[225] See the plate at p. 77 of Haddon’s work, already quoted.
[226] Andree, Eth. Paral., N.F., p. 67.
[227] See on this subject I. Lang, Billedkunst. Fremstell., etc.; Vidensk. Selsk. Shrif., 5th series; Hist. Philos., vol. v., No. 4, Copenhagen, 1892 (with French Summary).
[228] Wallaschek, Primitive Music, chap. viii., London, 1893.
[229] Grosse, Anf. d. Kunst, chap. iii.
[230] Miss. Scientif. Cap Horn; vol. i. Hist. d. Voy. by Martial, p. 210, Paris, 1888.
[231] Tylor, Anthropology, p. 292; Wallaschek, loc. cit., pp. 151, 155, and Mitth. Anthr. Ges. Wien., 1897, vol. xxiii., Sitzungsb., p. 11. According to the investigations of Weber, the ear can distinguish sounds which vary 1⁄64th of a semitone.
[232] According to Wallaschek (loc. cit., p. 155), the heptatonic scale (diatonic) owes its origin to the construction of the primitive flute, which had at most six to eight holes. To have had more would have been useless, as the instrument could not have been held without more fingers. Facility in making this instrument is due to the fact that, holes simply being pierced at regular intervals along the tube, a series of the most harmonious sounds can be obtained.
[233] Here is a description of it: a quill split and cut into the form of a leaf is attached to the end of a bow (Fig. [71]); it is held to the mouth and set vibrating; it is then a reed and a stringed instrument combined. But it gives forth such feeble sounds that the artist is obliged to stuff one of his fingers in his nose and the other in his ear so as better to hear the music; it serves thus as a sort of microphone.
[234] The only all-round study that I know is the chapter “Poetry” in Grosse’s work, Die Anf. d. Kunst, from which I borrow my account and some selected examples, which he gives from Eyre, Spencer, and Grey.