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first grade. Let the pupils write on paper the combinations that are so illustrated.

12 Write combinations on the board. Let the pupils copy and draw pictures to illustrate each.

13 Using the number boxes, have the pupils make all combinations they can with answers.

14 Write combinations on the board. Pupils copy and write answers.

15 Write on the board a list of figures below 100 in promiscuous order. Instruct the pupils to copy these, arranging them in order with the smallest number first. Teacher's list on the board might be:

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1 Just after the children have begun to read from the second reader, a good seat work exercise and one which will increase interest in learning new words is this: Have the pupils turn to the vocabulary that is listed in the back of the book and look over it, checking all words they know, and using a different mark to indicate words which they can work out phonetically. Each day as they learn more of the words listed they should check them.

2 At the close of the recitation, prepare the pupils for the next lesson by having them work out the difficult words and phrases which occur in it. Then for seat work they may read the lesson. Some means for securing concentration during silent study and for developing thought-getting power are these:

a

Write on the board a short series of questions which the pupil is to answer after reading the story. Formulate questions that will require some thought

to answer.

b Tell the pupils to be prepared to tell the story in class period.

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If the story is suitable for dramatization, have the pupils make a list of the characters in the story, and write after each character the name of the classmate which he wishes to play this part. He will also make a list of the names of the places that occur in the story and write after each where that place might be located in the schoolroom. If any "property" is needed in the play, such as a wand for a fairy, he will list the things needed and then write after each what article in the schoolroom might be used for it. When it is time for the class period, the teacher selects a list from the class, writes it upon the board and the play will be governed by the choice of character and place made by this child. Since any one is likely to be called on to play a part in the story without further preparation, it is necessary for each child to get a clear perception of the scenes, action, and conversation in the story during silent study. It will be understood, of course, that such a plan is attempted only after the children have played several stories, the dramatization of which was prepared for by careful questioning and the results discussed by the class and teacher with the purpose of improving the rendition of the story.

d Write upon the board a list of questions, each of which is answered by one sentence in the story. Have the children find the sentences which answer these questions and copy them on paper. This is not to be done until the pupils have read the entire story (or part of it which is assigned for the new lesson) carefully at least once.

e Let the pupils illustrate the story after reading it. Sometimes clay may be used, again paper cutting, or colored crayons. Devote a few minutes to discussion and constructive criticism of the drawings before having the story read. Select two or three big points to emphasize in the criticisms of the first set of pictures. At a later period, while the criticisms are fresh in mind and the pupils are interested in improving their pictures, let them illustrate the story for the next day's lesson. The criticisms can be handled in such a way that the pupils are stimulated to portray the scenes of the story as they really occur, and when this result is obtained, however crude the pictures may be from an artistic standpoint, a decisive victory has been gained in independent power to get thought from the printed page. This kind of seat work bears frequent repetition. f Sometimes the teacher may select from the story the paragraphs which contain a distinct picture. She will go to each pupil and mark in his book the portion of the story that she wishes him to illustrate. At class time, have the pupils display their pictures in turn, and as each picture is shown the other members of the class will search for the paragraph which it illustrates. The one who finds it first may read it orally.

g Or sometimes the children make their own choice of a portion of the story to illustrate and the game proceeds as described in f. In this case it is well to have each pupil mark in his reader the part of the story he is going to illustrate. This will hold him within definite limits in making his picture and will serve as a check when the class begins to point out the part he chose.

h If a pupil encounters words he cannot pronounce during silent study, he should write them on paper. At class time collect these papers.

If

a phonetic word occurs there, have the child find the phonogram and help him to work out the word. If the word is partially phonetic, help him to work out that part, and then by using this known part in conjunction with his knowledge of the situation in which the word was used, he may be able to tell what the word is. This is a very practical way of arriving at the pronunciation of many words, so it is worth while to give some training along this line. If the pupils are made to feel that words made up of known phonic elements should be worked out independently during study period, and if they are trained to get pronunciation by using the context in connection with those parts of the word which may be sounded, the individual lists of difficult words will be greatly reduced.

3 If the teacher has access to a library, she will find it very profitable to get simple books for her second grade pupils to read. This forms one of the most profitable forms of seat work that can be given in the second grade. The pupils will doubtless meet some words which they cannot pronounce, but they can get the story anyway. It is a good plan to let pupils read stories from these books to the class during the time allotted to opening exercises. 4 Paste short simple stories on manila cards. On the back of the card write several questions concerning the main facts of the story. Pass these cards to the children.

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6 Subscribe for at least one magazine for this grade. The children await eagerly the coming of the magazine and enjoy reading it.

7 Second grade pupils may read also the page for very young children in St. Nicholas and the Youth's Companion. Such supplementary reading makes delightful seat work.

