The origins of art; a psychological & sociological inquiry - Y. Hirn

There is thus suggested a further point. We were able to derive those qualities of artistic composition, which in all æsthetic systems have been insisted on as the most primordial, from the distinctive qualities of the self-sufficing art-impulse, by showing how the unity, the concentration, and the subordination of parts to a whole correspond to the unity of a feeling-state which it is the object of the art-impulse to convey and to perpetuate in its entirety. On the other hand, we are forced to acknowledge that by the side of these primordial qualities there exist certain secondary qualities which have been of great importance in facilitating and securing the transmission and perpetuation of the original feeling-state; and we have shown how these qualities arise out of the vassalage by which art in its historical development has been bound to the necessities and utilities of practical life. For those who crave a theoretical basis for the estimation of art there is offered a field of research in the comparison and relative valuation of these two orders of qualities. By studying the alternate influences which the primary and the derived factors have exercised on the character of works of art, it may even be possible to lay down a kind of scale by which to rank general qualities as well as individual manifestations. But all this train of thought, though cognate to our inquiry, is not a part of it. This book has aimed simply to give an answer to the question, How did art originate? To those minds which see no value in an æsthetic inquiry that neither purposes to offer guidance for the artist in producing works of art, nor for the student in appreciating them, the whole discussion may probably appear futile. The author on his part has thought that such investigation into an important and typical human energy must be of interest at least, if not of value. But upon the practical question it is his personal opinion that the loss would be greater than the gain if theories and judgments based upon philosophical considerations were allowed to influence either the production or the enjoyment of art.

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INDEX OF AUTHORS

Abbott, [287]
Abercromby, [173]
Acosta, [252], [266]
Agrippa, [282]
Ahlqvist, [159], [211]
Allen, [8], [194]
Amiel, [32], [38]
Andree, [176], [280], [294]
Angas, [67], [220], [259], [266], [270]
Archer, [53]
Aristotle, [23]
Aubry, [82]
Bailey, [237]
Bain, [32], [33], [44]
Baker, [236]
Baldwin, [14], [24], [25], [79]
Balfour, [147]
Bancroft, [270], [272]
Barrington, [198]
Bartels, [67]
Bashkirtseff, [61]
Batchelor, [67], [159]
Baumgarten, [1], [2]
Beccari, [195]
Beecham, [265]
Berchon, [233]
Bérenger-Féraud, [278], [283], [284], [286]
Bernays, [60]
Bernier, [67]
Bidwill, [262], [264], [269]
Binet, [81], [197]
Binger, [226], [287]
Blumentritt, [234], [235], [266]
Boccaccio, [68]
Bock, [227], [290]
Böhme, [252]
Bonghi, [283]
Bonwick, [159], [160]
Bosanquet, [2]
Bouillier, [32], [37], [51]
Bourget, [122]
Bourgoing, [89]
Bourke, [67], [169]
Brehm, [84], [189], [199]
Brenner, [234], [235], [259], [291]
Bridges, [165]
Brière, [283]
Brinton, [63], [67], [156], [174], [211], [212], [236], [285]
Broca, [252]
