The arms, being the thin lanky members, are, like the legs, commonly represented by lines. The same thing is noticeable in the drawings of savages. They appear, in the front view of the figure, as more or less stretched out, so as to show beyond the trunk; and their appearance always gives a certain liveliness to the form, an air of joyous expression, as if to say, "Here I am!" (see Fig. 13, the drawing of a boy of six). In respect of their structure a process of gradual evolution may be observed. The primal rigidity of the straight line yields later on to the freedom of an organ. Thus an attempt is made to represent by means of a curve the look of the bent arm, as in the accompanying drawing by a boy of five (Fig. 14). In other cases the angle of the elbow is indicated. This last improvement seems to come comparatively late in children's drawings, which here, as in other respects, lag behind the crudest outline sketches of savages. [Illustration: Fig. 14.] [Illustration: Fig. 15.] The mode of insertion or attachment of the arms is noteworthy. Where they are added to the trunkless figure they sometimes appear as emerging from the sides of the head, as in a drawing by a boy of two and a half years (see Fig. 15), but more commonly, from the point of junction of the head and legs (see above, Fig. 7 (_b_)). After the trunk is added they appear to sprout from almost any point of this. It may be added that their length is often grotesquely exaggerated. The arm in these childish drawings early develops the interesting adjunct of a hand. Like other features this is apt at first to be amusingly forced into prominence by its size. The treatment of the hand illustrates in a curious way the process of artistic evolution, the movement from a bare symbolic indication towards a more life-like representation. Thus one of the earliest and rudest devices I have met with, though in a few cases only, is that of drawing strokes across the line of the arm to serve as signs of fingers (Fig. 16). [Illustration: Fig. 16.--Humpty Dumpty on the wall.] [Illustration: Fig. 17.] It is an important advance when the branching lines are set in a bunch-like arrangement at the extremity of the arm-line. From this point the transition is easy to the common "toasting-fork" arrangement, in which the finger-lines are set on a hand-line (see above, Figs. 8 and 7 (_b_)). From this stage, again, there is but a step to the first crude attempt to give contour first to the hand alone, as in Fig. 13, and then to hand and fingers, as in Figs. 11 and 17. Various odd arrangements appear in the first attempts to outline arm and hand. In one, which occurs not infrequently, a thickened arm is made to expand into something like a fan-shaped hand, as in Fig. 18. [Illustration: Fig. 18.]