It is readily recognized that these conditions can prevail only when the interpretation of the ornament, and with it its emotional significance are firmly established in the minds of the people; if all react without fail, without hesitation to the same pattern. This is not by any means the case everywhere. On the contrary, many cases are known in which there is considerable wavering in regard to the meaning of the symbol. One person may interpret it one way, another, another way. For instance, in the designs of the Californian Indians, the same form will be called by different people, or even by the same person at different times, now a lizard’s foot, then a mountain covered with trees, then again an owl’s claw. It is conceivable that an individual may feel a strong emotional value of a design, but in a case of variable associations the symbol has no binding emotional value for the whole tribe. It will be the less relevant the more variable the individual and tribal associations. I believe this is also the reason why among ourselves an expressionistic art is impossible, or why at least it cannot appeal to the people as a whole. It is possible for an artist to train a group of followers and admirers in the symbolism that he cultivates, but it is exceedingly unlikely that such symbolism should develop in such a way that it would be felt automatically by all of us. In music a few associations of this type exist. We feel, for instance, the difference of mood in the major and minor keys; the former mood joyful and energetic; the latter gentle, moody or even sad. It is well to remember that these emotional tones are not by any means everywhere connected with these two forms, but that in the music of other people that have something comparable to our major or minor, the relations may be quite different. We also feel a certain energy connected with the major key of E flat, but undoubtedly this is due to very specific associations that are not valid in other cultural areas. Expressionistic art requires a very firm and uniform cultural background, such as is possessed by many peoples of simple social structure, but that cannot exist in our complex society with its manifold, intercrossing interests and its great variety of situations that create different emotional centers for each of its numerous strata. It is, therefore, important to know whether there exist firm associations between form and significance, and whether these associations are accompanied by strong emotional reactions. [Illustration: Fig. 96. Patterns representing the star, Arapaho.]