dging whence came their
art.

Fergusson suggests the similarity between Central Asian and Central
American art, both in architectural forms and plastic and sculptured
remains. He thinks that its tradition was transmitted from Asia to
America in the third and fourth centuries of our era. If so, it was an
unlucky moment for the recipients, as the art of Asia, as well as that
of Europe, was then at its lowest and most debased phase; perhaps,
however, the more fit for the fertilization of that of a perfectly
barbarous people. There is something fascinating in the suggestions on
this subject in Mr. Donelly's "Atlantis;" but when conjecture is only
founded on tradition, and without proof, we must not take it into
serious consideration.

Having proved the universal use of feathers, it is not difficult to
appreciate the causes which suggested everywhere the transfer of this
decorative art to another craft, employing less perishable materials.
Embroidery probably followed it closely and absorbed it throughout
Asia and in Egypt; and the survivals now are only an accidental
specimen, a tradition, and a name.[341]

The name "Plumarii," for the embroideries, is thus fully accounted
for, and we need seek no further elucidation. It was commonly used in
classical Roman times. "Opus plumarium" seems to have become the
legitimate term for all needlework. The Plumarii were the
embroiderers, whether their work was in wool, or thread, or in silk
(at a later period),[342] with or without admixture of gold or silver
(as the Argentarii were the jewellers).

The article on the word "plumarius" in Hoffman's Lexicon,[343] after
describing two kinds of Plumarii, Phrygians and Babylonians, proceeds
to say, "These latter, who wove garments and hangings of various
colours, were called 'Plumarii;' but though this name was at first
confined to craftsmen who wove patterns in the shape of feathers, in
course of time the name was extended to those artists who, with the
needle or by painting, embellished robes."[344]

The "opus plumarium" included, as I before said, all flat stitches;
and I repeat that "feather application" was certainly its first
motive; and next came the stitches that conveyed the same desired
effect, though a new material was employed, fitted for the needle,
which, having served its apprenticeship in "plain work," now came to
the front as a decorative agent.

Painting with the needle began with an attempt to model with it; the