Chapter 3

I have already shown that such figures as the scroll and the guilloche are not _necessarily_ developed by processes of selection and combination of simple elements, as many have thought, since they may have come into art at a very early stage almost full-fledged; but there is nothing in these facts to throw light upon the processes by which ornament followed particular lines of development throughout endless elaboration. In treating of this point, Prof. C.F. Hartt[2] maintained that the development of ornamental designs took particular and uniform directions owing to the structure of the eye, certain forms being chosen and perpetuated because of the pleasure afforded by movements of the eye in following them. In connection with this hypothesis, for it is nothing more, Mr. Hartt advanced the additional idea, that in unison with the general course of nature decorative forms began with simple elements and developed by systematic methods to complex forms. Take for example the series of designs shown in Fig. 488. The meander _a_ made up of simple parts would, according to Mr. Hartt, by further elaboration under the supervision of the muscles of the eye, develop into _b_. This, in time, into _c_, and so on until the elegant anthemium was achieved. The series shown in Fig. 489 would develop in a similar way, or otherwise would be produced by modification in free-hand copying of the rectilinear series. The processes here suggested, although to all appearances reasonable enough, should not be passed over without careful scrutiny.

[Footnote 2: Hartt: Popular Science Monthly, Vol. VI, p. 266.]

Taking the first series, we observe that the ornaments are projected in straight continuous lines or zones, which are filled in with more or less complex parts, rectilinear and geometrically accurate. Still higher forms are marvelously intricate and graceful, yet not less geometric and symmetrical.

Let us turn to the primitive artisan, and observe him at work with rude brush and stylus upon the rounded and irregular forms of his utensils and weapons, or upon skins, bark, and rock surfaces. Is it probable that with his free hand directed by the eye alone he will be able to achieve these rythmic geometric forms. It seems to me that the whole tendency is in the opposite direction. I venture to surmise that if there had been no other resources than those named above the typical rectilinear fret would never have been known, at least to the primitive world; for, notwithstanding the contrary statement by Professor Hartt, the fret is in its more highly-developed forms extremely difficult to follow with the eye and to delineate with the hand. Until arts, geometric in their construction, arose to create and to combine mechanically the necessary elements and motives, and lead the way by a long series of object-lessons to ideas of geometric combination, our typical border ornament would not be possible. Such arts are the textile arts and architecture. These brought into existence forms and ideas not met with in nature and not primarily thought of by man, and combined them in defiance of human, conceptions of grace. Geometric ornament is the offspring of technique.

INDEX.

Acquisition of new material modifies form in pottery 451 Adventition, a source of form 445, 450 America as a field for study of art 443 Basketry copied in pottery 449 Busycon shell copied as a vessel, The 454 California, Pottery from 447 Ceramic art, Origin and development of form and ornament in, W.H. Holmes 437-465 form discussed 444 ornament discussed 444 Coils suggesting spiral ornament 456 Decorative motive in pottery, Sources of 453 European civilization checked aboriginal American art 443 Fancy modifying form in pottery 452 Fictile art related to written language 443 Form modifies ornament in pottery 458 of pottery modified by certain influences 450-452 Hartt, Prof. C.F., on form of designs as influenced by structure of the eye 463-464 Ideographic elements of decoration 453 Imitation, A source of form 445 Improvements in modes of manufacture modify forms in pottery 450 Intention a modifier of form in pottery 452 Modification of ornaments in pottery 458 Non-ideographic elements of decoration 453 Origin and development of form and ornament in ceramic art (W.H. Holmes) 437-465 Origin of ornament in pottery 453 Ornament in pottery, Origin of 453-457 Ornamental elements modified by invention 453 Pottery from California 447 Tusayan 451 Utah 449 Scroll, Possible origin of the 459 Shells copied in pottery 447 Skin vessels copied in pottery 447 Sources of decorative motive in ceramic art 453 Spiral ornament from coils 456 Stone vessels copied in pottery 447 Symbols adopted rather than invented 460 Utility modifies form in pottery 452 Wooden vessels copied in pottery 447, 451 Written language as related to fictile art 443