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 380 AMERICAN ANTHROPOLOGIST [ N. s., 1, 1899

maintained throughout. One of the values of the book to anthropol- ogists is found in numerous and often excellent illustrations of the cruciform and related symbols characteristic of the earlier culture stages, the cuts numbering 266. The work begins with a ten-page bibliography ; the body is divided arbitrarily into three parts, and these again into thirty-nine chapters ; it ends with a satisfactory index. Among the chapter-subjects may be noted "The Cross before the Christian Era and in Prehistoric Times," " Types of the Cross." u The Early Form and Use of the Cross," " Legends of the Cross," " The Cross in Early Christian Art," " Cruciform Ornaments," " Landmark Crosses," "The Cross in Heraldry," "Superstitions Concerning the Cross," and " The Sign of the Cross." The authorial part of the work was crippled by the death of the author shortly after the completion of the first draft of the manuscript, and again by the death of his literary executor (Rev. Thomas S. Drowne) before the proof-reading was finished ; yet there are full lists of contents and illustrations, besides the bibliography and fifteen-page index. In this and other respects the publishers have done their part admirably ; the book is handsomely printed in large type, with broad margins and inset side headings, and is thus comfortable for reading and convenient for reference.

VV J McGee.

How Music Developed. A Critical and Explanatory Account of the Growth of Modern Music. By W. J. Henderson. New York : Frederick A. Stokes Company. [1898.] 12, viii, 413 pp.

This is a valuable contribution to the evolution of music, but it doals only with the evolution of modern music. The work assembles a large body of facts in convenient form for the ethnologist who pursues this subject. Not having studied music as it exists in tribal society, and hence having no adequate conception of primitive music, statements are made which to the ethnologist seem a little bizarre ; thus, the author speaks of three stages of music, in which melody is developed first, then harmony, and finally rhythm, and he ignores that stage which the ethnologist knows as symphony, the last to be developed and especially characteristic of modern music. This he does by con- sidering the elements of symphony as if they were elaborations of harmony. In all primitive music rhythm is rhythm of accent or stress : (1) It is rhythm of loud and soft ; (2) it is rhythm of high and low ; (3) it is rhythm of long and short ; and (4) in symphony it is rhythm of theme, or perhaps it would be better understood if called rhythm of musical motive.

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