The further development of movement accompanying the song leads to true pantomimic and ultimately to dramatic performances. CONCLUSION We have now completed our review of the forms of primitive art and we shall try to sum up the results of our inquiry. We have seen that art arises from two sources, from technical pursuits and from the expression of emotions and thought, as soon as these take fixed forms. The more energetic the control of form over uncoordinated movement, the more esthetic the result. Artistic enjoyment is, therefore, based essentially upon the reaction of our minds to form. The same kind of enjoyment may be released by impressions received from forms that are not the handiwork of man, but they may not be considered as art, although the esthetic reaction is not different from the one we receive from the contemplation or the hearing of a work of art. When speaking of artistic production they must be excluded. When considering only esthetic reactions they must be included. The esthetic effect of artistic work developing from the control of technique alone is based on the joy engendered by the mastery of technique and also by the pleasure produced by the perfection of form. The enjoyment of form may have an elevating effect upon the mind, but this is not its primary effect. Its source is in part the pleasure of the virtuoso who overcomes technical difficulties that baffle his cleverness. As long as no deeper meaning is felt in the significance of form, its effect is for most individuals, pleasurable, not elevating. We have seen that in the various arts definite formal principles manifest themselves, the origin of which we did not try to explain, but which we accepted as present in the art of man the world over, and which for this reason we considered as the most ancient, the most fundamental characteristics of all art. In the graphic and plastic arts these elements are symmetry, rhythm and emphasis of form. We found symmetry to be very generally right and left and suggested that this may be due to the symmetry of manual movements as well as to the observation of right and left symmetry in animals and in man. We also observed that rhythmic repetition runs ordinarily in horizontal bands and pointed out the general experience that natural objects of the same or similar kind are arranged in horizontal strata, such as woods, mountains, and clouds; legs, body and limbs. Rhythmic form seems to be closely related to technical processes, although other causes of rhythmic repetition are revealed in poetry. The simplest technical processes produce a simple repetition of the same motives, while with increasing virtuosity more complex orders become the rule. The more virtuosity is developed, the more complex are the rhythms that are liable to make their appearance. The ability of primitive artists to appreciate rhythm seems to be much greater than our own.