We may now sum up the main results of our study. We find in the drawings of untrained children from about the age of three to that of eight or ten a curious mode of dealing with the most familiar forms. At no stage of this child-art can we find what we should regard as elements of artistic value: yet it has its quaint and its suggestive side. The first thing that strikes us here is that this child-delineation, crude and bizarre as it is, illustrates a process of development. Thus we have (_a_) the stage of vague formless scribble, (_b_) that of primitive design, typified by what I have called the lunar scheme of the human face, and (_c_) that of a more sophisticated treatment of the human figure, as well as of animal forms. This process of art-evolution has striking analogies with that of organic evolution. It is clearly a movement from the vague or indefinite to the definite, a process of gradual specialisation. Not only so, we may note that it begins with the representation of those rounded or ovoid contours which seem to constitute the basal forms of animal organisms, and proceeds like organic evolution by a gradual differentiation of the ‘homogeneous’ structure through the addition of detailed parts or organs. These organs in their turn gradually assume their characteristic forms. It is, perhaps, worth observing here that some of the early drawings of animals are strongly suggestive of embryo forms (compare, _e.g._, Fig. 45 (_b_) and (_d_), p. 375). If now we examine this early drawing on its representative side we find that it is crude and defective enough. It proceeds by giving a bare outline of the object, with at most one or two details thrown in. The form neither of the whole nor of the parts is correctly rendered. Thus in drawing the foot it is enough for the child to indicate the angle: the direction of the foot-line is comparatively immaterial. In this respect a child’s drawing differs from a truly artistic sketch or suggestive indication by a few characteristic lines, which is absolutely correct so far as it goes. The child is content with a schematic treatment, which involves an appreciable and even considerable departure from truthful representation. Thus the primitive lunar drawing of the human face is manifestly rather a diagrammatic scheme than an imitative representation of a concrete form.