The Project Gutenberg EBook of Guide to the Kindergarten and Intermediate Class and Moral Culture of Infancy., by Elizabeth P. Peabody and Mary Mann This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Guide to the Kindergarten and Intermediate Class and Moral Culture of Infancy. Author: Elizabeth P. Peabody Mary Mann Release Date: June 29, 2011 [EBook #36555] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK GUIDE TO THE KINDERGARTEN *** Produced by David Edwards and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.) Music files created by Linda Cantoni. GUIDE TO THE KINDERGARTEN AND INTERMEDIATE CLASS, BY ELIZABETH P. PEABODY; AND MORAL CULTURE OF INFANCY, BY MARY MANN. REVISED EDITION. NEW YORK: E. STEIGER. 1877. The present volume is a revised edition of the book which under the title Moral Culture of Infancy and Kindergarten Guide [i] [ii] has been in the market since 1860, latterly published by Messrs. J. W. Schermerhorn & Co. of New York. Cambridge, Elizabeth P. Peabody. October 1st, 1877. Mary Mann. Entered according to Act of Congress, in the year 1869, by J. W. Schermerhorn & Co., in the Clerk's Office of the District Court of the United States for the Southern District of New York. Copyright, 1877, by E. Steiger. PREFACE. Cambridge, Mass., March 1, 1869. Since publishing the first edition of what I meant to be a Guide to those who undertake to give Kindergarten culture, I have been in Europe, and made a special study of the Kindergartens established in Hamburgh, Berlin, and Dresden, by Froebel himself, and his most distinguished scholars. This study has more and more confirmed the conviction I derived from reading Froebel's "Essay on the Education of the Human Race;" viz., that no greater benefit could be conferred on our country, than the far and wide spread of Kindergartens, as an underpinning, so to say, of our noble public-school system, giving adequate moral foundation, thoroughness, and practicality to the national education. But I also learned that no book could be written that would make an expert Kindergartner. It was the careful observations and earnest experiments of half a century, that gave to Froebel himself that profound knowledge of childhood which enabled him to formulate the principles, deduce the rules, and call forth the spirit of a genuine art of education. But though no genius and industry less than his own could have originated this art, any soundly cultured, intelligent, genial-tempered young woman, who loves children, can appreciate and practise it, if—and only if—she is trained by a living teacher engaged in the work at the moment. This, I myself have proved experimentally also; for my knowledge was first obtained only from books. I had the best manuals and guides, but did not know that they were intended merely for the convenience of already trained teachers; and that they necessarily omitted the characteristic peculiarity of the method, because written words cannot do justice to the fine steps by which the child is led to gradually carry its total spontaneity forwards, on every plane of its little life, —artistic, moral, and intellectual. For there is nothing merely mechanical and imitative in true Kindergarten culture: the child acts "from within outwards" in every thing it does, however seemingly trifling; and, if we use the word artist in its most general sense, becomes an artist from the beginning. Thus is prevented that too common divorce between the powers of thinking and acting, whose harmony ensures ability in a strict proportion to intellectual capacity. Consciousness of aim, and enjoyment of success, at every step develop new ideas and power, and fulfil that law of nature by which thought tends to rush into act instantly, as in childish play. Nothing is more melancholy in experience than to see people drifting instead of living; but this general failure of human life is owing to the fact, that the unassisted child is baffled in its will and balked of its desires, by a want of that steadiness of aim, perseverance, and knowledge of how to adapt means to ends, which adult sympathy and wisdom should supply; and from want of which it loses the original harmony of its being in the process of its growth. Kindergarten culture is the adult mind entering into the child's world, and appreciating nature's intention as displayed in every impulse of spontaneous life; and so directing it that the joy of success may be ensured at every step, and artistic things be actually produced, which gives the self-reliance and conscious intelligence that ought to discriminate human power from blind force. The only mistake in idea which I see that I made in my "Guide," was making it the object of the teacher to cultivate the individualities of each pupil especially. This is not even desirable, and would require the intuitive genius of Froebel in every single teacher. In a true art of education, individualities will be tenderly respected; but it is not what is individual, but what is common to all (or that universal of human nature which rises into the divine creative), which is to be cultivated especially. Every process of Froebel's Kindergarten is good for all children, and, interfering with nothing original, leaves their individualities free to express themselves sufficiently. For individual varieties are irrefragable, and give piquancy and beauty to human life, except they are pampered,—when they become deformities. To follow universal laws in their orderly development, ensures a necessary harmony with others, while a margin is always to be left for invention, which is what gives conscious freedom, and makes obedience no longer blind and passive, but intelligent and active; every healthy instinct and affection becoming at last spiritual law. Nevertheless, I gladly meet the demand of the public for a second edition of the "Guide," because its defect is not in its spirit and general idea, seeing that it has awakened an interest in Kindergartens all over the United States, as [iii] [iv] [v] numerous letters from all parts have proved to me; but in my having somewhat confused what belongs to the second and third stages