‘Unsteady time when singing or playing, confusion in playing, inability to follow when accompanying, accentuating too roughly or with lack of precision, all these faults have their origin in the child’s muscular and nervous control, in lack of coördination between the mind which conceives, the brain which orders, the nerve which transmits and the muscle which executes. And still more, the power of phrasing and shading music with feeling depends equally upon the training of the nerve-centres, upon the coördination of the muscular system, upon rapid communication between brain and limbs--in a word, upon the health of the whole organism; and it is by trying to discover the individual cause of each musical defect, and to find a means of correcting it, that I have gradually built up my method of eurhythmics. ‘The object of the method is, in the first instance, to create by the help of rhythm a rapid and regular current of communication between brain and body; and what differentiates my physical exercises from those of present-day methods of muscular development is that each of them is conceived in the form which can most quickly establish in the brain the image of the movement studied. ‘It is a question of eliminating in every muscular movement, by the help of will, the untimely intervention of muscles unless for the movement in question, and thus developing attention, consciousness and will-power. Next must be created an automatic technique for all those muscular movements which do not need the help of the consciousness, so that the latter may be reserved for those forms of expression which are purely intelligent. Thanks to the coördination of the nerve-centres, to the formation and development of the greatest possible number of motor habits, my method assures the freest possible play to subconscious expression. ‘The first result of a thorough rhythmic training is that the pupil sees clearly in himself what he really is, and obtains from his powers all the advantage possible. * * * The education of the nervous system must be of such a nature that the suggested rhythms of a work of art induce in the individual analogous vibrations, produce a powerful reaction in him and change naturally into rhythms of expression. In simpler language the body must become capable of responding to artistic rhythms and of realizing them quite naturally without fear of exaggeration.