he eye, certain forms being chosen
and perpetuated because of the pleasure afforded by movements of the eye
in following them. In connection with this hypothesis, for it is nothing
more, Mr. Hartt advanced the additional idea, that in unison with
the general course of nature decorative forms began with simple
elements and developed by systematic methods to complex forms. Take for
example the series of designs shown in Fig. 488. The meander _a_ made up
of simple parts would, according to Mr. Hartt, by further elaboration
under the supervision of the muscles of the eye, develop into _b_. This,
in time, into _c_, and so on until the elegant anthemium was achieved.
The series shown in Fig. 489 would develop in a similar way, or
otherwise would be produced by modification in free-hand copying of the
rectilinear series. The processes here suggested, although to all
appearances reasonable enough, should not be passed over without careful
scrutiny.

[Illustration: FIG. 488.--Theoretical development of fret-work.]

[Footnote 2: Hartt: Popular Science Monthly, Vol. VI, p. 266.]

Taking the first series, we observe that the ornaments are projected in
straight continuous lines or zones, which are filled in with more or
less complex parts, rectilinear and geometrically accurate. Still higher
forms are marvelously intricate and graceful, yet not less geometric and
symmetrical.

[Illustration: FIG. 489.--Theoretical development of scroll work.]

Let us turn to the primitive artisan, and observe him at work with rude
brush and stylus upon the rounded and irregular forms of his
utensils and weapons, or upon skins, bark, and rock surfaces. Is it
probable that with his free hand directed by the eye alone he will be
able to achieve these rythmic geometric forms. It seems to me that the
whole tendency is in the opposite direction. I venture to surmise that
if there had been no other resources than those named above the typical
rectilinear fret would never have been known, at least to the primitive
world; for, notwithstanding the contrary statement by Professor Hartt,
the fret is in its more highly-developed forms extremely difficult to
follow with the eye and to delineate with the hand. Until arts,
geometric in their construction, arose to create and to combine
mechanically the necessary elements and motives, and lead the way by a
long series of object-lessons to ideas of geometric combination, our
typical border ornament would not be