Dr. Montessori's Own Handbook - Restoration # [Chapter 03 - Sensory Education](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#chapter-03---sensory-education) ## [The Cylinders](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-cylinders)  > Fig. 5. - Cylinders Decreasing in Diameter only.  > Fig. 6. - Cylinders Decreasing in Diameter and Height.  > Fig. 7. - Cylinders Decreasing in Height only. My didactic material offers to the child the ***means*** for what may be called “sensory education.” In the box of materials, the first three objects which are likely to attract the attention of a little child from two and a half to three years old are three solid pieces of wood, in each of which is inserted a row of ten small cylinders, or sometimes discs, all furnished with a button for a handle. In the first case there is a row of cylinders of the same height, but with a diameter that decreases from thick to thin. (Fig. 5.) In the second some cylinders decrease in all dimensions, and so are either larger or smaller, but always of the same shape. (Fig. 6.) Lastly, in the third case, the cylinders have the same diameter but vary in height, so that, as the size decreases, the cylinder gradually becomes a little disc in form. (Fig. 7.) The first cylinders vary in two dimensions (the section); the second in all three dimensions; the third in one dimension (height). The order which I have given refers to the degree of ***ease*** with which the child performs the exercises. The exercise consists in taking out the cylinders, mixing them, and putting them back in the right place. It is performed by the child as he sits in a comfortable position at a little table. He exercises his hands in the delicate act of taking hold of the button with the tips of one or two fingers, and in the little movements of the hand and arm as he mixes the cylinders, ***without letting them fall*** **and *without making too much noise*** and puts them back again each in its own place. In these exercises the teacher may, in the first instance, intervene, merely taking out the cylinders, mixing them carefully on the table, and then showing the child that he is to put them back, but without performing the action herself. Such intervention, however, is almost always found to be unnecessary, for the children *see* their companions at work, and thus are encouraged to imitate them. They like to do it ***alone***; in fact, sometimes almost in private for fear of inopportune help. (Fig. 8.)  > Fig. 8. - Child using Case of Cylinders. But how is the child to find the right place for each of the little cylinders which lie mixed upon the table? He first makes trials; it often happens that he places a cylinder that is too large for the empty hole over which he puts it. Then, changing its place, he tries others until the cylinder goes in. Again, the contrary may happen; that is to say, the cylinder may slip too easily into a hole too big for it. In that case, it has taken a place that does not belong to it at all, but to a larger cylinder. In this way, one cylinder at the end will be left out without a place, and it will not be possible to find one that fits. Here the child cannot help seeing his mistake in concrete form. He is perplexed, his little mind is faced with a problem that interests him intensely. Before all the cylinders were fitted, now there is one that will not fit. The little one stops, frowning, deep in thought. He begins to feel the little buttons and finds that some cylinders have too much room. He thinks that perhaps they are out of their right place and tries to place them correctly. He repeats the process again and again, and finally, he succeeds. Then it is that he breaks into a smile of triumph. The exercise arouses the intelligence of the child; he wants to repeat it right from the beginning and, having learned by experience, he makes another attempt. Little children from three to three and a half years old have repeated the exercise up to ***forty*** times without losing their interest in it. If the second set of cylinders and then the third are presented, the ***change*** of shape strikes the child and reawakens his interest. The material which I have described serves to ***educate the eye*** to distinguish ***a difference in dimension***, for the child ends by being able to recognize at a glance the larger or the smaller hole which exactly fits the cylinder which he holds in his hand. The educative process is based on this: that the control of the error lies in *the **material itself***, and the child has concrete evidence of it. The desire of the child to attain an end that he knows leads him to correct himself. It is not a teacher who makes him notice his mistake and shows him how to correct it, but it is a complex work of the child’s own intelligence which leads to such a result. Hence at this point there begins the process of auto-education. The aim is not an external one, that is to say, it is ***not*** the object that the child should learn how to place the cylinders, and ***that he should know how to perform an exercise***. The aim is an inner one, namely, that the child trains himself to observe; that he be led to make comparisons between objects, to form judgments, to reason, and to decide; and it is in the indefinite repetition of this exercise of attention and of intelligence that a real development ensues. --- ## [The Pink Tower](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-pink-tower)  > Fig. 9. - The Tower. The series of objects to follow after the cylinders consist of three sets of geometrical solid forms: * (1) Ten wooden cubes colored pink. The sides of the cubes diminish from ten centimeters to one centimeters. (Fig. 9.) * With these cubes the child builds a tower, first laying on the ground (upon a carpet) the largest cube, and then placing on top of it all the others in their order of size to the very smallest. (Fig. 10.) As soon as he has built the tower, the child, with a blow of his hand, knocks it down, so that the cubes are scattered on the carpet, and then he builds it up again.  > Fig. 10. - Child Playing with Tower. (Photo taken at Mr. Hawker’s School at Runton.) ## [The Brown Stairs](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-brown-stairs)  > Fig. 11. - The Broad Stair. ## [The Red and Blue Bars](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-red-and-blue-bars)  > Fig. 12. - The Long Stair. * (2) Ten wooden prisms, colored brown. The length of the prisms is twenty centimeters, and the square section diminishes from ten centimeters a side to the smallest, one centimeter aside. (Fig. 11.)\ The child scatters the ten pieces over a light-colored carpet, and then beginning sometimes with the thickest, sometimes with the thinnest, he places them in their right order of gradation upon a table. * (3) Ten rods, colored green, or alternately red and blue, all of which have the same square section of four centimeters a side, but vary by ten centimeters in length from ten centimeters to one meter. (Fig. 12.)\ The child scatters the ten rods on a large carpet and mixes them at random, and, by comparing a rod with a rod, he arranges them according to their order of length, so that they take the form of a set of organ pipes. As usual, the teacher, by doing the exercises herself, first shows the child how the pieces of each set should be arranged, but it will often happen that the child learns, not directly from her, but by watching his companions. She will, however, always continue to watch the children, never losing sight of their efforts, and any correction of hers will be directed more towards preventing rough or disorderly use of the material than towards any ***error*** which the child may make in placing the rods in their order of gradation. The reason is that the mistakes which the child makes, by placing, for example, a small cube beneath one that is larger, are caused by his own lack of education, and it is the ***repetition of the exercise*** which, by refining his powers of observation, will lead him sooner or later to ***correct himself***. Sometimes it happens that a child working with the long rods makes the most glaring mistakes. As the aim of the exercise, however, is *not* that the rods be arranged in the right order of gradation, but that the child ***should practice by himself***, there is no need to intervene. One day the child will arrange all the rods in their right order, and then, full of joy, he will call the teacher to come and admire them. The object of the exercise will thus be achieved. These three sets, the cubes, the prisms, and the rods, cause the child to move about and handle and carry objects which are difficult for him to grasp with his little hand. Again, by their use, he repeats the ***training of the eye*** to the recognition of differences in size between similar objects. The exercise would seem easier, from the sensory point of view, than the other with the cylinders described above. As a matter of fact, it is more difficult, as there is ***no control of the error in the material itself***. It is the child’s eye alone that can furnish the control. Hence the difference between the objects should strike the eye at once; for that reason, larger objects are used, and the necessary visual power presupposes a previous preparation (provided for in the exercise with the solid insets). --- ## [The Touch Boards](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-touch-boards)  > Fig. 13. - Board with Rough and Smooth Surfaces. During the same period, the child can be doing other exercises. Among the material is to be found a small rectangular board, the surface of which is divided into two parts - rough and smooth. (Fig. 13.) The child knows already how to wash his hands with cold water and soap; he then dries them and dips the tips of his fingers for a few seconds in tepid water. Graduated exercises for the thermic sense may also have their place here, as has been explained in my book on the “Method.” After this, the child is taught to pass the soft cushioned tips of his fingers ***as lightly as possible*** over the two separate surfaces, so that he may appreciate their difference. The delicate ***movement*** backward and forwards of the suspended hand, as it is brought into light contact with the surface, is an excellent exercise in control. The little hand, which has just been cleansed and given its tepid bath, gains much in grace and beauty, and the whole exercise is the first step in the education of the “tactile sense,” which holds such an important place in my method. When initiating the child into the education of the sense of touch, the teacher must always take an active part the first time; not only must she show the child “how it is done,” her interference is a little more definite still, for she takes hold of his hand and guides it to touch the surfaces with the finger-tips in the lightest possible way. She will make no explanations; her words will be rather to ***encourage*** the child with his hand to perceive the different sensations. When he has perceived them, it is then that he repeats the act by himself in the delicate way which he has been taught.  > Fig. 14. - Board with Gummed Strips of Paper. After the board with the two contrasting surfaces, the child is offered another board on which are gummed strips of paper that are rough or smooth in different degrees. (Fig. 14.) Graduated series of sandpaper cards are also given. The child perfects himself by exercising by touching these surfaces, not only refining his capacity for perceiving tactile differences which are always growing more similar, but also perfecting the movement of which he is ever gaining greater mastery. Following these is a series of every kind of stuff: velvets, satins, silks, woolens, pieces of cotton, coarse and fine linens. There are two similar pieces of each kind of stuff, and they are of bright and vivid colors. The child is now taught a new movement. Where before he had to ***touch***, he must now ***feel*** the stuff, which, according to the degree of fineness or coarseness from coarse cotton to fine silk, are felt with movements correspondingly decisive or delicate. The child whose hand is already practiced finds the greatest pleasure in feeling the stuff, and, almost instinctively, to enhance his appreciation of the tactile sensation he closes his eyes. Then, to spare himself the exertion, he blindfolds himself with a clean handkerchief, and as he feels the stuff, he arranges the