If it be objected that such sociological explanations of decorative patterns are too far-fetched, we at once refer to the marvellous Maori ornaments, in which the temperament of another warlike tribe has found a most characteristic expression. Like the fantastic convolutions on the Dyak shields, the flaming scrolls of black and red which extend over the ceilings and walls of the Maori houses unmistakably attest their origin from a nation which war has made violent, vigorous, and intensely energetic.[462] Generally speaking, it may be futile to seek for any differentiated expressional qualities in such an impersonal and unemotional art as that of linear ornament. But in face of these powerful designs even the most neutral observer will be struck with the strong emotional exaltation which has here found a vent, not in words, or sounds, or images, but in pure lines and colours. Such mighty strokes, so full of life and agitation, could never have been drawn by any peaceful and quiet natives. The velocity and the wild inspiration of these patterns are only possible in a nation which has experienced in continuous fights an ever-repeated state of high-strung emotional excitement. The more official Maori decorative art, the Moko, as well as the Maori sculpture, probably because of their close connection with religion, are too rigid in their traditional character to admit of any strongly pronounced emotional content. But the influence of warlike exaltation has instead made itself felt in the poetical productions of the race. And, as has already been pointed out, but for the military type of life dancing could not have reached so marvellous a degree of development. Owing to the more organised character of Maori warfare, military customs do not, as among the Dyaks, aim chiefly at producing suppleness and graceful movements in the individual. But one has only to read the enthusiastic descriptions of the painter Earle in order to realise the influence which military customs have even here exercised on the development of plastic beauty.[463] The Dyaks and Maoris are but two of the most typical among savage tribes whose artistic productions have grown up under the auspices of war. For a complete account of art in its connection with war it would be necessary to dwell on the war songs of the North American Indians,[464] to give some account of the art-style which is found in the military despotisms of Western Africa,[465] and to describe in detail the poetry which has been called into existence by the continuous tribal feuds of the North African nomadic hordes.[466] In its broad aspects, however, the æsthetic importance of war will, we hope, appear with sufficient clearness from the cursory review which has been given above.