HoLMKs.] (iROMETKIC CHAIt.VCTKK OK ADVENTITIOUS ELEMENTS. 231 



tliat cif thi^ tduulitiou t il)ii(s ()tlui clashes of detoiation, drawn 

 work, appliqut uid tlu lik( lu not of ..(i eat impoitance m aborig- 

 inal art and need no additional attention heie as they ha\ t but slight 

 bearing upon the development ot design 



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Fig. :m. Feather embroitlery ..f the oiuient. IViuviaiia. showing the method of attaching the feathers 



Attached or appended ornaments constitute a most important part 

 of decorative resource. They are less subject to the laws of geome- 

 tricity, being fixed to surfaces and margins without close reference 

 to the web and woof. They include fringes, tassels, and the multi- 

 tude of appendable objects, natural and artificial, with which primi- 

 tive races bedeck their garments and utensils. A somewhat detailed 

 study of this class of ornament is given at the end of the preceding 

 section. 



Adventitious features. — Ornament is applied to the surfaces of 

 fabrics by painting and by stamping. These methods of decoration 

 were employed in very early times and probably originated in other 

 1 tranches of art. If the svirface features of the textile upon which a 

 design is painted are'strongly pronounced, the figures produced with 

 the brush or pencil will tend to follow them, giving a decidedly geo- 

 metric result. If the surface is smooth the hand is free to follow its 

 natural tendencies, and the results will be analogous in character to 

 designs i)ainted upon pottery, rocks, or skins. In primitive times 

 l)otli the texture of the textiles and the habits of the decorator, 

 ac(iuired in textile work, tended towards the geometric style of de- 

 lineation, and we find that in work in which the fabric lines are not 

 followed at all the designs are still geometric, and geometric in the 

 same way as are similar designs woven in with the fabric. Illustra- 

 tions of this are given in the next section. 



I have dwelt at sufllcicnt length ui)on the cliaracter and the ten- 

 dencies of the iRMidiai- sNstcni of embcUislinient that arises within 

 textile art as the nt-cessai-y (»itgrowth (if technique, and now i^vo- 

 ceed to exjdain the relations of this system to associated art. 