of primary education, with a preliminary process, which it is necessary not only to begin with, but to keep distinct for a considerable time, until the habit of mind is formed of asking clearly what is going to be done before attempting to do it. What I missed cannot be supplied by any book; for this preliminary process can only be learned from the living teaching of the Normal class. I make some revisory notes, also change some thirty pages, and gladly embrace the opportunity, which the popularity of my "Guide" gives me, to make known, as far as it goes abroad, that, when I came home from Europe, I found what I had seen to be the indispensable condition of an effective introduction of Froebel's art into either the private or public education of America; viz., a training-school for Kindergartners, actually established by Madame Kriege in Boston (127 Charles Street), in connection with a Kindergarten to be taught by her daughter, fresh from the school of Berlin, founded by the Baroness Marienholtz, a noble lady who has devoted her pen, her fortune, the prestige of her rank, and even her personal services, to the diffusion of Kindergarten culture on the continent of Europe. The so-called Kindergarten which I had established, was gladly given up to make room for this genuine one; and I have the highest expectations from the Normal training. Already several teachers, who had made experiments of their own, which had taught them the need of this special instruction, have engaged themselves as Madame Kriege's pupils; and the spread of the demand for Kindergartners will, I think, keep her Normal class always full. I cannot but hope that the time may come when the Normal schools of all our States may be endowed with a professorship of Kindergarten culture adequately filled. Omitting my own preface to my first edition, I retain as explanation of the origin of the letters on moral culture, which make the last part of the "Guide," and give it its greatest value to mothers, Mrs. Mann's POSTSCRIPT. "I have been urged to publish these letters, written twenty years ago, as an appendix to a Kindergarten Guide, because the school herein described was a groping attempt at something of the same kind, and had left very pleasant memories in the hearts of the children referred to—now no longer children, but some of them men and women nobly and beautifully acting their parts on earth as parents; and others,—having died martyrs' deaths for human freedom in the desolating war that now ravages our beloved country,—angels in heaven. "If an inborn love of children and of school-keeping are qualifications for judging of the best means of educating them, I may claim to have known something of the theory and practice best adapted to that end. My object was to put them in possession of all their faculties. Many improvements in methods, and many facilities in means, have been added to the resources of teachers since these letters were written. Physical training is felt to be of the greatest importance, in preference to the ancient mode of shutting children up many hours in close rooms, and repressing all natural and joyous life. The principle is discovered of educating by directing the activities. Hence the Kindergarten. "M. M. "Concord, Mass., 1863." CONTENTS. CHAP. PAGE I. Kindergarten—What Is It? 9 II. Rooms, Etc. 19 III. Music 22 IV. Plays, Gymnastics, and Dancing 28 V. The Kindergartner 35 VI. Kindergarten Occupations 43 VII. Moral and Religious Exercises 54 VIII. Object Lessons 58 IX. Geometry 65 X. Reading 71 XI. Grammar and Languages 98 XII. Geography 103 XIII. The Secret of Power 104 [vi] [vii] [viii] ————— Moral Culture of Infancy 105 ————————— Songs. AMERICAN KINDERGARTEN. CHAPTER I. KINDERGARTEN—WHAT IS IT? What is a Kindergarten? I will reply by negatives. It is not the old-fashioned infant-school. That was a narrow institution, comparatively; the object being (I do not speak of Pestalozzi's own, but that which we have had in this country and in England) to take the children of poor laborers, and keep them out of the fire and the streets, while their mothers went to their necessary labor. Very good things, indeed, in their way. Their principle of discipline was to circumvent the wills of children, in every way that would enable their teachers to keep them within bounds, and quiet. It was certainly better that they should learn to sing by rote the Creed and the "definitions" of scientific terms, and such like, than to learn the profanity and obscenity of the streets, which was the alternative. But no mother who wished for anything which might be called the development of her child would think of putting it into an infant-school, especially if she lived in the country, amid "the mighty sum Of things forever speaking," where any "old grey stone" would altogether surpass, as a stand-point, the bench of the highest class of an infant- school. In short, they did not state the problem of infant culture with any breadth, and accomplished nothing of general interest on the subject. Neither is the primary public school a Kindergarten, though it is but justice to the capabilities of that praiseworthy institution, so important in default of a better, to say that in one of them, at the North End of Boston, an enterprising and genial teacher has introduced one feature of Froebel's plan. She has actually given to each of her little children a box of playthings, wherewith to amuse itself according to its own sweet will, at all times when not under direct instruction,— necessarily, in her case, on condition of its being perfectly quiet; and this one thing makes this primary school the best one in Boston, both as respects the attainments of the scholars and their good behavior. Kindergarten means a garden of children, and Froebel, the inventor of it, or rather, as he would prefer to express it, the discoverer of the method of Nature, meant to symbolize by the name the spirit and plan of treatment. How does the gardener treat his plants? He studies their individual natures, and puts them into such circumstances of soil and atmosphere as enable them to grow, flower, and bring forth fruit,—also