mother to be out of the water's way. The somewhat similar object is Manabozho himself, on the top of his mountain. The animals you next behold (10) were sent out by Manabozho to ascertain how the deluge was faring, and to carry messages to his grandmother. This scroll was drawn, probably on birch bark, by a Red Man of literary attainments, who gave it to Kohl (in its lower right-hand corner (11) he has pictured the event), that he might never forget the story of the Manabozhian deluge. The Red Indians have always, as far as European knowledge goes, been in the habit of using this picture-writing for the purpose of retaining their legends, poems, and incantations. It is unnecessary to say that the picture-writing of Mexico and the hieroglyphics of ancient Egypt are derived from the same savage processes. I must observe. that the hasty indications of the figure used in picture-writing are by no means to be regarded as measures of the Red Men's skill in art. They can draw much better than the artist who recorded the Manabozhian legend, when they please.

In addition to picture-writing, Religion has fostered savage representative art. If a man worships a lizard or a bear, he finds it convenient to have an amulet or idol representing a bear or a lizard. If one adores a lizard or a bear, one is likely to think that prayer and acts of worship addressed to an image of the animal will please the animal himself, and make him propitious. Thus the art of making little portable figures of various worshipful beings is fostered, and the craft of working in wood or ivory is born. As a rule, the savage is satisfied with excessively rude re

presentations of his gods. Objects of this kind-rude hewn blocks of stone and wood-were the most sacred effigies of the gods in Greece, and were kept in the dimmest recesses of the temple. No Demeter wrought by the craft of Phidias would have appeared so holy to the Phigalians as the strange old figure of the goddess with the head of a mare. The earliest Greek sacred sculptures that remain are scarcely, if at all, more advanced in art than the idols of the naked Admiralty Islanders. But this is anticipating; in the meantime it may be said that among the sources of savage representative art are the need of something like writing, and ideas suggested by nascent religion.

The singular war-picture (Fig. 9) from a cave in South Africa, which we copy from the Cape Monthly Magazine, probably represents a magical ceremony. Bushmen are tempting a great water animal-a rhinoceros, or something of that sort-to run across the land, for the purpose of producing rain. The connection of ideas is scarcely apparent to civilised minds, but it is not more indistinct than the connection between carrying a bit of the rope with which a man has been hanged and success at cards—a common French superstition. The Bushman cave-pictures, like those of Australia, are painted in black, red, and white. Savages, like the Assyrians and the early Greeks, and like children, draw animals much better than the human figure. The Bushman dog in our little engraving (Fig. 7) is all alive-almost as full of life as the dog which accompanies the centaur Chiron, in that beautiful vase in the British Museum which represents the fostering of Achilles. The Bushman wall-paintings,

like those of Australia, seem to prove that

is capable of consider

able freedom, when supplied with fitting materials. Men seem to draw better when they have pigments and a flat surface of rock to work upon, than when they are scratching on hard wood with a sharp edge of a broken shell. Though the thing has little to do with art, it may be worth mentioning, as a matter of curiosity, that the labyrinthine Australian caves are decorated, here and there, with the mark of a red hand. The same mysterious, or at least unexplained, red hand is impressed on the walls of the ruined palaces and temples of Yucatanthe work of a vanished people.

There is one sin

savage art

gular fact in the history of savage art which reminds us that savages, like civilised men, have various degrees of culture and various artistic capacities. The oldest inhabitants of Europe who have left any traces of their lives and handiwork must have been savages. Their tools and weapons were not even formed of polished stone, but of rough-hewn flint. The people who used tools of this sort must necessarily have enjoyed but a scanty mechanical equipment, and the

FIG. II.-RED INDIAN ART: THE
THUNDER-BIRD.

life they lived in caves from which they had to drive the cave-bear, and among snows where they stalked the reindeer and the mammoth, must have been very rough. These earliest known Europeans, 'palæolithic men,' as they are called, from their

use of the ancient unpolished stone weapons, appear to have inhabited the countries now known as France This and England, before the great Age of Ice. makes their date one of incalculable antiquity; they are removed from us by a 'dark backward and abysm of time.' The whole Age of Ice, the dateless period of the polishers of stone weapons, the arrival of men using weapons of bronze, the time which sufficed to change the climate and fauna and flora of Western