“Much is developed in the child by this action, more than it is possible to express—a clear comprehension of form, the possibility of representing the form separate from the object, the possibility of retaining the form as such, and the strengthening and fitting of hand and arm for the free representation of form.”—E., p. 77.
Here, perhaps, is the right place to introduce what Froebel had to say about the artistic tendencies of children, since Art, to him, is always expression.
“Absolutely nothing can appear, nothing visible and sensible can come forth, that does not hold within itself the living spirit; that does not bear upon its surface the imprint of the living spirit of the being by whom it has been produced, and to whom it owes its existence. And this is true of the work of every human being—from the highest artist to the meanest labourer—as well as of the works of God, which are Nature, the creation, and all created things.”—E., p. 153.
So, when Froebel comes to speak of art as a subject of the school curriculum he says: “Here, art will be considered only as the pure representation of the inner … differentiated according to the material it uses, whether motion, as such, audible in sound, or visible in lines, surfaces and colours, or massive”; and he adds:
“We noticed that even at an earlier stage children have the desire to draw, but the desire also to express ideas by modelling and colouring is frequently found at this earlier stage of childhood, certainly at the very beginning of the stage of boyhood (from six years old). This proves that art and appreciation of art constitute a general capacity or talent of man, and should be cared for early, at latest in boyhood.
“This does not imply that the boy is to devote himself chiefly to art, and is to become an artist; but that he should be enabled to understand and appreciate true works of art. At the same time, a true education will guard him from the error of claiming to be an artist unless there is in him the true artistic calling.”—E., p. 227.
In connection with the mother’s instinctive rhythmic crooning and dandling of the infant, Froebel says:
“Thus the genuine natural mother cautiously follows in all directions the slowly developing all-sided life of the child. Others suppose him to be empty.… Thus those means of cultivation that lead so simply and naturally to the development of rhythm are lost.… Nevertheless an early development of rhythmic movement would prove most wholesome.… Even very small children, in moments of quiet, and particularly when going to sleep, will hum little strains of songs they have heard; and this should be heeded and developed as the first germ of future growth in melody and song. Undoubtedly this would soon lead in children to a spontaneity such as is shown by children in the use of speech.”—E., p. 71.
In the “Mother Songs,” too, Froebel writes: