1. The sixth gift is a three-inch cube divided by various cuts into thirty-six pieces, eighteen of which are rectangular parallelopipeds, or bricks, the same size as those of the fourth gift, two inches long, one inch wide, and one half inch thick. Twelve additional pieces are formed by cutting six of these parallelopipeds or units of measure in halves breadthwise, giving blocks with two square and four oblong faces. The remaining six pieces are formed by cutting three parallelopipeds or units of measure in halves, lengthwise, giving square prisms, columns, or pillars.

2. The sixth is the last of the solid gifts, and is an extension of the fourth, from which it differs in size and number of parts. It deals with multiples of the number two and three also; with halves rather than with quarters or thirds, the "half" being treated in a new manner, i.e., by dividing the unit of measure both in its length and breadth, giving two solids, different in form but alike in cubical contents.

3. The most important characteristics of the gift are:—

a. Irregularity of division.

b. Introduction of column.

c. Extent of surface covered by symmetrical forms.

d. Greater inclosure of space in symmetrical forms.

e. Introduction of distinct style of architecture.

f. Greater height of Life forms.

g. Severe simplicity of Life forms produced by the rectangular solids.

4. The sixth gift has no great increase of difficulty, and though new forms are presented there is little complexity in dictation. The building needs a somewhat more careful handling, inasmuch as the Life forms rise to considerable height and need the most exact balance.

The child sees solids whose faces are all either squares or oblongs, but of different sizes, viz., oblongs of three sizes, squares of two sizes.

This is the last of the Building Gifts; the child having received sufficient knowledge to be introduced step by step into the domain of the abstract, the first step being the planes of the seventh gift.

5. The geometrical forms illustrated in this gift are:—

6. The brick of the sixth gift is identical with that of the fourth, therefore it presents the same contrasts and mediations.

In number the different classes of blocks stand to each other as 6:12:18.

We may add that the brick is the foundation form of the gift, and that we gain the remaining two forms, the square block and pillar, by dividing it in exactly opposite directions.

The sixth gift is so evidently an enlarged and diversified fourth gift, that it is well to compare it on its introduction with the fourth, as well as with its immediate predecessor in the series. When the fourth is placed beside it, and the contents of the two boxes brought to view, it is evident at once to the child that a higher round in the ladder of evolution has been reached, and a new and highly specialized form developed. He is fired at once with creative activity, and his eager hands so quiver with impatience to investigate the possibilities of the new blocks that the wise kindergartner does not detain him long with comparisons, only assuring herself that he notes the relation of the new gift to the former ones, that he compares the two new solids to the brick, or unit of measure, and to each other, and discovers how each has been produced.

The difficulties of the new gift are very slight, as has been said, consisting neither in dictation, in mass of material, nor in new forms, lines, or angles. Equilibrium alone presents novel problems, but this law the child now understands fairly well in its practical workings, while he has gained so much dexterity in his use of the other blocks that the height and delicate poise of the new forms are added attractions rather than obstacles.

The sixth gift far surpasses all the other building blocks in its decided adaptation to the purely architectural forms. The bricks of the fourth gift may be used as a foundation for the construction of large and ambitious structures, and with this additional material, the sixth gift may excel in producing elegant and graceful forms.

The bricks of course admit of a much greater superficial extension and the inclosure of a more extensive space than has heretofore been possible. The children will unaided construct familiar objects, such as household furniture and implements, churches, fences, walled inclosures, and towers, with the new blocks, and seize with delight upon the possibilities of the column, which is really the distinctive feature of the gift.

So far, the building of object forms will closely resemble those of the previous gifts, but a step in advance may be made by the children if the kindergartner is complete mistress of the new forms and knows their capabilities. The gift may serve as a primer of architecture if its materials are thoroughly exploited, and may lead later on to a healthy discontent with incorrect outline, with vulgar ornamentation, and with crudity of form.[58]

Froebel himself, who had made exhaustive studies in architecture, and obtained the training necessary to enable him to take it up as a profession, has left us many examples of sixth gift building, which are to be found in all the German "Guides." The structures are no longer rude representations, but have a marked grace and symmetry, and in their simplicity, clearness of outline, and fine proportion, strongly resemble early Greek architecture. Colonnades, commemorative columns, faÇades of palaces, belvederes, temples, arches, city gates, monuments, fountains, portals, fonts, observatories,—all can be constructed in miniature with due regard to law, fitness, and proportion, and as the soft, creamy-white structures rise on the various tables, we see borne out Froebel's saying that the order of his Building Gifts was such that the child might be led in their use through the world's great architectural epochs from Egypt to Rome.[59]

Although with this gift we cannot produce symmetrical forms in as great diversity as with the fifth, yet the materials are productive to the inventive mind, and when the pieces are arranged with care and taste, beautiful figures may always be developed, those having a triangular centre being novel and especially pleasing. Although not as diversified, however, they have the added advantage of approaching nearer the plane; and that this progression may be more clearly shown, it seems evident that the symmetrical forms should only be produced by laying the columns, "square-faced blocks" and bricks, flat upon the table, and that the practice, advised by some authorities, of changing the figures by placing the blocks erect, or half erect, should be discouraged.

