the Alphabetic Sounds 
 of the Letters. 
 
 Story I., teaches a, d, e, j. " There was once a little 
 girl called Ada, who was very fond of helping to do things 
 in the house. One day her mother was washing, and Ada 
 went and said, ' May I help you, mother ? ' and her mother 
 said, ' Yes ; you may hang some clothes out to dry '. So 
 Ada fetched the peg- bag, and tied it on, and then she 
 took the basket of clothes and hung them on the line to 
 dry. This is Ada with the peg-bag in front of her (a is 
 shown, and if the ' Giant ' letters are used, it can be put 
 round a child's neck or placed on a letter-frame, see Fig. 119). 
 When Ada had finished helping mother, she went into the 
 park to look for James, her brother. She knew he had gone 
 there to play with his football. Here he is kicking the foot- 
 ball ; it is higher than his head, you see (show j). 
 
 " ' Oh, James,' cried Ada, ' I see a deer under the tree, let 
 us go nearer and look at it.' ' We must go quietly,' said 
 James, ' so as not to frighten it. See how it sits with its 
 head up and its feet out in front ' (show a picture of the 
 
198 BEADING. 
 
 deer if possible, then show d). ' Ah,' said Ada, ' it has 
 run away, I am so sorry, I wanted to see it close by.' 
 ' Never mind,' said James, ' we will go home now, and I 
 will read to you out of my new book, it tells all about the 
 deer.' So they went home, and James got his book. It 
 had lots of pictures in it, and as James turned over the 
 leaves Ada said, ' Oh, James, do let me look at that bird, 
 how large it is, and what bright eyes it has. What is its 
 name?' 'It is an eagle,' said James. 'It lives on the 
 top of a mountain or on high rocks ' (show e). This is not 
 a picture of the eagle, but I want you to think of the eagle 
 whenever you see this." 
 
 a d j e 
 
 Ada Deer James Eagle* 
 
 Teacher then says: "I want a child to come out and 
 show us ' James ' " (child points to j). " Now who can find 
 Ada? you know that it is Ada because of her peg-bag. 
 Which is the deer and which is the eagle ? " When the 
 children name them easily they may say a instead of Ada, 
 d (dee) instead of deer, j (jay) instead of James, and e (ea) 
 instead of eagle. (See " How to apply the story," p. 191.) 
 
 Story II., to teach i, 1, m, s, n. " Isaac was a very little 
 boy, and had never been to school, but one day his mother said 
 he might go, and Isaac w r as so pleased that he tossed his 
 cap up in the air, for he wanted very much to see what 
 school was like (show i). This is little Isaac, with his cap 
 in the air. Now the school was a long way from Isaac's 
 home, and his mother could not send him so far all alone. 
 But he had a kind big sister called Ellen (show r 1), and she 
 would take her little brother to school, and see that no harm 
 came to him. So off they started early in the morning. 
 When they had gone a little way they came to a bridge with 
 two arches, the river ran under one arch and a road under 
 the other. ' This is Emsay Bridge,' said Ellen, ' can you 
 
READING. 199 
 
 remember, Isaac ? ' ' Oh, yes,' said he, ' Emsay Bridge is 
 very easy to remember ' (show m). Here is the bridge, 
 you see, with its two arches. After they had passed the 
 bridge they came to a field, where pretty flowers grew, and 
 Ellen said : ' Oh, I will get some for my Teacher,' and she 
 was just stooping to gather them when she saw a funny, 
 long twisted thing in the grass like this (show s). 'It is 
 Esther's snake,' cried Ellen, ' she lives in the cottage over 
 there, I will go and tell her.' So Ellen went to tell her, 
 and the old woman, Esther, came out and picked up the 
 snake. ' It will not hurt you,' she said, 'it is quite tame; 
 how did it get out of its cage, I wonder ? ' Then she went 
 home, and Isaac said : ' How funny to have a snake for a 
 pet ! ' ' Yes,' said Ellen, ' but we must hurry now, or 
 we shall be late for school.' By-and-by they came to 
 another bridge which had only one arch, where the trains 
 went under (show n). ' What is the name of this bridge, 
 Ellen? ' asked Isaac. ' I do not know,' said Ellen. ' Then I 
 shall call it Engine Bridge,' said Isaac, ' because the engine 
 brings the train under it.' After they had passed this bridge 
 they were soon at school." 
 
 i 1 m s n 
 
 Isaac Ellen Emsay Bridge Esther's snake Engine Bridge 
 
 Let the children hear the story several times, and become 
 perfectly familiar with i as Isaac, 1 as Ellen, etc., before 
 separating the letter sound from the object. If the children 
 once learn 1 as Ellen, they will have no difficulty in abbreviat- 
 ing it to el, and so on with all the objects. 
 
 Story III., to teach r, o, t, z. "There was once a little 
 boy called Arthur, I think you will remember him, for he had 
 a little curl on his forehead like this (show r), so you must 
 always think of Arthur when you see this picture. He was 
 a very little boy and wore frocks. One day his mother sent 
 him out into the garden to play, and he had not been there long 
 
200 BEADING. 
 
 when a strange dog came up, and caught little Arthur's frock 
 in his teeth. I do not think it meant to hurt him, but 
 Arthur was frightened and called out ' Oh ! ' so loudly that 
 his mother came running to see what was the matter, and 
 when the dog saw her, he soon let go of the frock (show o). 
 This is the sound that Arthur made, and his mouth was just 
 this shape as he called out ' Oh ! ' The dog still stayed in 
 the garden, until a boy came whistling up the road, and then 
 it flew off to the gate, and waited for him. ' Is that dog 
 yours ? ' asked Arthur's mother. ' Yes, ma'am,' said the 
 boy as he raised his cap, * I hope he has not been in mis- 
 chief, have you, Teazer ? ' (show t). This picture stands for 
 Teazer, you must always think of the dog Teazer when you 
 see it. 'What is your name?' said Arthur to the boy. 
 * They call me Zeddie at home,' said he (show z). ' Would 
 you like to have a game with my dog?' 'Yes, I should,' 
 said little Arthur, so Zeddie and Teazer came into the garden, 
 and they rolled on the grass and had fun with Teazer, until 
 they were all quite hot and tired, and then Zeddie and 
 Teazer went home." 
 
 r o t z 
 
 Arthur Oh ! (the sound he made) Teazer Zeddie 
 
 Let the children distinguish the objects as at the end of 
 Story I. 
 
 Story IV., to teach f, v, x. " This story is about a little 
 girl called Erne, and she was like another little girl that I told 
 you about one day, she liked to help her mother. (Eefer to 
 Ada in Story I.) Now Erne had a little sister called Vera, 
 but she was not big enough to work, she played all the time. 
 Erne always wore a sash round her waist (show f), here she 
 is with her sash ! so you wih 1 always know which is Erne. 
 One day she had been dusting the room for her mother, and 
 she was just coming out when the bow of her sash caught a 
 little cup that stood on a low table close by the door. It 
 
BEADING. 201 
 
 was Vera's cup (show v). Down it fell and was broken to 
 pieces. Effie picked up the broken bits and went straight to 
 her mother to tell her how sorry she was. Then her mother 
 said she must go and find Vera, and tell her about it. So 
 Effie went. At first Vera was very sorry, but when she saw 
 how sad Effie looked she said, ' Never mind, Effie. I am 
 sorry my present is broken, but we will not trouble about it 
 any more. Let us play school and you give me exercises for 
 my arms, like your Teacher does at school.' So they began 
 to play, and were soon quite happy (show x). When you 
 see this you must think of the exercises that Effie showed 
 Vera." 
 
 f v x 
 
 Effie Vera Exercise 
 
 Story V., to teach u, y, k, p. "There was once a little girl 
 called Una, and she was very fond of skipping, this is Una's 
 skipping-rope (show u). One day she went skipping along 
 the path in the wood until she came to a cottage where 
 Peter, the woodcutter, lived. Una liked to go to Peter's 
 cottage, and she was very sorry when she found the door 
 locked and no one about. She waited a little while and then 
 she saw Peter and his wife coming through the wood, and 
 Peter had his axe on his shoulder. The old woman soon 
 took the door key from her pocket (show k) and unlocked 
 the door. Her name was Katie, so you must call this little 
 picture Katie's key. When they got inside the old woman 
 was very tired, and began to cough, so Una gave her some medi- 
 cine that her mother had sent. She soon found a wine-glass 
 (show y), this is the wine-glass, and poured the medicine into 
 it. Then Una reached Peter's pipe (show p), here it is ! and 
 gave it to him, and they were all as cosy as could be, and I 
 am sure the little girl was happy, for she had helped to make 
 two other people happy." 
 
 u y k p 
 
 Una's skipping-rope Wine-glass Katie's key Peter's pipe 
 
202 BEADING. 
 
 Story VI., to teach g, c, b. " Celia was a very little girl, 
 almost a baby, and she had the prettiest curly hair that you 
 ever saw. She could not say her own name properly, but 
 used to call herself Ceely, so we will call her Ceely too 
 (show c). This is one of Ceely's curls. Ceely was very fond 
 of romping, and she loved to sit on the arm of the sofa, and 
 pretend it was a horse, and that she was riding. She would 
 say, ' Gee-up, Dobbin ' (show g). When you see this picture 
 you must remember what Ceely said to her horse ; this little 
 curl (on the g) will help you to remember, because you know 
 Ceely had curls. There was a little girl who would some- 
 times come to play with Ceely in the garden ; her name was 
 Beatrice, but Ceely called her Bea. What game do you 
 think they loved best to play ? It was bat and ball. Bea 
 had a stick that would do for a bat, and then she would bring 
 her ball, and they would play quite merrily (show b). This 
 is Bea's bat and ball." 
 
 After each story proceed according to the instructions 
 given after Story I. 
 
 All the letters are included in these alphabet stories except 
 h, q and w. 
 
 Sometimes the children themselves may personate the 
 objects or characters, the letter representing such character 
 or object being hung in front of the child. Thus a little boy 
 could be Isaac (having letter i) and a bigger girl would re- 
 present Ellen. The Emsay Bridge could be made by three 
 children standing in a row with hands joined and raised, and 
 the Engine Bridge similarly by two children. 
 
 Another way of using the stories is to let the children who 
 represent the characters and hold the letters sit down in 
 their places, and when the Teacher tells the story again, each 
 child is to come out when the object it carries is mentioned . 
 by the Teacher, and stand in front of the class. 
 
 5- Elementary Word-building. If the phonic sounds 
 
BEADING. 203 
 
 have been taught (as given in the first set of stories) the 
 children can begin to build little words as soon as ever the 
 sound is substituted for the object. If the alphabetic 
 method is adopted, it will be necessary to take each letter 
 over again, and let the children learn that a (ay) says a 
 (short sound as in bat) ; b (bee) says b (short sound as in 
 bat). Suppose " at " to be chosen as the first combination, 
 Teacher says : " Oh, here is Alice, we know her by the peg- 
 bag, and who is this ? Why, it is the funny little man that 
 kept the shop. Tom is his name. Wouldn't you like to 
 say ' Good-morning ' to him ? " 
 
 Children say, " Good - morning, Tom ; good - morning, 
 Alice ". (If this seems absurd to any, let us remember that 
 children of these tender years live in a world of make-believe, 
 where fancy is everything and philosophy nothing.) " Now, 
 I will take the first sound from Alice a, and the first sound 
 from Tom t, and say them one after the other quickly, and 
 if you listen carefully you will hear a little word, a, t," "at" 
 say the children. " Now I will take the first sound from 
 curl and put that in front of 'at' listen, c, a, t," and the 
 children delightedly cry " cat ". 
 
 In this way simple word-building is taught with ease, and 
 the sounds may be printed on the blackboard, or traced in 
 sand with a stick, after the children have become familiar 
 with the " Giant " letters. 
 
 C-at As the children grow more accustomed to the com- 
 
 h-at binations of sounds, a list of words may be given, the 
 
 r-at Teacher first printing " at " and the children supplying 
 
 S-at an initial sound to make a word. The words might 
 
 f-at be woven into a little story, thus : 
 
 b-at " A cat saw a rat as she sat on the mat. The rat 
 
 m-at went into Tom's hat, and Tom got his bat to send it out, 
 
 but the rat had run off, and the fat cat went back to her place 
 
 on the mat." Other lists of words are given in the same way, 
 
 such as cap, lap, map, nap, sap, etc., bad, dad, fad, gad, had, 
 
204 READING. 
 
 lad, mad, sad, etc. ; then a new vowel is taken and we get bed, 
 led, etc., pit, bit, etc., pot, cot, etc., and when all these lists 
 have been gone through, the children will be ready to change 
 the vowel thus : pat, pet, pit, pot, put. Before taking more 
 difficult words it is advisable to teach the capital letters. 
 These should be placed each beside the small letter of same 
 name, thus, Aa, Dd, and those which are alike or similar 
 should be taught first, li, Jj, Kk, Oo, Pp, Ss, Uu, Vv, Ww, 
 Xx, Yy, Zz. There are now only twelve left to be learned, 
 and these are very soon mastered. The same easy words, 
 bat, mat, etc., should now be given again, but with a capital 
 letter placed first, thus, Bat, etc., and coloured chalks should 
 be used, then the first letter can be printed in one colour, 
 and the other two in another colour, thus : 
 
 C-ab M-et B-it P-ot B-ut 
 
 M-ab L-et F-it C-ot C-ut 
 
 D-ab S-et K-it L-ot N-ut 
 
 When three-letter words are thoroughly well known, the 
 next step is to take easy double sounds such as ee, oo, ow, 
 oy, and in these three colours of chalks may be used. 
 
 f-oo-d f-oo-t d-ee-d m-ee-t 
 
 g-oo-d s-oo-t n-ee-d f-ee-t 
 
 Longmans' "Ship" Eeading Sheets (coloured) which are 
 reprints from the First Primer may now be used. It will be 
 necessary to learn the irregular words such as " the," " was," 
 "he," etc., from sight, then the little lessons may be taken 
 from the Eeading Sheet, and the children will thus be pre- 
 pared for the First Primer. The Beading Sheet shows how 
 coloured chalks may be used for word-building. 
 
 6. Punctuation Marks. When the Eeading Sheet is in- 
 troduced, it will be necessary to explain to the children the 
 meaning and value of the punctuation marks. We do not 
 stop very long when we see this little thing with a tail ( , ), 
 
READING. 205 
 
 only as long as it takes to count one, but for this round dot 
 ( . ) we have to stop longer, until we can count four 
 quickly, then we may raise our voice and go on again. Why 
 must we raise our voice ? Because when we see this mark 
 ( . ), a full stop, it means that the sentence is ended. For 
 these funny marks ( ? ! ) we must wait as long as we do 
 for the full stop, but for this one ( ; ) we only count two, 
 and we can remember that because there are two marks. 
 After the Eeading Sheet, the First Primer should be used. 
 
 There is nothing that a child loves better than to have a 
 book in its own little hand, and the pictures in these Primers 
 are so beautifully drawn and coloured that they alone are 
 sufficient to make the book a delight to the little ones. 
 
 7. How to give a Reading Lesson. ist. The first 
 thing, of course, is to talk about the picture, and get the 
 children to tell everything they can see in it (always in 
 complete sentences). When they are thoroughly interested, 
 
 2nd. Teacher might say, "I am sure you would like to 
 know more about the picture. Listen while I read about it." 
 She then reads the lesson. " Now you know the name of 
 the dog in the picture " (suppose it to be p. 17, Longmans' 
 First Primer, " Ship" series), "and you know where it has 
 been," etc. 
 
 3rd. " Now we will learn these words at the beginning, 
 and then you will soon be able to read the lesson yourselves. 
 There are only two words, ' out,' ' too '. I will write them 
 on the blackboard, and you shall build some other words 
 from them." 
 
 g-out p-out too-k too-1 
 
 4th. The next step is to master the words of the lesson, 
 but as these have been learned previously in Word- building, 
 the children will soon recognise them again. 
 
 5th. The Teacher then gives pattern reading, the children 
 reading after her. Great care should be taken here to 
 
206 BEADING. 
 
 prevent any child mis-pronouncing a word. A class was 
 one day reading about " A noble dog," and when it came to 
 individual reading the first boy read the title, " An oval dog ". 
 If the word "noble" had been explained and talked about, 
 such a mistake would hardly have occurred. Errors of this 
 kind should be checked in the simultaneous reading. 
 
 6th. Now the children should read the lesson simultane- 
 ously without the Teacher's help. This gives her an oppor- 
 tunity for detecting mis-pronunciations, by watching the 
 children's lips and listening carefully. A Teacher should 
 always be in front of her class when they are reading simul- 
 taneously. 
 
 7th. Last comes individual reading. If a child makes 
 mistakes, they should be corrected kindly and encouragingly. 
 It is easy to make a child lose its self-respect by undue 
 severity and fault-finding, and once that is done the child 
 loses confidence, without which it is impossible to read aloud 
 with ease. Children always feel nervous when they are 
 corrected before a number of other children or grown-up 
 people, hence the necessity for doing it lovingly. 
 
 8. Word-building (more advanced). Quite one third 
 of the time given to reading should be occupied with Word- 
 building, even when the children have begun to read from 
 books. After the elementary Word- building given in the 
 earlier part of the chapter, more difficult combinations should 
 gradually be given. 
 
 Blackboard Lessons. ist. To go back to such easy 
 combinations as oy and ow the children have to learn that ow 
 has two sounds, as ow in cow, and ow in mow. It would be 
 well to write all the words sounded like " cow " in one colour 
 of chalk, and the words sounded like " mow " in another. 
 
 2nd. Several lessons should be spent in showing the 
 children how e at the end of the word changes the sound of 
 the other vowel, though e itself is not sounded at all in these 
 words. A few examples are given, and many more can be 
 
READING. 207 
 
 added. S-am, s-ame ; f-an, f-ane ; m-et, m-ete ; w-in, w-ine ; 
 c-ot, c-ote ; t-un, t-une. 
 
 3rd. The double vowels, such as oa, ea, ai, oi, ie, need 
 special attention. A multitude of words can be formed from 
 these, as c-oa-t, r-oa-d, m-ea-t, v-ea-1, m-ai-d, p-ai-d, etc., 
 etc. 
 
 4th. Then there are the double consonants, such as sh, 
 ch, ck, bl, br, pi, fr, cr, and many others, which should be 
 used with combinations already learnt, as sh-un, ch-in, 
 br-an, pl-an, fr-om, etc. 
 
 5th. Then easy double-syllabled words may be given, as 
 win-dow, gar-den, etc., and words that have a double con- 
 sonant in the middle, as mor-row, fol-low, etc. 
 
 6th. For older children we have the^ doubling of the 
 final consonant in many words, as drop, drop-ped, also the 
 word-endings, such as le, ly, ing, ful, tion, and many others, 
 and peculiar words, as knee, knead, knife, and words 
 sounded alike, but spelt differently, air, ere, e'er. All these 
 words should be taught on the blackboard in groups. 
 
 9. How to cultivate a taste for Reading. Let the 
 children buy copies of reading books used at school at cost 
 price, and when possible, lend them books to read. Long- 
 mans' " Ship " Primers and First Reader are all arranged on 
 the word- building system, and the coloured pictures are 
 charming. It is possible to arrange a lending library even 
 for little children, and this can be done at a very small cost 
 by obtaining a variety of simple reading books and stories. 
 
208 
 
 CHAPTEK XXVIII. 
 WRITING. 
 
 COREECT writing is the result of correct observation. It is, 
 therefore, manifestly wrong to expect children to write before 
 they have been taught how to observe, and for this reason a 
 child should not attempt to write until it has been at school 
 for some time. When we consider all that is needed to make 
 writing beautiful, remembering that every letter has its own 
 peculiar form, that we need a nice distinction of height and 
 length, and width and slope to make even one letter correctly, 
 is it any wonder that tiny, baby fingers are unable to write 
 with ease ? 
 
 1st Step. (a) Before a slate or pencil is given to a child, 
 we must do all we can to pave the way to " Writing " by the 
 child's favourite occupation, " play ". If the Kindergarten 
 tables or desks are used (see Fig. 2, p. 13), sticks one inch 
 in length may be given to each child to lay on the squares. 
 The Teacher takes a longer stick (so that children can more 
 easily see it) and says, " What can my stick do ? Look ! " 
 (placing it vertically against blackboard). " It can stand 
 up," say the children. "What else can it do?" asks the 
 Teacher. " It can lie down," say the children. (Teacher 
 makes it lie down.) "Now I want you to make your little 
 sticks stand up all in a row, they must all stand on the 
 same line, and there must be one square between each. 
 
WBITING. 209 
 
 Pretend they are little soldiers. I will tell you a story while 
 you are placing them. 
 
 " There was once a captain, and he was drilling his soldiers, 
 
 there were six in a line (if children have six sticks each) and 
 
 he said, ' Stand to line,' so all the soldiers put their feet 
 
 (toes) to the line (just see if your little soldiers are all on the 
 
 line). Then he said, ' I see two soldiers too close together, 
 
 they must all have the same space between '. (Just as your 
 
 little soldiers have one square between each.) Then the 
 
 captain said, ' Stand up straight,' and all the soldiers held 
 
 their heads up, and stood as straight as could be. I wonder 
 
 I if your little soldiers are all standing straight ! I will come 
 
 land see." (Teacher looks at children's work and corrects any 
 
 hat is wrong.) 
 
 See my little soldiers, 
 
 Standing in a line, 
 All so straight and even, 
 
 Do they not look fine ? 
 
 When their drill is ended, 
 
 Down they all will lie, 
 And while they are sleeping, 
 
 I shall watch close by. 
 
 (b) In another lesson, the same sticks might be used to 
 each " lying-down " lines, with a story about the soldiers 
 )eing tired and lying down to sleep. 
 
 (c) Then sticks of another length should be given, two inches 
 ong, these are taller soldiers, they must also stand up and 
 ie down. 
 
 (d) Now the two kinds of soldiers stand side by side, and 
 he child sees that there is difference in height ; then the 
 ticks are combined to make rough representations of 
 itters. 
 
 14 
 
210 
 
 WHITING. 
 
 N 
 
 ?3 
 
 N 
 
 N9;: 
 
 N 
 
 S 
 
 FIG. 120. 
 
 No. 1. Here we have two little sticks standing, and oncl 
 lying (prepares for u). 
 
 No. 2. Now the lying-down stick is moved to the tog 
 (prepares for n). 
 
 No. 3. Place another stick lying down, and another 
 standing up (prepares for m). 
 
 No. 4. Move the two lying-down sticks to the bottom 
 (prepares for w). 
 
 No. 5. Now we have a tall soldier standing up, a littld 
 one lying down, and a little one standing up (prepares foi 
 
 No. 6. The lying-down stick is brought to the top of thJ 
 square (prepares for h). 
 
 No. 7. Three short sticks and a tall one are used foi 
 this (prepares for d). 
 
 No. 8. The tall stick is moved down one square (prel 
 pares for g). 
 
 The Teacher will think of many other letters that can bd 
 represented in the same way as those given above. 
 
 (e) Next the half-inch sticks should be introduced ; the 
 children will see that they only reach half-way up thl 
 
WRITING. 211 
 
 square, and they will probably call them the baby soldiers. 
 When they have used the half-inch sticks alone, let them 
 be combined with the others, thus : L (Z), n . (a), etc. The 
 children will see a similarity between these rough repre- 
 sentations and the letters they have learnt in reading. 
 
 2nd Step. The Slate and Pencil should form the subject 
 of conversations before they are used. When several writing 
 lessons have been spent with the "soldiers," the children 
 may have chequered slates given to them, and they should 
 compare the squares on their slates with those on the table. 
 They will see that they are much smaller, and that the 
 " sticks " would not fit on these small squares. " We must 
 find new soldiers, how nice it would be to draw them," says 
 
 be Teacher, " but we must first learn how to use the pencil." 
 Let the children show right hand, and then left hand, and 
 
 bey must know how to distinguish each finger, long finger, 
 
 ttle finger, forefinger, etc., then Pencil Drill may be given. 
 
 ?he following rhyme may help the children to learn the 
 
 ames of the different fingers : 
 
 (1) Show your thumbs, dear children, all, 
 
 (2) Forefingers come when I call, 
 
 (3) Little fingers bowing, greet, 
 Like two ladies when they meet, 
 
 (4) Middle fingers stand up straight, 
 
 (5) Ring-finger for you we wait. 
 
 Movements. (1) Hold up the thumbs. 
 
 (2) Hold up forefingers, the thumb and other three fingers 
 eing kept closed. 
 
 (3) Hold little fingers up, and let them bow to each other, 
 est of hand being closed. 
 
 (4) Middle fingers stand up, rest closed. 
 
 (5) Show the third finger of each hand, rest being kept 
 
 losed. 
 
212 
 
 WRITING. 
 
 FIG. 121. 
 
 FIG. 121 a. 
 
 Pencil Drill. Ready. When Teacher says " Eeady," th< 
 children hold the pencil by its point between thumb am 
 forefinger of left hand. When she says : 
 
 One, Thumb of right hand is held up. No. 1, Fig. 121. 
 
 Two, Forefinger of right hand is held up. No. 2. 
 
 Three, Long finger is raised (thumb and forefinger beini 
 still kept upright). No. 3. 
 
 Four, Grasp pencil between thumb and long finger of rigfc 
 hand. No. 4. 
 
 Five, Put forefinger of right hand on the pencil. No. 5. 
 
 The Teacher should have a much larger pencil, or a smai 
 stick pointed, so that the children can see it easily ; and sb 
 
WHITING. 213 
 
 should use her left hand, as it is opposite to the children's 
 right when she stands in front of them. 
 
 The following rhyme may be used in teaching pencil 
 drill : 
 
 Beady. With your left hand pencil seize, 
 
 (1) Hold your right thumb high up, please, 
 
 (2) Then forefinger comes out so, 
 
 (3) And long finger follows too, 
 
 (4) Thumb and long one pencil hold, 
 
 (5) Forefinger comes next we're told, 
 Then we're ready strokes to make, 
 And I'm sure great pains we'll take. 
 
 The numbers refer to the illustrations. 
 
