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In addition to these features of form we observe others of a more decidedly superfunctional character, added manifestly for the purpose of enhancing the appearance. In very primitive times when a utensil is produced functional ideas predominate, and there is, perhaps, so far as its artificial characters are concerned, a minimum of comeliness.
The last class, with which this paper has almost exclusively to deal, is composed mainly of what may be called the superconstructive and superfunctional features of the art and includes three subdivisions of phenomena, connected respectively with form, color, and design.
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