The Montessori Method Part 22

(_b_) _Design Consisting of the Filling in of Outlined Figures._ These designs are most important as they const.i.tute "the preparation for writing." They do for the colour sense what _free design_ does for the sense of _form_. In other words, they reveal the capacity of the child _in the matter of observation of colours_, as the free design showed us the extent to which he was an observer of form in the objects surrounding him. I shall speak more fully of this work in the chapter on _writing_. The exercises consist in filling in with coloured pencil, certain outlines drawn in black. These outlines present the simple geometric figures and various objects with which the child is familiar in the schoolroom, the home, and the garden. The child must _select_ his colour, and in doing so he shows us whether he has observed the colours of the things surrounding him.

_Free Plastic Work_

These exercises are a.n.a.logous to those in free design and in the filling in of figures with coloured pencils. Here the child makes whatever he wishes with _clay_; that is, he models those objects which he remembers most distinctly and which have impressed him most deeply. We give the child a wooden tray containing a piece of clay, and then we await his work. We possess some very remarkable pieces of clay work done by our little ones. Some of them reproduce, with surprising minuteness of detail, objects which they have seen. And what is most surprising, these models often record not only the form, but even the _dimensions_ of the objects which the child handled in school.

Many little ones model the objects which they have seen at home, especially kitchen furniture, water-jugs, pots, and pans. Sometimes, we are shown a simple cradle containing a baby brother or sister. At first it is necessary to place written descriptions upon these objects, as it is necessary to do with the free design. Later on, however, the models are easily recognisable, and the children learn to reproduce the geometric solids. These clay models are undoubtedly very valuable material for the teacher, and make clear many individual differences, thus helping her to understand her children more fully. In our method they are also valuable as psychological manifestations of development according to age. Such designs are precious guides also for the teacher in the matter of her intervention in the child's education. The children who, in this work reveal themselves as observers, will probably become spontaneous observers of all the world about them, and may be led toward such a goal by the indirect help of exercises tending to fix and to make more exact the various sensations and ideas.

These children will also be those who arrive most quickly at the act of _spontaneous writing_. Those whose clay work remains unformed and indefinite will probably need the direct revelation of the directress, who will need to call their attention in some material manner to the objects around them.

_Geometric a.n.a.lysis of Figures; Sides, Angles, Centre, Base_

The geometric a.n.a.lysis of figures is not adapted to very young children.

I have tried a means for the _introduction_ of such a.n.a.lysis, limiting this work to the _rectangle_ and making use of a game which includes the a.n.a.lysis without fixing the attention of the child upon it. This game presents the concept most clearly.

The _rectangle_ of which I make use is the plane of one of the children's tables, and the game consists in laying the table for a meal.

I have in each of the "Children's Houses" a collection of toy table-furnis.h.i.+ngs, such as may be found in any toy-store. Among these are dinner-plates, soup-plates, soup-tureen, saltcellars, gla.s.ses, decanters, little knives, forks, spoons, etc. I have them lay the table for six, putting _two places_ on each of the longer sides, and one place on each of the shorter sides. One of the children takes the objects and places them as I indicate. I tell him to place the soup tureen in the _centre_ of the table; this napkin in a _corner_. "Place this plate in the centre of the short _side_."

Then I have the child look at the table, and I say, "Something is lacking in this _corner_. We want another gla.s.s on this _side_. Now let us see if we have everything properly placed on the two longer sides. Is everything ready on the two shorter sides? Is there anything lacking in the four corners?"

I do not believe that we may proceed to any more complex a.n.a.lysis than this before the age of six years, for I believe that the child should one day take up one of the plane insets and _spontaneously_ begin to count the sides and the angles. Certainly, if we taught them such ideas they would be able to learn them, but it would be a mere learning of formulae, and not applied experience.

_Exercises in the Chromatic Sense_

I have already indicated what colour exercises we follow. Here I wish to indicate more definitely the succession of these exercises and to describe them more fully.

_Designs and Pictures._ We have prepared a number of outline drawings which the children are to fill in with coloured pencil, and, later on, with a brush, preparing for themselves the water-colour tints which they will use. The first designs are of flowers, b.u.t.terflies, trees and animals, and we then pa.s.s to simple landscapes containing gra.s.s, sky, houses, and human figures.

These designs help us in our study of the natural development of the child as an observer of his surroundings; that is, in regard to colour.

The children _select the colours_ and are left entirely free in their work. If, for example, they colour a chicken red, or a cow green, this shows that they have not yet become observers. But I have already spoken of this in the general discussion of the method. These designs also reveal the effect of the education of the chromatic sense. As the child selects delicate and harmonious tints, or strong and contrasting ones, we can judge of the progress he has made in the refinement of his colour sense.