 When the pencil drill has been thoroughly learnt, the 
 hildren are allowed to make " soldiers " standing-up lines, 
 ne square long on their slates, imitating the Teacher, who 
 nakes them in chalk on the blackboard. A very few strokes 
 hould be made at one time. Gradually the strokes two 
 quares long are introduced, and the children make all the 
 orms (on the chequered side of their slates) that were made 
 
 th the sticks. 
 
 3rd Step. The child may now be introduced to lines ; the 
 ollowing style of ruling is very suitable for young children, 
 nd the blackboard should be ruled exactly like the slate. 
 
214 
 
 WEITING. 
 
 FIG. 122. Sketches of Baby's Slate, Sponge and Can. 
 
 Before beginning to write, the children should learn t 
 distinguish the lines, middle line, top line, and bottom lin< 
 A child should come out and point to middle line, anothe 
 to top line and so on. When these are known, Teache 
 says : " Now I want to make a soldier standing up on thi 
 line (pointing to bottom line), but I must begin at the to 
 line. Where is my chalk?" (placing it on line). "It i 
 on the top line." "Down it goes through the middle lin< 
 and when it reaches the bottom line it stops. I have mad 
 the ' soldier ' just in the middle of the space (see Fig. 122 
 I will make two more, then a child shall come out, and tn 
 (Teacher makes three strokes.) Now Johnnie may come. 
 (Perhaps Johnnie's stroke may slant a little.) Teacher asks 
 " What is the matter with Johnnie's soldier? " Children : " ] 
 does not stand straight up ". Another child takes the chal 
 and tries. (This time, perhaps, the stroke is not in the middl 
 of the space.) Teacher again asks what is wrong, and elicil 
 the answer from the children, then she might say: " Don, 
 you remember how particular the captain was to have a 
 his soldiers standing hi their right places? and we must b 
 
WRITING. 215 
 
 ,he same with our soldiers ". It makes all the difference in 
 ,he world to the children whether the lines are called soldiers 
 >r simply strokes ; a soldier is invested with real living 
 nterest (especially if they have seen pictures of them), but a 
 .troke means very little to these young children. 
 
 A large proportion of each writing lesson should be taken 
 ip with Blackboard teaching, because the children learn so 
 auch by seeing the faults enlarged, as they must be on the 
 blackboard. When the Teacher has finished the Blackboard 
 ractice, she says, " Now you shall try to make three little 
 oldiers on your slates, just like mine, each standing in the 
 liddle of its own little space ; but we must first have Pencil 
 )rill ". When this has been given, the children make the 
 bree strokes no more than three, for if they are incorrect, 
 s they are sure to be at this early stage, the writing of a 
 broke or letter several times over only intensifies the fault, 
 ad makes it more difficult to eradicate. 
 
 Every child should have a slate rag, and the Teacher should 
 we a little can of water with a sponge (a Id. sponge will do) 
 3d to a little stick (Fig. 122). It takes a very little time 
 r the Teacher to dab each slate with the wet sponge, and 
 te child then rubs it clean and dry with its slate rag. 
 
 A great many lessons should be given to the elements 
 if ore proceeding to the groups of letters as shown in Figs. 
 23 and 124, and when the letters are given, very few 
 lould be done by the children at one time, for the reason 
 ifore stated that repetition of an error intensifies the 
 fficulty of correcting it. 
 
 The letters in one group should be fairly well done before 
 'oceeding to another group. 
 
/ 7 I; < ^ 
 
 tf I 
 
 / ', 'i" i, ii =afv 
 
 7r 7/ ^/V, Y/, //, fT 
 
 fy f/ /// l\j JA/ \7 
 
 / 
 
 
 FIG. 123. Sketch of Slate Showing Letters in Groups. 
 
 o 
 
 o 
 
 tJ 
 
 e( 
 
 
 
 FIG. 124. Sketch of Slate Showing Letters in Groups. 
 
WRITING. 217 
 
 Correction of faults. Some letters are made too nar- 
 row, some too wide, some are angular where they should be 
 rounded, and others are badly joined. It is best to show 
 all these faults on the Board, the correct way of making the 
 letter being shown side by side with the fault. In this way 
 the whole class gets the benefit of the correction, and until 
 the children learn to make each letter fairly well, most of 
 the time should be given to Blackboard teaching. Other 
 faults are : smears on the writing, strokes too thick, and 
 slope irregular. The latter fault may be corrected thus : 
 write on the Blackboard the irregularly sloped letters, 
 e.g., Tft^y, and then draw strokes through each line ; the 
 children will see that as these prolonged strokes are not 
 parallel, neither are the strokes of the letters parallel. 
 Children will sometimes join o on the left side o ; | is often 
 too wide, thus, and / is taken above the line. In the 
 capital letters it is difficult to get the line of beauty, J, 
 children make it thus, /. Place a pencil alongside the 
 correct line, and show that the line does not correspond 
 with the line of the pencil, as the child has made it 
 to do. 
 
 As the children become proficient in writing, they will dis- 
 tinguish between the " light " lines (which go upward) and 
 the heavier " down " lines ; the observance of this difference 
 adds much to the beauty even of slate writing. As soon 
 as they can write well enough to join letters, the children 
 should have groups of words given to them, such as are 
 found in Word-building (see the chapter on Beading). When 
 Transcription is begun, it should be taken from words printed 
 on the Blackboard in the first place, and from books later. 
 It is always a pleasure to children to write their own names, 
 and these should be given as soon as they are able to do 
 them. Sometimes the children may transcribe a sentence 
 which conveys some fact that has been taught in an Object, 
 or other lesson, and which is thus impressed on the child's 
 
218 WRITING. 
 
 mind, for it is always easier to remember impressions con- 
 veyed by the eye, than by the ear. For this reason Spelling 
 should be taught, not orally but by writing, and chiefly 
 by the grouping of words sounded alike, as in Word- 
 building. 
 
219 
 
 CHAPTEE XXIX. 
 NUMBER. 
 
 IN a Kindergarten proper Number would only be taught 
 as part of the Kindergarten Gifts and Occupations, but, like 
 Beading, it is taken as a separate subject in Ordinary Schools, 
 and for this reason a chapter is here devoted to it. By the 
 aid of Stories, Games and little Plays, Number may be made 
 as easy and delightful as any other subject. 
 
 Perhaps the following may seem a somewhat roundabout 
 way of teaching such a simple fact as "two and two are 
 four " ; but remembering Eousseau's saying, viz. : " What the 
 child does it easily remembers," we shall find that time spent 
 in this way is far from being wasted. Moreover, the child is 
 happy in these little plays, and to make it happy is our first 
 aim at this early stage. The Stories which follow are intended 
 for the " Babies," or children under five ; they should be 
 told to the children again and again, and the rhymes should 
 be learnt by heart and repeated by the class every time the 
 story is told. Children who have been taught number 
 gradually, in this easy, interesting fashion, develop an 
 astonishing aptitude for dealing with figures as they grow 
 older. This, at least, has proved true in the writer's 
 experience. 
 
220 
 
 NUMBER. 
 
 FIG. 125. 
 
 1st Step. Number Stories. I. The Farm-yard 
 (Fig. 125). Objects used: several boxes of Gift III., and four 
 animals (either models of these, or cows, etc., from Noah's 
 ark). Several children may help to make the wall, while the 
 Teacher asks questions, such as, "What is the wall for? 
 Why do we have a farm-yard?" etc. The model should be 
 built on a table or on the floor, so that all may see it. ,When 
 the wall is finished, a kennel may be made in one corner of 
 the yard, then the trough is placed in the centre, and we are 
 ready to begin. (In Fig. 125 " donkeys " have been substi- 
 tuted for "cows ".) 
 
 Story. " This is Farmer Jones's farm-yard, and he has a 
 great many animals, though you do not see them just now. 
 What animals will he have?" Children: "He will have 
 sheep, cows, hens, ducks," etc. " He has two dogs that live 
 
NUMBER. 221 
 
 in this kennel ; where do you think they are ? They have 
 gone to fetch the cows home. The cows are down in the 
 meadow eating sweet, fresh grass and daisies and buttercups. 
 The dogs will run round them and bark. That means 
 ' Go home, Brownie ; go home, Whiteface 'those are the 
 names of the cows and away they go. See ! they are 
 coming into the farm-yard (Teacher makes two cows move 
 through the gate). Where will they go? Straight to the 
 trough, you see, to get a drink. Now the dogs are coming. 
 How hot they are with running so fast ! They are at the 
 trough too. Two cows and two dogs drinking how many 
 are there altogether ? There are four. Now the two dogs 
 have gone to the kennel to rest ; how many are left? Two." 
 
 Two cows drink here, two dogs as well, 
 Now, if you please, the number tell. 
 
 Four. 
 
 Two dogs have to their kennel gone, 
 How many cows stand now alone ? 
 
 Two. 
 
 The same story may be used to teach other numbers ; but 
 it is better to keep to the very little numbers, 2, 3, 4 and 5, 
 for a considerable time. 
 
 Game. When this story is played as a Game, the children 
 stand close together to form the wall round the farm-yard, a 
 space being left for the gateway. Other children kneeling 
 form the trough, and a ring of children make the kennel. 
 Two little boys are the dogs, and two bigger girls the cows. 
 The " cows'" go out of the room first, then the "dogs" are 
 sent to fetch them. The cows come in, walking slowly, then 
 they go to the trough and pretend to drink. Soon the dogs 
 follow, running and barking, and go to the trough also. Then 
 the first two lines of rhyme may be repeated. Dogs go away 
 and the second two lines are said. 
 
222 NUMBER. 
 
 2. The Hen and her Chickens. An interesting story 
 may be told of the hen and her chickens. The Teacher's 
 lap may be the nest where the hen sits with her chickens. 
 Suppose there are three chickens, and two run out to find 
 food, how many are left ? and so on. (Balls of Gift I. may 
 be used for this.) 
 
 Game. This story, again, may be played as a game, with a 
 big girl for the mother-hen, and smaller children for chickens. 
 
 Mother. 
 
 Cluck, cluck, cluck ! says mother-hen, 
 Come, my chicks, come home again 
 Children. 
 
 How they nestle, pretty things ! 
 
 One, two, three, four, beneath her wings. 
 
 First chicken comes out and says : 
 
 One comes out to seek for food. 
 Children. 
 
 Three are left with mother good. 
 
 3. The Stable. Objects used : several boxes of Gift 
 III., and four or five horses. 
 
 The walls of the stable are made in the same way as the 
 walls of the farm-yard (see Fig. 125), but the stable must 
 have only three walls, the front is left open so that the 
 " stalls " may be seen. 
 
 Story. When the stable is ready, Teacher says : " Ned 
 is the man who looks after the horses, and brings them 
 home at night ; he brushes them down, and feeds them, and 
 gives them a nice bed of straw to lie upon. The horses 
 have to work so hard, we ought to be kind to them. See, 
 two are coming home, here they are ! (The two horses are 
 put in two stalls. Bricks will do quite well to represent the 
 horses.) These are cab horses. Now Ned brings home 
 two horses that have been drawing a tram-car. ' These 
 are very tired,' says he, ' I must give them a good supper, 
 and make them a nice soft bed.' 
 
NUMBER. 223 
 
 " Two cab horses are here, 
 
 Ned brings two horses more, 
 And you will all agree, 
 
 That two and two are four. 
 
 " But where is Ned? He must have gone to fetch another 
 horse, for here is an empty stall. He comes up whistling 
 ^,nd patting the horse as he walks beside it. This is a cart- 
 horse, it has been drawing a cart full of coal. Thank you, 
 good cart-horse, the coal makes nice, bright fires to warm 
 us. Now the cart-horse goes in its stall." 
 
 Teacher says : 
 
 Two and two, you said, were four, 
 Now I see there's one horse more ! 
 Children. 
 
 That makes five, we children say, 
 Horses five we see to-day. 
 
 Game. This can be played as a game by letting the 
 children form the stable, just as they formed the farm-yard 
 (Story II.). Five of the children would be " horses ". One 
 boy could be Ned the hostler. 
 
 4. The Rabbits. This can be played as a game. Four 
 or five children represent rabbits, holding up forefingers at 
 each side of head to represent the rabbits' ears. At first the 
 rabbits lie hid (pretending they are in their burrows), then 
 one comes out and begins to jump about. 
 
 Children. 
 
 One rabbit jumping we can see, 
 He hops about quite merrily. 
 
 (Two more rabbits come out.) 
 
 Two rabbits more ! that just makes three, 
 They're all as happy as can be. 
 If there should come one rabbit more, 
 Why, surely, there would then be four. 
 
224 NUMBER. 
 
 (The fourth rabbit comes out.) 
 Teacher. 
 
 Four rabbits jumping, oh, dear, dear ! 
 
 What brings the cruel Sportsman here ? 
 
 (Sportsman enters.) 
 
 Two quickly fly ; they're out of sight, 
 (Two of the rabbits run off.) 
 
 And two will hide, they're in such fright. 
 (The other two hide behind Teacher.) 
 
 Children. 
 
 Sportsman, we beg you'll go away. 
 And leave our pets in peace to play. 
 
 Sportsman (bowing). 
 
 Good-day, then, children ; ma'am, good-day, 
 Your pets, unhurt, with you shall stay. 
 
 Nuts or fruit may be used as the subject of other little 
 stories, and some of these may teach little lessons of un- 
 selfishness, e.g., Lily's mother gave her four large ripe 
 plums when she went to school one morning. Would she 
 eat them all herself, I wonder ? She looked at them as she 
 walked along they were red on one side and yellow on 
 the other then she pinched them ; they were all quite soft 
 and would be sweet and juicy. " I know what I will do," said 
 Lily, " I will give one to Nellie, and one to her little brother." 
 So she did. How many had she left? and how many did 
 she give away? She gave two away, and so she was not a 
 selfish little girl, was she ? 
 
 The number stories shall conclude with one w r hich the 
 children are never tired of hearing, and never tired of playing, 
 and which affords scope for little lessons in manners, courtesy, 
 and kindness. 
 
 5. Mrs. Dimple's House. Objects used : a set of doll's 
 furniture, and a few small penny dolls dressed, with a larger 
 doll to represent Mrs. Dimple. 
 
NUMBER. 225 
 
 " There was once a lady called Mrs. Dimple. This is her 
 house, you see (pointing to the chairs and other furniture, 
 which have been arranged on the floor or table, so that all 
 can see them), and this is Mrs. Dimple herself (holding up 
 the largest doll). I will put her on the sofa. Mrs. Dimple 
 expects visitors this afternoon. Listen, you will hear them 
 knocking soon. (Teacher knocks on the floor.) Here are 
 Lily and Nellie (producing two of the smaller dolls), they 
 have come to see Mrs. Dimple. How nicely they walk into 
 the room. Mrs. Dimple shakes hands with them. She 
 stood up as soon as they came in, and now she asks them 
 sit down. At first there was only one person in 
 ;he house ; how many can you see now ? We see three. 
 What make three? One lady and two children are three. 
 But hark ! there is another knock. (Teacher knocks again.) 
 Who come now? A lady and gentleman. (Two dolls 
 are produced, one being dressed like a gentleman.) Mrs. 
 Dimple again rises, you see, and the gentleman takes off his 
 iat, and they all shake hands. Lily and Nellie stand up when 
 ihe lady and gentleman speak to them,, and then they all sit 
 down. 
 
 " How many people are in the room now ? There are five. 
 How is the five made up ? Two ladies, two little girls, and 
 one gentleman make five. Ah ! there is another knock ! 
 [Teacher knocks.) Who is it this time, I wonder ! It is some 
 one who has come to fetch Lily and Nellie. They say ' Good 
 afternoon ' to Mrs. Dimple and the other visitors, and then 
 ihey go. Now how many are in the room? There are 
 three. How many at first? Five. Two little girls away 
 from five, how many left ? Three. The lady and 'gentle- 
 man are going now, they both shake hands with Mrs. Dimple, 
 ind say ' Good afternoon,' then the gentleman opens the 
 ioor to let the lady go out first, and he follows. He will put 
 >n his hat outside the door." Teacher might say, " Now we 
 will have the story with real people ". 
 
 15 
 
226 NUMBER. 
 
 Game. The Doll's furniture is put away and ordinary 
 
 chairs are substituted, 'a little form would serve for a couch. 
 Who would like to be Mrs. Dimple? A child is chosen. 
 Then two little girls are wanted for " Nellie " and " Lily," a] 
 boy and girl for the " lady " and " gentleman," and a little 
 girl to be the maid and answer the door. The four " visitors " 
 go outside the room, and the two little girls knock at the! 
 door, and enter first. The rest of the game is told in the] 
 story, and acted accordingly. 
 
 2nd Step. Recognition of Numbers. The object of- 
 the preceding Stories and Games is to give the children a clear ] 
 idea of number up to five. They should now be able to 
 recognise 2, 3, 4 and 5, i.e., be able to tell four objects when 
 they see four, without counting them, also 3, 5, etc. The: 
 stories and games should be repeated again and again, until 
 the children can do this easily. 
 
 3rd Step. Analysis of Numbers. When the numbers 
 can be recognised without difficulty, the children should be 
 encouraged to analyse them, i.e., tell what they are made up] 
 of, but objects should always be put in front of the class 
 to represent the numbers. 
 
 Suppose four ninepins to be shown, Teacher says : " How! 
 can I divide the ninepins to show what make four? " " You 
 can make them into twos. Two and two are four." " And 
 now," says Teacher, "tell me something else that make four 
 think of the Farm-yard story." " Two dogs and two cows 
 make four." " But we could have had other animals drink- j 
 ing," says the Teacher, " think now." "Two horses and two! 
 donkeys," say children, " two ducks and two geese, etc., etc." : 
 "Now look round the room, and make four out of things] 
 that you see here." " Two pictures and two slates are] 
 four. Two windows and two doors, etc., etc." " Now look^ 
 at the ninepins again, could I divide them in any other way ?l 
 think of the ' Babbits ! ' " " Two and one and one are four,' J 
 say the children. "But you must give me objects," sayJ 
 
 
NUMBER. 227 
 
 the Teacher. " Think of the orchard, or the farm-yard, and 
 what you see there, then look at the ninepins and tell me." 
 " Two apples and one plum and one pear are four, etc., etc." 
 Shells, etc. The children should now be allowed to have 
 shells, bricks, sticks or other objects, and lay number 
 pictures for themselves. The writer collected some thou- 
 sands of pretty little shells at Kildonan in the Isle of Arran 
 one summer, and procured a number of " chip " boxes from 
 the chemist at about twopence per dozen. In each box were 
 placed twenty shells, and one box was given to each child. 
 Suppose the number five to be the lesson, each child would 
 take five shells out of its box, and lay them on the desk, 
 thus : : : or : or : . : etc. The child should always 
 be able to describe what it has done, thus: the first child 
 would say four shells and one shell are five, the second 
 shree shells and two shells are five, and so on. 
 
228 
 
 NUMBER. 
 
 FIG. 126. 
 
 The Number table * shown above is very useful for demon- 
 strating the analysis of Numbers. Marbles are placed in 
 the holes as shown, and the children are able to handle the 
 marbles, which is a great advantage. 
 
 Higher numbers. The analysis of six, seven, eight and 
 nine may be taught with the table and marbles (Fig. 126), 
 each number being taken separately, and thoroughly mastered, 
 before proceeding to the next. The children should learn all 
 the different combinations of numbers that make six three 
 and three, five and one, four and two, three twos, etc. but 
 always with the objects, and when they have seen the number 
 analysed by the Teacher, they should do it for themselves 
 with shells, bricks or other objects. 
 
 The Ball-frame. This is a useful aid in teaching number 
 
 * See Appendix 18. 
 
NUMBER. 229 
 
 but the old-fashioned frame, with twelve in a row, should not 
 be used. There should be ten balls in a row, five of one 
 colour, and five of another. If there are three or four ball- 
 frames in a school, one might be left with twelve in a row to 
 teach analysis of a shilling later, and another might be 
 arranged in twos, that is, five twos in each row, each two 
 having its own colour. 
 
 The ball-frame can easily be altered by a joiner, and the 
 balls arranged in twos or fives as desired, but there should 
 be ten in a row for ordinary use, as ten is the basis number. 
 
 Suppose six to be the subject of the lesson, the Teacher 
 would show it on the ball-frame as three and three, and the 
 children would lay the same with their shells. Then the 
 other numbers making six would be shown, and the children 
 would lay each combination with their shells. When each 
 has been done several times, the Teacher might let the 
 children make "pictures " of six for themselves, without the 
 ball-frame, and ask them to tell individually how they 
 have made up their picture, as in the number five. 
 
 Number on Slates. If the children have learnt how to 
 handle the pencil, they may transfer the number-pictures 
 made with shells to their slates, using dots for " shells," 
 thus : : : : 
 
 Then another " picture" may be made with the shells 
 : : : and this is copied on the slate (chequered side) at some 
 distance from the other. Then another is made and copied, 
 and so on until the child sees on his slate all the combina- 
 tions of numbers that go to make six. He should be able 
 to read them all out, and because a child remembers what 
 he has done himself, it will be found that numbers taught 
 in this way are seldom forgotten. As the children become 
 more proficient, the two signs + and = may be taught, 
 + means and, = means are. Then they may put on their 
 slates : + :=:: and use these signs in the analysis of 
 other numbers. 
 
230 NUMBER. 
 
 Number Ten. This is the most important number of 
 all, and it should be thoroughly well taught. The Teacher 
 should show on the ball-frame or the table (Fig. 125) the 
 different analyses that can be made of ten, and the children 
 should lay these with shells or other apparatus again and 
 again. It is necessary to learn these perfectly, for how- 
 ever well any or all of the numbers may be learnt, they are 
 comparatively useless without ten. 
 
 Figures. When the figures are introduced they should 
 invariably be shown with the concrete numbers which 
 each figure represents'. Here are four balls : : I 
 will show you a figure that means those four balls, 
 4, and I will put the four balls beside it, thus : 4 : : 
 Then the children might draw a large square or 
 oblong on their slates, and combine the concrete 
 and abstract as shown. 
 
 Money. When the children know numbers up to ten, they 
 might play little "shopping" games with sixpence. Show 
 them a silver sixpence, and then the six pennies that are 
 equal to it, also the two threepenny pieces. A very nice 
 " shop " can be made by dividing a shallow box into several 
 compartments. In each of these, some commodity or other is 
 placed, flour in one, rice in another, and so on. Currants, 
 oatmeal, salt, and other things will be gladly brought by the 
 children from home at the Teacher's request. The goods are 
 tied up in little packets, and have the name marked outside, 
 so that each can be returned to its respective compartment 
 when the lesson is finished. 
 
 When the children have learnt w 7 hat sixpence is made up of, 
 viz., six pennies, or three twopences, or two threepences, the 
 play may begin. A little boy stands beside the " shop " ; 
 he is the " shopman," and holds the six pennies ready to 
 give change. A child has the sixpence given to it, and comes 
 to buy. 
 
 Customer : "Please, sir, I want a pound of rice ". 
 
NUMBER. 231 
 
 Shopman : " Here 'tis, ma'am ! Twopence is the price." 
 
 "How much change will the customer want?" asks the 
 Teacher. Many other purchases may be made, and the 
 actual value should be given to the articles as nearly as 
 possible, so that the children may gain correct ideas of their 
 cost. Halfpence should not be given until later. 
 
 Numbers above Ten. We will suppose that the children 
 know thoroughly the analysis of numbers to ten, and that 
 they are familiar with the figures which represent those 
 numbers. We may now proceed further, and analyse higher 
 numbers. Twelve is a good number to take, and if one ball- 
 frame has been kept with twelve on each row it will be found 
 useful here, or the table (Fig. 125) will answer the purpose. 
 
 The children will learn that twelve is made up of two 
 sixes or six twos, of four threes or three fours, of ten and two, 
 eight and four, etc., etc. All this prepares for the shilling, 
 and when twelve is thoroughly known, the "shop" should 
 be again introduced. It will be necessary to have all the 
 coins that make one shilling, except the halfpence, and these 
 should come later. The same " shop" may be used as be- 
 fore, or a "Bakery" with cakes and loaves made in the 
 " clay-modelling " lesson would answer our purpose equally 
 well. We should then have penny cakes, twelve for a 
 shilling, twopenny cakes, threepenny loaves, fourpenny loaves, 
 and sixpenny loaves, which the children would see were sold 
 six, four, three, and two for a shilling respectively. Let the 
 twelve pennies be placed, one on each penny cake, and then 
 show the six twopenny cakes with twopence on each, and the 
 four threepenny cakes with threepence, or a threepenny- 
 piece on each, the fourpenny and sixpenny cakes with their 
 respective values in money placed on them, and the children 
 will grasp by actual sight and experience what a score of 
 abstract lessons would not teach. Other questions will 
 suggest themselves ; e.g., we may buy two fourpenny 
 loaves, then we shall want fourpence change, for you know 
 
232 NUMBER. 
 
 there will be four pennies left out of the shilling. The 
 children will not remember all this with one lesson, they 
 will need to play the " Bakery " Game a great many times be- 
 fore their little minds can grasp all the different prices, and 
 these of course would not all be given in one lesson. The 
 sixpence and penny cakes would be sufficient for the first, then 
 these with the threepenny loaves added would make a second 
 lesson, and so on. 
 
 Number should be taught gradually. Number, of 
 all subjects, should be taught gradually, seeing that it is to 
 the brain what Physical Gymnastics are to the body. If the 
 limbs are exercised too much, they become useless, and if the 
 brain be used too much, it refuses to act. 
 
 Number from Twelve to Twenty. It is a great help 
 to count by twos to twenty, thus : two, four, six, eight, etc., 
 at the same time using the ball-frame, also by threes, fours, 
 and fives. This prepares the children for the analysis of 
 twenty later. They should also learn with ball-frame, ten 
 and three are thirteen, ten and four are fourteen, and so on 
 to twenty. When the children have seen twenty analysed on 
 the ball-frame repeatedly, they may have the boxes of shells 
 given to them and analyse it for themselves. Then these 
 analyses may, in turn, be copied by the children on their 
 slates. 
 
 Numeration. For teaching Numeration, there is nothing 
 better than Miss Wilson's Arithmetic Frame, * which is 
 shown here, Fig. 127. 
 
 * See Appendix 19. 
 
NUMBER. 
 
