Vehicles of emotional transmission, 120-124 Vital sensation and pain, 60-65 Volts, 286 War, its social influence, 261; its influence on art, 261-277; on plastic beauty, 276; on decorative art, 275-277; a prominent subject in history and narrative art, 178-180; the need of stimulation for, 263 Werther, 104, 105 Witches, Bacchantes, and hysteric patients, 109 Wordless tribes, stories about, 152 Work, stimulation to, 252-257; regulation of, 88, 257-260; and art, 12, 88, 249-260 THE END _Printed by_ R. & R. CLARK, LIMITED, _Edinburgh_. FOOTNOTES: [1] _Förstudier till en konstfilosofi_, Helsingfors, 1896. A summary in German of this book can be read in _Zeitschrift für Psychologie und Physiologie der Sinnesorgane_, Bd. xvi. pp. 233-235. [2] Baumgarten, _Aesthetica_, pp. 1, 3, 6 _sq._ [3] Bosanquet, _History of Æsthetic_, pp. 173, 187. [4] Cf. _e.g._ Hanslick, _Vom musikalisch Schönen_, p. 3. [5] Kant, _Kritik der Urtheilskraft_, p. 147, to be compared with Kant’s chapters on beauty. [6] Schiller, _Über die ästhetische Erziehung des Menschen_, _passim_. [7] Spencer, _Principles of Psychology_, ii. pp. 628, 632. Cf. also the extracts from a letter written by Mr. Spencer to M. Guyau, quoted in _Les problèmes de l’esthétique contemporaine_, p. 18. [8] Hennequin, _La critique scientifique_, pp. 26-28. [9] Grosse, _Die Anfänge der Kunst_, pp. 46, 47. [10] Grant Allen, _Physiological Æsthetics_, pp. 32, 33. [11] Cf. Kant, _l.c._ p. 66. [12] Guyau, _Les problèmes de l’esthétique contemporaine_, livre i. [13] Cf. Stolpe, _Utvecklingsföreteelser i naturfolkens ornamentik_, i.-ii. in Ymer, 1890-1891. An English translation by Mrs. H. C. March is published in _Transactions of the Rochdale Literary and Scientific Society_, 1891. Read, “On the Origin, etc., of Certain Ornaments of the S. E. Pacific,” in _Journ. Anthr. Inst._ xxi. Cf. also March, “Polynesian Ornament, a Mythography,” in _Journ. Anthr. Inst._ xxii. [14] Catlin, _Illustrations_, etc., i. pp. 127, 128, Mandan buffalo dance. A similar dance among the Iroquois has been described by Morgan (_Iroquois_, p. 287), who does not, however, speak of any magical purpose. Although somewhat differently explained by Catlin, the Sioux bear dance (_l.c._ i. p. 245) is no doubt as magical in its intention as the buffalo dance. The same interpretation holds good also, we believe, with regard to the gorilla dance of the Negroes (Reade, _Savage Africa_, pp. 195, 196) and the hunting pantomimics of the Koossa Kaffirs (Lichtenstein, _Travels_, i. p. 269). [15] Wallace, _Darwinism_, pp. 467, 468. [16] For a direct opposition to Mr. Wallace’s views on this point see Wallaschek, _Primitive Music_, pp. 278, 279. Cf. also Ritchie, _Darwinism and Politics_, pp. 110-114. [17] Cf. Guyau, _Les problèmes de l’esthétique contemporaine_, pp. 15, 24.