de ,france 7,bn,f_/,gallica7 at http3_/_/gallica4bnf4fr7 99 99 99 99 99 ,a ,,study ,,of ,,the ,,textile ,,art ,,in ,,its ,,relation ,,to ,,the ,,development ,,of ,,form ,,and ,,ornament ,,by ,,william ,h4 ,,holmes4 ,sixth ,annual ,report of the ,bureau of ,ethnology to the ,secretary of the ,smithsonian ,institution1 #ahhd-'he1 ,government ,printing ,office1 ,washington1 #ahhh1 pages #ahi-beb 99 99 99 99 99 ,,contents4 ,page ,introduction4 #aie ,form in textile art4 #aif ,relations of form to ornament4 #bja ,color in textile art4 #bja ,textile ornament4 #bjb ,development of a geometric system within the art4 #bjb ,introduction4 #bjb ,relief phenomena4 #bjc ,ordinary features4 #bjc ,reticulated work4 #baj ,superconstructive features4 #baa ,color phenomena4 #bae ,ordinary features4 #bae ,non-essential constructive features4 #bbf ,superconstructive features4 #bbh ,adventitious features4 #bca ,geometricity imposed upon adopted elements4 #bcb ,extension of textile ornament to other forms of art4 #bdd ,,illustrations4 ,,fig4 ,page4 #bhf4 ,mat or tray with esthetic attributes of form #aig #bhg4 ,tray having decided esthetic attributes of form #aih #bhh4 ,pyriform water vessel #aih #bhi4 ,basket with esthetic characters of form #aii #bij4 ,basket of eccentric form #bjj #bia4 ,character of surface in the simplest form of weaving #bjd #bib4 ,surface produced by impacting #bjd #bic4 ,surface produced by use of wide fillets #bjd #bid4 ,basket with ribbed surface #bje #bie4 ,bottle showing obliquely ribbed surface #bje #bif4 ,tray showing radial ribs #bje #big4 ,combination giving herring bone effect #bjf #bih4 ,combination giving triangular figures #bjf #bii4 ,peruvian work basket #bjf #cjj4 ,basket of ,seminole workmanship #bjg #cja4 ,surface effect produced in open twined combination #bjg #cjb4 ,surface effect produced in open twined combination #bjg #cjc4 ,surface effect produced by impacting in twined combination #bjh #cjd4 ,surface effect produced by impacting the web strands in twined combination #bjh #cje4 ,surface effect produced by crossing the web series in open twined work #bjh #cjf4 ,tray with open mesh1 twined combination #bjh #cjg4 ,conical basket1 twined combination #bji #cjh4 ,example of primitive reticulated weaving #baj #cji4 ,simple form of reticulation #baa #caj4 ,reticulated pattern in cotton cloth #baa #caa4 ,peruvian embroidery #bac #cab4 ,basket with pendent ornaments #bac #cac4 ,basket with pendent ornaments #bac #cad4 ,tasseled ,peruvian mantle #bad #cae4 ,pattern produced by interlacing strands of different colors #baf #caf4 ,pattern produced by interlacing strands of different colors #baf #cag4 ,pattern produced by interlacing strands of different colors #baf #cah4 ,pattern produced by interlacing strands of different colors #bag #cai4 ,base of coiled basket #bah #cbj4 ,coiled basket with geometric ornament #bah #cba4 ,coiled basket with geometric ornament #bai #cbb4 ,coiled basket with geometric ornament #bbj #cbc4 ,coiled basket with geometric ornament #bbj #cbd4 ,coiled basket with geometric ornament #bba #cbe4 ,coiled basket with geometric ornament #bbc #cbf4 ,coiled tray with geometric ornament #bbd #cbg4 ,coiled tray with geometric ornament #bbe #cbh4 ,tray with geometric ornament #bbe #cbi4 ,tray with geometric ornament #bbf #ccj4 ,ornament produced by wrapping the strands #bbg #cca4 ,ornament produced by fixing strands to the surface of the fabric #bbg #ccb4 ,basket with feather ornamentation #bbg #ccc4 ,basket with feather ornamentation #bbg #ccd4 ,piece of cloth showing use of supplementary warp and woof #bbh #cce4 ,piece of cloth showing use of supplementary warp and woof #bbh #ccf4 ,example of grass embroidery #bcj #ccg4 ,example of feather embroidery #bca #cch4 ,figures from the ,penn wampum belt #bcc #cci4 ,figures from a ,california ,indian basket #bcd #cdj4 ,california ,indian basket #bcd #cda4 ,figures from a ,peruvian basket #bce #cdb4 ,figure from a piece of ,peruvian gobelins #bcf #cdc4 ,figures from a ,peruvian vase #bcg #cdd4 ,figure from a circular basket #bch #cde4 ,figure of a bird from a ,zui shield #bci #cdf4 ,figure of a bird woven in a tray #bdj #cdg4 ,figure of a bird woven in a basket #bda #cdh4 ,figures embroidered on a cotton net by the ancient ,peruvians #bdb #cdi4 ,figures of birds embroidered by the ancient ,peruvians #bdc #cej4 ,conventional design painted upon cotton cloth #bdc #cea4 ,herring bone and checker patterns produced in weaving #bdf #ceb4 ,herring bone and checker patterns engraved in clay #bdf #cec4 ,earthen vase with textile ornament #bdg #ced4 ,example of textile ornament painted upon pottery #bdh #cee4 ,textile pattern transferred to pottery through costume #bdh #cef4 ,ceremonial adz with carved ornament of textile character #bej #ceg4 ,figures upon a tapa stamp #bea #ceh4 ,design in stucco exhibiting textile characters #bea ,,textile ,,art ,,in ,,its ,,relation ,,to ,,the ,,development ,,of ,,form ,,and ,,ornament4 ,,by ,,william ,h4 ,,holmes4 ,,introduction4 ,the textile art is one of the most ancient known1 dating back to the very inception of culture4 ,in primitive times it occupied a wide field1 embracing the stems of numerous branches of industry now expressed in other materials or relegated to distinct systems of construction4 ,accompanying the gradual narrowing of its sphere there was a steady development with the general increase of intelligence and skill so that with the cultured nations of to-day it takes an important1 though unobtrusive1 place in the hierarchy of the arts4 ,woven fabrics include all those products of art in which the elements or parts employed in construction are largely filamental and are combined by methods conditioned chiefly by their flexibility4 ,the processes employed are known by such terms as interlacing1 plaiting1 netting1 weaving1 sewing1 and embroidering4 ,the materials used at first are chiefly filiform vegetal growths1 such as twigs1 leaves1 roots1 and grasses1 but later on filiform and then fibrous elements from all the kingdoms of nature1 as well as numerous artificial preparations1 are freely used4 ,these are employed in the single1 doubled1 doubled and twisted1 and plaited conditions1 and are combined by the hands alone1 by the hands assisted by simple devices1 by hand looms1 and finally in civilization by machine looms4 ,the products are1 first1 individual structures or articles1 such as shelters1 baskets1 nets1 and garments1 or integral parts of these2 and1 second1 piece goods1 such as are not adapted to use until they are cut and fitted4 ,in earlier stages of art we have to deal almost exclusively with the former class1 as the tailor and the house furnisher are evolved with civilization4 ,in their bearing upon art these products are to be studied chiefly with reference to three grand divisions of phenomena1 the first of which ,i shall denominate constructive1 the second functional1 and the third esthetic4 ,the last class1 with which this paper has almost exclusively to deal1 is composed mainly of what may be called the superconstructive and superfunctional features of the art and includes three subdivisions of phenomena1 connected respectively with 7#a7 form1 7#b7 color1 and 7#c7 design4 ,esthetic features of form are1 in origin and manifestation1 related to both function and construction2 color and design1 to construction mainly4 ,in the following study separate sections are given to each of these topics4 ,it is fortunate perhaps that in this work ,i am restricted to the products of rather primitive stages of culture1 as ,i have thus to deal with a limited number of uses1 simple processes1 and simple shapes4 ,in the advanced stages of art we encounter complex phenomena1 processes1 and conditions1 the accumulation of ages1 through which no broad light can fall upon the field of vision4 ,in ,america there is a vast body of primitive1 indigenous art having no parallel in the world4 ,uncontaminated by contact with the complex conditions of civilized art1 it offers the best possible facilities for the study of the fundamental principles of esthetic development4 ,the laws of evolution correspond closely in all art1 and1 if once rightly interpreted in the incipient stage of a single1 homogeneous culture1 are traceable with comparative ease through all the succeeding stages of civilization4 ,,form ,,in ,,textile ,,art4 ,form in the textile art1 as in all other useful arts1 is fundamentally1 although not exclusively1 the resultant or expression of function1 but at the same time it is further than in other shaping arts from expressing the whole of function4 ,such is the pliability of a large portion of textile products--as1 for example1 nets1 garments1 and hangings--that the shapes assumed are variable1 and1 therefore1 when not distended or for some purpose folded or draped1 the articles are without esthetic value or interest4 ,the more rigid objects1 in common with the individuals of other useful arts1 while their shape still accords with their functional office1 exhibit attributes of form generally recognized as pleasing to the mind1 which are expressed by the terms grace1 elegance1 symmetry1 and the like4 ,such attributes are not separable from functional attributes1 but originate and exist conjointly with them4 ,in addition to these features of form we observe others of a more decidedly superfunctional character1 added manifestly for the purpose of enhancing the appearance4 ,in very primitive times when a utensil is produced functional ideas predominate1 and there is1 perhaps1 so far as its artificial characters are concerned1 a minimum of comeliness4 ,but as the ages pass by essential features are refined and elements of beauty are added and emphasized4 ,in riper culture the growing pressure of esthetic desire leads to the addition of many superficial modifications whose chief office is to please the fancy4 ,in periods of deadened sensibility or even through the incompetence of individual artists in any period1 such features may be ill chosen and erroneously applied1 interfering with construction and use1 and thus violating well founded and generally accepted canons of taste4 ,in respect to primitive works we may distinguish four steps in the acquisition of esthetic features of form1 three of which are normal1 the fourth abnormal3 ,first1 we have that in which functional characters alone are considered1 any element of beauty1 whether due to the artist's hand or to the accidents of material1 construction1 or model1 being purely adventitious2 second1 that in which the necessary features of the utensil appear to have experienced the supervision of taste1 edges being rounded1 curves refined1 and symmetry perfected2 third1 that in which the functionally perfect object1 just described1 undergoes further variations of contour1 adding to variety1 unity1 c41 thus enhancing beauty without interfering with serviceability2 and1 fourth1 that in which1 under abnormal influences1 beauty is sought at the sacrifice of functional and constructive perfection4 ,illustration3 ,,fig4 #bhf4 ,mat or tray exhibiting a minimum of esthetic attributes of form4 ,moki work--#a_/h4 ,the exact relations of the various classes of forces and phenomena pertaining to this theme may be more fully elucidated by the aid of illustrations4 ,woven mats1 in early use by many tribes of men and originating in the attempt to combine leaves1 vines1 and branches for purposes of comfort1 are flat because of function1 the degree of flatness depending upon the size of filaments and mode of combination2 and in outline they are irregular1 square1 round1 or oval1 as a result of many causes and influences1 embracing use1 construction1 material1 models1 c4 ,a close approach to symmetry1 where not imposed by some of the above mentioned agencies1 is probably due to esthetic tendencies on the part of the artist4 ,the esthetic interest attaching to such a shape cannot be great1 unless perhaps it be regarded1 as all individuals and classes may be regarded1 in its possible relations to preceding1 associated1 and succeeding forms of art4 ,the varied features observed upon the surface1 the colors and patterns 7,fig4 #bhf71 pertain to design rather than to form and will receive attention in the proper place4 ,illustration3 ,,fig4 #bhg4 ,tray having decided esthetic attributes of form4 ,obtained from the ,apache--#a_/b4 ,in point of contour the basket tray shown in ,fig4 #bhg has a somewhat more decided claim upon esthetic attention than the preceding1 as the curves exhibited mark a step of progress in complexity and grace4 ,how much of this is due to intention and how much to technical perfection must remain in doubt4 ,in work so perfect we are wont1 however unwarrantably1 to recognize the influence of taste4 ,illustration3 ,,fig4 #bhh4 ,pyriform water vessel used by the ,piute ,indians--#a_/h4 ,a third example--presented in ,fig4 #bhh--;illustrates an advanced stage in the art of basketry and exhibits a highly specialized shape4 ,the forces and influences concerned in its evolution may be analyzed as follows3 ,a primal origin in function and a final adaptation to a special function1 the carrying and storing of water2 a contour full to give capacity1 narrow above for safety1 and pointed below that it may be set in sand2 curves kept within certain bounds by the limitations of construction2 and a goodly share of variety1 symmetry1 and grace1 the result to a certain undetermined extent of the esthetic tendencies of the artist's mind4 ,in regard to the last point there is generally in forms so simple an element of uncertainty2 but many examples may be found in which there is positive evidence of the existence of a strong desire on the part of the primitive basketmaker to enhance beauty of form4 ,it will be observed that the textile materials and construction do not lend themselves freely to minuteness in detail or to complexity of outline1 especially in those small ways in which beauty is most readily expressed4 ,modifications of a decidedly esthetic character are generally suggested to the primitive mind by some functional1 constructive1 or accidental feature which may with ease be turned