st characteristic in nature. Clearly, if the Eskimo come from
palaeolithic man, they are a degenerate race as far as art is concerned.
Yet, as may be seen in Dr. Rink's books, the Eskimo show considerable
skill when they have become acquainted with European methods and models,
and they have at any rate a greater natural gift for design than the Red
Indians, of whose sacred art the Thunderbird brooding over page 298 is a
fair example. The Red Men believe in big birds which produce thunder.
Quahteaht, the Adam of Vancouver's Island, married one, and this (Fig.
11) is she.

[Fig. 11. Red Indian art - the Thunderbird: 298.jpg]

[Fig. 13. Eskimo Drawing - A Reindeer hunt: 300.jpg]

[Fig. 14. Palaeolithic sketch - a reindeer: 301.jpg]

We have tried to show how savage decorative art supplied the first ideas
of patterns which were developed in various ways by the decorative art of
advancing civilisation. The same progress might be detected in
representative art. Books, like the guide-book to ancient Greece which
Pausanias wrote before the glory had quite departed, prove that the Greek
temples were museums in which the development of art might be clearly
traced. Furthest back in the series of images of gods came things like
that large stone which was given to Cronus when he wished to swallow his
infant child Zeus, and which he afterwards vomited up with his living
progeny. This fetich-stone was preserved at Delphi. Next came wild
bulks of beast-headed gods, like the horse-headed Demeter of Phigalia,
and it seems possible enough that there was an Artemis with the head of a
she-bear. Gradually the bestial characteristics dropped, and there
appeared such rude anthropomorphic images of Apollo--more like South Sea
idols than the archer prince--as are now preserved in Athens. Next we
have the stage of semi-savage realism, which is represented by the
metopes of Selinus in Sicily, now in the British Museum, and by not a few
gems and pieces of gold work. Greek temples have fallen, and the statues
of the gods exist only in scattered fragments. But in the representative
collection of casts belonging to the Cambridge Archaeological Museum, one
may trace the career of Greek art backwards from Phidias to the rude
idol.

'Savage realism' is the result of a desire to represent an object as it
is known to be, and not as it appears. Thus Catlin, among the Red
Indians, found that the people refused to be drawn in profile. They