Brown, Baldwin, [111]
Brown, John, [94], [185]
Bücher, [88], [106], [254], [255], [257], [259]
Büchner, [194], [243]
Buckland, [226]
Buffon, [192]
Burchell, [222]
Burke, [77]
Burton, [152], [179], [224], [233], [251], [252], [254], [259], [266]
Cahusac, [94], [266]
Calmeil, [61]
Calvert, [267]
Cameron, [182]
Campanella, [77]
Campbell, [263]
Carlyle, [123]
Carpenter, [134]
Carver, [92], [183], [266]
Casalis, [262], [266], [285], [287]
Castrén, [285]
Catlin, [11]
Chamisso, [159]
Champfleury, [68]
Chappuy, [159]
Charcot and Richer, [109]
Chardin, [254]
Clapperton, [158]
Clavigero, [271]
Clercq, de, [291]
Codrington, [165], [175]
Colden, [266]
Collins, [182], [285]
Combarieu, [108]
Cook, [66], [158], [166], [233], [236], [245], [246], [262], [264], [266], [267], [269]
Cornish, [194]
Crane, [184]
Cranz, [66], [152], [165]
Crawley, [218], [244]
Creuzer, [107]
Cruickshank, [160], [175]
Cruise, [262]
Curr, [67], [152], [159], [226], [235], [246], [279]
Czervinski, [266]
Dale, [182]
Dall, [66]
Dalton, [234], [262], [283], [300]
Darwin, [32], [33], [48], [187], [189], [191], [194], [195], [198], [201], [232], [238]
Davy, [237]
Day, [67], [160]
Delbœuf, [35]
Deschamps, [237]
Dieffenbach, [225], [236], [254], [279]
Digby, [281]
Dobrizhoffer, [180], [226], [268]
Düben, [79]
Dumont, [32], [35]
Dupuis, [267]
Dyer, [111]
Earle, [154], [262], [276]
Ehrenreich, [160]
Elliot, [224]
Ellis, A. B., [220], [224], [226], [233], [279], [291], [295]
Ellis, Havelock, [19], [218]
Ellis, W., [66], [179], [233], [244], [262], [267], [268]
Elworthy, [217]
Emmanuel, [106], [109]
Engel, [24], [95]
Erman, [160], [174]
Espinas, [84], [188], [192], [199]
Eyre, [160], [233], [268]
Faguet, [59]
Farrer, [271], [285]
Fechner, [40]
Féré, [30], [40], [44], [94], [199], [252], [256], [257]
Fewkes, [170]
Figuier, [61]
Finsch, [175], [215], [216], [220], [227], [269], [272]
Fison, [182]
Flaubert, [40]
Forbes, Fr. E., [179], [251], [262]
Forbes, H. O., [180], [235]
Fornander, [161], [178]
Fouillée, [76]
Fraser, [153], [225], [262], [284]
Frazer, [182], [219], [226], [278], [279], [280], [283], [284], [287], [293]
Freycinet, [67]
Fritsch, [216], [237], [248], [262], [263]
Fytche, [226]
Gaidoz, [286]
Gason, [67], [283]
Gautier, [4]
Geddes and Thomson, [189]
Gill, [160], [178], [179], [233], [244], [255]
Godden, [222], [226]
Godfernaux, [44], [94]
Goethe, [105]
Goncourt, [40], [68], [80]
Gooneratne, [291]
Gratiolet, [32]
Grey, [159], [178], [267]
Grimm, [283], [284]
Groos, [20], [26], [27], [59], [75], [78], [108], [146], [156], [172], [197], [199], [200], [232], [261]
Grosse, [8], [87], [92], [225], [270]
Grove, [254], [284]
Guaita, [289]
Gurney, [230]
Guyau, [8], [13], [19], [28]
Haddon, [147], [184], [225], [287], [300]
Hall, [220]
Hamilton, Aug., [275]
Hamilton, W., [33], [37], [51], [54]
Hanslick, [7]
Hansson, [122]
Harless, [80]
Harnack, [130], [136]
Hartland, [67], [219], [278], [280], [284]
Hecker, [68]
Heckewelder, [266]
Hein, [271], [273], [274]
Hellwald, [197]
Helvetius, [61]
Hemsterhuis, [122]
Hennequin, [8]
Herckenrath, [59]
Heriot, [225], [268]
Hernsheim, [262]
Hickson, [235]
Higgins, [169]
Hill, [111]
Hill and Thornton, [237]
Hirn, [36], [46], [54], [116], [169], [170], [199], [275]
Hirth, [135]
Hoffman, [176]
Hoffmeister, [237]
Hogarth, [76]
Holmes, Edm., [134]
