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—creating a new field in which to labor and expending their energy upon ornament.

Shape has some direct relations to ornament, and these relations may be classified as follows:

First, the contour of the vessel controls its ornament to a large extent, 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 features of form, such as handles, for ornamental purposes. Thirdly, it is probable that shape influences embellishment through the peculiar bias given by it to the taste and judgment of men prior to or independent of the employment of ornament.