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THE BEGINNINGS OF ART
THE BEGINNINGS
OF ART
BY
NEW YORK
D. APPLETON AND COMPANY
1897
Coptriqut, 1897,
Bt D. APPLETON AND COMPANY.
EDITOE'S PREFACE.
00783
vi EDITOR'S PREFACE.
CHaPtER PaOE
I.—The aim of the science of art 1
History of art— Philosophy of art ami science of art—The
problem of the science of nrt— Its limits—Its value.
II.—The way to the science of aet 9
The two forms of the problem of the science of art—The
individual form und its difficulties—The social form—Its
history— Dubos, Herder, Taine, Ilcnncquin, Guynu—The
old and the new methods—The comparative ethnological
method—The study of primitive forms— Its difficulties—
Collection and significance of the material.
III.—The primitive peoples 32
The conception of primitive peoples in sociology and
ethnology— Peoples and races—The significance of produc
tion to culture—InHueuce of production on the develop
ment of the family and of religion—The degeneration hy
pothesis — The primitive peoples of the present — Their
culture.
IV.—Art 47
The nature of artistic activity—Art, play, and exercise—
Art as a social phenomenon and a social function.—Classifi
cation of the arts.
V.—Personal decoration 53
Decoration and clothing among the primitive peoples—
Division of decoration—Body puinting— Significance of col
ours—Fixed decoration— Scarification of the Australians and
Mincopies and its meaning—The tattooing of the Bushmen
and Eskimo— Ear, lip, and nose ornaments— Hair dressing
—Movable decoration of the head, the neck, tho loins—Loin
ix
x CONTENTS.
CHAPTER PAGE
decoration and the feeling of shame— Limb decoration—
Decoration of clothing of the Eskimo—Fashion in the low
est grades of culture—/Esthetic value of primitive dress deco
ration — Lustre, colours, forms, symmetry, and eurhythmy —
Associations— Decoration of primitive and civilized peoples
—Practical significance of decoration—attractive dress and
terrifying dress—Kelatiou of male and female ornament—
Meaning of ornament among the higher peoples — Ornament
us a mark of rank— Duration and change of fashions in
dress ornament—The future of dress ornament.
VI.—Ornamentation 115
Ornamentation of implements in the lowest degrees of
culture—The "geometrical pattern" of primitive ornamen
tation—The sources of ornamentation—Natural motives
—Technical motives—Original meaning of primitive orna
ment—Inscriptions, property marks, tribal symbols, reli
gious symbols— Imitations of technical motives—Primary
and secondary ornaments—-Esthetieal significance of writ
ing— iEsthetical value of primitive ornaments— Influence of
primitive culture on ornamentation— Influence of primitive
ornamentation on culture.
X.—Music 278
Connection of music with the dance and poetry— The two
views on the nature and origin of music— Schopenhauer and
Spencer—Matter and form of music— Primitive vecal music
— Primitive instrumental music— General character of primi
tive music— Primitive music and Spencer's speech theory —
Darwin on the first development of musical talent— Develop
ment of rhythm and harmony— Peculiar influence of music
— Practical significance of music— Martial and dancing music
—Essential significance of music— Music and culture.
XL—Conclusion 305
Ketrospect— Nature of primitive art— Its conditions—Ita
effects— Art as a means in the struggle for existence—Social
and individual significance of art.
L
LIST OF ILLUSTKATIONS.
no. PAGE
1. Australian scratched Designs from Shields and Clubs.
(After Brough Smyth.) 117
2. Ornaments of the Karaya. (After Ehrenreich.) . . . 119
3. Ornaments of the Karaya. (After Ehrenreich.) . . . 121
4. Shield from South Australia (after Eyre), and Shield from
Queensland (Berlin Museum) 122
5. Australian Shields from Victoria, with scratched Designs.
(After Brough Smyth.) 124
6. Australian Throw-stick, with a Map of the Country
scratched on it. (After Brough Smyth.) . . . 125
7. Ornaments of the Mincopies. (From Man.) . . . 128
8. Bone Implements of the Eskimo, with Animal Ornaments.
(After Jacobsen.) 127
9. Bone Implements of the Eskimo in the Form of Animals.
(After Jacobsen.) 128
10. Bone Implements of the Eskimo, with Ornaments from
Technical Motives. (From photographs.) . . . 129
11. Ornamental Details of Bone Implements of the Eskimo.
(From photographs.) 130
12. Potsherds from the Andaman Islands. (After Man.) . 131
13. Australian Spear, with Technic Ornament. (After Brough
Smyth.) 132
14. A Message Stick (after Howitt) and a Shield from Aus
tralia 134
15. An Indian Picture-writing Sign for a Lapse of Time (after
Mallery), and a Drill Bow of the Eskimo (from a photo
graph) 136
16. Property Marks. (After Lartet, Christy, and Choris) . 138
xiil
xiv LIST OP ILLUSTRATIONS.
no. PAGE
17. Mincopy Girdle. (After Man.) 148
18. Australian Shields. (After Brough Smyth.) . . . 152
19. Dagger-Handle of Reindeer Horn. (Prom a cast.) . . 164
20. Australian Cave Painting at Ulenclg. (After Grey.) . . 166
21. Australian Cave Painting at Glenelg. (After Grey.) . . 167
22. Australian Cave Painting at Glenelg. (After Grey.) . 169
23. Australian Rock Sculptures on Depuch Island. (After
Stokes.) 171
24. Australian Drawing. (After Brough Smyth.) . . .176
25. Australian Grave Tablet of Bark. (After Brough Smyth.) . 177
26. Rock Drawings of the Bushmen. (After Pritsch.) . . 182
27. Carving by an Eskimo on a piece of Walrus Tusk . . 186
28. Drawing by a Tchukchi. (After Hildebrand.) . . .187
29. Hyperborean Bone Carvings. (After Hildebrand.) . . 188
30. Aleut Carvings on Bones. (After Hildebrand.) . . . 189
31. Bone Carvings of the Eskimo. (After Boas.) . . .191
32. Picture Writing from Alaska. (After Mallery.). . . 202
FULL-PAGE PLATES.
