_Ordinary features._--In describing the constructive characters of
fabrics and the attendant surface phenomena, I called attention to the
fact that a greater part of the design manifested is enforced and
supplemented by color, which gives new meaning to every feature. Color
elements are present in the art from its very inception, and many
simple patterns appear as accidents of textile aggregation long before
the weaver or the possessor recognizes them as pleasing to the eye.
When, finally, they are so recognized and a desire for greater
elaboration springs up, the textile construction lends itself readily
to the new office and under the esthetic forces brings about wonderful
results without interfering in the least with the technical perfection
of the articles embellished. But color is not confined to the mere
emphasizing of figures already expressed in relief. It is capable of
advancing alone into new fields, producing patterns and designs
complex in arrangement and varied in hue, and that, too, without
altering the simple, monotonous succession of relievo characters.
In color, as in relieved design, each species of constructive
combination gives rise to more or less distinct groups of decorative
results, which often become the distinguishing characteristics of the
work of different peoples and the progenitors of long lines of
distinctions in national decorative conceptions.
In addition to this apparently limitless capacity for expression,
lovers of textile illumination have the whole series of extraordinary
resources furnished by expedients not essential to ordinary
construction, the character and scope of which have been dwelt upon to
some extent in the preceding section.
I have already spoken of color in a general way, as to its necessary
presence in art, its artificial application to fabrics and fabric
materials, its symbolic characters, and its importance to esthetic
progress. My object in this section is to indicate the part it takes
in textile design, its methods of expression, the processes by which
it advances in elaboration, and the part it takes in all geometric
decoration.
It will be necessary, in the first place, to examine briefly the
normal tendencies of color combination while still under the direct
domination of constructive elaboration. In the way of illustration,
let us take first a series of filaments, say in the natural color of
the material, and pass through them in the simplest interlaced style a
second series having a distinct color. A very simple geometric pattern
is produced, as shown in Fig. 315. It is a sort of checker, an
emphasized presentation of the relievo pattern shown in Fig. 291, the
figures running horizontally, vertically, and diagonally. Had these
filaments been accidentally associated in construction, the results
might have been the same, but it is unnecessary to indicate in detail
the possibilities of adventitious color combinations. So far as they
exhibit system at all it is identical with the relievo elaboration.
[Illustration: FIG. 315. Pattern produced by interlacing strands of
different colors.]
[Illustration: FIG. 316. Pattern produced by modifying the alternation
of fillets.]
[Illustration: FIG. 317. Isolated figures produced by modifying the
order of intersection.]
Assuming that the idea of developing these figures into something more
elaborate and striking is already conceived, let us study the
processes and tendencies of growth. A very slight degree of ingenuity
will enable the workman to vary the relation of the parts, producing a
succession of results such, perhaps, as indicated in Fig. 316. In
this example we have rows of isolated squares in white which may be
turned hither and thither at pleasure, within certain angles, but they
result in nothing more than monotonous successions of squares.
[Illustration: FIG. 318. Pattern produced by simple alternations of
light and dark fillets. Basketry of the Indians of British Guiana.]
Additional facility of expression is obtained by employing dark
strands in the vertical series also, and large, isolated areas of
solid color may be produced by changing the order of intersection,
certain of the fillets being carried over two or more of the opposing
series and in contiguous spaces at one step, as seen in Fig. 317. With
these elementary resources the weaver has very considerable powers of
expression, as will be seen in Fig. 318, which is taken from a basket
made by South American Indians, and in Fig. 341, where human figures
are delineated. The patterns in such cases are all rigidly geometric
and exhibit stepped outlines of a pronounced kind. With impacting and
increased refinement of fillets the stepped character is in a
considerable measure lost sight of and realistic, graphic
representation is to a greater extent within the workman's reach. It
is probable, however, that the idea of weaving complex ideographic
characters would not occur to the primitive mind at a very early date,
and a long period of progress would elapse before delineative subjects
would be attempted.
I do not need to follow this style of combination into the more
refined kinds of work and into loom products, but may add that through
all, until perverted by ulterior influences, the characteristic
geometricity and monotonous repetition are allpervading.
* * * * *
For the purpose of looking still more closely into the tendencies of
normal textile decorative development I shall present a series of
Indian baskets, choosing mainly from the closely woven or impacted
varieties because they are so well represented in our collections and
at the same time are so very generally embellished with designs in
color; besides, they are probably among the most simple and primitive
textile products known. I have already shown that several types of
combination when closely impacted produce very similar surface
characters and encourage the same general style of decoration. In
nearly all, the color features are confined to one series of
fillets--those of the woof--the other, the warp, being completely
hidden from view. In the preceding series the warp and woof were
almost equally concerned in the expression of design. Here but one is
used, and in consequence there is much freedom of expression, as the
artist carries the colored filaments back and forth or inserts new
ones at will. Still it will be seen that in doing this he is by no
means free; he must follow the straight and narrow pathway laid down
by the warp and woof, and, do what he may, he arrives at purely
geometric results.
