THE IMITATIVE ARTS. 219 amuse ourselves by some comparatively purposeless exercise of the more delicate organs of correlation. How we do it varies with our temperament. We may whittle a piece of stick into a doll or a tooth-pick ; we may cut out figures with a paper and scissors ; we may draw pencil sketches on our finger nails ; we may fish over the ship’s side for sar¬ gasso-weed ; we may plait the loose ends of the leather window-strap ; we may deface the letters on the company’s notices ; we may carve our initials on the wood-work ; we may smoke, bite our nails, or hum a tune ; but some¬ thing or other we must do. Under ordinary circumstances adult men have enough to occupy them without such shifts ; but women of the upper classes are obliged to expend their superfluous energies on embroidery, wool-work, vitromanie, wood-carving, leather-moulding, and a thousand other quasi- artistic expedients. In short the nervous structures are there, and an appropriate object must be found for them. Of course all these facts already postulate the series of prior developments by which such complicated organs of correlation have been brought into existence. The function is imperative because the structures exist ; and the struc¬ tures exist because previous function has slowly perfected them. So that these characteristics of civilized man cannot account for the first artistic attempts of the savage. But in the savage too, though to a less extent, there is a necessity for exercising the hands upon comparatively useless work. Just as the eye, whose main functions are at first those of searching for food or mates and anticipating the approach of enemies, must yet expend its energies in viewing countless