opportunity for close observation. They now paint them again for the same purpose, also to allow comparison with their former condition. A greater interest in all budding things is almost sure to be awakened by this experience. The joy and sympathy the children feel with the new life about them, becomes a power that can but sweeten and enrich their natures.

One of the objects to be observed from this time on, with interest and profit, is a tree. The class choose one that is convenient, note its form, whether the trunk goes straight up or divides, its height as compared to some fixed object near by, the bark, and any other points possible. A section of the wood of wood of a tree of the same kind is examined, the bark, rings, and so on being noted. Drawings are made of the whole tree, and paintings of twigs from it are made at regular intervals to show the growth of buds, the blossoms, and so on.

In connection with this, may be told the story of "Daphne," followed by "Rhoecus" and "Philemon and Baucis," from the mythology. Then may come the story of "Old Pipes, the Piper and the Dryad," by Frank Stockton (published a few years ago in the St. Nicholas), and, if we like, the story of Dryopi."

The paintings and drawings made from the tree, with the pictures of these stories made by the children, on blackboard or paper, are full of interest and information for the teacher. With it all there must, of necessity, be language, reading, writing and number, these being needed for the best grasp of the whole. Another item of intense interest will be the coming forth of the moths from the cocoons in our boxes, and which the children saw made last Fall.

The planting and germinating of seeds must not be overlooked, and here again the painting will prove of great use, in keeping a record of the growth of the seeds and little plants.

The story of Ceres and Proserpine," and the poem, "The Little Brown Seed," are helpful in this connection.

In animal life we have the cray-fish, the earth-worm, the frogs' eggs and many other things of equal interest, and the question is not what, but which, shall we choose for study or for a closer observation.

It makes little difference which we select-perhaps the one most easily obtained will be best-for we must remember that it is not the mere facts which the children may remember about the object, that we value. Their interest in the work, leading to the formation of a good habit in any direction will be the best result.

Are you working with little children in the heart of a great city where much of this material can not be found? Think, if you do not know of some other one working in the country where these things abound. If so, will you not ask that one to give the children of her school or Kindergarten the privilege of collecting something-whatever they can-to send for your use? You will not only secure something helpful for your own class by so doing, but will add to the interest those other children may have in the common things about them.

Are you teaching in the country? Do not forget to share your riches with some one less fortunate. Your generoushearted children will gladly gather twigs, cocoons, flowers, pebbles-whatever may be within reach-for this purpose. In so doing they will gather, not only a new interest in these common

things, but a spirit of helpfulness and good-will that will add sunshine to their own lives and go as a message of love with their gifts.

In these days a way can always be found to send such material to some

place where it will be gladly received, and its message rightly read.

Let us not forget that "All are needed by each one."

SARAH E. GRISWOLD, Cook Co. Normal School, Chicago.

In producing forms to be used in our sequence of cutting, we deal with geometric elements; and we seek to know the general principles which give life and beauty to conventional designs.

From nature we gain a knowledge of laws of proportion, symmetry and balance. We see that upon the embodiment of these, beauty of form is dependent.

In our selection of designs to be cut, we must take only those that fulfill right principles.

After selecting the forms, they may be arranged in a sequence, which shall be progressively given to the child. It must be remembered, however, that no sequence of forms of beauty in cutting, or in any other occupation or gift, can be pronounced perfect. There is always a possibility of making a better one if earnest effort is made. It is only because there is some weakness within ourselves that we enjoy what is not the strongest and best. As we gain strength/ we seek that which expresses it. The sequence which we may use to-day, with our attained insight, will be only a stepping stone toward making a better one as we see farther, and feel a deeper love for the beautiful.

Just because Froebel was true to lifegiving principles, he did not lay down an undeviating method for the use of

his materials; and, because of this freedom in method, there falls upon each of his followers the grave responsibility of making the highest use of materials in obedience to known laws. Seeking truth, we shall find it by degrees.

In the world of geometric forms we find those which are distinguished as type forms, or those in which the several characteristics of a group are prominently embodied. These types may be used to help the child to classify the many and varied forms by which he surrounded; shortening the process of learning each one separately, by presenting, through the types, the most marked qualities in such a manner that they may be first distinguished, next mentally separated from the object, and finally, recognized in other objects.

If this method is right, does it not hold good in the world of artistic forms as well? May not the child be given a few forms which shall embody the principles of beauty and truth, and by which he may interpret other forms?

There is, and always must be, one essential difference in these two fields of study. A geometric type-form is always absolutely the same form, actually defined by certain unvarying lines and angles or surfaces. This mathematical precision could not be insisted on in an artistic design, because geometric forms

standards by which to compare; realizing that the standard is only adequate to the present light attained, and therefore will be changed as more light is given, higher truths realized.

We have planned for six cuts in our first series, since we wish to use the normal tone of each of the six leading colors of the spectrum. We cut straight lines because they are not difficult.

The child should be allowed to crease guide lines on the fundamental, or ground form, which shall assist him to cut as desired.

Position of folded triangle:

1. By folding the acute angle (a) at

2.

Horizontal and vertical (opposites);

3. Oblique (mediation of horizontal and vertical); 4. Horizontal and oblique ; 5. Vertical and oblique; 6. Oblique line of second order.