[Illustration: FIG. 319. Base of coiled basket showing the method of
building by dual coiling. The base or warp coil is composed of
untwisted fiber and is formed by adding to the free end as the coiling
goes on. The woof or binding filament, as it is coiled, is caught into
the upper surface of the preceding turn--1/8.]
[Illustration: FIG. 320. Coiled basket with simple geometric ornament.
Work of the northwest coast Indians--1/8.]
I will now present the examples, which for the sake of uniformity are
in all cases of the coiled ware. If a basket is made with no other
idea than that of use the surface is apt to be pretty uniform in
color, the natural color of the woof fillets. If decoration is desired
a colored fillet is introduced, which, for the time, takes the place
and does the duty of the ordinary strand. Fig. 319 serves to show the
construction and surface appearance of the base of a coil made vessel
still quite free from any color decoration. Now, if it is desired to
begin a design, the plain wrapping thread is dropped and a colored
fillet is inserted and the coiling continues. Carried once around the
vessel we have an encircling line of dark color corresponding to the
lower line of the ornament seen in Fig. 320. If the artist is content
with a single line of color he sets the end of the dark thread and
takes up the light colored one previously dropped and continues the
coiling. If further elaboration is desired it is easily accomplished.
In the example given the workman has taken up the dark fillet again
and carried it a few times around the next turn of the warp coil; then
it has been dropped and the white thread taken up, and again, in turn,
another dark thread has been introduced and coiled for a few turns,
and so on until four encircling rows of dark, alternating rectangles
have been produced. Desiring to introduce a meandered design he has
taken the upper series of rectangles as bases and adding colored
filaments at the proper time has carried oblique lines, one to the
right and the other to the left, across the six succeeding ridges of
the warp coil. The pairs of stepped lines meeting above were joined in
rectangles like those below, and the decoration was closed by a border
line at the top. The vessel was then completed in the light colored
material. In this ornament all forms are bounded by two classes of
lines, vertical and horizontal (or, viewed from above or below, radial
and encircling), the lines of the warp and the woof. Oblique bands of
color are made up of series of rectangles, giving stepped outlines.
Although these figures are purely geometric, it is not impossible that
in their position and grouping they preserve a trace of some imitative
conception modified to this shape by the forces of the art. They serve
quite as well, however, to illustrate simple mechanical elaboration as
if entirely free from suspicion of associated ideas.
[Illustration: FIG. 321. Coiled basket with encircling bands of
ornament in white, red, and black, upon a yellowish ground. Obtained
from the Indians of the Tule River, California--1/8.]
In Fig. 321 I present a superb piece of work executed by the Indians
of the Tule River, California. It is woven in the closely impacted,
coiled style. The ornament is arranged in horizontal zones and
consists of a series of diamond shaped figures in white with red
centers and black frames set side by side. The processes of
substitution where changes of color are required are the same as in
the preceding case and the forms of figures and the disposition of
designs are the same, being governed by the same forces.
[Illustration: FIG. 322. Coiled basket with ornament arranged in
zigzag rays. Obtained from the Pima Indians of Arizona--1/8.]
Another choice piece, from the Pima Indians of Arizona, is given in
Fig. 322. The lines of the ornament adhere exclusively to the
directions imposed by the warp and the woof, the stripes of black
color ascending with the turns of the fillet for a short distance,
then for a time following the horizontal ridges, and again ascending,
the complete result being a series of zigzag rays set very close
together. These rays take an oblique turn to the left, and the dark
figures at the angles, from the necessities of construction, form rows
at right angles to these. A few supplementary rays are added toward
the margin to fill out the widening spaces. Another striking example
of the domination of technique over design is illustrated in Fig. 323.
[Illustration: FIG. 323. Coiled basket with two bands of meandered
ornament. Obtained from the Pima Indians of Arizona--1/4.]
Two strongly marked, fret-like meanders encircle the vessel, the
elements of which are ruled exclusively by the warp and woof, by the
radiate and the concentric lines of construction. This is the work of
the Pima Indians of Arizona.
[Illustration: FIG. 324. Coiled basket with geometric ornament
composed of triangular figures. Obtained from the McCloud River
Indians, California--1/8.]
