Having made this critical review of the subject, I may give my undivided attention to the effort to prove that art, in its last analysis, does include the sexual element along with all else that appeals to the feelings, and so is often converted into a love play. But we must distinguish such play as it is manifested in artistic production and that which appears in æsthetic enjoyment. We often find courtship carried on by means of the former, while the latter is concerned only with the playful enjoyment of sexual excitement, unconnected with any serious aim. Courtship by means of artistic production is a subject which has been pretty thoroughly canvassed and will have but brief mention here. It exhibits a playful character, such as the above-mentioned forms of self-display when the wooer enjoys the mere act of unfolding his charms. Among savages it is usually confined to the use of pigments and dancing. Westermarck and Grosse have recently enumerated the principal uses of the former. But, as I have said, such decoration is not exclusively for courtship purposes; the desire to outshine other tribes is often a powerful motive. The psychological aspect of this sort of thing is interesting. The later development of fashion teaches us that mere delight in finery and ornament is a very small part of it; there is a complication of relations. When we see an elegant old gentleman at a watering place with a flower in his buttonhole, we attribute his state of mind to a belated feeling of youthfulness; and so the adornments of savages and the coquette’s toilet owe their effect less to a direct appeal to the senses than to their symbolic meaning. They betray the demand for ornament, and this demand again discloses the adaptability of ornamentation to sexual purposes. Our peasant youths at the fairs put labels in their hats announcing to the interested public that they are in the matrimonial market, and all decoration for courtship purposes says the same thing in effect. Their suggestiveness is not so much in the external appearance as in their symbolism,[518] and this may explain the fact that what is merely striking is as effective in primitive and sometimes in modern decoration as what is really beautiful.