Plate I.—Australian Bark Drawing. (After Andree.)
Plate II.— Pen Drawing by an Australian. (After Andree.)
Plate III.—A Cave Painting of the Bushmen. (After Andree.)
THE BEGINNINGS OF ART.
CHAPTEE I.
THE AIM OF THE SCIENCE OF ART.
not at all to Tainc's later historical works, for the masterly charac
ter of which we have a genuine admiration.
* Guyau. l'roblemes esthetiques. L'Art au point du vue socio-
logique.
18 THE BEGINNINGS OP ART.
\
THE WAY TO THE SCIENCE OF ART. 27
"^v
THE WAY TO THE SCIENCE OP ART. 31
* This problem has not yet been solved, and, if we can trust the
judgment of the highest anthropological authorities, is likely to be
very difficult of solution in the future.
THE PRIMITIVE PEOPLES. 35
\
TIIE PRIMITIVE PEOPLES. 37
ART.
\
CHAPTER V.
PERSONAL DECORATION.
on the other hand, paint themselves with single lines and points
which can not possibly serve for the protection of the skin.
* " Yellowish red : the active side is here in its highest energy,
and it is no wonder that energetic, healthful, nude men especially,
rejoice in this colour. The fondness of savage men for it has been
remarked everywhere." Farbenlehre, p. 775.
f Compare especially the pictures of the Middle Ages, and the
Renascence.
62 THE BEGINNINGS OF ART.
^
PERSONAL DECORATION. 71
* Lumholtz, p. 177.
f Waitz-Gerland, vol. vi, p. 740 (from Tiechelmann and Sehur-
mnnn). J Waitz-Gcrland, vol. vi, p. 812.
• Man, Journ. Anthrop. Inst., vol. xii, p. 833.
72 THE BEGINNINGS OF ART.
«s
PERSONAL DECORATION. 75
design which was common to all the members of the tril>e. One
certain form had always to lx) executed, although others were left to
individual tastes." (Brough Smyth, vol. i, pi. xli.) Bulmer not only
accounts for the scars as being most decidedly tribal marks, but also
gives figures that distinguish individual tribes. The first sign has
the form of a boomerang, and t he others consist of series of points
and stripes. The investigations of Wilhelmi, Lumholtz, and others
may bo compared.
f Cnrr, for example (Australia, vol. ii, p. 475). says that the scars
were only for ornament; so likewise Pulmer (Jour. Anthrop. Inst.,
vol. xiii, p. 280), who adds expressly, " They convey no idea of tribal
connection."
76 THE BEGINNINGS OP ART.
<
PERSONAL DECORATION. 77
* But only among the western tribes, who have possibly received
the lip plug from their Indian neighbours.
PERSONAL DECORATION. 83
L
PERSONAL DECORATION. 85
*
\
PERSONAL DECORATION. 87
motion, and in battle avoid all hostile spears. Brough Smyth, vol.
i,p. 112.
* The Bushmen, for example, are accustomed to carry their poi
soned arrows in their head bands.
f A good picture is given of it in Brongh Smyth, vol. i, p. 270.
t Brough Smyth, vol. i, pp. 271, 274, 280.
90 THE BEGINNINGS OF ART.
* Journ. Anthrop. Inst, vol. xiii, p. 401 ; vol. xi, p. 295. PI. xii,
Fig. 7.
f Wied, vol. i, p. 15.
% Picture in Brough Smyth, vol. i, p. 278. Bits of lobster shell
are worn instead of pieces of reed on the lower Murray.
PERSONAL DECORATION. 93
^
PERSONAL DECORATION. 95
* That is first for carrying smaller weai>ons and tools, and sec
ondly as "a hunger belt."
f Brough Smyth, vol. i, p. 281. % Ibid., vol. i, p. 275.
• Ibid., vol. i, p. 281.
96 THE BEGINNINGS OP ART.
The arms and the legs are adorned with essentially the
same kind of bands and cords as the neck. Moreover,
not all the objects which primitive peoples put upon
their limhs are ornaments. The bunch of leaves, for
example, which the Australian corroborry dancers tie
round their ankles are intended simply to augment the
rustling of the dance movements. Some arm bands are
worn as amulets, like the strips of the skin of the fly
ing squirrel which the men of the Yarra tribe bound
to their arms to make them strong. The stout leath
ern straps, too, with which the Bushmen arm the lower
parts of their legs, are designed less to adorn them
than to protect them against the dreaded thorns of the
steppes.
In our account of movable ornament we have so
far omitted one primitive people—the Eskimo. They
occupy, in fact, a wholly peculiar position. While all
other hunting tribes neglect clothing and seek decora
tion, the Eskimo have first of all things to provide for
a dress that will completely protect their bodies from
the deadly arctic cold of their home. Yet they do not
forget ornament ; but their bodily decoration can not be
forced into the category in which we classify, according
to its character, the ornaments of the unclad hunting
peoples. We find among them ornaments neither of
the neck, hips, nor arms, but only of their clothing.
They trim their fur garments with variously coloured
strips of hide, and attach to them in front and on the
back, and especially at the seams, leather fringes, teeth,
jewels of bone and metal, bronze bells, and other simi
lar objects. The women appear to do this as much at
least as the men, and further distinguish themselves
from them by an ornament which may be considered
102 THE BEGINNINGS OF ART.
'
PERSONAL DECORATION. 105
* The shell has maintained itself only here and there in the
ornaments of the poorer classes. In Venice, for example, armlets
may be seen made of little nacreous periwinkle shells. Shells, how
ever, play a considerable figure in decorative Work. The great gold
smiths of the Renascence made much use of them in fine vessels.