similar pieces in pairs, one upon the other, then, taking off the handkerchief, he ascertains for himself whether he has made any mistake. This exercise in ***touching*** **and *feeling*** is peculiarly attractive to the child and induces him to seek similar experiences in his surroundings. A little one, attracted by the pretty stuff of a visitor’s dress, will be seen to go and wash his hands, then to come and touch the stuff of the garment again and again with infinite delicacy, his face meanwhile expressing his pleasure and interest. --- A little later we shall see the children interest themselves in a much more difficult exercise. ## [The Weight Tablets](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-weight-tablets)  > Fig. 15. - Wood Tablets Differing in Weight. Some little rectangular tablets form part of the material. (Fig. 15.) The tablets, though of identical size, are made of wood of varying qualities, so that they differ in weight and, through the property of the wood, in color also. The child has to take a tablet and rest it delicately on the inner surfaces of his four fingers, spreading them well out. This will be another opportunity of teaching delicate movements. The hand must move up and down as though to weigh the object, but the movement must be as imperceptible as possible. These little movements should diminish as the capacity and attention for perceiving the weight of the object becomes more acute and the exercise will be perfectly performed when the child comes to perceive the weight almost without any movement of the hands. It is only by the repetition of the attempts that such a result can be obtained. Once the children are initiated into it by the teacher, they blindfold their eyes and repeat by themselves these exercises of the ***baric sense***. For example, they lay the heavier wooden tablets on the right and the lighter on the left. When the child takes off the handkerchief, he can see by the color of the pieces of wood if he has made a mistake. A long time before this difficult exercise, and during the period when the child is working with the three sorts of geometrical solids and with the rough and smooth tablets, he can be exercising himself with a material that is very attractive to him. This is the set of tablets covered with bright silk of shaded colors. The set consists of two separate boxes each containing sixty-four colors; that is, eight different tints, each of which has eight shades carefully graded. The first exercise for the child is that of ***pairing the colors***; that is, he selects from a mixed heap of colors the two tablets that are alike and lay them out, one beside the other. The teacher naturally does not offer the child all the one hundred and twenty-eight tablets in a heap, but chooses only a few of the brighter colors, for example, red, blue, and yellow, and prepares and mixes up three or four pairs. Then, taking one tablet - perhaps the red one - she indicates to the child that he is to choose its counterpart from the heap. This done, the teacher lays the pair together on the table. Then she takes perhaps the blue and the child selects the tablet to form another pair. The teacher then mixes the tablets again for the child to repeat the exercise by himself, *i.e.*, to select the two red tablets, the two blue, the two yellow, etc., and to place the two members of each pair next to one another. Then the couples will be increased to four or five, and little children of three years old end by a pairing of their own accord ten or a dozen couples of mixed tablets. ## [The Color Spools](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-color-spools)  When the child has given his eye sufficient practice in recognizing the identity of the pairs of colors, he is offered the shades of one color only, and he exercises himself in the perception of the slightest differences of shade in every color. Take, for example, the blue series. There are eight tablets in graduated shades. The teacher places them one beside another, beginning with the darkest, with the sole object of making the child understand “what is to be done.” She then leaves him alone to the interesting attempts which he spontaneously makes. It often happens that the child makes a mistake. If he has understood the idea and makes a mistake, it is a sign that ***he has not yet reached the stage*** of perceiving the differences between the graduations of one color. It is a practice that perfects in the child that capacity for distinguishing the fine differences, and so we leave him alone to his attempts! There are two suggestions that we can make to help him. The first is that he should always select the darkest color from the pile. This suggestion greatly facilitates his choice by giving it a constant direction. Secondly, we can lead him to observe from time to time any two colors that stand next to each other to compare them directly and apart from the others. In this way, the child does not place a tablet without a particular and careful comparison with its neighbor. Finally, the child himself will love to mix the sixty-four colors and then arrange them in eight rows of pretty shades of color with really surprising skill. In this exercise also the child’s hand is educated to perform fine and delicate movements and his mind is afforded special training in attention. He must not take hold of the tablets anyhow, he must avoid touching the colored silk, and must handle the tablets instead by the pieces of wood at the top and bottom. To arrange the tablets next to one another in a straight line at exactly the same level, so that the series looks like a beautiful shaded ribbon, is an act that demands a manual skill only obtained after considerable practice. These exercises of the chromatic sense lead, in the case of older children, to the development of the “color memory.” A child having looked carefully at a color is then invited to look for its companion in a mixed group of colors, without, of course, keeping the color he has observed under his eye to guide him. It is, therefore, by his memory that he recognizes the color, which he no longer compares with reality but with an image impressed upon his mind. The children are very fond of this exercise in “color