to renew their manifestation year after year. He does not expect to succeed unless he learns all their wants, and the circumstances in which these wants will be supplied, and all their possibilities of beauty and use, and the means of giving them opportunity to be perfected. On the other hand, while he knows that they must not be forced against their individual natures, he does not leave them to grow wild, but prunes redundancies, removes destructive worms and bugs from their leaves and stems, and weeds from their vicinity,—carefully watching to learn what peculiar insects affect what particular plants, and how the former can be destroyed without injuring the vitality of the latter. After all the most careful gardener can do, he knows that the form of the plant is predetermined in the germ or seed, and that the inward tendency must concur with a multitude of influences, the most powerful and subtile of which is removed in place ninety-five millions of miles away. In the Kindergarten, children are treated on an analogous plan. It presupposes gardeners of the mind, who are quite aware that they have as little power to override the characteristic individuality of a child, or to predetermine this characteristic, as the gardener of plants to say that a lily shall be a rose. But notwithstanding this limitation on one side, and the necessity for a concurrence of the Spirit on the other,—which is more independent of our modification than the remote sun,—yet they must feel responsible, after all, for the perfection of the development, in so far as removing every impediment, preserving every condition, and pruning every redundance. This analogy of education to the gardener's art is so striking, both as regards what we can and what we cannot do, that Froebel has put every educator into a most suggestive Normal School, by the very word which he has given to his seminary,—Kindergarten. If every school-teacher in the land had a garden of flowers and fruits to cultivate, it could hardly fail that he would learn to be wise in his vocation. For suitable preparation, the first, second, and third thing is, to [9] [10] [11] "Come forth into the light of things, Let Nature be your teacher." The "new education," as the French call it, begins with children in the mother's arms. Froebel had the nurses bring to his establishment, in Hamburg, children who could not talk, who were not more than three months old, and trained the nurses to work on his principles and by his methods. This will hardly be done in this country, at least at present; but to supply the place of such a class, a lady of Boston has prepared and published, under copyright, Froebel's First Gift, consisting of six soft balls of the three primary and the three secondary colors, which are sold in a box, with a little manual for mothers, in which the true principle and plan of tending babies, so as not to rasp their nerves, but to amuse without wearying them, is very happily suggested. There is no mother or nurse who would not be assisted by this little manual essentially. As it says in the beginning,—"Tending babies is an art, and every art is founded on a science of observations; for love is not wisdom, but love must act according to wisdom in order to succeed. Mothers and nurses, however tender and kind-hearted, may, and oftenest do, weary and vex the nerves of children, in well-meant efforts to amuse them, and weary themselves the while. Froebel's exercises, founded on the observations of an intelligent sensibility, are intended to amuse without wearying, to educate without vexing." Froebel's Second Gift for children, adapted to the age from one to two or three years, with another little book of directions, has also been published by the same lady, and is perhaps a still greater boon to every nursery; for this is the age when many a child's temper is ruined, and the inclination of the twig wrongly bent, through sheer want of resource and idea, on the part of nurses and mothers. But it is to the next age—from three years old and upwards—that the Kindergarten becomes the desideratum, if not a necessity. The isolated home, made into a flower-vase by the application of the principles set forth in the Gifts above mentioned, may do for babies. But every mother and nurse knows how hard it is to meet the demands of a child too young to be taught to read, but whose opening intelligence and irrepressible bodily activity are so hard to be met by an adult, however genial and active. Children generally take the temper of their whole lives from this period of their existence. Then "the twig is bent," either towards that habit of self-defence which is an ever-renewing cause of selfishness, or to the sun of love-in-exercise, which is the exhaustless source of goodness and beauty. The indispensable thing now is a sufficient society of children. It is only in the society of equals that the social instinct can be gratified, and come into equilibrium with the instinct of self-preservation. Self-love, and love of others, are equally natural; and before reason is developed, and the proper spiritual life begins, sweet and beautiful childhood may bloom out and imparadise our mortal life. Let us only give the social instinct of children its fair chance. For this purpose, a few will not do. The children of one family are not enough, and do not come along fast enough. A large company should be gathered out of many families. It will be found that the little things are at once taken out of themselves, and become interested in each other. In the variety, affinities develop themselves very prettily, and the rough points of rampant individualities wear off. We have seen a highly-gifted child, who, at home, was—to use a vulgar, but expressive word—pesky and odious, with the exacting demands of a powerful, but untrained mind and heart, become "sweet as roses" spontaneously, amidst the rebound of a large, well-ordered, and carefully watched child-society. Anxious mothers have brought us children, with a thousand deprecations and explanations of their characters, as if they thought we were going to find them little monsters, which their