I shall close the series with a very handsome example of Indian
basketry and of basketry ornamentation (Fig. 324). The conical shape
is highly pleasing and the design is thoroughly satisfactory and, like
all the others, is applied in a way indicative of a refined sense of
the decorative requirements of the utensil. The design is wholly
geometric, and, although varied in appearance, is composed almost
exclusively of dark triangular figures upon a light ground. The
general grouping is in three horizontal or encircling bands agreeing
with or following the foundation coil. Details are governed by the
horizontal and the oblique structure lines. The vertical construction
lines have no direct part in the conformation of the design excepting
in so far as they impose a stepped character upon all oblique
outlines.
These studies could be carried through all the types of primitive
textile combination, but such a work seems unnecessary, for in all
cases the elaboration in design, relieved and colored, is along
similar lines, is governed by the same class of forces, and reaches
closely corresponding results.
* * * * *
We have observed throughout the series of examples presented a decided
tendency toward banded or zonal arrangement of the ornamentation. Now
each of these bands is made up of a number of units, uniform in shape
and in size and joined or linked together in various suitable and
consistent ways. In contemplating them we are led to inquire into the
nature of the forces concerned in the accomplishment of such results.
The question arises as to exactly how much of the segregating and
aggregating forces or tendencies belongs to the technique of the art
and how much to the direct esthetic supervision of the human agent,
questions as to ideographic influence being for the present omitted.
This is a difficult problem to deal with, and I shall not attempt more
here than to point out the apparent teachings of the examples studied.
The desires of the mind constitute the motive power, the force that
gives rise to all progress in art; the appreciation of beauty and the
desire to increase it are the cause of all progress in purely
decorative elaboration. It appears, however, that there is in the mind
no preconceived idea of what that elaboration should be. The mind is a
growing thing and is led forward along the pathways laid out by
environment. Seeking in art gratification of an esthetic kind it
follows the lead of technique along the channels opened by such of the
useful arts as offer suggestions of embellishment. The results reached
vary with the arts and are important in proportion to the facilities
furnished by the arts. As I have already amply shown, the textile art
possesses vast advantages over all other arts in this respect, as it
is first in the field, of widest application, full of suggestions of
embellishment, and inexorably fixed in its methods of expression. The
mind in its primitive, mobile condition is as clay in the grasp of
technique.
A close analysis of the forces and the influences inherent in the art
will be instructive. For the sake of simplicity I exclude from
consideration all but purely mechanical or non-ideographic elements.
It will be observed that order, uniformity, symmetry, are among the
first lessons of the textile art. From the very beginning the workman
finds it necessary to direct his attention to these considerations in
the preparation of his material as well as in the building of his
utensils. If parts employed in construction are multiple they must be
uniform, and to reach definite results (presupposing always a demand
for such results), either in form or ornament, there must be a
constant counting of numbers and adjusting to spaces. The most
fundamental and constant elements embodied in textile art and
available for the expression of embellishment are the minute steps of
the intersections or bindings; the most necessary and constant
combination of these elements is in continuous lines or in rows of
isolated figures; the most necessary and constant directions for these
combinations are with the web and the woof, or with their
complementaries, the diagonals. If large areas are covered certain
separation or aggregation of the elements into larger units is called
for, as otherwise absolute sameness would result. Such separation or
aggregation conforms to the construction lines of the fabric, as any
other arrangement would be unnatural and difficult of accomplishment.
When the elements or units combine in continuous zones, bands, or rays
they are placed side by side in simple juxtaposition or are united in
various ways, always following the guide lines of construction through
simple and complex convolutions. Whatever is done is at the suggestion
of technique; whatever is done takes a form and arrangement imposed by
technique. Results are like in like techniques and are unlike in
unlike techniques; they therefore vary with the art and with its
variations in time and character.
All those agencies pertaining to man that might be supposed important
in this connection--the muscles of the hand and of the eye, the cell
structure of the brain, together with all preconceived ideas of the
beautiful--are all but impotent in the presence of technique, and, so
far as forms of expression go, submit completely to its dictates.
Ideas of the beautiful in linear geometric forms are actually formed
by technique, and taste in selecting as the most beautiful certain
ornaments produced in art is but choosing between products that in
their evolution gave it its character and powers, precisely as the
animal selects its favorite foods from among the products that
throughout its history constitute its sustenance and shape its
appetites.