memory”; it makes a lively digression for them, as they run with the image of color in their minds and look for its corresponding reality in their surroundings. It is a real triumph for them to identify the idea with the corresponding reality and to ***hold in their hands*** the proof of the mental power they have acquired. --- Another interesting piece of material is a little cabinet containing six drawers placed one above another. When they are opened they display six square wooden “frames” in each. (Fig. 16.) ## [The Geometrical Cabinet](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-geometrical-cabinet)  > Fig. 16. - Cabinet with Drawers to hold Geometrical Insets. Almost all the frames have a large geometrical figure inserted in the center, each colored blue and provided with a small button for a handle. Each drawer is lined with blue paper, and when the geometrical figure is removed, the bottom is seen to reproduce exactly the same form. The geometrical figures are arranged in the drawers according to the analogy of form. * (1) In one drawer six circles are decreasing in diameter. (Fig. 17.)  > Fig. 17. - Set of Six Circles. * (2) In another there is a square, together with five rectangles in which the length is always equal to the side of the square while the breadth gradually decreases. (Fig. 18.)  > Fig. 18. - Set of Six Rectangles. * (3) Another drawer contains six triangles, which vary either according to their sides or according to their angles (the equilateral, isosceles, scalene, right-angled, obtuse-angled, and acute angled). (Fig. 19.)  > Fig. 19. - Set of Six Triangles. * (4) In another drawer there are six regular polygons containing five to ten sides, *i.e.*, the pentagon, hexagon, heptagon, octagon, nonagon, and decagon. (Fig. 20.)  > Fig. 20. - Set of Six Polygons. * (5) Another drawer contains various figures: an oval, an ellipse, a rhombus, and a trapezoid. (Fig. 21.)  > Fig. 21. - Set of Six Irregular Figures. * (6) Finally, there are four plain wooden tablets, *i.e.*, without any geometrical inset, which should have no button fixed to them; also two other irregular geometrical figures. (Fig. 22.)  > Fig. 22. - Set of Four Blanks and Two Irregular Figures. Connected with this material there is a wooden frame furnished with a kind of rack which opens like a lid, and serves, when shut, to keep firmly in place six of the insets which may be arranged on the bottom of the frame itself, entirely covering it. (Fig. 23.)  > Fig. 23. - Frame to hold Geometrical Insets. This frame is used for the preparation of the ***first presentation*** to the child of the plane geometrical forms. The teacher may select according to her own judgment certain forms from among the whole series at her disposal. At first, it is advisable to show the child only a few figures which differ very widely from one another in form. The next step is to present a larger number of figures, and after this to present consecutively figures more and more similar in form. The first figures to be arranged in the frame will be, for example, the circle and the equilateral triangle, or the circle, the triangle, and the square. The spaces which are left should be covered with tablets of plain wood. Gradually the frame is completely filled with figures; first, with very dissimilar figures, such as example, a square, a very narrow rectangle, a triangle, a circle, an ellipse, and a hexagon, or with other figures in combination. Afterward, the teacher’s object will be to arrange figures similar to one another in the frame, such as, for example, the set of six rectangles, six triangles, six circles, varying in size, etc. This exercise resembles that of the cylinders. The insets are held by the buttons and taken from their places. They are then mixed on the table and the child is invited to put them back in their places. Here also the control of the error is in the ***material***, for the figure cannot be inserted perfectly except when it is put in its own place. Hence a series of “experiments,” of “attempts” that end in victory. The child is led to compare the various forms; to realize concretely the differences between them when an inset wrongly placed will not go into the aperture. In this way, he educates his eye on the ***recognition of forms***.  > Fig. 24. - Child Touching the Insets. (Montessori School, Runton.) The new movement of the hand that the child must coordinate is of particular importance. He is taught to ***touch the outline of the geometrical figures*** with the soft tips of the index and middle finger of the right hand, or of the left as well, if one believes in ambidexterity. (Fig. 24.) The child is made to touch the outline, not only of the ***inset***, but also of the corresponding aperture, and, only after ***having touched*** them, is he to put back the inset into its place. The ***recognition*** of the form is rendered much easier in this way. Children who evidently do not ***recognize the identities of form*** by the eye and who make absurd attempts to place the most diverse figures one within the other, ***do recognize*** the forms after having touched their outlines and arrange them very quickly in their right places. The child’s hand during this exercise of touching the outlines of the geometrical figures has a concrete guide in the object. This is especially true when he touches the frames, for his two fingers have only to follow the edge of the frame, which acts as an obstacle and is a very clear guide. The teacher must always intervene at the start to teach accurately this movement, which will have such importance in the future. She must, therefore, show the child ***how to touch***, not only by performing the movement herself slowly and clearly but also by guiding the child’s hand itself during his first attempts, so that he is sure to touch all the details - angles and sides. When his hand has learned to perform these movements with precision and accuracy, he will be ***really*** capable of following the outline of a geometrical figure, and through many repetitions of the exercise, he will come to coordinate the movement ***necessary*** for the exact delineation of its form. This exercise could be called an indirect but very real preparation for drawing. It is certainly the preparation of the hand to ***trace an enclosed form***. The little hand which touches feels, and knows how to follow a determined outline is preparing itself, without knowing it, for writing.  > Fig. 25. - Series of Cards with Geometrical Forms. The children make a special point of touching the outlines of the plane insets with accuracy. They have invented the exercise of blindfolding their eyes to recognize the forms by touch only, taking out and putting back the insets without seeing them. Corresponding to every form reproduced in the plane insets there are three white cards square in shape and of exactly the same size as the wooden frames of the insets. These cards are kept in three special cardboard boxes, almost cubic in form. (Fig. 25.) On the cards are repeated, in three series, the same geometrical forms as those of the plane insets. The same measurements of the figures also are exactly reproduced. In the first series the forms are filled in, *i.e.*, they are cut out in blue paper and gummed onto the card; in the second series there is only an outline about half a centimeter in width, which is cut out in the same blue paper and gummed to the card; in the third series, however, the geometrical figures are instead outlined only in black ink. By the use of this second piece of material, the exercise of the eye is gradually brought to perfection in the recognition of “plane forms.” In fact, there is no longer the concrete control of error in the material as there was in the ***wooden*** insets, but the child, by his eye alone, must judge of identities of form when, instead of ***fitting*** the wooden forms into their corresponding apertures, he simply ***rests*** them on the cardboard figure. Again, the refinement of the eye’s power of discrimination increases every time the child passes from one series of cards to the next, and by the time he has reached the third series, he can see the relation between a wooden object, which he holds in his hand, and an outline drawing; that is, he can connect the concrete reality with an ***abstraction***. The ***line*** now assumes in his eyes a very definite meaning; and he accustoms himself to recognize, interpret and judge forms contained by a simple outline. The exercises are various; the children themselves invent them. Some love to spread out a number of the figures of the geometric insets before their eyes, and then, taking a handful of the cards and mixing them like playing cards, deal them out as quickly as possible, choosing the figures corresponding to the pieces. Then as a test of their choice, they place the wooden pieces upon the forms on the cards. In this exercise they often cover whole tables, putting the wooden figures above, and beneath each one in a vertical line, the three corresponding forms of the cardboard series. Another game invented by the children consists in putting out and mixing all the cards of the three series on two or three adjoining tables. The child then takes a wooden geometrical form and places it, as quickly as possible, on the corresponding cards which he has recognized at a glance among all the rest. Four or five children play this game together, and as soon as one of them has found, for example, the filled-in figure corresponding to the wooden piece, and has placed the piece carefully and precisely upon it, another child takes away the piece to place it on the same form in outline. The game is somewhat suggestive of chess. Many children, without any suggestion from anyone, touch with their fingers the outline of the figures in the three series of cards, doing it with seriousness of purpose, interest, and perseverance. We teach the children to name all the forms of the plane insets. At first, I had intended to limit my teaching to the most important names, such as square, rectangle, and circle. But the children wanted to know all the names, taking pleasure in learning even the most difficult, such as trapezium, and decagon. They also show great pleasure in listening to the exact pronunciation of new words and in their repetition. Early childhood is, in fact, the age in which language is formed, and in which the sounds of a foreign language can be perfectly learned. When the child has had long practice with the plane insets, he begins to make “discoveries” in his environment, recognizing forms, colors, and qualities that are already known to him - a result which, in general, follows after all the sensory exercises. Then it is that a great enthusiasm is aroused in him, and the world becomes for him a source of pleasure. A little boy, walking one day alone on the roof terrace, repeated to himself with a thoughtful expression on his face, “The sky is blue! the sky is blue!” Once a cardinal, an admirer of the children of the school in Via Guisti, wished himself to bring them some biscuits and to enjoy the sight of a little greediness among the children. When he had finished his distribution, instead of seeing the children put the food hastily into their mouths, to his great surprise he heard them call out, “A triangle! a circle! a rectangle!” In fact, these biscuits were made in geometrical shapes. In one of the people’s dwellings in Milan, a mother, preparing dinner in the kitchen, taken from a packet a slice of bread and butter. Her little four-year-old boy who was with her said, “Rectangle.” The woman going on with her work cut off a large corner of the slice of bread, and the child cried out, “Triangle.” She put this bit into the saucepan, and the child, looking at the piece that was left, called out more loudly than before, “And now it is a trapezium.” The father, a working man, who was present, was much impressed with the incident. He went straight to look for the teacher and asked for an explanation. Much moved, he said, “If I had been educated in that way I should not be now just an ordinary workman.” It was he who later on arranged for a demonstration to induce all the workmen of the dwellings to take an interest in the school. They ended by presenting the teacher with a parchment they had painted themselves, and on it, between the pictures of little children, they had introduced every kind of geometrical form. As regards the touching of objects for the realization