of figures together, either above one another, or side by side, or both combined, though the last arrangement occurs only at a somewhat more advanced stage. If, now, these decorations are more and more multiplied by reason of the increasing pleasure in their production, we naturally have figures that actually resemble certain objects. This resemblance is strengthened particularly by the repetition of the figures. A single square with its angles placed vertically and horizontally would scarcely be interpreted as a bee, even by a Bakairi; but in a series of such squares we ourselves could doubtless imagine a swarm of bees. Thus there arise representations resembling animals, plants, and flowers. Because of their symmetrical form, the latter particularly are apt to become associated with geometrical designs. Yet on the whole the animal possesses a greater attraction. The animal that forms the object of the hunt is carved upon the bow or the blow-pipe. This is a means of magic that brings the animal within range of the weapon. It is magic, likewise, that affords the explanation of the statement of the Senoi and the Semangs that the drawings on the combs of their women are a means of protection against diseases. These two sorts of purposes illustrate the two forms of magic that are still exemplified on higher cultural levels by the amulet, on the one hand, and the talisman, on the other--protection from danger, and assistance in one's personal undertakings. Now it is easy to understand how especially the complicated decorations on the combs of the Malaccan tribes may, through the familiar processes of psychical assimilation, come to be regarded as living beings, in the form either of animals or of plants, and how these forms in turn may come to be interpreted as sickness-demons. For, these demons are beings that have never been seen; hence the terrified imagination may all the more readily give them the most fantastic shapes. Indeed, we still find examples of this in the more elaborate pictures of the art of some semi-cultural peoples. Thus also are explained many of the masks used among the most diverse peoples. It is almost always grotesque animal or human masks that are employed to represent fear-demons. The freer the sway of the imagination, the easier it is to see the figure of a demon in any decoration whatsoever. The multiplicity of the ornamental drawings, moreover, meets the need for distinguishing a great number of such demons, so that a woman of the Senoi or the Semangs carries about on her head the demoniacal representation of all known diseases. For, according to an ancient law of magic, the demon himself has a twofold rôle--he both causes the sickness and protects against it. Just as a picture is identified with its object, so also is the drawing that represents or portrays the sickness-demon regarded as the demon itself. Whoever carries it about is secure against its attack. Both magic and counter-magic spring from a common source.