in the new direction4 ,in the vessel presented in ,fig4 #bhi--the work of ,alaskan ,indians--the margin is varied by altering the relations of the three marginal turns of the coil1 producing a scalloped effect4 ,this is without reference to use1 is uncalled for in construction1 and hence is1 in all probability1 the direct result of esthetic tendencies4 ,other and much more elaborate examples may be found in the basketry of almost all countries4 ,illustration3 ,,fig4 #bhi4 ,vessel with esthetic characters of form4 ,work of the ,yakama--#a_/d4 ,in the pursuit of this class of enrichment there is occasionally noticeable a tendency to overload the subject with extraneous details4 ,this is not apt to occur1 however1 in the indigenous practice of an art1 but comes more frequently from a loss of equilibrium or balance in motives or desires1 caused by untoward exotic influence4 ,when1 through suggestions derived from contact with civilized art1 the savage undertakes to secure all the grace and complexity observed in the works of more cultured peoples1 he does so at the expense of construction and adaptability to use4 ,an example of such work is presented in ,fig4 #bij1 a weak1 useless1 and wholly vicious piece of basketry4 ,other equally meretricious pieces represent goblets1 bottles1 and tea pots4 ,they are the work of the ,indians of the northwest coast and are executed in the neatest possible manner1 bearing evidence of the existence of cultivated taste4 ,illustration3 ,,fig4 #bij4 ,basket made under foreign influence1 construction and use being sacrificed to fancied beauty--#a_/c4 ,it appears from the preceding analyses that form in this art is not sufficiently sensitive to receive impressions readily from the delicate touch of esthetic fingers2 besides1 there are peculiar difficulties in the way of detecting traces of the presence and supervision of taste4 ,the inherent morphologic forces of the art are strong and stubborn and tend to produce the precise classes of results that we1 at this stage of culture1 are inclined to attribute to esthetic influence4 ,if1 in the making of a vessel1 the demands of use are fully satisfied1 if construction is perfect of its kind1 if materials are uniformly suitable1 and if models are not absolutely bad1 it follows that the result must necessarily possess in a high degree those very attributes that all agree are pleasing to the eye4 ,in a primitive water vessel function gives a full outline1 as capacity is a prime consideration2 convenience of use calls for a narrow neck and a conical base2 construction and materials unite to impose certain limitations to curves and their combinations1 from which the artist cannot readily free himself4 ,models furnished by nature1 as they are usually graceful1 do not interfere with the preceding agencies1 and all these forces united tend to give symmetry1 grace1 and the unity that belongs to simplicity4 ,taste which is in a formative state can but fall in with these tendencies of the art1 and must be led by them1 and led in a measure corresponding to their persistency and universality4 ,if the textile art had been the only one known to man1 ideas of the esthetic in shape would have been in a great measure formed through that art4 ,natural forms would have had little to do with it except through models furnished directly to and utilized by the art1 for the ideas of primitive men concentrate about that upon which their hands work and upon which their thoughts from necessity dwell with steady attention from generation to generation4 ,,relations ,,of ,,form ,,to ,,ornament4 ,it would seem that the esthetic tendencies of the mind1 failing to find satisfactory expression in shape1 seized upon the non-essential features of the art--markings of the surface and color of filaments--creating a new field in which to labor and expending their energy upon ornament4 ,shape has some direct relations to ornament1 and these relations may be classified as follows3 ,first1 the contour of the vessel controls its ornament to a large extent1 dictating the positions of design and setting its limits2 figures are in stripes1 zones1 rays1 circles1 ovals1 or rectangles--according1 in no slight measure1 to the character of the spaces afforded by details of contour4 ,secondly1 it affects ornament through the reproduction and repetition of features of form1 such as handles1 for ornamental purposes4 ,thirdly1 it is probable that shape influences embellishment through the peculiar bias given by it to the taste and judgment of men prior to or independent of the employment of ornament4 ,,color ,,in ,,textile ,,art4 ,color is one of the most constant factors in man's environment1 and it is so strongly and persistently forced upon his attention1 so useful as a means of identification and distinction1 that it necessarily receives a large share of consideration4 ,it is probably one of the foremost objective agencies in the formation and development of the esthetic sense4 ,the natural colors of textile materials are enormously varied and form one of the chief attractions of the products of the art4 ,the great interest taken in color--the great importance attached to it--is attested by the very general use of dyes1 by means of which additional variety and brilliancy of effect are secured4 ,color employed in the art is not related to use1 excepting1 perhaps1 in symbolic and superstitious matters2 nor is it of consequence in construction1 although it derives importance from the manner in which construction causes it to be manifested to the eye4 ,it finds its chief use in the field of design1 in making evident to the eye the figures with which objects of art are embellished4 ,color is employed or applied in two distinct ways3 it is woven or worked into the fabric by using colored filaments or parts1 or it is added to the surface of the completed object by means of pencils1 brushes1 and dies4 ,its employment in the latter manner is especially convenient when complex ideographic or pictorial subjects are to be executed4 ,,textile ,,ornament4 ,,development ,,of ,a ,,geometric ,,system ,,of ,,design ,,within ,,the ,,art4 ,,introduction4 ,having made a brief study of form and color in the textile art1 ,i shall now present the great group or family of phenomena whose exclusive office is that of enhancing beauty4 ,it will be necessary1 however1 to present1 besides those features of the art properly expressive of the esthetic culture of the race1 all those phenomena that1 being present in the art without man's volition1 tend to suggest decorative conceptions and give shape to them4 ,i shall show how the latter class of features arise as a necessity of the art1 how they gradually come into notice and are seized upon by the esthetic faculty1 and how under its guidance they assist in the development of a system of ornament of world wide application4 ,for convenience of treatment esthetic phenomena may be classed as relieved and flat4 ,figures or patterns of a relievo nature arise during construction as a result of the intersections and other more complex relations--the bindings--of the warp and woof or of inserted or applied elements4 ,flat or surface features are manifested in color1 either in unison with or independent of the relieved details4 ,such is the nature of the textile art that in its ordinary practice certain combinations of both classes of features go on as a necessity of the art and wholly without reference to the desire of the artist or to the effect of resultant patterns upon the eye4 ,the character of such figures depends upon the kind of construction and upon the accidental association of natural colors in construction4 ,at some period of the practice of the art these peculiar1 adventitious surface characters began to attract attention and to be cherished for the pleasure they gave2 what were at first adventitious features now took on functions peculiar to themselves1 for they were found to gratify desires distinct from those cravings that arise directly from physical wants4 ,it is not to be supposed for a moment that the inception of esthetic notions dates from this association of ideas of beauty with textile characters4 ,long before textile objects of a high class were made1 ideas of an esthetic nature had been entertained by the mind1 as1 for example1 in connection with personal adornment4 ,the skin had been painted1 pendants placed about the neck1 and bright feathers set in the hair to enhance attractiveness1 and it is not difficult to conceive of the transfer of such ideas from purely personal associations to the embellishment of articles intimately associated with the person4 ,no matter1 however1 what the period or manner of the association of such ideas with the textile art1 that association may be taken as the datum point in the development of a great system of decoration whose distinguishing characters are the result of the geometric textile construction4 ,in amplifying this subject ,i find it convenient to treat separately the two classes of decorative phenomena--the relieved and the flat--notwithstanding the fact that they are for the most part intimately associated and act together in the accomplishment of a common end4 ,,relief ,,phenomena4 ,ordinary features4--,the relieved surface characters of fabrics resulting from construction and available for decoration are more or less distinctly perceptible to the eye and to the touch and are susceptible of unlimited variation in detail and arrangement4 ,such features are familiar to all in the strongly marked ridges of basketry1 and much more pleasingly so in the delicate figures of damasks1 embroideries1 and laces4 ,so long as the figures produced are confined exclusively to the necessary features of unembellished construction1 as is the case in very primitive work and in all plain work1 the resultant patterns are wholly geometric and by endless repetition of like parts extremely monotonous4 ,in right angled weaving the figures combine in straight lines1 which run parallel or cross at uniform distances and angles4 ,in radiate weaving1 as in basketry1 the radial lines are crossed in an equally formal manner by concentric lines4 ,in other classes of combination there is an almost equal degree of geometricity4 ,when1 however1 with the growth of intelligence and skill it is found that greater variety of effect can be secured by modifying the essential combinations of parts1 and that1 too1 without interfering with constructive perfection or with use1 a new and wide field is opened for the developmental tendencies of textile decoration4 ,moreover1 in addition to the facilities afforded by the necessary elements of construction1 there are many extraneous resources of which the textile decorator may freely avail himself4 ,the character of these is such that the results1 however varied1 harmonize thoroughly with indigenous textile forms4 ,to make these points quite clear it will be necessary to analyze somewhat closely the character and scope of textile combination and of the resultant and associated phenomena4 ,we may distinguish two broad classes of constructive phenomena made use of in the expression of relieved enrichment4 ,as indicated above1 these are1 first1 essential or actual constructive features and1 second1 extra or superconstructive features4 ,first1 it is found that in the practice of primitive textile art a variety of methods of combination or bindings of the parts have been evolved and utilized1 and we observe that each of these--no matter what the material or what the size and character of the filamental elements--gives rise to distinct classes of surface effects4 ,thus it appears that peoples who happen to discover and use like combinations produce kindred decorative results1 while those employing unlike constructions achieve distinct classes of surface embellishment4 ,these constructive peculiarities have a pretty decided effect upon the style of ornament1 relieved or colored1 and must be carefully considered in the treatment of design2 but it is found that each type of combination has a greatly varied capacity of expression1 tending to obliterate sharp lines of demarkation between the groups of results4 ,it sometimes even happens that in distinct types of weaving almost identical surface effects are produced4 ,it will not be necessary in this connection to present a full series of the fundamental bindings or orders of combination1 as a few will suffice to illustrate the principles involved and to make clear the bearing of this class of phenomena upon decoration4 ,i choose1 first1 a number of examples from the simplest type of weaving1 that in which the web and the woof are merely interlaced1 the filaments crossing at right angles or nearly so4 ,in ,fig4 #bia we have the result exhibited in a plain open or reticulated fabric constructed from ordinary untwisted fillets1 such as are employed in our splint and cane products4 ,fig4 #bib illustrates the surface produced by crowding the horizontal series of the same fabric close together1 so that the vertical series is entirely hidden4 ,the surface here exhibits a succession of vertical ribs1 an effect totally distinct from that seen in the preceding example4 ,the third variety 7,fig4 #bic7 differs but slightly from the first4 ,the fillets are wider and are set close together without crowding1 giving the surface a checkered appearance4 ,illustration3 ,,fig4 #bia4 ,surface relief in simplest form of intersection4 ,illustration3 ,,fig4 #bib4 ,surface relief produced by horizontal series crowded together4 ,illustration3 ,,fig4 #bic4 ,surface relief produced by wide fillets set close together4 ,the second variety of surface effect is that most frequently seen in the basketry of our western tribes1 as it results from the great degree of compactness necessary in vessels intended to contain liquids1 semiliquid foods1 or pulverized substances4 ,the general surface effect given by closely woven work is illustrated in ,fig4 #bid1 which represents a large wicker carrying basket obtained from the ,moki ,indians4 ,in this instance the ridges1 due to a heavy series of radiating warp filaments1 are seen in a