I also designed and had manufactured little chairs. My first plan for these was to have them cane seated, but experience has shown the wear on these to be so great, that I now have chairs made entirely of wood. These are very light and of an attractive shape. In addition to these, I have in each schoolroom a number of comfortable little armchairs, some of wood and some of wicker.
Another piece of our school furniture consists of a little washstand, so low that it can be used by even a three-year-old child. This is painted with a white waterproof enamel and, besides the broad, upper and lower shelves which hold the little white enameled basins and pitchers, there are small side shelves for the soap-dishes, nail-brushes, towels, etc. There is also a receptacle into which the basins may be emptied. Wherever possible, a small cupboard provides each child with a space where he may keep his own soap, nail-brush, tooth-brush, etc.
In each of our schoolrooms we have provided a series of long low cupboards, especially designed for the reception of the didactic materials. The doors of these cupboards open easily, and the care of the materials is confided to the children. The tops of these cases furnish room for potted plants, small aquariums, or for the various toys with which the children are allowed to play freely. We have ample blackboard space, and these boards are so hung as to be easily used by the smallest child. Each blackboard is provided with a small case in which are kept the chalk, and the white cloths which we use instead of the ordinary erasers.
Above the blackboards are hung attractive pictures, chosen carefully, representing simple scenes in which children would naturally be interested. Among the pictures in our "Children's Houses" in Rome we have hung a copy of Raphael's "Madonna della Seggiola," and this picture we have chosen as the emblem of the "Children's Houses." For indeed, these "Children's Houses" represent not only social progress, but universal human progress, and are closely related to the elevation of the idea of motherhood, to the progress of woman and to the protection of her offspring. In this beautiful conception, Raphael has not only shown us the Madonna as a Divine Mother holding in her arms the babe who is greater than she, but by the side of this symbol of all motherhood, he has placed the figure of St. John, who represents humanity. So in Raphael's picture we see humanity rendering homage to maternity,--maternity, the sublime fact in the definite triumph of humanity. In addition to this beautiful symbolism, the picture has a value as being one of the greatest works of art of Italy's greatest artist. And if the day shall come when the "Children's Houses" shall be established throughout the world, it is our wish that this picture of Raphael's shall have its place in each of the schools, speaking eloquently of the country in which they originated.