[88] L. Strümpell, Psychologische Pädagogik, p. 358.
[89] Sully, loc. cit., p. 415.
[90] Op. cit., p. 58.
[91] Op. cit., p. 33.
[92] Op. cit., p. 212.
[93] “Cracking the fingers,” writes Schellong from Kaiserwilhelmsland, “is a familiar practice with the little Papuan.” Zeitschrift für Ethnologie, xxi (1889), p. 16.
[94] G. A. Colozza does not sufficiently consider this versatility when he says in his interesting hook on play, “I giocattoli dei bambini poveri non sono che delle pietre; esse si divertono non poco nel sentire il rumore che si ha battendo pietra contra pietra.” Il Gienoco nella Psychologia e nella Pedagogia, p. 70.
[95] E. Grosse, Die Anfänge der Kunst, 1894, pp. 275, 277.
[96] G. Reischel, Aus allen Welttheilen, 1896, No. 2. Wallaschek did not believe that the drum is a primitive instrument chiefly because of our failure to find them among prehistoric relics, though the fife is frequently found among those of the stone age. Here we have an instance, however, which, while it belongs to the close of the period, is of such a complicated and well-developed form as to point to long use. Moreover, as Grosse points out in a letter to me, Wallaschek’s argument is not conclusive, inasmuch as the material used for primitive drums was perishable.
[97] Our bells, too, may be derived from the rattle.