 233 
 
 FIG. 127. 
 
 The units or ones, as the children rightly prefer to call 
 them, are seen on the right. If we move the sliding band 
 so as to show figure 3, we put three marbles in the holes, 
 so that there can be no doubt in the child's mind as to what 
 the abstract three (3) signifies. Teacher says : " When we 
 come to this side, the left, you see a letter T, that means tens; 
 and every figure which is put on this side means so many 
 tens. I will slide the band so that you may see figure 1. 
 Will one marble do for this I ? No, I must have ten 
 marbles, for the 1 means ten ; here they are in a little bag. 
 
234 NUMBER. 
 
 Let us look in and see if there are really ten, then we will 
 hang the bag on the hook. (There are nine bag's with ten 
 marbles in each for the tens, and one with nine for the units.) 
 Now we have ten marbles in the bag, and three in the holes, 
 altogether making ' thirteen,' and you see how it has to be 
 written on your slate. Make T in one square and in the 
 next. Put three under the row for ones, and one under the 
 T." In this way notation to twenty should be taught, and the 
 children should not be allowed to write down any figure be- 
 tween ten and twenty without seeing its equivalent on the 
 Arithmetic Frame. When we come to twenty, two bags are 
 needed, for we know that two tens are twenty, and we must 
 slide the " Ones" band until we come to " 0," and that means 
 none. . Any number up to ninety-nine can be shown with the 
 frame. 
 
 Number for older Children. The analysis of twenty 
 will prepare for the learning of money up to a sovereign, and 
 here, as in the teaching of a shilling, everything should be 
 shown that goes to make one pound. Cardboard coins * may 
 be used. The two half-sovereigns, which the children will see 
 are smaller and thinner than the sovereign, how much each are 
 they worth ? ten shillings each, then the sovereign is worth 
 twenty shillings. You can easily tell the shilling, because it 
 has " One shilling " on it. Then there are the four crowns, 
 worth five shillings each, and the eight half-crowns, worth 
 two shillings and sixpence each. The four-shilling piece has 
 a cross on one side with four arms, you must think that 
 each arm means one shilling ; then the two- shilling piece or 
 florin is worth half of four shillings, so its four arms mean 
 only sixpence each. It would be well, even here, not to 
 separate concrete and abstract. If the children are too big to 
 play " shop," they could have twenty shilling caps, or ten; 
 caps at two shillings each, or eight at half a crown, and see 
 the coins laid on the caps in each case. Then questions, 
 * See Appendix 20. 
 
NUMBER. 235 
 
 such as these might follow : How many florin caps can be 
 bought for one pound ? How many jackets at five shillings 
 each, how many chairs at four shillings each, how many 
 overcoats at ten shillings each, for one pound? In each 
 case the coins should be placed on the articles, so that the 
 children may have clear ideas of the cost. 
 
 How to add to Twenty. Every number should first be 
 made up to ten, thus if we wish to add together eight and 
 seven, the ball-frame should be used to show that eight and 
 iwo are ten, and the five left make up fifteen. It will now be 
 seen why analysis of the number ten is so important. This 
 method of making up to ten may require a little more pains 
 ko make it quite clear to the children than the old way of 
 counting by units, but it is infinitely easier, and secures re- 
 sults far more correct when it is once thoroughly mastered. 
 Take, e.g., eleven and eight. How much easier to say eight 
 and one are nine, and ten more nineteen, than to say eleven 
 and go on to count eight more ! It is impossible to 
 adopt this method unless analysis of numbers to ten has 
 been thoroughly learnt, and it would be better for children 
 to know well the numbers to ten, and go no higher than this 
 in the Kindergarten or Infant School, than to enter the Upper 
 Departments with a confused notion of numbers up to one 
 hundred. Ten should be the basis of all our reckoning, and if 
 the children know ten, and the numbers which precede it, 
 they can soon be taught the rest. Little children should not 
 have " sums " given them to do on their slates, for " sums " 
 are made up of abstract figures, and children of tender years 
 cannot grasp the abstract. It only stunts their mental 
 growth to give them symbols without meaning. 
 
 If they understand what the figures really mean, the con- 
 crete expressions may be dropped in analysis on slates, and 
 the children may analyse with figures only, thus : 5 + 5 + 5 
 + 5 = 20, 8 + 2 + 5 + 5 = 20, and so on. It will be seen how 
 readily the children may pass from this to the adding of 
 
236 NUMBER. 
 
 columns of figures. " Here," says the Teacher, " we 
 have figures under each other, and it means just the 
 same as if they were written all in a line with ' and ' 
 between, thus : 6 + 2 + 4 + 3 = , so you must just say g 
 and between each of these figures in the column, and Q 
 write the total underneath." 
 
 Further illustrations of Division of Numbers. The 
 children will already know something about Dividing numbers 
 from learning that one shilling could be divided into six 
 twos, etc. The way in which one pound was divided would 
 also help them to understand more clearly the same principle. 
 
 To teach Division further, say of twelve, bring out twelve 
 boys, let them be soldiers and march first all abreast. 
 
 How many rows of soldiers, marching twelve abreast, can 
 be formed from twelve ? Only one. But suppose we have six 
 abreast ? There would be two rows. Why ? Because there 
 are two sixes in twelve. Then let them march four abreast, 
 three abreast, two abreast. They might also march five 
 abreast to show that there are two fives in twelve, and two over. 
 
 Then questions such as these : Six feet, how many boys ? 
 first letting them see the feet. Twelve hands, how many boys ? 
 eight horns, how many cows ? etc. 
 
 In learning the multiplication table, the children should 
 first see it with objects. Let them see the five twos that 
 make ten shown on different rows on the ball-frame, and 
 when they write it, they should at first put the five twos 
 thus : 2 + 2 + 2 + 2 + 2 = 10, before proceeding to the ordinary 
 signs, 5x2 = 10. 
 
 To make variety, a figure learnt in 
 Drawing might be used, say for multi- 
 plying by four, thus : 
 
 Number to One Hundred. When 
 the children are conversant with num- 
 bers up to ten, it is very easy to teach 
 them one hundred. 
 
 16 
 
NUMBEE. 237 
 
 Show four balls (one on a row) with the ball-frame. 
 " What do you see?" "We see four balls." Put the four 
 balls back. Bring out four tens. Now you see, not four ones, 
 but four tens, and instead of saying four tens, we say four-ty, 
 or for-ty. 
 
 Then show six tens, six-ty, eight tens, eight-y, and so on. 
 Now if I asked you, "How many are four and four?" you 
 would say " eight " directly, and it is just as easy to add four 
 tens and four tens as to add four and four. Show four 
 tens and four tens, with a space between, the children 
 will soon see that 40 + 40 - 80. 
 
 When the children understand one hundred with the 
 ball-frame, they will soon be able to do notation of figures to 
 one hundred. 
 
238 
 
 CHAPTEE XXX. 
 FORM AND COLOUR. 
 
 THE Gifts and Occupations afford material for endless 
 illustrations, both of form and colour, as is shown in the 
 chapters on these subjects, and where the Kindergarten Gifts, 
 etc., are largely taught separate lessons in Form and Colour 
 need not be given ; but as very few teachers take more than 
 a small proportion of the Gifts, etc., the following notes may 
 prove acceptable. 
 
 In many schools a lesson is given on Form and Colour at 
 least once a week. The different forms are kept in a box, 
 in which there are also squares of cardboard, showing the 
 various colours. This apparatus should however be amply 
 extended. Pieces of silk or coloured paper should be kept 
 in another box, and coloured wools wound on pieces of 
 cardboard show the colours nicely. Whenever possible, the 
 Kindergarten Gifts should be used to illustrate. 
 
 The object of the lesson. 
 
 The object of the lesson is not simply to teach the shape 
 or colour of one particular piece of wood, or cardboard, but 
 to enable the child to distinguish the same shape or colour 
 whenever it sees an example of it. Thus the child is helped 
 to observe and compare, and its interest in life is strengthened, 
 as it learns with joy to find out things for itself. 
 
 A little two-year-old child strayed one morning into a 
 Kindergarten, and heard the teacher talking to a class of 
 children about "oblong" shape. In the afternoon, as the 
 little child was playing on the hearth at home, he spied the 
 coal box with its shining blocks, and going up to it, he picked 
 
FORM AND COLOUR. 239 
 
 out a piece of coal of a perfect oblong shape, and carrying it 
 to his mother exclaimed joyfully, " Dis oblong, mamma ". 
 This shows that the lesson had achieved its object, for even 
 the youngest child knew the shape when he saw it again. 
 
 FORM. 
 
 The Circle, or round, is the first form to be taught, and 
 it should be illustrated by numerous examples, such as a 
 plate, a round cake, coins, etc. ; all these things should be 
 shown to the children, also the toy pail, coffee-pot, and 
 watering can, p. 251, all of which show the round shape. 
 Then the circle may be compared with the ball, and the 
 children are asked : " What things are round like the ball ? " 
 "Orange, apple, etc." "And what things are round like a 
 circle? " "A penny, a shilling, etc." " What has the circle 
 that the ball has not? " " The circle has two flat faces, and 
 the ball has only one round face." 
 
 The Square is somewhat familiar to the child, who has 
 noticed the squares on his slate, and on the chequered table. 
 It has four sides all the same length, this fact may be taught 
 thus : Take a long stick such as is used for stick-laying. 
 Teacher says : " I will measure the sides of the square. 
 Johnnie shall hold it for me " (measure the top edge, and cut 
 off a piece of stick just the length). Show it to the children, 
 and say : " This stick is just as long as the top edge of the 
 square. I will give it to Mary to hold. Now we will 
 measure the bottom edge " (again cut the length). " This is 
 the length of it " (holding up the stick). The right and left 
 sides are measured in the same way, and the child now 
 holds four sticks. Let the children count how many sticks 
 there are, and notice also that all four measure exactly the 
 same, and then they will see that the square has four sides 
 all the same length. Then ask for objects of this shape. 
 
 The Oblong is measured in the same way as the square, 
 and the sticks are cut the lengths of its sides. The 
 
240 FORM AND COLOUR. 
 
 children then see that the sticks cut to represent the sides ol 
 the oblong are not all of the same length, but that two are 
 short, and two longer, so the oblong must have two lone 
 sides and two short sides. Let a child point to the two long 
 sides, and another to the short ones. Then the children are 
 asked to name all the things they can see that are oblong ir> 
 shape, such as the table, door, window. They may alsc 
 name objects at home dresser, piano, bed, and many othei 
 things. 
 
 These shapes may be further illustrated in Stick-laying, 
 and other Kindergarten Gifts. 
 
 The square has four sides 
 All measuring the same ; 
 
 The oblong two short and 
 Two long sides can claim. 
 
 The Oval is frequently taught after the circle, but as the 
 difference between square and oblong is more marked tharj 
 the difference between circle and oval, the former com- 
 parison if taken first may help the child to understand the 
 latter. Take a square out of the Form box and draw a circle 
 on it, then take the oblong and draw an oval shape upon it, 
 Ask the children, " How is this shape different from the round 
 shape on the square ? " " It is longer." " Why ? " " Because 
 the oblong is longer." Now 7 show the oval from the Form 
 box with the round or circle. "How is the oval different 
 from the round ? " " It is longer. " " What things do you know 
 that are shaped like the oval?" " An egg, a basket, a bath, a 
 dish, etc." 
 
 The Sphere, Cylinder, Cube, Cone and Pyramid 
 are solid figures. The cylinder can be made from the sphere, 
 the cone from the cylinder and the pyramid from the cube, 
 The three former are compared in the chapter on Gift II. 
 
 The pyramid points upward, so, 
 
 But it is square and flat below : 
 
 The cone is pointed, too, and round ; 
 
 A sugar loaf like it is found, 
 
FORM AND COLOUR. 241 
 
 The children soon learn the difference between the Cone 
 and Pyramid, and if they are allowed to make all these solid 
 figures in clay they will remember them more easily. 
 
 1. The oval shape is like an egg, 
 The circle's round as all can tell, 
 The sphere is round, just like a ball, 
 The cylinder you know quite well ; 
 
 2. We roll it gently on the ground, 
 For it is very smooth and round ; 
 It has two faces flat, you see, 
 
 And stands, as well as rolls for me. 
 
 3. The cube has six square faces, flat, 
 And corners eight, just think of that ! 
 And edges twelve, three fours you know, 
 Which round the faces always go. 
 
 The Pentagon, Hexagon, Octagon and other similar forms 
 biould be learnt by drawing them on the chequered slates, 
 'hese figures introduce the obtuse angle, and before the chil- 
 ren learn the shapes, they should understand clearly the 
 ifference between the right, acute, and obtuse angles. This is 
 10 wn in the chapter on Gift V., p. 67. The hexagon and octa- 
 on can be combined so as to make pretty designs which may 
 
 > used for perforating and embroidery. See Fig. 84, p. 142. 
 
 The " Forms " may be further impressed on the mind of 
 le child by means of a Story; see the one given after 
 Colour," at end of this chapter. 
 
 COLOUE. 
 
 Colour should be taught, not from the coloured cards, 
 ut from objects and pictures. The six colours shown in 
 ift I. are the first to be learnt ; these can be illustrated 
 fruits, as an orange, a rosy apple, a purple plum, a red 
 lerry. The children's dresses, their eyes and hair, can all 
 3 brought into a lesson on colour. In spring and summer, 
 )wers make charming illustrations, e.g., different colours 
 
 16 
 
242 FORM AND COLOUR. 
 
 seen in roses, and the autumn-tinted leaves can be use( 
 likewise. 
 
 Then there are colours in pictures, trees, etc., besides th 
 coloured wools, beads, tablets, etc., used in the Kindergartei 
 Occupations. 
 
 Ask for flowers and fruits of certain colours, e.g., wha 
 flower is yellow? What fruit is red? etc., also colours c 
 birds and animals, and let the children say what colour 
 look nice together. In summer this may be shown b 
 arranging a number of flowers in a bouquet. 
 
 In the flowers themselves colours always harmonise, e.g 
 forget-me-not is blue, and has a yellow centre, because blu 
 and yellow look pretty together. 
 
 Spring flowers are mostly yellow, and have pale gree: 
 leaves, for green and yellow look pretty together. 
 
 The red poppy and blue cornflower look pretty amon 
 the yellow corn, and there are yellow flowers among th 
 corn also. 
 
 Harmony of colour may be further illustrated by th 
 dressing of a doll, or a story of a little girl who was taken t 
 the shop by her mamma. The little girl was to have a ne^ 
 dress, cloak, and hood ; what colours would her mamm 
 choose ? 
 
 Secondary Colours. Teach that red, blue and yellow 
 are the first or primary colours, from which other colours ma 
 be made. A child's box of paints and six small tumbler 
 (which may be bought at one penny each) are required fc 
 the following illustration. Pour a little water into eac 
 tumbler, and mix a little red paint in one, a little blue in th 
 next, and a little yellow in the third. These are the primar 
 colours. Let us see what can be made by mixing two c 
 them together. Take an empty tumbler. Pour in a littj 
 blue water and a little yellow. Mix together and the childre 
 will see that green is produced. Now take another tumbld 
 and mix blue and red in it ; this makes purple. In anothe 
 
FORM AND COLOUR. 243 
 
 tumbler show that red and yellow make orange. " What 
 beautiful thing have you seen in the sky showing all these 
 colours ? " "A Rainbow." 
 
 This is a most interesting lesson, and if the tumblers, etc., 
 are not obtainable, the same experiment may be shown on a 
 piece of white cardboard. Paint the colours in stripes on 
 the cardboard, first the three primary, which should be 
 allowed to stand ; then the secondary are produced by 
 rubbing one colour over another, e.g., paint over the red 
 with blue, and purple is produced. Over the blue stripe 
 paint a little yellow, and we have green. Over the yellow 
 stripe paint red, and orange is seen. 
 
 The primary colours are Ked, Yellow, Blue, 
 The Bed and Blue mixed will show Purple to you ; 
 Mix Yellow and Blue if you wish to make Green, 
 Mix Yellow and Red, then bright Orange is seen. 
 
 Story. 
 
 After the forms and colours have been learnt, they may be 
 voven into an interesting story, thus : " A man had a large 
 iece of land to make into a garden ; he gave a piece to 
 ach of his children, and said they might make small beds 
 f any shape that they liked. So Johnnie made a round 
 >ed " (draw shape on board, and let children copy on slate), 
 ; and Willie had a square bed ; Mary said her bed should be 
 blong, and Nellie made hers oval " (draw each on board, 
 ,nd let the children copy). " Then Gerty wanted hers to be 
 he shape of a semicircle, and Harry said his should be very 
 iretty, for he would make it crescent shape, like the moon." 
 When the blackboard is full of shapes the Teacher might 
 ay : " Now you would like to know what these children 
 lad growing in their beds. Johnnie had a pink rose-bush in 
 he middle of his bed." (Perhaps some child has sewn a 
 ink rose in the embroidery lesson, and if so, this might 
 >e pinned in the centre of the circle on the blackboard.) 
 
244 
 
 FORM AND COLOUR. 
 
 "Willie sowed red Poppy seeds in rows in his square bed, 
 and Mary had a yellow Iris in the centre of hers, with 
 blue Forget-me-nots all round. You remember that blue 
 and yellow look pretty together." 
 
 Whenever possible, pin the flower named on the shape 
 representing the flower bed. 
 
 The story should be continued until all the "beds" havei 
 flowers in them. The children may be allowed to suggest! 
 names of flowers and should be encouraged to choose colours] 
 that will harmonise. 
 
245 
 
 CHAPTEK XXXI. 
 
 NATUEAL HISTOKY AND OBJECT LESSONS. 
 
 N a school where Frobel's principles are taught, the love of 
 nimals is inculcated from the child's earliest years. The 
 animals introduced into the various Kindergarten Games, 
 nd impersonated by the child, give it an interest in, and a 
 ove for its "little brothers and sisters lower down," and if 
 his love of animals has been further cultivated by the tend- 
 ng of pets, as mentioned in Chapter I. the child will be quite 
 eady to receive further knowledge about a subject in which 
 
 is already much interested. 
 
 Aim of Lesson. The aim of the lesson is to deepen 
 he child's interest, to rouse its desire to investigate for itself, 
 nd to make the study of animal life attractive. In this way 
 ;s love for all living creatures will be strengthened. 
 
 Points to be considered. In giving a lesson on any 
 nimal, the Teacher should be careful to select the chief 
 joints of interest in the particular animal. 
 
 An inspector was one day listening to a junior teacher, 
 vho was giving a lesson on the " Cow ". He remarked to 
 he head mistress that he had several times listened to 
 essons given on this subject, but never once had he heard 
 
 teacher tell the children that the cow had no teeth on the 
 op row at the front. The mistress admitted that she her- 
 elf was ignorant of this peculiarity, and yet it is one of 
 he features which distinguish the cow and its companion 
 uminants from all other animals. Some teachers will 
 
246 NATURAL HISTORY AND OBJECT LESSONS. 
 
 spend a whole lesson in teaching the children that the co\\ 
 has four legs and a long tail ; that it is covered with hair, etc. 
 forgetting that all these facts are patent to the chile 
 from its own unaided observation. If we want to rouse its 
 interest we must go further afield. Let the child learn the 
 points which are characteristic of the animal, and by which 
 it may be distinguished from other animals. Suppose the 
 subject of the lesson to be the cow, the Teacher should have 
 a good picture of the animal, or better still a model. Aftei 
 referring to its horns, which are a peculiarity of this class, 
 and other details that are readily perceived, she would say 
 " If the cow could open its mouth and let you look inside 
 you would see that its teeth are not like yours, for it has no 
 front teeth on the top row ". (Explain to the children thai 
 as the cow eats only vegetables, two rows of sharp teeth are 
 not needed, but it wants very good grinders, because i1 
 chews its food so much.) 
 
 The cow has some brothers and sisters (other ruminants] 
 that have just the same kind of teeth ; we shall learn theii 
 names by-and-by. Next we will look at the cow's feet. The 
 Teacher should show the children a cloven foot if possible. 
 
 It is only by seeing the real foot that the children learc 
 that it is divided into two parts, or cloven. We have noTfl 
 learnt three things about the cow. 
 
 1st. It has horns. 
 
 2nd. It has no teeth in front, on the top row. 
 
 3rd. It has cloven feet. 
 
 " Have you ever seen a cow lying down in the field, and 
 moving its jaws, as if it were eating ? It is chewing its cud 
 The cow bites off a lot of grass, and swallows it ; then ii 
 lies down, brings the grass up into its mouth, and chews it.1 
 We have now learnt four peculiarities of the cow, thes4 
 should be written on the blackboard, and then the childred 
 might be asked for the names of other animals of the co^S 
 family the stag, the sheep, the goat would be named. 
 
 
NATURAL HISTORY AND OBJECT LESSONS. 247 
 
 The writer once heard a model lesson given by a very 
 clever student of Natural History (who is also an Exten- 
 sion Lecturer, Victoria University) before a number of 
 teachers and others. The subject of the lesson was the Cat, 
 and the Teacher had a fine large cat in a basket ; she had 
 also a lantern apparatus, and a home-made model of the 
 cat's paw. Nearly the whole time of the lesson was spent 
 in teaching and illustrating two facts, but these were so well 
 taught that neither the children nor the adults who heard 
 them will ever be likely to forget. 1st. The children were 
 asked to look at pussy's eyes, and to notice the size of the 
 pupils. Then the cat was taken into a dark room for a 
 little while, and when it was brought out, its head was 
 covered, so that the children might see its eyes just as they 
 were in the dark room, where the pupils expanded. " Now," 
 said the Teacher, "you know why the cat can catch mice 
 in the dark. Look at her eyes ! " Illustrations of the 
 expanded pupil were thrown on the canvas, where the eye 
 was seen greatly enlarged. 2nd. The next point was the 
 cat's paw. A child was asked to feel it. " How soft and 
 velvety it is!" "But what can pussy do? something that 
 would make you afraid to take hold of the paw." " It can 
 put out some claws." The Teacher then showed, by means 
 of the model, how the cat draws in its claws, or puts them 
 out at will. This was further illustrated by lantern slides. 
 The Teacher spoke also of the cat's "near relations" as she 
 called them, the tiger, the lion, the leopard, and jaguar. 
 Another lesson might be devoted to other striking character- 
 istics of this family, their sharp teeth, rough tongues, and 
 their liking for flesh. The children would be interested to 
 know that all these animals walk on tip-toe and that they 
 are called beasts of prey, and hunt for their food. 
 
 Gnawing Animals. This class of animals is very inter- 
 esting to the children, because they are often kept as pets. 
 The squirrel, hare, rabbit, mouse and rat belong to this family. 
 
248 NATURAL HISTORY AND OBJECT LESSONS. 
 
 1st. They all have two sharp front teeth at the top, and 
 two at the bottom. These teeth are so hard and sharp that 
 they will bite such things as wood. 
 
 2nd. They are all of a timid nature and like to hide away 
 (refer to their homes). 
 
 3rd. They all eat vegetables. 
 
 4th. They are all covered with soft, warm fur. 
 
 Every lesson should be accompanied by blackboard sketches. 
 A Teacher who was giving the "Babbit " as a Natural History 
 Lesson had prepared beforehand a sketch of this animal on 
 the blackboard. She had drawn also a rough representation 
 of its burrow, with a " baby " rabbit just coming out, which 
 delighted the children exceedingly. Another Teacher sketched 
 a pond with rushes to illustrate the home of the frog, which 
 was seen lying on the bank. A lesson thus illustrated can- 
 not fail to leave a vivid impression on the child's mind, and 
 to fix what is taught in his memory. 
 
 Object Lessons. 
 
 Object Lessons, so called, are not given as part of the 
 routine in a Kindergarten proper, because every subject is 
 treated as an Object Lesson. But as Object Lessons do form 
 a separate subject in many schools, it is necessary to devote 
 a few pages to the subject. 
 
 Aim of the Lessons. The aim of the lesson should be 
 to impart to the child so much knowledge of everyday 
 common objects, that it will be interested in everything 
 around it. The things nearest at hand should come first, 
 and the Teacher should try to give the children intelligent 
 ideas about everything, and thus to help the growth of 
 Intelligence. Let the children learn to define each object 
 that they see, e.g., " What is a chair? " - " It is something to 
 sit upon . " " What is a table ? " " It is something to put things 
 on." " What is a slate ? " " It is something to write upon." 
 
NATUBAL HISTORY AND OBJECT LESSONS. 249 
 
 " What is a pencil ? What is a shoe ? " " It is something to 
 wear." " What is bread ? " " It is something to eat ? " Such 
 questions as these should be asked every day. Then the 
 children will be ready to learn a little more about these 
 everyday objects. It is not necessary to give a whole 
 lesson to each subject, but the children should know that 
 the slate on which they write is dug out of the ground, 
 that the frame has once been part of a tree, and that the 
 pencil is made of a soft kind of slate. The bricks in the 
 wall are made of clay, which also comes out of the ground. 
 In time the children will learn also that all the things we 
 eat are called foods, and instead of saying that bread is 
 something to eat, they can say, bread is food. They should 
 also know what their clothes are made of some are made 
 of wool, that comes from the sheep ; some of cotton, which 
 grows on a plant; and boots, etc., of leather, which is made 
 from the skins of animals. 
 
 A school manager once asked an inspector what he would 
 consider an intelligently taught school, and the latter replied, 
 
 A school where the children would be able to define a 
 common object and tell something about it ". Heterogeneous 
 lists of Object Lessons should be avoided, and such subjects 
 should be chosen as can be further illustrated in Kinder- 
 garten Gifts and other lessons. See the " Table of Con- 
 nective Lessons " at the end of Chapter II. Description 
 of a Kindergarten. 
 