of their form, there is an infinite field of discovery open to the child in his environment. Children have been seen to stand opposite a beautiful pillar or a statue and, after having admired it, close their eyes in a state of beatitude and pass their hands many times over the forms. One of our teachers met one day in a church with two little brothers from the school in Via Guisti. They were standing looking at the small columns supporting the altar. Little by little the elder boy edged nearer the columns and began to touch them, then, as if he desired his little brother to share his pleasure, he drew him nearer and, taking his hand very gently, made him pass it round the smooth and beautiful shape of the column. But a sacristan came up at that moment and sent away “those tiresome children who were touching everything.” The great pleasure that the children derive from the recognition of ***objects*** by touching their form corresponds in itself to a sensory exercise. Many psychologists have spoken of the ***stereognostic*** sense, that is, the capacity of recognizing forms by the movement of the muscles of the hand as it follows the outlines of solid objects. This sense does not consist only of the sense of touch, because the tactile sensation is only that by which we perceive the differences in quality of surfaces, rough or smooth. Perception of form comes from the combination of two sensations, tactile and muscular, muscular sensations being sensations of movement. What we call in the blind the ***tactile*** sense is in reality more often the stereognostic sense. That is, they perceive utilizing their hands as the ***form of bodies***. It is the special muscular sensibility of the child from three to six years of age who is forming his own muscular activity which stimulates him to use the stereognostic sense. When the child spontaneously blindfolds his eyes to recognize various objects, such as the plane and solid insets, he is exercising this sense. There are many exercises that he can do to enable him to recognize with closed eyes objects of well-defined shapes, such as, for example, the little bricks and cubes of Froebel, marbles, coins, beans, peas, etc. From a selection of different objects mixed together, he can pick out those that are alike, and arrange them in separate heaps. In the didactic material, there are also geometrical solids - pale blue in color - a sphere, a prism, a pyramid, a cone, and a cylinder. The most attractive way of teaching a child to recognize these forms is for him to touch them with closed eyes and guess their names, the latter learned in a way which I will describe later. After an exercise of this kind the child when his eyes are open observes the forms with a much more lively interest. Another way of interesting him in the solid geometrical forms is to make them ***move***. The sphere rolls in every direction; the cylinder rolls in one direction only; the cone rolls round itself; the prism and the pyramid, however, stand still, but the prism falls over more easily than the pyramid. --- ## [The Sound Boxes](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-sound-boxes)  > Fig. 26. - Sound Boxes. Little more remains of the didactic material for the education of the senses. There is, however, a series of six cardboard cylinders, either closed entirely or with wooden covers. (Fig. 26.) When these cases are shaken they produce sounds varying in intensity from loud to almost imperceptible sounds, according to the nature of the objects inside the cylinder. There is a double act of these, and the exercise consists, first, of the recognition of sounds of equal intensity, arranging the cylinders in pairs. The next exercise consists of the comparison of one sound with another; that is, the child arranges the six cylinders in a series according to the loudness of sound which they produce. The exercise is analogous to that with the color spools, which also are paired and then arranged in gradation. In this case, also the child performs the exercise seated comfortably at a table. After a preliminary explanation from the teacher, he repeats the exercise by himself, his eyes being blindfolded so that he may better concentrate his attention. We may conclude with a general rule for the direction of the education of the senses. The order of procedure should be: * (1) Recognition of ***identities*** (the pairing of similar objects and the insertion of solid forms into places that fit them). * (2) Recognition of ***contrasts*** (the presentation of the extremes of a series of objects). * (3) Discrimination between objects very ***similar*** to one another. To concentrate the attention of the child upon the sensory stimulus which is acting upon him at a particular moment, it is well, as far as possible, to ***isolate*** the sense; for instance, to obtain silence in the room for all the exercises and to blindfold the eyes for those particular exercises which do not relate to the education of the sense of sight. The cinematograph pictures give a general idea of all the sense exercises which the children can do with the material, and anyone who has been initiated into the theory on which these are based will be able gradually to recognize them as they are seen practically carried out. It is very advisable for those who wish to guide the children in these sensory exercises to begin themselves by working with the didactic material. The experience will give them some idea of what the children must feel, of the difficulties which they must overcome, etc., and, up to a certain point, it will give them some conception of the interest which these exercises can arouse in them. Whoever makes such experiments himself will be most struck by the fact that, when blindfolded, he finds that all the sensations of touch and hearing really appear more acute and more easily recognized. On account of this alone no small interest will be aroused in the experimenter. --- For the beginning of the education of the musical sense, we use in Rome a material that does not form part of the didactic apparatus as it is sold at present. It consists of a double series of bells forming an octave with tones and semitones. These metal bells, which stand upon a wooden rectangular base, are all alike in appearance, but, when struck with a little wooden hammer, give out sounds corresponding to the notes do, re, mi, fa, sol, la, ti, do, do ♯, re ♯, fa ♯, sol ♯, la ♯.  ## [The Musical Bells](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education#the-musical-bells)  > Fig. 27. - Musical Bells. One series of bells is arranged in chromatic order upon a longboard, upon which are painted rectangular spaces which are black and white and of the same size as the bases which support the bells. As on a pianoforte keyboard, the white spaces correspond to the tones and the black to the semitones. (Fig. 27.) At first, the only bells to be arranged upon the board are those which correspond to the tones; these are set upon the white spaces in the order of the musical notes, do, re, mi, fa, sol, la, ti, do. To perform the first exercise the child strikes with a small hammer the first note of the series already arranged (do). Then among the second series of corresponding bells which, arranged without the semitones, are mixed together upon the table, he tries, by striking the bells one after the other, to find the sound which is the same as the first one he has struck (doh). When he has succeeded in finding the corresponding sound, he puts the bell thus chosen opposite the first one (doh) upon the board. Then he strikes the second bell, ***re***, once or twice; then from among the mixed group of bells, he makes experiments until he recognizes ***re***, which he places opposite the second bell of the series already arranged. He continues in the same way right to the end, looking for the identity of the sounds and performing an exercise of ***pairing*** similar to that already done in the case of the sound boxes, the colors, etc. Later, he learns in order the sounds of the musical scale, striking in rapid succession the bells arranged in order, and also accompanying his action with his voice - do, re, mi, fa, sol, la, ti, do. When he can recognize and ***remember*** the series of sounds, the child takes the eight bells and, after mixing them up, he tries by striking them with the hammer, to find ***do***, then ***re***, etc. Every time that he takes a new note, he strikes from the beginning all the bells already recognized and arranged in order - * do, ***re***, do, re, ***mi***; * do, re, mi, ***fa***; * do, re, mi, fa, ***sol***, * etc. In this way he succeeds in arranging all the bells in the order of the scale, guided only by his ear, and having succeeded, he strikes all the notes one after the other up and down the scale. This exercise fascinates children from five years old upwards. If the objects which have been described constitute the didactic material for the beginnings of a methodical education of the auditory sense, I have no desire to limit to them an educational process that is so important and already so complex in its practice, whether in the long-established methods of treatment for the deaf or in modern physiological musical education. In fact, I also use resonant metal tubes, small bars of wood that emit musical notes, and strings (little harps), upon which the children seek to recognize the ones they have already learned with the exercise of the bells. The pianoforte may also be used for the same purpose. In this way, the difference in ***timbre*** comes to be perceived together with the differences in tone. At the same time various exercises, already mentioned, such as the marches played on the piano for rhythmic exercises, and the simple songs sung by the children themselves, offer extensive means for the development of the musical sense. --- To quicken the child’s attention in special relation to sounds there is a most important exercise which, contrary to all attempts made up to this time in the practice of education, consists not in producing but in eliminating, as far as possible, all sounds from the environment. My “lesson of silence” has been very widely applied, even in schools where the rest of my method has not found its way, for the sake of its practical effect on the discipline of the children. The children are taught “not to move”; to inhibit all those motor impulses which may arise from any cause whatsoever, and to induce in them real “immobility,” it is necessary to initiate them in the ***control*** of all their movements. The teacher, then, does not limit herself to saying, “Sit still,” but she gives them the example herself, showing them how to sit absolutely still; that is, with feet still, the body still, arms still, head still. The respiratory movements should also be performed in such a way as to produce no sound. The children must be taught how to succeed in this exercise. The fundamental condition is that of finding a comfortable position, *i.e.*, a position of equilibrium. As they are seated for this exercise, they must therefore make themselves comfortable either in their little chairs or on the ground. When immobility is obtained, the room is half-darkened, or else the children close their eyes, or cover them with their hands. It is quite plain to see that the children take a great interest in the “Silence”; they seem to give themselves up to a kind of spell: they might be said to be wrapped in meditation. Little by little, as each child, watching himself, becomes more and more still, the silence deepens till it becomes absolute and can be felt, just as the twilight gradually deepens whilst the sun is setting. Then it is that slight sounds, unnoticed before, are heard; the ticking of the clock, the chirp of a sparrow in the garden, the flight of a butterfly. The world becomes full of imperceptible sounds which invade that deep silence without disturbing it, just as the stars shine out in the dark sky without banishing the darkness of the night. It is almost the discovery of a new world where there is rest. It is, as it were, the twilight of the world of loud noises and of the uproar that oppresses the spirit. At such a time the spirit is set free and opens out like the corolla of the convolvulus. And leaving metaphor for the reality of facts, can we not all recall feelings that have possessed us at sunset, when all the vivid impressions of the day, the brightness and clamor, are silenced? It is not that we miss the day, but that our spirit expands. It becomes more sensitive to the inner play of emotions, strong and persistent, or changeful and serene > ***“It was that hour when mariners feel longing,\ >  And hearts grow tender.”