Miklucho-Maclay notes that among the Papuans of north-eastern New Guinea, while the women showed no tendency to ornament pottery, young boys "found pleasure in imprinting with their nails and a pointed stick a sort of ornamental border on some of the pots" (42. 317). Paola Lombroso, daughter of Professor Cesare Lombroso, the celebrated criminologist, in her recent study of child psychology, observes: "Games (and plays) are the most original creation of the child, who has been able to create them, adapt them to his needs, making of them a sort of gymnastics which enables him to develop himself without becoming fatigued, and we, with the aid of memory, can hardly now lay hold of that feeling of infinite, intense pleasure." Moreover, these popular traditional plays and games, handed down from one generation to another of children, "show how instinctive are these forms of muscular activity and imitative expression, which have their roots in a true physiological and psychic necessity, being a species of tirocinium for the experience of childhood" (301. 136). The _magnum opus_, perhaps, of the child as inventor, is the lyre, the discovery of which, classical mythology attributes to the infant Mercury or Hermes. Four hours after his birth the baby god is said to have found the shell of a tortoise, through the opposite edges of which he bored holes, and, inserting into these cords of linen, made the first stringed instrument. The English poet, Aubrey de Vere, singing of an Athenian girl, thus refers to the quaint myth:-- "She loves to pace the wild sea-shore-- Or drop her wandering fingers o'er The bosom of some chorded shell: Her touch will make it speak as well As infant Hermes made That tortoise in its own despite Thenceforth in Heaven a shape star-bright." CHAPTER XVII. THE CHILD AS POET, MUSICIAN, ETC. Poeta nascitur, non fit.--_Latin Proverb_. As yet a child, nor yet a fool to fame, I lisp'd in numbers, for the numbers came.--_Pope_. _The Child and Music_.