Nora Archibald Smith

"The awakening mind of the child ... is led from the material body and its regular division to the contemplation of the surface, from this to the contemplation of the line and to the point made visible."

Friedrich Froebel.

"And it is precisely thus that the first artistic work of primeval man occurs; he begins by the forming of simple rows, as strings of beads, or of shells, for instance."

H. Poesche.

"For the last step in this analysis the child receives small lentil seeds or pebbles—concrete points, so to speak—with which he constructs the most wonderful pictures."

W. N. Hailmann.

1. The point made concrete, which forms the tenth and last of Froebel's gifts, is represented by many natural objects, by beans, lentils, pebbles, shells, leaves, and buds of flowers, by seeds of various kinds, as well as by tiny spheres of clay and bits of wood and cork.

2. We have been moving by gradual analysis from the solid through the divided solid, the plane and the line, and thus have reached in logical sequence the point, into a series of which the line may be resolved.

3. The point which was visible in the preceding gifts, but inseparable from them, now in the tenth gift has an existence of its own. Although it is an imaginary quantity having neither length, breadth, nor thickness, yet it is here illustrated by tangible objects which the child can handle. By its very lack of individuality, it lends itself to many charming plays and transformations.

4. By the use of the point the child learns practically the composition of the line, that its direction is determined by two points, that the shortest distance between two points is a straight line, and that a curved line is one which changes its direction at every point. The gift closes the series of objects obtained by analysis from the solid, and prepares for the occupations which are developed by synthesis from the point.

5. The outlines of all geometrical plane figures both rectilinear and curvilinear may be illustrated with the point as well as straight and curved lines and angles of every degree.

6. The law of mediation of contrasts is no longer illustrated in the gift itself, but simply governs the use of the material. All lines and outlines of planes made with a series of dots show its workings, and the symmetrical figures, as we have noted from the first, owe to it their very existence.

When we begin upon a consideration of the tenth gift, the last link in the chain of objects which Froebel devised to "produce an all-sided development of the child," we see at once that the meeting-place of gift and occupation has been reached. The two series are now in fact so nearly one that the point is much more often used for occupation work than as a gift. This convergence of the series in regard to their practical use was first noted in the tablets, and has grown more and more marked with each succeeding object.

Though the point is in truth the last step which the child takes in the sequence of gifts as he journeys toward the abstract, yet we are met at once in practice by the apparently inconsistent fact that it is one of the first presented in the kindergarten. This can only be explained by the statement that it is in truth quite as much of an occupation as a gift, and is used in the former sense among the child's first work-materials as a preparation for later point-making (perforating), and as an exercise in eye-training and accuracy of measurement. It is not an occupation, of course, for the reason that permanent results cannot be produced with it, and because no transformation of its material is possible.

Before the child completes his kindergarten course, however, he should certainly be led to an intellectual perception of the interrelation of the gifts and their gradual development from solid to point, for their orderly progression according to law, though it be but dimly apprehended, will be most useful and strengthening to the mind. To discern the logical order of a single series of objects is a step toward the comprehension of world-order in mature life.[78]

The mind in later childhood should be what Froebel describes his own to have been. "I often felt," he says, "as if my mind were a smooth, still pool scarce a handbreadth over, or even a single water-drop, in which surrounding things were clearly mirrored, while the blue vault of the sky was seen as well, reaching far away and above."

When the derivation of plane and of straight and curved line and their place in the gifts are clearly understood by the child, there will be no difficulty in gaining an equally clear apprehension of the point and its position in the series. This may be done somewhat as follows. When the children are playing with blocks on some occasion, we may direct the conversation to the essential characteristics of the cube, its faces, edges, and corners. Do they remember which one of their playthings is like the face of the cube; do they remember cutting clay tablets from the clay blocks?

It is most unlikely that this experiment will have been forgotten, but if it has been, it may be easily repeated. Speak next of the edges of the cube, and let the children recall the derivation of the stick. That portion of the cube not yet discussed will now be seized upon by the children, and they will ask if any of their playthings are like the cube's corners. Can they think of anything; shall we not try to make something?

Now the clay appears, cubes are quickly fashioned, and each child is allowed to cut off the eight corners of his block. He has no sooner done this than he sees the nearest approach we can make to a point, and proceeds to make a design from them while he recalls the beans, shells, lentils, etc., he has used before in a similar way.

