Much more potent than the necessities of formal adjustment is the symbolic tendency which is liable to lead to abbreviations in which the representation is reduced to the slightest indications. In our former discussions we have seen that symbolic representations are very common and that it happens in many cases that the symbol itself is represented in a more or less perspective way. Wherever the art of the people wavers between the symbolic and representative modes of delineation, opportunity arises for the occurrence of realistic and abbreviated forms, side by side. To this class belong the face urns, the prehistoric representations of human figures in stone, and even our busts and portraits may be considered as continuing this practice, for they are fragmentary in so far as they show only that part of the body in which we find the character of the individual most clearly expressed; in part, because the rest of the body is always covered by inexpressive clothing which hides whatever individuality may exist. The principal character of forms of this type will be the tendency to suggest an object by the indication of a few of the most characteristic traits. It would probably be erroneous to speak in these cases of a gradual breaking up of the realistic form and the development from it of a conventional form, for this is not what actually happens. The two types occur side by side. STYLE We have to take up now the problem of individual art styles. The general formal elements of which we spoke before, namely symmetry, rhythm, and emphasis or delimitation of form, do not describe adequately a specific style, for they underlie all forms of ornamental art. Representative art is more apt to develop differential features, for in each area symbolic, perspective and wavering representations have peculiar, pronounced characteristics. The principles of symbolic selection and the method of composition help to individualize representative art forms; but, besides these, many formal elements are integral parts of every art style and these give it its most specific character. The New Zealander, the Melanesian, the African, the Northwest American, the Eskimo,—all are in the habit of carving human figures in the round. They are all representative, and still the provenience of each is easily determined on account of very definite formal characteristics. We shall direct our attention to an elucidation of the principles by which art styles may be described. We shall also ask ourselves, in how far the historical and psychological conditions under which art styles grow up and flourish may be understood.