[93] W. H. Holmes, Origin and Development of Form and Ornament in Ceramic Art, Frank Hamilton Cushing, A Study of Pueblo Pottery; Fourth Annual Report Bureau of Ethnology, Washington, 1886. There is, however, evidence that pots were moulded on baskets, then removed and fired. The same happens, although not quite so extensively in wood carving and even in stone work, particularly in soft stones that may be worked with a knife. Wooden copies of objects made of buffalo horn occur in Africa. Many of the beautifully carved wooden goblets from the Congo region look to me like pottery vessels, held in place by stone supports. Carvings in wood imitate forms made by joining pieces together. In some regions we find stone vessels of the same form that is usually used for wooden ones. Best known among imitative stone forms are the prehistoric European stone axes which are copies of the forms of bronze weapons that were in use in more southern regions, or the stone settees of ancient South America, copies of wooden seats. We have spoken so far only of the general forms of the objects, not of decoration or ornament. We have seen in our discussion of the purely formal elements that the technique will sometimes bring about patterns on the surfaces of the manufactured objects. We mentioned the patterns produced by flaking of stone, by adzing and by weaving with coarse material. The importance of these surface patterns for the development or ornament can hardly be overstated. When a large board is adzed, the workman must shift his position in order to cover the whole board. According to the way he moves, different patterns of adjoining surfaces may develop. Much more important are the patterns that naturally develop when a weaver plays with his technique, that is when he or she is no longer satisfied with the simple weaving up and down, but begins to skip strands and thus introduces more complex rhythms of movement. The solidity of the fabric requires alternations of skipping and thus the twilling leads immediately to diagonal surface patterns. The more complex the rhythmic movements, the more complex will also be the patterns. The attempt has been made to trace the origin of all important decorative patterns to this source. I presume this is an exaggeration, because other conditions may as well lead to the discovery of designs. I say advisedly discovery, not invention, for I believe, with those investigators who would derive all patterns from weaving, that intentional invention is less important than the discovery of possibilities which come to be observed as an effect of the play, particularly the rhythmic play with technical processes.