art and that of the other arts. The latter, whether in the case of tattooing, ceramics, or the fetishistic precursors of sculpture, always originate in mythological and, primarily, in magical motives; the sole impetus to architecture is furnished by the immediate needs of practical life. Thus, then, it is not to religious impulses but to the social conditions which require that many individuals shall live together, that we must trace a more perfected technique of building than that of primitive times. Much more nearly parallel to the development of the other forms of art is that of the _musical arts_, meaning by this all those arts which consist in the direct activity of man himself. The musical arts include the dance, poetry, and music, as well as the various combinations into which these enter with one another. Since it is the third of these arts, music, that manifests a particular tendency to combine with and to supplement the other two, all three may be comprehended under its name. This will also serve to suggest the fact that, just as the formative arts are closely related in that they give objective embodiment to the creations of the imagination, so also are the musical arts allied by virtue of their reliance on subjective expression. Of all these various arts, the _dance_ preserves the closest connection with the more primitive age. In the cult dance of the totemic period, however, the dance receives an extraordinarily rich development, reaching a stage of perfection comparable to that to which formative art attains in the external adornment of the body--that is, in tattooing. The dance and tattooing, indeed, are closely related, since nowhere else is the _personal body_ so directly the object and the means of artistic activity. To the dances of the primitive period, however, the totemic dance adds _one_ external feature--the _mask_--whose origin is directly due to totem belief. Even the Australians, of course, are not familiar with the mask-dance. They sometimes paint the face or mark it with single lines, and this may be regarded as the precursor of the mask; the mask itself however appears only in the later development of totemism, and continues far into the succeeding age. Moreover, as regards its distribution, there are considerable differences. It plays its most important rôle in American and Polynesian regions, a less prominent one in Africa. In America, the mask-dance and the elevation of masks into cult objects, to which the mask-dance occasionally gives rise, extend from the Esquimos of the north far down to the south. Koch-Grünberg has given a clear picture of the mask-dances and the mask-cult of the natives of the Brazilian forests. Here the masks are not a secondary means of magic, as it were--much less an occasional object of adornment. Every mask is a sort of sacred object. When the youth attains to manhood, he receives a mask, which is sacred to him throughout his entire life.