vertical position4 ,illustration3 ,,fig4 #bid4 ,basket showing ribbed surface produced by impacting the horizontal or concentric filaments4 ,moki work--#a_/h4 ,illustration3 ,,fig4 #bie4 ,alternation of intersection1 producing oblique or spiral ribs4 ,piute work--#a_/h4 ,illustration3 ,,fig4 #bif4 ,radiating ribs as seen in flat work viewed from above4 ,moki work--#a_/d4 ,it will be observed1 however1 that the ridges do not necessarily take the direction of the warp filaments1 for1 with a different alternation of the horizontal series--the woof--we get oblique ridges1 as shown in the partly finished bottle illustrated in ,fig4 #bie4 ,they are1 however1 not so pronounced as in the preceding case4 ,the peculiar effect of radiate and concentric weaving upon the ribs is well shown in ,fig4 #bif4 ,by changes in the order of intersection1 without changing the type of combination1 we reach a series of results quite unlike the preceding2 so distinct1 indeed1 that1 abstracted from constructive relationships1 there would be little suggestion of correlation4 ,in the example given in ,fig4 #big the series of filaments interlace1 not by passing over and under alternate strands1 as in the preceding set of examples1 but by extending over and under a number of the opposing series at each step and in such order as to give wide horizontal ridges ribbed diagonally4 ,illustration3 ,,fig4 #big4 ,diagonal combination1 giving herring bone effect4 ,illustration3 ,,fig4 #bih4 ,elaboration of diagonal combination1 giving triangular figures4 ,this example is from an ancient work basket obtained at ,ancon1 ,peru1 and shown in ,fig4 #bii4 ,the surface features are in strong relief1 giving a pronounced herring bone effect4 ,illustration3 ,,fig4 #bii4 ,peruvian work basket of reeds1 with strongly relieved ridges4 ,slight changes in the succession of parts enable the workman to produce a great variety of decorative patterns1 an example of which is shown in ,fig4 #bih4 ,a good illustration is also seen in ,fig4 #bhf1 and another piece1 said to be of ,seminole workmanship1 is given in ,fig4 #cjj4 ,these and similar relieved results are fruitful sources of primitive decorative motives4 ,they are employed not only within the art itself1 but in many other arts less liberally supplied with suggestions of embellishment4 ,illustration3 ,,fig4 #cjj4 ,effects produced by varying the order of intersection4 ,seminole work--#a_/h4 ,taking a second type of combination1 we have a family of resultant patterns in the main distinguishable from the preceding4 ,illustration3 ,,fig4 #cja4 ,surface effect in open twined combination4 ,illustration3 ,,fig4 #cjb4 ,surface effect of twined1 lattice combination in basketry of the ,clallam ,indians of ,washington ,territory--#a_/h4 ,fig4 #cja illustrates the simplest form of what ,dr4 ,o4,t4 ,mason has called the twined combination1 a favorite one with many of our native tribes4 ,the strands of the woof series are arranged in twos and in weaving are twisted half around at each intersection1 inclosing the opposing fillets4 ,the resulting open work has much the appearance of ordinary netting1 and when of pliable materials and distended or strained over an earthen or gourd vessel the pattern exhibited is strikingly suggestive of decoration4 ,the result of this combination upon a lattice foundation of rigid materials is well shown in the large basket presented in ,fig4 #cjb4 ,other variants of this type are given in the three succeeding figures4 ,illustration3 ,,fig4 #cjc4 ,surface effect in impacted work of twined combination4 ,the result seen in ,fig4 #cjc is obtained by impacting the horizontal or twined series of threads4 ,the surface is nearly identical with that of the closely impacted example of the preceding type 7,fig4 #bib74 ,the peculiarities are more marked when colors are used4 ,when the doubled and twisted series of strands are placed far apart and the opposing series are laid side by side a pleasing result is given1 as shown in ,fig4 #cjd and in the body of the conical basket illustrated in ,fig4 #cjg4 ,illustration3 ,,fig4 #cjd4 ,surface effect obtained by placing the warp strands close together and the woof cables far apart4 ,illustration3 ,,fig4 #cje4 ,surface effect obtained by crossing the warp series in open twined work4 ,in ,fig4 #cje we have a peculiar diagonally crossed arrangement of the untwisted series of filaments1 giving a lattice work effect4 ,illustration3 ,,fig4 #cjf4 ,decorative effects produced by variations in the radiate or warp series in an open work tray4 ,klamath work--#a_/d4 ,fig4 #cjf serves to show how readily this style of weaving lends itself to the production of decorative modification1 especially in the direction of the concentric zonal arrangement so universal in vessel-making arts4 ,the examples given serve to indicate the unlimited decorative resources possessed by the art without employing any but legitimate constructive elements1 and it will be seen that still wider results can be obtained by combining two or more varieties or styles of binding in the construction and the embellishment of a single object or in the same piece of fabric4 ,a good1 though very simple1 illustration of this is shown in the tray or mat presented in ,fig4 #bhf4 ,in this case a border1 varying from the center portion in appearance1 is obtained by changing one series of the filaments from a multiple to a single arrangement4 ,illustration3 ,,fig4 #cjg4 ,conical basket of the ,klamath ,indians of ,oregon1 showing peculiar twined effect and an open work border--#a_/h4 ,the conical basket shown in ,fig4 #cjg serves to illustrate the same point4 ,in this case a rudely worked1 though effective1 border is secured by changing the angle of the upright series near the top and combining them by plaiting1 and in such a way as to leave a border of open work4 ,now the two types of construction1 the interlaced and the twined1 some primitive phases of which have been reviewed and illustrated1 as they are carried forward in the technical progress of the art1 exhibit many new features of combination and resultant surface character1 but the elaboration is in all cases along lines peculiar to these types of weaving4 ,other types of combination of web and woof1 all tapestry1 and all braiding1 netting1 knitting1 crochet1 and needle work exhibit characters peculiar to themselves1 developing distinct groups of relieved results2 yet all are analogous in principle to those already illustrated and unite in carrying forward the same great geometric system of combination4 ,reticulated work4--,a few paragraphs may be added here in regard to reticulated fabrics of all classes of combination1 as they exhibit more than usually interesting relievo phenomena and have a decided bearing upon the growth of ornament4 ,in all the primitive weaving with which we are acquainted definite reticulated patterns are produced by variations in the spacings and other relations of the warp and woof2 and the same is true in all the higher forms of the art4 ,the production of reticulated work is the especial function of netting1 knitting1 crocheting1 and certain varieties of needlework1 and a great diversity of relieved results are produced1 no figure being too complex and no form too pronounced to be undertaken by ambitious workmen4 ,in the following figures we have illustrations of the peculiar class of primitive experiments that1 after the lapse of ages1 lead up to marvelous results1 the highest of which may be found in the exquisite laces of cultured peoples4 ,the ,americans had only taken the first steps in this peculiar art1 but the results are on this account of especial interest in the history of the art4 ,an example of simple reticulated hand weaving is shown in ,fig4 #cjh4 ,it is the work of the mound builders and is taken from an impression upon an ancient piece of pottery obtained in ,tennessee4 ,illustration3 ,,fig4 #cjh4 ,incipient stage of reticulated ornament4 ,fabric of the mound builders4 ,fig4 #cji illustrates a bit of ancient ,peruvian work executed on a frame or in a rude loom1 a checker pattern being produced by arranging the warp and woof now close together and now wide apart4 ,open work of this class is sometimes completed by after processes1 certain threads or filaments being drawn out or introduced1 by which means the figures are emphasized and varied4 ,in ,fig4 #caj we have a second ,peruvian example in which the woof threads have been omitted for the space of an inch1 and across this interval the loose warp has been plaited and drawn together1 producing a lattice-like band4 ,illustration3 ,,fig4 #cji4 ,simple form of ornamental reticulation4 ,ancient ,peruvian work4 ,illustration3 ,,fig4 #caj4 ,reticulated pattern in cotton cloth4 ,work of the ancient ,peruvians4 ,in a similar way four other bands of narrow open work are introduced1 two above and two below the wide band4 ,these are produced by leaving the warp threads free for a short space and drawing alternate pairs across each other and fixing them so by means of a woof thread1 as shown in the cut4 ,examples of netting in which decorative features have been worked are found among the textile products of many ,american tribes and occur as well in several groups of ancient fabrics1 but in most cases where designs of importance or complexity are desired parts are introduced to facilitate the work4 ,superconstructive features4--,these features1 so important in the decoration of fabrics1 are the result of devices by which a construction already capable of fulfilling the duties imposed by function has added to it parts intended to enhance beauty and which may or may not be of advantage to the fabric4 ,they constitute one of the most widely used and effective resources of the textile decorator1 and are added by sewing or stitching1 inserting1 drawing1 cutting1 applying1 appending1 c4 ,they add enormously to the capacity for producing relievo effects and make it possible even to render natural forms in the round4 ,notwithstanding this fact--the most important section of this class of features--embroidery is treated to better advantage under color phenomena1 as color is very generally associated with the designs4 ,illustration3 ,,fig4 #caa4 ,open work design embroidered upon a net-like fabric4 ,from a grave at ,ancon1 ,peru4 ,one example of lace-like embroidery may be given in this place4 ,it is probably among the best examples of monochrome embroidery ,america has produced4 ,in design and in method of realization it is identical with the rich1 colored embroideries of the ancient ,peruvians1 being worked upon a net foundation1 as shown in ,fig4 #caa4 ,the broad band of figures employs bird forms in connection with running geometric designs1 and still more highly conventional bird forms are seen in the narrow band4 ,appended ornaments are not amenable to the geometric laws of fabrication to the extent observed in other classes of ornament4 ,they are1 however1 attached in ways consistent with the textile system1 and are counted and spaced with great care1 producing designs of a more or less pronounced geometric character4 ,the work is a kind of embroidery1 the parts employed being of the nature of pendants4 ,these include numberless articles derived from nature and art4 ,it will suffice to present a few examples already at hand4 ,illustration3 ,,fig4 #cab4 ,basket with pendent buckskin strands tipped with bits of tin4 ,apache ,indians--#a_/h4 ,fig4 #cab illustrates a large1 well made basket1 the work of the ,apache ,indians4 ,it serves to indicate the method of employing tassels and clustered pendants1 which in this case consist of buckskin strings tipped with conical bits of tin4 ,the checker pattern is in color4 ,illustration3 ,,fig4 #cac4 ,basket with pendants of beads and bits of shell1 work of the northwest coast ,indians4--#a_/d4 ,fig4 #cac illustrates the use of other varieties of pendants4 ,a feather decked basket made by the northwest coast ,indians is embellished with pendent ornaments consisting of strings of beads tipped with bits of bright shell4 ,the importance of this class of work in higher forms of textiles may be illustrated by an example from ,peru4 ,it is probable that ,american art has produced few examples of tasseled work more wonderful than that of which a fragment is shown in ,fig4 #cad4 ,it is a fringed mantle1 three feet in length and nearly the same in depth1 obtained from an ancient tomb4 ,the body is made up of separately woven bands1 upon which disk-like and semilunar figures representing human faces are stitched1 covering the surface in horizontal rows4 ,to the center of these rosette-like parts clusters of tassels of varying sizes are attached4 ,the fringe1 which is twenty inches deep1 is composed entirely of long strings of tassels1 the larger tassels supporting clusters of smaller ones4 ,there are upwards of three thousand tassels1 the round heads of which are in many cases woven in colors1 ridges1 and nodes to represent the human features4 ,the general color of the garment1 which is of fine1 silky wool1 is a rich crimson4 ,the illustration can convey only a hint of the complexity and beauty of the original4 ,illustration3 ,,fig4 #cad4 ,tassel ornamentation from an ancient ,peruvian mantle4 ,we have now seen how varied and how striking are the surface characters of fabrics as expressed by the third dimension1 by variation from a flat1 featureless surface1 and how all1 essential and ornamental1 are governed by the laws of geometric combination4 ,we shall now see how these are related to color phenomena4 ,,color ,,phenomena4 ,ordinary features4--,in describing the constructive characters of fabrics and the attendant surface phenomena1 ,i called attention to the fact that a greater part of the design manifested is enforced and supplemented by color1 which gives new meaning to every feature4 ,color elements are present in the art from its very inception1 and many simple patterns appear as accidents of textile aggregation long before the weaver or the possessor recognizes them as pleasing to the eye4 ,when1 finally1 they are so recognized and a desire for greater elaboration