Holmes, William H., [147]
Holub, [237]
Holz, [117]
Home, [76], [155]
Howitt, [182]
Hudson, [26], [198], [231]
Humboldt, [212]
Hyades, [164], [165], [237]
Im Thurn, [158], [176], [226]
Jacobowski, [94]
Jagor, [235]
James, [44], [48], [51]-53
Jefferies, [61]
Joest, [66], [212], [220], [222], [233], [234], [267], [272]
Johnston, [226], [244], [246], [248]
Johnstone, [92], [248], [276]
Jouffroy, [75]
Kane, [167]
Kant, [2], [8], [32]
Keating, [67]
Kidd, [248]
Kierkegaard, [38], [63]
Kingsley, [152], [159], [174], [224], [226]
Kirby, [220]
Kleinpaul, [217]
Kleinschmidt, [165], [262]
Koeler, [225], [233]
Kolbe, [263]
Kollman, [257]
Kotzebue, [159], [279]
Kreemer, [284]
Kubary, [220], [221], [265]
Kussmaul, [151]
Lafitau, [262]
Lagrange, [256]
Laing, [180], [217], [233], [259]
Landa, de, [291]
Lander, [67], [158], [226]
Lang, A., [67], [279], [283]
Lang, G., [237], [266]
Lange, Carl, [44], [54], [62], [97]
Lange, Julius, [105], [134]
Le Bon, [82]
Leconte de Lisle, [137]
Lehmann, [31], [33], [34], [46], [54], [58]
Lenormant, [287]
Lenz, [160], [255]
Lessing, [60]
Lethermann, [166]
Letourneau, [271]
Levertin, [159]
Lewin, [234], [235], [254], [262], [300]
Lichtenberg, [96]
Lichtenstein, [11]
Lindsay, [194]
Lippert, [209], [212], [224]
Lipps, [75], [76]
Lisiansky, [216]
Livingstone, [265]
Lloyd, G. T., [167]
Lloyd, L., [189]
Lobeck, [59], [65]
Logau, [38]
Lombroso, [40]
Lubbock, [166], [174], [220]
Lucretius, [293]
Lukianos, [266]
Lumholtz, [67], [285]
Lütke, [220], [245], [262]
Macpherson, [270]
Magitot, [208]
Mallery, [151], [152], [153], [156], [157], [176], [227]
Man, [67], [222], [224]
Maning, [270]
Mann, [265]
Mantegazza, [32], [50], [229], [267]
March, [10], [134], [147]
Markham, [179], [236], [254]
Marques, [233], [262]
Marryat, [274]
Marsden, [219], [234], [235]
Marshall, H. R., [6], [22], [24], [25], [34], [35]-37, [40], [54], [57], [66]
Marshall, W. E., [224]
Martial, [164]
Martin, [92], [235]
Mason, [255]
Mathew, [159], [233]
Mathews, [233], [247]
Matthews, [166], [292], [295]
Maupassant, [94]
Metz, [159], [217]
Meyer, [177]
Michelet, [40], [68], [110]
Mill, [100]
Milton, [282]
Mitchell, [261]
Molière, [64]
Mollien, [160]
Mooney, [172]
Morgan, [11], [236], [266]
Moseley, [216]
Motolinia, [287]
Mouat, [67]
Müller, Fr., [233], [234]
Muller, H., [259]
Mulsant, [196]
Mundy, [262]
Musters, [279]
Nachtigal, [233]
Nagele, [271]
Nevill, [237]
Nietzsche, [103], [113]
Nilsson, [189], [194], [201]
Noiré, [255]
Nyrop, [286]
Oldfield, [158]
Oviedo, [179]
Papin, [281]
Paracelsus, [282], [285]
Parker, [182]
Paulhan, [44], [51]
Péron, [67]
Perraud, [108]
Peschel, [285]
Petherick, [160]
Poe, [122]
Polack, [92], [159], [175], [179], [257], [270], [272]
Posnett, [179], [276], [298]
Poulton, [201]
Powers, [262], [284], [287]
Preller, [65]
Preyer, [80]
Pritchard, [67], [179], [268]
Quilter, [131]
Raffles, [290]
Rafinesque, [156]
Ralston, [283], [284]
Rapp, [112]
Ratzel, [218], [259]
Read, [10]
Reade, [11], [254]
Réclus, [59], [173], [217], [293], [300]
Reeves, [245], [262]
Rengger, [253]
Ribot, [40], [44], [63], [188]
Richardson, [270]
Rienzi, [92], [160], [233], [235], [259]
Ritchie, [12]
Robley, [66], [175], [222], [225]
Rochas, [280], [281], [287], [290], [294]
Rohde, [112]
Romanes, [151], [194]
Romilly, [165], [244], [272], [287]
Roth, Ling, [67], [224]
