or disfavour is of paramount importance to primitive man. Side by side with this element of propitiation we find in the artistic manifestations connected with funeral ceremonies examples of almost all those aspects of art to which attention has been called in the preceding chapters. The purpose of information is represented by pictorial, poetic, or dramatic representations in which the doings of the deceased are displayed before the survivors.[506] The dances and songs may in many cases be reasonably explained as aiming at a stimulation of the spirit, which certainly needs an increase of force in order to surmount all the hardships and the weary wanderings of its transitional life.[507] In other cases funeral art is evidently intended to produce upon invisible enemies the same kind of terrifying effects which have already been spoken of in connection with military paintings and pantomimes.[508] And, lastly, it is probably in the endeavour to exert a sympathetic influence upon the combats which the deceased must undergo before he can attain his peace and rest that the survivors hold magical sham-fights and tugs of war over his grave.[509] Thus in this one branch of art we can see how each of the sociological art-principles is of much wider applicability than has been possible to trace within the limits of this work. But, on the other hand, the crucial instance of funeral art shows us how even in such artistic manifestations as at the outset appear to be quite irreducible we may by a closer investigation reveal the influence of those general factors which have been selected for treatment in the preceding chapters. And therefore, without entering upon a detailed examination of all the varying forms of art, we feel entitled to hold that the utilitarian motives of information, propitiation, stimulation, and magical efficiency afford a sufficiently complete list—from a theoretical point of view—of the most important non-æsthetic factors that have favoured the development of art. * * * * *