nto least contact with them.

Next, why has it a rim? For two other structural reasons: first, that
it is convenient to put salt or mustard upon; but secondly, and chiefly,
that the plate may be easily laid hold of. The rim is the simplest form
of continuous handle.

Farther, to keep it from soiling the cloth, it will be wise to put this
ridge beneath, round the bottom; for as the rim is the simplest possible
form of continuous handle, so this is the simplest form of continuous
leg. And we get the section given beneath the figure for the essential
one of a rightly made platter.

10. Thus far our art has been strictly utilitarian, having respect to
conditions of collision, of carriage, and of support. But now, on the
surface of our piece of pottery, here are various bands and spots of
color which are presumably set there to make it pleasanter to the eye.
Six of the spots, seen closely, you discover are intended to represent
flowers. These then have as distinctly a graphic purpose as the other
properties of the plate have an architectural one, and the first
critical question we have to ask about them is, whether they are like
roses or not. I will anticipate what I have to say in subsequent
Lectures so far as to assure you that, if they are to be like roses at
all, the liker they can be, the better. Do not suppose, as many people
will tell you, that because this is a common manufactured article, your
roses on it are the better for being ill-painted, or half-painted. If
they had been painted by the same hand that did this peach, the plate
would have been all the better for it; but, as it chanced, there was no
hand such as William Hunt's to paint them, and their graphic power is
not distinguished. In any case, however, that graphic power must have
been subordinate to their effect as pink spots, while the band of
green-blue round the plate's edge, and the spots of gold, pretend to no
graphic power at all, but are meaningless spaces of color or metal.
Still less have they any mechanical office: they add nowise to the
serviceableness of the plate; and their agreeableness, if they possess
any, depends, therefore, neither on any imitative, nor any structural,
character; but on some inherent pleasantness in themselves, either of
mere colors to the eye, (as of taste to the tongue,) or in the placing
of those colors in relations which obey some mental principle of order,
or physical principle of harmony.

11. These abstract rela