 Many of the conversations which introduce the various 
 Kindergarten Gifts are Object Lessons, e.g., the talk about 
 the "Tree" which precedes "Stick-laying"; the conversa- 
 tion on " Iron " in " Eing-laying " ; the " Cotton " that is 
 used for " Thread-laying," and many other subjects, which 
 will be found in the chapters on the Gifts and Occupations. 
 An Object Lesson that is connected with the various Gifts and 
 Occupations has an infinitely greater educational value than 
 a lesson that stands isolated from other subjects ; and the 
 
250 NATURAL HISTORY AND OBJECT LESSONS. 
 
 Teacher who has learnt how to illustrate Object Teaching 
 thus, has grasped Frobel's idea of connectedness. In an 
 Exhibition of Kindergarten work, done by children in the 
 Infant Schools of a provincial School Board, some very good 
 examples of connective lessons were shown. To illustrate 
 a lesson on the " Potato," the children had : 
 
 1. Modelled the Potato in clay. 
 
 2. The Potato plant had been " perforated ". 
 
 3. The " Sacks " had been drawn, perforated, and stitched. 
 
 4. The " Cart " was drawn and coloured, also the Potato. 
 
 5. The implements for gathering and weighing the Potatoes 
 were drawn, while 
 
 6. Paperfolding illustrated the Cruet, Salt-cellar and 
 Table-cloth. 
 
 Would the children be likely ever to forget a lesson that 
 had so many delightful connections ! Then there are the 
 Kindergarten Games to be added, and other subjects, some 
 of which are show T n in the " Table of Lessons " referred to 
 before. 
 
251 
 
 CHAPTEE XXXII. 
 
 SIMPLE OBJECT LESSONS FOB BABIES. 
 
 FIG. 128. 
 
 THE articles shown in the above sketch may be used as 
 object lessons for very little children with great advantage ; 
 they are made of tin, and can be obtained * at a very small 
 cost. Toys are always interesting to children, and a toy 
 kettle or tea-pot enlists the attention much more readily 
 than would the same article in an ordinary size. 
 
 The following conversational sketches will give some idea 
 of the way in which these toys may be used. 
 
 Pail. Suppose the Pail to be the subject of the lesson, the 
 Teacher would ask, "What is this? What is it used for? 
 What have you seen put in a pail? What shape is the 
 * See Appendix 21. 
 
252 SIMPLE OBJECT LESSONS FOB BABIES. 
 
 pail ? What other things are round ? " etc. Then the different 
 parts may be mentioned the handle, the rim, the bottom. 
 " What other things have handles ? What is the pail made of ? 
 What other things are made of tin ? Where does tin come 
 from ? " 
 
 Kettle. The kettle would be talked about in the same 
 way, and then compared with the pail. " We put different 
 kinds of things in the pail, in the kettle we put water only. 
 What has the kettle that the pail has not?" "It has a lid." 
 " Why? And it has a spout. What is that for ? " 
 
 Teapot. Proceed as with the pail, and then compare. 
 ' ' What has the Teapot that the kettle has ? " "It has a spout. ' ' 
 " What have you seen coming out of the spout of the teapot, 
 and what from the spout of the kettle? The teapot has 
 something else like the kettle it has a lid. What is the lid 
 for ? " " It is to keep the tea warm, and to keep the dust out." 
 " Now there is something about the teapot that is different 
 from the pail and kettle. What is it? " " It is the handle, 
 which is at the side of the teapot instead of on the top." 
 
 The Coffeepot is similar to the teapot. 
 
 Watering Can. In this object we have increased scope 
 for comparison ; the watering can has a " rose " in addition to 
 its spout, and here the child sees both kinds of handles on 
 the same object. " Why does the watering can have two 
 handles? " " One is for carrying, the other for pouring." 
 
 Bath. This object is a complete contrast to the others. 
 It has no handle or spout, and the shape is different. 
 
 All the objects may be put in various positions, as was the 
 ball of Gift I., and in answer to the question, " Where is the 
 kettle ? " the children reply, " The kettle is on the table, on 
 the floor," etc. In this, as in all the conversations, the 
 children should always answer in complete sentences. 
 
 The following game is taken from " Guessing Games " * by 
 permission. 
 
 * See Appendix 3. 
 
SIMPLE OBJECT LESSONS FOR BABIES. 253 
 
 The class forms a ring, and one child, standing in the 
 centre, is blindfolded ; or the class may be seated, and the 
 blindfolded child may stand in front. One of the objects is 
 then given to the child, who must try to tell the name by 
 feeling it, while the children repeat : 
 
 There's an object you know well, 
 From its shape the name you'll tell. 
 
 This exercise strengthens the memory, and develops the 
 sense of touch ; the child should be asked how he knew the 
 object, and the answer should be given before the eyes are 
 uncovered. 
 
 Furniture. A set of doll's furniture may be made the 
 means of imparting much valuable information in a pleasant 
 and attractive way. The different kinds of chairs armchair, 
 rocking-chair, and ordinary chairs are compared and talked 
 about. " What other kinds of chairs are there ? " " Basket, 
 bedroom, kitchen, and garden chairs, a baby's chair, teacher's, 
 father's and mother's chairs, folding-chairs, bath chairs," 
 etc. 
 
 The Couch. Compare this with the chair. "How is it 
 different ? What is the couch for ? " " It is to lie or sit on." 
 " What is the chair for ? " "To sit on." " What other things 
 can we lie upon besides the couch? " 
 
 The Table. " What is a table ? What is it for ? Who 
 made it? What does it stand upon? Could it stand on 
 anything instead of the four legs?" Some of the children 
 will probably have seen tables with a pillar in the centre, or 
 round tables with three legs. "What shape is this table? 
 What other shapes have you seen ? " " Eound, oval, square, 
 oblong, octagon shape," etc. 
 
 The Bed. The children may learn many things from 
 the bed. First name the parts head, foot and sides, then 
 the mattress, bedding, pillows, sheets, blankets and quilt, 
 and what all these are made of. " Two little Maids," in 
 
254 SIMPLE OBJECT LESSONS FOB BABIES. 
 
 Recitations for Infants* may be recited in connection with 
 this lesson. Two dolls are needed with clothes that can be 
 taken off. Two little girls take possession of a doll each. 
 The first doll represents a careless, little girl, and as the 
 recitation proceeds, the doll is undressed, and its clothes are 
 tossed about just as described in the rhymes and then the 
 doll is put to bed. The second doll is also undressed, and 
 now each garment is neatly folded, and placed on a chair as 
 described by the verses ; and then this doll is put to bed. 
 Besides making the lesson more interesting, this practical 
 demonstration of the careless child and the tidy one im- 
 presses the children as no abstract lesson possibly could. 
 
 * See Appendix 22. 
 
255 
 
 CHAPTEK XXXIII. 
 PICTURE LESSONS. 
 
 PICTURES should adorn the walls of every Infant School and 
 Kindergarten. There is nothing that adds so much to the 
 cheerfulness of a room as bright, pretty pictures hanging 
 on the walls, and of all the places that should be made 
 bright, the schoolroom is one of the first in importance. 
 Many beautiful coloured pictures have been published with 
 the Christmas numbers of various magazines. Those which 
 have children as the subject are, perhaps, the most interest- 
 ing, but there are many others that are suitable also. 
 Besides brightening the room, pictures are invaluable as 
 lessons for developing the children's intelligence, and making 
 them interested in their surroundings. They are also 
 excellent as a means of teaching children to speak in 
 complete sentences, and they make a delightful lesson for 
 the very youngest, as well as for older children. Those 
 pictures that show people doing something are the most to 
 be desired. 
 
 Blowing Bubbles. This picture is chosen as illustra- 
 tion because it has been so widely circulated, and is there- 
 fore well known. 
 
 I. What we can see on the picture. The figures and 
 objects to be seen on a picture will first engage the child's 
 attention, and the Teacher therefore asks first, " What do you 
 see on this picture ? " The children will answer, " I see a boy, 
 a basin, a pipe, a log," etc. 
 
256 PICTURE LESSONS. 
 
 We do not stop to ask full particulars of these objects just 
 now, for the most interesting thing to the children is 
 
 2. What is being done. "What is the boy doing?" "He is 
 blowing bubbles." "What does he blow them with?" "He has 
 a pipe." " What will there be in the basin ? Why does thej 
 boy look up? " " He is watching the bubble until it bursts." 
 "Perhaps he is sorry to see it burst. Why should he be 
 sorry?" "Because it is so pretty." The Teacher would probably 
 let the children see how bubbles are blown in reality, and; 
 they would then notice the pretty colours which each shows, 
 and would probably remember that the colours of the rain- 
 bow are the same as those seen in the bubble. When the 
 doing has been exhausted the children will be glad to notice 
 other details of the picture. 
 
 3. Other details. " Where is the boy? What is he sitting 
 upon? What kind of coat has he? What is the basin 
 made of ? Why does the boy have a basin made of wood ? 
 What else might the basin be made of ? " 
 
 The answers to all these questions must be given in 
 complete sentences. 
 
 The above little sketch of a picture lesson will be sufficient 
 to indicate how the conversation should be continued. As 
 we said before, this is a subject that offers a wide field for 
 developing the child's power of intelligence, and giving him 
 information on a variety of subjects. Take, e.g., a picture of 
 some water, and maybe a boat with people in it, on thei 
 water. The Teacher, after taking the doing part of the! 
 picture spoken of in the previous lesson, asks, " What kind of 
 boat is this ? " (It may be a rowing boat.) " How do they 
 make it go ? " " They row with oars." " What other kind of j 
 boat do you know ? " " There are steamers," say the children. 
 "What makes them go?" "They have a steam engine." 
 " What else is made to go by steam ? " "A train, machinery," 
 etc. " What other kind of boat do you know of ? " " There is 
 the sailing boat." " What makes that go? " "The wind makes 
 
PICTURE LESSONS. 257 
 
 it go." "How?" "It fills the sails." "There are also 
 canoes, yachts, lifeboats, etc." 
 
 Then the water may be talked about in the same way, 
 'perhaps the boat is on a river). The Teacher will ask, " On 
 what other water might the boat sail." " It could sail on a lake, 
 pond, sea, etc." " How is the sea different from the other 
 water? " This is enough to show how various and extensive 
 .s the ground covered by a good picture lesson. Sometimes 
 t is possible to find a recitation or a song that will illustrate 
 ;he picture nicely. The recitation "Blowing Bubbles," 
 p. 267, might appropriately be used with the picture of the 
 same name. 
 
 17 
 
258 
 
 CHAPTER XXXIV. 
 
 STORIES. 
 
 STORIES are the "spice" of childhood. The eager delight 
 with which children beg for a story, and listen while it is 
 told, is in itself a plea for stories, and if the school routine 
 does not admit of a certain time being set apart for story- 
 telling, five or ten minutes between lessons might some- 
 times be utilised for this pleasant exercise. But there areji 
 many reasons why stories should form part of every Infant 
 School and Kindergarten curriculum. 
 
 I. Use of Stories. a. In the first place, story-telling may 
 be made the means of helping the children to acquire familiarity i 
 with good English. We all know how limited is the child's i 
 vocabulary, and how difficult it is for a child to express hisi 
 thoughts. Sometimes when a fact is perfectly well known, 
 the language is wanting in which he can express it. 
 
 b. The child's sympathy may be cultivated and developed! 
 by means of stories. He becomes intensely interested ill 
 the subject of the story, and for the time being almost 
 lives the incident over again in his own little life. A very 
 little child was one day listening to a story about " A laz j 
 boy who missed a school picnic because he was so slow in 
 getting ready. The school children were all on board thl 
 steamer, the bell rang, the moorings were loosed, and away 
 went the boat just as the late little boy came running down) 
 to the pier." The little listener followed the story intentll 
 up to this point, and then burst out, " Oh ! Auntie, couldn'f 
 
 
STORIES. 259 
 
 they get a little rowing-boat and take him out to the 
 steamer? I don't like him to be left behind." Stories, then, 
 enlist the sympathy of the child. 
 
 c. Story-telling strengthens the child's power of imagina- 
 tion. Let us be careful to develop the imagination in a 
 right direction, and not to feed it with anything coarse or 
 cruel. This will be again referred to later. 
 
 d. The stories offer opportunity for inculcating moral 
 truths, as will be seen subsequently, and sometimes it is 
 possible to teach by stories truths that would be difficult to 
 teach in any other way. The following instance illustrates 
 what is meant. 
 
 A governess, who had three or four little children under 
 her care, found one of them, a little girl named Olive, 
 particularly disobedient and tiresome. No amount of talk- 
 ng seemed to have any effect, and the governess was puzzled 
 o know what to do. One morning, however, as little Olive 
 tfas being dressed, she begged for a story, and the governess 
 old one about the doings of a naughty child, which Olive 
 quickly recognised as her own actions of the previous day. 
 \fter this her behaviour was a little better, and the next morn- 
 ng she asked, " Will you tell some more about the little girl, 
 please? " This time the story was a little more hopeful, and 
 jo it went on day after day, until it came to pass that a good, 
 bedient child was the subject of the story, instead of the 
 laughty, disobedient one. The governess told the writer this 
 ncident herself, and said that the child was transformed by 
 neans of these simple recitals, where she saw herself in a 
 lifferent light, and realised that her conduct caused un- 
 lappiness to others. 
 
 Another instance might be given of a little boy, who had 
 violent temper, and would throw himself on the floor in a 
 mssion when his will was crossed. One day in his cooler 
 moments the Teacher told him a story of a little boy who 
 grew up with a bad temper, and became a wicked man, and 
 
260 STOKIES. 
 
 at last lost his life through his cruelty. The story mad 
 such an impression on the passionate child, that from tha 
 day forward he tried to control his temper, and was in th 
 end quite successful. 
 
 2. Kinds of Stories. (a) Stories of real life of event 
 which have actually happened, or would be likely to happer 
 It is in this kind of story that moral truths can be illustrate^ 
 most frequently. 
 
 (b) Fairy Tales. Some people object to fairy tales, bu 
 innocent fairy tales feed the imagination, and often point 
 moral. Stories of horror and cruelty should never b 
 recounted. Children soon learn to take delight in this clas 
 of story, and as a consequence, their moral tone deteriorates 
 Such stories as " Bluebeard " have this effect, but " Cinder 
 ella," " Sleeping Beauty," and many others, show that right i 
 victorious in the end, and cannot have any bad effect on th 
 children. The writer remembers the fascination with whicl 
 the children listened for the first time to the fairy tale of " 1 
 dog, a cat and a fox," which was afterwards written in simpL 
 language and published * as a reading-book for children. Hov 
 closely they followed the fortunes of the poor dog, who at firs 
 met with such adverse fortune, and how their little faces bright 
 ened when he was once more released, and when in the end th< 
 scheming fox was outwitted. The children always want th< 
 right to triumph, and this attitude of feeling is worth carefu 
 cultivation. 
 
 (c) Stories of Nature. Flowers, rocks, trees, and othe 
 objects in nature may be made the subject of pleasan 
 stories, interesting as a fairy tale, and many important truth 
 may be taught in this way. A story of the kind is givei 
 as an example. 
 
 Story of an Oak Tree. " One day a little girl namec 
 Marian went out with her mother to walk in the park. The; 
 
 * See Appendix 23. 
 
STORIES. 261 
 
 saw a great many trees, and flowers, and there was one very 
 
 large tree that they looked at for a long time. It was an oak 
 
 tree. Marian's mother told her many interesting things about 
 
 the oak tree, which she liked very much to hear, and then 
 
 they went home. Next day the little girl came alone to the 
 
 park, and stood looking again at the old oak tree. Then 
 
 she swung on the branches until she was tired, and at last 
 
 she said to herself, ' I will sit down and rest, and think of all 
 
 that mother told me about this tree '. But the day was warm, 
 
 and Marian was so comfortable, with her head leaning 
 
 against the old oak, that she soon fell asleep, and then she 
 
 thought that the oak tree began talking to her. ' They 
 
 call me the King of the Forest,' said he. ' I suppose that 
 
 is because I am so old and strong. My trunk is very rough 
 
 and rugged, and you see it is broad at the bottom, and grows 
 
 narrower at the waist, and then curves out broader again. 
 
 ?he fresh, green, dancing leaves which you see were at one 
 
 me folded up in tiny golden buds. What a number of 
 
 wrappings they did have, to be sure ! That was to keep 
 
 lem warm, you know, all through the winter, for this year's 
 
 uds were formed on my branches last year. Do you see 
 
 lese round apples ? They were buds once. How did 
 
 ley grow like this, do you ask ? Well, a little insect came 
 
 ne day ; she found a nice little bud, and made a hole in it. 
 
 hen she laid some tiny eggs, and put round them some 
 
 lice which the bud did not like at all, for it spoilt the little 
 
 Ided leaves. So instead of sending out pretty green leaves, 
 
 le bud grew into a little house and the eggs are all inside. 
 
 V^hen the tiny grubs come out of their eggs, they will eat 
 
 leir way through the oak apple and so get out. Do you 
 
 now that the oak apples help to make the ink with which 
 
 ou write ? 
 
 " * Sometimes a caterpillar comes and rolls himself in one 
 
 my little leaves ; and in the autumn, when my nuts are 
 
 pe, the squirrel comes to visit me.' 'Yes,' said Marian, 
 
262 STOBIES. 
 
 1 your nuts are acorns, how pretty they are ! each one of 
 them has a little cup. I do not wonder that the squirrel 
 comes to see you, for he likes your nuts so much.' " This 
 shows the method pursued in these stories. The oak tree 
 would make many such. 
 
 (d) Stories for very little ones. These should be exceed- 
 ingly simple. A dog, a kitten, a bird, anything that comes 
 into the life of a little child, he is delighted to hear about. 
 Many such stories are given in the chapters on Numbers and 
 Beading, and others will suggest themselves to the Teacher. 
 They should all be told in baby language, i.e., in language 
 that the child can comprehend. Pictures often suggest a 
 story, which is all the more interesting for being thus 
 illustrated. 
 
 The children should sometimes be encouraged to tell what 
 they can remember of the story. In this way they learn 
 to express themselves. 
 
 3. The Story-Teller . (a) We have said before that the 
 language should be simple and easy to understand. 
 
 (b) The voice should be modulated, and the story-telling is 
 much more effective when gesticulations are used. The flying 
 of birds, the rustling of leaves, etc., should be accompanied 
 by hand movements on the part of the Teacher. 
 
 (c) The story-teller should be in sympathy with the subject 
 of the story, and also with the listeners, otherwise the! 
 interest will be lost. 
 
 (d) Just as pictures add interest to a story, so do illustra- 
 tions on the blackboard, and these should be frequently given. 
 Sometimes the children may be allowed to draw for them- 
 selves objects which have been mentioned in the story. 
 
 4. The after-effect of Stories. It is well to remember] 
 that the child's taste for reading is largely influenced by the 
 class of stories told to him in early life, and in these days on 
 plentiful, cheap literature, how important it is that thJ 
 youthful mind should be trained to appreciate that which! 
 
STORIES. 263 
 
 is good. If a child has learnt to gloat over horrible stories, 
 he will gratify this morbid taste by reading ghastly tales 
 as he grows older, and if, on the other hand, he has learnt 
 to love stories that are simple and pure, he will choose 
 reading that is good and elevating. 
 
264 
 
 CHAPTEK XXXV. 
 RECITATION. 
 
 EECITATION, like story-telling, increases the child's power of 
 language, and it also has the advantage of strengthening the 
 memory. 
 
 I. Choice of Recitations. The words should be simple 
 and easy to pronounce. Verses which tell a little story are 
 interesting. The pieces should not be too long, and for the 
 very little ones the lines should be short also. It is very 
 difficult for children to learn rhymes that have two or more 
 lines commencing alike, thus : 
 
 Little baby, point to baby, 
 Little baby, stoop my baby, 
 Little baby, curtesy baby, 
 
 would be confusing to a little child. Songs of nature are 
 very suitable ; take, for example, the little poem by William 
 Blake : 
 
 Little lamb, who made thee ? 
 
 Dost thou know who made thee ? etc. 
 
 Nursery rhymes are always liked by the children, and 
 fairy tales put into verse are acceptable. In Recitations 
 for Infants* two of these will be found, viz., " Eed Biding 
 Hood" and "The Three Bears". The Recitations in this 
 book have the actions specified. 
 
 It is well sometimes to let the children learn something 
 
 * See Appendix 22. 
 
RECITATION. 265 
 
 comical and amusing, but this should never degenerate into 
 descriptions of cruelty. 
 2. How the Recitations should be taught. (a) The 
 
 recitation should be read to the children by the Teacher, 
 and should be made the subject of conversation, so that 
 the children may have a clear idea of what they are 
 going to learn. 
 
 (b) Then the children repeat slowly after the Teacher, who 
 must be careful that each word is pronounced correctly. 
 Sometimes it may be necessary to give only one word at a 
 time, e.g., if the Teacher said " morning light " the children 
 might repeat " mornin' light," so " morning " should be given 
 alone, and it is well to exaggerate the ing somewhat to 
 
 nake it noticeable to the children : h's, d's, t's, and r's at 
 be ends of words should also be very clearly pronounced, if 
 ot exaggerated, and it is absolutely necessary for the 
 hildren to watch the Teacher's lips all the time, if they are 
 o get the correct pronunciation. 
 
 (c) Emphasis is another point to be considered. If the 
 oaportant words are not emphasised, the recitation becomes 
 Qonotonous, and does not convey half so much meaning to 
 he children. A few well-timed questions would soon show 
 
 hich words needed emphasis. In the following rhyme, e.g., 
 
 A fox went out to walk one day, 
 
 And to the farm-yard came, 
 The ducks and hens soon scuttled off, 
 
 They knew his little game, 
 
 uch questions as these might be asked, " Who went out? " 
 The fox went out." Then we must put " force " on the word 
 fox ". " Why did he go out ? " " He went out to walk." 
 Where did he go? " "He went to the farm-yard," and so on, 
 
 Iways emphasising the word that answers the question. 
 
 (d) The voice should be modulated according to the words 
 lat are being recited, the children should never be allowed 
 
266 RECITATION. 
 
 to shout, and monotonous recitation should be carefulh 
 avoided. The children should recite as they would talk 
 naturally, and as if they were telling the story contained ir 
 the verses. 
 
 THE FLY'S BATH. 
 
 1. A poor fly one day 
 
 To some milk found his way, 
 
 And thought he would take just one sip, 
 
 But ere he could stop, 
 
 He tumbled, flip, flop ! 
 
 And instead of a sip got a dip. 
 
 2. " Oh, my wings are all wet, 
 And if out I could get, 
 
 I never would come here again ! " 
 
 'Twas thus spoke the fly, 
 
 Who longed to be dry, 
 
 And fly back to his old window-pane. 
 
 3. Just then cook came by, 
 And, seeing the fly 
 
 Try so hard to get out of his plight, 
 
 She lifted him up, 
 
 To the rim of the cup, 
 
 Where soon he did put himself right. 
 
 THE ROBIN. 
 
 1. You pert little, sweet little robin, 
 Perched there on the old garden wall, 
 Half tame, and half shy, you are peeping, 
 I wish you would come at my call ! 
 
 2. I'm sure you're a dear, pretty creature, 
 Your feathers, so bonnie and green, 
 With the red on your breast, make a dress 
 That is fit to be worn by a queen. 
 
 3. Come near, robin red, and don't fear me, 
 Come eat up the crumbs from my hand, 
 You would not look timid and frightened, 
 If only you could understand. 
 
RECITATION. 267 
 
 4. For, surely, I never would hurt you, 
 I'd pet you, and keep you so warm, 
 And love you from morning till evening, 
 And nothing my darling should harm ! 
 
 BLOWING BUBBLES. 
 
 1. Seven little toddlekins 
 In a long, straight row, 
 Sitting on a high, stone wall, 
 In the sun you know. 
 
 What can they be doing, pray ? 
 Let us go and see 
 
 Why they laugh, and why they shout, 
 All so merrily. 
 
 2. Freddy has a long, clay pipe 
 In his little hand ; 
 
 Annie holds a mug in hers ; 
 Now, I understand ! 
 Soapy suds are in the mug, 
 And the children there 
 Watch the bubbles, as they rise 
 High into the air. 
 
 3. Some are large, and some are small, 
 Some go very high, 
 
 Now the boys are running, see 1 
 
 They to catch them try. 
 
 One went higher, higher far 
 
 Than a tall, tall tree, 
 
 And the breezes play with some, 
 
 Floating light and free. 
 
 4. Red and purple, yellow, green, 
 And blue the bubbles show, 
 Orange, too, and indigo, 
 Like the big rainbow. 
 
 May your life be always brigh 
 Dear children, as you grow, 
 Only troubles light as bubbles 
 May the bairnies know ! 
 
268 
 
 CHAPTEK XXXVI. 
 SEWING. 
 
 Preliminary. Fortunately for the children, fine speci- 
 mens of needlework are not required from the pupils in the 
 Kindergarten or Infant School, the elementary steps in 
 sewing being all that is needed at this early stage. The 
 teaching of this subject is greatly facilitated by the use ol 
 drill; first there is needle drill, which is begun with the 
 baby-threaders. 
 
 Needle Drill. 
 
 One. Hold the needle in the left hand. 
 
 Two. Hold the cotton in the right hand. 
 
 Three. Thread the needle. 
 
 Four. Draw r the thread through the needle. 
 
 Thimble Drill. 
 
 First let the children learn which is the long or middle 
 finger of right hand. " We will call it the ' thimble ' 
 finger, because the thimble fits on the tip of it." 
 
 One. Hold up the " thimble " finger. 
 
 Two. Hold thimble (by the top) between thumb and fore- 
 finger of left hand. 
 
 Three. Put thimble on. 
 
 Four. Show right hand. (Teacher looks at each hand to 
 see if thimble is put on right finger.) 
 
SEWING. 
 
 FIG. 129. 
 
 For teaching hemming, the Paragon Demonstration 
 Specimen * shown in the illustration is a great help. It is 
 made of glazed linen and has brass eyelet holes for the 
 needle to pass through. 
 
 Conversation. The lesson would, of course, be pre- 
 ceded by conversation. Teacher might say, " Look at the 
 Bottom of your pinafore. What do you see there? " " We 
 see a hem." "Why do you have the hem?" " Because 
 ihe pinafore would look untidy without it." (Show a piece 
 )f frayed calico.) " If you did not have the hem, the 
 Dottom of your pinafore would be like this. How untidy it 
 would look, and how soon it would wear out ! The pinafore 
 s sewn in other places up the sides, those are seams, round 
 ihe neck, etc., but hemming is the first stitch to learn. All 
 ittle girls should learn to hem, and sew, so that they will 
 3e able to keep their clothes tidy when they grow older. 
 
