[9] Von den Steinen, Karl:  ’Unter den Naturvolkern
   Zentral-Brasiliens,’ Berlin, 1894.

   [10] Internal.  Archiv s.  Ethnog., Bd.  IX.

   [11] Cf.  Andree, Richard:  ‘Ethnographische Parallelen,’ Neue
   Folge, Leipzig, 1889, S. 59.

The reason for the divergence of drawing and ornament is doubtless the original motive of ornamentation, which is found in the clan or totem ideas.  Either to invoke protection or to mark ownership, the totem symbol appears on all instruments and utensils; it has been shown, indeed, that practically all primitive ornament is based on totemic motives.[12] Now, since a very slight suggestion of the totem given by its recognized symbol is sufficient for the initiated, the extreme of conventionalization and degradation of patterns is allowable, and is observed to take place.  The important point to be noted in this connection is, however, that all these changes are toward symmetry.  The most striking examples might be indefinitely multiplied, and are to be found in the appended references (see Figs. 8 and 9).

   [12] Haddon, op. cit.; Frazer, J.G.:  ‘Totemism,’ 1887;
   Grosse, Ernst:  Anfaenge der Kunst,’ Freiburg i.  B. u.  Leipzig,
   1894.

[Illustration:  Fig. 5.]

[Illustration:  Fig. 6.]

[Illustration:  Fig. 7.]

We may distinguish here, also, between the gradual disintegration and degradation of pattern toward symmetry, as seen in the examples just given, and the deliberate distortion of figures for a special purpose.  This is strikingly shown in the decorative art of the Indians of the North Pacific coast.  They systematically represent their totem animals—­their only decorative motives—­as split in symmetrical sections, and opened out flat on the surface which is to be covered[13] (see Fig. 11).  Dr. Boas argues that their purpose is to get in all the received symbols, or to show the whole animal, but, however this may be, every variation introduces symmetry even where it is difficult to do so, as in the case, for instance, of bracelets, hat-brims, etc. (Fig. 10).  This may in some cases be due to the symmetrical suggestions of the human body in tattooing,[14] but it must be so in comparatively few.

[13] Boas, Franz:  ’Decorative Art of the Indians of the North Pacific Coast,’ Bulletin of Am.  Mus. of Nat.  Hist., Vol.  IX.

[14] Mallery, G.:  op. cit.; Haddon, A.C.:  op. cit., p. 257; ‘Decorative Art of British New Guinea,’ Cunningham Memoir X., Royal Irish Acad., 1894, p. 26.

[Illustration:  Fig. 8.]

[Illustration:  Fig. 9.]

[Illustration:  Fig. 10]