(iv) In the fourth place, under the influence of the conception of the separation of mind and material, method tends to be reduced to a cut and dried routine, to following mechanically prescribed steps. No one can tell in how many schoolrooms children reciting in arithmetic or grammar are compelled to go through, under the alleged sanction of method, certain preordained verbal formulae. Instead of being encouraged to attack their topics directly, experimenting with methods that seem promising and learning to discriminate by the consequences that accrue, it is assumed that there is one fixed method to be followed. It is also naively assumed that if the pupils make their statements and explanations in a certain form of "analysis," their mental habits will in time conform. Nothing has brought pedagogical theory into greater disrepute than the belief that it is identified with handing out to teachers recipes and models to be followed in teaching. Flexibility and initiative in dealing with problems are characteristic of any conception to which method is a way of managing material to develop a conclusion. Mechanical rigid woodenness is an inevitable corollary of any theory which separates mind from activity motivated by a purpose. 2. Method as General and as Individual. In brief, the method of teaching is the method of an art, of action intelligently directed by ends. But the practice of a fine art is far from being a matter of extemporized inspirations. Study of the operations and results of those in the past who have greatly succeeded is essential. There is always a tradition, or schools of art, definite enough to impress beginners, and often to take them captive. Methods of artists in every branch depend upon thorough acquaintance with materials and tools; the painter must know canvas, pigments, brushes, and the technique of manipulation of all his appliances. Attainment of this knowledge requires persistent and concentrated attention to objective materials. The artist studies the progress of his own attempts to see what succeeds and what fails. The assumption that there are no alternatives between following ready-made rules and trusting to native gifts, the inspiration of the moment and undirected "hard work," is contradicted by the procedures of every art.