462 



FORM AND ORNAMENT IN CERAMIC ART. 



when a similar idea derived from basketry (as it could have no other 

 origin) is executed in color upon an earthen vessel, we observe a tend- 

 ency to depart from symmetry as well as from consistency. I call atteu- 



Fig. 485. — Geometric form of textile ornament. 



tiou here to the arrangement of the parts merely, not to the motives 

 employed, as I happen to have no examples of identical figures from 

 the two arts. 



Fig. 486. — Loss of geometric accuracy in painting. 



It will be seen by reference to the design given in Fig. 480, taken 

 from the upper surface of an ancient vase, that although the spirit of 

 the decoration is wonderfully well preserved the idea of the origin of 

 all the rays in the center of the vessel is not kept in view, and that by 