 * See Appendix 24. 
 
270 SEWING. 
 
 "Let us see how the hem is made?" "It is made byi 
 turning the edge of the material over twice." (Each child 
 might have a slip of paper two inches by four with which to 
 fold the hem on the desk.) " First we fold the edge down a 
 little way." Teacher shows how it is done with her 
 specimen, which might be fastened on the blackboard, and 
 the children then fold down one long edge of their paper. 
 " Then we fold again (this time a little broader, to make the 
 hem), and press the fold so that it will lie flat." Before 
 using the needle and cotton, the Teacher would talk about 
 them where the cotton comes from, what the needle is 
 made of, etc. The Calico or Holland should also be made 
 the subject of conversation. 
 
 1st Lesson. In the first lesson the Demonstration Speci- 
 men is all that is needed, the Teacher first using it herself 
 and then allowing the children to come out and follow hed 
 example. 
 
 Sewing Drill. If the sewing drill be used for this first 
 lesson, it will be a preparation for later lessons, when tha 
 children work with their own specimens. 
 
 One. Hold the needle in the right hand. 
 
 Two. Take a stitch (this is shown on the specimen^ 
 Fig. 129). 
 
 Three. Turn the sewing over to see if the needle shinea 
 through on the right side. 
 
 Four. Push the needle with the thimble. 
 
 Five. Take the point of the needle, and draw it out. 
 
 The Teacher may repeat the numbers of the " Drill," and 
 allow the children to give the movements indicated by thd 
 numbers, when they have learnt them. After the Teachei 
 has taken several stitches, the children may come out and 
 try individually. 
 
 They should become thoroughly familiar with hemming 
 on the Demonstration Specimen before they have pieces 01 
 their own. 
 
SEWING. 271 
 
 The children's material may be dotted, to show where 
 .he needle is to go in and come out. The eyelet holes in 
 ,he specimen show where the marks should be placed on 
 ,he calico; the dots on the hem should be red, and those 
 )elow it black. The pieces should have about half an 
 nch hemmed ready, and even then the Teacher will find 
 hat very few children succeed in taking the stitch correctly at 
 irst. Many attempts have to be made, and much patience 
 s needed. The little hands grow damp and hot, needles 
 break, cotton gets knotted, and sometimes fingers are pricked ; 
 )ut in spite of all this, the work may be accomplished 
 satisfactorily, in the end, if the drill is perseveringly adhered 
 o it is a slow method but sure. 
 
 The children should show their work, that is, hold it up 
 or the Teacher to see, when they have taken the stitch 
 Two). The difficulty is to get the stitches slanting on both 
 sides of the material, this is why the dotted hern is recom- 
 mended. If the stitch is correctly taken, the other exercises 
 Three " and "Four" are easily accomplished. It is a mistake 
 io expect children to be able to sew after a few lessons ; the 
 Irill should be given again and again, but a lesson of twenty 
 minutes or half an hour is quite long enough. It is more 
 mportant that the stitches should be correct, that is, slanting 
 n the proper direction, on both sides, than that they should 
 )e very small. It is necessary at first to have the stitches 
 arge, so that the child may see her mistakes magnified. 
 
 Fine sewing is likely to injure the child's eyes, and six 
 3r eight stitches to the inch are quite sufficient for children 
 
 six or seven years. 
 
 Coloured cottons should be used, with needles, size 6 or 
 7, and coarse calico or holland. 
 
 As soon as the children hem nicely, their work should be 
 put to some practical use. It is discouraging to a child to 
 
 continually hemming specimens, which are of no use, and 
 ultimately find their way to the rag bag. 
 
272 SEWING. 
 
 Pocket-handkerchiefs, tea-cloths and aprons may be made ; 
 the latter have a narrow hem at the top, for the tape to pass 
 through (which should be long enough to serve for strings), 
 and a broader hem at the bottom. 
 
273 
 
 CHAPTEE XXXVII. 
 KNITTING. 
 
 :E teaching of knitting is easier than that of sewing 
 
 wooden knitting pins are used, and thick wool, such 
 s fleecy or double Berlin. There should first be a 
 onversation about the pins and wool, and also about all the 
 rticles that are made by knitting, of which stockings are 
 chief. Why are stockings made in this stitch ? Because 
 ley will stretch. Enumerate all the different kinds of 
 tockings woollen, cotton, silk, men's, women's, children's, 
 Babies', etc. 
 
 " How nice," says the Teacher, "to be able to knit our own 
 tockings, for they wear so much better than those which 
 re woven in a machine ! " 
 
 Knitting pin drill. This may be taught first with the 
 eedles only. 
 
 Heady. Hold the needles in position. 
 
 One. Take a stitch, i.e., put the point of right needle 
 nder the point of left. 
 
 Two. Throw the wool over, i.e., pretend to pass the 
 vool round the point of the right hand needle, holding the 
 eedles in position with the left hand. 
 
 Three. Bring the right needle to the top. 
 
 Four. Slip the stitch off the left needle, i.e., slip the 
 ight needle away from the left. 
 
 When this drill is thoroughly mastered, each child may 
 iave a piece of knitting with about twenty stitches cast 
 
 18 
 
274 KNITTING. 
 
 on beforehand. The needle which holds the stitches is 
 put in the left hand, and the empty needle in the right. 
 " Now," says the Teacher, " we are going to do real knitting, 
 still saying the numbers which we learnt with the knitting 
 pins. The first stitch does not need to be knitted like the 
 other stitches, but requires only One * Take a stitch,' and 
 F our < Slip it off '. We commence to knit properly at the 
 second stitch." 
 
 One. Take a stitch. 
 
 Two. Throw the wool over. Be careful to pass the wool 
 round the end of the right hand needle ; mind it does not 
 slip off, for this is the stitch which has to be brought to the 
 top at Three. 
 
 Three. Bring the right needle to the top. (See that the 
 new stitch is on it.) 
 
 Four. Slip the stitch off the left needle. Children soon 
 learn to take the stitch (One), and to throw over (Two), 
 but " Three " is more difficult, and the Teacher will probably 
 find it necessary to go round to each child, after " Three " 
 has been called, and in many cases she will need to help 
 them to bring the new stitch to the top. 
 
 As soon as the children can knit nicely they should be set! 
 to work on something useful. Scarfs, caps, muffs, and tea 
 cosies can all be made with straight strips of knitting. The 
 knitting of a strip which is not to be put to any particular use 
 is dull and uninteresting. 
 
 Mrs. Hibbert's Knitting Frames make a pleasing variety: 
 With these, children who can knit well may be set to maka 
 petticoats, scarfs, balls for the babies, and many othel 
 things. 
 
275 
 
 CHAPTEE XXXVIII. 
 
 SINGING. 
 KINDERGARTEN GAMES. 
 
 SINGING forms a very important part of a child's education. 
 It is as natural for a child to express himself in song, as 
 it is for a bird to sing, and frequent opportunity should be 
 given for this exercise of the voice. Singing divides itself 
 into several branches, Kindergarten games, Action songs, 
 Marching songs, etc., which we will take in order. 
 
 Kindergarten Games. If the invention of the Kinder- 
 garten game had been the sole outcome of Frobel's work, 
 he would not have lived in vain. 
 
 What a world of delight it opens up to the children ! and 
 why ? Because children are born actors, and imitators, and 
 the Kindergarten game affords full scope for the exercise of 
 these faculties. Those who have witnessed the childish glee 
 and " abandon " with which children give themselves up to 
 the full enjoyment of playing a Kindergarten game, will 
 testify that it is a touching sight, and one which has many a 
 time brought tears to the eyes of the sympathetic beholder. 
 
 To get at the true essence and meaning of Frobel's ideas 
 on this subject, it is necessary to understand, in some 
 measure at least, his Mutter und Kose-Lieder. It is not 
 easily understood, for, unfortunately, Frobel had not the 
 faculty of expressing himself very clearly, and the 
 translation into English has, perhaps, had the effect of 
 making his meaning even less clear, but to any one who will 
 
276 KINDERGARTEN GAMES. 
 
 sincerely study the book, there cannot fail to be revealed a 
 rich mine of deep, beautiful, and often sublime thought. 
 Frobel's wife says : 
 
 A superficial mind does not grasp it. 
 
 A coarse mind makes fun of it. 
 
 A thoughtful mind alone tries to get at it. 
 
 Perhaps some day we may have the Mutter und Kose- 
 Lieder with more simplified songs and music, but nothing 
 can add to its lofty continuity of thought and moral sig- 
 nificance. 
 
 We must remember that, at this period, all the child's 
 impressions come to him through his physical nature, and 
 that it is, therefore, much more easy for him to understand 
 when he represents, e.g. : Let the child be a little " farmer " 
 sowing seeds, the action will convey to the child so clear an 
 idea of the real sowing, that he will not be likely to forget 
 it, and he will be quite prepared to recognise the real farmer 
 at work at the first opportunity. In this way the powders of 
 observation are cultivated and strengthened. The games 
 also convey to the mind of the child clear ideas of the life 
 and habits of animals. In the game of hens and chickens, 
 e.g., the children do not pretend to be chickens, the play to 
 them is real, and, in imagination, they are little chickens, 
 and nestle under the wings of the human mother-hen with| 
 the same confidence that the chickens have when they fly to 
 their mother for protection. This, like the care of animals, 
 cannot fail to develop love for dumb creatures ; and it is 
 certainly calculated to strengthen the bond of affection 
 between the children themselves, and also to develop the 
 child's spiritual being. 
 
 The Kindergarten Games then afford opportunity for 
 development of the child's nature in many directions. 
 
 1. The learning of the words strengthens the memory. 
 
 2. Singing develops the voice. 
 
KINDERGARTEN GAMES. 277 
 
 3. The child learns to observe. 
 
 4. The physical nature is brought into action. 
 
 5. The moral nature is elevated. 
 
 It is needless to say that conversation should precede the 
 introduction of a Kindergarten game. The children cannot 
 enter into the spirit of the game unless they understand it, 
 and the learning of the words may be accompanied by so 
 much pleasant talk, that it is no task to the children. 
 
 Another essential is : that the Teacher should enter into 
 the spirit of the game, and, like Frobel himself, become for 
 the time being " a child with the children ". A Teacher who 
 can do this will realise that the influence of the children has 
 a wonderful effect, and that we gain from them perhaps 
 more than we give. 
 
 The following quotation from Children's Rights illustrates 
 this : 
 
 " How well I remember, years ago, the first time I ever 
 joined a Kindergarten game. I was beckoned to the charm- 
 ing circle, and not only one, but a dozen openings were 
 made for me, and immediately, though I was a stranger, a 
 Little hand on either side of me was put into mine, with such 
 friendly, trusting pressure that I felt quite at home. Then 
 we began to sing of the spring-time, and I found myself a 
 green tree waving its branches in the wind. I was frightened 
 and self-conscious, but I did it, and nobody seemed to notice 
 me ; then I was a flower opening its petals in the sunshine, 
 and presently a swallow gathering straw for nest building ; 
 then, carried away by the spirit of the Kindergartner and 
 her children, I fluttered my clumsy apologies for wings, and 
 forgetting self, flew about with all the others, as happy as a 
 bird. Soon I found that I, the stranger, had been chosen 
 for the ' mother swallow '. It was to me, the girl of eighteen, 
 [ike mounting a throne and being crowned. Four cunning 
 curly heads cuddled under my wings for protection and 
 slumber, and I saw that I was expected to stoop and brood 
 
278 KINDERGARTEN GAMES. 
 
 them, which I did, with a feeling of tenderness and re 
 sponsibility that I had never experienced in my life before 
 Then, when I followed my baby swallows back to thei 
 seats, I saw T that the play had broken down every barrie 
 between us, and that they clustered about me as confidingly 
 as if we w r ere old friends. I think I never before felt nr 
 own limitations so keenly, or desired so strongly to be full 1 
 worthy of a child's trust and love." 
 
 Perhaps the favourite Games are those in which animal; 
 are represented, but there are other Games that are equall; 
 interesting and instructive. Of these we may mentioi 
 games of "Trades," and "Nature" Games such as " thi 
 Brook," and " the Trees ". 
 
 The Games of Trades should be used to inculcate in thi 
 child a love for its fellow-creatures, and a sense of depend 
 ence upon others. The child should be shown that he ii 
 indebted to very many for the comforts he enjoys ever 
 day. "Who made the bread that we eat? Who grouru 
 the wheat into flour? Who sowed the seed? Then w< 
 must thank the Baker, the Miller, and the Farmer for thi 
 nice bread. But there is some one else ; we must not for 
 get the Miner, who goes down into the dark earth, to ge 
 the nice coal to make the oven hot, to bake the bread 
 His face and hands are black with working in the coal, bu 
 he cannot help that." The child thus learns that the " soil 
 ing " that comes of toil is honourable, and not to be despised 
 and when he has himself been a little "Joiner," or "Black 
 smith," in the Games, this feeling will be strengthened. 
 
 Before playing a Kindergarten Game, the children general!] 
 form a ring, which, as Frobel teaches, gives the idea o 
 unity ; and it is customary for a Eing song to precede ttu 
 game. 
 
KINDERGARTEN GAMES. 
 
 279 
 
 RING SONG. 
 KEY E. (Three-pulse measure.) 
 
 : d .r n : n : n.f 
 
 n : r : r .n 
 
 n :- 
 
 1. Little children, all togeth-er, l Join to make a merry ring, 
 
 :s,} 
 
 All so 
 
 : r 
 
 :n.f 
 
 :n 
 
 hap - py, all so joy - ful, Stand in cir - cle 
 
 (Four-pulse measure.) 
 Chorus. 
 
 d .n : s .1 
 
 2 Tra la la la la 
 
 : n 
 la 
 
 d .n : s .1 I s : 
 
 Tra la la la la 
 
 : f .r d 
 
 as we sing. 
 
 Tra la la la la la 
 
 Is f:n .r 
 
 d r- 
 
 Tra la la la la. 
 
 2. 3 To the left we step so lightly, 
 
 On our toes we gently go, 
 4 Now to right our way we're wending, 
 Then we dance around, you know. 
 
 Chorus. 
 
 3. 5 Clap your hands, all, happy children, 
 
 6 Beat your knees one, two, three, four, 
 7 See the children all are bowing, 
 
 8 Join hands, now, and dance once more. 
 
 Chorus. 
 
 Actions. l Join hands. 2 Dance round to music. 3 Step to left 
 (keeping time to music). 4 Step to right. 5 Clap hands. 6 Beat 
 knees. 7 Hands on sides ; all bow. 8 Join hands, ready to dance 
 round when chorus commences. 
 
280 KINDERGARTEN GAMES. 
 
 THE JUNGLE. 
 
 Instructions. The frontispiece illustrates this game. 
 In the foreground a " farm-yard " is seen, the walls being 
 made by the children, who stand with hands joined. In 
 the centre of the " farm-yard " is a group of " chickens," and 
 the "cock" stands near, with wings outspread. To the 
 left and right are small groups of "ducks" and "geese" 
 respectively. In the background, the children stand waving 
 branches of trees, to represent the "jungle," where the 
 animals, mentioned in verse one, live. Between the "farm- 
 yard " and the " jungle " is a " road," the two sides of which 
 are made by children kneeling ; and at the end of the road 
 is seen the " den " of the " wolf ". To make this, the 
 children stand facing each other, and hold their branches so 
 that they meet above. The " wolf " is seen coming out of 
 his den, with the little cubs behind. The " lion " and 
 " tiger " are represented by boys stooping, these are seen 
 near the hunters, who stand on the left side of the " jungle," 
 gun in hand, with their " horses " near them. The biggest 
 and strongest boys should be chosen for horses, and very 
 little boys should ride them. 
 
 1st Verse. In the first verse the " wolf " keeps in his 
 den. During the singing of the chorus, the hunters mount 
 their horses, and ride through the jungle and back again, 
 and then dismount (the horses will get tired if the riders 
 remain mounted for any length of time). 
 
 2nd Verse. In the second verse the " wolf " conies out of 
 his den, and goes to the farm-yard. As soon as he appears, 
 the ducks, chickens, etc., run away quacking and clucking. 
 When the chorus begins the riders come round the farm- 
 yard to see what is the matter, but by this time the " wolf " 
 is away to his " den ". 
 
 3rd Verse. In the third verse the "wolf" comes out 
 again and prowls about the jungle, and during the singing 
 of the chorus, after this verse, the hunters catch him. 
 
KINDERGARTEN GAMES. 
 
 281 
 
 GAME. THE JUNGLE. 
 
 (Two-pulse measure.) 
 
 d .d :d .d 
 
 s. .s. : Si .s 
 
 n .n : n .n / 
 
 this dark forest we shall find Some creatures, great and 
 
 tia 
 
 tall. 
 
 {r 
 
 me, 
 
 (la 
 
 be. 
 
 d .d :r .r |n .n :f .r Id 
 
 .d :t, .t, / 
 
 The lion, 
 Chorus. 
 
 ||.n,rid . 
 
 tiger, savage wolf, And el-e-phant so 
 d .d |S| .Si : Si .S| n .n : n .n J 
 
 So mount your beasts, my trusty men, And come along with 
 
 d .d : r .r n .n : f .r 
 
 d .d :t, .r 
 
 For off a - hunting we will go, As merry as can 
 
 2. Last night the wolf came prowling round, 
 
 On mischief he was bent, 
 And for to find a nice fat goose, 
 He to the farm-yard went. 
 
 Chorus. 
 
 3. Now, Mr. Wolf, we're after you, 
 
 And if your den we find, 
 You'll have to come with us, my dear, 
 And leave your cubs behind. 
 
 Chorus. 
 
282 
 
 KINDERGARTEN GAMES. 
 
 KEYF. 
 
 GAME. HEN AND CHICKENS. 
 
 u 
 
 s :d :d 
 
 d :r 
 
 : n n : r : r 
 
 r : :s 
 
 1. The 
 
 fowls are 
 
 roost 
 
 - ing snug and warm, Un - 
 
 (in 
 
 : :n i 
 
 :d 
 
 r d : : S, 
 
 S: : d : d 
 
 til 
 
 the day shall dawn, With 
 
 moth - er 
 
 (la 
 
 :r : n n 
 
 : r 
 
 r r : - : s 
 
 n : : n 
 
 they 
 
 are safe 
 
 from harm, All 
 
 sleep - ing 
 
 (Four-pulse measure.) 
 
 c\ 
 
 (It 
 
 :d :r d 
 
 
 :n s : f (n : r 
 
 d :r n :n . 
 
 till 
 
 the morn. But when the sun peeps o'er the hill, The 
 
 (Is 
 
 :f In :r 
 
 d : 
 
 r 'n : s.s 
 
 : s .s ( s : n 
 
 cock crows loud," What, sleeping still ! Cock-a-doodle-do ! 
 
 (If :r Id ! 
 Wake, I say." 
 
 2. Then all the chicks come flying out, 
 
 To follow mother's lead, 
 Now here, now there they run about, 
 
 Till Molly comes to feed. 
 She scatters for them all nice food, 
 The cock cries out, " 'Tis very good, 
 Cock-a-doodle-doo ! Very good ! " 
 
 3. Ah ! here's the rain ! each tiny chick 
 
 Runs straight to mother dear, 
 While bigger chickens seek the barn, 
 
 And shelter safe from fear. 
 The little ones 'neath mother's breast 
 Are snug and warm, and safely rest, 
 Cock-a-doodle-doo ! Safely rest. 
 
KINDERGARTEN GAMES. 283 
 
 4. Just as the hen bird shields her young, 
 
 The tender, pretty things ; 
 So God protects and shelters you, 
 
 Dear children, 'neath His wings. 
 The rain is o'er, so come away, 
 And pick up food, and run and play, 
 Cock-a-doodle-doo ! Run and play. 
 
 Instructions. A " farm-yard " is needed where the 
 " hen " and " chickens " may run about ; a big girl is chosen 
 for the mother-hen, and smaller children represent the 
 chickens. Another girl is required for " Molly," and a boy 
 for the " cock ". The farm-yard is made as in the Jungle 
 game, but at one end of it there should be a barn, formed 
 by a ring of children, and at the other a little hen-house, 
 made in the same way. 
 
 1st Verse. In the first verse the fowls are sleeping in the 
 hen-house, but at the call of the cock, "Wake, I say," they 
 come out. 
 
 2nd Verse. In verse two they run about, looking for 
 food, until the little girl comes to feed them. Then they 
 pretend to pick up the food, which she scatters from her 
 basket. 
 
 3rd Verse. In the third verse the little chickens (of which 
 there should be about six), run to the mother (a bigger girl), 
 who covers them with her wings (arms), and the rest seek 
 the barn. The chickens remain in this position, until verse 
 four, when they run out at the words, " The rain is o'er ". 
 
284 
 
 CHAPTEE XXXIX. 
 ACTION SONGS. 
 
 ACTION songs are a good preparation for drill, as they teach 
 the children to move all in time. It is well to remember 
 that more strength is required to sing and drill at the same 
 time than to practise either of these exercises singly. The 
 movements, therefore, should not be violent, and not many 
 action songs should be sung consecutively. It is a very 
 pretty sight to see an action song performed by a school full 
 of children, when ,the little hands and feet all keep time to 
 the music. A couple of action songs are given as examples- 
 
 J2YE. 
 
 ACTION SONG. 
 
 in 
 
 : d .,ri 
 
 f 
 
 : r 
 
 ,f 
 
 n 
 
 :d .,n 
 
 r.t, :s, 
 
 (D 
 
 Move 
 
 (2) (1) 
 
 all your fing 
 
 (2) 
 
 - ers, 
 
 your fing - 
 
 ers, your fing - ers, 
 
 In 
 
 : d .,n 
 
 f 
 
 :r .f 
 
 n .,d 
 
 : r .,ti 
 
 d :- 
 
 Stretch 
 
 them, and bend them 
 
 , just as I 
 
 do with mine, 
 
 I*;,. 
 
 : s ,,d' 
 
 1 
 
 : s 
 
 ,f 
 
 n .,d 
 
 : n 
 
 r .ti : s. 
 
 (3) (4) (3) (4) (3) (4) (3) (4) 
 
 Then we move the wrist ]oint, the wrist joint, the wrist joint, 
 
 n .,s 
 
 ; s ,,d 
 
 1 
 
 : s . 
 
 f 
 
 n .,d 
 
 ' r .,ti 
 
 d :- 
 
 (5) 
 
 Now it 
 
 (C) (5) 
 
 is the el - 
 
 bow, 
 
 (5) (6) (5) (6) 
 
 with arms all in a line. 
 
 Chorus. 
 
 
 
 
 
 
 n 
 
 A 
 
 f 
 
 : r 
 
 ,f 
 
 n 
 
 : d .,n 
 
 r .ti : s. 
 
 Clap, 
 
 clap to - geth 
 
 - er, 
 
 (8) 
 
 and twist 
 
 all in this way, 
 
 n 
 
 : d .,n 
 
 f 
 
 : r 
 
 .,f 
 
 n ,d 
 
 :r .,t, d 
 
 (9) 
 
 
 
 
 (10) 
 
 
 Beat, then, just four times, and cross on chest, I say. 
 
ACTION SONGS. 285 
 
 (I) Close hands. (2) Open. Continue these two movements to end 
 second line. (3) Drop hands from wrists. (4) Kaise hands. (5) 
 
 lands out, elbows being kept close to sides. (6) Hands brought back 
 o shoulders. (7) Clap four times. (8) Twist four times. (9) Beat 
 nees. (10) Cross hands, and tap chest with tips of fingers. 
 
 (II) (ii) (ii) (ii) 
 
 2. Shrug all your shoulders, your shoulders, your shoulders, 
 
 (12) (13) 
 
 Then stretch your hands up, as high as they can go, 
 
 (14) (15) 
 
 Now to right and left stretch together, together, 
 
 (16) (17) 
 
 Next from sides to shoulders the hands move briskly, so. 
 Chorus : Clap, clap, etc. 
 
 (18) (19) (20) (21) (18) (19) (20) (21) 
 
 3. All point your toes out, to left, and to right, see, 
 
 (22) (23) 
 
 Up spring on tip-toe, as far as far can be, 
 
 (24) (25) 
 
 nd your knees so gently, so slowly, and carefully, 
 
 (27) 
 
 ose your toes, and open, and keep in time with me. 
 Chorus : Clap, clap, etc. 
 
 (28) (29) 
 
 4. Point to the Northward, point to the Southward, 
 
 (30) (31) 
 
 Then point to Eastward, and next we turn to West, 
 
 (32) (33) (32) (33) (34) (33) (34) (33) 
 
 Stretch your neck to left, and to right, as you stand all, 
 
 (36) (36) (35) (36) (37) 
 
 Backward, forward, stretch, then just drop your chin on chest. 
 Chorus : Clap, clap, etc. 
 
 (11) Move the shoulders four times, once at each place indicated. 
 .2) Hands up. (13) Hands down (continue to end of line). (14) Hands 
 it to right and left. (15) Hands on shoulders (continue to end of line). 
 6) Hands down. (17) Hands on shoulders (continue to end of line). 
 .8) Hands on sides, left foot out. (19) Feet together. (20) Bight foot 
 it. (21) Feet together. (22) Spring up on toes. (23) Heels on floor 
 ontinue to end of line). (24) All -bend. (25) Stand up (continue 
 
 end of line). (26) Toes together. (27) Toes apart, heels being kept 
 ose together (continue to end of line). (28) Turn to North, and 
 Dint. (29) Turn to South, and point. (30) Turn to East, and point. 
 1) Turn to West, and point. (32) Incline head to left. (33) Hold 
 sad erect. (34) Incline head to right. (35) Stretch head backwards. 
 6) Incline head forward. (37) Remain in this position to end 
 
 line. 
 
286 ACTION SONGS. 
 
 The following song is suitable for very young children : 
 KEY F. KITTY. 
 
 {: n .f I s : n : n In : r :r .n If : r 
 
 1. Ah, l Kit - ty, I see you Lap, lap - ping your 
 
 n.f s : n : n 
 
 n : r : r.n f : t, : t. 
 
 d :- 
 
 milk, I'll 2 stroke your fur gently, 'Tis soft as fine silk. 
 
