[19] For confirmation of this point see Felix Clay, The Origin of the Sense of Beauty, p. 97.
[20] Abstraktion und Einfühlung, p. 44.
[21] Abstraktion und Einfühlung, p. 58.
[22] Stilfragen, p. 12.
[23] The Beginnings of Art, pp. 145-147.
[24] p. 309: "There are certain styles of ornamentation which, at all events in particular cases, may very well be original, taking that word in its ordinary sense, such, for example, as zigzags, cross-hatching, and so forth. The mere toying with any implement which could make a mark on any surface might suggest the simplest ornamentation [N.B.—It is characteristic of this school that even original design, according to them, must be the result of "toying" with an instrument, and of a suggestion from chance markings it may make] to the most savage mind. This may or may not have been the case, and it is entirely beyond proof either way, and therefore we must not press our analogy too far. It is, however, surprising and is certainly very significant that the origin of so many designs can be determined although they are of unknown age."
[25] The History of Music, by J. F. Rowbotham, 1893, pp. 7, 8. See also Dr. Wallaschek's Anfänge der Tonkunst (Leipzig, 1903).
[26] The Bertillon system of identification and Madame Tussaud's, together with a large number of modern portraits and landscapes, are the highest development of this art.