One more point must be discussed here. Attention has been called to the apparent absence of purely formal elements in the art of those tribes that are from an economical and industrial point of view most primitive, namely the modern Bushmen of South Africa, the Eskimo of Arctic North America, the Australians, and in remote times, the paleolithic hunters. The statement is not quite correct, as has already been pointed out by Vierkandt, because other tribes that live on the same industrial level, do not share these characteristics; particularly the Veddah and the Andaman Islanders. Furthermore, it is not by any means certain that the South African rock sculptures were made by the Bushmen. It seems fairly certain that the best ones of those recorded were made in early times and that the living Bushmen know little about their origin. In the South African paintings and petroglyphs and in the art works of the other tribes mentioned before, we find a highly developed realistic art which exhibits an astonishing truth of perspective perception, in rest as well as in motion. Verworn has based on this observation a distinction of what he calls the physioplastic and ideoplastic art; the former containing truthful, momentary visual images, the latter representing nature remodeled by thought and therefore, in a conventional style. [Illustration: Fig. 77. Pottery head from Arkansas.] I do not believe that the assignment of these styles to distinct levels of culture is tenable, for physioplastic representations are not by any means confined to the tribes of simplest economic structure, nor, as indicated just now, are they common to all of them. We must avoid in these matters, as well as in all other ethnic questions, treating tribes too much as standardized units. Individual variation in physical appearance as well as in mental life is as important in primitive society as in our own. There are artists and craftsmen in all forms of society, as there are believers and unbelievers; there are creative artists who rise above the level of the skilful artisan and tradesmen who are satisfied with a slavish, though accurate adhesion to existing patterns. Where representative art has fallen under the rigid control of technique, there is little opportunity for the development of a naturalistic style; where the technique is free, there we may also expect free forms. This condition is realized in two ways, namely, in those cases in which representative art is not enslaved by a one-sided technique, and under conditions in which a high degree of freedom in the use of a variety of technical processes has been attained. A study of the whole range of art products shows that where a technique is practised that gives tree range to the development of form, naturalistic forms, that is forms relatively free of stylistic mannerisms, although sometimes of bold generalization, occur. Carving in wood, bone, ivory or stone, and modelling in clay are the principal