HOLMES.) LIFE FOKM.S IN VASE PAINTING. 179 



being narrow and long, even when divided into the usual numljer of 

 panels. As a consequence the motives tend to take linear forms. 

 Parts are repeated or greatly drawn out to fill the spaces. This 

 phase of conventional evolution may be illustrated by a multitude of 

 examples. 



^^^ 



^^^ ^ 



^,^2^ 



Fig. 274. Series of foi-ms showing modiflcaf ion through use in narrow zones. 



Beginning with an ordinary form in Fig. 274, a. we advance under 

 the restraint of jiarallel Ixii-dcr lines through the serirs. ending in a 

 simple meandei-. /■. the spaci's alicait which arc Ih.win .-i'. tilled out 

 with the conventiiiiial srair symbols, the triangles inelosing dots. 

 Thus we witness the transformation of the life form into a linear 

 device, in winch the flexures of the body are emphasized and mul- 

 tiplied without reference to nature, and there is little doubt that the 

 series continues further, ending with simple curved lines and even 

 with straight lines unaccompanied by auxiliary devices. 



Next to the body line the most important of the alligator deriva- 

 tives is the notched or dotted hook, which in the lost color group 

 stands sometimes for the whole creature, but more frequently for 

 one or more of the members of its body, the snout, the tail, or 

 the feet. It is employed singly or in various arrangements suited to 



the shape of the spaces to l)e tilled or occurs in connection with 

 the body line or stem, where, by systematic repetition, it serves to 

 fill the triangular interspaces. Take, for example, an ornament 

 (Fig. 275) which encircles the shoulder of a handsome vase of the 



