A class of confusions, having a certain similarity to some of these, consists in the transference of the features of one object to a second, as when a man or quadruped is given a bird-like foot (Figs. 7 (_d_) and 43 (_c_), pp. 342, 373), and still more manifestly when the facial scheme of the man is transferred to the quadruped or _vice versâ_ (Fig. 44 (_a_) and (_b_), pp. 373, 374). These last errors clearly illustrate the tendency to a conventional treatment, a tendency which, as I have observed already, runs through children’s spontaneous drawings. This free conventional handling of natural forms has been illustrated in the habitual drawing of the mouth and eyes, and still more strikingly in that of the hands and feet. Paradoxical though it may seem, these drawings, while in general bare and negligent of details, show in certain directions a quite amusing attention to them. Thus, we find at a very early stage certain details, as the pipe of the man, insisted on with extravagant emphasis; and may observe at a somewhat later stage in the elaborate drawing of hair, buttons, parasol, and so forth, a tendency to give some feature to which the child attaches value a special prominence and degree of completeness. The art of children is a thing by itself, and must not straight away be classed with the rude art of the untrained adult. As adult, the latter has knowledge and technical resources above those of the little child; and these points of superiority show themselves, for example, in the fine delineation of animal forms by Africans and others.[284] At the same time, after allowing for these differences, it is, I think, incontestable that a number of characteristic traits in children’s drawings are reflected in those of untutored savages. ----- Footnote 284: The tendency to identify the drawings of the child and the savage led to an amusing error on the part of a certain Abbé Domenech, who in 1860 published his so-called _Livre des Sauvages_, which purported to contain the graphic characters and drawings of North American Aztecs, but proved in reality to be nothing but the scribbling book of a boy of German parentage. The drawings are of the crudest, and show the artist to be much more nasty-minded than the savage draughtsmen. ----- _Explanation of Facts._ Let us now see how we are to explain these characteristics. In order to do so we must try to understand what process a child’s mind goes through when he draws something, and to compare this with what passes in the mind of an adult artist. The problem has, it is evident, to do with drawing from memory or out of one’s head, for though the child may begin to draw by help of models, he develops his characteristic art in complete independence of these.