motherly hearts were persuaded they were not, though they behaved like little sanchos at home,—and, behold, they were as harmonious, from the very beginning, as if they had undergone the subduing influence of a lifetime. We are quite sure that children begin with loving others quite as intensely as they love themselves,—forgetting themselves in their love of others,—if they only have as fair a chance of being benevolent and self-sacrificing as of being selfish. Sympathy is as much a natural instinct as self-love, and no more or less innocent, in a moral point of view. Either principle alone makes an ugly and depraved form of natural character. Balanced, they give the element of happiness, and the conditions of spiritual goodness and truth,—making children fit temples for the Holy Ghost to dwell in. A Kindergarten, then, is children in society,—a commonwealth or republic of children,—whose laws are all part and parcel of the Higher Law alone. It may be contrasted, in every particular, with the old-fashioned school, which is an absolute monarchy, where the children are subjected to a lower expediency, having for its prime end quietness, or such order as has "reigned in Warsaw" since 1831. But let us not be misunderstood. We are not of those who think that children, in any condition whatever, will inevitably develop into beauty and goodness. Human nature tends to revolve in a vicious circle, around the idiosyncrasy; and children must have over them, in the person of a wise and careful teacher, a power which shall deal with them as God deals with the mature, presenting the claims of sympathy and truth whenever they presumptuously or unconsciously fall into selfishness. We have the best conditions of moral culture in a company large enough for the exacting disposition of the solitary child to be balanced by the claims made by others on the common stock of enjoyment,—there being a reasonable oversight of older persons, wide-awake to anticipate, prevent, and adjust the rival pretensions which must always arise where there are finite beings with infinite desires, while Reason, whose proper object is God, is yet undeveloped. Let the teacher always take for granted that the law of love is quick within, whatever are appearances, and the better self will generally respond. In proportion as the child is young and unsophisticated, will be the certainty of the response to a teacher of simple faith: [12] [A] [13] [14] "There are who ask not if thine eye Be on them,—who, in love and truth, Where no misgiving is, rely Upon the genial sense of youth. "And blest are they who in the main This faith even now do entertain, Live in the spirit of this creed, Yet find another strength, according to their need." That "other strength" is to be found in recognition of the Eternal laws of order, and reverent application of them to human action. But children must receive this from the Kindergartner, who shall give them such help in embodying their ever-springing fancies as shall prevent "the weight of chance desires," and issue in a tangible success, by entering into and carrying forward their total, spontaneous activity, without destroying its childishness. One of the most important exercises for children in the Kindergarten is block building. A box of eight little cubes is so managed that it will unfold in the child's mind the law of symmetry, by means of series of forms which the children are led to make in a way rather difficult to describe here. So quick are the fancies of children, that the blocks will serve also as symbols of every thing in Nature and imagination. We have seen an ingenious teacher assemble a class of children around her large table, to each of whom she had given the blocks. The first thing was to count them, a great process of arithmetic to most of them. Then she made something and explained it. It was perhaps a light-house,—and some blocks would represent rocks near it to be avoided, and ships sailing in the ocean; or perhaps it was a hen-coop, with chickens inside, and a fox prowling about outside, and a boy who was going to catch the fox and save the fowls. Then she told each child to make something, and when it was done hold up a hand. The first one she asked to explain, and then went round the class. If one began to speak before another had ended, she would hold up her finger and say,—"It is not your turn." In the course of the winter, she taught, over these blocks, a great deal about the habits of animals. She studied natural history in order to be perfectly accurate in her symbolic representation of the habitation of each animal, and their enemies were also represented by blocks. The children imitated these; and when they drew upon their imaginations for facts, and made fantastic creations, she would say,—"Those, I think, were fairy hens" (or whatever); for it was her principle to accept everything, and thus tempt out their invention. The great value of this exercise is to get them into the habit of representing something they have thought by an outward symbol. The explanations they are always eager to give, teach them to express themselves in words. Full scope is given to invention, whether in the direction of possibilities or of the impossibilities in which children's imaginations revel,—in either case the child being trained to the habit of embodiment of its thought. Froebel thought it very desirable to have a garden where the children could cultivate flowers. He had one which he divided into lots for the several children, reserving a portion for his own share in which they could assist him. He thought it the happiest mode of calling their attention to the invisible God, whose power must be waited upon, after the conditions for growth are carefully arranged according to laws which they must observe. Where a garden is impossible, a flower-pot with a plant in it, for each child to take care of, would do very well. But the best way to cultivate a sense of the presence of God is to draw the attention to the conscience, which is very active in children, and which seems to them (as we all can testify from our own remembrance) another than themselves, and