The Evolution of Sculpture. 359 



themselves are pictured most frequently in human form, and clothed 

 with human attributes. The early artist creates both his gods and 

 their artistic symbols in his own image. He can do no otherwise. 

 Even the composite symbolism of later times is made up of distinct 

 natural elements, each copied from some real object. But if all art is 

 in part imitative, so all even the rudest is in part, in very large part, 

 symbolic and idealistic. The child who draws his first picture of a 

 man a rude three-cornered head, with two dots for eyes, single lines 

 for mouth and nose, two horizontal strokes for arms, and two perpen- 

 dicular ones for legs exhibits the germs of a genuine artistic impulse. 

 He has symbolized what are to him the living, active, expressive features 

 of his subject the thinking, speaking head, the moving limbs. These 

 are to him the whole man. The body, the trunk, is quiescent ; it is 

 the seat of functions mainly automatic, and concealed from view so 

 he leaves this out of his picture. 



