ADMINISTRATIVE RKl'ORT LXXV 



because, since they are asleej), their g-hosts have de])arte([, for 

 that is the theory of sylvan hfe. Trees and smaller ]ilants are 

 animals fixed to the earth by necroinaiicA'. ( "loads are ani- 

 mals, streams are animals, seas are animals, and the clouds are 

 ever descendin;^' upon the earth and niiiiratinii' 1)\- sti'canis to 

 the sea, fov every drop of water is an animal. 



This theory of aiiimate life isuni^•('rsal in tribal society. In 

 this stage, when men carve in earnest, they are engaged in pro- 

 ducing- the instruments of worship. These ol)jects are not 

 themselves worshiped in the true sense, thev arc onK- the 

 emblems of worship which are displayed before the gods that 

 they may comprehend the wishes of the worshii)ers. The 

 emblems displayed upon the altar are of two kinds: First, they 

 are the emblems of the gods worshiped ; and, second, they are 

 emblems of the good things which the worshipers desire. Thus 

 a savage altar is adorned with the images of the gods and the 

 emblems of the hlessino-s tor which the savao*e man makes 

 recjuest. The altar is the table on which these emblems are 

 displayed. The tilings desired may be represented by images, 

 as when game is asked or when fruits are besought. But there 

 may be many accessory objects ])laced U])on the holy table, as, 

 when in prayer for corn that it may ripen and become hard, the 

 thought is conveyed by fragments of crystal that lie beside it 

 on the table. The crystal is an adjective that qualifies the corn. 

 Savage men always believe that they have lost the language of 

 the gods, and thus thev eke out the meaning of their words bj^ 

 the illustrations which they assemble U|)on the altar. That 

 prayer may l)e understood is the primitive motive for excellence 

 in carving. 



lidkf- — The next step in the evolution of graphic art is taken 

 in the shepherd stage. Wildwood men etched crude ])ictiu-es 

 on rocks, or scratched them on bones, horns, bark of trees, and 

 on the tanned skins of animals. Such etchings are mere Hats; 

 they always fail to express relief. In barbarism the}' are made 

 to show a truer form, and man learns to ex])ress in painting the 

 meaning- of tints and hues as they are reflected from l)odies. 

 The motive which urges to excellence is the desire for clearer 

 expression in altar symbolism. 