yet themselves. We have heard a person say, that in her childhood she was puzzled to know which was herself, the voice of her inclination or of her conscience, for they were palpably two; and what a joyous thing it was when she was first convinced that one was the Spirit of God, whom unlucky teaching had previously embodied in a form of terror on a distant judgment-seat. Children are consecrated as soon as they get the spiritual idea, and it may be so presented that it shall make them happy as well as true. But the adult who enters into such conversation with a child must be careful not to shock and profane, instead of nurturing the soul. It is possible to avoid both discouraging and flattering views, and to give the most tender and elevating associations. But children require not only an alternation of physical and mental amusements, but some instruction to be passively received. They delight in stories, and a wise teacher can make this subservient to the highest uses by reading beautiful creations of the imagination. Not only such household-stories as "Sanford and Merton," Mrs. Farrar's "Robinson Crusoe," and Salzmann's "Elements of Morality," but symbolization like the heroes of Asgard, the legends of the Middle Ages, classic and chivalric tales, the legend of Saint George, and "Pilgrim's Progress," can in the mouth of a skilful reader be made subservient to moral culture. The reading sessions should not exceed ten or fifteen minutes. Anything of the nature of scientific teaching should be done by presenting objects for examination and investigation. Flowers and insects, shells, etc., are easily handled. The observations should be drawn out of the children, not made to them, except as corrections of their mistakes. Experiments with the prism, and in crystallization and transformation, are useful and desirable to awaken taste for the sciences of Nature. In short, the Kindergarten should give the beginnings of everything. "What is well begun is half done." We must say a word about the locality and circumstances of a Kindergarten. There is published in Lausanne, France, a newspaper devoted to the interests of this mode of education, in whose early numbers is described a Kindergarten which seems to be of the nature of a boarding-school; at least, the children are there all day. Each child has a garden, and there is one besides where they work in common. There are accommodations for keeping animals, [15] [16] [17] [B] and miniature tools to do mechanical labor of various kinds. In short, it is a child's world. But in this country, especially in New England, parents would not consent to be so much separated from their children, and a few hours of Kindergarten in the early part of the day will serve an excellent purpose,—using up the effervescent activity of children, who may healthily be left to themselves the rest of the time, to play or rest, comparatively unwatched. Two rooms are indispensable, if there is any variety of age. It is desirable that one should be sequestrated to the quiet employments. A pianoforte is desirable, to lead the singing, and accompany the plays, gymnastics, frequent marchings, and dancing, when that is taught,—which it should be. But a hand-organ which plays fourteen tunes will help to supply the want of a piano, and a guitar in the hands of a ready teacher will do better than nothing. Sometimes a genial mother and daughters might have a Kindergarten, and devote themselves and the house to it, especially if they live in one of our beautiful country-towns or cities. The habit, in the city of New York, of sending children to school in an omnibus, hired to go round the city and pick them up, suggests the possibility of a Kindergarten in one of those beautiful residences up in town, where there is a garden before or behind the house. It is impossible to keep Kindergarten by the way. It must be the main business of those who undertake it; for it is necessary that every individual child should be borne, as it were, on the heart of the gardeners, in order that it be inspired with order, truth, and goodness. To develop a child from within outwards, we must plunge ourselves into its peculiarity of imagination and feeling. No one person could possibly endure such absorption of life in labor unrelieved, and consequently two or three should unite in the undertaking in order to be able to relieve each other from the enormous strain on life. The compensations are, however, great. The charm of the various individuality, and of the refreshing presence of conscience yet unprofaned, is greater than can be found elsewhere in this work-day world. Those were not idle words which came from the lips of Wisdom Incarnate:—"Their angels do always behold the face of my Father:" "Of such is the kingdom of heaven." CHAPTER II. ROOMS, ETC. I have made an article, which I published in the "Atlantic Monthly" of November, 1862, my first chapter, because I cannot, in any better way, answer the general question,—What is a Kindergarten? I will now proceed to make a Guide for the conduct of a Kindergarten; in which I shall freely make use of what Madame Rongé has said in her "English Kindergarten," and Madame Marienholtz in her "Jardin des Enfans;" but I shall not confine myself to them, for an American Kindergarten necessarily has its peculiarities. In the first place, we must think of the accommodations. These are not to be in the open air, as has been supposed by many, through misapprehension of the use of the word Kindergarten. But it is desirable that there should be a good play-ground attached to the rooms; and Froebel thought it of very important religious influence that every child should have earth to cultivate, if it were only a foot square. Two rooms are indispensable, and if possible there should be three, all of good size, with good light and air: one room for music and plays, gymnastics, dancing, &c.; another for the quieter mechanical employments,—pricking, weaving, sewing, moulding, folding, paper-cutting, sticklaying, and block-building; and still another for drawing, writing, object-teaching, and learning to read. It is desirable that every child