106 THE BEGISTNINGS OF ART.
* G. Bove observed among the Fuegians that the men were more
solicitous about decoration than the women (Globus, vol. xliii, p.
157). Lumholtz says of the Queenslanders that they did not think
it proper for the women to adorn themselves (Lumholtz, p. 178);
and Brough Smyth remarks of the South Australian tribes : " The
ornaments of the women were not particularly esteemed by the
men. The woman did little to improve her appearance. She was
satisfied if her natural charms excited admiration." Brough Smyth,
vol. i, p. 275.
PERSONAL DECORATION. HI
ORNAMENTATION.
^
ORNAMENTATION. 117
the Australian:;, Mincopies, and partly the hyperbo
reans scratch and paint on their implements remind
Europeans of simple geometrical figures. These primi
tive ornaments are usually described as geometrical ;
and, as it is not difficult to confound the name with
the thing, the geometrical designs are occasionally
brought forward in evidence of the natural love of
tion
find was
out. thus
Theestablished
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factall
in these
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figuresofappearing
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.x
ORNAMENTATION. 121
a, U
Fig. 3.—Oexamexts of the Kaeaya. (Atter Ehrcnrcich.)
Fio. 4.—a, Phield from Soura Australia (After Eyre) : J, SniEln from
Queenslani> (Berlin Museum). The pattern on a is partly scratched,
partly painted ; that on J is all painted.
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Fio. 1.—Ornaments of the Mincopies. (From Man.) «, with white clay
painted on hows and eating plates; b, painted on girdles ; c, with white
on shells ; d and e, with white on women's girdles and frontlets ; /, with
yellow and white on bows, pails, eanoes, and oars; g, scratched on
women's girdles and painted with white on time-boards ; /*, with white
and brown on girdles, bands, plates, and shells.
i O-
V
ORNAMENTATION. 129
V
ORNAMENTATION. 131
be asserted nor denied. The first impression of a de
sign seems to declare in favour of the supposition ; but
we have already learned that we can not trust a first
impression in these cases. It would not be impossible
that a pattern which looks like imitation weaving, or a
band, is really the conventionally modified representa
tion of an animal's skin or of a snake. Only in one case
does the conclusion that a design is of technic origin
seem to us fairly permissible. The Mincopies are the
only people at the lowest grade of culture who exer
cise the potter's art. They make rude earthen vessels
of various sizes with free hand, which serve them as
cooking dishes. A large number of these pots bear an
ornament which we regard as the imitation of woven
work. The superficial resemblance would indeed give
no great force to our supposition ; it is far better sup
ported by the fact that the Mincopies are accustomed
to invest their vessels, for the purpose of holding them
e,j m
Fiq. 13.—Australian Spear, with Technic Ornament. (After Brough
Smyth.)
.
ORNAMENTATION. 133
Fig. 14, i.
Flo. 14.—A Message Stice and a Shield from Australia. The mes
sage stick (after Ilowitt) contains in its scratched marks an invitation
to un emu (a) and wallaby (b) hunt.
T
138 THE BEGINNINGS OP ART.
* One who is not endowed with the (esthetic spirit will perhaps
bo unable to comprehend why it has never yet occurred to any one
ORNAMENTATION. 147
V
ORNAMENTATION. 149
M^
KS Z2
6HhEB>
Fio. 18.— Australian Shields. (After Brough Smyth.)
flowers; yet the homes of the Bushmen nnd Australians are resplen
dent ut times with the richest and most variegated floral displays.
The unfortunate Tosmanians constituted the only exception. Bon-
wick says, at least, that they lived to decorate themselves with flow
ers and scattered flowers on their graves.
ORNAMENTATION'. 157
KEFRESKSTaTTVE AST.
or porphyry. Yellow clay and yellow ochre are not abundant and
are wanting in many districts. White clay is found everywhere in
the region of the granite and the paleozoic formations. In the
tertiary regions, where white clay does not occur on the surface, the
aborigines burned a very good colouring material out of gypsum
and selenite. A black colour was obtained from charcoal or soot."
Brough Smyth, vol. i, p. 294. " Yellow is also obtained from the in
terior of the nests of certain ants which collect yellow dust, and from
a fucus. Some other plant juices are used for colours—for example,
to colour red." Waitz-Gerland, vol. vi, p. 761.
13
180 THE BEGINNINGS OP ART.
* Brough Smyth, vol. ii, p. 258. f lbid-> vol- ". !>- 299.
REPRESENTATIVE ART. 181
/
182 THE BEGINNINGS OF ART.
* Pritsch, p. 420.
REPRESENTATIVE ART. 183
•Dall, loc. cif., pp. 140, 141. Illustrated in Plates XXVIII and
XXIX. There is also a picture of a dance mask there—from Sauer's
report of Billings's Journey—that plainly shows the Aleut physiog
nomy, which most strangely, as Dall justly remarks, never appears
on the corpse masks. The latter are rather of the Indian type.
