Many works of art affect us in another way. The emotions may be stimulated not by the form alone, but also by close associations that exist between the form and ideas held by the people. In other words, when the forms convey a meaning, because they recall past experiences or because they act as symbols, a new element is added to the enjoyment. The form and its meaning combine to elevate the mind above the indifferent emotional state of every day life. Beautiful sculpture or painting, a musical composition, dramatic art, a pantomime, may so affect us. This is no less true of primitive art than of our own. Sometimes esthetic pleasure is released by natural forms. The song of a bird may be beautiful; we may experience pleasure in viewing the form of a landscape or in viewing the movements of an animal; we may enjoy a natural taste or smell, or a pleasant feeling; grandeur of nature may give us an emotional thrill and the actions of animals may have a dramatic effect; all of these have esthetic values but they are not art. On the other hand, a melody, a carving, a painting, a dance, a pantomime are esthetic productions, because they have been created by our own activities. Form, and creation by our own activities are essential features of art. The pleasure or elevation of the mind must be brought about by a particular form of sense impression, but this sense impression must be made by some kind of human activity or by some product of human activity. It is essential to bear in mind the twofold source of artistic effect, the one based on form alone, the other on ideas associated with form. Otherwise the theory of art will be one-sided. Since the art of man, the world over, among primitive tribes as well as among civilized nations, contains both elements, the purely formal and the significant, it is not admissible to base all discussions of the manifestations of the art impulse upon the assumption that the expression of emotional states by significant forms must be the beginning of art, or that, like language, art is a form of expression. In modern times this opinion is based in part on the often observed fact that in primitive art even simple geometrical forms may possess a meaning that adds to their emotional value, and that dance, music and poetry almost always have definite meaning. However, significance of artistic form is neither universal nor can it be shown that it is necessarily older than the form. I do not intend to enter into a discussion of the philosophical theories of esthetics, but will confine myself to a few remarks on the views of a number of recent authors who have treated art on the basis of ethnological material, and only in so far as the question is concerned whether primitive art is expressive of definite ideas.