FORM l.\ TEXTIT,F. AKI 



191 



applied, interfering with construction and iise. and thus vi()latins>- 

 well foiiuded and generally accepted canons of taste. In resi^'ct to 

 primitive works we may distinguish four steps in the acquisition of 

 esthetic features of form, three of which are normal, the fourtli 

 abnormal: First, we have that in which functional characters alone 

 are coiisiilfrfd. any I'li'iiicnt uf ln'auty, whether due to the artist's 

 hand (ir \<< llif aicidfiits <if matiTial. construction, or model, lieing 

 purely advcnlitinus: sccoiid. that iu which the necessary features of 

 the utensil appear to have experienced the supervision of taste, edges 

 being rounded, curves refined, and symmetry perfected; third, that 

 in which the fimctionally perfect object, just described, undergoes 

 further variations of contour, adding to variety, unity, &c., thus en- 

 hancing beauty withoiit interfering with serviceability: and, fourth, 

 that in which, under abnormal influences, beauty is sought at the sac- 

 rifice of fiinctional and constructive perfection. 



Fir iSO Mat 



The exact relations of the various classes of forces and phenomena 

 pertaining to this theme may be more fully elucidated by the aid of 

 illustrations. Woven mats, in early use by many tribes of men and 

 originating in the attempt to combine leaves, vines, and branches 

 for purposes of coraiort, are flat because of function, the degree of flat- 

 ness depending upon the size of filaments and mode of combination; 

 and in outline they are irregular, square, round, or oval, as a result 

 of many causes and influences, embracing use, construction, material, 

 models, &c. A close approach to symmetry, where not imposed by 

 some of the above mentioned agencies, is probably due to esthetic 

 tendencies on the part of the artist. The esthetic interest attach- 

 ing to such a shape cannot be great, unless ])erhaps it be regarded, 



