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.

[Illustration: Fig. 8.--Red Indian Picture-writing: the Legend of
Manabozho.]

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 representations 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.

[Illustration: Fig. 9.--Bushman Wall-painting.]

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 indi