springs up1 the textile construction lends itself readily to the new office and under the esthetic forces brings about wonderful results without interfering in the least with the technical perfection of the articles embellished4 ,but color is not confined to the mere emphasizing of figures already expressed in relief4 ,it is capable of advancing alone into new fields1 producing patterns and designs complex in arrangement and varied in hue1 and that1 too1 without altering the simple1 monotonous succession of relievo characters4 ,in color1 as in relieved design1 each species of constructive combination gives rise to more or less distinct groups of decorative results1 which often become the distinguishing characteristics of the work of different peoples and the progenitors of long lines of distinctions in national decorative conceptions4 ,in addition to this apparently limitless capacity for expression1 lovers of textile illumination have the whole series of extraordinary resources furnished by expedients not essential to ordinary construction1 the character and scope of which have been dwelt upon to some extent in the preceding section4 ,i have already spoken of color in a general way1 as to its necessary presence in art1 its artificial application to fabrics and fabric materials1 its symbolic characters1 and its importance to esthetic progress4 ,my object in this section is to indicate the part it takes in textile design1 its methods of expression1 the processes by which it advances in elaboration1 and the part it takes in all geometric decoration4 ,it will be necessary1 in the first place1 to examine briefly the normal tendencies of color combination while still under the direct domination of constructive elaboration4 ,in the way of illustration1 let us take first a series of filaments1 say in the natural color of the material1 and pass through them in the simplest interlaced style a second series having a distinct color4 ,a very simple geometric pattern is produced1 as shown in ,fig4 #cae4 ,it is a sort of checker1 an emphasized presentation of the relievo pattern shown in ,fig4 #bia1 the figures running horizontally1 vertically1 and diagonally4 ,had these filaments been accidentally associated in construction1 the results might have been the same1 but it is unnecessary to indicate in detail the possibilities of adventitious color combinations4 ,so far as they exhibit system at all it is identical with the relievo elaboration4 ,illustration3 ,,fig4 #cae4 ,pattern produced by interlacing strands of different colors4 ,illustration3 ,,fig4 #caf4 ,pattern produced by modifying the alternation of fillets4 ,illustration3 ,,fig4 #cag4 ,isolated figures produced by modifying the order of intersection4 ,assuming that the idea of developing these figures into something more elaborate and striking is already conceived1 let us study the processes and tendencies of growth4 ,a very slight degree of ingenuity will enable the workman to vary the relation of the parts1 producing a succession of results such1 perhaps1 as indicated in ,fig4 #caf4 ,in this example we have rows of isolated squares in white which may be turned hither and thither at pleasure1 within certain angles1 but they result in nothing more than monotonous successions of squares4 ,illustration3 ,,fig4 #cah4 ,pattern produced by simple alternations of light and dark fillets4 ,basketry of the ,indians of ,british ,guiana4 ,additional facility of expression is obtained by employing dark strands in the vertical series also1 and large1 isolated areas of solid color may be produced by changing the order of intersection1 certain of the fillets being carried over two or more of the opposing series and in contiguous spaces at one step1 as seen in ,fig4 #cag4 ,with these elementary resources the weaver has very considerable powers of expression1 as will be seen in ,fig4 #cah1 which is taken from a basket made by ,south ,american ,indians1 and in ,fig4 #cda1 where human figures are delineated4 ,the patterns in such cases are all rigidly geometric and exhibit stepped outlines of a pronounced kind4 ,with impacting and increased refinement of fillets the stepped character is in a considerable measure lost sight of and realistic1 graphic representation is to a greater extent within the workman's reach4 ,it is probable1 however1 that the idea of weaving complex ideographic characters would not occur to the primitive mind at a very early date1 and a long period of progress would elapse before delineative subjects would be attempted4 ,i do not need to follow this style of combination into the more refined kinds of work and into loom products1 but may add that through all1 until perverted by ulterior influences1 the characteristic geometricity and monotonous repetition are allpervading4 99 99 99 99 99 ,for the purpose of looking still more closely into the tendencies of normal textile decorative development ,i shall present a series of ,indian baskets1 choosing mainly from the closely woven or impacted varieties because they are so well represented in our collections and at the same time are so very generally embellished with designs in color2 besides1 they are probably among the most simple and primitive textile products known4 ,i have already shown that several types of combination when closely impacted produce very similar surface characters and encourage the same general style of decoration4 ,in nearly all1 the color features are confined to one series of fillets--those of the woof--the other1 the warp1 being completely hidden from view4 ,in the preceding series the warp and woof were almost equally concerned in the expression of design4 ,here but one is used1 and in consequence there is much freedom of expression1 as the artist carries the colored filaments back and forth or inserts new ones at will4 ,still it will be seen that in doing this he is by no means free2 he must follow the straight and narrow pathway laid down by the warp and woof1 and1 do what he may1 he arrives at purely geometric results4 ,illustration3 ,,fig4 #cai4 ,base of coiled basket showing the method of building by dual coiling4 ,the base or warp coil is composed of untwisted fiber and is formed by adding to the free end as the coiling goes on4 ,the woof or binding filament1 as it is coiled1 is caught into the upper surface of the preceding turn--#a_/h4 ,illustration3 ,,fig4 #cbj4 ,coiled basket with simple geometric ornament4 ,work of the northwest coast ,indians--#a_/h4 ,i will now present the examples1 which for the sake of uniformity are in all cases of the coiled ware4 ,if a basket is made with no other idea than that of use the surface is apt to be pretty uniform in color1 the natural color of the woof fillets4 ,if decoration is desired a colored fillet is introduced1 which1 for the time1 takes the place and does the duty of the ordinary strand4 ,fig4 #cai serves to show the construction and surface appearance of the base of a coil made vessel still quite free from any color decoration4 ,now1 if it is desired to begin a design1 the plain wrapping thread is dropped and a colored fillet is inserted and the coiling continues4 ,carried once around the vessel we have an encircling line of dark color corresponding to the lower line of the ornament seen in ,fig4 #cbj4 ,if the artist is content with a single line of color he sets the end of the dark thread and takes up the light colored one previously dropped and continues the coiling4 ,if further elaboration is desired it is easily accomplished4 ,in the example given the workman has taken up the dark fillet again and carried it a few times around the next turn of the warp coil2 then it has been dropped and the white thread taken up1 and again1 in turn1 another dark thread has been introduced and coiled for a few turns1 and so on until four encircling rows of dark1 alternating rectangles have been produced4 ,desiring to introduce a meandered design he has taken the upper series of rectangles as bases and adding colored filaments at the proper time has carried oblique lines1 one to the right and the other to the left1 across the six succeeding ridges of the warp coil4 ,the pairs of stepped lines meeting above were joined in rectangles like those below1 and the decoration was closed by a border line at the top4 ,the vessel was then completed in the light colored material4 ,in this ornament all forms are bounded by two classes of lines1 vertical and horizontal 7or1 viewed from above or below1 radial and encircling71 the lines of the warp and the woof4 ,oblique bands of color are made up of series of rectangles1 giving stepped outlines4 ,although these figures are purely geometric1 it is not impossible that in their position and grouping they preserve a trace of some imitative conception modified to this shape by the forces of the art4 ,they serve quite as well1 however1 to illustrate simple mechanical elaboration as if entirely free from suspicion of associated ideas4 ,illustration3 ,,fig4 #cba4 ,coiled basket with encircling bands of ornament in white1 red1 and black1 upon a yellowish ground4 ,obtained from the ,indians of the ,tule ,river1 ,california--#a_/h4 ,in ,fig4 #cba ,i present a superb piece of work executed by the ,indians of the ,tule ,river1 ,california4 ,it is woven in the closely impacted1 coiled style4 ,the ornament is arranged in horizontal zones and consists of a series of diamond shaped figures in white with red centers and black frames set side by side4 ,the processes of substitution where changes of color are required are the same as in the preceding case and the forms of figures and the disposition of designs are the same1 being governed by the same forces4 ,illustration3 ,,fig4 #cbb4 ,coiled basket with ornament arranged in zigzag rays4 ,obtained from the ,pima ,indians of ,arizona--#a_/h4 ,another choice piece1 from the ,pima ,indians of ,arizona1 is given in ,fig4 #cbb4 ,the lines of the ornament adhere exclusively to the directions imposed by the warp and the woof1 the stripes of black color ascending with the turns of the fillet for a short distance1 then for a time following the horizontal ridges1 and again ascending1 the complete result being a series of zigzag rays set very close together4 ,these rays take an oblique turn to the left1 and the dark figures at the angles1 from the necessities of construction1 form rows at right angles to these4 ,a few supplementary rays are added toward the margin to fill out the widening spaces4 ,another striking example of the domination of technique over design is illustrated in ,fig4 #cbc4 ,illustration3 ,,fig4 #cbc4 ,coiled basket with two bands of meandered ornament4 ,obtained from the ,pima ,indians of ,arizona--#a_/d4 ,two strongly marked1 fret-like meanders encircle the vessel1 the elements of which are ruled exclusively by the warp and woof1 by the radiate and the concentric lines of construction4 ,this is the work of the ,pima ,indians of ,arizona4 ,illustration3 ,,fig4 #cbd4 ,coiled basket with geometric ornament composed of triangular figures4 ,obtained from the ,mc,cloud ,river ,indians1 ,california--#a_/h4 ,i shall close the series with a very handsome example of ,indian basketry and of basketry ornamentation 7,fig4 #cbd74 ,the conical shape is highly pleasing and the design is thoroughly satisfactory and1 like all the others1 is applied in a way indicative of a refined sense of the decorative requirements of the utensil4 ,the design is wholly geometric1 and1 although varied in appearance1 is composed almost exclusively of dark triangular figures upon a light ground4 ,the general grouping is in three horizontal or encircling bands agreeing with or following the foundation coil4 ,details are governed by the horizontal and the oblique structure lines4 ,the vertical construction lines have no direct part in the conformation of the design excepting in so far as they impose a stepped character upon all oblique outlines4 ,these studies could be carried through all the types of primitive textile combination1 but such a work seems unnecessary1 for in all cases the elaboration in design1 relieved and colored1 is along similar lines1 is governed by the same class of forces1 and reaches closely corresponding results4 99 99 99 99 99 ,we have observed throughout the series of examples presented a decided tendency toward banded or zonal arrangement of the ornamentation4 ,now each of these bands is made up of a number of units1 uniform in shape and in size and joined or linked together in various suitable and consistent ways4 ,in contemplating them we are led to inquire into the nature of the forces concerned in the accomplishment of such results4 ,the question arises as to exactly how much of the segregating and aggregating forces or tendencies belongs to the technique of the art and how much to the direct esthetic supervision of the human agent1 questions as to ideographic influence being for the present omitted4 ,this is a difficult problem to deal with1 and ,i shall not attempt more here than to point out the apparent teachings of the examples studied4 ,the desires of the mind constitute the motive power1 the force that gives rise to all progress in art2 the appreciation of beauty and the desire to increase it are the cause of all progress in purely decorative elaboration4 ,it appears1 however1 that there is in the mind no preconceived idea of what that elaboration should be4 ,the mind is a growing thing and is led forward along the pathways laid out by environment4 ,seeking in art gratification of an esthetic kind it follows the lead of technique along the channels opened by such of the useful arts as offer suggestions of embellishment4 ,the results reached vary with the arts and are important in proportion to the facilities furnished by the arts4 ,as ,i have already amply shown1 the textile art possesses vast advantages over all other arts in this respect1 as it is first in the field1 of widest application1 full of suggestions of embellishment1 and inexorably fixed in its methods of expression4 ,the mind in its primitive1 mobile condition is as clay in the grasp of technique4 ,a close analysis of the forces and the