It is peculiar to man to portray things and animals, and to erect monuments out of a superstitious feeling, or to glorify an individual or the nation; the bower-birds and some cognate species may perhaps be regarded as an exception, since they show a certain sense of beauty, and an extrinsic satisfaction in gay colours, which indeed appears in many animals. But art in the true sense and in its essential principle are the act and product of man alone, of which I have demonstrated the cause and comparative reasons in another work, so that it is unnecessary to repeat them here. Some rare cases indicate an artistic construction which is not an essential part of animal functions, and the sense of form and colour occurs in some species. But this only shows that there exist in the animal kingdom the roots of every art and sentiment peculiar to man, subsequently perfected by him in an exclusive and reflex manner, and this confirms the general truths of heredity and evolution. When primitive man draws or carves objects, he does not merely obey the innate impulse to give an external form to the image already in his mind, but while satisfying the aesthetic sentiment which actuates him, he is conscious of some mysterious power and superstitious influence. This sentiment is not only apparent in our own children, but among nearly all savages, of which many instances might be given; some of them are even afraid to look at a portrait, and shrink from it as from a living person. As time went on, a belief in spirits was developed from causes already mentioned, the rude theory of incarnation followed as its corollary, and this sentiment was naturally confirmed by incised and sculptured images; for since they supposed a spirit to be present in every object whatever, this was much more the case with incised or sculptured figures of men and animals. In these figures the amulet, talisman, or _gris-gris_ of savages especially consisted; portraits, however rude, of animals, monsters, of the human form as a whole or in parts, as in the universal phallic superstitions. The belief in spirits, resulting from the personification of shadows, or of the image of a man's own soul which was supposed to return from the tomb, had a mythical influence on the mode and ceremonies of sepulture, on the position of corpses, on the orientation of tombs, and their form. In fact, the mythical ideas of spirits, and the fanciful place they took in the primitive idea of the world, produced the custom of burying corpses in an upright, stooping, or sitting position, and their situation with reference to the four cardinal points. In America the cross which was placed in very early times above the tombs is rightly supposed by Brinton to have been a symbol of the four zones of the earth, relatively to the tomb itself and to the human remains enclosed in it. One Australian tribe buries its dead with their faces to the east; the Fijians are buried with the head