_The Fine Arts Follow the Development of Language_.--While art varied in different tribes, we may assume in general that there was a continuity of culture development from the rude clay idol of primitive folk to the Venus de Milo or the Winged Victory; from the pictures on rocks and in caves to the Sistine Madonna; from the uncouth cooking bowl of clay to the highest form of earthenware vase; and from the monotonous {135} strain of African music to the lofty conception of Mozart. But this is a continuity of ideas covering the whole human race as a unit, rather than the progressive development of a single branch of the race. Consider for a moment the mental and physical environment of the ancient cave or forest dweller. The skies to him were marked only as they affected his bodily comfort in sunshine or storm; the trees invited his attention as they furnished him food or shelter; the roaring torrent was nothing to him except as it obstructed his journey; the sun and the moon and the stars in the heavens filled him with portentous awe, and the spirits in the invisible world worked for his good or for his evil. Beyond his utilitarian senses no art emotion stirred in these signs of creation. Perhaps the first art emotion was aroused in contemplation of the human body. Through vanity, fear, or love he began to decorate it. He scarifies or tattoos his naked body with figures upon his back, arms, legs, and face to represent an idea of beauty. While the tribal or totemic design may have originated the custom, he wishes to be attractive to others, and his first emotions of beauty are thus expressed. The second step is to paint his face and body to express love, fear, hate, war, or religious emotions. This leads on to the art of decorating the body with ornaments, and subsequently to the ornamentation of clothing.