a woven surface (Fig. 350), using a pencil or brush, the result was
hardly less subject to textile restraint.

As a matter of course, since there are two distinct styles of
decorative design--the textile and the free hand--there exist
intermediate forms partaking of the character of both; but it is
nevertheless clear that 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