influences inherent in the art will be instructive4 ,for the sake of simplicity ,i exclude from consideration all but purely mechanical or non-ideographic elements4 ,it will be observed that order1 uniformity1 symmetry1 are among the first lessons of the textile art4 ,from the very beginning the workman finds it necessary to direct his attention to these considerations in the preparation of his material as well as in the building of his utensils4 ,if parts employed in construction are multiple they must be uniform1 and to reach definite results 7presupposing always a demand for such results71 either in form or ornament1 there must be a constant counting of numbers and adjusting to spaces4 ,the most fundamental and constant elements embodied in textile art and available for the expression of embellishment are the minute steps of the intersections or bindings2 the most necessary and constant combination of these elements is in continuous lines or in rows of isolated figures2 the most necessary and constant directions for these combinations are with the web and the woof1 or with their complementaries1 the diagonals4 ,if large areas are covered certain separation or aggregation of the elements into larger units is called for1 as otherwise absolute sameness would result4 ,such separation or aggregation conforms to the construction lines of the fabric1 as any other arrangement would be unnatural and difficult of accomplishment4 ,when the elements or units combine in continuous zones1 bands1 or rays they are placed side by side in simple juxtaposition or are united in various ways1 always following the guide lines of construction through simple and complex convolutions4 ,whatever is done is at the suggestion of technique2 whatever is done takes a form and arrangement imposed by technique4 ,results are like in like techniques and are unlike in unlike techniques2 they therefore vary with the art and with its variations in time and character4 ,all those agencies pertaining to man that might be supposed important in this connection--the muscles of the hand and of the eye1 the cell structure of the brain1 together with all preconceived ideas of the beautiful--are all but impotent in the presence of technique1 and1 so far as forms of expression go1 submit completely to its dictates4 ,ideas of the beautiful in linear geometric forms are actually formed by technique1 and taste in selecting as the most beautiful certain ornaments produced in art is but choosing between products that in their evolution gave it its character and powers1 precisely as the animal selects its favorite foods from among the products that throughout its history constitute its sustenance and shape its appetites4 99 99 99 99 99 ,now1 as primitive peoples advance from savagery to barbarism there comes a time in the history of all kinds of textile products at which the natural technical progress of decorative elaboration is interfered with by forces from without the art4 ,this occurs when ideas1 symbolic or otherwise1 come to be associated with the purely geometric figures1 tending to arrest or modify their development1 or1 again1 it occurs when the artist seeks to substitute mythologic subjects for the geometric units4 ,this period cannot be always well defined1 as the first steps in this direction are so thoroughly subordinated to the textile forces4 ,between what may be regarded as purely technical1 geometric ornament and ornament recognizably delineative1 we find in each group of advanced textile products a series of forms of mixed or uncertain pedigree4 ,these must receive slight attention here4 ,illustration3 ,,fig4 #cbe4 ,coiled basket ornamented with devices probably very highly conventionalized mythological subjects4 ,obtained from the ,apache--#a_/h4 ,fig4 #cbe represents a large and handsome basket obtained from the ,apache4 ,it will be seen that the outline of the figures comprising the principal zone of ornament departs somewhat from the four ruling directions of the textile combination4 ,this was accomplished by increasing the width of the steps in the outline as the dark rays progressed1 resulting in curved outlines of eccentric character4 ,this eccentricity1 coupled with the very unusual character of the details at the outer extremities of the figures1 leads to the surmise that each part of the design is a conventional representation of some life form1 a bird1 an insect1 or perhaps a man4 ,by the free introduction of such elements textile ornament loses its pristine geometric purity and becomes in a measure degraded4 ,in the more advanced stages of ,pueblo art the ornament of nearly all the textiles is pervaded by ideographic characters1 generally rude suggestions of life forms1 borrowed1 perhaps1 from mythologic art4 ,this is true of much of the coiled basketry of the ,moki ,indians4 ,true1 many examples occur in which the ancient or indigenous geometric style is preserved1 but the majority appear to be more or less modified4 ,in many cases nothing can be learned from a study of the designs themselves1 as the particular style of construction is not adapted to realistic expression1 and1 at best1 resemblances to natural forms are very remote4 ,two examples are given in ,figs4 #cbf and #cbg4 ,i shall expect1 however1 when the art of these peoples is better known1 to learn to what particular mythic concept these mixed or impure geometric devices refer4 ,illustration3 ,,fig4 #cbf4 ,coiled tray with geometric devices probably modified by ideographic association4 ,moki work--#a_/d4 ,the same is true of other varieties of ,pueblo basketry1 notably the common decorated wickerware1 two specimens of which are given in ,figs4 #cbh and #cbi4 ,this ware is of the interlaced style1 with radially arranged web filaments4 ,its geometric characters are easily distinguished from those of the coiled ware4 ,many examples exhibit purely conventional elaboration1 the figures being arranged in rays1 zones1 checkers1 and the like4 ,it is to be expected1 however1 that the normal ornament of this class of products should be greatly interfered with through attempts to introduce extraneous elements1 for the peoples have advanced to a stage of culture at which it is usual to attempt the introduction of mythologic representations into all art4 ,further consideration of this subject will be necessary in the next section of this paper4 ,illustration3 ,,fig4 #cbg4 ,coiled tray with geometric devices1 probably modified by ideographic association4 ,moki work--#a_/d4 ,illustration3 ,,fig4 #cbh4 ,tray of interlaced style of weaving1 showing geometric ornament1 probably modified by ideographic association4 ,moki work--#a_/d4 ,the processes of pure geometric elaboration with which this section is mainly concerned can be studied to best advantage in more primitive forms of art4 ,illustration3 ,,fig4 #cbi4 ,tray of interlaced style of weaving1 showing geometric ornament1 probably modified by ideographic association4 ,moki work--#a_/d4 ,non-essential constructive features4--,now1 all the varied effects of color and design described in the preceding paragraphs are obtained without seriously modifying the simple necessary construction1 without resorting to the multiple extraordinary devices within easy reach4 ,the development and utilization of the latter class of resources must now receive attention4 ,in the preceding examples1 when it was desired to begin a figure in color the normal ground filament was dropped out and a colored one set into its place and made to fill its office while it remained2 but we find that in many classes of work the colored elements were added to the essential parts1 not substituted for them1 although they are usually of use in perfecting the fabric by adding to serviceability as well as to beauty4 ,this is illustrated1 for example1 by the doubling of one series or of both warp and woof1 by the introduction of pile1 by wrapping filaments with strands of other colors1 or by twisting in feathers4 ,savage nations in all parts of the world are acquainted with devices of this class and employ them with great freedom4 ,the effects produced often correspond closely to needlework1 and the materials employed are often identical in both varieties of execution4 ,the following examples will serve to illustrate my meaning4 ,the effect seen in ,fig4 #ccj is observed in a small hand wallet obtained in ,mexico4 ,the fillets employed appear to be wide1 flattened straws of varied colors4 ,in order to avoid the monotony of a plain checker certain of the light fillets are wrapped with thin fillets of dark tint in such a way that when woven the dark color appears in small squares placed diagonally with the fundamental checkers4 ,additional effects are produced by covering certain portions of the filaments with straws of distinct color1 all being woven in with the fabric4 ,by other devices certain parts of the fillets are made to stand out from the surface in sharp points and in ridges1 forming geometric figures1 either normal or added elements being employed4 ,another device is shown in ,fig4 #cca4 ,here a pattern is secured by carrying dark fillets back and forth over the light colored fabric1 catching them down at regular intervals during the process of weaving4 ,again1 feathers and other embellishing media are woven in with the woof4 ,two interesting baskets procured from the ,indians of the northwest coast are shown in ,figs4 #ccb and #ccc4 ,feathers of brilliant hues are fixed to and woven in with certain of the woof strands1 which are treated1 in the execution of patterns1 just as are ordinary colored threads1 care being taken not to destroy the beauty of the feathers in the process4 ,the richly colored feathers lying smoothly in one direction are made to represent various figures necessarily geometric4 ,this simple work is much surpassed1 however1 by the marvelous feather ornamentation of the ,mexicans and ,peruvians1 of which glowing accounts are given by historians and of which a few meager traces are found in tombs4 ,much of the feather work of all nations is of the nature of embroidery and will receive attention further on4 ,a very clever device practiced by the northwest coast tribes consists in the use of two woof strands of contrasting colors1 one or the other being made to appear on the surface1 as the pattern demands4 ,illustration3 ,,fig4 #ccj4 ,ornament produced by wrapping certain light fillets with darker ones before weaving4 ,mexican work4 ,illustration3 ,,fig4 #cca4 ,ornamental effect secured by weaving in series of dark fillets1 forming a superficial device4 ,work of the ,klamath ,indians4 ,illustration3 ,,fig4 #ccb4 ,baskets ornamented with feather work4 ,northwest coast tribes--#a_/d4 ,illustration3 ,,fig4 #ccc4 ,baskets ornamented with feather work4 ,northwest coast tribes--#a_/d4 ,an example from a higher grade of art will be of value in this connection4 ,the ancient ,peruvians resorted to many clever devices for purposes of enrichment4 ,an illustration of the use of extra-constructional means to secure desired ends are given in ,figs4 #ccd and #cce4 ,threads constituting a supplemental warp and woof are carried across the under side of a common piece of fabric1 that they may be brought up and woven in here and there to produce figures of contrasting color upon the right side4 ,fig4 #ccd shows the right side of the cloth1 with the secondary series appearing in the border and central figure only4 ,fig4 #cce illustrates the opposite side and shows the loose hanging1 unused portions of the auxiliary series4 ,in such work1 when the figures are numerous and occupy a large part of the surface1 the fabric is really a double one1 having a dual warp and woof4 ,examples could be multiplied indefinitely1 but it will readily be seen from what has been presented that the results of these extraordinary means cannot differ greatly from those legitimately produced by the fundamental filaments alone4 ,illustration ,,fig4 #ccd4 ,piece of cotton cloth showing the use of a supplementary web and woof4 ,ancient ,peru4 ,illustration ,,fig4 #cce4 ,piece of cotton cloth showing the use of a supplementary web and woof4 ,ancient ,peru4 ,superconstructive features4--,in reviewing the superconstructive decorative features in the preceding section ,i classified them somewhat closely by method of execution or application to the fabric1 as stitched1 inserted1 drawn1 cut1 applied1 and appended4 ,it will be seen that1 although these devices are to a great extent of the nature of needlework1 all cannot be classed under this head4 ,before needles came into use the decorative features were inserted and attached in a variety of ways4 ,in open work nothing was needed but the end of the fillet or part inserted2 again1 in close work1 perforations were made as in leather work1 and the threads were inserted as are the waxed ends of the shoemaker4 ,the importance of this class of decorative devices to primitive peoples will be apparent if we but call to mind the work of our own ,indian tribes4 ,what a vast deal of attention is paid to those classes of embroideries in which beads1 feathers1 quills1 shells1 seeds1 teeth1 c41 are employed1 and to the multitude of novel applications of tassels1 fringes1 and tinkling pendants4 ,the taste for these things is universal and their relation to the development of esthetic ideas is doubtless very intimate4 ,needlework arose in the earliest stages of art and at first was employed in joining parts1 such as leaves1 skins1 and tissues1 for various useful purposes1 and afterwards in attaching ornaments4 ,in time the attaching media1 as exposed in stitches1 loops1 knots1 and the like1 being of bright colors1 were themselves utilized as embellishment1 and margins and apertures were beautified by various bindings and borders1 and finally patterns were worked in contrasting colors upon the surfaces of the cloths and other materials of like nature or use4 ,no other art so constantly and decidedly suggested embellishment and called for the exercise of taste4 ,it was the natural habitat for decoration4 ,it was the field in which technique and taste were most frequently called upon to work