that employed for smoke, as in the annexed drawing by a girl of seven (Fig, 8, b).
As implied in this account of the facial features, a good deal of conventionlike agreement of method is enlivened by a measure of diversity of treatment. Perhaps one of the most striking instances of daring originality is seen in the attempt by a girl of four—who was subjected to a great deal of instruction—to give 
Fig. 9.Fig. 10. separate form to the chin (Fig. 9). This may be compared with the attempt of the Uganda negro to indicate symbolically the cheeks (see Fig. 3).
As I have remarked, to the child bent on representing "man" the head or face is at first the principal thing, some early drawings contenting themselves with this. But in general the head receives some support. The simplest device here is the abstract mode of representation by two supporting lines, which do duty for legs and body. These are for the most part parallel (Fig. 2), though occasionally they are united at the top, making a kind of target figure. This same arrangement, fixing the head on two upright lines, meets us also in the rude designs of savages, as may be seen in the accompanying rock inscription from Schoolcraft (Fig. 10).
The comparative indifference of the child to the body or trunk is seen in the obstinate persistence of this simple scheme of head and legs, to which two arms attached to the sides of the head are often added. A child will complete the drawing of the head by
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| Fig. 11. | Fig. 12. | |
inserting hair or a cap, and will even add feet and hands, before he troubles to bring in the trunk (see Fig. 2 and Fig. 7, d, also the accompanying drawing by a boy of six, Fig. 11, a). With this neglect of the trunk by children may be compared the omission
