Of the various classes of utensils associated closely with the ceramic art, there are none so characteristically marked by constructional features as nets and wicker baskets. The twisting, interlacing, knotting, and stitching of filaments give relieved figures that by contact in manufacture impress themselves upon the plastic clay. Such impressions come in time to be regarded as pleasing features, and when free-hand methods of reproducing are finally acquired they and their derivatives become essentials of decoration. At a later stage these characters of basketry influence ceramic decoration in a somewhat different way. By the use of variously-colored fillets the woven surface displays figures in color corresponding to those in relief and varying with every new combination. Many striking patterns are thus produced, and the potter who has learned to decorate his wares by the stylus or brush reproduces these patterns by free-hand methods. We find pottery in all countries ornamented with patterns, painted, incised, stamped, and relieved, certainly derived from this source. So well is this fact known that I need hardly go into details. In the higher stages of art the constructional characters of architecture give rise to many notions of decoration which afterwards descend to other arts, taking greatly divergent forms. Aboriginal architecture in some parts of America had reached a development capable of wielding a strong influence. This is not true, however, of any part of the United States. +SUGGESTIONS OF ACCIDENTS.+ Besides the suggestions of surface features impressed in manufacture or intentionally copied as indicated above, we have also those of accidental imprints of implements or of the fingers in manufacture. From this source there are necessarily many suggestions of ornament, at first of indented figures, but later, after long employment, extending to the other modes of representation. +IDEOGRAPHIC AND PICTORIAL SUBJECTS.+ Non-ideographic forms of ornament may originate in ideographic features, mnemonic, demonstrative, or symbolic. Such significant figures are borrowed by decorators from other branches of art. As time goes on they lose their significance and are subsequently treated as purely decorative elements. Subjects wholly pictorial in character, when such come to be made, may also be used as simple decoration, and by long processes of convention become geometric. The exact amount of significance still attached to significant figures after adoption into decoration cannot be determined except in cases of actual identification by living peoples, and even when the signification is known by the more learned individuals the decorator may be wholly without knowledge of it. MODIFICATION OF ORNAMENT.