HOLMES.) TEXTILE CHARACTERS IX VARIOUS ARTS. 240 



methods, automatic or semiautomatic in character, by wliicli the one 

 art receives aid from the other; that in the beginning of the transfer 

 of textile ornament to fictile forms tlie process is pui-ely meolianical, 

 and that it is continued automatically withotit any very decided exer- 

 cise of judgment or taste. As a result, these borrowed deccn-ations are 

 generally quite as consistent and approi)riate as if develojied within 

 the art itself. Later in the course of progress the potter escapes in 

 a measure from this narrow groove and elaborates his designs witli 

 more fi'eedom. being governed still to a certain extent by tlie laws 

 of instinctive an<l automatic i)rocedure. When, finally, intellect as- 

 sumes to carry tm the work independently of these laws, decoration 

 tends to become debased. 



Turning to other branches of art. what traces do we find of tlie 

 transfer to tliem of textile features 'f Take, for example, sculpture. 

 In tlie 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 text- 

 ile system, and we ask, Is it also derived from a textile source ? In tlie 

 first place lefus seek within the art a reason for the peculiar forms. 

 In carving wood and in tracing figures ujion 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 uniform- 

 ity 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 carvers art to for- 

 bid the turning of such lines with the graver or knife. GrajDhic 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 liave had a close rela- 

 tion with the various arts, and especially so in the matter of ornament. 

 Specific examples may be cited showing the intimacy of wood carv- 

 ing to textilia. Bows, spears, arrows, &c. are bound with textile 

 materials to increase their strength. Knives and other weapons are 

 covered with textile sheaths and liandles of certain utensils are 

 lashed on with twisted cords. In ceremonial objects these textile 

 features are elaborated for ornament and the characteristic features 

 of this ornament are transferred to associated surfaces of wood and 

 stone by the graver. A most instructive illustration is seen in the 

 ceremonial adzes so numerous in museums (Fig. 3oG). The cords 

 used primarily in attaching the haft are, after loss of function, elab- 

 orately plaited and interwoven until they become an important fea- 

 ture and assume the character of decoration. The heavy wooden 



