[20] F. von Luschan, Buschmann-Einritzungen auf Strausseneiern, Zeitschrift für Ethnologie, Vol. 55 (1923), pp. 31 et seq.—Hendrik P. M. Muller et John F. Snelleman, L’Industrie des Caffres dans le sud-est de l’Afrique. (Pl. XIV, Figs. 2-5). See also P. C. Lepage, La décoration primitive; Afrique, Paris, Librairie des arts décoratifs, Plate 5, where similar designs are shown on pottery vessels. Here may also be mentioned the painting and carving of the Melanesians. We see among them a wealth of forms in carvings of excellent technique. In some specimens, particularly from western New Guinea, we find complete mastery of the art. In the majority of cases, however, there is an imperfect control of technique, while there is an astounding multiplicity of forms. The lines generally lack regularity and evenness (fig. 10 _a_, _b_). There is no clear proof of a general degeneration of the art and we may perhaps assume that in this case the development of a keen sense for form among all the carvers and painters of the tribe did not go hand in hand with a corresponding mastery of technique. It is not unlikely that foreign influence has led here to an exuberant form perception. Setting aside any esthetic consideration, we recognize that in cases in which a perfect technique has developed, the consciousness of the artist of having mastered great difficulties, in other words the satisfaction of the virtuoso is a source of genuine pleasure. [Illustration: Fig. 10. Paddle and shield, New Ireland.] I do not propose to enter into a discussion of the ultimate sources of all esthetic judgments. It is sufficient for an inductive study of the forms of primitive art to recognize that regularity of form and evenness of surface are essential elements of decorative effect, and that these are intimately associated with the feeling of mastery over difficulties; with the pleasure felt by the virtuoso on account of his own powers. I can give at least a few examples which illustrate that the artist has not in mind the visual effect of his work, but that he is stimulated by the pleasure of making a complex form. [Illustration: Fig. 11. Plan of rawhide box, Sauk and Fox Indians.] [Illustration: Fig. 12. Rawhide box, Sauk and Fox Indians.]