arts that give this freedom which is not so easily found in graphic representation. Therefore we find in many cultures that are otherwise under the strict control of conventional style, at least occasionally figures in the round that are naturalistic. Examples are found in the art of the North Pacific Coast; in bronze castings, wood carvings and clay figures of Africa (figs. 74-76); in pottery of the ancient inhabitants of Arkansas (fig. 77); and in stone work from Mexico, as well as in Peruvian pottery. On the other hand, our modern realism is based on the emancipation from a single rigid style that controls all art production. Such freedom is not found to the same extent in primitive art with its more limited number of technical processes. [Illustration: Fig. 78. Ivory and bone carvings, and tattooing of eastern Eskimo.] Another error seems to me to underlie the theory propounded by Max Verworn. It is not only incorrect to assume that representations true to nature are confined to tribes on the lowest economic and industrial level, it can also be shown that at least those living at the present time have ideoplastic art as well as physioplastic art. This is particularly true of the Eskimo. While they do produce a remarkable number of realistic carvings and etchings, they also have a number of conventional, geometric designs which are of regular occurrence. Most prominent among these are the alternating spurline and the sequence of Y shaped figures (fig. 78). The latter has sometimes a symbolic meaning, just as other conventional geometric designs among other groups of people. With small circles at the end of the bifurcated Y it is interpreted as a flower. Furthermore, the clothing of men and women is always decorated with motives that indicate or emphasize the parts of the body they cover, as the shoulderblades or the breastbone. Particularly among the Alaskan is this conventional art ideoplastic in the meaning of Verworn. We have also shown examples of the geometric, ornamental art of the Bushmen (fig. 8, p. 23); however, we do not know whether it has a symbolic meaning. Their ornamental art is very meagre because they have so little that can become the subject of ornamentation. It seems more than likely that man of later paleolithic time whose implements are quite on the same level as those of modern primitive tribes, who adorned his body and who used geometrical ornaments on his bone implements, decorated also his clothing and other perishable possessions of which no trace remains. If we imagine the remains of the modern Indians of the plains, or those of Australians exposed for thousands of years to the wet climate of Europe, nothing would remain to give us an insight into the complexity of their culture and into the existence of their symbolic, that is, ideoplastic art. SYMBOLISM