REPRESENTATIVE ART. 193
over, needs not his eye alone, but his hand, too. It is
not enough that he can track and observe his game ; he
must know how to bring it down, and for that he re
quires suitable weapons above all other things. That
the hunting peoples have distinguished themselves by a
high and adequate development of their weapons is
therefore not at all wonderful. They have indeed
every reason for cultivating their skill in this direction,
for it is with these weapons that they have to struggle
for their existence. In fact, the implements of the
chase of all the hunting peoples attest a technical skill
which appears the greater the poorer the tools which
the primitive peoples have to use. To a superficial ob
server the weapons of the Australians appear indeed
exceedingly rude, but the more closely we examine
them the more we wonder at the skill with which they
are fabricated. The throw-sticks especially are not such
very simple works as they seem to be.* The Bushman
knows how to construct his ingenious poisoned arrows,
to which, surrounded by enemies, he owes his existence
with the simplest means. But the highest technical
mastery is found where harsh Nature strains the facul
ties to their extreme tension—among the hyperborean
tribes. '^When we consider the rude condition of their
culture, their northern situation in a country which lies
almost constantly covered with snow, and the compara
tively miserable materials which they have to work, we
receive the impression that they are the equals, at least,
of the peoples on the islands of the Pacific Ocean." So
Cook declared of the tribes on Prince William Sound,
^
REPRESENTATIVE ART. 203
* There are several points in this account that call for criticism.
Two features are missing which, so far as we know, are never want
ing in primitive dances—the musical accompaniment and the rhyth
mical motion. If they are merely unmentioned in the account, then
it is very defective; if they are really absent, then the mokoma is
probably not a real dance, but perhaps a wild outburst of a general
intoxication by hasheesh, like those which take place among many
of the tribes of the Congo.
f Globus, vol. xlvii, p. 332.
THE DANCE. 217
1845.
* Hodgkinson, Australia from Port Macquerie to Moreton Bay,
THE DANCE. 221
have referred again and again to this " wonderful " uni
son of the movements. In the heat of the dance the
several participants are fused together as into a single
being, which is stirred and moved as by one feeling.
During the dance they are in a condition of complete
social unification, and the dancing group feels and acts
like a single organism. The social significance of the
primitive dance lies precisely in this effect of social
unification. It brings and accustoms a number of men
who, in their loose and precarious conditions of life, are
driven irregularly hither and thither by different indi
vidual needs and desires to act under one impulse with
one feeling for one object. It introduces order and
connection, at least occasionally, into the rambling, fluc
tuating life of the hunting tribes. It is, besides wars,
perhaps the only factor that makes their solidarity vital
ly perceptible to the adherents of a primitive tribe, and
it is at the same time one of the best preparations for
war, for the gymnastic dances correspond in more than
one respect to our military exercises. It would be hard
to overestimate the importance of the primitive dance
in the culture development of mankind. All higher
civilization is conditioned upon the uniformly ordered
co-operation of individual social elements, and primitive
men are trained to this co-operation by the dance.
The hunting tribes appear to have some perception
of the socializing influence of their dances. In Austra
lia the corroborry at least serves " as an assurance of
peace between single tribes. Two tribes, desiring to
confirm mutual good feeling, dance it together." * On
* Waitz-fterland, vol. vi, p. 755. Among the Queenslanders
"the corroborries are usually appointed for the confirmation of
peace after the conclusion of wars and disputes." Lumholtz, p. 286.
230 THE BEGINNINGS OF ART.
POETEY.
* "A political song a nasty song," said Goethe, with true poet
ical feeling. Even the most finely finished political songs are not
poetry, but rhetoric in rhyme. Likewise the profoundest philo
sophical poems are not poetry, but didactics in rhyme.
POETRY. 235
sung *inTaplin,
scornTheofNarrinypri.
a native.* When
f Grey,native
vol. ii, police
p. 309. offi-
cere were seen for the first time in the district of Wail-
wun the words were sung in ridicule of them :
Run away, all you blind fellows,
Run on, forever, I hope,
To Sydney, to Sydney, forever,
Good-bye.*
left When
chant amournfully
friend has: gone away, those whom he has
• These two songs, too. like the first, contain in the original an
unmeaning refrain which is attached to each verse.
17
244 THE BEGINNINGS OP ART.
V
POETRY. 245
'
248 THE BEGINNINGS OF ART.
This story that Filemena told was very dear to all the ladies, be-
causo they had heard the song sung many times, but had never
been atite to learn by asking what the incident was on which it was
based."
POETRY. 2i9
* Man, Jour. Anth. Inst., vol. xii, pp. 167 et aeq. The poem which
we have published on pace 29 relates to this story.
-f The circumstance of the murderer carrying a rusty (therefore
an iron) axe indicates that the tradition is not very old.
POETRY. 253
* Rink, p. 89.
POETRY. 257
* Kink, p. 90.
258 THE BEGINNINGS OP ART.
* Rink, p. 89.
IS
f
THE BEGINNINGS OP ART.
only said, ' I believe she has burst ' ; and her parents
said, very humbly, ' Oh, that is no matter, she is good
for nothing except to bring water.'- When, a little
while afterward, the youths came in, he called out to
them, ' You will make splendid seal hunters,' and seiz
ing them, crushed one and then another, and tore their
limbs apart. The parents only said again : ' That is no
matter; he was a good-for-nothing.' Kagsagsuk con
tinued executing his vengeance in this way till he had
killed all in the house who had ever done him wronw.
He only spared the poor people who had been friendly
toward him, and lived in peace with them on the pro
visions that had been stored up for the winter. He
chose the best kayaks for himself, and practised so in
dustriously in the navigation of them that he was s0on
able to undertake long journeys to the north and south.
Thus he went around in the pride of his heart, and dis
played his strength in all the land." *
The story of little Kagsagsuk reminds us in its ex
ceedingly effective form—and partially, too, in its sub
stance—of the best Mahrchen of the civilized peoples
of Europe ; and it reminds us of them so much, that
the question involuntarily arises whether this Eskimo
tale may not be a European fairy story in hyperborean
dress. "With this question we meet at last one of the
greatest difficulties that the study of primitive epic has
to overcome. Are the stories of the primitive peoples
really primitive stories ? For the tale of Kagsagsuk,
at least, we believe we can answer this question in the
affirmative; but the Eskimo have a large number of
stories for the autochthonous origin of which we can
"V
POETRY. 269
MUSIC.