 2. You s sit on the hearth-rug, 
 
 And 4 fold up your paws, 
 They 5 feel soft as velvet, 
 But 6 where are your claws ? 
 
 3. 7 Come, puss, show your 8 whiskers, 
 
 Your 9 eyes large and bright ; 
 And then you shall 10 jump, for 
 That is quite a sight. 
 
 Hold up forefinger of right hand. 2 Stroke left arm with right 
 hand. :J Point downwards. 4 Fold right hand over left. 5 Grasp dress 
 with both hands. 6 Hold up the forefinger of right hand. 7 Beckon. 
 8 Touch each side of face. 9 Touch eyes. 10 Spring up on toes. 
 
287 
 
 CHAPTEK XL. 
 MARCHING. 
 
 N most schools, the children march for five or ten minutes 
 efore taking their places for the opening exercises, 
 [arching is much enjoyed by the children, and it is also 
 great value, for it gives the Teacher opportunity to notice 
 ow the child walks, and to correct errors. It also teaches 
 ow to step in time. The head should be held erect, the 
 loulders well back, and the arms straight down at the 
 des, or the hands may be folded behind. The children 
 lould step lightly, they should never be allowed to stamp 
 le feet, and they should learn to put down the left foot at 
 heavy beat of the music. Singing often accompanies 
 aarching (four time should always be used), and a few 
 aarching songs are here given. The verses referring to the 
 mr seasons are intended to be sung during those seasons, 
 e., the verses about Spring should be sung in the Spring- 
 me, those about Summer in the Summer-time, and so on. 
 
 MARCHING SONGS. 1. SPRING. 
 .EY E. (Four time.) 
 
 s : n I d 1 : 1 s : -.f | n : n r : s | f e : 1 I 
 The sweet spring-time is here once more, With flow'rs so bright and 
 
 s : I :s l.t:d'.l|s :n I l.t : d'.l I s : n 
 gay, The trees are dressed in pret - ty green, The 
 
 I r : 1 |s : t I d 1 : - | - I 
 cuck - oo sings all day. 
 
 2. I see the tiny chicks and ducks, 
 And lambs that frisk in glee ; 
 The world seems full of life and joy, 
 I'm glad as glad can be. 
 
288 MARCHING. 
 
 2. SUMMER. 
 (See tune of Spring.) 
 
 1. The gladsome Spring has passed and gone, 
 
 And Summer now we greet, 
 The air is filled with scent of rose, 
 And honeysuckle sweet. 
 
 2. Ah ! now we hear the mowers' scythes, 
 
 And smell the new-mown hay, 
 The bee sucks honey ; butterflies 
 Flit gaily all the day. 
 
 KEY Ek 3. AUTUMN. 
 
 { 
 
 n.rrn.fls :n Id 1 :1 s : s .n : f .1 s : n I 
 
 1. Rust-ling leaves of gold and brown, These are Autumn's 
 
 Xlr :1 [ :- Id 1 :d' d 1 :s 1 :1 's :- 
 pret - ty gown ; Ap - pies, pears, and pur-pie plums, 
 
 { 
 
 1 .d 1 : t .1 ! s : n 
 
 :s d :- J| 
 All are ripe when Autumn comes. 
 
 2. Hips and haws, nuts, blackberries, 
 All are hanging on the trees. 
 To the woods away, away, 
 Gathering nuts is merry play. 
 
 4. WINTER. 
 (See tune of Autumn.) 
 
 1. Winter, you have come at last, 
 Icy cold and biting blast, 
 These will follow in your train, 
 Frost and snow will come again. 
 
 2. All the trees are black and bare, 
 Robin looks for food with care. 
 Sliding, skating, oh what fun ! 
 Now the winter has begun. 
 
 Sometimes the children may be allowed to march in twos, 
 dividing when they reach the end of the room, and marching 
 singly to the other end, then rejoining partners, as in GUE 
 Drill, First Movement. 
 
MABCHING. 
 
 289 
 
 Circle marching is very good for teaching how to step to 
 he music. The children form a ring, and then turn, so that 
 
 1 the left feet are inside the ring. If the Teacher stands in 
 
 ie centre of the ring, she can easily see when any child gets 
 at of step, and the children themselves being able to see 
 ach other's feet will more readily perceive when they make 
 
 mistake. 
 
 The following marching song is much enjoyed by the chil- 
 ren. First a ring is formed, then it is 
 
 oken at b, and the children march round 
 ad round, until point a is reached. Now 
 
 ie children at the places marked x raise 
 
 teir hands to make the "archway," and 
 
 ie child who is leading, and who now 
 
 ands at <x, comes out, and the rest follow. It is very im- 
 
 >rtant that the hands be kept joined all the time. 
 
 YG. 
 
 d.rrn.f s 
 
 Come, you children, glad and free, 
 
 f :f in :n 
 Come and march a - 
 
 r :r d :- 
 round with me, 
 
 :s if :f 
 
 Winding, winding, children all. 
 
 s :s f :f | n :n i r : 
 Soon we'll make a nice, round ball, 
 
 d .r : n .f ! s : s / 
 
 Trot and march a - 
 
 :n 
 
 r : 
 
 s :- 
 
 way, a - way, 
 
 f :f |n :n r :r Id :- 
 All so hap - py, and so gay. 
 
 2. Make an archway, children dear, 
 From the centre march out here, 
 Soon the ball will be unwound, 
 Marching gently, round and round ; 
 Trot and march, away, away, 
 All so happy, and so gay. 
 19 
 
290 
 
 CHAPTEE XLI. 
 TONIC SOL-FA. 
 
 THE EEV. J. CURWEN conferred a great benefit on childre 
 when he invented the Tonic Sol-fa method of teachin 
 singing. It is so easy and simple that children of five or si 
 years of age may begin to learn it without difficulty. 
 
 Singing, whether from note or words, should always I 
 sweet, never " throaty " or loud. 
 
 A piano helps to keep the right pitch, but often there ai 
 numbers of children who have no notion of tune, and thei 
 cause the singing to be flat. 
 
 It is a good plan to suppress these discordant voices, ai 
 to allow such children to sit near those who sing perfectly ; 
 tune, and listen carefully. This has sometimes had tl 
 effect of producing tuneful singing from children, wh 
 previously, sang quite out of tune. 
 
 An excellent method of securing melodious singing 
 to allow the children to run up and down. the scale, ai 
 sing the notes of the Doh chord (d., m., s., d.) with the had 
 signs before beginning to sing their songs or even the mon 
 ing hymn. In teaching Tonic Sol-fa, the hand signs coij 
 first, then follow the names of the notes on the Modulate 
 The Kindergarten Modulator * is the simplest and best. 
 
 When the names of the notes have been learnt, I 
 sounds may be given ; first in rotation, that is, up and do^ 
 the scale, and then the notes of the Doh chord taken! 
 
 * See Appendix 25. 
 
 
TONIC SOL-FA. 
 
 291 
 
 order, d., m., s., d., and afterwards varied. It is well to call 
 attention to the different sounds of the notes " doh " is a 
 trong sound, ''me" is not so strong, "lah" is mournful, 
 nd so on. Modulator practice should be given at least 
 nee a week, and the children should be thoroughly pro- 
 cient in this practice before notes are written in a line on 
 e blackboard. 
 
292 
 
 CHAPTEE XLII. 
 NOTES ON DRILL. 
 
 THE object of Drill, is to develop the children's bodies, so a 
 to make them strong, lithe, and graceful, and also to gratif 
 the child's natural desire for pleasurable movement. Ii 
 this, as in every exercise, the first question to be asked ii 
 " What is good for the children?" Then, but not till theil 
 may be considered what has a pretty effect. The Teachc 
 of drill needs to be energetic, else the children move tl 
 arms slowly, and get out of time. It is a good plan 
 encourage the scholars, by letting one who does it nice 
 be the " Captain," and lead, while the others are litd 
 " soldiers " following the Captain's movements. Drill son I 
 are a good preparation, take, e.g., the one given on p. 28j 
 The drill lesson should never be a long one, and the exerci&j 
 should not be too violent. It is well to remember that M 
 are dealing with undeveloped limbs, and that the tend! 
 muscles of a little child should be used mercifully. T] 
 writer has known a little girl to come home from school 
 exhausted with dancing and drilling, that she was glad 
 lie down. In this instance the good of the child had i 
 been the first thought in the Teacher's mind, or the lit 
 one would not have been overworked. If this thought w 
 kept prominent it would enable one to have more patier 
 with the many who get out of time. All children have 
 the same ear for music, and what is perfectly easy to 
 is exceedingly difficult to another. A college student 1 
 been known to find it almost impossible to keep time 
 
NOTES ON DKILL. 293 
 
 simple drill exercises, even after long and careful training, 
 so it is no wonder if some of the children find it difficult. 
 Some kind of Drill should be taught to all the children, 
 though for the younger ones the Kindergarten Games provide 
 sufficient movement. Where " drill" is given to these no 
 apparatus is needed, and if any is used, it should be of the 
 very lightest description. Musical Bells are the most 
 appropriate. The exercises should always be taught in six- 
 ieens, so that eight bars of music may complete each 
 exercise, except in waltz music, when sixteen bars will be 
 needed. 
 
 In beginning drill with very little ones % let it be introduced 
 by a story: "There was once a little boy who went with 
 tiis Mother in the train to see his Grandmamma. How 
 does the train go? " (Imitate the motion of the wheels with 
 the arms, and let the children do it sixteen times.) "His 
 
 randmamma lived in the country. What would they see ? 
 The little boy saw some birds flying. Let us make 
 little birds fly." (Join tips of fingers overhead and then 
 wave hands outwards. This also sixteen times.) " Next 
 they came to a blacksmith's shop, and stood by the door to 
 watch the blacksmith swing his heavy hammer." (Make a 
 lammer with fist of right hand, and strike open palm of 
 .eft sixteen times. Then the left hand should be the 
 aammer, and strike the right hand another sixteen.) "In a 
 ield they saw a little boy, who made a noise to scare the 
 tirds away, lest they should eat the seed which the farmer 
 lad just sown." (Let the children imitate sowing of seed, 
 irst with right, and then with left hand, each sixteen times.) 
 This story may be continued at the Teacher's discretion, 
 md, in time, the exercises may be done to music, or, where 
 ihere is no piano, half the children should sing or hum the 
 iune while the others do the exercises. To drill and sing at 
 ihe same time is much too hard. 
 
 At first the children should drill to numbers, simply 
 
294 NOTES ON DRILL. 
 
 counting to sixteen for every exercise. The little ones 
 should sometimes be allowed to watch the older ones drill 
 then they will learn more readily when they have to do il 
 themselves. 
 
 DRILL. 
 
 General Instructions. It will be found that each dril 
 is divided into Exercises, and that these Exercises are agair 
 divided each into four parts, called Movements. To each on( 
 of the movements sixteen is counted. The following tun( 
 shows the manner of counting : 
 
 KEY. 
 
 f 1 * I 1 
 
 11 pi :d.,nlf : r .,f n : d .,n | r .,ti : s, n : d .,n J 
 
 One, two, three, four, five, six, seven, eight, nine, ten, e - 
 
 I 
 
 f :r .f 
 
 n .d :r 
 
 d 
 
 leven, twelve, thirteen, fourteen, fifteen, sixteen. 
 
 In the above we count two to each bar, so that eight ban 
 are sufficient for one movement ; but where waltz music ii 
 used, sixteen bars will be needed for each Movement, as w< 
 only count one to each bar in waltz time. Where slow timi 
 is indicated, w r altz music is best. The position in \vhich thi 
 child should stand for each Movement is given after the won 
 " Beady," which may or may not be repeated by the Teache 
 at her discretion. It is advisable, however, to use the wor< 
 in the earlier drill lessons, but as children become mon 
 proficient the different Movements may follow each othe 
 with only a slight pause between, or a chord may be struc] 
 on the piano for the "Ready" of each Movement. Th 
 children should rest between each Exercise for a shor 
 space of time. 
 
 It is necessary to put as much distance as possibl 
 between each child. The children should be placed so tha 
 they cannot touch each other. 
 
295 
 
 CHAPTEE XLIII. 
 
 MUSICAL BELLS.* 
 
 (See General Instructions, p. 294.) 
 
 THESE consist of a light bar of wood, about six inches long, 
 with a bell fastened at each end. They are suitable for the 
 very youngest children; the bar is easily held, it helps to 
 keep the little hands in position, and the child likes to hear 
 the tinkle of the bells. If the bars are painted or enamelled 
 in pretty colours this drill will give still greater pleasure. 
 
 FIG. 130. 
 
 FIG. 131. 
 
 EXERCISE I. 
 
 1st Movement. Beady. Hold bars vertically as shown 
 in Fig. 130. 
 
 One. Hands straight out. Fig. 131. 
 Two. Hands drawn back. Fig. 130. 
 * See Appendix 26. 
 
296 MUSICAL BELLS. 
 
 (Continue these two movements until sixteen has beer 
 counted.) 
 
 2nd Movement. Ready. Bars held vertically. Fig 
 130. 
 
 One. Hands straight up. 
 
 Two. Bring back to position. Fig. 130. 
 
 (Continue these two movements until sixteen has been 
 counted.) 
 
 3rd Movement Ready. Hands on shoulders. 
 
 One. Hands out to right and left. 
 
 Two. Hands on shoulders. 
 
 (Continue these two movements until sixteen has been 
 counted.) 
 
 FIG. 132. FIG. 133. 
 
 4th Movement. Ready. Hands under arms. Fig. 132. 
 One. Hands straight down. Fig. 133. 
 Two. Hands under arms. Fig. 132. 
 (Continue these two movements until sixteen has been 
 counted.) 
 
MUSICAL BELLS. 297 
 
 FIG. 134. FIG. 135. 
 
 EXERCISE II. 
 
 1st Movement (for exercising muscles of the neck. Slow 
 time). -Ready. Hands on sides. Fig. 134. 
 
 (Keep the hands in this position during the next two move- 
 ments.) 
 
 One. Look to left. Fig. 135. 
 
 Two. Look straight in front. 
 
 Three. Look to right. 
 
 Four. Look straight in front. 
 
 (Continue these four movements until sixteen has been 
 counted in slow time.) 
 
 2nd Movement (continues neck exercises. Slow time). 
 Beady. Hands on sides. Fig. 134. 
 
 One. Drop head on chest. 
 
 Two. Head as far back as possible. 
 
 (Continue these two movements until sixteen has been 
 counted.) 
 
298 
 
 MUSICAL BELLS. 
 
 3rd Movement. Beady. Bars held as in Fig. 130. 
 
 One. Hands straight up. 
 
 Two. Hands on heads. 
 
 Three. Hands on shoulders. 
 
 Four. Hands down by sides. 
 
 (Continue these four movements until sixteen has been 
 counted.) 
 
 4th Movement (slow time). Beady. Bars held as in 
 Fig. 130. 
 
 One. Hands together on chest. 
 
 Two. Spring up on toes, throw hands outwards, and 
 bring to sides. 
 
 (Continue these two movements until sixteen has been 
 counted slowly.) 
 
 PIG. 136. FIG. 137. 
 
 EXERCISE III. WRIST EXERCISES. 
 
 ISt Movement. Ready. Hands out to right and left 
 Fig. 136. 
 
MUSICAL BELLS. 299 
 
 One. Hands turned round to position shown by Fig. 137. 
 
 Two. Hands turned back to position shown in Fig. 
 36. 
 
 (Continue these two movements until sixteen is counted.) 
 
 2nd Movement. Beady. Hands straight out in 
 ront. 
 
 (Continue the wrist exercises with hands in this position, 
 ntil sixteen is counted.) 
 
 3rd Movement. Beady. Hands held straight up. 
 
 (Wrist exercise continued, with hands in this position, until 
 ixteen is counted.) 
 
 4th Movement. Beady. Hands down. 
 
 (Wrist exercise with hands in this position until sixteen is 
 ounted.) 
 
 EXERCISE IV. 
 
 1st Movement (slow time). Beady. Hands on sides 
 s in Fig. 134. 
 
 One. Left foot out at an angle of 45. 
 
 Two. Bring foot back to position, and spring up on 
 oes. 
 
 Three. Eight foot out at angle of 45. 
 
 Four. Bring foot to position, and spring up on toes. 
 
 (Continue these four movernents until sixteen is counted.) 
 
 2nd Movement (in slow time). Beady. Hands on sides 
 s in Fig. 134. 
 
 One. Bend the knees. 
 
 Two. Stand upright. 
 
 (Continue these two movements until sixteen is counted.) 
 
300 
 
 MUSICAL BELLS. 
 
 FIG. 138. 
 
 FIG. 139. 
 
 3rd Movement. Beady. Body bent forward. 
 One. Thrust left hand downward as if kneading. Fig. 138. 
 Two. Thrust right hand downward. Fig. 139. 
 (Continue these two movements until sixteen is counted.) 
 4th Movement. Beady. Hands on sides as in Fig. 134. 
 One. Toes together. 
 Two. Toes apart. 
 
 (Continue these two movements until sixteen is counted, 
 keeping heels together all the time.) 
 
301 
 
 CHAPTEE XLIV 
 
 DUMB BELLS.* 
 (See General Instructions, p. 294.) 
 
 THESE are made in Iron or Wood ; the latter are best adapted 
 for young children. For children of six years of age they 
 should not be more than six or eight ounces in weight. 
 This apparatus is more suitable for boys than girls, and is 
 excellent for promoting muscular development. 
 
 FIG. 140. 
 
 FIG. 141. 
 
 EXERCISE I. 
 
 1st Movement (slow time). Ready. Hands in posi- 
 tion shown by Fig. 140. 
 
 * See Appendix 27. 
 
302 DUMB BELLS. 
 
 One. Hands straight out in front, dumb bells touching 
 each other in a horizontal position. 
 
 Two. Bells touching over head. 
 
 Three. Hands out to right and left in a line with shoulders. 
 
 Four. Hands by sides. 
 
 (Continue these four movements until sixteen is counted.) 
 
 2nd Movement. Beady. Hands in position shown by 
 Fig. 140. 
 
 One. Hands out in front with bells apart. Fig. 141. 
 
 Two. Strike bells together gently. 
 
 Three. Turn to left with bells out, and apart, as in Fig. 
 141. 
 
 Four. Strike bells together gently. 
 
 Five. Hands out in front with bells apart. 
 
 Six. Strike bells together. 
 
 Seven. Turn to right with hands out and bells apart. 
 
 Eight. Strike bells together. 
 
 (Eepeat these eight movements so as to complete sixteen.) 
 
DUMB BELLS. 
 
 303 
 
 FIG. 142. 
 
 FIG. 143. 
 
 3rd Movement. One. Swing bells to left. Fig. 142. 
 Two. Bring bells to position shown by Fig. 143, still 
 turning to left ; feet may be turned to the left also. 
 Three. Swing bells to right. 
 
 Four. Bring bells to position, still turning to right. 
 (Continue these four movements until sixteen is counted.) 
 
304 
 
 DUMB BELLS. 
 
 FIG. 144. 
 
 FIG. 145. 
 
 4th Movement. One. Swing arms to left, keeping the 
 left hand uppermost and both dumb bells in a vertical posi- 
 tion. Fig. 144. 
 
 Two. Keep the left hand still, and strike upwards with 
 the right, looking up at the same time. Fig. 145. 
 
 Three. Swing to right, keeping right hand uppermost, 
 and dumb bells in a vertical position. 
 
 Four. Strike upwards with left hand. 
 
 (Continue these four movements until sixteen is counted.) 
 
 EXERCISE II. 
 
 1st Movement. Ready. Hands in position shown by 
 Fig. 140. 
 
 One. Hands straight up. 
 Two. Position. Fig/140, 
 
DUMB BELLS. 
 
 305 
 
 Three. Hands out in front. 
 
 Four. Position. Fig. 140. 
 
 Five. Left hand out in front, holding dumb bell in up- 
 ight position. 
 
 Six. Strike left dumb bell with right. 
 
 Seven. Eight hand out in front, left brought back to 
 position. 
 
 Eight. Strike right dumb bell with left. 
 
 (Continue these eight movements until sixteen is counted.) 
 
 2nd Movement. Ready. Hands on shoulders. 
 
 One. Left hand on left shoulder, while right hand is 
 traight out to the right. 
 
 Two. Eight hand on right shoulder, while left hand is 
 >traight out. 
 
 (Continue these two movements until sixteen is counted.) 
 
 3rd Movement (to the tune of " The Campbells are 
 Coming "). Ready. Hands in position shown by Fig. 140. 
 
 One. Strike together out in front. 
 
 Two. Strike together over head. 
 
 Three. Strike in front again. 
 
 Four. Strike behind twice quickly at "and four" in the 
 music. The tune should be played in quick time. In this 
 measure there are three pulses to each beat, and we count 
 one to every beat. 
 EY C. (Six-pulse measure.) 
 
 (In 
 
 n 
 One 
 
 s 
 
 s : n 
 
 :d n :- 
 
 :n 
 
 In :- 
 
 :a) 
 
 two, 
 
 three, 
 
 and 
 
 four, 
 
 
 : n : 
 
 d 
 
 r : 
 
 : r 
 
 r :- 
 
 = a} 
 
 c, 
 
 seven, 
 
 and 
 
 eight, 
 
 
 :n : 
 
 d 
 
 s :-.! 
 
 : S 
 
 d 1 : - .r 
 
 'in 1 / 
 
 n, 
 
 eleven, 
 
 and 
 
 twelve, 
 
 
 :n : 
 
 d 
 
 n : 
 
 :n 
 
 n : 
 
 1 
 
 urteen, 
 
 fifteen, 
 
 and 
 
 sixteen. 
 
 * 
 
 five, 
 
 n :s :1 I 
 
 nine, 
 
 d 1 :1 id 1 j 
 thirteen, 
 
 (Continue these four movements until sixteen is counted.) 
 
 20 
 
306 DUMB BELLS. 
 
 4th Movement. Heady. Hands on shoulders. 
 
 One. Left hand on head, while right hand is straight ou 
 to right. 
 
 Two. Hands on shoulders. 
 
 Three. Bight hand on head while left hand is straigh 
 out to left. 
 
 Four. Both hands on shoulders. 
 
 (Continue these four movements until sixteen is counted.) 
 EXERCISE III. 
 
 1st Movement. Ready. Fig. 140. 
 
 One. Charge to left, with left foot, i.e., send out left foo 
 at an angle of 45, and left hand in same direction. 
 
 Two. Position. Fig. 140. 
 
 Three. Charge to right. 
 
 Four. Position. Fig. 140. 
 
 (Continue these four movements until sixteen is counted.) 
 
 2nd Movement. Beady. Fig. 140. 
 
 One. Hands out to right and left. 
 
 Two, Three \ Wrist exercise with hands in this position 
 and Four. J see Figs. 136 and 137 of Musical Bells. 
 
 Five. Hands straight out in front. 
 
 Six, Seven ^ Wrist exercise with hands in thi 
 and Eight. J position. 
 
 Nine. Hands up. 
 
 Ten, Eleven } ^ T . ' 
 
 r vvnst exercises with hands up. 
 and Iwelve. } 
 
 Thirteen. Hands down. 
 
 Fourteen, Fifteen, \ Wrist exercises with hands in thii 
 Sixteen. J position. 
 
 3rd Movement. Ready. Body bent forward. 
 
 One. Left hand thrust downwards as if imitating knead 
 ing. Fig. 138, Musical Bells. 
 
 Two. Eight hand thrust downwards as if imitating knead 
 ing. Fig. 139, Musical Bells. 
 
 (Continue these two movements until sixteen is counted.) 
 
DUMB BELLS. 
 
 307 
 
 4th Movement (slow time). Ready. Fig. 140. 
 
 One. Touch floor with bells. 
 
 Two. Position as in Fig. 140. 
 
 Three. Send hands up and look up. 
 
 Four. Position. Fig. 140. 
 
 (Continue these four movements until sixteen is counted.) 
 
 For Exercise IV., see p. 309. 
 
308 
 
 DUMB BELLS. 
 
 FIG. 146. 
 
 FIG. 147. 
 
 PIG. 148. 
 
 FIG. 149. 
 
DUMB BELLS. 
 EXERCISE IV. 
 
 1st Movement (boys only). Ready. Fig. 140. 
 
 One. Hands up. 
 
 Tivo. Position. Fig. 140. 
 
 Three. Eaise the left leg and strike under left knee. Fig. 
 146. 
 
 Four. Position. Fig. 140. 
 
 Five. Hands up. 
 
 Six. Position. Fig. 140. 
 
 Seven. Eaise right leg, and strike under right knee. 
 
 Eight. Position. Fig. 140. 
 
 (Eepeat these eight movements so as to complete sixteen.) 
 
 2nd Movement (boys only ; slow time). Ready. Fig. 
 140, with feet apart. 
 
 One. Bells together high above the head. Fig. 147. 
 
 Two. Swing downwards. Fig. 148. 
 
 (Continue these two movements until sixteen is counted.) 
 
 3rd Movement (slow time 1 ). Ready. Hands on shoul- 
 ders. 
 
 One. Eight hand straight out to right, and left hand to 
 left. 
 
 Two. Eight hand down while left hand is up. Fig. 149. 
 
 Three. Hands straight out to right and left. 
 
 Four. Left hand down while right hand is up. 
 
 (Continue these four movements until sixteen is counted.) 
 
 4th Movement. March out with bells in position. Fig. 
 140. 
 
310 
 
 CHAPTEE XLV. 
 
 HOOP DRILL. 
 (See General Instructions, p. 294.) 
 
 THE hoops shown here are made of wood, and measun 
 eighteen inches in diameter. For cost, etc.* They can b< 
 obtained with bells attached, and may be wrapped wit! 
 coloured muslin to match the children's sashes for entertain 
 ments, or they might be painted to match sashes, etc. 
 
 FIG. 150. FIG. 151. 
 
 EXEECISE I. 
 
 ISt Movement. Beady. Hoop in position shown b} 
 Fig. 150. 
 
 * See Appendix 28. 
 
HOOP DRILL. 
 
 311 
 
 One. Touch floor with hoop. 
 
 Two. Position. Fig. 150. 
 
 Three. Hoop out. Fig. 151. 
 
 Four. Position. Fig. 150. 
 
 (Continue these four movements until sixteen is counted.) 
 
