the textile system transforms or greatly
modifies all nature motives associated with it, whether introduced
into the fabric or applied to its surface.

In countries where the textile art is unimportant and the textile
system of decoration does not obtrude itself, free hand methods may
prevail to such an extent that the geometric influence is but little
felt. The Haidah Indians, for example, paint designs with great
freedom and skill, and those applied to woven surfaces are identical
with those executed upon skins, wood, and stone, but this art is
doubtless much modified by the means and methods of Europeans. Our
studies should be confined wholly to pure indigenous art.

EXTENSION OF TEXTILE ORNAMENT TO OTHER FORMS OF ART.

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 art. I have illustrated the remarkable power of the art by which
decorative elements from without, coming once within the magic
influence, are seized upon and remodeled in accordance with the laws
of textile combination. Pursuing the investigation still further it is
found that the dominion of the textile system is not limited to the
art, but extends to other arts. Like a strong race of men it is not to
be confined to its own original habitat, but spreads to other realms,
stamping its own habits and character upon whatever happens to come
within its reach. Its influence is felt throughout the whole range of
those arts with which the esthetic sense of man seeks to associate
ideas of beauty. It is necessary, before closing this paper, to
examine briefly the character and extent of this influence and to
describe in some detail the agencies through which the results are
accomplished. First and most important are the results of direct
transmission.

House building, or architecture as it is called in the higher stages,
is in primitive times to a great extent textile; as culture develops,
other materials and other systems of construction are employed,
and the resultant forms vary accordingly; but textile characters are
especially strong and persistent in the matter of ornament, and
survive all changes, howsoever complete. 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 stage. It may