* Gurney, p. 476.
MUSIC. 293
CONCLUSION.
-
CONCLUSION'. 315
194, 307, 309; battle songs of, 300; scarification among, 72; social dis
body painting among, 55 et seq. ; tinctions among, 112, 114; songs of,
boomerang of, 45 ; characters of, 248, 276 ; stories of, 253, 255, 257.
195, 196; colours used by, 63; 259 ; symmetry of ornamentation
footnote, ibid., 64, 133 ; clubs and among, 152 et seq.; wearing of
shields, 23 ; culture of, 42 ; dancers, clothing in dances by, 98 ; weapons
101 ; dances of, 208 et seq., 218 et of, 197.
seq., 226, 229, 2oO ; decoration with
flowers by, footnote, 156; dramas Baiues. on a Bushman headdress,
of, 267 et seq.; drawings of, 125, tive,
90; quoted
footnote,
on 184.
Bushman pcrs|n.-e-
165 et seq., 185, 187, 189; epic
poems of, 250 ; grade of culture of, Bakairi, oruaincntaiiun among, 119.
44 ; hair-dressing among, 87; head Bakuba, scarification among, 7S.
dresses of, 88, 89; illustrations of Baluba, scarification among, 78.
shields of, 122, 124; industries of, Bancroft, on lip piercing among Uic
35 ; inscriptions of, 135 ; lack of Kskimo, 83 ; on Eskimo dancers,
clothing among, 96; languages, 218.
hindrance to spread of poetry, Bantu, artistic ability of, 198.
274; loins, dress of, 94, 107; love Barlow, quoted on Australian songs,
songs of, 244. 245 ; lyrics of, 236 et 249.
seq. ; magic sticks of, 142 ; maps Barrow, quoted on the Bushmen. 94.
made by, 126 ; marks on weapons Bastian, on Northwest coast Indians,
among, 137, 139 ; message stick of, 190.
134 ; mourning colours used by, 66 ; Beckler, on music of the Austral ians,
mourning melodies of, 298; mourn 2S4 et seq.
ing patterns among, 69 ; musical Beethoven, music of, S03.
instruments of, 2S8 ; music of, 278 Black, a colour used in decoration,
et seq., 284, 292, 302 ; neck bands 183.
of, 104 ; necklace of, 109 ; neck or Bleek on Bushman language, 274 et
naments worn by, 92 ; nose orna seq.
ments worn by, 83 ; ornamenta Blue, a colour used in decoration,
tion among, 116, 118, 123, 157, foot 133.
note, 159; ornamentation, technie Boas, Franz, on the central Eskimo,
motives in, 132 ; ornamented spears 29, 102, 186; on Eskimo music.
of, 144: paintings and carvings, 286; on numbers of the Eskimo,
165 et seq. ; pictures of, 202; pleas footnote, 230 ; on tattooing among
ure in imitating among, 223 ; poetry the Eskimo, 79; quoted on the
of. 22, 29, 232, 243 ; poets of, 277 ; Eskimo, 86; on Eskimo dances,
position in the scale of culture, 33 ; 217 ; on Eskimo poetry, footnote,
poverty of decorative art among, 250 ; on Eskimo songs, 240, 247 ;
155; purpose of decoration among. on Eskimo stories, 266.
Ill ; rhythmic series of, 150, 151 ; Boccaccio's Decameron quoted, foot
rock drawings of, 199; shields of, note, 248.
161; scariticntion among, 70, 75, Body painting, for Aesthetic purposes,
footnote, ibid. 76 ; significance of GO et seq ; patterns used in, 68.
^
INDEX. 319
Boere, 183. tion with flowers by, footnote, 156;
Bonwick, on the Tasmanians, 71 ; drawings among, 121, 185, 187, 189 ;
quoted on the Tasmanians, 111. earrings worn by, 83 ; epic poems
Botany Bay, 174. of, 250; fashions among, 114; hair-
Botocudo, S3, footnote, 44; body dressing among, 87 ; headdresses
painting among, 60, 64 ; culture of, of, 89, 90 ; lack of ornamentation
44; dances of, 216; Ehreureeich, of implements among, 115; lack
quoted on, 93 ; feathers worn by, of social organization among, 112;
104 ; hair-dressing among, 85 ; language of, 274 ; lee bands worn
headdresses of, 89, 90; lack of by, 101 ; loins, dress of, 94 ; music
clothing among, 96 ; lack of pic of, 278, 286 et seq., 296, 301, 302;
torial art among, 193 : lip and ear musical instruments of, 289 et seq. ;
plugs worn by, 81 ; love songs of, neck ornaments worn by, 91 ; orna
244, 245; musical instruments of, ments of, 103 ; paintings and carv
288 ; music of, 278, 283 ; necklace ings of, 180 et seq. ; pictures of, 202 ;
of, 107 ; ornaments worn by, 92 ; pleasure in imitating among, 223 ;
patterns used in body painting, poetry of, 232 ; poisoned arrows of,
68, 69; poetry of, 232, 241, 243; 45, 197 ; stories of, 253, 255, 257 et
songs of, 236 ; wind instruments seq., 266 ; tattooing among, 78, 79 ;
of, 290. use of birds1 heads as ornaments,
Boucher do Perthes, 163. 105; weapons of, 197.
Bove, G., on the Fuegians, 59 ; foot
note, 110. Colder, quoted on Tosmaniuns, 178.
Brazil, Indians of, 41 ; ornamenta Canoe danee, 220.
tion among. 119. Cape York, 172.