should have a box, if not a little desk, in order to learn to keep things in order. When this cannot be done, the teachers must so arrange matters, as to have everything ready for every change; that no time may be lost and no confusion arise. In my own Kindergarten, I arrange beforehand the chairs in the play-room in a solid square, into which the children march at the commencement of the exercises. Sitting in them, they sing their morning prayer or hymn, hear the reading, and take a singing lesson on the scale. Then they rise, and, taking up their chairs, march into the other room for their reading lessons, which are always in two classes, sometimes in three. They bring their chairs back again for luncheon, and then take them out for another lesson; for in this room they have gymnastics, dancing, and the play, and need a clear space for all. They come back with their chairs, at the close of the exercises, to sing songs together before they disperse. Two of my rooms are carpeted. The other is smooth-floored for dancing, playing, and gymnastics. And, for the convenience of the gymnastics, it is well to paint, at convenient distances, little feet in the first position, as Dr. Dio Lewis has done in his gymnastic hall. When Kindergarten accommodations can be built expressly, I would suggest that there should be a house with glass walls and partitions, at least above the wainscoting; and that the wainscoting should be rather high and painted black, so that every child might have a piece of the blackboard; for it is easier for a child to draw with a chalk on a blackboard than with a slate and pencil. A house of glass, on the plan of the crystal palace, would be no more expensive than if built of brick. It would secure the light and sunshine, and make it easy for the superintendent to overlook the whole. It should be equably warmed throughout. My own Kindergarten is not in a glass house, but is the lower floor of a house which has three rooms, with a hall between two of the rooms; a large china closet which I use for the children's dressing, as well as to store many things; and beyond the third room, a bathing room, with every convenience. Rooms, hall, closet, and bathing [18] [19] [20] [21] room have all an east-south aspect, and are amply lighted. The room between the china closet and bathing room is longer than it is wide, and has blackboard painted on three sides of it, so that each child has a piece of blackboard. It is possible to keep a Kindergarten in two rooms, but not possible to keep it in one, if it is of any desirable size, or there is any variety of age in the children. A large play-ground and some garden is desirable. I am so fortunate as to have these in my house in Boston. The tables for the children to sit at should be low; and it is a good plan to have them painted in squares of an inch; chequered, or ruled by lines, so that they may be able always to set their blocks down with perfect accuracy. One of the rooms it would be well to provide with flat box-desks, in which can be kept all the materials which each child uses,—slates and pencils, blocks, sticks, weaving and sewing materials,—and the children should be required to keep these in order. In my own Kindergarten I provide all the materials for their work and instruction, thus securing uniformity; and it is better to do so always, and to charge a price covering the expense. It should be understood, from the first, that Kindergarten education is not cheap. As a Kindergarten requires several persons to keep it properly, a genial family, consisting of a mother and daughters, of various accomplishments, might devote their whole house to it, preparing for the writing and drawing one large room with blackboards all round, whose area could be used for the playing, gymnastics, and dancing. When this new culture shall be appreciated for its whole worth, it will not be deemed extravagant for a whole family thus to devote their house, as well as their time, to make a Kindergarten the temporary home of a large company of children. CHAPTER III. MUSIC. The first requisite to the Kindergarten is Music. The voice of melody commands the will of the child, or rather disarms the caprice, which is the principle of disorder. Two hymns are given in this Guide with which to commence school,—one being the Lord's Prayer, set to cheerful music. But there should be regular scale singing, and if conducted by a teacher of tact, a ten minutes lesson may be given every day, and the interest be kept undiminished. The first lesson should be preceded by the teacher's drawing on the blackboard a ladder of eight steps, and then saying to the pupils, "Now listen to my voice, and see how it goes up these steps." She then sings the eight notes very clearly, pointing to each step of the ladder; and runs her voice, with equal distinctness, down the descending scale. The children can then be asked to accompany the teacher in going up and down the ladder, singing the numbers 1, 2, 3, 4, 5, 6, 7, 8, instead of do, re, mi. There will doubtless be enough discords to be palpable to all ears, and these can be spoken of by the teacher, and a proposition made that every one who thinks he can go up and down the ladder alone, shall hold up a hand. Some may be able to do so, but a majority will fail. Some will not try at all. The teacher can then say, "Now I am going to teach you all to do it,—one step at a time. Let us all sing one." The piano is struck, and teacher and pupils all sing one. "Now let us go up a step,—one, two." Let this be repeated several times. Then stop, and say, "Now I am going to strike one of these notes and see if you know it." Strike two, and ask, "What is that, 1 or 2?" There may be difference of opinion; in which case, ask all to "hold up their hands who think it is 2, and then all who think it is 1." Tell which is right, and say, "Now let us all sing 2." Then say, "Now let us go down that step,—2, 1; and now up again,—1, 2; now all hold up their hands who can sing 1, 2, 1?" Select one after another to sing it alone with the piano, and after each has tried, let all sing with the teacher 1, 2, 1, before another is asked to sing it. Then let all sing 1, 1, 1; 2, 2, 2; 1, 1, 1. Go on in this way till all the eight notes are learned. They will be able to tell these notes, when struck upon the piano, much sooner than they will be able to strike them with their voices. And other exercises, every day calling upon them to name notes struck,—at first one note, afterwards combinations of notes. The following exercises were given in my Kindergarten in one year, which resulted in nearly all the children being able to sing them alone, and tell any notes struck. 