the human form differs considerably from that of the Alaskan Eskimo. They do not use silhouettes but draw their forms true to life with particular attention to the details of the clothing (fig. 140 _f_). [Illustration: Fig. 141. Pictographs; _a_, _b_, _c_, from the Cueva de los Caballos; _d_, Bushman.] Quite distinct from these forms are the representations of the human form made by the Bushman and by paleolithic man. They are always silhouettes of large size with strong exaggerations of characteristic forms and movements of the body, (fig. 141). Obermaier has described these in detail.[94] Some of the figures in lively motion are represented with thread-like legs and body, while in other cases the calves of the legs are shown in exaggerated sizes. The Bushman paintings are somewhat similar in type to those of the paleolithic period. We find the same exaggeration of the length of the limbs and particularly in the representation of females, exaggeration of all the characteristic features of the body. [94] H. Obermaier, P. Wernert, Las Pinturas Rupestres del Barranco de Valletorta. (Castellon) Comisión de investigaciones paleontológicas y prehistóricas, Mem. No. 23. Museo Nacional de ciencias naturales, Madrid 1919. * * * * * In almost every art definite stylistic forms may be recognized. I will add a few additional examples based on certain classes of objects which illustrate this. Miss Ruth Bunzel has given to me a full description of the decoration of the water jar of the Zuni. “It is characterized by great stability in decorative style. The form of the jar itself shows very slight variations. The outer surface is slipped with white clay which serves as a background for painted decorations in black and red. The most characteristic feature of the decorative scheme is the boxing off of the field into clearly defined areas outlined by heavy black lines. The ways in which the field is thus divided and the designs permissible in each section are all definitely prescribed by prevailing standards of taste. “Essential on every jar is the division of the field into two zones known as neck and body. Neck designs are always used in pairs, four or six alternating units being used on each jar. At the present time the choice of designs for the neck is limited to two sets of designs, the way in which they are combined being absolutely fixed. Alternating diamond and triangular patterns, both highly elaborated, are used together, and, on the other hand a scroll and conventionalized prayer-stick are used together on other jars.