RELATIONS OF FORM TO ORNAMENT.
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.
COLOR IN TEXTILE ART.
Color is one of the most constant factors in man's environment, and it is so strongly and persistently forced upon his attention, so useful as a means of identification and distinction, that it necessarily receives a large share of consideration. It is probably one of the foremost objective agencies in the formation and development of the esthetic sense.
The natural colors of textile materials are enormously varied and form one of the chief attractions of the products of the art. The great interest taken in color—the great importance attached to it—is attested by the very general use of dyes, by means of which additional variety and brilliancy of effect are secured.
Color employed in the art is not related to use, excepting, perhaps, in symbolic and superstitious matters; nor is it of consequence in construction, although it derives importance from the manner in which construction causes it to be manifested to the eye. It finds its chief use in the field of design, in making evident to the eye the figures with which objects of art are embellished.