within the art itself. Later in the course of progress the potter
escapes in a measure from this narrow groove and elaborates his
designs with more freedom, being governed still to a certain extent by
the laws of instinctive and automatic procedure. When, finally,
intellect assumes to carry on the work independently of these laws,
decoration tends to become debased.

Turning to other branches of art, what traces do we find of the
transfer to them of textile features? Take, for example, sculpture. In
the wood carving of the Polynesians we observe a most elaborate system
of decoration, more or less geometric in character. We do not need to
look a second time to discover a striking likeness to the textile
system, and we ask, Is it also derived from a textile source? In the
first place let us seek within the art a reason for the peculiar
forms. In carving wood and in tracing figures upon it with pointed
tools the tendency would certainly be towards straight lines and
formal combinations; but in this work there would be a lack of
uniformity in execution and of persistency in narrow lines of
combination, such as result from the constant necessity of counting
and spacing in the textile art. In the presentation of natural forms
curved lines are called for, and there is nothing inherent in the
carver's art to forbid the turning of such lines with the graver or
knife. Graphic art would be realistic to an extent regulated by the
skill and habits of the artist. But, in reality, the geometric
character of this work is very pronounced, and we turn naturally
toward the textile art to ask whether in some way that art has not
exercised an influence. The textile arts of these peoples are highly
developed and were doubtless so in a degree from very early times, and
must have had a close relation with the various arts, and especially
so in the matter of ornament. Specific examples may be cited showing