A final observation refers to children alone. I have already noted that imitative play, in which the player appears in dramatic relation to the puppet, while common enough with children, is not found in adult art unless at the most a partial analogy is traceable in some religious connections; these same principles apply to drawing. The child plays with the figures he has drawn as with dolls, and gives us a most attractive picture of his capacity for illusion. Marie G——, when four and a half years old, wanted to draw a holy family. First came a kneeling figure, whose position was most precarious—his knees would not bend properly, and for reverently folded hands there was a confusion of crossing lines. The little artist cried with annoyance: “The naughty child doesn’t want to kneel. Joseph will be angry with him because he won’t kneel down and say his prayers; he is stamping and scolding.—You naughty child, won’t you kneel down now and pray?” In the meantime she made Joseph (asking if he wore trousers), with his foot raised to stamp on the ground, and then came the kneeling figure—a good child now, at last. A little of this capacity for illusion is sometimes found among full-grown artists, and especially among the naïve religious painters who are conscious of the divine indwelling as they make their representations of religious subjects. The consideration of plastic imitative play in its narrower sense will occupy us but a short time. Von den Steinen’s explanation of drawing, given above, will hardly apply here. The probable starting point for such figures was the accidental resemblance of some outline to weapons, implements, or ornaments. The child’s ready capacity for illusion which is as likely to call a circular outline an umbrella as a human head is not wanting in adults as well, and especially so among primitive people. When he makes a dagger handle out of a reindeer horn, or a necklace of various small objects, or adorns a clay vessel with impressions, and enjoys doing these things, his hands thus rendered skilful need but little help to make other images. Another possible origin is in experimentation with plastic material, such as clay or wax, which would naturally lead to moulding.