Brehm, quoted on song of a gibbon, Carpentaria, Gulf of, 172.
footnote, 294. Carvings, of northern peoples, 187 et
Brown, quoted on primitive music, »eq.; in Australia, 172; in France,
286. 163 et seq.
Buckley, quoted on Australians, 300. Cassinauhe, 121.
Bugi alphabet, 170. Ceramics, among the Mincopies, 45.
Bulmer, on Australian ornamenta Chasm Island, 172.
tion, 123 ; on the Australians, 111 ; Chauncy, quoted on the Australians,
quoted on Australian dancers, 65; 128, 180.
on the Australians, 95. Chinese bronzes, 157 ; writing, foot
Burchell, quoted on a Bushman note, 147.
dance, 213 et seq. Choris, illustrations of Aleut pad
Buttner, quoted on drawings of Bush dles, 138 ; on Aleut drawings, foot
men, 184. . . note, 185 ; quoted on an Aleut
Buris, 170. pantomime, 268.
Bushmen, 53; art of, 28, 194, 309; Clack's Island, 172.
beads worn by, 104 ; body painting Climate, as affecting art, 14 ; relation
among, 59; characters of, 195, 196 ; to art, 811.
colours used by, 64: culture of, 33, Collins on the Australians. 189;
44 ; dances of, 213 et seq. ; decora quoted on the Austral inns, 195. .
320 THE BEGINNINGS OP ART.
Colour of the skin, influence of, on purpose of, 109 et seq.; of imple
colours used in painting, 64 ; on ments, 51 ; of the limbs, 100 et seq. ;
scarification and tattooing, 69, 78. social, 102.
Colours used in body painting, 55 Degeneration of peoples, theory of,
et seq. ; used in ornamentation, 40.
132 et seq.; used in puintings, 169, Depuch Island, 170.
178, 181. Division of labour, 37.
Cook, on the Tasmanians, 71 ; quoted Dordogne, grottos of, 163.
on the Fuegians, 53, 59 : on tribes Drachenberg, 181.
of Prince William Sound, 197. Drama, 265 ; developed from the
Corroborry, 49, 56, 6.3, 90, 95, 101, 125, dance, 225 ; relation to duet and
footnote, 165, 171, 173, 175, 176, 202, mimic dance, 267.
218, 229, 278, 285, 292; description Dress, origin of, 96 et seq.
of a, 208 et seq. Dubos, Abbe, on causes of artistic
Cranz, quoted on the Greenlandcrs, talents, 12 ; on ethnological method
200 ; on tattooing among the Es in study of art, 19; quoted on
kimo, 80. music, 280.
Culture, difficult to define, 35 ; knowl Dyaks of Borneo, plant ornament
edge of, important to study of art, among, 157 ; shields of, 161.
29; relation to the dance, 227 et Dyeri, footnote, 66 ; colours used by,
seq. ; relation to ornamentation, 63 ; loins dress of, 95 ; mourning
155; relation to production, 35 et colours among, 57.
seq.
Curr, on scarification in Australia, Earrings worn by cultivated people^
footnote, 75. 108.
Egypt, plant ornaments in, 157.
Dull, quoted on the Aleuts, 192. Egyptian art, analogies to Australian,
Dance, a living sculpture, 51 ; of 200 ; compared with Australian,
hunting peoples, 2^8 ; importance 179.
of the, 313 ; importance to culture, Ehrenreich, on Botocudo songs, 235
227 et seq. ; pleasure in the, 221 et et seq.; on conventionalized draw
seq., 225 ; relation to music, 278, ings, 124; on the Karaya, 121 ;
301 ; religious significance of, 225 quoted on Botocudo dances, 216 et
et seq. ; social influence of the, 313 ; seq; on Brazilian tribes, 119; on
the modern, 228 ; varieties of the. the Botocudo, 93, 278.
207. Epic poetry, 250 ; of civilized peo
Darwin, 53;' on music, 293 et seq.; ples, 256 ; primitive, characteristics
quoted on rhythm, footnote, 222. of. 255.
Decoration, personal, 51, 53 et seq.; Eskimo, animal ornaments of, 1 42 ;
by body ornaments, 90 et seq. ; by art of, 194, 200, 201, 307, 309 ; carv
hair-drcssinj, 85 et seq. ; by head ings of, 187 et seq.; characters of,
dresses, 88 et seq.; by lip and ear 195, 196 ; clothing of, 101 : colours
plugs, 81 et seq. ; by painting, 55 et used in ornamentation by, 133;
seq. ; by scarification, 69 et seq. ; by culture of, 44 ; custom of painting
tattooing, 78 et seq. ; forms of, 54 ; wanting among, 55 ; masks of, 189
INDEX. 321
dramas
et seq. ; of,
dances
2U8 ; drawings seq. ; I Fechner, quoted on esthetics, 147 ;
of, 217 etamong,
on music, 298 et seq., 302 ; on the
121,185,186; drum of, 289; dwell arts, 51.
ings of, 45 ; folk-tales of, 251 ; hair- Fijian hair-dressing, 88.
dressing among, 86 ; harpoon of, Fiji Islands, footnote, 43.
45; headband not found among, Florentines, art of, 307.