It is well here to suggest making the bits of clay into tiny oblate spheroids, and laying them away to dry so that we may make a group work invention of them to-morrow. Better still, however, is the instant introduction of sticks or wires to connect with the clay points, and thus form at once the skeleton of the solid, which will give an ineffaceable impression of the relation of point and line to each other.

The pleasure the child finds in point-laying is not confined to the kindergarten, for playing with beads and pin-heads is an ordinary nursery occupation in all countries, and which of us cannot recall long happy hours on the seashore, or by the brookside, when we gathered and sorted shells and smooth glistening pebbles, and laid them in rows and patterns? The mere handling of a great store of these gave a Midas-like delight, and what primitive artistic pleasure we felt as we arranged them according to the principle of repetition to border our garden-beds or to inclose our miniature parks and playgrounds.

The same joy is felt in plucking, arranging, and stringing rose-hips, the seeds of the ailantus, the nasturtium, the pumpkin, or the "cheeses" of the mallow and wild geranium.

It will commonly be found that the child enjoys tenfold more the objects for point-work which he finds himself than the more perfect school-materials. Imagine the joy, for instance, of a bevy of kindergarten children set free on Pescadero Beach (California), and allowed to ramble up and down its shining sands to pick up the wonderful Pescadero pebbles. What colors of dull red and amber, of pink and palest green, what opaline lights, and smooth, glimmering surfaces! "Busy work" with such materials would be worth while indeed,—yet easy to obtain as they are, they are almost never seen in use.

Smooth, white pebbles, washed entirely clean and sorted according to size, are not uncommonly seen in the kindergartens, however, and are especially useful in the sand-table, and if these and the shining cream-colored shells could be found by the children themselves, their pleasure in them would be immensely increased. That this is true is proved by the experience of many teachers with seed-work. One of our own brood of kindergartners once had a birthday melon party for one of her children. The melons were brought to the kindergarten room and there divided, the small host serving his guests himself. Great interest was immediately shown in the jet-black seeds of the water-melon in contrast with the smaller light-colored seeds of the musk-melon, and unanimous appeals were made to the kindergartner that they might be saved and used for inventions. This was done, and they were always called for afterwards in point-work, rather than the beans, or vegetable and wooden lentils.

In those kindergartens where the seeds of all fruits are saved by the children at lunch hour, it is also noted that the collection thus made is always the object of universal interest and preference.

One of the first uses of the point may be in following the outline of some form of life which the kindergartner has drawn in white or colored chalk on the child's table. This is much more fascinating work than the placing of seeds one space apart, three in a row, etc., for the latter belongs to the "knowledge-acquiring side of the game," which, as Froebel says, is the "quickly tiring side, only to be given quite casually at first, and as chance may provide suitable openings for it."

The forms drawn in chalk may very well be of curving outlines of vegetables, fruits, leaves, and flowers to connect with the study of the first gift, and may include any other simple appropriate object which the kindergartner is capable of drawing.

The more advanced child can of course make his own Life forms without the aid of drawing, and if he is given different sizes and kinds of shells, seeds, or pebbles, often arranges them with great ability to imitate the shading of the object.

The beginning of the forms of knowledge is in placing the points in regular order on the squared tables at the intersection of vertical and horizontal lines. Next, the child lays one space vertical lines, three points in a line, then two space lines with five points, then horizontal lines, angles, parallelograms, borders, etc., following out the school of linear drawing, and in this way progresses in an orderly manner to the designing of symmetrical forms. Curved lines of course are quite as easily represented as the straight, and really beautiful designs are often made by the children with them.

Tiny circles and squares of colored paper corresponding to the wooden lentils are also to be had with this gift, and afford a means of preserving the designs in permanent form. They are so small, however, as to give occasion for considerable patience in pasting them, and are rather difficult to arrange with regularity without first drawing the design. It is doubtful, in our opinion, if they may be considered to be of any particular educational benefit, if indeed they are not a positive harm to the child in that they require a too minute and long-sustained use of the finer muscles.

