Origin and Development of Form and Ornament in Ceramic Art By William Henry 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 introduced necessarily disastrous to the native development. There is much, however, in the art of living tribes, especially of those least influenced by the whites, capable of throwing light upon the obscure passages of precolumbian art. By supplementing the study of the prehistoric by that of historic art, which is still in many cases in its incipient stages, we may hope to penetrate deeply into the secrets of the past. The advantages of this field, as compared with Greece, Egypt, and the Orient, will be apparent when we remember that the dawn of art in these countries lies hidden in the shadow of unnumbered ages, while ours stands out in the light of the very present. This is well illustrated by a remark of Birch, who, in dwelling upon the antiquity of the fictile art, says that "the existence of earthen vessels in Egypt was at least coeval with the formation of a written language." Beyond this there is acknowledged chaos. In strong contrast with this, is the fact that all precolumbian American pottery precedes the acquisition of written language, and this contrast is emphasized by the additional fact that it also antedates the use of the wheel, that great perverter of the plastic tendencies of clay. The material presented in the following notes is derived chiefly from the native ceramic art of the United States, but the principles involved are applicable to all times and to all art, as they are based upon the laws of nature. Ceramic art presents two classes of phenomena of importance in the study of the evolution of æsthetic culture. These relate, first, to form, and second, to ornament. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.