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"The beginning of art" Table Of Contents:

• 1- CONTENTS.
• 2- I. — The aim of the science of art 1
• 3- History of art — Philosophy of art and science of art — The problem of the science of art — Its limits — Its value.
• 4- II. — The way to the science of art 9
• 5- The two forms of the problem of the science of art — The individual form and its difficulties — The social form — Its history — Dubos, Herder, Taine, Hennequin, Guyau — The old and the new methods — The comparative ethnological method — The study of primitive forms — Its difficulties — Collection and significance of the material.
• 6- III. — The primitive peoples 32
• 7- The conception of primitive peoples in sociology and ethnology — Peoples and races — The significance of production to culture — Influence of production on the develop- ment of the family and of religion — The degeneration hypothesis — The primitive peoples of the present — Their culture.
• 8- V. — Art 47
• 9- The nature of artistic activity — Art, play, and exercise - Art as a social phenomenon and a social function. — Classification of the arts.
• 10- V. — Personal decoration 53
• 11- Decoration and clothing among the primitive peoples — Division of decoration — Body painting — Significance of colours — Fixed decoration — Scarification of the Australians and Mincopies and its meaning — The tattooing of the Bushmen and Eskimo — Ear, lip, and nose ornaments — Hair dressing — Movable decoration of the head, the neck, tho loins — Loin decoration and the feeling of shame — Limb decoration — Decoration of clothing of the Eskimo — Fashion in the lowest grades of culture — Esthetic value of primitive dress decoration — Lustre, colours, forms, symmetry, and eurhythmy — Associations — Decoration of primitive and civilized peoples — Practical significance of decoration — attractive dress and terrifying dress — Kelation of male and female ornament — Meaning of ornament among the higher peoples — Ornament as a mark of rank — Duration and chungc of fashions in dress ornament — The future of dress ornament.
• 12- VI. — Ornamentation 115
• 13- Ornamentation of implements in the lowest degrees of culture — The “geometrical pattern” of primitive ornamentation — The sources of ornamentation — Natural motives — Technical motives — Original meaning of primitive ornament-inscriptions, property marks, tribal symbols, reli- gious symbols — Imitations of technical motives — Primary and secondary ornaments — Esthetical significance of writing — Esthetical value of primitive ornaments — Influence of primitive culture on ornamentation — Influence of primitive ornamentation on culture.
• 14- II. — Representative art 163
• 15- Pictorial works from the reindeer period — Cave paintings, rock carvings and bark drawings of the Australians — Paintings of the Bushmen — Pictorial work of the hyperboreans ; drawings and carvings — The masks of the south western Eskimo — Diffusion of pictorial talent among the hunting peoples — Pictorial art of primitive peoples and pictorial art of children — Primitive pictorial art and primitive production — Relation to religion — Pictures and picture writing — Practical significance of pictorial art
• 16- VIII. — The dance 207
• 17- Kinds of primitive dances — Gymnastic dances — Mimetic dances — Esthetic value — Religious dances — The social significance of primitive dances — Decline of the art of dancing — The modern dance.
• 18- IX. — Poetry 232
• 19- Quantitative and qualitative lack of material — Nature of poetry — Spencer’s undifferentiated primitive poetry — The primitive lyric — Examples — Contents and form — General character — Value of the primitive lyric for poet and public — Lyric and music — The primitive epic — Poetical narration, historical tradition, and scientific myth — Compass of primitive epics — Content — Treatment and characters — Animal stories of the Bushmen — Marchen of the Eskimo — The history of little Kagsagsuk — Foreign influence — The primitive drama — Its two sources — A pantomime of the Aleuts — An Australian moral piece — Social significance of poetry.
• 20- X. — Music 278
• 21- Connection of music with the dance and poetry — The two views on tho nature and origin of music — Schopenhauer and Spencer — Matter and form of music — Primitive vocal rausio — Primitive instrumental music — General character of primitive music — Primitive music and Spencer’s speech theory — Darwin on the first development of musical talent — Development of rhythm and harmony — Peculiar influence of music — Practical significance of music — Martial and dancing music — Essential significance of music — Music and culture.
• 22- XI. — Conclusion 305
• 23- Retrospect — Nature of primitive art — Its conditions — Its effects — Art as a means in the struggle for existence — Social and individual significance of art.
• 24- LIST OF ILLUSTRATIONS.
• 25- FIG. PAGE
• 26- 1. Australian scratched Designs from Shields and Clubs. (After Brough Smyth.) 117
• 27- 2. Ornaments of the Karaya. (After Ehrenreich.) 119
• 28- 3. Ornaments of the Karaya. (After Ehrenreich.) 121
• 29- 4. Shield from South Australia (after Eyre), and Shield from Queensland (Berlin Museum) 122
• 30- 5. Australian Shields from Victoria, with scratched Designs. (After Brough Smyth.) 124
• 31- 6. Australian Throw-stick, with a Map of the Country scratched on it. (After Brough Smyth.) 125
• 32- 7. Ornaments of the M incopies. (From Man.) 126
• 33- 8. Bone Implements of the Eskimo, with Animal Ornaments. (After Jacobsen.) 127
• 34- 9. Bone Implements of the Eskimo in the Form of Animals. (After Jacobsen.) 128
• 35- 10. Bone Implements of the Eskimo, with Ornaments from Technical Motives. (From photographs.) 129
• 36- 11. Ornamental Details of Bone Implements of the Eskimo. (From photographs.) 130
• 37- 12. Potsherds from the Andaman Islands. (After Man.) 131
• 38- 13. Australian Spear, with Technic Ornament. (After Brough Smyth.) 132
• 39- 14. A Message Stick (after Howitt) and a Shield from Australia 134
• 40- 15. An Indian Picture-writing Sign for a Lapse of Time (after Mallery), and a Drill Bow of the Eskimo (from a photograph) 136
• 41- 16. Property Marks. (After Lartet, Christy, and Choris) 138
• 42- 17. Mineopy Girdle. (After Man.) 148
• 43- 18. Australian Shields. (After Brough Smyth.) 152
• 44- 19. Dagger-Handle of Reindeer Horn. (From a cast.) 164
• 45- 20. Australian Cave Painting at Glenelg. (After Grey.) 166
• 46- 21. Australian Cave Painting at Glenelg. (After Grey.) 167
• 47- 22. Australian Cave Painting at Glenelg. (After Grey.) 169
• 48- 23. Australian Rock Sculptures on Depuch Island. (After Stokes.) 171
• 49- 24. Australian Drawing. (After Brough Smyth.) 176
• 50- 25. Australian Grave Tablet of Bark. (After Brough Smyth.) 177
• 51- 26. Rock Drawings of the Bushmen. (After Fritsch.) 182
• 52- 27. Carving by an Eskimo on a piece of Walrus Tusk 186
• 53- 28. Drawing by a Tchukchi. (After Hildebrand.) 187
• 54- 29. Hyperborean Bone Carvings. (After Hildebrand.) 188
• 55- 30. Aleut Carvings on Bones. (After Hildebrand.) 189
• 56- 31. Bone Carvings of the Eskimo. (After Boas.) 191
• 57- 32. Picture Writing from Alaska. (After Mailery.) 202
• 58- FULL-PAGE PLATES.
• 59- Plate I. — Australian Bark Drawing. (After Andree.)
• 60- Plate II. — Pen Drawing by an Australian. (After Andree.)
• 61- Plate III. — A Cave Painting of the Bushmen. (After Andree.)

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