1st.—1 2 1; 1 1, 2 2, 1 1; 1 1 1 1, 2 2 2 2, 1 1 1 1 2 1 2, &c. 2d.—1 2 3, 3 2 1; 1 3 3 1, 1 2 1, 2 3 2, 3 2 1. 3d.—1 2 3 4 5, 5 4 3 2 1. 1 3 5, 5 3 1, 1 5 5 1. 4th.—1 2 3 4 5 6; 6 5 4 3 2 1; 1 6, 6 1; 1 3 5 6. 5th.—1 2 3 4 5 6 7, 7 6 5 4 3 2 1; 1 3 5 8, 8 5 3 1. [22] [23] 6th.—1 2 3 4 5 6 7 8, 8 7 5 6 4 3 2 1; 1 3 5 8. This exercise can be varied by repeating each note one two, three, or four times. 7th.—1 1 2, 2 2 3, 3 3 4, 4 4 5, 5 5 6, 7 7 8, 8 7 6 5 4 3 2 1. 8th.—1 1 2, 3 3 4, 5 5 6, 7 7 8; 8 7 6 5 4 3 2 1. 9th.—1 2, 1 2 1; 2 3, 2 3 2; 3 4, 3 4 3; 4 5, 4 5 6; 5 6, 5 6 7; 6 7, 6 7 8; 8, 7, 6, 5, 4, 3, 2, 1. 10th.—1 1, 2 2, 1; 2 2, 3 3, 2; 3 3, 4 4, 3; 4 4, 5 5, 4; &c. 11th.—1 3; 2 4; 3 5; 4 6; 5 7; 6 8; 8, 6; 7, 5; 6, 4; 5, 3; 4, 2; 3, 1. 12th.—1 3 5 8, 8 5 3 1; 1 4 6 8, 8 6 4 1; 1 8 8 1. 13th.—1 1, 3 3; 5 5, 8 8; 8 8, 7 7, 6 6, 5 5, 4 4, 3 3, 2 2, 1 1. 14th.—1 2 3 2 1; 2 3 4 3 2; 3 4 5 4 3; 4 5 6 5 4; 5 6 7 6 5; 6 7 8 7 6; 7 8 7 6 5 4 3 2 1. 15th.—1 2 1 2 3 3; 2 3 2 3 4 4; 3 4 3 4 5 5; 4 5 4 5 6 6; 5 6 5 6 7 7; 6 7 6 7 8 8; 8 8 8 8; 7 7 7 7; 6 6 6 6; 5 5 5 5; 4 4 4 4; 3 3 3 3; 2 2 2 2; l l l l; 1 8; 8 1. Besides these ten minutes on the scale, (which should not occur next to singing the hymn, but after some other exercise has intervened,) it is an excellent plan to let the Kindergarten close with singing songs by rote. The words should be simple, such as "The Cat and the Sparrow," and other pretty melodies to be found in the Pestalozzian Singing Book and the many compilations prepared for children. For it is well for the child not to go out of the natural octave, and to have the words of songs adapted to the childish capacity. Besides this singing, the piano-forte should be used to play marches, as the children go from one room to another to their different exercises. "Order is Heaven's first law," and music is the heavenly voice of order, which disposes to gentleness and regularity of motion. As all the exercises change every quarter of an hour at least, this brings the marching to music as often; and it will last one or two minutes, sometimes longer. The children get accustomed to rise at the sound of the piano, and it will be easy to make them silent during the music, especially if it is hinted to them that soldiers always march in silence. Besides this, the piano is necessary for the gymnastics, and for the fanciful plays, which are always to be accompanied by descriptive songs. A few songs and plays are given in this Guide which, if taken in turn, will recur not oftener than once in ten days. We subjoin a description of the plays. I will finish this chapter by a translation from a notice of "Enseignement Musical, d'aprés Froebel, par Fred. Stern, prix, 2 francs: En vente à Bruxelles, rue de Vienne, 16, et à Paris, rue Fossés St. Victor, 35." "A man to be complete, should be master of linear and musical expression. Most of our education aims only to give him lingual expression; and drawing and music are considered accomplishments merely! The divine art which enables us to reproduce the human figure illuminated with the expression of the spirit, a mere accomplishment! Music, the melodious expression of our most intimate thoughts, the colored reflection of the heart,—a mere accomplishment! "Life is sad, monotonous, earthy, without the arts. If a woman of the middle and higher classes especially, does not daily realize the higher life by knowledge of truth and love of beauty, what shall save her from the frivolity and ennui that gnaws away the heart, tarnishes the soul, and brings misfortune to the fireside? Every woman should be an artist, and make artists of her children, if she would do a woman's whole duty. Especially should the mother teach her children to improvise music, which can be done by pursuing this method. "He commences by the study of the three sounds constituting the major triad, and, as in the model gamut, or gamut of do, there are three similar triads, three perfect major chords, do-mi-sol, fa-la-do, and sol-si-re, we begin naturally with the central chord, do-mi-sol, which we name the master chord; for, in the model gamut of do, it is around this, as around a centre, that the two other triads balance themselves, the lower fifth, fa-la-do, and the higher fifth, sol-si-re. We can show the unity of plan between these three established notes, in all the possible changes. We thus introduce a fine variety into the exercises, which permits the repetition of the same sounds and intervals, without causing fatigue or weariness to the child. "Scarcely have our pupils learned to sing or to repeat alone, at will, the three sounds do-mi-sol, when we have them mark them with pencils on the staff (key of sol); only as in the unity of tone there are yet the two other perfect chords, fa-la-do and sol-si-re, we let them write the three notes of the central chord with a red pencil, and reserve the three sounds of the chord on the left, (the lower or subdominant,) to be written with a yellow pencil, and the chord on the right, (higher or dominant,) with a blue pencil. On the other hand, for the appellative chords (dissonant,) made by the combination of the chord sol-si-re, with one, two, and even three notes of the chord fa-la-do, we use green pencils (mixture of blue and yellow). For we would keep the theory in mind by visible signs, which act most powerfully upon the minds of children. "Then we pass to perfect minor chords, and terminate this first branch of our method by the study of the gamut. "Our pupil knows as yet only a single tone,—the tone of do, which we designate by the name of model tone;—but