LIV ANNUAL RKPORT OF THE DIRECTOl! 



and are markedly similar without any evidence of transmis- 

 sion, and when in fact by deeper study the ascertained sepa- 

 rate courses of development preclude sucli transmission. 



A STUDY OF THE TEXTILE ART IN ITS RELATION TO THE 

 DEVELOPMENT OF FORM AND ORNAMENT, BY W. H. HOLMES. 



For several years Mr. Holmes has been engaged in the study 

 of the ancient and existing art of the North American Indians, 

 and has published in the annual reports of this Bureau a num- 

 ber of elaborate essays upon the art of specified peoples and 

 regions. 



In the present paper he submits the comprehensive results 

 of his studies in one great branch, the textile art, and treats 

 chiefly of its esthetic relations as distinct from those of con- 

 struction and function, so far as they can be separately dis- 

 cussed. 



He has been fortunate in the character of the material 

 studied. In America there is yet found a great body of primi- 

 tive, indigenous, and independent art, almost uncontaminated 

 by the complex phenomena, processes, and conditions which 

 elsewhere obscure its origin and development. To a knowl- 

 edge of American art acquired by long study Mr Holmes 

 adds a mental equipment exceptionally qualifying him for its 

 philosophic discussion. His conclusions therefore, presented 

 with ample evidence and explained by illustrations, are to be 

 received as those of a recognized authority, although they may 

 disturb some sentimental and metaphysical fancies concerning 

 abstract beauty in form, color, and design. 



It is not contended that the earliest concepts of beauty orig- 

 inated with textile art. On the contrary, it is probable that 

 the first esthetic attempts were in the line of personal decora- 

 tion, such as paints on the skin and pendants and feathers dis- 

 posed about the person. But as the textile art appears early 

 and widely in culture it is believed that the association of 

 esthetic concepts with it very generally preceded their asso- 

 ciation with other arts. Having thus the start in the field, its 

 nature was full of suggestions of embellishment, while it was 

 fixed in its nu^tlnxl of expression. The technique therefore 



