We are now able to regard the realistic rockdrawings and cave-paintings of rude Bushmen, as also the finds in the Madeleine Cavern, with an understanding which has not been vouchsafed us before, and in comparing these examples of amazing truth to Nature--which, for want of a better name, we shall call Detective or Police Art[26]--with the double twisted braid, the palmette, and the simple fret in Assyrian ornament, we shall be able to assign to each its proper order of rank. It seems a pity, before laying down the principles of an art, that it should be necessary to clear away so many false doctrines and prejudices heaped upon it in perfect good faith by scientific men. It is only one proof the more, if such were needed, of the vulgarizing influence science has exercised over everything it has touched, since it began to become almost divinely ascendant in the nineteenth century. [10] "_Der Stil in der technischen und tektonischen Künsten, oder praktische Æsthetik_." [11] See the excellent work, _Stilfragen_, p. 11. [12] _Evolution in Art_, by A. C. Haddon. See especially figures 26, 27, 30, 31, 32, pp. 49-52. See also figure 106, p. 181. [13] _The Evolution of Decorative Art_, by Henry J. Balfour, p. 50. [14] _Evolution in Art_, by A. C. Haddon, p. 76. [15] A word Dr. Colley March introduced to express the idea of an ornament due to structure. [16] _Stilfragen_, p. 208 _et seq_. See also Dr. W. Worringer's really valuable contribution to this subject: _Abstraktion und Einfühlung_, p. 58. [17] _Abstraktion und Einfühlung_, pp. 4, 8, 9, 11. [18] _Abstraktion und Einfühlung_, p. 51. See also Grosse, The Beginnings of Art, pp. 166-169 et seq. [19] For confirmation of this point see Felix Clay, _The Origin of the Sense of Beauty_, p. 97. [20] _Abstraktion und Einfühlung_, p. 44. [21] _Abstraktion und Einfühlung_, p. 58. [22] Stilfragen, p. 12. [23] _The Beginnings of Art_, pp. 145-147. [24] p. 309: "There are certain styles of ornamentation which, at all events in particular cases, may very well be original, taking that word in its ordinary sense, such, for example, as zigzags, cross-hatching, and so forth. The mere toying with any implement which could make a mark on any surface might suggest the simplest ornamentation [_N.B._--It is characteristic of this school that even original design, according to them, must be the result of "toying" with an instrument, and of a suggestion from chance markings it may make] to the most savage mind. This may or may not have been the case, and it is entirely beyond proof either way, and therefore we must not press our analogy too far. It is, however, surprising and is certainly very significant that the origin of so many designs can be determined although they are of unknown age." [25] _The History of Music_, by J. F. Rowbotham, 1893, pp. 7, 8. See also Dr. Wallaschek's _Anfänge der Tonkunst_ (Leipzig, 1903).