i[..i.MEs.l FORM AND ORNAMENT IX TRXTIl.E ART. 20 L 



l)y theiu, and led iu a measure corresponding to their persistency and 

 universality. If the textile art had been the only one known to man. 

 ideas of the esthetic in shape would have been in a great measure 

 formed through that art. Natural forms would have had little to 

 do with it except through models furnished directly to and utilized 

 by the art, for the ideas of primitive men concentrate about that 

 upon which thoir hands work and upon which tlieir thoTights frcmi 

 necessity dwell with steady attention from generation to generation. 



RELATIONS OF FORM TO ORNAMENT. 



It would seem that the esthetic tendencies of the mind, failing to 

 find satisfactory expression in shape, seized upon the non-essential 

 features of the art — markings of the surface and color of filaments — 

 ci-eating a new field in Mdiich to lal)or and exj)ending tlieir energy 

 upon ornament. 



Shape has some direct relations to ornnnifnt. and thesp ivlations 

 may be classified as follows: 



First, the contour of the vessel controls its ornament to a large ex- 

 tent, dictating the positions of design and setting its limits; figures 

 are in stripes, zones, rays, circles, ovals, or rectangles — according, in 

 no slight measure, to the character of the spaces afforded by details 

 of contour. Secondly, it affects ornament through the reproduction 

 and repetition of featui'es of form, such as handles, for ornamental 

 purposes. Thirdly, it is probable that sliape intluenres c-nilielli.shment 

 tlii'ongh the jieculiar bias given l)y it to the taste and judgment of 

 men prior to or indejiendent of the emjjloyment of ornament. 



COLOR IN TEXTILE ART. 



Color is one of the most constant factors in man's i-nviroiinienl. 

 audit is so strongly and persistently forced upon his attention, so 

 useful as a means of identification and distinction, that it necessarily 

 receives a large share of consideration. It is probably one of the 

 foremost objective agencies in the formation and develojiment of the 

 esthetic sense. 



The natural colors of textile materials are enormously varied and 

 form one of the chief attractions of the products of the art. The 

 great interest taken in color — the great importance attached to it — is 

 attested by the very general use of dyes, by means of which additional 

 variety and brilliancy of effect are secured. 



Color employed in the art is not related to use. excepting, perhajis. 

 in symbolic and super.stitious mat t eis : nor is it of consequence in con- 

 struction, although it derives iiii|joitance from the manner in which 

 construction causes it to be manifested to the eye. It finds its chief 

 use in the field of design, in making evident to the eye the figures 

 with wliicli objects of art are embellished. 



Coloi' is em])loyed or applied in two distinct ways: it is wnyi'w nv 



