The cover of this book was created by thetranscriber and is placed in the public domain.
Images of the original pages are available through Internet Archive. Seehttps://archive.org/details/artevolution00haddrich.This book contains symbols that may not show correctly in allbrowsers or reading devices. Pointing at a Greek word should showa transliteration. The table on page 8 wasvery wide and has been rotated for better readability, but may stillnot be entirely visible on small screens. A picture of the originalpage has been placed at the end of this book. A more extensive transcriber’s note can be found therealso.
THE CONTEMPORARY SCIENCE SERIES.
Edited by HAVELOCK ELLIS.
EVOLUTION IN ART.
EVOLUTION IN ART:
AS ILLUSTRATED BY THE
LIFE-HISTORIES OF DESIGNS.
BY
ALFRED C. HADDON,
Professor of Zoology, Royal College of Science, Dublin, Corresponding
Member of the Italian Society of Anthropology, etc.
With 8 Plates, and 130 Figures in the Text.
LONDON:
WALTER SCOTT, LTD., PATERNOSTER SQUARE.
CHARLES SCRIBNER’S SONS,
153-157 FIFTH AVENUE, NEW YORK.
1895.
THE WALTER SCOTT PRESS, NEWCASTLE-ON-TYNE.
PREFACE.
I would like to take the opportunity which a Prefaceaffords to thank those friends who have helped me inthe preparation of this little book. Most of them willfind their names mentioned somewhere in the text.It is also my pleasant duty to heartily acknowledgethe kindness I have everywhere experienced whencollecting the materials on which these studies arebased. On many occasions I have entered a museumin Britain or abroad, not knowing any one on the staff.On explaining my object every facility was at onceoffered, cases were opened, specimens were handed tome, and various conveniences arranged; often, too,help was rendered me at the time, not only bycurators and assistants, but also by museum portersand gendarmes. It is particularly gratifying for astranger to be received as a colleague, and to findthat museum authorities everywhere recognise thatthe collections put under their charge serve their endbest when they are utilised by students.
A word of apology may be needed for the copiousextracts which have been made from the works of[vi]other writers. My object in this has been to showthat there has been quite a considerable number ofinvestigators who have approached the subject ofdecorative art from a similar point of view to thatelaborated in the present essay. A quotation bringsone more face to face with the author than does amere abstract, and personally I like to feel thecomradeship of similar studies. We all contributeour mites, and the only pity is we cannot all bepersonally known to one another.
It would afford me great pleasure if this book leadsto new students entering upon this important andintensely interesting field of inquiry, an