8 The Little Folks' Magazine frequently contains a story printed in large type in which small pictures are used instead of words wherever possible. The children like to read these and supply the words represented by the pictures. After they have read several such stories, write a short, simple story on the board and let the pupils copy it, drawing a little picture instead of writing the word whenever a noun occurs that may be shown by a picture.

9 If the school does not own the picture books listed below get them from the library for the children to look at after having finished assigned work.

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11 For greater rapidity in silent reading make out a list of questions based on the story that the children are to read in their study period. Hektograph these, leaving a space for each answer, and give a copy to each pupil. When it is time for the silent reading to be done, have all the class begin at the same time. After reading ten minutes (or any other time agreed upon) have all books closed at a given signal and put away. Then without reference to the books, the pupils should write the answers to the questions. The children who read rapidly (and with understanding) will be able to answer more questions than the slow readers. So the lists of answers are a good index to the rate of silent reading of the class. If each pupil puts a mark at the place where he stopped reading when the signal was given, the teacher can compare the amount of material read with the answers to the questions and so get a more accurate estimate of each pupil's rate of thought getting. This exercise should be given once a week.

12 However carefully the preparatory word study may have been done, sometimes a pupil's oral reading is interrupted because he meets a word which he cannot pronounce. You do not wish to have the flow of thought interrupted by having him work out the word phonetically, so you tell him the word. In preparation for these occasions it is well to do some systematic work in training pupils to supply unknown words judging from the context. The following seat exercise will supplement the class work along this line. Write paragraphs on the board, omitting an occasional word. Have the pupils read these silently and be prepared to supply the omitted words when the paragraphs are read orally in class.

13 After preparing the assigned reading lesson, let pupils turn to the lesson for the next day and list all words found in it which are difficult. Have these words worked out before assigning the lesson for study.

14 Let children search in their readers for words which belong to a certain class. Assign a different class to each child. For example, one child may find all the names of animals that he can, another flowers, another people, colors, things that we do, etc.

III Phonics

1 Pass to the children scissors, paste and printed pages taken from old readers, magazines, or typewritten letters. The type should be of fair size. Let the children search for words containing phonograms which they know. They will cut out these words and paste them in little books of unruled paper which they made previously. The words should be classified according to the basal phonogram; for example, all those containing am should be pasted on one page, those containing ell on another, etc.

2 Distribute the cards that bear the blend words among the children. Have them sort the words according to the phonogram contained, then copy the words so grouped and underline the family word in each. Or the same thing may be done with a list of words written on the board.

3 Put the perception cards bearing phonograms into a box or basket. Pass up and down the aisles and let each child take a specified number of cards, perhaps three. Require each child to write as many words as he can which contain the phonograms he drew.

4 Place on the chalk tray the perception cards which bear the consonants and phonograms that have been taught. Let the children compete to see who can make the largest list of words by combining the elements. They write the words on paper. Let the two or three children who have the largest lists read them. The teacher

should take the lists, look them over later, and at the next session state the rank of the pupils.

5 Build phonetic words, using the small cards which have consonants and phonograms printed on them.

6 After a new phonogram has been taught, let the pupils write from memory a list of blend words containing the phonogram.

7 Another seat exercise following the teaching of a new phonogram consists in having the pupils copy from the board a list of words containing this phonogram, underline the known parts and work out the pronunciation of the words. The words selected for this should be more difficult than the one-syllable blend words. For example, if the new phonogram were ight, the list of words may be brighter, brighten, slightly, nightgown, frighten, lighthouse. 8 Place on the board several words of one syllable. Let the pupils see how many words they can make by adding parts to these words. To illustrate, the words rain, light, rack and help may be used. The pupil's list might be:

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Alice E. Allen

A January snowflake

Had dreamed of summer posies, And knew the lovliest of all

The flowers are the roses.

And so to earth he flew, one day,
To find a rosebud, so they say.

That January snowflake

Found all the earth was chilly,
No pansy anywhere in bloom,
No daffodil, no lily.

But pelting blindly here and there,

He thought he'd found a rosebud fair.

He nestled down upon it,

So sweet it was and rosy,

He melted quite away with joy,
So warm it was and cozy.
He never knew, by happy freak,
No rose he'd found but Baby's cheek!

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11 Exercises for application of phonics in reading are found in Section II, numbered 1, 2 h, and 13.

12 For applying knowledge of phonics in spelling.

a Have pupils write from memory all of the phonograms they can.

b

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Have them write "families" of words from memory. Have them write all of the phonograms which begin

with a certain sound such as short a, or the sound of a that all begins with.

d Let them write from memory words they saw in their reading lesson.

Please Answer This Request

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Studies in Art Appreciation IV

C. Edward Newell

Supervisor of Art and Handwork, Springfield, Mass.

Dignity and Impudence-Edwin Henry Landseer

(For the benefit of those who begin a new subscription to PRIMARY EDUCATION With the January issue, we will repeat the general instructions given with the first article in the series on Art Appreciation.)

