nt of the mathematical faculty is wholly unexplained by the
theory of natural selection, and must be due to some altogether distinct
cause.

_The Origin of the Musical and Artistic Faculties._

These distinctively human faculties follow very closely the lines of the
mathematical faculty in their progressive development, and serve to
enforce the same argument. Among the lower savages music, as we
understand it, hardly exists, though they all delight in rude musical
sounds, as of drums, tom-toms, or gongs; and they also sing in
monotonous chants. Almost exactly as they advance in general intellect,
and in the arts of social life, their appreciation of music appears to
rise in proportion; and we find among them rude stringed instruments and
whistles, till, in Java, we have regular bands of skilled performers
probably the successors of Hindoo musicians of the age before the
Mahometan conquest. The Egyptians are believed to have been the earliest
musicians, and from them the Jews and the Greeks, no doubt, derived
their knowledge of the art; but it seems to be admitted that neither the
latter nor the Romans knew anything of harmony or of the essential
features of modern music.[233] Till the fifteenth century little
progress appears to have been made in the science or the practice of
music; but since that era it has advanced with marvellous rapidity, its
progress being curiously parallel with that of mathematics, inasmuch as
great musical geniuses appeared suddenly among different nations, equal
in their possession of this special faculty to any that have since
arisen.

As with the mathematical, so with the musical faculty, it is impossible
to trace any connection between its possession and survival in the
struggle for existence. It seems to have arisen as a _result_ of social
and intellectual advancement, not as a _cause_; and there is some
evidence that it is latent in the lower races, since under European
training native military bands have been formed in many parts of the
world, which have been able to perform creditably the best modern music.

The artistic faculty has run a somewhat different course, though
analogous to that of the faculties already discussed. Most savages
exhibit some rudiments of it, either in drawing or carving human or
animal figures; but, almost without exception, these figures are rude
and such as would be executed by the ordinary inartistic child. In fact,
modern savages are, in this respect