These strictures on the tenth gift parquetry bring us naturally to the criticisms lately made by eminent authorities upon some of the Froebel materials. The objection that many of them require too minute handling and too close attention on the part of children of the kindergarten age seems, as far as the gifts are concerned, to hold especial weight in regard to point-work.[79]

We need not consider here the physio-psychological tests lately made of the early motor-ability of children and the results which these have shown, but simply concern ourselves with what we have seen and noted many times in daily kindergarten practice. Is it not true that the laying of beans and lentils one inch apart on the tables, for instance, is an occupation which requires very delicate handling on account of the smallness of the object, its easy mobility, and the exactness required to place it precisely at the crossing-point of vertical and horizontal lines? Is it not true that such work requires considerable effort from the kindergartner to make it interesting to the child? Is it not true that there is a cramp of the fingers, shown by a slight trembling, in getting hold of the tiny object and placing it, a cramp of the eye in foreseeing and following the movement, and a cramp of the body accompanying the tension of hand and arm? If all these observations are correct, or measurably so, if they hold with a majority of children, then point-laying as an occupation clearly needs considerable modification in the kindergarten.

What are then the objections to the point as illustrated in bean, coffee-berry, seed, and wooden lentil? In a word, that when represented as above, it becomes too small and too mobile. The difficulty of using these materials is immensely increased by the fact that a slight movement of the child's table will send them all on the floor, while even an ill-timed cough or sneeze, or puff of wind, will blow them out of position. Point-laying is quite difficult enough for the child's small powers under the best conditions, and need not be made more so by undue mobility in the materials with which it is carried on. This criticism would not hold of course as against large shells or pebbles or as against Miss Marwedel's hemispheres and ellipsoids.

The only good reason for using the small materials to which the preceding objections have been made is a very good one, viz., that if we are to take any concrete object to represent the point, it should be as small as possible, since the point is in reality an intangible something, having no one of the three dimensions. This reasoning seems to be logical enough, and it is surely equally so, to insist that the child shall at some time derive his own points from the cube and make them as small as possible, that he may the better understand their relation to line, plane, and solid. When once this relation is understood, however, and before it is suggested to his mind, why may he not use the larger materials, even though they do not illustrate the point as perfectly? Any lack in perfect representation would probably be more than compensated by the removal of the strain on the accessory muscles and the gain in artistic development. This latter point, indeed, needs special consideration, for there seems no doubt that the continued use of such small objects for design leads to accuracy and prettiness rather than breadth and power.

If we throw out all the smaller materials used for point-laying, and it seems advisable so to do, we still have left smooth pebbles from one half to three fourths of an inch in diameter, and shells of any univalve, such as the "money-cowry" (cyproea moneta). These should be polished, as free from convolutions as possible, and not less than half an inch in diameter. To these we may add Miss Emma Marwedel's wooden ellipsoids and hemispheres, already mentioned, which are satisfactory in size, and add the delights of color.[80]

The hemispheres, which are about one half inch in diameter, come in eight colors and also in the natural wood, are pierced for stringing, and are similar to ordinary button-moulds, having of course one flat side.

The ellipsoids in the six rainbow hues, black gray, brown, and wood colors, resemble elliptical shells, having one flat side, are also pierced for stringing, and vary in length from three fourths of to something over an inch, being nearly an inch wide, perhaps, and a half inch thick.

The children are invariably delighted with both hemispheres and ellipsoids, and need no stimulus from the kindergartner in their use.

In some of Miss Marwedel's pamphlets on the use of these materials, she speaks of the mind-pictures which can be made with them, and which are of course quite possible with any of the other gifts. These mind-pictures, showing form and number groups, are drawn by the kindergartner on the blackboard, where they are left a second and then erased. They are then copied from memory, and the results compared, described, and criticised by the children. This constitutes a valuable mental exercise, and if the tests are simple at first and made gradually more difficult will be most valuable in increasing the memory-span as well as in developing language power.

If some of the materials used in the kindergarten are unwisely chosen, and if this objection applies in the gifts, especially to the point, then the kindergartner has been, and still is, unnecessarily increasing her sum of error, for no one of the connected series of objects (save the stick) is commonly so forced upon the child. It is somewhat unusual for this reason to find a whole class of children really enjoying point-work, though several conscientious and industrious members of the group may be toiling away with praiseworthy diligence.

Sometimes the children's feeling toward the gift goes beyond indifference and passes into active dislike, but in either attitude of mind the beans, lentils, etc., are likely to be mistreated.

It is not that the work with them is not in itself pleasing to the child, but that it has been forced upon him ad nauseam, and that the kindergartner has lacked interest in presenting it. His own interest has in consequence gradually died out, and when once the fire is cold, who shall light it again?

That there is no need of this abuse of the gift is clear enough, and it can only come from entire lack of originality in using Froebel's materials, or from a mental or physical inertia on the part of the kindergartner, which causes her to prefer giving out such work as needs neither preparation nor previous thought.

READINGS FOR THE STUDENT.