heaval of its trials and ordeals. True, these are now very characteristic traits, and they have their artistic, and perhaps even their moral compensations; but they represent essentially the working of environmental forces rather than the outcropping of a race psychology; they are really the acquired and not the original artistic temperament.
BUSHONGO
A further proof of this is the fact that the American Negro, even when he confronts the various forms of African art expression with a sense of its ethnic claims upon him, meets them in as alienated and misunderstanding an attitude as the average European Westerner. Christianity and all the other European conventions operate to make this inevitable. So there would be little hope of an influence of African art upon the western African descendants if there were not at present a growing in-
