The art of the North Pacific coast proved also that we must not assume that the style of a tribe must always be uniform, but that it is quite possible that in different industries, particularly when carried along by different parts of the population, quite distinctive styles may prevail. The excellence and consistency of a style as well as the multiplicity of forms depend upon the perfection of technique. We found, therefore, that in those cases in which technical work is done by the men alone, they are the creative artists, that when the women do a great deal of technical work they are no less productive, and that when the two sexes carry on different industries they may develop distinctive styles. It is, however, more frequent that the style of a dominant industry may be imposed upon work made by other processes. Weaving in coarse material seemed to be a most fertile source of patterns that are imitated in paintings, carvings, and pottery. A comparison of the fundamental elements that are found in the graphic and plastic arts,—in the arts of space,—as contrasted with those of poetry, music, and dance,—the arts of time,—brings out certain differences and similarities. Common to both are rhythm, and it seems likely that the rhythm of technique is merely a spacial expression of the rhythm of time, in so far as the rhythmic movements result in rhythmic forms when applied to technical pursuits. We may perhaps also speak in both types of art of attempts to emphasize closed forms, for often we find musical phrases, and single ideas in poetry closed by what might be called a decorative end, consisting of burdens or of codas. Similar elements may also appear as introductions in the beginning. Completely lacking in the pure arts of time is symmetry, because an inverted time order does not convey the impression of symmetry, as is the case in the arts of space. It occurs only in a symmetrical arrangement of phrases. Dance contains elements of both the spacial and time arts. Therefore, the principles of the former may be clearly observed in dance forms. Rhythmic movements and rhythmic spacial order, symmetry of position and of movement, and emphasis and balance of form are essential in esthetic dance forms. The graphic and plastic arts owe much of their emotional value to the representative and symbolic values of form. This is no less true in literature, music and dance. Narrative and poetry so far as they contain intelligible words, always have a meaning which may have a deep significance because they touch upon those aspects of life that stir the emotions. Frequently there is an added meaning, when the words have a symbolic, ulterior significance related to religious beliefs or philosophical ideas. In music and dance also symbolic significance is often attached to form. * * * * *