hand in hand4 ,with the growth of culture the art was expanded and perfected1 its wonderful capacity for expression leading from mere bindings to pretentious borders1 to patterns1 to the introduction of ideographs1 to the representation of symbols and mythologic subjects1 and from these to the delineation of nature1 the presentation of historical and purely pictorial scenes4 ,and now a few words in regard to the character of the work and its bearing upon the geometric system of decoration4 ,as purely constructive ornamentation has already been presented1 ,i will first take up that class of superconstructive work most nearly related to it4 ,in some varieties of basketry certain bindings of the warp and woof are actually left imperfect1 with the idea of completing the construction by subsequent processes1 the intersections being gone over stitch by stitch and lashed together1 the embroidery threads passing in regular order through the openings of the mesh4 ,this process is extremely convenient to the decorator1 as changes from one color to another are made without interfering with construction1 and the result is of a closely similar character to that reached by working the colors in with warp and woof4 ,in a very close fabric this method cannot be employed1 but like results are reached by passing the added filaments beneath the protruding parts of the bindings and1 stitch by stitch1 covering up the plain fabric1 working bright patterns4 ,fig4 #ccf is intended to show how this is done4 ,the foundation is of twined work and the decorating fillets are passed under by lifting1 with or without a needle4 ,this process is extensively practiced by our west coast tribes1 and the results are extremely pleasing4 ,the materials most used are quills and bright colored straws1 the foundation fabric being of bark or of rushes4 ,the results in such work are generally geometric1 in a way corresponding more or less closely with the ground work combination4 ,illustration3 ,,fig4 #ccf4 ,grass embroidery upon the surface of closely impacted1 twined basketry4 ,work of the northwest coast ,indians4 ,a large class of embroideries are applied by like processes1 but without reference to the construction of the foundation fabric1 as they are also applied to felt and leather4 ,again1 artificially prepared perforations are used1 through which the fillets are passed4 ,the results are much less uniformly geometric than where the fabric is followed2 yet the mere adding of the figures1 stitch by stitch or part by part1 is sufficient to impart a large share of geometricity1 as may be seen in the buckskin bead work and in the dentalium and quill work of the ,indians4 ,feather embroidery was carried to a high degree of perfection by our ancient aborigines1 and the results were perhaps the most brilliant of all these wonderful decorations4 ,i have already shown how feathers are woven in with the warp and woof1 and may now give a single illustration of the application of feather work to the surfaces of fabrics4 ,among the beautiful articles recovered from the tombs of ,ancon1 ,peru1 are some much decayed specimens of feather work4 ,in our example delicate feathers of red1 blue1 and yellow hues are applied to the surface of a coarse cotton fabric by first carefully tying them together in rows at regular distances and afterwards stitching them down1 as shown in ,fig4 #ccg4 ,the same method is practiced by modern peoples in many parts of the world4 ,other decorative materials are applied in similar ways by attachment to cords or fillets which are afterwards stitched down4 ,in all this work the geometricity is entirely or nearly uniform with that of the foundation fabrics4 ,other classes of decoration1 drawn work1 appliqu1 and the like1 are not of great importance in aboriginal art and need no additional attention here1 as they have but slight bearing upon the development of design4 ,illustration3 ,,fig4 #ccg4 ,feather embroidery of the ancient ,peruvians1 showing the method of attaching the feathers4 ,attached or appended ornaments constitute a most important part of decorative resource4 ,they are less subject to the laws of geometricity1 being fixed to surfaces and margins without close reference to the web and woof4 ,they include fringes1 tassels1 and the multitude of appendable objects1 natural and artificial1 with which primitive races bedeck their garments and utensils4 ,a somewhat detailed study of this class of ornament is given at the end of the preceding section4 ,adventitious features4--,ornament is applied to the surfaces of fabrics by painting and by stamping4 ,these methods of decoration were employed in very early times and probably originated in other branches of art4 ,if the surface features of the textile upon which a design is painted are strongly pronounced1 the figures produced with the brush or pencil will tend to follow them1 giving a decidedly geometric result4 ,if the surface is smooth the hand is free to follow its natural tendencies1 and the results will be analogous in character to designs painted upon pottery1 rocks1 or skins4 ,in primitive times both the texture of the textiles and the habits of the decorator1 acquired in textile work1 tended towards the geometric style of delineation1 and we find that in work in which the fabric lines are not followed at all the designs are still geometric1 and geometric in the same way as are similar designs woven in with the fabric4 ,illustrations of this are given in the next section4 99 99 99 99 99 ,i have dwelt at sufficient length upon the character and the tendencies of the peculiar system of embellishment that arises within textile art as the necessary outgrowth of technique1 and now proceed to explain the relations of this system to associated art4 ,in the strong forward tendency of the textile system of decoration it has made two conquests of especial importance4 ,in the first place it has subdued and assimilated all those elements of ornament that have happened to enter its realm from without1 and in the second place it has imposed its habits and customs upon the decorative systems of all arts with which the textile art has come in contact4 ,,geometricity ,,imposed ,,upon ,,adopted ,,elements ,,of ,,design4 ,at a very early stage of culture most peoples manifest decided artistic tendencies1 which are revealed in attempts to depict various devices1 life forms1 and fancies upon the skin and upon the surfaces of utensils1 garments1 and other articles and objects4 ,the figures are very often decorative in effect and may be of a trivial nature1 but very generally such art is serious and pertains to events or superstitions4 ,the devices employed may be purely conventional or geometric1 containing no graphic element whatever2 but life forms afford the most natural and satisfactory means of recording1 conveying1 and symbolizing ideas1 and hence preponderate largely4 ,such forms1 on account of their intimate relations with the philosophy of the people1 are freely embodied in every art suitable to their employment4 ,as already seen1 the peculiar character of textile construction places great difficulties in the way of introducing unsymmetric and complex figures like those of natural objects into fabrics4 ,the idea of so employing them may originally have been suggested by the application of designs in color to the woven surfaces or by resemblances between the simpler conventional life form derivatives and the geometric figures indigenous to the art4 ,at any rate1 the idea of introducing life forms into the texture was suggested1 and in the course of time a great deal of skill was shown in their delineation1 the bolder workmen venturing to employ a wide range of graphic subjects4 ,now1 if we examine these woven forms with reference to the modifications brought about by the textile surveillance1 we find that the figures1 as introduced in the cloth1 do not at all correspond with those executed by ordinary graphic methods1 either in degree of elaboration or in truthfulness of expression4 ,they have a style of their own4 ,each delineative element upon entering the textile realm is forced into those peculiar conventional outlines imposed by the geometric construction1 the character of which has already been dwelt upon at considerable length4 ,we find1 however1 that the degree of convention is not uniform throughout all fabrics1 but that it varies with the refinement of the threads or filaments1 the compactness of the mesh1 the character of the combination1 the graphic skill of the artist1 and the tendencies of his mind2 yet we observe that through all there is still exhibited a distinct and peculiar geometricity4 ,so pronounced is this technical bias that delineations of a particular creature--as1 for example1 a bird--executed by distant and unrelated peoples1 are reduced in corresponding styles of fabric to almost identical shapes4 ,this conventionalizing force is further illustrated by the tendency in textile representation to blot out differences of time and culture1 so that when a civilized artisan1 capable of realistic pictorial delineation of a high order1 introduces a figure into a certain form of coarse fabric he arrives at a result almost identical with that reached by the savage using the same1 who has no graphic language beyond the rudest outline4 ,a number of examples may be given illustrating this remarkable power of textile combination over ornament4 ,i select three in which the human figure is presented4 ,one is chosen from ,iroquoian art1 one from ,digger ,indian art1 and one from the art of the ,incas--peoples unequal in grade of culture1 isolated geographically1 and racially distinct4 ,i have selected specimens in which the parts employed give features of corresponding size1 so that comparisons are easily instituted4 ,the example shown in ,fig4 #cch illustrates a construction peculiar to the wampum belts of the ,iroquois and their neighbors1 and quite unlike ordinary weaving4 ,it is taken from the middle portion of what is known as the ,penn wampum belt4 ,the horizontal series of strands consists of narrow strips of buckskin1 through which the opposing series of threads are sewed1 holding in place the rows of cylindrical shell beads4 ,purple beads are employed to develop the figures in a ground of white beads4 ,if the maker of this belt had been required to execute in chalk a drawing depicting brotherly love the results would have been very different4 ,illustration3 ,,fig4 #cch4 ,figures from the ,penn wampum belt1 showing the conventional form imposed in bead work4 ,my second illustration 7,fig4 #cci7 is drawn from a superb example of the basketry of the ,yokut ,indians of ,california4 ,the two figures form part of a spirally radiating band of ornament1 which is shown to good advantage in the small cut4 ,fig4 #cdj4 ,it is of the coiled style of construction4 ,the design is worked in four colors and the effect is quiet and rich4 ,illustration3 ,,fig4 #cci4 ,conventional figures from a ,california ,indian basket4 ,illustration3 ,,fig4 #cdj4 ,basket made by the ,yokut ,indians of ,california4 ,turning southward from ,california and passing through many strange lands we find ourselves in ,peru1 and among a class of remains that bespeak a high grade of culture4 ,the inhabitants of ,ancon were wonderfully skilled in the textile art1 and thousands of handsome examples have been obtained from their ancient tombs4 ,among these relics are many neat little workbaskets woven from rushes4 ,one of these1 now in the ,national ,museum1 is encircled by a decorated belt in which are represented seven human figures woven in black filaments upon a brown ground4 ,the base and rim of the basket are woven in the intertwined combination1 but in the decorated belt the style is changed to the plain right angled interlacing1 for the reason1 no doubt1 that this combination was better suited to the development of the intended design4 ,besides the fundamental series of fillets the weaver resorted to unusual devices in order to secure certain desired results4 ,in the first place the black horizontal series of filaments does not alternate in the simplest way with the brown series1 but1 where a wide space of the dark color is called for1 several of the brown strands are passed over at one step1 as in the head and body1 and in the wider interspaces the dark strands pass under two or more of the opposing strands4 ,in this way broad areas of color are obtained4 ,it will be observed1 however1 that the construction is weakened by this modification1 and that to remedy the defect two additional extra constructive series of fillets are added4 ,these are of much lighter weight than the main series1 that they may not obscure the pattern4 ,over the dark series they run vertically and over the light obliquely4 ,illustration3 ,,fig4 #cda4 ,conventional human figures from an ancient ,peruvian basket4 ,it will be seen that the result1 notwithstanding all this modification of procedure1 is still remarkably like that of the preceding examples1 the figures corresponding closely in kind and degree of geometricity4 ,the fact is that in this coarse work refinement of drawing is absolutely unattainable4 ,it appears that the sharply pronounced steps exhibited in the outlines are due to the great width of the fillets used4 ,with the finer threads employed by most nations of moderate culture the stepped effect need not obtrude itself1 for smooth outlines and graceful curves are easily attainable2 yet1 as a rule1 even the finer fabrics continue to exhibit in their decorations the pronounced geometric character seen in ruder forms4 ,i present a striking example of this in ,fig4 #cdb1 a superb piece of ,incarian gobelins1 in which a gaily costumed personage is worked upon a dark red ground dotted with symbols and strange devices4 ,the work is executed in brilliant colors and in great detail4 ,but with all the facility afforded for the expression of minutely modulated form the straight lines and sharp angles are still present4 ,the traditions of the art were favorable to great geometricity1 and the tendencies of the warp and woof and the shape of the spaces to