540 



POPULAR SCIENCE MONTHLY, 



The evolution of the mouth is particularly interesting. It is 

 wont to begin with a horizontal line (or what seems intended for 

 such) which is frequently drawn right across the facial circle. 

 But a transition soon takes place to a more.distinctive representa- 

 tion. This is naturally enough carried out by the introduction of 

 the characteristic and interesting detail, the teeth. This may be 

 done, according to M. Perez, by keeping to the linear representa- 

 tion, the teeth being indicated by dots placed upon the horizontal 

 line. In all the cases observed by me the teeth are introduced in 

 a more realistic fashion in connection with a contour to suggest the 

 parted lips. The contour especially the circular or ovoid occa- 

 sionally appears by itself without teeth, but the teeth seem to be 

 soon added. The commonest forms of tooth cavity I have met 

 with are a narrow rectangular and a curved spindle-shaped slit 

 with teeth appearing as vertical lines (see the two drawings by 



Fio. 6. 



boys of six and five (Figs. 6, a and h). These two forms are im- 

 proved upon and more likeness is introduced by making the den- 

 tal lines shorter, as in Fig. 5, c. With this may be compared a 

 drawing by a boy of five (Fig. 6, c), where, however, we see a 

 movement from realism in the direction of a freer decorative 

 treatment. 



A somewhat similar process of evolution is noticeable in the 

 case of the nose, though here the movement is soon brought to a 

 standstill. Thus the vertical line gives place to an angle, which 

 may point to the side, as in the drawing of a country boy between 

 three and four (Fig. 7, a), but more frequently, I think, points up- 

 ward, as in the drawing of a boy of six (Fig. 7, h). This in its 

 turn leads to an isosceles triangle with an acute angle at the apex, 

 as in the drawing of a boy of six (Fig. 7, c). In a few cases a long 

 spindle-shaped or rectangular form similar to that of the mouth 

 is employed, as in a drawing of a nervous child of six (Fig. 7, d). 

 Refinements are introduced now and again by an attempt at the 