 Hoop to be held vertically in above exercise. 
 
 FIG. 152. 
 
 FIG. 153. 
 
 2nd Movement. Heady. Hoop over head. Fig. 153. 
 One. Hoop on neck. Fig. 152. 
 Tivo. Hoop over head. Fig. 153. 
 
 (Continue these two movements until sixteen is counted.) 
 3rd Movement (slow time). Beady. Hoop in position 
 lown by Fig. 150. 
 
 One. Hoop held over head as in Fig. 153. 
 Ttvo. Drop hoop on shoulders. Fig. 152, 
 
312 
 
 HOOP DRILL. 
 
 Three. Place hands on sides. 
 Four. Bow. 
 
 (Continue these four movements until sixteen is counted. 
 
 FIG. 154. 
 
 FIG. 155. 
 
 4th Movement (slow time). Heady. Hold hoop wi 
 hands close together. 
 
 One. Hoop down. Fig. 154. 
 
 Two. Swing hoop over head until hands are behind nee 
 Fig. 155. 
 
 (Continue these two movements until sixteen is counted/ 
 
HOOP DRILL. 
 
 313 
 
 FIG. 156. 
 
 EXERCISE II. (with partners). 
 
 1st Movement. Beady. See Fig. 161, Sing Drill. 
 One. Left arms out. 
 Two. Eight arms out. Fig. 156. 
 
 (Continue these two movements until sixteen has been 
 counted.) 
 
314 
 
 HOOP DRILL. 
 
 FIG. 157. 
 
 2nd Movement. Eeady. See Fig. 161, Ring Drill. 
 
 One. Hoops to A's shoulders. Fig. 157. 
 
 Two. Hoops to B's shoulders. 
 
 (Continue these two movements until sixteen is counted.) 
 
HOOP DRILL. 
 
 315 
 
 FIG. 158. 
 
 3rd Movement (slow time.) Ready. See Fig. 161, 
 Ring Drill. 
 
 One. Meet hoops over head. Fig. 158. 
 
 Two. Meet hoops below horizontally, bending the body 
 as in Fig. 175, Wand Drill. 
 
 (Continue these two movements until sixteen is counted.) 
 
 4th Movement. Beady. Fig. 161, Ring Drill. 
 
 One. Send feet out and look under hoop. See Fig. 162, 
 Ring Drill. 
 
 Two. Position. Fig. 161, Ring Drill. 
 
 Three. Send feet out in opposite direction, and look under 
 loop. 
 
 Four. Position. Fig. 161, Ring Drill. 
 
 (Continue these four movements until sixteen is counted.) 
 
316 
 
 HOOP DKILL. 
 
 FIG. 159. 
 EXERCISE III. (with hoops joined in rows ; Fig. 159). 
 
 1st Movement. Ready. Fig. 159. 
 
 One. Send hoops up and spring on toes. 
 
 Two. Position. Fig. 159. 
 
 Three. Touch floor with hoops held vertically. 
 
 Four. Position. Fig. 159. 
 
 (Continue these four movements until sixteen is counted.) 
 
 2nd Movement Beady. Fig. 159. 
 
 One. Bend the body, turning hoops over into a horizon ta 
 position at the same time. 
 
 Two. Position as in Fig. 159. 
 
 (Continue these two movements until sixteen is counted.) 
 
 3rd Movement. Ready. Fig. 159. 
 
 One. Hoops out and left foot out at same time. Fig 
 230, Tambourine Drill. 
 
 Two, Position as in Fig. 159, 
 
HOOP DBILL. 317 
 
 Three. Hoops out, and right foot out at same time. 
 
 Four. Position. Fig. 159. 
 
 (Continue these four movements until sixteen is counted.) 
 
 4th Movement. Ready. Fig. 159. 
 
 One. Step to left. 
 
 Two. Feet together, spring up on toes. 
 
 Three. Step to right. 
 
 Four. Feet together and spring up on toes. 
 
 (Continue these four movements until sixteen is counted.) 
 
 The following lines might be sung before Exercise III. : 
 
 See the children ready stand, 
 All in rows with hoop in hand, 
 When we drill, the hoops will go 
 Up and down, or to and fro. 
 
 Now we're springing up on toes, 
 To the floor, next, each hoop goes, 
 Step to left, or step to right, 
 Moving all with footsteps light. 
 
 EXERCISE IV. (in fours). 
 
 1st Movement. Ready. Four girls form a ring. Each 
 girl holds her own hoop with left hand, and her neighbour's 
 with right. 
 
 One. Send hoops up. 
 
 Two. Position as in " Eeady ". 
 
 Three. Swing hoops down horizontally. 
 
 Four. Position as in "Eeady". 
 
 (Continue these four movements until sixteen is counted.) 
 
318 
 
 HOOP DRILL. 
 
 FIG. 160. 
 
 2nd Movement. One. Step to centre and send hoops 
 up. Fig. 160. 
 
 Two. Position as in " Eeady " of first movement. 
 
 (Continue these two movements until sixteen is counted.) 
 
 3rd Movement. One. Step to left. 
 
 Two. Feet together and spring up on toes. 
 
 Three. Step to left again and continue this until Eight 
 has been counted. 
 
 Nine. Step to right. 
 
 Ten. Spring up on toes. 
 
 (Continue until sixteen is counted.) 
 
 4th Movement. Beady. Place the four hoops on the 
 top of each other. Left hands on hoops, right hand on hip. 
 Walk round until eight has been counted. At Nine, turn 
 round, place right hands on hoops, and left on hip, and walk 
 round until sixteen is counted. 
 
319 
 
 CHAPTEE XLVI. 
 RING DRILL. 
 
 (See General Instructions, p. 294.) 
 
 THE rings are made of wood, and measure three and a half 
 inches in diameter. For cost, etc.* This apparatus has the 
 advantage of being very durable. If the children stand in 
 rows for the Eing Drill, the last child in each row walks 
 along with arm outstretched to collect the rings, and if the 
 children hold their rings straight out, she can slip her arm 
 through all the rings in the row and collect them, in less 
 time than it takes to describe. The rings are slipped from 
 the arm on to a length of window cord, which is then tied 
 and hung up. 
 
 EXERCISE I. 
 
 1st Movement. Ready. Eing held with both hands. 
 See Fig. 150, Hoop Drill. 
 
 One. Eings straight out in front. Fig. 151, Hoop Drill. 
 
 Two. Position as in "Eeady". 
 
 (Continue these two movements until sixteen is counted.) 
 
 2nd Movement. Beady. Fig. 150, Hoop Drill. 
 
 One. Eings up. 
 
 Two. Position as in " Eeady ". 
 
 (Continue these 'two movements until sixteen is counted.) 
 
 3rd Movement. Heady. Hands close together on ring. 
 
 One. Eing on knees. Fig. 154, Hoop Drill. 
 
 Two. Eing on chest. 
 
 * See Appendix 29. 
 
320 RING DRILL. 
 
 4th Movement Ready. Fig. 150, Hoop Drill. 
 
 One. Eings out. 
 
 Two. Position as in " Eeady ". 
 
 Three. Eings up. 
 
 Four. Position as in " Eeady ". 
 
 Five. Eings on knees. 
 
 Six. Position as in " Eeady ". 
 
 Seven. Eings on knees. 
 
 Eight. Position as in "Eeady". 
 
 (Eepeat these movements so as to complete sixteen.) 
 
 EXERCISE II. (in rows, rings joined ; Fig. 159, Hoop Drill). 
 
 1st Movement. One. Spring up on toes, sending rings 
 up. 
 
 Two. Heels on floor, and swing rings back. 
 
 (Continue these two movements until sixteen is counted.) 
 
 2nd Movement. One. Bend knees, keeping rings in a 
 vertical position. 
 
 Two. Stand as in Fig. 159, Hoop Drill. 
 
 (Continue these two movements until sixteen is counted.) 
 
 3rd Movement. One. Send rings out and left foot out 
 at the same time. 
 
 Two. Feet together. Spring up on toes. 
 
 Three. Send rings out and right feet out at the same time. 
 
 Four. Feet together. Spring up on toes. 
 
 (Continue these four movements until sixteen is counted.) 
 
 4th Movement. One. All step to left. 
 
 Two. Spring up on toes with feet together. 
 
 Three. All step to right. 
 
 Four. Spring up on toes with feet together. 
 
 (Continue these four movements until sixteen is counted.) 
 
RING DRILL. 
 
 321 
 
 FIG. 161. 
 
 EXERCISE III. (partners stand facing each other ; Fig. 161). 
 
 1st Movement. One. Send out left arms. 
 
 Two. Send out right arms. Fig. 156, Hoops. 
 
 (Continue these two movements until sixteen is counted.) 
 
 2nd Movement. One. Eings to A. Fig. 157, Hoops. 
 
 Two. Eings to B. 
 
 (Continue these two movements until sixteen is counted.) 
 
 3rd Movement. One. Touch rings over head. Fig. 
 158, Hoops. 
 
 Two. Touch rings below, bending the body as in Fig. 175, 
 Wand Drill. 
 
 (Continue these two movements until sixteen is counted.) 
 
 21 
 
322 
 
 RING DRILL. 
 
 FIG. 162. 
 
 4th Movement. One. Send feet out, and look under 
 ring. Fig. 162. 
 
 Two. Feet together. Eings in position. Fig. 161. 
 
 Three. Send feet out and look under ring in opposite 
 direction. 
 
 Four. Position as in Fig. 161. 
 
 (Continue these four movements until sixteen is counted.) 
 
 EXERCISE IV. 
 
 In this exercise the partners stand back to back. Sup- 
 posing them to be standing at position shown in Fig. 161, 
 the three Figs, which follow show how the " back to back " 
 position is assumed. 
 
RING DRILL. 
 
 323 
 
 FIG. 163. 
 Teacher calls " One ". Eing is raised. Fig. 163. 
 
 One we raise a ring like this, 
 Soon beneath it we shall go, 
 
 Very careful we must be, 
 
 Doing this nice drill you know. 
 
 (Fig 163.) 
 
324 
 
 KING DRILL. 
 
 FlG. 164. 
 
 When " Two " is called, both faces look under ring. Fig. 
 164. 
 
 Iwo we peep beneath the ring, 
 Holding it above, quite high, 
 
 Three, our heads go under ; now 
 Each to do her best will try. 
 
 (Fig. 164.) 
 
RING DRILL. 
 
 325 
 
 FIG. 165. 
 
 When the Teacher says " Three," the partners pass under 
 the raised ring, and take the position shown in Fig. 165. 
 ISt Movement. One. Kings straight up. 
 Two. Position. Fig. 165. 
 
 (Continue these two movements until sixteen is counted.) 
 2nd Movement. One. Rings straight out. 
 Two. Position. Fig. 165. 
 
 (Continue these two movements until sixteen is counted.) 
 3rd Movement. One. Rings down. 
 Two. Position. Fig. 165. 
 (Continue these two movements until sixteen is counted.) 
 
326 
 
 RING DRILL. 
 
 FIG. 166. 
 
 4th Movement. One. King out and feet out. Fig. 166. 
 Two. Feet together, and rings in position. Fig. 165. 
 Three. Opposite ring sent out and feet on same side. 
 Four. Position. Fig. 165. 
 
RING DRILL. 
 
 327 
 
 FIG. 167 
 
 To return to position, Fig. 161. When Teacher calls 
 
 One One ring is raised, Fig. 167. At 
 
 Two The children turn their backs towards the raised 
 ring. They are now in position shown by Fig. 164. 
 
 Three. At three, the raised ring is brought down in front 
 of the girls' faces, and the children stand as in Fig. 161. 
 
328 
 
 CHAPTEE XLVIJ. 
 
 WANDS. 
 (See General Instructions, p. 294.) 
 
 THE wands should be thirty-six inches in length. For cost, etc.* 
 They are excellent for developing the physique, but should 
 not be given to delicate children, as some of the exercises 
 would require more strength than these would be likely to 
 possess. The wands should not be used by children under 
 six years of age, and may with advantage be kept until the 
 children are past six. 
 
 FIG. 168. 
 
 FIG. 169. 
 
 Children march to places holding wands over heads. Fig. 
 172. 
 
 * See Appendix 30. 
 
WANDS. 329 
 
 EXERCISE I. 
 (The same as Exercise I. of Ring Drill.) 
 
 1st Movement. Beady. Wands in position shown by 
 Fig. 168. 
 
 One. Wands straight out in front. Fig. 169. 
 
 Two. Position. Fig. 168. 
 
 (Continue these t two movements until sixteen is counted.) 
 
 2nd Movement. Beady. Wands as in Fig. 168. 
 
 One. Wand up. Fig. 172. 
 
 Two. Position. Fig. 168. 
 
 (Continue these two movements until sixteen is counted.) 
 
 FIG. 170. FIG. 171. 
 
 3rd Movement. Beady. Fig. 168. 
 
 One. Wands on knees. Fig. 170. 
 
 Two. Position. Fig. 168. 
 
 (Continue these two movements until sixteen is counted.) 
 
 4th Movement. Beady. Wands held as in Kg. 168. 
 
 One. Wands out. Fig. 169. 
 
330 WANDS. 
 
 Two. Position. Fig. 168. 
 
 Three. Wands up. Fig. 172. 
 
 Four. Position. Fig. 168. 
 
 Five. Wands on knees. Fig. 170. 
 
 Six. Position. Fig. 168. 
 
 Seven. Wands on knees. Fig. 170. 
 
 Eight. Position. Fig. 168. 
 
 (Eepeat these eight movements to complete sixteen. ) 
 
 EXERCISE II. 
 
 1st Movement. Ready. Wands as in Fig. 168. 
 
 One. Charge to left. Fig. 171. 
 
 Two. Position. Fig. 168. 
 
 Three. Charge to right. 
 
 Four. Position. Fig. 168. 
 
 (Continue these four movements until sixteen is counted.) 
 
 2nd Movement. Ready. Fig. 168. 
 
 One. Touch floor with wands. 
 
 Two. Position. Fig. 168. 
 
 Three. Wands straight out in front. Fig. 169. 
 
 Four. Position. Fig. 168. 
 
 (Continue these four movements until sixteen is counted.) 
 
WANDS. 
 
 331 
 
 FIG. 172. 
 
 FIG. 173. 
 
 3rd Movement. Ready. Fig. 168. 
 
 One. Hold wand over head. Fig. 172. 
 
 Two. Behind neck. Fig. 173. 
 
 Three. Over head. Fig. 172. 
 
 Four. Position. Fig. 168. 
 
 (Continue these four movements until sixteen is counted.) 
 
 4th Movement (slow time). Beady. Fig. 168. 
 
 One. Wand on knees. Fig. 170. 
 
 Two. Swing wand over head and behind neck. Fig. 173. 
 
 (Continue these two movements until sixteen is counted.) 
 
332 
 
 WANDS. 
 
 FIG. 174. 
 
 FIG. 175. 
 
 
WANDS. 333 
 
 EXERCISE III. (with partners). 
 
 1st Movement (slow time). Ready. Stand face to 
 face holding each other's wands. 
 
 One. Touch wands over head. Fig. 174. 
 
 Two. Touch wands below, bending. Fig. 17-5. 
 
 (Continue these two movements until sixteen is counted.) 
 
 2nd Movement. Beady. Same as for first movement. 
 
 One. Left hands out. 
 
 Two. Eight hands out. Fig. 156, Hoop Drill. 
 
 (Continue these two movements until sixteen is counted.) 
 
 3rd Movement. Ready. Same as for first movement. 
 
 One. Step and look under wand as in Fig. 162, King 
 rill. 
 
 Two. Position. 
 
 Three. Same as " One " in opposite direction. 
 
 Four. Position. 
 
 (Continue these four movements until sixteen is counted.) 
 
 4th Movement. See next page. 
 
!34 
 
 WANDS. 
 
 FIG. 176. 
 
 4th Movement. Marching, see Fig. 176. When a stej 
 is taken with the left foot the wand held by the left hands 
 is sent forward, Fig. 176, and when a step is taken with the 
 right foot the right wand is sent forward. 
 
335 
 
 CHAPTER XLVIII. 
 
 SCARF DRILL. 
 (See General Instructions, p. 294.) 
 
 THE Scarfs are made of coloured sateen and can be purchased 
 ready for use.* Two colours are generally used, pink and 
 blue, or red and green, so that one row may have one colour, 
 and the next the other. The scarfs shown in the illustrations 
 are forty-five inches long, and seven inches wide, so that 
 four could be made out of one and a quarter yards of sateen. 
 They are pleated four inches from each end. The ends are 
 kept in shape by a piece of strong cane such as the children 
 use for basket- weaving. This is run through the hem at 
 each end of the scarf, and made secure by stitching up the 
 hem at each side. Scarf Drill is similar to Wand Drill, only 
 as the apparatus is pliable the exercise is less violent. 
 
 At a Children's Entertainment half the girls wore white 
 dresses crossed from shoulder to waist with mauve sashes 
 (made of Indian muslin at twopence a yard), and had scarfs 
 for drill to match ; while the other half had gold-coloured 
 sashes and scarfs to match. The scarfs should be numbered, 
 or have the children's names written upon them, so that 
 each child may always get the same. i 
 
 
 EXERCISE I. (with scarf held as a wand). 
 
 1st Movement. Beady, as in position shown by Fig. 168, 
 Wands. 
 
 One. Scarfs straight out in front. 
 Two. Position. Fig. 168, Wands. 
 
 (Continue these two movements until sixteen is counted.) 
 * See Appendix 31. 
 
336 
 
 SCARF DRILL. 
 
 2nd Movement. Beady. Fig. 168, Wands. 
 One. Scarf over head. See Fig. 172, Wands. 
 Two. Position. Fig. 168, Wands. 
 
 (Continue these two movements until sixteen is counted.) 
 3rd Movement. Beady. Fig. 168, Wands. 
 One. Scarf out, and left foot out at an angle of 45. Fig 
 171, Wands. 
 
 Two. Feet together. Fig. 168, Wands. 
 
 Three. Eight foot out and scarf out. 
 
 Four. Feet together and scarf in position. Fig. 168, Wands 
 
 (Continue these four movements until sixteen is counted.) 
 
 FIG. 177. 
 
 FIG. 175. 
 
 4th Movement (charging in every direction). Beady 
 Fig. 168, Wands. 
 
 One. Charge to left. Fig. 177. 
 
 Two. Feet together and scarf across chest, still facing tc 
 left. 
 
 Three. Charge again to left. Fig. 178, 
 
SCAKF DRILL. 
 
 337 
 
 Four. Feet together, scarf in position, still facing as in 
 ig. 178. 
 
 Five. Charge again to left. This position is the exact 
 >posite of Fig. 177. 
 
 Six. Feet together, scarf in position. 
 
 Seven. Charge again to left. 
 
 Eight. Feet together, scarf in position 
 
 (The child is now in the position from which it started, 
 ., facing the front.) 
 
 Nine. Charge to right instead of left, and continue as in 
 e first eight movements, until sixteen is counted. 
 
 FIG. 179. FIG. 180. 
 
 EXEKC1SE II. 
 
 1st Movement (Neck exercise. Slow time). Ready. 
 3arf round face. Fig. 179. 
 
 One. Incline head and stretch neck towards left shoulder. 
 
 22 
 
338 
 
 - SCARF DRILL. 
 
 Two. Head erect. 
 
 Three. Incline head and stretch neck towards righ 
 shoulder. 
 
 Four. Head erect. 
 
 (Continue these four movements until sixteen is counted. 
 
 2nd Movement. Ready. Scarf over head. Fig. 180 
 
 One. Scarf round face. Fig. 179. 
 
 Two. Over head. Fig. 180. 
 
 (Continue these two movements until sixteen is counted. 
 
 FIG. 181. 
 
 FIG. 182. 
 
 3rd Movement Beady. Scarf behind neck. Fig. 18; 
 
 One. Bound neck. Fig. 181. 
 
 Two. Scarf straight out. Fig. 182. 
 
 (Continue these two movements until sixteen is counted 
 
SCAEP DRILL. 
 
 339 
 
 FIG. 183. 
 
 FIG. 18i. 
 
 4th Movement. Beady. Fig. 168, Wand Drill. 
 
 One. Cover eyes as if crying. Fig. 183. 
 
 Two. Scarf straight out. Fig. 184. 
 
 (Continue these two movements until sixteen is counted.) 
 
 EXERCISE III. 
 
 ISt Movement. Beady. Scarf held straight out in 
 ront. Fig. 169, Wands. 
 
 One. Scarf round waist, hands meeting behind. 
 Two. Scarf out in front. Fig. 169, Wands. 
 (Continue these two movements until sixteen is counted.') 
 
340 
 
 SCARF DRILL. 
 
 FIG. 185. 
 
 FIG. 18G. 
 
 Fig. 186. 
 Fig. 180. 
 
 2nd Movement. Ready. Scarf held out in front. 
 
 One. Hands together in front. Fig. 185. 
 
 Two. Scarf over head. Fig. 180. 
 
 Three. Behind neck. 
 
 Four. Scarf over head. 
 
 (Continue these four movements until sixteen is counted 
 
 3rd Movement (slow time). Ready. Scarf over heac 
 Fig. 180. 
 
 One. Bend knees with scarf held straight over head. 
 
 Two. Assume upright position, still holding scarf ovt 
 head. 
 
 (Continue these two movements until sixteen is counted 
 
 4th Movement. Ready. Position as in Fig. 168, Wand 
 
 One. (Hold the scarf by the two ends in left hand, so ; 
 to make a loop.) Left hand out to left. 
 
 Two. Shake scarf. 
 
SCARF DRILL. 
 
 Three. Position. Fig. 168, Wands 
 Four. Bow. 
 
 Five. Hold scarf by tho two ends in right hand. 
 Six. Shake scarf. 
 
 Sci'cn. Position. Fig. 1G8, Wands. 
 Eight. Bow. 
 
 (Eepeat these eight movements so as to complete sixteen.) 
 The children may go out " Ducking under," as in Exercise 
 ., Gun Drill, the Girls holding each other's Scarfs, where 
 the Boys point Guns together. 
 
342 
 
 CHAPTEE XLIX. 
 
 GUN DRILL.* 
 (See General Instructions, p. 294.) 
 
 FIG. 187. 
 
 EXEECISE I. (marching). 
 
 1st Movement. Marching two abreast. Fig. 187. 
 * See Appendix 32, 
 
GUN DRILL. 343 
 
 If the boys are in position (a, b) before sixteen is counted, 
 let them mark time. 
 
 a 
 
 x x 
 
 x x 
 
 x x 
 
 x x 
 
 x x 
 
 X X 
 
 X X 
 
 X X 
 
 2nd Movement. Marching in fours. 
 
 Suppose there are eight " twos " standing behind each other 
 (see diagram at the end of 1st Movement), the first couple 
 march round to the left, the second couple to the right, third 
 to the left, and so on, the first two meeting the second two at 
 point a, and marching down four abreast to point b. If this 
 movement requires more than sixteen, the latter may be 
 counted twice over. 
 
 3rd Movement. Marching eight abreast. 
 
 At the end of 2nd Movement, the boys will be standing in 
 fours. The first four march round to the left, the second four 
 to the right, the third to the left, etc., meeting as before at 
 point a, and now they march down to point b eight 
 abreast. 
 
 4th Movement. Step sideways and open out to places 
 for drill. 
 
 The end boy in each row remains stationary. 
 
344 
 
 GUN DRILL. 
 
 PIG. 188. 
 
 FJG. 189. 
 
 EXERCISE II. 
 
 ISt Movement. Beady. Stand with gun in position, 
 shown by Fig. 188. 
 
 One. Guns out. Fig. 189. 
 
 Two. Guns in position. Fig. 188. 
 
 Three. Guns over head in horizontal position. 
 
 Four. Position. Fig. 188. 
 
 (Continue these four movements until sixteen is counted.) 
 
GUN DRILL. 
 
 345 
 
 FIG. 190. 
 
 FIG. 191. 
 
 2nd Movement. Ready. Fig. 188. 
 
 One. Gun on knees. Fig. 190. 
 
 Two. Position. Fig. 188. 
 
 Three. Gun over head. 
 
 Four. Position. Fig. 188. 
 
 (Continue these four movements until sixteen is counted. "> 
 
 3rd Movement. Ready. Fig. 188. 
 
 One. Charge to left. Fig. 191. 
 
 Two. Position. Fig. 188. 
 
 Three. Charge^to right. 
 
 Four. Position. Fig. 188. 
 
 (Continue these four movements until sixteen is counted.) 
 
346 
 
 GUN DRILL. 
 
 FIG. 192. 
 
 FIG. 193. 
 
 4th Movement (slow time). Ready. Fig. 188. 
 One. Swing to left. Fig. 192. 
 Two. Position, stiU turning to left. Fig. 193. 
 Three. Swing to right. 
 
 Four. Position, still turning to right. (The feet may be 
 turned with the body.) 
 
 (Continue these four movements until sixteen is counted.) 
 
GUN DRILL. 
 
 347 
 
 FIG. 194. 
 
 EXERCISE III. 
 
 
 In fours, boys standing at points marked thus, 
 
 
 1st Movement. Beady. Boys stand at points marked, 
 
 with guns in position. Fig. 188. 
 
 One. Guns out to form squares. Fig. 194. 
 
 Two. Position. Fig. 188. 
 
 Three. Guns over head. 
 
 Four. Position. Fig. 188. 
 
 (Continue these four movements until sixteen is counted.) 
 
 2nd Movement. Beady. Stand to marks as for 1st 
 Movement. 
 
 One. Touch floor with guns. 
 
 Two. Position. Fig. 188. 
 
 Three. Send gun over head and spring up on toes. 
 
 Four. Position. Fig. 188. 
 
 (Continue these four movements until sixteen is counted.) 
 
348 
 
 GUN DRILL 
 
 FIG. 195. 
 
 FIG. 196. 
 
GUN DRILL. 
 
 349 
 
 3rd Movement (slow time). Rmdy. Turn to right, 
 still standing at points marked, and hold gun in left hand 
 Fig. 195. 
 
 One. Send gun high and touch in centre. 
 
 Two. Kneel, Fig. 196, still holding guns as in " One ". 
 
 Three. Let guns rest on floor. Fig. 197. 
 