be filled were decidedly in that direction4 ,illustration3 ,,fig4 #cdb4 ,human figure in ,peruvian gobelins1 showing characteristic textile convention4 ,from chromolithographs published by ,reiss and ,stbel in ,the ,necropolis of ,ancon4 ,illustration3 ,,fig4 #cdc4 ,human figures from a ,peruvian vase1 done in free hand1 graphic style4 ,in order that the full force of my remarks may be appreciable to the eye of the reader1 ,i give an additional illustration 7,fig4 #cdc74 ,the two figures here shown1 although ,i am not able to say positively that the work is pre-,columbian1 were executed by a native artist of about the same stage of culture as was the work of the textile design4 ,these figures are executed in color upon the smooth surface of an earthen vase and illustrate perfectly the peculiar characters of free hand1 graphic delineation4 ,place this and the last figure side by side and we see how vastly different is the work of two artists of equal capacity when executed in the two methods4 ,this figure should also be compared with the embroidered figures shown in ,fig4 #cdh4 ,the tendencies to uniformity in textile ornament here illustrated may be observed the world over4 ,every element entering the art must undergo a similar metamorphosis2 hence the remarkable power of this almost universally practiced art upon the whole body of decorative design4 ,illustration3 ,,fig4 #cdd4 ,human figure modified by execution in concentric interlaced style of weaving--#a_/c4 ,that the range of results produced by varying styles of weaving and of woven objects may be appreciated1 ,i present some additional examples4 ,coiled wares1 for instance1 present decorative phenomena strikingly at variance with those in which there is a rectangular disposition of parts4 ,instead of the two or more interlacing series of parallel fillets exhibited in the latter style1 we have one radiate and one concentric series4 ,the effect of this arrangement upon the introduced human figure is very striking1 as will be seen by reference to ,fig4 #cdd1 which represents a large tray obtained from the ,moki ,indians4 ,the figure probably represents one of the mythologic personages of the ,moki pantheon or some otherwise important priestly functionary1 wearing the characteristic headdress of the ceremony in which the plaque was to be used4 ,the work is executed in wicker1 stained in such bright tints as were considered appropriate to the various features of the costume4 ,referring in detail to the shape and arrangement of the parts of the figure1 it is apparent that many of the remarkable features are due to constructive peculiarities4 ,the round face1 for example1 does not refer to the sun or the moon1 but results from the concentric weaving4 ,the oblique eyes have no reference to a ,mongolian origin1 as they only follow the direction of the ray upon which they are woven1 and the headdress does not refer to the rainbow or the aurora because it is arched1 but is arched because the construction forced it into this shape4 ,the proportion of the figure is not so very bad because the ,moki artist did not know better1 but because the surface of the tray did not afford room to project the body and limbs4 ,illustration3 ,,fig4 #cde4 ,figure of a bird painted upon a ,zui shield1 free hand delineation4 ,now1 it may be further observed that had the figure been placed at one side of the center1 extending only from the border to the middle of the tray1 an entirely different result would have been reached2 but this is better illustrated in a series of bird delineations presented in the following figures4 ,with many tribes the bird is an object of superstitious interest and is introduced freely into all art products suitable for its delineation4 ,it is drawn upon walls1 skins1 pottery1 and various utensils and weapons1 especially those directly connected with ceremonies in which the mythical bird is an important factor4 ,the bird form was probably in familiar use long before it was employed in the decoration of basketry4 ,in ,fig4 #cde ,i present an ordinary graphic representation4 ,it is copied from a ,zui shield and is the device of an order or the totem of a clan4 ,the style is quite conventional1 as a result of the various constraints surrounding its production4 ,but what a strange metamorphosis takes place when it is presented in the basketmaker's language4 ,observe the conventional pattern shown upon the surface of a ,moki tray 7,fig4 #cdf74 ,we have difficulty in recognizing the bird at all1 although the conception is identical with the preceding4 ,the positions of the head and legs and the expanded wings and tail correspond as closely as possible1 but delineation is hampered by technique4 ,the peculiar construction barely permits the presentation of a recognizable life form1 and permits it in a particular way1 which will be understood by a comparison with the treatment of the human figure in ,fig4 #cdd4 ,in that case the interlaced combination gives relievo results1 characterized by wide1 radiating ribs and narrow1 inconspicuous1 concentric lines1 which cross the ribs in long steps4 ,the power of expression lies almost wholly with the concentric series1 and detail must in a great measure follow the concentric lines4 ,in the present case 7,fig4 #cdf7 this is reversed and lines employed in expressing forms are radiate4 ,illustration3 ,,fig4 #cdf4 ,figure of a bird executed in a coiled ,moki tray1 textile delineation4 ,the precise effect of this difference of construction upon a particular feature may be shown by the introduction of another illustration4 ,in ,fig4 #cdg we have a bird woven in a basket of the interlaced style4 ,we see with what ease the long sharp bill and the slender tongue 7shown by a red filament between the two dark mandibles7 are expressed4 ,in the other case the construction is such that the bill1 if extended in the normal direction1 is broad and square at the end1 and the tongue1 instead of lying between the mandibles1 must run across the bill1 totally at variance with the truth2 in this case the tongue is so represented1 the light vertical band seen in the cut being a yellow stripe4 ,it will be seen that the two representations are very unlike each other1 not because of differences in the conception and not wholly on account of the style of weaving1 but rather because the artist chose to extend one across the whole surface of the utensil and to confine the other to one side of the center4 ,illustration3 ,,fig4 #cdg4 ,figure of a bird woven in interlaced wicker at one side of the center4 ,it is clear1 therefore1 from the preceding observations that the convention of woven life forms varies with the kind of weaving1 with the shape of the object1 with the position upon the object1 and with the shape of the space occupied1 as well as with the inherited style of treatment and with the capacity of the artist concerned4 ,these varied forces and influences unite in the metamorphosis of all the incoming elements of textile embellishment4 ,it will be of interest to examine somewhat closely the modifications produced in pictorial motives introduced through superstructural and adventitious agencies4 ,we are accustomed1 at this age of the world1 to see needlework employed successfully in the delineation of graphic forms and observe that even the ,indian1 under the tutelage of the ,european1 reproduces in a more or less realistic way the forms of vegetal and animal life4 ,as a result we find it difficult to realize the simplicity and conservatism of primitive art4 ,the intention of the primitive artist was generally not to depict nature1 but to express an idea or decorate a space1 and there was no strong reason why the figures should not submit to the conventionalizing tendencies of the art4 ,i have already shown that embroidered designs1 although not from necessity confined to geometric outlines1 tend to take a purely geometric character from the fabric upon which they are executed1 as well as from the mechanical processes of stitching4 ,this is well shown in ,fig4 #cdh1 a fine specimen given by ,wiener in his work ,prou et ,bolive4 ,illustration3 ,,fig4 #cdh4 ,embroidery upon a cotton net in which the textile combinations are followed step by step4 ,ancient ,peruvian work4 ,a life form worked upon a net does not differ essentially from the same subject woven in with the web and woof4 ,the reason is found in the fact that in embroidery the workman was accustomed from the first to follow the geometric combination of the foundation fabric step by step1 and later in life delination he pursued the same method4 ,it would seem natural1 however1 that when the foundation fabric does not exhibit well marked geometric characters1 as in compactly woven canvas1 the needlework would assume free hand characters and follow the curves and irregularities of the natural object depicted2 but such is not the case in purely aboriginal work4 ,an example of embroidery obtained from an ancient grave at ,ancon1 ,peru1 is shown in ,fig4 #cdi4 ,a piece of brown cotton canvas is embellished with a border of bird figures in bright colored wool thread4 ,the lines of the figures do not obey the web and woof strictly1 as the lines are difficult to follow1 but the geometric character is as perfectly preserved as if the design were woven in the goods4 ,illustration3 ,,fig4 #cdi4 ,embroidery in which the foundation fabric is not followed accurately1 but which exhibits the full textile geometricity4 ,ancient ,peruvian work4 ,illustration3 ,,fig4 #cej4 ,design painted in color upon a woven surface1 exhibiting the full degree of geometric convention4 ,ancient ,peruvian work4 ,copied from ,the ,necropolis of ,ancon4 ,so habit and association carry the geometric system into adventitious decoration4 ,when the ancient ,peruvian executed a design in color upon a woven surface 7,fig4 #cej71 using a pencil or brush1 the result was hardly less subject to textile restraint4 ,as a matter of course1 since there are two distinct styles of decorative design--the textile and the free hand--there exist intermediate forms partaking of the character of both2 but it is nevertheless clear that the textile system transforms or greatly modifies all nature motives associated with it1 whether introduced into the fabric or applied to its surface4 ,in countries where the textile art is unimportant and the textile system of decoration does not obtrude itself1 free hand methods may prevail to such an extent that the geometric influence is but little felt4 ,the ,haidah ,indians1 for example1 paint designs with great freedom and skill1 and those applied to woven surfaces are identical with those executed upon skins1 wood1 and stone1 but this art is doubtless much modified by the means and methods of ,europeans4 ,our studies should be confined wholly to pure indigenous art4 ,,extension ,,of ,,textile ,,ornament ,,to ,,other ,,forms ,,of ,,art4 ,i have now dwelt at sufficient length upon the character of the textile system of ornament and have laid especial stress upon the manner in which it is interwoven with the technical constitution of the art4 ,i have illustrated the remarkable power of the art by which decorative elements from without1 coming once within the magic influence1 are seized upon and remodeled in accordance with the laws of textile combination4 ,pursuing the investigation still further it is found that the dominion of the textile system is not limited to the art1 but extends to other arts4 ,like a strong race of men it is not to be confined to its own original habitat1 but spreads to other realms1 stamping its own habits and character upon whatever happens to come within its reach4 ,its influence is felt throughout the whole range of those arts with which the esthetic sense of man seeks to associate ideas of beauty4 ,it is necessary1 before closing this paper1 to examine briefly the character and extent of this influence and to describe in some detail the agencies through which the results are accomplished4 ,first and most important are the results of direct transmission4 ,house building1 or architecture as it is called in the higher stages1 is in primitive times to a great extent textile2 as culture develops1 other materials and other systems of construction are employed1 and the resultant forms vary accordingly2 but textile characters are especially strong and persistent in the matter of ornament1 and survive all changes1 howsoever complete4 ,in a similar way other branches of art differentiated in material and function from the parent art inherit many characters of form and ornament conceived in the textile stage4 ,it may be difficult to say with reference to any particular example of design that it had a textile origin1 for there may be multiple origins to the same or to closely corresponding forms2 but we may assert in a general way of the great body of geometric ornament that it owes something--if not its inspiration1 its modes of expression--to the teachings of the textile system4 ,this appears reasonable when we consider that the weaver's art1 as a medium of esthetic ideas1 had precedence in time over nearly all competitors4 ,being first in the field it stood ready on the birth of new forms of art1 whether directly related or not1 to impose its characters upon them4 ,what claim can architecture1 sculpture1 or ceramics have upon the decorative conceptions of the ,digger ,indians1 or even upon those of the ,zui or ,moki8 ,the former have no architecture1 sculpture1 or ceramics2 but their system of decoration1 as we have seen1 is highly developed4 ,the ,pueblo tribes at their best have barely reached the stage at which esthetic ideas are associated with building2 yet classic art has not produced a set of geometric motives more chaste or varied4 ,these examples of the development of high forms of decoration during the very early stages of the arts are not isolated4 ,others are observed in other countries1 and it is probable that if we could lift the veil and peer into the far prehistoric stages of the world's greatest cultures the same condition and order would be revealed4 ,it is no doubt true that all of the shaping arts