The fact that the child must _remember_ the colour of the objects represented in the design encourages him to observe those things which are about him. And then, too, he wishes to be able to fill in more difficult designs. Only those children who know how to keep the colour _within_ the outline and to reproduce the _right colours_ may proceed to the more ambitious work. These designs are very easy, and often very effective, sometimes displaying real artistic work. The directress of the school in Mexico, who studied for a long time with me, sent me two designs; one representing a cliff in which the stones were coloured most harmoniously in light violet and shades of brown, trees in two shades of green, and the sky a soft blue. The other represented a horse with a chestnut coat and black mane and tail.

CHAPTER XVI

METHODS FOR THE TEACHING OF READING AND WRITING

_Spontaneous Development of Graphic Language._ While I was directress of the Orthophrenic School at Rome, I had already began to experiment with various didactic means for the teaching of reading and writing. These experiments were practically original with me.

Itard and Seguin do not present any rational method through which writing may be learned. In the pages above quoted, it may be seen how Itard proceeded in the teaching of the alphabet and I give here what Seguin says concerning the teaching of writing.

"To have a child pa.s.s from design, to writing, which is its most immediate application, the teacher need only call D, a portion of a circle, resting its extremities upon a vertical; A, two obliques reunited at the summit and cut by a horizontal, etc., etc.

"We no longer need worry ourselves as to how the child shall learn to write: he designs, _then_ writes. It need not be said that we should have the child draw the letters according to the laws of contrast and a.n.a.logy. For instance, O beside I; B with P; T opposite L, etc."

According to Seguin, then, we do not need to _teach_ writing. The child who draws, will write. But writing, for this author, means printed capitals! Nor does he, in any other place, explain whether his pupil shall write in any other way. He instead, gives much s.p.a.ce to the description of _the design which prepares for_, and which _includes_ writing. This method of design is full of difficulties and was only established by the combined attempts of Itard and Seguin.

"Chapter XL: DESIGN. In design the first idea to be acquired is that of the plane destined to receive the design. The second is that of the trace or delineation. Within these two concepts lies all design, all linear creation.

"These two concepts are correlative, their relation generates the idea, or the capacity to produce the lines in this sense; that lines may only be called such when they follow a methodical and determined direction: the trace without direction is not a line; produced by chance, it has no name.

"The rational sign, on the contrary, has a name because it has a direction and since all writing or design is nothing other than a composite of the diverse directions followed by a line, we must, before approaching what is commonly called writing, _insist_ upon these notions of plane and line. The ordinary child acquires these by instinct, but an insistence upon them is necessary in order to render the idiot careful and sensitive in their application. Through methodical design he will come into rational contact with all parts of the plane and will, guided by imitation, produce lines at first simple, but growing more complicated.

"The pupil may be taught: First, to trace the diverse species of lines.

Second, to trace them in various directions and in different positions relative to the plane. Third, to reunite these lines to form figures varying from simple to complex. We must therefore, teach the pupil to distinguish straight lines from curves, vertical from horizontal, and from the various oblique lines; and must finally make clear the princ.i.p.al points of conjunction of two or more lines in forming a figure.

"This rational a.n.a.lysis of design, _from which writing will spring_, is so essential in all its parts, that a child who, before being confided to my care, already wrote many of the letters, has taken six days to learn to draw a perpendicular or a horizontal line; he spent fifteen days before imitating a curve and an oblique. Indeed the greater number of my pupils, are for a long time incapable of even imitating the movements of my hand upon the paper, before attempting to draw a line in a determined direction. The most imitative, or the least stupid ones, produce a sign diametrically opposite to that which I show them and all of them confound the points of conjunction of two lines no matter how evident this is. It is true that the thorough knowledge I have given them of lines and of configuration helps them to make the connection which must be established between the plane and the various marks with which they must cover the surface, but in the study rendered necessary by the deficiency of my pupils, the progression in the matter of the vertical, the horizontal, the oblique, and the curve must be determined by the consideration of the difficulty of comprehension and of execution which each offers to a torpid intelligence and to a weak unsteady hand.

"I do not speak here of merely having them perform a difficult thing, since I have them surmount a _series_ of difficulties and for this reason I ask myself if some of these difficulties are not greater and some less, and if they do not grow one from the other, like theorems.

Here are the ideas which have guided me in this respect.

"The vertical is a line which the eye and the hand follow directly, going up and down. The horizontal line is not natural to the eye, nor to the hand, which lowers itself and follows a curve (like the horizon from which it has taken its name), starting from the centre and going to the lateral extremity of the plane.

