The break between symbolic representation and realism may occur in one of two ways. The artist may endeavor to render the form of the object to be represented in forceful outline and subordinate all consideration of detail under the concept of the mass as a whole. He may even discard all details and cover the form with more or less fanciful decoration without losing the effect of realism of the general outline and of the distribution of surfaces and of masses. On the other hand, he may endeavor to give a realistic representation of details and his work may consist of an assembly of these, with little regard to the form as a whole. An excellent example of the former method is the Filipino wood carving, fig. 63 _a_. Head and chest show the concentration of the artist upon the delimiting surfaces and an utter disregard of detail. The same method is used in the figure of a harpist belonging to the ancient art of the Cyclades (fig. 63 _b_). In fig. 64, an African mask, the surfaces of forehead, eyes, cheeks and nose are the determinants of the form which has been treated decoratively with the greatest freedom. There are no ears; the eyes are slits with geometrical ornaments; the mouth a circle enclosing a cross. In fig. 65, representing a painted carving from New Guinea, the outline of the face, emphasized by the hair line, eyes, and mouth, is easily recognized, but all the other parts are treated purely decoratively. [Illustration: Fig. 64. Wooden mask, Urua, Congo.] [Illustration: Fig. 65. Carved board, Papua Gulf, New Guinea.] The opposite method is found, for instance, in Egyptian paintings and reliefs in which eyes, nose, hands, and feet are shown with a fair degree of realism, but composed in ways that distort the natural form and which are perspectively impossible (fig. 66). A still better example is the drawing, fig. 67, an attempt of one of the best Haida artists from Northern British Columbia to illustrate the story of an eagle carrying away a woman. The face of the woman is evidently intended as a three-quarter view. Facial painting will be noticed on the left cheek; the left ear only is shown as seen in profile; the mouth with teeth is placed under the nose in mixed full profile and front view, and has been moved to the right side of the face. In the lower lip is a large labret shown _en face_, for only in this view was the artist able to show the labret with its characteristic oval surface. The nose seems to be drawn in profile although the nostrils appear _en face_. [Illustration: Fig. 66. Egyptian painting.] [Illustration: Fig. 67. Haida drawing representing eagle carrying away a woman.]