and feet to the west, and many of the North American Indians follow the same custom. Others in South America double up the corpse, turning the face to the east. The Peruvians place their mummies in a sitting position, looking to the west; the natives of Jesso also turn the head to the west. The modern Siamese never sleep with their faces turned to the west, because this is the attitude in which they place their dead before burning them on the funeral pile. Finally, the Greeks and all other peoples, both civilized and barbarous, including ourselves, had and continue to have special customs in burying their dead. All the primitive artistic representations of the human form, the orientation of tombs and temples and their peculiar form, were prompted by these spiritualist and superstitious ideas; they expressed a symbolism derived from mythical ideas of the constitution of the world, of its organism, elements, and cosmic legends. This assertion might be verified by all funereal, religious, and civil monuments, among all peoples of the earth, in their most rudimentary form down to those of our times, and above all in India, China, Central Asia, in Africa, and particularly in Egypt, in America, in Europe, beginning with the Greeks and passing through the Latins down to the Christianity of our day; nor need we exclude the Oceanic races, and those of the two frigid zones. Doubtless the purest aesthetic sentiment was gratified in the productions of the plastic arts and of design in general when civilization was at its highest perfection, among people peculiarly alive to this sentiment. At the same time, for the great majority of peoples in early and subsequent ages down to our own time, there was and is the consciousness of a _numen_, in the proper meaning of the word, within the statue or effigy, and these were unconsciously entified by the same law which leads to the entification of natural phenomena; the august presence of the gods and an artificial symbol of the living organism of the world were contained in the material form. While this sentiment took a higher development in art, and was gradually emancipated from its mythical bonds, it never altogether disappeared in artistic creations; and there are still many who would, like some uncultured peoples of early and modern times, cover up their images when they are about to commit some action which might be displeasing to these idols of the gods or saints. If we were to gauge the sentiments which really animate a man of the people, even when he; looks at the statue of a great man, we should find that in addition to his aesthetic satisfaction, he unconsciously imagines that the spirit of the dead man is infused into the image and is able to enjoy the admiration of the observers.