The steps up to this point have been carefully taken. We have selected our colors, determined the order in which to present them; decided upon a plan for folding the ground form and creasing guide lines; have chosen from among the great variety of forms which may be cut, a few which embody right principles; and now, we must decide a vital question Shall we accept these as valuable forms, seeing in them the attainment of a desired end; or, shall we make them of secondary importance, and arrange around them the little clippings which came in cutting the forms?

Do we, as Kindergartners, blindly follow traditional customs only because they are handed down to us? Or, do we

conscientiously weigh and measure these customs by the new life and light that surrounds us? Do we recognize that a new method may be the natural outgrowth of the conscientious use of old methods?

Do we use the little clippings which must come in cutting out a desired form, because we honestly believe that each little piece adds to the strength and value of the form?

From a valuable book, written by Hermann Goldammer and entitled "The Kindergarten," we may obtain much help in deciding this question, as well as many others of great importance. Goldammer is an acknowledged authority on all questions about Kindergarten materials, methods or practices; a loyal follower of Froebel and a co-worker with Madam Marenholtz-Bulow, by whom the introduction to his book is written. In reference to this use of clippings Goldammer says (on page 132): “There "are many clipping exercises' which 'by employment of their larger clip"pings yield a beautiful form, which 'the addition of the smaller ones would "only disfigure. We regard it as quite allowable in such cases to depart from "Froebel's rule of bringing in all the portions. As in the clipping out of

Object Forms, the forms themselves are "the chief thing, and the clippings are "regarded as mere waste paper, so, "also, we may regard the clipping out "of certain Artistic Forms as being in "itself our end and aim; which being at

tained, we, of course, desist from en"larging them by means of the remain"ing portions."

In our old method of using the clippings, is it possible that there may be danger of mis-applying the old maxim, "all unused material is wasted mate

rial?" Is it not possible that we may use the term 'symmetrical construction" and violate laws of beauty in which symmetry is but one element? And may it not be possible that, in our attempt to illustrate the "Law of Organic Unity," we have not reached perfect results?

And, if we admit any of these possibilities, may we advance still another step and ask, if we do not really harm the child by requiring him to use his material in violation of known laws of beauty, because we wish to use up waste material and practice the "Law of Opposites;" forgetting that this Law of Opposites is only valuable as underlying the greater "Law of Balance?"

If we can be sure that, after cutting out little pieces we must re-combine them with the central form, in order to develop and benefit the child, we will not dis continue the practice, but be very careful how we use them.

If, however, we can see why we should discontinue the practice of pasting the clippings around the form, we must be true to the attained insight, and use the light given us. We must honestly face each reason for their use,-out-face it, if we must.

If the object with which we work is an organic body, or illustrates one, all the parts must be used. We find this true in the Building Gifts. We do not find it true in the Seventh Gift; and it is to this gift the cutting corresponds. It deals with separate elements not vitally connected.

If the child has already gained a knowledge or an idea of wholes, so as to be able to modify his material to produce new wholes, he will recognize as a whole the cross or the star which appears when he cuts his folded paper. He has produced a whole by his cut.

He has

obtained an artistic whole from a geometric whole.

There can be no real relationship be-, tween the clippings and the form itself, since by using them the value of the central figure is lost. If, without the addition of the little clippings, the central form is stronger, clearer in outline, simpler, more effective, -it follows that to use the clippings can not add to the value of the exercise, and the term "relationship of parts to center" is mis-applied.

If you are true to the life-giving prin/ciples of art, you must either accept the limitations of the material you use, or choose to use some other material. The qualities of the material will suggest the use you are to make of it; and it will be of service in carrying out your thought just in so far as the thought comes within the limitations of the material. What is good and true may be expressed in one material which, through the medium of another, becomes untrue and wrong.

This insight urges us to discontinue pasting the clippings around the cut form, in the vain desire to produce a whole composed of separate parts, while

we say, "Analysis and synthesis of material." Synthesis can only be found where there is a real relationship. Relationship of true worth can only be found where the value of the whole is increased by combining the parts.

The test of a good design is the same as the test of right acting. What is in accordance with truth is right. There must first be a ruling motive; anything more must add to, or lessen its strength and beauty.

If we glance at the whole set of gifts. and occupations, we find that while they are vitally connected, regulated and governed by the same general laws and principles, they are also essentially dif ferent in regard to practical use.

The material of the gifts is unchangeable. The child neither adds to, diminishes, or modifies what is given him; but simply classifies, combines and arranges the elements he receives.

In the occupations there is, and must be, progressive modification and transformation of the material itself.

St. Louis.

MABEL A. WILSON.

The North Wind" blew cold, and little Miss Dorothy watched with deep interest, the preparations the gardener. was making among the flower-beds for the coming winter.

All at once she spied in a neglected corner, a little dry pod, that seemed to hold some round, hard things. She took it to her mamma, who, after looking at it closely, said, "Let us put it carefully away, and when the warm spring days come, perhaps kind Mother Nature will help us to find what the little dry treasure box is hiding so carefully."

The Winter with its snow and ice, its sunshine and crisp air, slipped quickly away. Then came Spring with her sweet breath from the Summer land, and her friends, the bluebirds and robins.

Already the snowdrops had begun to swing their dainty, white bells in the air, when Dorothy's mamma said, “Have you forgotten the treasure-box? The gar

den bed is ready and we must hide these little, round, dark things in the earth, and in that way we may find out what they are, and for what they were made."

So they made a small, deep hole in