Roth, W. E., [153], [158], [216], [226], [237], [283]
Ruskin, [6], [107], [181], [134]
St. John, [160]
Salvado, [254], [267]
Sarasin, [224], [237], [244]
Savage, [244]
Sayce, [151], [153]
Scherer, [60]
Schiller, [8], [26]
Schlegel, [87]
Schmeltz, [175], [217], [220]
Schmidkunz, [74], [79], [257]
Schmidt, [237]
Schneider, G. H., [192], [199]
Schneider, W., [66], [160], [217], [222]
Schomburgk, [265]
Schoolcraft, [66], [166], [183], [265], [266], [276]
Schürmann, [233]
Schurtz, [206], [217], [218], [246], [291]
Schweinfurth, [175], [268]
Scott, [238]
Seckendorff, [95]
Selenka, [235], [274], [284], [287]
Seneca, [24]
Shelley, [59]
Shooter, [179], [268]
Shortland, [154], [225], [259], [262]
Sirr, [217]
Sittl, [59]
Skeat, [283], [287], [290], [291]
Smith, Adam, [74], [84]
Smith, E. R., [255]
Smyth, [66], [224], [259], [262]
Soldi, [284]
Somerville, [217]
Souriau, [89], [256]
Sparrman, [233], [263]
Spencer and Gillen, [152], [167], [173], [219], [226], [233], [237], [280]
Spencer, Herbert, [8], [21], [26], [37], [48], [49], [51], [67], [76], [79], [92], [109], [165], [166], [170], [179], [198], [222], [226], [229], [246], [248], [253], [258], [259], [261], [263], [267], [268], [279], [287]
Sproat, [267]
Stanley, [77]
Starcke, [226]
Stein, [130], [136]
Steinen, [153], [156], [161], [168], [176], [216], [222], [224], [226], [268]
Stern, [75]
Stevens, [224]
Stevenson, M. C., [283], [284]
Stevenson, T. E., [284]
Stewart, [53], [74], [76], [77], [80], [153]
Stirling, [152], [226], [227]
Stokes, [227]
Stoll, [61], [79], [285], [292]
Stolpe, [10], [223]
Stout, [36], [37], [44]
Strange, [196]
Stricker, [77]
Sturt, [79]
Sully, [54], [57]
Sully-Prudhomme, [95], [99]
Svoboda, A., [217], [300]
Svoboda, W., [177]
Swettenham, [79]
Symons, [122]
Taine, [6], [23], [118], [119], [130], [131], [134]
Taplin, [159], [160], [224], [226], [233], [251]
Tarde, [74], [94], [149], [287]
Taylor, [59], [66], [67], [287]
Tennent, [237]
Tennyson, [64]
Tetens, [220], [262]
Thompson, [76], [91], [97]
Thomson, [254], [262], [268]
Tolstoy, [134]
Turner, [233], [254]
Tylor, [151], [152], [153], [155], [172], [219], [285]
Vancouver, [233]
Van Dyke, [139]
Van Ende, [84], [198]
Varigny, [161]
Vernon Lee, [76], [91], [97]
Vischer, Fr. Th., [6], [23], [118]
Vischer, Robert, [75]
Vodskov, [259]
Wagner, [70], [124]
Waitz, [217]
Walhouse, [291]
Walkley, [59]
Wallace, [12], [26], [189], [190], [191], [192], [198]
Wallaschek, [12], [87], [106], [230], [261], [263]
Ward, [183], [226]
Weddel, [79]
Welcker, [59]
Westermarck, [190], [193], [205], [209], [212], [215], [216], [220], [227]
Weston, [283]
Wilken, [216], [222]
Williams, [165], [262], [283]
Wilson and Felkin, [158]
Winterbottom, [254], [285]
Wissman, [254]
Woldt, [287]
Wood, [152], [265], [268], [269], [270], [271]
Woods, [159], [160], [224], [233], [251], [262], [279], [283]
Wundt, [62], [221]
Wuttke, [222], [223], [224], [226], [271]
Wzn, [291]
Zacher, [284]
Ziegler, [200]
Zoysa, de, [237]

INDEX OF SUBJECTS

Acquired pleasure-gettings, [57]
Acting, psychology of, [52], [53]
Activity and feeling, [32]-35;
activity involved in dolce far niente, [37]
Æsthetic, its position as a science, [1], [2], [4], [5];
its development [1]-3;
its methods, [5], [6]
feelings, [141]
judgment, presupposing some degree of intellectual and moral development, [188]
