447
466.--Form derived from a stone pot 448
467.--Form derived from a wooden tray 448
468.--Form derived from a horn spoon 448
469.--Form derived from a bark vessel 446
470.--Form derived from basketry 449
471.--Form derived from basketry 449
472.--Form derived from a wooden vessel 449
473.--Coincident forms 451
474.--Form produced by accident 451
475.--Scroll derived from the spire of a conch shell 454
476.--Theoretical development of current scroll 455
477.--Ornament derived through modification of handles 455
478.--Scroll derived from coil of clay 456
479.--Ornamental use of fillets of clay 456
480.--Variation through, the influence of form 459
481.--Theoretical development of the current scroll 460
482.--Forms of the same motive expressed in different arts 461
483.--Forms of the same motive expressed in different arts 461
484.--Forms of the same motive expressed in different arts 461
485.--Geometric form of textile ornament 462
486.--Loss of geometric accuracy in painting 462
487.--Design painted upon pottery 463
488.--Theoretical development of fret work 464
489.--Theoretical development of scroll work 465

ORIGIN AND DEVELOPMENT OF FORM AND ORNAMENT
IN CERAMIC ART.

BY WILLIAM H. HOLMES.

INTRODUCTORY.

For the investigation of art in its early stages and in its widest
sense--there is probably no fairer field than that afforded by
aboriginal America, ancient and modern.

At the period of discovery, art at a number of places on the American
continent seems to have been developing surely and steadily, through the
force of the innate genius of the race, and the more advanced nations
were already approaching the threshold of civilization; at the same time
their methods were characterized by great simplicity, and their art
products are, as a consequence, exceptionally homogeneous.

The advent of European civilization checked the current of growth, and
new and conflicting elements were introdu