Fig. 40 (a).
Fig. 40 (b).
I have already touched on the modifications which appear in a child’s drawing of the human figure when the sculpturesque attitude of repose gives place to the dramatic attitude of action. This transition to the representation of action marks the substitution of a more realistic concrete treatment for the early abstract symbolic treatment. Very amusing are some of the devices by which a child tries to indicate this. As Ricci has pointed out, the arm will sometimes be curved in order to make it reach, say, the face of an adversary (Fig. 40 [(a)]). A similar introduction of curvature appears in the accompanying drawing from a scalp inscription (Fig. 40 [(b)]). Sometimes a curious symbolism appears, as if to eke out the deficiencies of the artist’s technical resources, as when a boy of five represents the junction of two persons’ hands by connecting them with a line (Fig. 40 [(c)]).[[271]] With this may be compared the well-known device of indicating the direction of sight by drawing a line from the eye to the object.[[272]] The most impossible attitudes occur when new positions of the legs are attempted, as in the accompanying endeavours to draw the act of running, kneeling to play marbles, and kicking a football (Fig. 40 [(d)], [(e)], and [(f)]).
Fig. 40 (c).
Fig. 40 (e).
