ars, nose, lips, and cheeks, are all originally
decorative; and so also prickings and gashes in the body, often in
regular outlines.[237]

+116+. These latter, made according to tribal custom and law, become
tribal marks (tattoo), and are then essential to one's standing in the
community. This custom is general in Polynesia and in parts of North
America.[238] The use of oil and other unguents early established itself
as a custom of savage society. They were probably useful in a variety of
ways. For the hair they made up for the absence of comb and brush; in
combat they enabled the warrior to slip from the grasp of his enemy;
they defended the naked body from rain, and from soiling and injury
produced by contact with the earth and hard bodies; and in sickness they
were regarded as curative.[239] Oil was abundantly used as an article of
food.

+117+. All these materials of decoration are transferred to the service
of religion. The headdress becomes a mask to represent an animal in a
sacred ceremony,[240] or a priestly tiara. In such ceremonies
(especially in those of initiation) the painting of the body plays an
important part, the traceries varying according to the thing represented
and the symbolism of the action.[241] It is often difficult to see the
precise significance of the paintings, but in certain cases they are
totemic marks, and represent whatever is sacred in totemic belief.[242]

+118+. It is possible to construe the development in two ways: the
paintings may be regarded as originally totemic or other clan marks, and
as afterwards employed as ornaments, or the order of movement may be
taken to be in the reverse direction; but when we consider the primitive
character of decoration, the second suggestion seems the more probable.
The same remark applies to the practice of pricking, scarring, and
tattooing.[243] For the body-markings blood is sometimes employed,
perhaps in part on account of its decorative color, but also probably
with a religious significance.[244]

+119+. Decoration has been and is largely employed in structures and
dress connected with religious life. Posts and beams of houses, totem
posts and masts of vessels are covered with figures in which artistic
feeling is discernible;[245] and in late periods all the resources of
art are devoted to the form and adornments of temples, altars, and
images. The designs are taken from familiar objects, mostly from plants
and animals. The ultimate motive