In the forms of knowledge we find again much less diversity than in the fifth gift,—the rectilinear solids and consequent absence of oblique angles limiting us in the construction of geometrical forms. The blocks, however, offer excellent means for general arithmetical instruction, for working out problems as to areas, for further illustration of dimension, and for building many varieties of parallelopipeds, square prisms, and cubes, and studying the parallelograms which bound them. The elements of this knowledge, it is true, were gained with the fourth gift, but we must remember that interest in any subject is not necessarily decreased by repetition, and that the value of review depends upon whether or not it is mechanical.[60]

The group work at the square tables is now especially beautiful, both when forms of symmetry or object forms are constructed. The fourth gift may be used, as has been said, if more material is needed, and of course combines perfectly with the sixth gift blocks. A large sixth gift made as was suggested for the fifth, on the scale of a foot instead of an inch, is most useful for coÖperative exercises in the centre of the ring, and the slender, graceful columns, for instance, which may thus be built in unison to commemorate some historic birthday, are so many concrete evidences to the child's eyes of the value of united effort.

Every gift and occupation and exercise of the kindergarten has been developed with infinite love and forethought to meet the child's wishes and capabilities; every one of them has been so delicately adjusted to meet the demands of the case, and so gently drawn into the natural and legitimate channel of childlike play, that they never fail to meet with an enthusiastic reception from the child, nor to awaken the strongest interest in him.

The kindergartner should be careful that he never builds hastily or lawlessly, and above all she should guide him to those forms which he will be able to construct with perfection and accuracy. She should always follow him in his work, answering his questions and suggesting new ideas, letting him feel in every way that she is in sympathy with him, and that none of his plans or experiments, however small they may be, are indifferent to her. It is always a delight to the child if his productions are understood by grown-up people, for he often feels somewhat doubtful of the value of his work until the seal of approval has been set upon it by a superior mind.

If we have grasped the underlying idea which welds the mass of material which forms the kindergarten gifts into a harmoniously connected whole; if we have developed the analytical faculty sufficiently to perceive their relation to the child, the child's relation to them, and the reasons for their selection as mediums of education; if we see clearly why each object is given, what connection it has with the child's development, and what natural laws should govern it in play, then we comprehend Froebel's own idea of their use.

Certainly the ignorant and unsympathetic kindergartner may err in dealing with them, and introduce the cramming process into her field of labor as easily as the public school teacher, for it is as easy to cram with objects as with books, and should this occur there is cause for grave uneasiness, since the opportunity for injuring the brain of the child is greater during these first years than at any other time.

If we force the child, or make the lesson seem work to him, his faculties will rebel, he will be dull, inattentive, or restless, according to his temperament or physical state; he will not be interested in what we teach him, and therefore it will make no impression on him.

The child has memory enough; he remembers the picnic in the woods, the glorious sail across the bay, the white foam in the wake of the boat, the very tint of the flowers that he gathered,—in fact, he remembers everything in which he is interested. If we would have him remember our teachings forever, we must make them worthy of being remembered forever. And to this end it is essential that only the best teachers be provided for little children. The ideal teacher should know her subject thoroughly, but should be able to boil it down, to condense it, so that the concentrated extract alone will remain, and this be presented to her pupils.[61]

In leaving these first six gifts, we need finally to remember these things:—

First, that we must not be too anxious to resolve these plays into the routine of lessons; with our younger pupils especially this is not admissible, and we must guard against it in all exercises with the kindergarten materials.

Second, we may assure ourselves, in all modesty, that it is a difficult matter, indeed, to direct these plays properly; that is, to have system and method enough to guard the children from all lawlessness, idleness, and disorder, and yet to keep from falling into a mechanical drill which will never produce the wished-for results. Play is the natural, the appropriate business and occupation of the child left to his own resources, and we must strive to turn our lessons into that channel,—only thus shall we reach the highest measure of true success.

Third, we must strive by constant study and thought, by entering into the innermost chambers of the child-nature, and estimating its cravings and necessities, to penetrate the secret, the soul of the Froebel gifts, then we shall never more be satisfied with their external appearances and superficial uses.

READINGS FOR THE STUDENT.