For Sensations of Contact there is the Kicking Play, and Taste and Smell are also represented in the Mother Play book. For Hearing play we have the wooden ball, “a plaything for the child liable to produce noise by its movement,” as well as the Tic-tac and Finger Piano plays, and for receptive play, the mother is told to speak, rhythmically if possible, or to sing with every play. For Sensations of Brightness we have “Mother you want to foster this delight in all things that are sparkling clear and bright” of the “Fish in the Brook,” as well as “The Lightbird,” which Froebel has “found over and over again in all grades of the culture that makes up social life in village and in town.” Sensations of colour are well provided for. In “The Two Windows” we have: “See the beautiful coloured circles and rays, just like rainbow and dew-drops, see how beautifully the colours play through each other.” Colour is a feature in Gift I, in beadwork, in the tablets, in paper folding, cutting and plaiting, and besides these there are crayons and paints, and frequent reference is made to the child’s pleasure in the colour of flowers. Froebel also makes much play depend on perception of form: “Attention to the form and figure of the object can also be utilized for the child in play,” or, again, “Early in life the child delights in round and varied pebbles, he seeks and collects them, he takes pleasure in the straight edged and right angled.” He has found “The Target” play very widely spread, “plainly because it contains, as I see it, the first trace of an endeavour to make a child notice position and form.” For perception of movement, to which Froebel would have added perception of change of position, there are many plays with the ball as well as “Tic-tac,” “The Child and the Pigeons,” “The Lightbird,” “The Fish in the Brook,” etc. Groos’ next class is Play with the Motor Apparatus and under this comes first Playful movement of the Bodily Organs. Here we have Froebel saying: “The first toys and occupations of the child come from himself: he plays with his own limbs.”--_L., p. 108._ “The child at this stage begins to play with his limbs--his hands, his fingers, his lips, his tongue, his feet, as well as with the expression of his eyes and face.”--_E., p. 48._ Under playful locomotion, Groos actually quotes Froebel’s description of the child learning to walk, and we have also marching, running, and racing games; “the large majority,” says Froebel, “I have created simply by watching the children at play.… Thus I have prepared a limping-game because I see my boys always limping and hopping.”