228. This indicative or communicative function of drawing has, we know, played a great part in the early stages of human history. Modern savages employ drawings in sand as a means of imparting information to others, e.g., of the presence of fish in a lake, see Von den Steinen, Unter den Naturvölkern Braziliens, kap. x., s. 243 f.

229. Only a few drawings of older children above seven have been included.

230. E. Cooke gives illustrations of these in his thoughtful and interesting articles on “Art-teaching and Child-nature,” published in the Journal of Education, Dec., 1885, and Jan., 1886.

231. Preyer, op. cit., p. 47.

232. Taken from E. Cooke’s articles already quoted, drawings 19 and 20.

233. Op. cit., pt. ii., p. 97; “fifty-sixth week” is, she informs me, an error for hundred and ninth week.

234. I am much indebted to Mr. Cooke for the sight of a series of early scribbles of his little girl. Cf. Baldwin, Mental Development, chap. v., where some good examples of early line-tracing are given. According to Baldwin angles or zig-zag come early, and are probably due to the cramped, jerky mode of movement at this early stage. Preyer seems to me wrong in saying that children cannot manage a circular line before the end of the third year (op. cit., p. 47). Most children who draw at all manage a loop or closed curved line before this date.

235. Corrado Ricci, L’Arte dei Bambini (1887), p. 6.

236. See Von den Steinen, op. cit., p. 247.

237. These drawings, of the highest interest to the student of child-art as well as to the anthropologist, are to be seen in the General’s Museum at Farnham (Dorset) (7th room).

238. Schoolcraft has a good example of this facial scheme in the drawing of a man shooting (The Indian Tribes of the United States, i., pl. 48).

239. L’Art et la Poésie chez l’Enfant, p. 186.

240. For an illustration see Andree, Eth. Parallelen und Vergleiche, pl. 3, fig. 19.

241. See for an example, Schoolcraft, iv., pl. 18.

242. According to Stanley Hall the nose comes after the mouth. This may be an approximate generalisation, but there are evidently exceptions to it. On the practice of savage draughtsmen see the illustrations of Australian cave drawings in Andree, op. cit., p. 159. Cf. the drawings of Brazilian tribes, plate iii., 15. In some cases there seems a preference for the nose, certain of the Brazilian drawings representing facial features merely by a vertical stroke.

243. M. Passy calls attention to this in his interesting note on children’s drawings, Revue Philosophique, 1891, p. 614 ff. I find however that though the error is a common one it is not constant.

244. In one case I find the curious device of two dots or small circles, one above the other within a larger circle, and this form repeated in the eye of animals.

245. An example of circle within circle occurs in a drawing by a male Zulu in General Pitt-Rivers’ collection.

246. It is possible that in this drawing the two short lines added to the mouth are an original attempt to give the teeth.

247. Op. cit., pt. iv., plate 18.

248. A drawing given by Andree, op. cit., plate ii., II, seems to me to illustrate a somewhat similar attempt to develop the trunk out of the head.

249. The opposite arrangement of a triangle on its apex occurs among savage drawings.

250. On the other hand I find the button dots sometimes omitted in the lower oval.

251. For examples, see Andree, op. cit., plate 3. Cf. the drawings of Von den Steinen’s Brazilians.

252. On the treatment of the arm in the drawings of savages, see in addition to the authorities already mentioned The Annual Report of the Bureau of Ethnology, 1883-4, p. 42 ff.

253. The tendency which appears in more than one child’s drawings to put the right arm below the left is worth noting, though I am not prepared to offer an explanation of the phenomenon.

254. On the treatment of the arm, see Perez, op. cit., p. 190: cf. Ricci, op. cit., pp. 6-8. I have met with no case of the arms being attached to the legs such as Stanley Hall speaks of, Contents of Children’s Minds, p. 267.

255. See Andree’s collection, op. cit., ii., II.

256. Examples may be found in Catlin, Schoolcraft, Andree, Von den Steinen, and others, also in the drawings in the Pitt-Rivers Museum, Farnham. Von den Steinen gives a case of seven finger-strokes.

