When we turn to the needs of these pupils, the errors and limitations of the method are painful to contemplate. The work is essentially manual and offers little for the legs, where most of the muscular tissues of the body lie, those which respond most to training and are now most in danger of degeneration at this age; the back and trunk also are little trained. Consideration of proportion and bilateral asymmetry are practically ignored. Almost in proportion as these schools have multiplied, the rage for uniformity, together with motives of economy and administrative efficiency on account of overcrowding, have made them rigid and inflexible, on the principle that as the line lengthens the stake must be strengthened. This is a double misfortune; for the courses were not sufficiently considered at first and the plastic stage of adaptation was too short, while the methods of industry have undergone vast changes since they were given shape. There are now between three and four hundred occupations in the census, more than half of these involving manual work, so that never perhaps was there so great a pedagogic problem as to make these natural developments into conscious art, to extract what may be called basal types. This requires an effort not without analogy to Aristotle's attempt to extract from the topics of the marketplace the underlying categories eternally conditioning all thought, or to construct a grammar of speech. Hardly an attempt worthy the name, not even the very inadequate one of a committee, has been made in this field to study the conditions and to meet them. Like Froebel's gifts and occupations, deemed by their author the very roots of human occupations in infant form, the processes selected are underived and find their justification rather in their logical sequence and coherence than in being true norms of work. If these latter be attainable at all, it is not likely that they will fit so snugly in a brief curriculum, so that its simplicity is suspicious. The wards of the keys that lock the secrets of nature and human life are more intricate and mazy. As H.T. Bailey well puts it in substance, a master in any art-craft must have a fourfold equipment: 1. Ability to grasp an idea and embody it. 2. Power to utilize all nerve, and a wide repertory of methods, devices, recipes, discoveries, machines, etc. 3. Knowledge of the history of the craft. 4. Skill in technical processes. American schools emphasize chiefly only the last.