134 DAVENPORT ACADEMY OF NATURAL SCIENCES. 



basin-like vessels, such as dishes, cups, and boiols. Second, vases 

 with wide mouths and somewhat globular bodies, the larger of 

 which would be very generally recognized as pots. Third, vases 

 with full bodies and narrow mouths, such as are often termed jars, 

 but which are as properly called bottles. Fourth, vessels with high, 

 narrow necks, universally denominated bottles. Vessels that cannot 

 be grouped with either of these classes will have to be described in 

 sub-groups, arranged in the order of their complexity or impor- 

 tance. 



Evolution of Form. — The derivation and subsequent mutations 

 of form will be treated somewhat in detail as the various forms 

 come up. A few general facts and principles may be presented 

 here. 



Clay is of such a character that it has no inherent tendency 

 toward especial forms. Being plastic it takes shape from all avail- 

 able models. In the nature of things, these models consist to a 

 great extent of vessels, and of such of these as are in actual use. 

 These vessels are of two classes. They consist of natural and of 

 artificial forms. Natural forms vary with the animal and vegetable 

 products of the country to which the art is indigenous, or in which 

 it is practiced. They include shells of mollusks, shells of fruits, 

 horns of animals, etc. 



It is evident that vessels of clay did not come into use until long 

 after artificial vessels in other materials had been produced. These 

 artificial forms have had a decided influence upon ceramic forms. 

 They consist of baskets and nets, and of bark, wood, stone, horn, 

 and tissue vessels. To arrive at absolute originals we must not only 

 trace the form to its immediate, but to its ultimate original which 

 is in nature or in the form necessitated by the inherent char- 

 acter of the material used. 



Modification of Form. — Change of form comes about by a mul- 

 tiplicity of means. One important cause is found in the character 

 of the material. Clay has neither the capacity to assume nor to 

 retain the attenuated shapes common to wood, horn, and metal. 

 There are also the incapacity of the modeler, the inadequacy of the 

 method, the demands of multiplying uses, and other potent causes, 

 all of which tend to modify original shapes. 



The readiness with which clay assumes new shapes leads to many 

 modifications through simple contact with the forms of other 

 branches of art. 



