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 I have tried to do here, it is at once clear that the correctness of the assumptions has not been demonstrated, but that arbitrarily the one or the other has been selected for the purpose of obtaining a consistent picture of cultural development. These methods are essentially forms of classification of the static phenomena of culture according to two distinct principles, and interpretations of these classifications as of historical significance, without, however, any attempt to prove that this interpretation is justifiable. To give an example: It is observed that in most parts of the world there are resemblances between decorative forms that are representative and others that are more or less geometrical. According to the evolutionary point of view, their development is explained in the following manner: the decorative forms are arranged in such order that the most representative forms are placed at the beginning. The other forms are so placed that they show a gradual transition from representative forms to purely conventional geometric forms, and this order is then interpreted as meaning that geometric designs originated from representative designs which gradually degenerated. This method has been pursued, for instance, by Putnam, Stolpe, Balfour, and Haddon, and by Verworn and, in his earlier writings, by von den Steinen. While I do not mean to deny that this development may have occurred, it would be rash to generalize and to claim that in every case the classification which has been made according to a definite principle represents an historical development. The order might as well be reversed and we might begin with a simple geometric element which, by the addition of new traits, might be developed into a representative design, and we might claim that this order represents an historical sequence. Both of these possibilities were considered by Holmes as early as 1885. Neither the one nor the other theory can be established without actual historical proof.

The opposite attitude, namely, origin through diffusion, is exhibited in Heinrich Schurtz’s attempt to connect the decorative art of Northwest America with that of Melanesia. The simple fact that in these areas elements occur that may be interpreted as eyes, induced him to assume that both have a common origin, without