XXXII ANNUAL REPORT OF THE DIRECTOR 



head chess formed often as a conventionalized model of a face, 

 or of a whole figure, or of a group of figures. By another line 

 of development the ideas symbolized by the effigy cease to be 

 connected with any wearer and the mask becomes an inde- 

 pendent object in significance and emploj-ment. A custom of 

 preserving and ornamenting an actual human face or head, 

 especially when the posterior part of the cranium is removed, 

 has relation by kindred conceptions and in geographic lines to 

 some of the uses of masks as above indicated. 



The science of anthropology is inchoate. A multiplicity of 

 facts have been collected which have not yet been assigned to 

 their proper places in the system; so that the sequence of 

 events in the course of human culture is but partly made out. 

 Yet anthropologists are everywhere attempting to discover and 

 explain the origin and growth of arts, customs, and all other 

 phenomena that relate to the activities of mankind. Such ex- 

 planations as Mr. Dall's, when based upon extensive knowl- 

 edge and clear insight into the principles of anthropology, are 

 suffffestive and valuable. 



With regard to the origin of masking, there is another pos- 

 sible hypothesis, which seems to be more in consonance with 

 the facts relating to this practice observed among the lower 

 tribes of the world. Dramatic representation has its origin 

 quite early in the state of savagery. Savage mythology deals 

 largely with animal life, and savage drama is intimately asso- 

 ciated with savage mythology. Among very many of the 

 tribes of North America, some of which are lowest in culture, 

 crude dramas are enacted at winter camp fires from night to 

 night. The old men and women who transmit mythic lore are 

 listened to with great interest, and as the stories of the doings 

 and sayings of the ancient god-beasts are told, resort is had to 

 dramatic personification, to give zest and vigor to the mythic 

 tales. Ofttimes the myth teller is assisted by others, who take 

 parts and act scenes in costume made of the skins of the ani- 

 mals represented. Sometimes the actor assumes the garb of 

 the elk or the bear by covering and disguising himself with the 

 skin of the beast to be imitated. Sometimes he simply wears 

 the skin across his shoulders or dangling from his belt, or per- 