*** > > (Dante, trans. Longfellow.) The lesson of silence ends with a general calling of the children’s names. The teacher, or one of the children, takes her place behind the class or in an adjoining room, and “calls” the motionless children, one by one, by name; the call is made in a whisper, that is, without vocal sound. This demands close attention on the part of the child if he is to hear his name. When his name is called he must rise and find his way to the voice which called him; his movements must be light and vigilant, and so controlled ***as to make no noise***. When the children have become acquainted with ***silence***, their hearing is in a manner refined for the perception of sounds. Those sounds which are too loud become gradually displeasing to the ear of one who has known the pleasure of silence, and has discovered the world of delicate sounds. From this point the children gradually go on to perfect themselves; they walk lightly, take care not to knock against the furniture, move their chairs without noise, and place things on the table with great care. The result of this is seen in the grace of carriage and of movement, which is especially delightful on account of how it has been brought about. It is not a grace taught externally for the sake of beauty or regard for the world, but one which is born of the pleasure felt by the spirit in immobility and silence. The soul of the child wishes to free itself from the irksomeness of sounds that are too loud, from obstacles to its peace during work. These children, with the grace of pages to a noble lord, are serving their spirits. This exercise develops very definitely the social spirit. No other lesson, no other “situation,” could do the same. A profound silence can be obtained even when more than fifty children are crowded together in a small space, provided that ***all*** the children know how to keep still and want to do it; but one disturber is enough to take away the charm. Here is a demonstration of the cooperation of all the members of a community to achieve a common end. The children gradually show increased power of ***inhibition***; many of them, rather than disturb the silence, refrain from brushing a fly off the nose or suppressing a cough or sneeze. The same exhibition of collective action is seen in the care with which the children move to avoid making noise during their work. The lightness with which they run on tiptoe, and the grace with which they shut a cupboard, or lay an object on the table, are qualities that must be ***acquired by all*** if the environment is to become tranquil and free from disturbance. One rebel is sufficient to mar this achievement; one noisy child, walking on his heels or banging the door, can disturb the peaceful atmosphere of the small community. > ##### **The license of this page:** > > This page is part of the “**Montessori Restoration and Translation Project**”. > > Please [support](https://ko-fi.com/montessori) our “**All-Inclusive Montessori Education for All 0-100+ Worldwide**” initiative. We create open, free, and affordable resources available for everybody interested in Montessori Education. We transform people and environments to be authentic Montessori worldwide. 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You may copy it, give it away, or re-use it under the terms of the Project Gutenberg License included with this eBook or online at [www.gutenberg.org](http://www.gutenberg.org/). If you are not located in the United States, you’ll have to check the laws of the country where you are located before using this ebook.** > > Read this book on … > > **[Project Gutenberg](https://www.gutenberg.org/)** > > * [https://www.gutenberg.org/ebooks/29635](https://www.gutenberg.org/ebooks/29635) > > **[Archive.org](http://archive.org/)** > > * [https://archive.org/details/drmontessorisow01montgoog/](https://archive.org/details/drmontessorisow01montgoog/) > * [https://archive.org/details/drmontessorisown01mont/](https://archive.org/details/drmontessorisown01mont/) > * [https://archive.org/details/drmontessorisown00mont](https://archive.org/details/drmontessorisown00mont) > * [https://archive.org/details/drmontessorisown29635gut](https://archive.org/details/drmontessorisown29635gut) > > **[Guides.co](https://guides.co/)** > > * [https://guides.co/g/montessori-handbook/31826](https://guides.co/g/montessori-handbook/31826) * [Dr. Montessori's Own Handbook](https://montessori-international.com/s/montessoris-own-handbook/wiki/English "Dr. Montessori's Own Handbook") - English Restoration - [Archive.Org](https://archive.org/details/drmontessorisown01mont/page/n5/mode/2up "Dr. Montessori's Own Handbook on Archive.Org") - [Project Gutenberg](https://www.gutenberg.org/ebooks/29635 "Dr. Montessori's Own Handbook on Project Gutenberg") * [0 - Chapter Index - Dr. Montessori's Own Handbook - Restoration](https://montessori-international.com/s/montessoris-own-handbook/wiki/0+-+Chapter+Index+-+Dr.+Montessori%27s+Own+Handbook+-+Restoration) * [Chapter 00 – Dedication, Acknowledgements, Preface](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+00+%E2%80%93+Dedication%2C+Acknowledgements%2C+Preface) * [Chapter 01 - Introduction - Children's House - The Method](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+01+-+Introduction+-+Children%27s+House+-+The+Method) * [Chapter 02 - Motor Education](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+02+-+Motor+Education) * [Chapter 03 - Sensory Education](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+03+-+Sensory+Education) * [Chapter 04 - Language and Knowledge of the World](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+04+-+Language+and+Knowledge+of+the+World) * [Chapter 05 - The Reading of Music](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+05+-+The+Reading+of+Music) * [Chapter 06 - Arithmetic](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+06+-+Arithmetic) * [Chapter 07 - Moral Factors](https://montessori-international.com/s/montessoris-own-handbook/wiki/Chapter+07+-+Moral+Factors)