"The oblique line presupposes more complex comparative ideas, and the curve demands such firmness and so many differences in its relation to the plane that we would only lose time in taking up the study of these lines. The most simple line then, is the vertical, and this is how I have given my pupils an idea of it.

"The first geometric formula is this: only straight lines may be drawn from one given point to another.

"Starting from this axiom, which the hand alone can demonstrate, I have fixed two points upon the blackboard and have connected them by means of a vertical. My pupils try to do the same between the dots they have upon their paper, but with some the vertical descends to the right of the point and with others, to the left, to say nothing of those whose hand diverges in all directions. To arrest these various deviations which are often far more defects of the intelligence and of the vision, than of the hand, I have thought it wise to restrict the field of the plane, drawing two vertical lines to left and right of the points which the child is to join by means of a parallel line half way between the two enclosing lines. If these two lines are not enough, I place two rulers vertically upon the paper, which arrest the deviations of the hand absolutely. These material barriers are not, however, useful for very long. We first suppress the rulers and return to the two parallel lines, between which the idiot learns to draw the third line. We then take away one of the guiding lines, and leave, sometimes that on the right, sometimes that on the left, finally taking away this last line and at last, the dots, beginning by erasing the one at the top which indicates the starting point of the line and of the hand. The child thus learns to draw a vertical without material control, without points of comparison.

"The same method, the same difficulty, the same means of direction are used for the straight horizontal lines. If, by chance, these lines begin well, we must await until the child curves them, departing from the centre and proceeding to the extremity _as nature commands him_, and because of the reason which I have explained. If the two dots do not suffice to sustain the hand, we keep it from deviating by means of the parallel lines or of the rulers.

"Finally, have him trace a horizontal line, and by uniting with it a vertical ruler we form a right angles. The child will begin to understand, in this way, what the vertical and horizontal lines really are, and will see the relation of these two ideas as he traces a figure.

"In the sequence of the development of lines, it would seem that the study of the oblique should immediately follow that of the vertical and the horizontal, but this is not so! The oblique which partakes of the vertical in its inclination, and of the horizontal in its direction, and which partakes of both in its nature (since it is a straight line), presents perhaps, because of its relation to other lines, an idea too complex to be appreciated without preparation."

Thus Seguin goes on through many pages, to speak of the oblique in all directions, which he has his pupils trace between two parallels. He then tells of the four curves which he has them draw to right and left of a vertical and above and below a horizontal, and concludes: "So we find the solution of the problems for which we sought--the vertical line, the horizontal, the oblique, and the four curves, whose union forms the circle, contain all possible lines, _all writing_.

"Arrived at this point, Itard and I were for a long time at a standstill. The lines being known, the next step was to have the child trace regular figures, beginning of course, with the simplest. According to the general opinion, Itard had advised me to begin with the square and I had followed this advice _for three months_, without being able to make the child understand me."

After a long series of experiments, guided by his ideas of the genesis of geometric figures, Seguin became aware that the triangle is the figure most easily drawn.

"When three lines meet thus, they always form a triangle, while four lines may meet in a hundred different directions without remaining parallel and therefore without presenting a perfect square.

"From these experiments and many others, I have deduced the first principles of writing and of design for the idiot; principles whose application is _too simple_ for me to discuss further."

Such was the proceeding used by my predecessors in the teaching of writing to deficients. As for reading, Itard proceeded thus: he drove nails into the wall and hung upon them, geometric figures of wood, such as triangles, squares, circles. He then drew the exact imprint of these upon the wall, after which he took the figures away and had the "boy of Aveyron" replace them upon the proper nails, guided by the design. From this design Itard conceived the idea of the plane geometric insets. He finally had large print letters made of wood and proceeded in the same way as with the geometric figures, that is, using the design upon the wall and arranging the nails in such a way that the child might place the letters upon them and then take them off again. Later, Seguin used the horizontal plane instead of the wall, drawing the letters on the bottom of a box and having the child superimpose solid letters. After twenty years, Seguin had not changed his method of procedure.

A criticism of the method used by Itard and Seguin for reading and writing seems to me superfluous. The method has two fundamental errors which make it inferior to the methods in use for normal children, namely: writing in printed capitals, and the preparation for writing through a study of rational geometry, which we now expect only from students in the secondary schools.

Seguin here confuses ideas in a most extraordinary way. He has suddenly jumped from the psychological observation of the child and from his relation to his environment, to the study of the origin of lines and their relation to the plane.

He says that the child _will readily design a vertical line_, but that the horizontal will soon become a curve, because "_nature commands it_"