On colour, and on the necessity for a general diffusion of taste among all classes . Fig. i. Fig. 2 Fig. 3. Fig. 4. following out the negative process, I shall introduce somefaulty objects which are to be avoided; beginning with thosethat err chiefly in want of proportion, as in the four given in §45. FORMS OF VASES. 249 the preceding woodcut (18), which are too lengthy for theirbreadth.] It may also be useful to compare them with some of thegraceful Greek vases, and to see how disagreeable is their de- o^. H oo Ft H«l -/T a •-3I « w HO S4 formity, and how harmonious are the contours of the or

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On colour, and on the necessity for a general diffusion of taste among all classes . Fig. i. Fig. 2 Fig. 3. Fig. 4. following out the negative process, I shall introduce somefaulty objects which are to be avoided; beginning with thosethat err chiefly in want of proportion, as in the four given in §45. FORMS OF VASES. 249 the preceding woodcut (18), which are too lengthy for theirbreadth.] It may also be useful to compare them with some of thegraceful Greek vases, and to see how disagreeable is their de- o^. H oo Ft H«l -/T a •-3I « w HO S4 formity, and how harmonious are the contours of the ordinaryGreek Hydria (woodcut 19), the well-known Olla (20), the(a! pis (21), the Lecythus (22), the (Enochoe(2S), and other 250 ON TASTE IN ORNAMENTAL DESIGN. Part II. vases of various kinds; to which may be added those of amore ornamental character, especially the Medicean, and some (20.)

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