of the hen, [187];
its development in apparent conflict with natural selection, [189]
Agricultural rites, [287]
Anæsthesia and self-woundings, [61]-65
Ancestor worship, [175]
Anger, [47], [48], [54], [62]
Animal display, [186]-202
Animating idols, means of, [291]
Aphasia, [151]
Apolline serenity versus Dionysiac rapture, [105]
Architecture, the, of the Dyaks, [274];
of the Maoris, [275]
Art, as explained by supernatural causes, [12];
as excitement and sedative, [70], [71];
as connected with sexual selection, [203]-213;
its higher and lower forms, [140]
the, of animals, [202]
the reliever, [102]-110
Art-impulse, the, [15], [18]-29, [84], [85], [100], [101], [303];
a racial possession of mankind, [21], [22];
intellectualistic definitions, [23]
Art-sense, the conditions of its development, [141], [142]
Artistic intuition, [125]
Association between pleasure and activity, [33]
Attract by pleasing, impulse to, [24], [25], [186], [187], [214], [215], [233] sq.
“Attractive” qualities of the work of art, [99]
Autotelic activities outside the department of art, [19], [20];
character of art, [7]-15, [88], [304]
“Balls on sockets,” [193]
Bird-shaped amulets, [287]
Boasting adornments, [222]
Boating-songs and dances, [259], [260]
Brilliancy, the physiological effects created by, [194]-197
Choral dances, [261]
Chorus, the, in the ancient drama, [94]
Classification of instances of erotic art, [231]-238
Clothing, the origin of, [204]-206, [215]-220
Cognitio sensitiva, [2]
Collective feeling, [81], [82]
psychology, [74]-85
Consciousness of self, [62]-64
Contempt, expression of, its importance in primitive tactics, [268], [269]
Couvade, [280]
Coyness of the female, [197], [198]
Creation, artistic, involved in artistic enjoyment, [18], [19]
Criterion of art, the, [7] sq.
Crying feasts and ceremonial wailings, [59]
Cure, medical, of restoring people by pulling them through a narrow opening, [285], [286]
Dance, [87], [89], [92], [230]
Dances, choral, [262];
common to both sexes or separate, [230], [231];
connected with sexual selection, [233]-235;
with war, [266], [267];
with work, [251], [253], [254]
Dance-pantomimes, obscene, [233], [245]
Dancing girdles, [215]
Deaf-mutes, their language, [151], [155]
Death and resurrection represented in primitive drama, [182]-184
Decoration, bodily, subserving a commemorative purpose, [223];
used as a means of frightening, [272];
as a means of individual and tribal identification, [225]-227;
as magical protection, [218], [224];
denotes civic majority, [220];
executed in order to protect the skin, [224];
denoting rank or wealth, [222]
Decorative art, the, of military tribes, [277]
Demon-shields of the Dyaks, [272]-274
Dignity, [116]
Dionysiac state, the, [64], [65], [105], [109], [112], [113]
Dionysos, god of art and music, [110]
Disinterestedness, the, of artistic activity. See Autotelic Character of Art
Drama, the earliest of imitative arts, [149], [150]
Dramatic element, the, of art, [95]-98
“Einhaltsstreben,” [150]
Emanations, magic theory of, [281], [293]
Emotional element, the, in art, [137]-139, [303]
Emotions, the psychology of, [42]-55;
connection between emotions and movement-sensations, [44]-47
Enjoyment of pain, [55], [56]-71
Enlistment, dances of, [266]
Ephemeral character of primitive art, [161]