all musicians are aware that to know well one tone, is to know them all, since they are all calculated on the model tone [24] [25] [C] [26] with which we began. The second part of our method will treat of the other tones, but it will prove no serious difficulty to our pupil. "We have carefully avoided scientific terms, though doubtless, by a learned terminology, we should have struck superficial minds more. But we address ourselves to the serious, who know that it is better to know a thing in itself, (in what constitutes it essentially,) without knowing its technology, than to know obscure terms and be ignorant of the thing. "Later, we shall initiate our pupil into the language generally adopted by all treatises on harmony. We wish that one day he may be a distinguished harmonist, knowing musical grammar at the foundation. It is strange that the study of grammar, so vigorously recommended for all other languages, is so entirely neglected in respect to musical language. The study of harmony seems to be reserved exclusively to artists; and even among them, only the few who are occupied with composing devote themselves to it with any profoundness. It is to this culpable negligence that we must attribute the difficulties of musical education. Where is the intelligent musician who would dare to deny the happy results inseparable from the most profound study of music? The scholar would necessarily have to give much less time to know the art in the best manner, which is now accessible only to remarkable persons of strong will. The grammatical study of music should begin at the same time as all other studies, and soon music would become the language of all, instead of being reserved exclusively to the privileged. "Doubtless great reforms will be necessary to arrive at this result, and the spirit of routine which unhappily reigns everywhere will render such reforms difficult. "However, we found great hopes on the inevitable development of the method of Froebel, for the principles he lays down are of general application."... I am myself so profoundly impressed with the importance of little children's beginning music in this manner, that, having found a teacher who is capable of it, I intend, another year, to have extra hours for those who will commence instrumental music, in my own Kindergarten; so that each child can have a lesson every day, and only play under the eye of the teacher until quite expert. I do not cast out these pages about instrumental music; but I will say, for the comfort of those Kindergartners, who cannot command an instrument, that in German Kindergartens I never found one. All the plays were done to vocal singing, unaccompanied. CHAPTER IV. PLAYS, GYMNASTICS, AND DANCING. In playing The Pigeon-house, the teacher, who should always play with the children, takes three quarters of the number, and forms them into a circle, while the other quarter remains in the middle, to represent the pigeons. The circle is the pigeon-house, and sings the song, beginning with the words: "We open the pigeon-house again," while, standing still, they all hold up their joined hands, so as to let all the pigeons out at the word "open;" and, as the circle goes round singing, "And let all the happy flutterers free, They fly o'er the fields and grassy plain. Delighted with glorious liberty," the pigeons run round, waving their hands up and down to imitate flying. At the word "return," in the line "And when they return from their joyous flight," the joined hands of those in circle are lifted up again, and the pigeons go in. Then the pigeon-house closes round them, bowing their heads, and singing, "We shut up the house and bid them good-night," which is repeated while the circle swings off and again comes together bowing. The play can be done over until all in turn have been pigeons. In playing Hare in the Hollow, a fourth of the children sit in the middle, on their hands and feet, while the rest, in circle, go round singing the three verses, and when the words "jump and spring," in the last verse, occur, the circle stops, and the joined hands are lifted up, and all the children leap out and around, on their hands and feet, (not knees,) —while the last lines are repeated twice. [27] [28] [29] In The Cuckoos, a circle is formed, or two concentric circles, and four children are put in the four corners of the room to enact cuckoos. The cuckoos sing "cuckoo," and those children in the circle answer; and when the words of the song indicate that the cuckoos should join the children, all four burst into the circle, and those who are found at their right hands become cuckoos the next time. Almost like this last is the play of The Bees; one child being put in the corner as a drone, and at the word "Beware," the drone breaks into the circle. The Windmill is done by dividing the children into companies of four, and letting them cross right hands and go round, and then cross left hands and go round the opposite way. By a change of the word windmill to water-wheel, the same music will serve for another play, in which there is a large circle formed, and then four or six spokes are made by six crossing hands in the middle, and then one or more children lengthening each spoke, and joining it to the circle, which forms the rim of the wheel. This is a more romping play than either of the foregoing, as the different velocities of those who are at the centre and circumference make it nearly impossible to have the motions correspond in time; but it is great fun, and serves for a change. The Clappers in the Corn-mill is made by one or by two concentric circles, going round as they sing the words; and the beauty of it consists in their minding the pauses and clapping in time. Whenever there are concentric circles, as is often necessary, when there are many children, the circles should move in different directions, and all circular motions must be frequently reversed. In The Sawyers, the children stand facing each other in couples, in a circle, and move their joined hands from shoulder to shoulder in time to the music of the first verse. In singing the second verse, they skip round with t...