Malacca and of Ceylon, namely, that it arose independently from the same original motives as the dance? The answer to this question depends primarily upon the antiquity of these art productions. Do they date back to an immemorial past, as we may suppose to be the case with the decorations of the Veddahs and the Malaccan tribes? There are two considerations, principally, that prove the contrary, namely, that they are relatively recent creations. In the first place, the paintings present the pictures of animals, in particular of the horse and the sheep, with which the Bushman has been acquainted at farthest since the latter part of the eighteenth century. True, these animals were brought into Cape Colony as early as the seventeenth century; it was clearly not until later, however, that the Bushmen became familiar with them. A second consideration is the remarkable circumstance that these primitive painters employ essentially the same tools as the Europeans. This art has now, indeed, almost disappeared, the race having been crowded back and depleted. But the remains show that the painters possessed a stone plate on which they mixed their paints and also a stone pounder with which the mixing was done--that is, a palette and a pestle. Indeed, for applying the colours they occasionally utilized a paint-brush made of fine splinters of bone, though some, no doubt, were content to do this with the fingers. These are all signs which certainly suggest a not very distant past. Moreover, art products cannot resemble each other in so many respects without having some connection in origin. Added to this is the fact that the very character of such pictures as are still in existence scarcely allows us to regard them as more than sixty to seventy years old. From all of this we must conclude that this art is not primitive at all, but was imported, resembling in this many other things that gain entrance into the life of a primitive tribe. If the essential elements of the Biblical account of the Creation reached the Andamanese, who in other respects are primitive, why may we not also suppose that a wandering European artist at one time came to the Bushmen, even before any other elements of European culture had become accessible to them? Nevertheless, the fact that this painting exists indicates the presence of a remarkable talent. This brings us to our last problem in the psychology of primitive man, to the question concerning his mental equipment in general. 9. THE INTELLECTUAL AND MORAL CHARACTERISTICS OF PRIMITIVE MAN.