Epic element, the, in art, [98], [99]
Epidemics, mental, [69], [81]
Erotic art, [238]-248;
dearth of information on, [229], [244];
spurious instances of, [245]
gestures and pantomimes used as expressions of joy, [243], [244]
pantomimes and dances performed with a moral intention, [247], [248]
poems, [235], [236], [246]
propitiation, [234]-236
Etiological myths, [171], [172]
Euhemerism, [168], [169]
Europeans as subjects of primitive art, [160], [166], [167], [178]
Experimentation, plays of, [145]
Expression of feeling, [41], [42], [47]-54;
primary and secondary forms of expression, [42], [47], [52], [68], [69], [199];
expression as a mythogenic factor, [93], [94]
“Expressive qualities,” the, of nature, [98]
Extempore design, [156], [161]
“Faculté maîtresse,” [118]-120, [126]
Fandango, apologue concerning the, [89]
Fascination, [103]
Fear, [52], [54], [103]
Feeling-tone of sensation, [30]-42;
experiments on sensation, feeling and movement, [31];
dynamic conditions of feeling, [32]-35;
static conditions of feeling, [35];
association between pleasure and movement, [33];
pains of restriction, [38];
pain as motor incitement, [40], [66], [253];
relative character of pleasure and pain, [56], [57];
acquired pleasure-gettings, [57];
the philosophical importance of pain, [63], [64]
Festal development of art, [111]
“Foreign” purposes, the, in art, [10]-12, [15]-17, [127], [147], [148], [301], [304]-306
Form and content, [139]
French and English art, difference between, [131]
Funeral ceremonies and art, [300]
dances of obscene character, [217]
Garrick, the contagious power of his acting, [96]
Gesture-language, [151]-154
Gracefulness, [116], [275], [276]
Grief, [50]
Grimacing, its importance for primitive tactics, [270]
“Gymnastic” dances, [92]
“Happiness” of the unconscious, [69], [70]
Higher and lower forms of art, distinction between, [140]
Historical art, [164]-182, [223]
and psychological methods, distinction between, [16], [112], [148], [301]
poems used in magical ceremonies, [173]
History born of pride, [181]
Histrionic factor in literature, [96];
in formative arts, [96], [97]
“Homo sapiens ferus,” [151]
Humiliation, [46], [50]
Hunting and fishing rites, [285], [287]
Idea, the, its place in German-æsthetic systems, [23], [118]
Ideal of beauty, the, and sexual selection, [202], [213], [241], [242]
Idealistic schools of art, [132]
Idols, [174], [288], [291]
“Illusions particulières” versus essential qualities, [128], [129]
Imitation, impulse to, [24];
connected with the instincts, [75]
sympathetic, [59], [74]-85, [96]
See Internal Imitation, Pathologic Imitation
Impregnation by wind, rain, or sunshine, [219]
Indispensability of accustomed sensations, [58]
In effigie sentences, [287]
Information and art, [149]-163, [184], [185]
Instantaneous muscular exertion, power of, [252], [253]
Insular life, its influence on art, [259]
Intellectual elements of the artistic activity;
their influence on the mental state of the artist, [102]-107
Invention in primitive art, [160], [161]
Jakalele dance in Ceram, [266], [267]
Joy, [48];
distinguished from the sense of comic, [48], [49];
pantomimic expression of, [92]-94, [244]
“Kina” (Fuegian drama), [165]
Limited amount of energy, [36], [37]
Lustre. See Brilliancy
Luxury of sentimental sorrow, [51].
