when a low note and a high note are struck alternately. She can make a
game of this, too, by later having him close his eyes and place his
fingers in contact with the instrument and then tell her _approximately_
what string or key she struck. The next step, if she can take it, is to
place his little hands upon her chest to feel the lowest notes of her
voice, and upon both the chest and the top of her head to feel the
highest, and endeavoring to get him to recognize the similarity in
vibratory sensation between what he now feels and what he previously
felt on the musical instruments. The last step in this series of
exercises to awaken a recognition of vibratory sensations is to lead him
to feel in his own chest and head the vibrations set up by his own voice
in shouting and laughing, crying or babbling.

These hints that are so quickly and easily given, require weeks and
months of patient, _happy_ effort to carry out. Beware that no one of
them is repeated or continued so long at a time as to become a thing
dreaded and disliked. Remember that the attention of a little child is
like a constantly flitting butterfly that rests for only a moment or two
on anything before dancing away to something else.

There are many little games with kindergarten materials that can be
used to develop the powers of attention, observation, imitation, and
obedience. The laying in simple designs, by watchful imitation of the
mother, of colored sticks, colored squares, etc.; the building with
colored blocks; stringing of _large_ beads; weaving with _wide_ strips
of colored paper simple designs that a mother could invent with the
material at hand or could learn from any kindergarten manual. The point
that must be firmly, but _pleasantly_, insisted upon in these exercises
is careful and obedient following by the child of the exact order of
movement and manner of placing adopted by the mother teacher. The entire