It is the purpose of this series of articles on art appreciation to set forth a few simple methods for the teaching of well-known pictures. Every great picture has a message. This message must be understood by the teacher before she attempts to interpret a picture to little children. In order to better understand the pictures under consideration a few general instructions should be observed.

Study the picture yourself until you are thoroughly interested in it. Ask yourself the questions and note the suggestions. When you have made the picture yours, take it before the class and make it theirs in the same way. The enthusiasm of the teacher will mean much to the child. If she enjoys the picture and makes the children feel that she does, their interest and appreciation will respond to hers. Respect the pupil's individual suggestions. They will always be valuable to him and sometimes to you. While it is hoped that the suggestions herein given will be helpful to those teachers who are less experienced in the work, it is recognized that they involve a certain danger. If the teacher takes them, not as suggestions but as a formula, to be absolutely followed, they will wholly defeat their purpose. For this purpose the following suggestions are offered:

Ask no questions of which you do not see the point or give information which is meaningless or uninteresting to you. Almost every question should be followed with, "Why do you think so?" or "How do you know?" or "What tells you that?"

Tell the pupil nothing that he can learn from the picture. Question him and make him hunt, even though you have to tell him the answer in the end.

You cannot interest pupils by calling attention toward unimportant suppositions. You cannot teach pictures You cannot teach pictures by studying unrelated things. The more the pupil respects and loves his picture, the more easily he will get its message. Aim to lead the children to form the habit of carefully observing pictures, to read a picture for its story, then to talk freely, telling what they have seen. A few welldirected questions will soon open the children's eyes to see that everything in the picture helps to tell the story the artist wants them to know.

It is sometimes best to ask the questions based on the picture and so develop the story and meaning of the whole. Again it is wise to first read the story, or better, tell the story of the picture, afterwards questioning the class on its meaning.

The pictures selected for this series are such as appeal to all children-animal, child, and family life, happy

incident and mother love.

The Story of the Artist

Sir Edwin Landseer (lănd' ser) (1802-1873) was the artist who painted "Dignity and Impudence." He learned how to draw from his father and when he was but five years old he could draw very well. When he was seven, his father would take him to the fields to sketch the cows and sheep grazing there. Little Edwin did not care for books and often hid from his teachers. He had three dogs of his own and they were always with him.

He was so fond of drawing them that he came to be called the little "dog boy." Edwin, his two brothers and three sisters were allowed all the pets they wished, dogs, rabbits and pigeons.

When Edwin was only thirteen years old two of his pictures were exhibited at the Royal Academy in London. One was a painting of a mule and the other was of a dog and puppies. Many of the little boy's drawings are carefully saved in the South Kensington Museum, London. Wher. Landseer was but a lad a lady once asked him how he came to know so much about dogs and he replied, "By peeping into their hearts, madam.

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Edwin was a bright, gentle boy with blue eyes and light curly hair. He thought that animals understood, felt, and reasoned just like people and so all through his life he painted them as happy, sad, gay, dignified, proud, or saucy. For many years Sir Edwin lived and painted as a poor man, but as his pictures became known he had more orders than he could fill. He was a rich and famous artist when he painted the picture of Paul Pry. It is said of this man that he could draw with one hand the head of a horse, at the same time drawing a deer's head with the other.

Suggestive Method of Study

What do you see in this picture? Are the two dogs the same size? What kind of dogs are these? Where are they? Of what is the kennel built? Why is there a chain and ring at the side of the kennel door? Have you studied other pictures of animals? What pictures? Who painted them? Have you a dog of your own? What kind of a dog is it? Which one of these dogs do you like the better? Where is the larger dog looking? What sort of nose has he? What sort of eyes, mouth, ears, and paws? What part of the smaller dog can you see? Where is he looking? Are they both apparently looking at the same thing? Are they looking at you? What sort of nose, eyes, mouth, and ears has the smaller dog? Compare the coats of these two dogs. Can you tell where the light seems to come from in this picture?

The Story of the Picture

Almost any picture by Landseer might be called a "famous picture," for his popularity has hardly ever been rivaled. All classes love his pictures, especially his pictures of dogs. In "Dignity and Impudence" we have a noble mastiff, looking almost directly at us from the doorway of his wooden kennel. We say almost directly at us, but not quite so, for the dog seems to be looking at something a trifle back of us and to our left, yet our interest is held by the dog's eyes. This is rather strange but true. How dignified this noble dog looks! His sleek coat shines in the light and his velvety ears are so smooth we would like to stroke them. The dark recess of the kennel causes the dog's head to stand out clearly in every detail.

A saucy little rough-coated spaniel has had the impudence to go into the kennel beside the great hound. How saucy the spaniel looks with his little black eyes, pointed ears, and snub nose. He is looking at the same thing as the mastiff, whatever that may be. The spaniel probably well knows the hound's amiable nature or he would never have dared venture into the kennel.

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