{ Rectangular parallelopipeds.
Solids. { Square prisms.
{ Cubes.
Planes. { Squares.
{ Oblongs.
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.
* * * * *
Introduction of the Gift.
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.
Difficulties of the New Gift.
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.
Forms of Life.
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]
[58] "The sense of beauty must be awakened in the soul
in childhood if in later life he is to create the
beautiful."--_Reminiscences of Froebel_, page 158.
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, facades 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]
[59] "As the gifts proceed from the first to the sixth,
observation is demanded with increasing strictness,
relativity more and more appreciated, and the opportunity
afforded for endless manifestations of the constructive
faculty, while all the time impressions are forming in the
mind which in due time will bear rich fruits of mathematical
and practical knowledge as well as aesthetic culture, for the
dawning sense of the beautiful as well as of the true is
gaining consistency and power." (Karl Froebel.)
Forms of Symmetry.
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.
Forms of Knowledge.
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]
[60] "What makes Froebel's gifts particularly instructive is,
indeed, the fact that the most varied materials constantly
lead to the same observations, but always under different
conditions, so that we obtain the necessary repetitions
without the dryness, the tiresomeness, the fatigue
inseparable from constant unvaried iteration. But they also
accustom the child to discover similarity in things that
appear to differ, to find resemblance in contrasts, unity in
diversity, connection in what appears unconnected."--H.
Goldammer's _The Kindergarten_, page 109.
cooperative Work.
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 cooperative 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.
The Gifts and their Treatment by the Kindergartner.
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.
Underlying Idea of Froebel's Gifts.
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.
Education _vs._ Cramming.
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]
[61] "If you would be pungent, be brief; for it is with words
as with sunbeams,--the more they are condensed the deeper
they burn."
In leaving these first six gifts, we need finally to remember these
things:--
Suggestions as to Method.
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.
NOTE. In arranging the blocks of the sixth gift, place the
eighteen bricks erect, in three rows, with their broad faces
together. On top of these place nine of the square-faced
blocks, thus forming a second layer. The third layer is
formed by placing the remaining three blocks of this class on
the back row, and filling in the space in front with the six
pillars, placed side by side.