88 ; illustrations of implements Forestier Islands, 170.
of, 127-130 ; inscriptions of, Freycinet, on melodies from New
135 ; lack of social distinctions Holland, 285 et seq.
among, 112; lamp of, 116; lan Fritsch, men, 91on; ornaments
on primitive
worn
pictorial
by Bushart,
guages of, 275 ; lip plugs of, 82,
104 ; love songs of, 244 ; magical 198; on the Bushmen, 87 ; quoted
signs of, 143 ; maps made by, 126 ; on Bushmen, 181, 196.
music of, 278 et eeq.% 286 ; origin of Frobisher, on the Nugumint, foot
ornninentation of, 128 <t seq. ; num note, 86.
bers of, footnote, 230 ; ornamenta Fuegians, footnote, 43; baskets of,
tion among, 116, 144; ornamenta 116; body painting among, 59;
tion from textile patterns, 157 ; or colours used by, 64 ; culture of, 44 ;
naments of, 101 ; perspective, 187 ; dances of, 216 ; decoration among,
poetry of, 232 ; property marks of, 53, footnote, 110, 115; dramas of,
268 ; hair-dressing among, 87 ; head
137 ; rhythmic series of, 150, 151 ;
dresses of, 89, 90 ; lack of clothing
songs of, 240 et seq., 247, 250, 276 ;
among, 96 ; lack of pictorial art
stories of, 255, 257, 259, 266 ; tales
among, 193 ; lack of social organi
and traditions of, 29; tattooing
zation among, 112 ; lip and ear
among, 78, 79, 80 ; weapons of, 197,
plu^s not found among, 81, 83;
198.
loins dress not worn by, 93 ; neck
Ethnological method difficulties in
ornaments worn by, 91 ; orna
the application of, 22.
Ethnology, 194, 199; importance to ments of, 103; pleasure in imi
science of art, 1 9 et seq., 32. tating among, 224 ; poetry of,
Eyre, Australian songs from, 237 ; 232 ; use of shell ornaments by, 105.
on Australian dances, 219; quoted
on an Australian dance, 222, 226 et Geometrical patterns governed by
seq. ; on Australian songs, 249 ; on the material, 159.
corroborries, 211. Gcrland, on Australian songs, foot
note, 236 ; on the Australians, 42 ;
Family, as' showing relation of pro on the dance, 227 ; on scarification,
duction to culture, 36 et neq. ; matri 77 ; quoted on paintings at Upper
archal form, 38 ; patriarchal form, Glenelg, 169, 170 ; on the Austra
37. lians, 139.
Farini, on tattooing among the Bush " Gestoppte Fontein," 181.
men, 79. Goethe, handwriting of, 146 ; on
Fashions, change of, 102 ; constancy poetry, 232, footnote, 234; quota
of, 102, 118. tion from, 246 et seq. ; quoted on
Feathers as ornaments, 104. colours, footnote, 61.
322 THE BEGINNINGS OP ART.
Mincopies,
Mimicry, 22:1 body
et seq.
painting among, 57 ; Mundy, on Australian dances, 219.
Museum fur Yolkerkunde, 25.
ceramics among, 45; clothing of, Music, footnote, 2S0: connection of,
53 ; colours used in ornamentation with poetry and the dance, 278 ; in
by, 58, 63, 64, 133; culture of, 44 ; flueuce of, 297 et seq. ; origin of,
footnote, 43; dances of, Sitl et seq., 219 et seq. ;primitive,characteristics
230 ; drum of, 2S9 ; epic poems of, of, 291 et seq. ; primitive, impor
250; girdles worn by, 94, 141); tance of study of, 281 et seq. ; rela
hair-dressing among, 85; head tion to civilization, 302 et seq. ; sig
dresses of, 88; illustrations of or nificance of, 303 et seq.
naments of, 126; lack of pictorial
art among, 193; language of, 274; Narrinyeri, an Australian tribe, 5*5,
lip, nose, and car plugs not found 236, 237 ; headdresses of, footnote,
among, 83 ; lovo songs of, 244, 245 ; 88.
lyrics of, 240; mourning painting Natural selection, development of
among, ei(i. music of, 283 ; num art by, 15 et seq.
bers of, footnote, 230 ; origin of Nature, in primitive poetry. 245, 267.
ornamental designs of, 127 et seq., Naturvolker, S3.
130 et seq. ; origin of scarification Neck ornaments, 90 et seq.
among, 73; ornaments worn by, Netchillirmiut, footnote, 86.
92, 142 ; ornamentation among. 116 ; New Britain, people of, footnote, 44 ;
ornamentation of weapons among, drawings of, 123.
126; painting among, 66; poetry New Zealandcrs, iesthetic endow
of, 28, 232; pottery decorations ment of, 24 et seq.
of, 143, 158; poverty of decorative Northwestern Indians, 190.
art among, 155 ; property marks of, Norwegian sagas, 265.
138: rhythmic series of, 150,151; Nugumint, footnote, 86.
scarification nmong, 71, 72, 75, 77,
78; social distinctions among, 112; Ono no Tot'u, Japanese writing-mas
songs of, 22, 249, 278 et seq. ; stories ter, footnote, 147.
of, 251 et s-q., 254, 255 ; symmetrical Oogee, Australian headdress, 90;
ornamentation among, 154; use of footnote, 165.
shell ornaments by, 105 ; wearing Ornamentation, among Americans,
of clothing in dances by, 98. 162; among Polynesians, 162; im
Mindi, an Australian demon, 226. portance of, 313; of implements,
Mitchell, on an Australian headdress, 115 et seq.; origin of, 118 et see/.,
89. 133; among the Australians, 139
Modesty, influence of, in clothing, et seq. ; origin of, among the Es
99, 100; origin of, 93 et seq., 97 kimo, 128 et seq.: relation to cul
et seq. ture, 155, 160; to material used,
Mokoma, 216. 158; to occupation, 155.
Mooroops, 178. Ornamentation of weapons, impor
Moorunde, natives of, 56, 226. tance of, for recognition marks, 161 ;
Mourning, cause of painting in, 67 ; in social distinctions, 161 ; in woo
colours used in, 57, 66. ing, 160.
INDEX. 325
Ornaments,
primitive, 108
civilized,
et seq. derived from Polynesians, position in the scale of
culture, 33.
Port Aiken, 173.
