MONTESSORI METHOD 



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MONTESSORI METHOD 



joyous discovery for him. In a tolerably clear 

 hand he will trace whole words or sentences, 

 although this is the first time he is holding an 

 instrument in his hand for the purpose of 

 writing. And from that time on he proceeds 

 with passionate delight to increase and perfect 

 his new acquisition. 



The beginning of reading, in contrast with 

 other methods, comes, not before writing, but 



contemporaneously with it, since the child is 

 naturally able to read the words which he has 

 composed. But the reading of words not pre- 

 viously written is a further step, and is prac- 

 ticed by giving the children slips of paper upon 

 which are written words, or, at a more ad- 

 vanced stage, sentences, describing actions 

 which they must carry out. Of course care 

 must be taken to use only familiar words. 



Number Work 



The child's first ideas of number are given 

 by means of an apparatus with which he is 

 already familiar; namely, the rods, or "long 

 stair." These he has already learned to place 

 in order of length. The rods, of which there 

 are ten, vary in length by intervals of one 

 decimeter, from one meter to a decimeter. The 

 decimeter lengths composing them are painted 

 red and blue alternately. The shortest rod 

 thus consists of one decimeter length, the next 

 of two such divisions (painted red and blue), 

 the next of three, and so on. With these the 

 child learns the numbers up to ten, being taught 

 them, as with the letters, by the three periods 

 of Seguin. 



The teacher then introduces the child to 

 the numerals, which are cut out in sand- 

 paper and gummed upon smooth cards, in the 

 same way as the letters. In connecting these 

 with the names of the numbers which they 

 represent, she has him "touch" them, thus pre- 

 paring him simultaneously to write them; and 

 also associates them with the rods to which 

 they correspond, showing him how to place 

 each numeral against its appropriate rod. 



The child then constructs the "long stair," 

 placing the cards in order against the succes- 

 sive "steps." 



This game is followed by another in which 

 little sticks, or pegs, are placed in a row of 

 numbered compartments. There are ten com- 

 partments labeled from to 9, and the child 

 must place the correct number of sticks in each 

 compartment. This game teaches the meaning 

 of the zero, since nothing has to be placed in 

 the compartment labeled 0. 



Addition and subtraction may also be begun 

 with the rods, the child placing the 1 end to 

 end with the 9, and writing 1 + 9 = 10. He 

 then adds the two to the eight and writes 8 + 

 2 = 10. Then 7 + 3 = 10, and so on. The re- 

 verse process naturally constitutes subtraction. 

 On reaching the five, he may be shown that in 

 turning it over it makes up the ten; and the 

 child writes 5 X 2 = 10. Extensions and varia- 

 tions of such processes suggest themselves. 



For counting up to 100, two cards are pro- 

 vided on which are printed in a column these 

 figures. By covering the with 10 



cards bearing the numerals, the 20 



child can compose 11, 12, 13, etc., 30 



and similarly 21, 22, and so on, up 40 



to 99. Arrived at this, the chil- 

 dren themselves ask, "But what 

 comes after 99?" and the teacher up to 90 

 then teaches them the 100. 



Musical Education 



An important exercise which^ greatly helps the 

 children in gaining equilibrium and grace in 

 walking consists in marching upon a narrow 

 line painted upon the floor. They do this first 

 as a simple exercise in balancing, but it is later 

 combined with music, a simple march being 

 played to accompany them. At first, however, 

 the children make no effort to march in time to 

 the music. This shows lack of perception of 

 the rhythm, and the teacher makes no attempt, 

 by clapping her hands or other means, to have 

 the children do so. It is an education of ear 

 which is needed. Instead, she continually re- 



peats the same tune; the children one day of 

 themselves become aware of the rhythm and 

 begin to march in time. To move in time to 

 a rhythm which is felt is a primordial instinct, 

 and this point attained, other tunes may be 

 added. The children, in fact, are shortly able 

 to change their action, running, walking softly, 

 or galloping in accordance with changes of the 

 music, without a word at any stage from the 

 teacher. They often accompany their march- 

 ing with little songs, clap their hands, or beat 

 toy tambourines, etc., in time to the music. 

 The teacher may then also introduce dancing, 