in the fullness of their development have given rise to decorative features peculiar to themselves2 for construction1 whether in stone1 clay1 wood1 or metal1 in their rigid conditions1 exhibits characters unknown before1 many of which tend to give rise to ornament4 ,but this ornament is generally only applicable to the art in which it develops1 and is not transferable by natural processes--as of a parent to its offspring--as are the esthetic features of the weaver's art4 ,besides the direct transmission of characters and forms as suggested in a preceding paragraph1 there are many less direct but still efficacious methods of transfer by means of which various arts acquire textile decorative features1 as will be seen by the following illustrations4 ,japanese art is celebrated for its exquisite decorative design4 ,upon superb works of porcelain we have skillful representations of subjects taken from nature and from mythology1 which are set with perfect taste upon fields or within borders of elaborate geometric design4 ,if we should ask how such motives came to be employed in ceramic decoration1 the answer would be given that they were selected and employed because they were regarded as fitting and beautiful by a race of decorators whose taste is well nigh infallible4 ,but this explanation1 however satisfactory as applied to individual examples of modern art1 is not at all applicable to primitive art1 for the mind of man was not primarily conscious of the beauty or fitness of decorative elements1 nor did he think of using them independently of the art to which they were indigenous4 ,now the ceramic art gives rise to comparatively few elements of decoration1 and must therefore acquire the great body of its decorative motives from other arts by some process not primarily dependent upon the exercise of judgment or taste1 and yet not by direct inheritance1 as the techniques of the two arts are wholly distinct4 ,textile and fictile arts are1 in their earlier stages1 to a large extent1 vessel making arts1 the one being functionally the offshoot of the other4 ,the textile art is the parent1 and1 as ,i have already shown1 develops within itself a geometric system of ornament4 ,the fictile art is the offshoot and has within itself no predilection for decoration4 ,it is dependent and plastic4 ,its forms are to a great extent modeled and molded within the textile shapes and acquire automatically some of the decorative surface characters of the mold4 ,this is the beginning of the transfer1 and as time goes on other methods are suggested by which elements indigenous to the one art are transferred to the other4 ,thus we explain the occurrence1 the constant recurrence of certain primary decorative motives in primitive ceramics4 ,the herring bone1 the checker1 the guilloche1 and the like are greatly the heritage of the textile art4 ,two forms derived from textile surfaces are illustrated in ,figs4 #cea and #ceb4 ,in the first example shown1 herring bone patterns appear as the result of textile combination1 and in the second a triangular checker is produced in the same way4 ,in ,fig4 #ceb we see the result of copying these patterns in incised lines upon soft clay4 ,illustration3 ,,fig4 #cea4 ,herring bone and checker patterns produced in textile combinations4 ,illustration3 ,,fig4 #ceb4 ,herring bone and checker figures in fictile forms transferred from the textile4 ,again1 the ancient potter1 who was in the habit of modeling his wares within baskets1 seems to have conceived the idea of building his vessels by coiling just as he built his baskets4 ,the surface exhibits coiled ridges like basketry1 as shown in ,fig4 #cec1 and the textile character was further imposed upon the clay by marking these coils with the thumb and with implements to give the effect of the transverse series of filaments1 and the geometric color patterns of the basketry were reproduced in incised lines4 ,when these peoples came to paint their wares it was natural that the colored patterns native to the basketry should also be reproduced1 and many more or less literal transfers by copying are to be found4 ,a fine example of these painted textile designs is shown in ,fig4 #ced4 ,it is executed in a masterly style upon a handsome vase of the white ware of ancient ,tusayan4 ,not only are the details reproduced with all their geometric exactness1 but the arrangement of the designs upon the vessel is the same as in the textile original4 ,nine-tenths of the more archaic1 ,pueblo1 ceramic1 ornamental designs are traceable to the textile art1 and all show the influence of textile convention4 ,illustration3 ,,fig4 #cec4 ,earthen vase built by coiling1 exhibiting decorative characters derived from basketry4 ,illustration3 ,,fig4 #ced4 ,ceramic ornament copied literally from a textile original4 ,another peculiar class of transfers of a somewhat more indirect nature may be noticed4 ,all the more advanced ,american nations were very fond of modeling the human form in clay1 a large percentage of vessels having some trace of the human form or physiognomy4 ,now1 in many cases the costume of the personage represented in the clay is also imitated1 and generally in color1 the details of the fabrics receiving their full share of attention4 ,such an example1 from a sepulcher at ,ancon1 is shown in ,fig4 #cee4 ,here the poncho or mantle thrown across the shoulders falls down upon the body in front and behind and the stripes and conventional fishes are accurately reproduced4 ,in this way both style and matter of the textile decoration are introduced into the ceramic art4 ,illustration3 ,,fig4 #cee4 ,textile patterns transferred to pottery through the copying of costume4 ,from ,the ,necropolis of ,ancon1 by ,reiss and ,stbel1 ,pl4 #id4 ,it will be seen by these illustrations that there are many natural methods1 automatic or semiautomatic in character1 by which the one art receives aid from the other2 that in the beginning of the transfer of textile ornament to fictile forms the process is purely mechanical1 and that it is continued automatically without any very decided exercise of judgment or taste4 ,as a result1 these borrowed decorations are generally quite as consistent and appropriate as if developed within the art itself4 ,later in the course of progress the potter escapes in a measure from this narrow groove and elaborates his designs with more freedom1 being governed still to a certain extent by the laws of instinctive and automatic procedure4 ,when1 finally1 intellect assumes to carry on the work independently of these laws1 decoration tends to become debased4 ,turning to other branches of art1 what traces do we find of the transfer to them of textile features8 ,take1 for example1 sculpture4 ,in the wood carving of the ,polynesians we observe a most elaborate system of decoration1 more or less geometric in character4 ,we do not need to look a second time to discover a striking likeness to the textile system1 and we ask1 ,is it also derived from a textile source8 ,in the first place let us seek within the art a reason for the peculiar forms4 ,in carving wood and in tracing figures upon it with pointed tools the tendency would certainly be towards straight lines and formal combinations2 but in this work there would be a lack of uniformity in execution and of persistency in narrow lines of combination1 such as result from the constant necessity of counting and spacing in the textile art4 ,in the presentation of natural forms curved lines are called for1 and there is nothing inherent in the carver's art to forbid the turning of such lines with the graver or knife4 ,graphic art would be realistic to an extent regulated by the skill and habits of the artist4 ,but1 in reality1 the geometric character of this work is very pronounced1 and we turn naturally toward the textile art to ask whether in some way that art has not exercised an influence4 ,the textile arts of these peoples are highly developed and were doubtless so in a degree from very early times1 and must have had a close relation with the various arts1 and especially so in the matter of ornament4 ,specific examples may be cited showing the intimacy of wood carving to textilia4 ,bows1 spears1 arrows1 c4 are bound with textile materials to increase their strength4 ,knives and other weapons are covered with textile sheaths and handles of certain utensils are lashed on with twisted cords4 ,in ceremonial objects these textile features are elaborated for ornament and the characteristic features of this ornament are transferred to associated surfaces of wood and stone by the graver4 ,a most instructive illustration is seen in the ceremonial adzes so numerous in museums 7,fig4 #cef74 ,the cords used primarily in attaching the haft are1 after loss of function1 elaborately plaited and interwoven until they become an important feature and assume the character of decoration4 ,the heavy wooden handles are elaborately carved1 and the suggestions of figures given by the interlaced cords are carried out in such detail that at a little distance it is impossible to say where the real textile surface ceases and the sculptured portion begins4 ,all things considered1 ,i regard it as highly probable that much of the geometric character exhibited in ,polynesian decoration is due to textile dominance4 ,that these peoples are in the habit of employing textile designs in non-textile arts is shown in articles of costume1 such as the tapa cloths1 made from the bark of the mulberry tree1 which are painted or stamped in elaborate geometric patterns4 ,this transfer is also a perfectly natural one1 as the ornament is applied to articles having functions identical with the woven stuffs in which the patterns originate1 and1 besides1 the transfer is accomplished by means of stamps themselves textile4 ,fig4 #ceg illustrates the construction of these stamps and indicates just how the textile character is acquired4 ,illustration3 ,,fig4 #cef4 ,ceremonial adz1 with carved ornament imitating textile wrapping4 ,polynesian work4 ,textile materials are very generally associated with the human figure in art1 and thus sculpture1 which deals chiefly with the human form1 becomes familiar with geometric motives and acquires them4 ,through sculpture these motives enter architecture4 ,but textile decoration pervades architecture before the sculptor's chisel begins to carve ornament in stone and before architecture has developed of itself the rudiments of a system of surface embellishment4 ,textile art in mats1 covers1 shelters1 and draperies is intimately associated with floors and walls of houses1 and the textile devices are in time transferred to the stone and plaster4 ,the wall of an ancient ,pueblo estufa1 or ceremonial chamber1 built in the pre-esthetic period of architecture1 antedating1 in stage of culture1 the first known step in ,egyptian art1 is encircled by a band of painted figures1 borrowed1 like those of the pottery1 from a textile source4 ,the doorway or rather entrance to the rude hovel of a ,navajo ,indian is closed by a blanket of native make1 unsurpassed in execution and exhibiting conventional designs of a high order4 ,illustration3 ,,fig4 #ceg4 ,portion of a tapa stamp1 showing its subtextile character4 ,a palm leaf is cut to the desired shape and the patterns are sewed in or stitched on4 ,illustration3 ,,fig4 #ceh4 ,design in stucco1 exhibiting textile characters4 ,the ancient hall of the arabesques at ,chimu1 ,peru1 is decorated in elaborate designs that could only have arisen in the textile art 7,fig4 #ceh71 and other equally striking examples are to be found in other ,american countries4 ,the classic surface decorations known and used in ,oriental countries from time immemorial prevailed in indigenous ,american architecture at a stage of culture lower than any known stage of classic art4 ,it may appear that ,i have advocated too strongly the claims of the textile art to the parentage of geometric ornament and that the conclusions reached are not entirely satisfactory1 but ,i have endeavored so to present the varied phenomena of the art that the student may readily reach deductions of his own4 ,a correspondingly careful study of other branches of art will probably enable us finally to form a just estimate of the relative importance of the forces and tendencies concerned in the evolution of decoration4 99 99 99 99 99 ,,index ,alaskan ,indians1 illustration of ornamentation by #aii ,ancon1 ,peru1 examples of ornamentation from graves at #bab1 #bcj1 #bca1 #bcf1 #bdc1 #bdh ,apache1 illustrations of ornamentation by #aih1 #bac1 #bbc ,british ,guiana ,indians1 illustrations of ornamentation by #bag ,chimu1 ,peru1 ornamentation of hall of arabesques at #bea1 #beb ,clallam ,indians1 illustrations of ornamentation by #bjg ,color in textile art #bja1 #bjb ,color phenomena in textile ornament #bae-bcb ,form in textile art and its relation to ornament1 with illustrations from ,indian work #aif-bja ,geometric design1 relations of1 to textile ornament #bjb-bdd ,holmes1 ,w4 ,h4 paper by1 on textile art in its relation to the development of form and ornament #ahi-beb ,klamath ,indians1 illustrations of ornamentation by #bjh1 #bji1 #bbg ,mc,cloud ,river ,indians1 illustrations of ornamentation by #bba ,moki1 illustrations of ornamentation by #aig1 #bje1 #bbd1 #bbe1 #bbf1 #bch1 #bdj ,northwest ,coast ,indians1 illustrations of ornamentation by #bac1 #bah1 #bbg1 #bcj ,penn wampum belt #bcc ,peruvians1 ancient1 illustrations of ornamentation by #baa1 #bab1 #bad1 #bbh1 #bcj1 #bca1 #bce1 #bcf1 #bcg1 #bdb1 #bdc1 #bdh ,pima ,indians1 illustrations of ornamentation by #bbj ,piute ,indians1 illustrations of ornamentation by #aih1 #bje ,polynesian ornamentation1 illustrations of #bdi1 #bej ,seminole ,indians1 illustrations of ornamentation by #bjg ,textile art in its relation to the development of form and ornament1 paper by ,w4 ,h4 ,holmes on #ahi-beb ,tule ,river ,indians1 illustrations of ornamentation by #bai ,tusayan ornament1 illustrations of #bdg1 #bdh ,wiener1 cited #bdb ,yokut ,indians1 illustrations of ornamentation by #bcc1 #bcd ,zui1 illustrations of ornamentation by #bci 99 99 99 99 99