320 



AlSr ANALYSIS OF THE 



Fig. 107. 



Plireniciaii Head from Cyprus. Do Cesiiola. (*) 



we are now erecting, viz., the relations between an inventive and an imitative art, 

 how exceedingly diltcrent these scholastic studies are from conventional art-types. 



Fig. 108. Fig. 109. 



Grotesque from Leonardo, (f) Grotesque from Durer. (|) 



The lines of the inferior border of the malar bone also serve as the basis of a series 

 of variants both in Egyptian and Aztec art. In addition to these, we have in Aztec 

 art the full-faced skull as a distinct model from that of the countenance. 



In conclusion, we may say that the chief variants of the full-faced countenance 

 are as follows : 



The brow lines ; the mouth lines, and the malar or transvei'se facial lines.§ 



* Harper's Mag., Vol. XLV, 195. 

 f From photograph. 



i Four Books, etc., on Art Anatomy, Book III, 85. Trans, in French, 1557. 



§ Tattooing. That the object of tattooing is to represent clothing is an idea commonly believed. That the 

 objects employed for this purpose should have been patterns we can readily conceive. We have endeavored in vain to 

 detect a relationship between the lines of tattooed skhi and the normal folds and depressions of the face. The nearest 

 approach to it knowii to us, is the head of the Feejian, figured in Owen's Grammar of Ornament, in which a symmetry 

 of ornamentation has been preserved, suggesting the muscular structure of the face. But this is evidently a coincidence; 

 for had natural lines been copied by the artist, the wrinkles would liave appeared rather than the unrevealed fleshy 

 masses beneath the skin. Now if this were the case the wrinkles would be placed tramvernely to the line of action of 

 many muscles. We accept with some reservation, the statement of Lubbock {I.e.), that the inhabitants of Formosa 

 " impress on their skin various figures of trees, flowers and animals." 



