There is thus suggested a further point. We were able to derive those qualities of artistic composition, which in all æsthetic systems have been insisted on as the most primordial, from the distinctive qualities of the self-sufficing art-impulse, by showing how the unity, the concentration, and the subordination of parts to a whole correspond to the unity of a feeling-state which it is the object of the art-impulse to convey and to perpetuate in its entirety. On the other hand, we are forced to acknowledge that by the side of these primordial qualities there exist certain secondary qualities which have been of great importance in facilitating and securing the transmission and perpetuation of the original feeling-state; and we have shown how these qualities arise out of the vassalage by which art in its historical development has been bound to the necessities and utilities of practical life. For those who crave a theoretical basis for the estimation of art there is offered a field of research in the comparison and relative valuation of these two orders of qualities. By studying the alternate influences which the primary and the derived factors have exercised on the character of works of art, it may even be possible to lay down a kind of scale by which to rank general qualities as well as individual manifestations. But all this train of thought, though cognate to our inquiry, is not a part of it. This book has aimed simply to give an answer to the question, How did art originate? To those minds which see no value in an æsthetic inquiry that neither purposes to offer guidance for the artist in producing works of art, nor for the student in appreciating them, the whole discussion may probably appear futile. The author on his part has thought that such investigation into an important and typical human energy must be of interest at least, if not of value. But upon the practical question it is his personal opinion that the loss would be greater than the gain if theories and judgments based upon philosophical considerations were allowed to influence either the production or the enjoyment of art. AUTHORITIES QUOTED Abbott, Charles C., Primitive Industry: or, Illustrations of the Handiwork of the Native Races of the Northern Atlantic Seaboard of America. Salem, Mass. 1881. Abercromby, John, The Pre-and Proto-historic Finns, both Eastern and Western, with the Magic Songs of the West Finns. I.-II. London, 1898. Abhandlungen der Königlich. sächsischen Gesellschaft der Wissenschaften. Leipzig. Abhandlungen und Berichte des Königl. zoologischen und anthropologisch-ethnographischen Museums zu Dresden. Berlin. Academy, The. London. Acosta, Joseph de, The Natural and Moral History of the Indies. Trans. ed. by C. R. Markham. I.-II. London, 1880. Acta Societatis Scientiarum Fennicæ. Helsingfors. Actes de l’académie nationale des sciences, belles-lettres et arts de Bordeaux. Paris.