See also Enjoyment of Pain
Lyre and flute, allegory of, [107]
Maenads, [65], [108]-110, [112]
Magic and art, [278]-297
two classes of, [278], [279];
by connection, [279]-282, [291]-294;
by likeness, [282]-290;
expedients for acquiring courage in war, [265];
power of the obscene, [217];
pantomimes, [11];
songs, [288], [295]
Masses, psychology of. See Collective Psychology
Means of attraction, [203]-213
Medical rites, [284], [287]
Military dances, [265], [266];
used as salutation, [92], [93];
performed before female spectators, [229]
dresses and uniforms, [270];
ensigns, [271];
signals, [263]
Modesty and clothing, [216]-218
Moko tattooing used as a means of identification, [175], [225]
Moods of sadness deliberately enhanced, [51]
Moral influence of art, [108]
Movement-perception, the dynamogenic influence of, [257]
Music, [87]
Narrative art, its simplest forms, [157]-161
Novelty, predilection for, [208]
“Opisthotonos,” [109]
Ornament, concealed meaning of, [10]
and mimetic transmission of feeling, [98]
and rhythm, [91]
Ornaments, the, of the Dyaks, [272]-274;
of the Maoris, [275], [276]
Pain, pantomimic expression of, [39], [40], [93], [94]. See also Feeling-tone
Pantomimics, erotic, [233]-235, [245]-248;
magic, [11], [283], [284];
military, [265], [266];
narrative, [152]-155;
representing work, [250]-252, [257]
Parnassians, [136], [137]
Pathologic imitation, [79]
Petroglyphs, [175], [176]
Phallic amulets, [217];
rites, [284], [287]
Phallocrypts, [215], [216]
Pictographs, [149], [155]-157, [161]
Pictorial art, the, of the Bushmen, [237];
prayers, [285]
Play, as connected with art, [29];
with exercise, [250], [251];
with the instincts, [27]
Play-impulse, [26]-28, [145], [146], [250]
Please, impulse to, [24], [25]
Pleasure. See Feeling-tone
Political propitiation and art, [299]
Portraiture, commemorative, [174], [175]
Practical motives for clothing and self-decoration, [216], [224]
Præsul, [257]
Preliminary movements, their dynamogenic influence, [256]
Pride, [46], [137], [181], [222], [268]
Proportion, [117]
Rain-making and rain-preventing, [283], [284]
Realism and magic, [289]-290
Realistic movement in literature, [117], [118]
Recognition marks, [190]
Religious doctrines influencing erotic art, [246]
Repugnance for qualities deviating from the tribal type, [209], [210]
Retroaction from sympathisers, craving for, [84]
Rhetoric, primitive, [154]
Rhythm, [87]-91, [258]-260
Salutation dances, [92]
Sand paintings, the, of the Navajos, [292]
Scarification, [61], [66], [67]
Scars of the Australians explained by Koeler as means of identification, [225]
Science as an end in itself, [19], [20]
Secondary sexual characters, [190]-192;
activities, [191]
Selbstzweck. See Autotelic Character of Art
Self-exhibiting impulse, [25]
Self-woundings, [61], [66], [67]
Sentimentalism, [136], [137]
Sex-distinction, marks for accentuating, [192], [209]
Sexual ideal, [204], [213], [242]
Social conditions influencing erotic art, [238]-242;
expression, [72]-85, esp. [83]-85
Solidarity of suffering between members of the same family, [279]
Songs, ephemeral, [159], [160];
erotic, [235], [236], [246];
exhorting to work, [254], [255], [259];
magic, [255], [256], [288], [295];
military, [267]-269
Sport as end in itself, [20], [21]
Storage of nutritive supply, [36], [37]
Sucking cure, [285]
Sun-rituals, [284]
Superstitious motives for clothing, [217]-219, [224]
Surplus of vigour, [26], [198]
Symmetry, [117]
Sympathetic imitation, [59], [74]-85, [154], [155];
magic. See Magic
Tangi, [59]
Technical medium, the, of art, [145];
perfection in art, [135], [139], [303]
Technique, its influence on decorative art, [146], [147]
Theatrical management and régie among the Australians, [237]
Theurgic rites, [284], [288]
Time-sense, its high development among primitive tribes, [262]
Trade-dances, [252]
Traditions, primitive, preserving the memory of European visitors, [166], [167], [178]
Tragedy, enjoyment of, [59]
Transference of energy, [36], [37]
Travels described in primitive art, [158]-160, [178]
Trophies, [221]
Universal ideas, their importance in æsthetic systems, [130];
their place in primitive philosophy, [296]
Vehicles of emotional transmission, [120]-124
Vital sensation and pain, [60]-65
Volts, [286]
War, its social influence, [261];
its influence on art, [261]-277;
on plastic beauty, [276];
on decorative art, [275]-277;
a prominent subject in history and narrative art, [178]-180;
the need of stimulation for, [263]
Werther, [104], [105]
Witches, Bacchantes, and hysteric patients, [109]
Wordless tribes, stories about, [152]
Work, stimulation to, [252]-257;
regulation of, [88], [257]-260;
and art, [12], [88], [249]-260

THE END

Printed by R. & R. Clark, Limited, Edinburgh.

AUTHORITIES QUOTED

INDEX OF AUTHORS

INDEX OF SUBJECTS

FOOTNOTES: