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Updated: May 13, 2025
Beneath its roof he had found in the niece of Friedrich Froebel a beloved wife, peculiarly suited both to him and to her future position. She was as little as he was big, but what energy, what tireless activity this dainty, delicate woman possessed!
Obedience is no doubt the nursery virtue in the eyes of authority, but kindness is much more human and attractive. "Both child and man," says Froebel, "desire to know the significance of what happens around them; this is the foundation of Greek choruses, especially in tragedy, and of many productions in the realm of legends and fairy-tales.
A less well-known account is given by Col. von Arnswald, again a Keilhau boy, who visited Blankenberg in 1839, when Froebel had just opened his first Kindergarten. "Arriving at the place, I found my Middendorf seated by the pump in the market-place, surrounded by a crowd of little children. Going near them I saw that he was engaged in mending the jacket of a boy.
Froebel first clearly developed the educational significance and uses of play. Earlier thinkers and writers on education had seen that play is an important element in the unfolding of a child's nature, but Froebel discerned the psychology of play and showed how it may be utilised for educational purposes.
No one is reared for the drawing-room; but where there is a drawing-room in which mental gifts are fostered and truth finds an abode, a true graduate of Keilhau will be an ornament. "No instruction in bowing and tying cravats is necessary; people learn that only too quickly," said Froebel.
No one is reared for the drawing-room; but where there is a drawing-room in which mental gifts are fostered and truth finds an abode, a true graduate of Keilhau will be an ornament. "No instruction in bowing and tying cravats is necessary; people learn that only too quickly," said Froebel.
If Froebel and Langethal had seen in the principle of comradeship the best furtherance of discipline, it was proved here; for we formed one large family, and if any act really worthy of punishment, no mere ebullition of youthful spirits, was committed by any of the pupils, Barop summoned us all, formed us into a court of justice, and we examined into the affair and fixed the penalty ourselves.
Therefore Froebel at once broke off all negotiations, and set out for Frankfurt, to discuss the work at Keilhau with his friends; since after so many troubles he had almost begun to lose faith in himself. Here by chance he met the well-known musical composer Schnyder, from Wartensee.
Such reckless heterogeneity as this is impossible with Froebel's educational materials, for even if they are given to the child without a single word, they carry something of their own logic with them. They emphasize the gospel of doing, for Froebel believes in positives in teaching, not negatives; in stimulants, not deterrents.
To get a view of Froebel's work from the practical side, so as to supplement the account we have received from Froebel himself as to the origination and development of the principles upon which that work was based, we have selected a sketch by Barop entitled "Critical Moments in the Froebel Community;" written for Dr. Under this heading Barop writes as follows:
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