A somewhat similar process of evolution is noticeable in the case of the nose, though here the movement is soon brought to a standstill. Thus the vertical line gives place to an angle, which may point to the side, as in the drawing of a country-boy between three and four (Fig. 7 (_a_)), but more frequently, I think, points upwards, as in the drawing of a boy of six (Fig. 7 (_b_)). This in its turn leads to an isosceles triangle with an acute angle at the apex, as in the drawing of a boy of six (Fig. 7 (_c_)). In a few cases a long spindle-shaped or rectangular form similar to that of the mouth is employed, as in a drawing of a nervous child of six (Fig. 7 (_d_)). Refinements are introduced now and again by an attempt at the nostrils, as in the accompanying curious drawing by a seven-years-old Jamaica girl (Fig. 7 (_e_)).[246] ----- Footnote 246: It is possible that in this drawing the two short lines added to the mouth are an original attempt to give the teeth. ----- [Illustration: Fig. 7 (_a_).] [Illustration: Fig. 7 (_b_).] [Illustration: Fig. 7 (_c_).] [Illustration: Fig. 7 (_d_).] [Illustration: Fig. 7 (_e_).] [Illustration: Fig. 8 (_a_).] [Illustration: Fig. 8 (_b_).] The introduction of other features, more especially ears and hair, must, according to my observations, be looked on as occasional only, and as a mark of an advance to a more naturalistic treatment. Differences of treatment occur here too. Thus the ears, which are apt to be absurdly large, are now inserted inside the head circle, now outside it. The hair appears now as a dark cap of horizontal strokes, now as a kind of stunted fringe, now as a bundle or wisp on one side, which may either fall or stand on end (see above, Fig. 7 (_d_), and the accompanying drawing by a girl of nearly four, Fig. 8 (_a_)). These methods of representation are occasionally varied by a more elaborate line-device, as a curly looped line similar to that employed for smoke, as in the annexed drawing by a girl of seven (Fig. 8 (_b_)). [Illustration: Fig. 9.] As implied in this account of the facial features, a good deal of convention-like agreement of method is enlivened by a measure of diversity of treatment. Perhaps one of the most striking instances of daring originality is seen in the attempt by a girl of four—who was subjected to a great deal of instruction—to give separate form to the chin (Fig. 9). This may be compared with the attempt of the Uganda negro to indicate symbolically the cheeks (see above, p. 336, Fig. 3).