A.- MASCARAS

In the section corresponding to the “Black-African Artistic Ethnography” (see tab above to the right) we develop a broad chapter on the nature of the mask, its origins and its functions. To avoid repetitions we will refer, in the sections corresponding to the masks of this first part of the Catalogue, exclusively to the masks treated in each section, with a brief comment. It is common, in different ethnic groups, to talk about real masks. It is not that the mask is the king, but that it is masks intended to be worn at ceremonies held in the royal setting. Some masks are real because only the king can own them, as is the case with the beads masks of the Bamileké Others because they represent the king, which is the most frequent case. The same thing happens with boss masks. Griot masks are frequent, mainly in the West African, often important court figure, familiar with genealogies, singer, poet, historian and rapsode, which can also exalt a king who defamates a monarchy to destroy it. The so-called masks of war, with a terrifying aspect, are intended not only to frighten the enemy but to enkindle its fighters during the struggle. They are the same masks that intervene to seal the peace agreements.