114 TRANSACTIONS OF THE 



decorative features, though not essential to the vessel, are never- 

 theless an inseparable part of it, and are cast or automatically copied 

 by a very primitive people when similar articles are artificially pro- 

 duced. In this way a vessel acquires ornamental characters long 

 before the workman learns to take pleasure in such details or con- 

 ceives a desire beyond that of simple utility. 



Artificial utensils have a still more decided influence upon ceramic 

 decoration. The constructional features of textile vessels impress 

 themselves upon the plastic clay in manufacture, and in time are 

 repeated and copied for the pleasure they give. The simple ideas 

 of embellishment thus acquired are constantly subject to modifica- 

 tion. A single radical gives rise to a multitude of forms. The 

 causes that tend to bring about these results are worthy of the closest 

 study. They may be sought in the material, the form, and above 

 all the constructional characters of the object decorated. 



Prof. Mason followed Mr. Holmes with a short i-esume of 

 Prof. Hartt's theory of the rationale of ornament, published in 

 the Popular Science Monthly, for January, 1884. Prof. Hartt 

 maintains that the explanation of the shape and color of beautiful 

 objects is to be found m the eye itself. We are pleased with certain 

 lines because they bring the muscles of the eye into easy and health- 

 ful play. 



Prof Mason said that there was in his mind no conflict between 

 the methods pursued in Mr. Holmes' paper and Hartt's theory — 

 a little differently stated and expanded. Mr. Holmes traces the 

 outline of that natural movement which aboriginal potters had 

 followed. Hartt sought to show the subjective side and how it was 

 that the primitive artist had chosen some forms and rejected others. 

 If we will examine our o\vn handwriting we shall find that the same 

 two sets of facts present themselves. On the one hand we have 

 books, papers, correspondence, copy-books, and many other printed 

 and written things ever before our eyes. On the other hand there is 

 the set of bones, muscles, and sinews, called the hand, with its great 

 variety of lengths, thicknesses, flexibilities, so compounded in each 

 as to give rise to a really individual hand. A man's handwriting is 

 the movement of all these mobile parts in the lines of least resist- 

 ance for each part, but always in the effort to conform to the 

 pattern. 



Now the natural world, with its shells, horns, gourds, carapaces, 

 reeds; the mechanical world, with its shapes in hard material; the 