Painting, social influence of, 314 ; the Port Jackson, 172, 174.
body, 54 et seq. Port Piper, 173.
Paintings, Australian, 165 et seq., 172 Port Stephen, 173.
it seq. ; Bush maii, ISO et seq. Pottery, 143.
Palmer, on scarification, footnote, 75. Primiti ve art, importance of the study
Palti, an Australian dance, 56. of, 21.
Papuan canoes, birds' heads on, 24. Primitive music, 22.
Parker, quoted on an Australian Primitive peoples, art of, 306, 309;
dance, 221, 2-26. defined, 40 ; need of defining term,
Pastoral peoples, form of family 32.
among, 3S. Prince William Sound, 197.
Patagoniana, footnote, 43. Production, form of, as controlling
Patriarchal form of family, 37. culture, 36 et seq. ; inftuencing art,
Patterns used in body painting, 68. 40.
Perspective, 179, 184, 187, 193. Property marks on weapons, indi
Peruvians, an agricultural people, 35. vidual, 136 et seq. ; social, 139.
Philosophy of art, 1 et seq. Puluga, u Mincopy god, 252, 254.
Pictorial art, among the Australians.
165 <t seq. ; the Botocudo, 193; the Queensland, boomerang from, 135;
Bushmen, ISO <f cry. ; the Kuegians, shield from, 133; illustration, 122.
193; the Mincopies. 19:3; northern Quecrislandcrs, footnote, 44 ; decora
peoples, 185 et seq.^ characteristics tion among, 56, footnote, 1 10 ; Lum-
of primitive, 1 93 ; connection with holtz on the, 67, 87; Lumholtz on
occupation, 195, 19S ; naturalistic scarification among, 76 ; music of,
basis of, 190, 193; primitive, com 284 ; ornaments worn by, 93 ; scari
pared with that of children, 193 fication among, 70; sounding stick
et seq. ; social influence of, 205. of, 289.
Picture-writing, 145 et seq., 201 et seq.
Pidcku, an Australian dance, 56. Race character, influence of, on form
Plato, art of, 31 6 ; on music, 303 : The of culture, 34.
Republic, quoted, footnote, 301. Raphael, 171.
Play, distinguished from practical Ranitongu-Tubuai peoples, geomet
and aesthetic activity, 49. rical ornamentation among, 122.
Poetry, among primitive peoples, 28, Ratzel. on headdresses, 90; on neck
232; connection with drama, 265 et ornaments, 91 ; quoted on Bush
seq. ; definition of, 234 ; importance man stories, 258, 266 ; use of term
of, in civilized life, 270 et seq. ; im " Naturvolker," 33.
portance to hunting peoples, 274 (t Red, a colour used in body painting,
seq.; lyric, 234 et seq.: Mill on, 61 et seq. ; used in decoration, 133.
49; primitivo and civilized com Reindeer period. 163, 164. 194, 199.
pared, 243, 244 ; social influence of, Religious ideas, influenced by eco
814. nomic conditions, 36.
326 THE BEGINNINGS OP ART.
^
INDEX. 327
loins dress of, 96 ; ornaments worn Waitz-Gcrland, on clothing, 97 ; on
by, 93: paintings of, 178; purposo significance of scarification, 72 et
of decoration among. 111; scarifica seq. ; on the Australians, 56, 57, 70
tion among, 71 ; tattooing among, et seq. ; quoted on Australian lan
74 ; use of shell ornuments by, 105. guages, 274 ; on Australian musical
Taste, in body decoration, 77 ; influ instruments, 290 ; on Australian
ence of, on art, 15 et seq. songs, footnote, 250; on colours
Tattooing, 54, 611 ; found only among used by the Australians, footnote,
the fairer peoples, 78. 63 : on dances of the Australians,
Tchuktchis, carvings of, 200 ; culture 229 ; on drawings of the Austra
of, 44; drawings of, 1S5, 1S6. lians, 172, 174, footnote, 179; on
Tcchnic ornament, origin of, 145. memory of the Australians, 196;
Technique, n source of ornament, on poetry of the Australians, 248 ;
130. on the Australians and Fucgians,
Textile art, a source of ornament, 130 112.
et seq. ; connection with ornamen Wake, on the Australians, 165.
tation, 157. War dances, 219.
Thayingcn, excavations at, footnote, Westcnnarek, footnote, 44; quoted
164. on lovo, 245; wearing of clothing,
Thomas, on corroborries, 208 et »eq. ; 98.
quoted on the Australians, 56. White, a colour used in decoration,
Tongans. footnote. 43, 44 133.
Torres Strait, 70. Wied, Prince of, on a Botocudo head
Traditions, relation to epic poems, dress, 90 ; on Botocudo dances, 216;
251 et seq. on the Botocudo, 68, 81, 92 ; quoted
Transvaal, 181. on the Botocudo, 60, 283.
Tribal marks, 139 et seq. ; hair-dress Wilhelmi, on scarification among
ing as, 85 ; lip and ear plugs as, 82 ; Australians, 7(, ; quoted on the
made by scarifications, 74, 77, 80. Australians, footnote, 66.
Tschuktschia («.e Tchuktchis).
Tuaregs, footnote, 44. Xingu tribes, ornamentation of, 120.
Tulbagh Kloof, 181.
Tylor, E. B., quoted on music, 296. Yahgans, dances of, 216; dramas of,
footnote, 268.
Veddahs, culture of, 44 ; footnote, Yarra tribe, grave tablet from, 177.
43. Yellow, colour used in body paint
Virchow, on tattooing among the ing, 63.
Bushmen, 79.
Wachandi, 220. Zulus, position in the scale of cul
Waitz, use ofterm " Naturvdlker," 33. ture, 33.
THE END.
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LANE MEDICAL LIBRARY
JAN -4 191 0
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