257. Unless this is a jocose suggestion of a tail.

258. This is hardly conclusive, as I find the triangular form used for the foot of a quadruped, presumably a horse.

259. I take the long line in Fig. 27 to represent the manly beard.

260. In rare cases the pipe sticks out from the side of what is clearly the primitive full face. Schoolcraft gives an example of this, too, in Indian drawing, op. cit., pt. ii., pl. 41.

261. Ricci’s remarks seem to me to come to this, op. cit., p. 25.

262. From The Annual Report of the Bureau of Ethnology, 1880-1, p. 406.

263. Ricci says that seventy per cent. insert two eyes in their first profile drawings (op. cit., p. 17). But this seems a rather loose statement.

264. I assume that these are intended for two eyes; but the scheme is not easy to interpret.

265. According to Ricci the second arm is supposed to be seen through the body.

266. Annual Report of Bureau of Ethnology, 1882-3, p. 160.

267. Professor Petrie has pointed out to me that the Egyptian of to-day with his more supple body easily throws himself into this position.

268. These results do not seem to agree with those of M. Passy or of Professor Barnes. M. Passy distinguishes in children’s drawings a front and a side view, both of which may be used by the same child at the same time. The former consists of nose and mouth of profile and eyes and ears of full face, the latter, of nose and mouth of profile with one eye and one ear; that is to say the two differ only in the number of eyes and ears (Revue Philosophique, 1891, p. 614 ff.). It would be interesting to know on how large an examination this generalisation is based. As suggested above, the occasional omission of the second eye and ear where both are commonly used can be explained without supposing the child to distinguish between profile and full face. Professor Barnes goes so far as to state with numerical exactness the relative frequency of profile and full face by children at different stages. He makes, however, no serious attempt to explain the criterion by which he would distinguish the two modes of representation (see his article, Pedagogical Seminary, ii., p. 455 ff.).

269. Taken from Schoolcraft, vol. i., pl. 48.

270. From Maspero’s Dawn of Civilisation, p. 469.

271. This I take to be the meaning of this odd arrangement.

272. Cf. Barnes, loc. cit.

273. Mr. Cooke kindly informs me that in an early Greek drawing in the First Vase Room in the British Museum, the eye of a fish is placed in the back part of the mouth.

274. An example is given by Schoolcraft, op. cit., pt. iv., pl. 18.

275. Line drawings of animals as well as of men are found in savage art: see, for example, Schoolcraft, op. cit., pt. iv., pl. 18. Mr. Cooke gives examples from drawings of the Trojans. Hence line drawing may, as he infers, be the primitive mode.

276. This is the way in which Mr. Cooke, who sends me these two drawings, explains them to me. The beak (?) in Fig. 45 (b) is added to the contour, as is the human nose in a few cases.

277. Cf. Ricci, op. cit., Fig. 21 (p. 27).

278. Op. cit., pl. 2; cf. pl. 6, where a drawing from Siberia with the same mode of treatment is given.

279. Op. cit., pt. iv, pl. 31 (p. 251).

280. From the Annual Report of the Bureau of Ethnology, 1882-83, p. 206. The common appearance of both legs in these Indian drawings means, I take it, that the rider is on the side of the horse.

281. See Ricci, op. cit., pp. 17-23.

282. Andree observes that in Australian drawings objects behind one another are put above one another as in a certain stage of Egyptian art (op. cit., p. 172).

283. Annual Report of Bureau of Ethnology, 1883-84, p. 444 ff.

284. The tendency to identify the drawings of the child and the savage led to an amusing error on the part of a certain Abbé Domenech, who in 1860 published his so-called Livre des Sauvages, which purported to contain the graphic characters and drawings of North American Aztecs, but proved in reality to be nothing but the scribbling book of a boy of German parentage. The drawings are of the crudest, and show the artist to be much more nasty-minded than the savage draughtsmen.

285. This is supported, in the case of children who have begun to wield the pen, by the exercises of the copy-book.