ideas of the esthetic in shape would have been in a great measure
formed through that art. Natural forms would have had little to do
with it except through models furnished directly to and utilized by
the art, for the ideas of primitive men concentrate about that upon
which their hands work and upon which their thoughts from necessity
dwell with steady attention from generation to generation.


RELATIONS OF FORM TO ORNAMENT.

It would seem that the esthetic tendencies of the mind, failing to
find satisfactory expression in shape, seized upon the non-essential
features of the art--markings of the surface and color of
filaments--creating a new field in which to labor and expending their
energy upon ornament.

Shape has some direct relations to ornament, and these relations may
be classified as follows:

First, the contour of the vessel controls its ornament to a large
extent, dictating the positions of design and setting its limits;
figures are in stripes, zones, rays, circles, ovals, or
rectangles--according, in no slight measure, to the character of the
spaces afforded by details of contour. Secondly, it affects ornament
through the reproduction and repetition of features of form, such as
handles, for ornamental purposes. Thirdly, it is probable that shape
influences embellishment through the peculiar bias given by it to the
taste and judgment of men prior to or independent of the employment of
ornament.