134 
KERAMC STUDIO 
The designs best suited to the duller scheme of coloring 
are Nos. 4, 6, 7 and to, in fact, almost all designs where those 
curious conventionalized flower forms are found. 
HISTORIC ORNAMENT— PERSIAN 
N Persian art, floral ornament is used in a manner 
midway between Arab conventionalism and Indian 
quasi-naturalism. The Persians also make use of 
fantastic animals and, more rarely, the human 
figure. It is always difficult to distinguish between 
the Indian and Persian designs. All Oriental 
decoration follows the general rules. There is no rounding off 
of figures, the drawing is done in silhouette, the geometrical 
outlines are relieved by conventional coloring on a dominant 
and generating ground. Attention to this produces brilliancy 
and repose. 
The Persians had great manual skill. Their dishes, vases 
and enameled bricks are still models in taste. Varied scales 
of color rise from a ground either black, white slightly tinted, 
blue, red, yellow or flesh color, with flat tints and striking out- 
lines of every shade from black to white according to circum- 
stances. The Persians were especially skillful in this method 
of decoration, and from them can be drawn the best lessons 
in decorative coloring. 
They have two distinct color treatments: one of dull 
colors, usually with a white ground ; the other of bright colors 
and gold. For the first treatment they use dull blue, green, 
white, black, grey, violet brown, occasionally yellow brown or 
yellow and olive. For the second treatment, black, white, gold, 
blue, red, green, rose, red brown, yellow brown, orange, yellow, 
flesh and olive. Persian coloring rarely includes turquoise 
or delicate pink, but rarely omits bright green, the favorite 
color of Mahommed. 
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