 Four. Position as shown in Fig. 195. 
 
 (Continue these four movements until sixteen is counted.) 
 
 4th Movement. Ready. Fig. 195. ' 
 
 One. Meet guns in centre, as in 3rd Movement, holding 
 them as high as possible, and march round until eight is 
 counted. 
 
 Nine. Change guns into right hand, hold high, so as to 
 touch in centre, and march round until sixteen is completed. 
 
 EXEECISE IV. 
 
 (One of the boys should be " Captain " and call out the 
 words of command.) 
 
350 
 
 GUN DRILL. 
 
 Ready. Stand in places as for Exercise II. 
 Prepare I All kneel on right knee. 
 Charge ! Prepare gun for firing. 
 Present ! Point guns outward. 
 Fire ! Pull trigger. 
 
 FIG. 198. 
 
 EXERCISE V. 
 
 Ready. Stand in couples facing each other. 
 
 The first two point their guns upwards, so as to touch in 
 the centre, the next two march under, Fig. 198, and then point 
 their guns, and so on, just as in the game of " Ducking 
 under ". 
 
351 
 
 CHAPTER L. 
 
 CURVED WANDS. 
 (See General Instructions, p. 294.) 
 
 THE curved wand consists of cane thirty-six inches long, 
 with or without bells.* These are not so good as the 
 straight wands for actual physical development, but they 
 make a pleasing variety, and can be trimmed with leaves to 
 look very pretty for a May festival, or other entertainment. 
 
 FIG. 199. FIG. 200. 
 
 The children run to their places holding wand in position, 
 
 i.e., over head. See Fig. 199. 
 
 * See Appendix 33. 
 
352 
 
 CURVED WANDS. 
 EXERCISE I. 
 
 ist Movement Ready. ' Fig. 199. 
 
 One. Wand up. Fig. 200. 
 
 Two. Position. Fig. 199. 
 
 Three. Wand touch floor. Fig. 201. 
 
 Four. Position. Fig. 199. 
 
 (Continue these four movements until sixteen is counted 
 
 FIG. 201. 
 
 FIG. 202. 
 
 2nd Movement. Ready. Position. Fig. 199. 
 
 Om. Wand touch floor. Fig. 201. 
 
 Two. Over head. Fig. 200. 
 
 Three. Across shoulders behind. Fig. 202. 
 
 Four. Wand over head. 
 
 (Continue these four movements until sixteen is counted.; 
 
CURVED WANDS. 
 
 353 
 
 FIG. 203. 
 
 FIG. 204. 
 
 3rd Movement. Ready. Fig. 199. 
 One. Swing to left. Fig. 203. (Turn feet to left also.) 
 Two. Wand in position (Fig. 199), still turning to left. 
 Three. Swmg to right. 
 
 Four. Wand in position (Fig. 199), still turning to right. 
 (Continue these four movements until sixteen is counted.) 
 4th Movement. foody. . Fig. 199. 
 One. Wand to left. Fig. . 204. 
 Two. Position. Fig. 199. 
 Three. Wand to right. 
 Four. Position. Fig. 199. 
 
 (Continue these four movements until sixteen is counted.) 
 
 23 
 
354 
 
 CURVED WANDS. 
 
 FIG. 205. 
 
 EXERCISE II. (with partners standing face to face, Fig. 205, and 
 joining wands). 
 
 ist Movement. Ready. Fig. 205. 
 
 One. Send wands up. Fig. 206. 
 
 Two. Position. Fig. 205. 
 
 Three. Wands out. 
 
 Four. Position. Fig. 205. 
 
 Five. Wands down. Fig. 207. 
 
 Six. Position. Fig. 205. 
 
 Seven. Wands down again. Fig. 207. 
 
 Eight. Position. Fig. 205. 
 
 (Repeat these movements to complete sixteen.) 
 
 2nd Movement. Repeat 1st Movement. 
 
 3rd and 4th Movements on p. 356. 
 
CUEVED WANDS. 
 
 355 
 
 FIG. 206. 
 
 FIG. 207. 
 
356 CURVED WANDS. 
 
 3rd Movement. Ready. Fig. 205. 
 
 One. Wands to self. Fig. 157, Hoop Drill. 
 
 Two. Wands to partner. 
 
 (Continue these two movements until sixteen is counted.) 
 
 4th Movement Ready. Fig. 205. 
 
 Onr. Look under wand and send feet out. Fig. 162, 
 Eing Drill. 
 
 Two. Position. Fig. 205. 
 
 Three. Look under wand in opposite direction, and send 
 feet out. 
 
 Four. Position. Fig. 205. 
 
 (Continue these four movements until sixteen is counted.) 
 
CUEVED WANDS. 
 
 357 
 
 FIG. 208. 
 
 EXERCISE III. (in sets of four). 
 
 ist Movement. Ready. Fig. 208. 
 One. Step round to left with wand in position. Fig. 208. 
 Two. Feet together, spring up on toes. 
 (Continue these two movements until eight is counted, 
 then step to right until sixteen is completed.) 
 2nd Movement. Ready. Fig. 208. 
 One. Step to centre. 
 
 Two. Send wands up, and spring up on toes. 
 Three. Step back to places and swing wand downwards. 
 Four. Swing wands to position. Fig. 208. 
 (Continue these four movements until sixteen is counted.) 
 
358 
 
 CURVED WANDS. 
 
 FIG. 209. 
 
 3rd Movement (slow time). Ready. Fig. 208, each 
 child holding its own wand. 
 
 One. Wands touching in centre. Fig. 209. 
 
 Two. Position. Fig. 208. 
 
 Three. Swing wands down to toes. 
 
 Four. Position. 
 
 (Continue these four movements until sixteen is counted.) 
 
CUKVED WANDS. 
 
 359 
 
 FIG. 210. 
 
 4th Movement. With wands crossed. 
 
 One. Step to centre and send wands up. Fig. 210. 
 
360 
 
 CURVED WANDS. 
 
 FIG. 211. 
 
 Two. Step back to places. Fig. 211. 
 
 (Continue these two movements until sixteen is counted.) 
 
361 
 
 CHAPTER LI. 
 
 FAN DRILL. 
 (See General Instructions, p. 294.) 
 
 FAN Drill is very pretty, and much liked by the children. 
 It is invariably used for girls, and is more adapted to produce 
 graceful movement than muscular development. The great 
 drawback to fan drill is that the apparatus is so frail and 
 so easily torn. For cost, etc.* A much stouter fan may 
 be bought for twopence. 
 
 EXEKCISE I. 
 
 Ready. Fans closed and held in position. Fig. 168, 
 Wands. 
 
 Exercise I. of Ring Drill may be used for this. 
 
 * gee Appendix 34, 
 
362 
 
 FAN DRILL 
 
 FIG. 212. 
 
 FIG. 213. 
 
 EXERCISE II. 
 
 1st Movement. Ready. Fig. 212. 
 
 One. Open fan to left. Fig. 213. 
 
 Two. Close in front. Fig. 212. 
 
 Three. Open to right. 
 
 Four. Close in front. 
 
 (Continue these four movements until sixteen is counted.) 
 
FAN DRILL. 
 
 363 
 
 FIG. 214. 
 
 FIG. 215. 
 
 2nd Movement (slow time). Ready. Fig. 214. 
 
 One. Fan turned over on knees. Fig. 215. 
 
 Two. Position shown in Fig. 214. 
 
 Three. Fans on knees (Fig. 215), turning to left. 
 
 Four. Position (Fig. 214), still turning to left. 
 
 Five. Same as " One ". 
 
 Six. Same as " Two ". 
 
 Seven. Fan on knees (Fig. 215), turning to right. 
 
 Eight. Position (Fig. 214), still turning to right. 
 
 (Repeat these eight movements to complete sixteen.) 
 
 3rd Movement. Ready. Fig. 214. 
 
 One. Cover face with fan. 
 
 Two. Lower the fan and peep over. 
 
 (Continue these two movements until sixteen is counted.) 
 
364 
 
 FAN DRILL. 
 
 FIG. 216. 
 
 4th Movement (slow time). Read.y. Fig. 214. 
 
 One. Swing fan to left. Fig. 216. 
 
 Two. Put fan on like a bonnet. Fig. 217. 
 
 Three. Swing fan to right. 
 
 Four. Put fan on like a bonnet. 
 
 (Continue these four movements until sixteen is counted.) 
 
PAN DRILL. 
 
 365 
 
 FIG. 218. 
 
 EXERCISE III. (with partners). 
 
 ISt Movement (slow time). Ready. Hold partner's 
 fan, and face each other. 
 
 One. Bend knees. Fig. 218. 
 
 Two. Stand up straight, still holding each other's fans. 
 
 (Continue these two movements until sixteen is counted.) 
 
366 
 
 PAN DRILL. 
 
 FIG. 219. 
 
 2nd Movement. Ready. Fan in right hand. 
 One. Touch partner's shoulder. Fig. 219. 
 Two. Touch own shoulder. 
 
 (Continue these two movements until sixteen is counted.) 
 3rd Movement (slow time). Ready. Fan in righ 
 hand, partners still facing each other. 
 One. Fan self. 
 Two. Fan partner. 
 (Continue these two movements until sixteen is counted.) 
 
FAN DRILL. 
 
 367 
 
 FIG. 220. 
 
 4th Movement (very slow time). Ready. Same as for 
 3rd Movement. 
 
 One. Heads bent forward as if whispering, and fans held 
 at the side of the face. Fig. 220. 
 
 Two. Fan on chest. 
 
 (Continue these two movements until sixteen is counted.) 
 
368 
 
 FAN DRILL. 
 
 FlG. 221. 
 
 FIG. 222. 
 
 KEY C. (Four time.) 
 
 {: sin : 
 '{.In: 
 
 s | s : s 
 
 f : 1 H : 1 s : t | t : 1 
 
 s |s :s f : 
 
 :1 is :t |t : 
 
 s : d ! i d 1 
 s :d'|d' 
 
 1. With bonnet on (Fig. 221) we bow to you (Fig. 222), 
 Once more to say " Adieu, adieu," 
 Now down, now up, our heads do go, 
 And all must keep in time, you know. 
 
 The " bowing " is continued all through the first verse, the 
 
FAN DRILL. 369 
 
 heads going down with each heavy beat of the music, i.e., 
 the first note in each bar. 
 
 2. Our drill is nearly at an end, 
 So good-bye kisses we will send, 
 " Good-bye, Good-bye," to all we say, 
 Before we lightly dance away. 
 
 Fan held in right hand during second verse. The tip of the 
 fan is held near the lips at each heavy beat, and waved out- 
 wards at the third beat. 
 
370 
 
 CHAPTEK LII. 
 
 TAMBOURINE DRILL. 
 
 (See General Instructions, p. 294.) 
 
 THIS drill affords scope for good physical exercise and many 
 graceful movements. Tambourines of different sizes may 
 be obtained. Those shown in the sketches are six and a 
 half inches in diameter. For cost.* The wood part of the 
 tambourine may be painted in a bright colour, and made 
 pretty with streamers of coloured ribbons. At an entertain- 
 ment where the girls did tambourine drill, half of them had 
 gold sashes made of Indian muslin (twopence a yard) with tam- 
 bourines painted blue, and gold ribbons tied in for streamers, 
 while the other half wore blue sashes on their white dresses, 
 and had the tambourines painted gold, and tied with blue 
 streamers. 
 
 * See'Appendix 35. 
 
TAMBOUBINE DRILL. 371 
 
 FIG. 223. FIG. 224. 
 
 The girls march to places with tambourines on their heads, 
 ig. 224. 
 
 The two verses which follow may be sung to the tune 
 iven on p. 368, as girls march to places. 
 
 The children all come inarching in, 
 Their Tambourine drill to begin, 
 Such pretty movements you will see, 
 As we are working merrily. 
 
 We swing to left, or swing to right, 
 And tap it, tap with touch so light, 
 Or hold the tambourine straight out, 
 And twist it, twist it round about. 
 
 Words to accompany 4th Movement of Exercise II., p. 
 75. Tune " The Campbells are Coming ". 
 
 One. Two. Three. Four. 
 
 In front, and above, and in front, behind, 
 Keep time to the music, and if you mind, 
 In front, and above, and in front, behind, 
 To " Campbells are Coming " will go you'll find. 
 
372 
 
 TAMBOURINE DRILL. 
 
 FIG. 225. 
 
 FIG. 226. 
 
 EXERCISE I. 
 (slow time). Ready. 
 
 Tambourine i 
 
 ist Movement 
 
 left hand. 
 
 One. Swing tambourine upwards to the left, with thl 
 left hand, and look at it. Fig. 225. (Turn feet to left also.] 
 
 Two. Strike with right hand, still looking up. Fig. 226; 
 
 Three. Swing to right, with tambourine in right hand : 
 and look at it. 
 
 Four. Strike with left hand, still looking at tambourine. 
 
 (Continue these four movements until sixteen is counted.' 
 
 2nd Movement. Ready. Fig. 223. 
 
 One. Charge to left. 
 
 Two. Position, Fig. 223, and spring up on toes. 
 
 Three. Charge to right. 
 
 Four. Position, Fig. 223, and spring up on toes. 
 
 (Continue these four movements until sixteen is counted. 
 
TAMBOURINE DRILL. 373 
 
 FIG. 227. FIG. 228. 
 
 3rd Movement (Wrist Exercises). Ready. Tambourine 
 straight out. 
 
 One. Twist so that right hand is on the top. Fig. 227. 
 
 Two. Twist so that left hand is on the top. Fig. 228. 
 
 (Continue these two movements until sixteen is counted.) 
 
 4th Movement. Ready. Fig. 223. 
 
 One. Hold tambourine over head with both hands. Fig. 
 
 3, Hoop Drill. 
 
 Two. Let tambourine rest on head. Fig. 224. 
 
 (Continue these two movements until sixteen is counted.) 
 
 EXERCISE II. 
 
 ist Movement. Ready. Fig. 223. 
 
 One. Swing tambourine to left, turning body at the same 
 me. Fig. 216, Fan Drill. 
 
 Two. Tambourine on head like a hat. Fig. 224. 
 Three. Swing to right. 
 Four. Same as " Two ". 
 (Continue these four movements until sixteen is counted.) 
 
374 
 
 TAMBOURINE DRILL, 
 
 FIG. 229. 
 
 2nd Movement. Ready. Tambourine in right hand. 
 
 One. Touch own right shoulder with tambourine, held in 
 the right hand (left hand on waist). 
 
 Two. Touch the next girl's shoulder. Fig. 229. 
 
 (Continue these two movements until eight is counted.) 
 
 Nine. Change tambourine to left hand, and touch own 
 shoulder. 
 
 Ten. Touch next girl's shoulder, and so on until sixteen 
 is counted. 
 
 3rd Movement. Ready. Tambourine in left hand. 
 
 One. Step sideways with left foot, swinging tambourine 
 upward at the same time. 
 
 Two. Look at tambourine, hop on the left foot, and strike 
 with right hand at the same time. 
 
 Three. Same as " One " with tambourine in right hand, 
 and stepping to right. 
 
 Four. Same as " Two " to right. 
 
 (Continue these four movements until sixteen is counted.) 
 
TAMBOURINE DRILL. 375 
 
 4th Movement. Ready. Tambourine in left hand. 
 
 One. Hold tambourine straight out in front and strike 
 with right hand. 
 
 Two. Strike over head. 
 
 Three. Same as " One ". 
 
 Four. Strike tambourine twice behind, quickly. 
 
 This exercise is done to the tune " The Campbells are 
 Coming ". See Exercise II., 3rd Movement, Dumb Bell 
 Drill. 
 
 FIG. 230. 
 
 EXERCISE III. 
 
 1st Movement. Ready. In rows with tambourines 
 joined, fingers in holes of tambourine. 
 One. Charge to left. Fig. 230. 
 Two. Feet together. Spring up on toes. 
 Three. Charge to right. 
 Four. Feet together. Spring up on toes. 
 (Continue these four movements until sixteen is counted.) 
 
376 TAMBOURINE DRILL. 
 
 2nd Movement. Ready. Stand in rows with tam- 
 bourines joined. 
 
 One. First and third rows step to left, while second and 
 fourth step to right. 
 
 Two. Feet together. All spring up on toes. 
 
 Three. First and third step to right, while second and 
 fourth step to left. 
 
 Four. Same as " Two ". 
 
 (Continue these four movements until sixteen is counted.) 
 
 If this movement is found difficult, the rows may all 
 step in the same direction, i.e., all to left, or all to right. 
 
 FIG. 231. 
 
 3rd Movement. Ready. First and second rows face 
 each other, and third and fourth face each other, standing 
 about three feet apart. 
 
 One. All step forward with left foot. 
 
 Two. Feet together. Spring up on toes. 
 
TAMBOURINE DRILL. 377 
 
 Three. Eaise tambourines, and strike tambourines of row 
 facing. Fig. 231. 
 
 Four. Strike again. 
 
 Five. Step back with right foot. 
 
 Six. Same as " Two ". 
 
 Seven. Swing tambourines down and bow. 
 
 Eight. Position as in " Eeady ". 
 
 (Repeat these eight movements until sixteen is counted.) 
 
 If it is desired to omit the 4th Movement, repeat the 
 3rd. 
 
 4th Movement. Ready. Second and third rows face 
 each other, first and fourth face outwards. 
 
 One. Second and third step together, while first and 
 fourth step outwards. 
 
 Two. Second and third rows strike together, Fig. 231 ; 
 first and fourth each strike own tambourine. 
 
 Three. All step back to places. 
 
 Four. Spring up on toes. 
 
 (Continue these four movements until sixteen is counted.) 
 
 Girls may skip out with tambourine on head, or they may 
 dance out to polka step, striking tambourines to right and 
 left alternately. 
 
378 
 
 CHAPTEE LIII. 
 MAYPOLE DANCE. 
 
 Preliminary. Some Maypoles* are made with sixteen 
 ribbons, and some with twenty-four. The Maypole illus- 
 trated here has the latter number. Twenty-four brass-headed 
 nails may be placed at equal distances apart, to form a large 
 circle, round the Maypole, or a large circle may be drawn in 
 chalk, and divided into twenty- four (or sixteen) equal parts. 
 To draw the circle, tie a piece of string round the Maypole 
 loosely; fix the diameter of the circle required and cut the 
 string accordingly. Then tie a piece of chalk at the loose end 
 of the string, draw the circle carefully and place the marks 
 at equal distances. 
 
 In the same way, a smaller circle within the larger one is 
 drawn. The position of the small circle is shown in Fig. 232, 
 where the boys are kneeling. In these illustrations the 
 circles are marked with brass-headed nails, which do not 
 show in the picture. 
 
 Maypole Dance. The boys, twelve in number, stand 
 with their girl partners on the left side of them. The couples 
 should be one behind the other in a straight line. 
 
 Ready. Boys place right hand and girls place left hand 
 on side, the other two hands (boy's left and girl's right) are 
 joined and raised. 
 
 1st Movement (to dance music, four time). Eun round 
 the Maypole on the larger circle twice, then drop hands, face 
 
 *lSee] Appendix 36. 
 
MAYPOLE DANCE. 
 
 379 
 
380 MAYPOLE DANCE. 
 
 the Maypole, and stand to marks. The ribbons are now 
 given to the children and held with both hands. The boys 
 have blue, and the girls white. Some Maypoles have six or 
 eight various colours. 
 
 2nd Movement (waltz music). The children must count 
 softly in every movement. 
 
 One. Boys move left foot one step to the left and slide 
 right foot to it. 
 
 Two. Move right to right and slide left foot to it. 
 
 Continue waltzing to centre thus, until twelve is counted. 
 By this time boys should have reached the smaller circle. 
 
 Thirteen. Boys kneel on left knee, Fig. 232, and girls, 
 who have been standing still until now, take ribbon in right 
 hand, place left hand on side, and turn to left, Fig. 232, 
 ready to run round as soon as the sixteen of the 2nd 
 Movement is finished. 
 
 3rd Movement (dance music, four time). Girls run 
 round until two sixteens are counted, then turn, and run 
 round again until places are reached at the end of four six- 
 teens. They then face Maypole. 
 
 4th Movement (waltz music). Ready. A chord is 
 struck for boys to rise. Boys waltz back to places, which 
 they should reach by the time sixteen is counted. 
 
 5th Movement. Same as 2nd Movement ; this time 
 girls waltz to centre, and boys prepare for dancing round 
 
 6th Movement. Same as 3rd Movement. Boys run 
 round, while girls remain kneeling. 
 
 7th Movement. Same as 4th Movement. Girls waltz 
 back to places. 
 
 8th Movement (four time). 
 
 One to Four. Bow to partners. 
 
 Five to Eight. Turn back to partner, and bow to child 
 facing. 
 
 Nine to Twelve. Bow to Maypole. 
 
 Thirteen to Sixteen. Boys turn to right, while girls turn 
 
MAYPOLE DANCE. 
 
 381 
 
382 MAYPOLE DANCE. 
 
 to left, and step to the position shown in Fig. 233. The 
 children are now ready for plaiting the Maypole. 
 
 pth Movement (four time). Suppose the tune to be the 
 " Keel Eow ". (See Drill, General Instructions, p. 294.) 
 
 One to Four. Both boys and girls step forward with left 
 foot at "One," with right at "Two," left at "Three," and 
 when " Four " is counted they should be in the position 
 shown in Fig. 234, i.e., boys inside and girls outside. 
 
 Five, Six, Seven and Eight. The children step to the 
 position shown in Fig. 233. 
 
 Nine to Twelve. Step to the position in Fig. 234. 
 
 Thirteen to Sixteen. To position shown in Fig. 233. 
 
 Continue these movements as long as the children can 
 move comfortably. 
 
 To unplait the ribbons, each child turns in the oftpoaite 
 direction to that in which it was previously moving, the 
 ribbon is changed into the other hand, and the children 
 proceed as before. 
 
 N.B. If any mistake has been made in the plaiting, the 
 2m-plaiting will discover it, and unless it is detected at once, 
 a hopeless tangle will ensue. The ribbons should be closely 
 watched at the time of plaiting. The following rhyme may 
 help the children : 
 
 II 
 
 KEY. 
 
 One two three four froc six seven eight 
 
 :s.s d 1 : 1 .s I f : r .r ! n : r .d n : s .s j 
 Girls out, while boys are in, Next all the boys are out, Girls out, while 
 
 d' :!.B If :r.r In :r .d 
 boys are in, Girls, boys, take turns about. 
 
MAYPOLE DANCE. 
 
 383 
 
APPENDIX. 
 
 25 
 
387 
 
 APPENDIX. 
 
 1. Signal. Ordinary size, Is. 2d. ; large size, Is. 9d. 
 
 2. Saltaire Action Songs. Published by J. Curwen & Sons. 
 
 3. Guessing Games. Published by A. Brown & Sons, Hull. 
 
 4. Saltaire Kindergarten Games. Published by J. Curwen & Sons, 
 
 5. Jointed Laths. Id. each, lOd. per dozen. 
 
 6. Basket Frames (brown). 6d. per packet of 8. 
 
 7. A. L. Embroidery Cards. 12 packets, 4d. per packet of 10. 
 
 8. A. L. Embroidery Models. 4 packets, 12 in each, Is. 4d. per packet,. 
 
 coloured ; Is. per packet, uncoloured. Arranged by Lois Bates, 
 Published by E. J. Arnold & Son, Leeds. 
 
 9. Demonstration Frame for Mat-weaving. 6s., or with stand 11s. 
 
 10. Cardboard Mats. Is. 3d. per packet of 25. 
 
 11. Paper for Folding. 5d. per packet of 100, Is. 6d. per packet of 500. 
 
 12. Clay for Modelling, white. Is. 4d. per stone, 9s. 6d. per cwt. 
 Clay for Modelling, terra cotta. 2s. 3d. per stone, 9s. 6d. per cwt. 
 Clay for Modelling, pink plastiline. 2s. Id. per Ib. 
 
 13. A. L. Box of Models. Published by E. J. Arnold & Son. 
 
 14. Sand. lOd. per stone. 
 
 15. Cane. Coarse, Is. 9d. per Ib. ; fine, 2s. per Ib. 
 
 16. Cane- weaving, by Miss Otty. Published by E. J. Arnold & Son. 
 
 17. Giant Letters. Published by Joseph Hughes & Son, London. 
 
 18. Number Table, invented by Miss Wilson. 4s. 6d. E. J. Arnold & 
 
 Son. 
 
 19. Arithmetic Frame, invented by Miss Wilson. 15s. E. J. Arnold & 
 
 Son. 
 
 20. Cardboard Coins. Box of 220, Is. 8d. 
 
 21. Toys for Babies' Object Lessons. Id. each. E. J. Arnold & Son. 
 
 22. Recitations for Infants, by Lois Bates. Longmans, Green, & Co. 
 
 23. Fairy Tale of a Dog, a Cat, and a Fox. Longmans, Green, & Co. 
 
 24. Paragon Demonstration Specimen, Hemming. Is. 
 
 25. Kindergarten Modulator. J. Curwen & Sons. 2s. 
 
 26. Musical Bells. 3s. per dozen pairs. 
 
388 
 
 APPENDIX. 
 
 27. Dumb Bells, Iron, 8 oz. each. 2s. per dozen pairs. 
 Dumb Bells, Wood, 5 oz. each. 4s. 3d. per dozen pairs. 
 
 28. Hoops. Is. 6d. per dozen. 
 
 29. Rings. 3s. 4d. per dozen. 
 
 30. Wands, 36 inches long, plain. 2s. 9d. per dozen. 
 
 31. Scarfs. 4s. 6d. per dozen. 
 
 32. Guns. 6s. per dozen. 
 
 33. Canes for Curved Wand Drill. 3s. per dozen. 
 
 34. Fans. 9d. per dozen. 
 
 35. Tambourines, 6 inches diameter. 2s. 3d. per dozen. 
 
 36. Maypole, 25s. 
 
14 DAY USE 
 
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 LOAN DEPT. 
 
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 Renewed books are subject to immediate recall. 
 
 DEC. 
 
 
 
 FEB 8 
 
 2flOf 
 
 LD 21A-50m-ll,'62 
 (D3279slO)476B 
 
 General Library 
 
 University of California 
 
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