* * * * *
Now, as primitive peoples advance from savagery to barbarism there
comes a time in the history of all kinds of textile products at which
the natural technical progress of decorative elaboration is interfered
with by forces from without the art. This occurs when ideas, symbolic
or otherwise, come to be associated with the purely geometric figures,
tending to arrest or modify their development, or, again, it occurs
when the artist seeks to substitute mythologic subjects for the
geometric units. This period cannot be always well defined, as the
first steps in this direction are so thoroughly subordinated to the
textile forces. Between what may be regarded as purely technical,
geometric ornament and ornament recognizably delineative, we find in
each group of advanced textile products a series of forms of mixed or
uncertain pedigree. These must receive slight attention here.
[Illustration: FIG. 325. Coiled basket ornamented with devices
probably very highly conventionalized mythological subjects. Obtained
from the Apache--1/8.]
Fig. 325 represents a large and handsome basket obtained from the
Apache. It will be seen that the outline of the figures comprising the
principal zone of ornament departs somewhat from the four ruling
directions of the textile combination. This was accomplished by
increasing the width of the steps in the outline as the dark rays
progressed, resulting in curved outlines of eccentric character. This
eccentricity, coupled with the very unusual character of the details
at the outer extremities of the figures, leads to the surmise that
each part of the design is a conventional representation of some life
form, a bird, an insect, or perhaps a man.
By the free introduction of such elements textile ornament loses its
pristine geometric purity and becomes in a measure degraded. In the
more advanced stages of Pueblo art the ornament of nearly all the
textiles is pervaded by ideographic characters, generally rude
suggestions of life forms, borrowed, perhaps, from mythologic art.
This is true of much of the coiled basketry of the Moki Indians. True,
many examples occur in which the ancient or indigenous geometric style
is preserved, but the majority appear to be more or less modified. In
many cases nothing can be learned from a study of the designs
themselves, as the particular style of construction is not adapted to
realistic expression, and, at best, resemblances to natural forms are
very remote. Two examples are given in Figs. 326 and 327. I shall
expect, however, when the art of these peoples is better known, to
learn to what particular mythic concept these mixed or impure
geometric devices refer.
[Illustration: FIG. 326. Coiled tray with geometric devices probably
modified by ideographic association. Moki work--1/4.]
The same is true of other varieties of Pueblo basketry, notably the
common decorated wickerware, two specimens of which are given in
Figs. 328 and 329. This ware is of the interlaced style, with radially
arranged web filaments. Its geometric characters are easily
distinguished from those of the coiled ware. Many examples exhibit
purely conventional elaboration, the figures being arranged in rays,
zones, checkers, and the like. It is to be expected, however, that the
normal ornament of this class of products should be greatly interfered
with through attempts to introduce extraneous elements, for the
peoples have advanced to a stage of culture at which it is usual to
attempt the introduction of mythologic representations into all art.
Further consideration of this subject will be necessary in the next
section of this paper.
[Illustration: FIG. 327. Coiled tray with geometric devices, probably
modified by ideographic association. Moki work--1/4.]
[Illustration: FIG. 328. Tray of interlaced style of weaving, showing
geometric ornament, probably modified by ideographic association. Moki
work--1/4.]
The processes of pure geometric elaboration with which this section is
mainly concerned can be studied to best advantage in more primitive
forms of art.
[Illustration: FIG. 329. Tray of interlaced style of weaving, showing
geometric ornament, probably modified by ideographic association. Moki
work--1/4.]
_Non-essential constructive features._--Now, all the varied effects of
color and design described in the preceding paragraphs are obtained
without seriously modifying the simple necessary construction, without
resorting to the multiple extraordinary devices within easy reach. The
development and utilization of the latter class of resources must now
receive attention. In the preceding examples, when it was desired to
begin a figure in color the normal ground filament was dropped out and
a colored one set into its place and made to fill its office while it
remained; but we find that in many classes of work the colored
elements were added to the essential parts, not substituted for them,
although they are usually of use in perfecting the fabric by adding to
serviceability as well as to beauty. This is illustrated, for example,
by the doubling of one series or of both warp and woof, by the
introduction of pile, by wrapping filaments with strands of other
colors, or by twisting in feathers. Savage nations in all parts of the
world are acquainted with devices of this class and employ them with
great freedom. The effects produced often correspond closely to
needlework, and the materials employed are often identical in both
varieties of execution.
The following examples will serve to illustrate my meaning. The effect
seen in Fig. 330 is observed in a small hand wallet obtained in
Mexico. The fillets employed appear to be wide, flattened straws of
varied colors. In order to avoid the monotony of a plain checker
certain of the light fillets are wrapped with thin fillets of dark
tint in such a way that when woven the dark color appears in small
squares placed diagonally with the fundamental checkers. Additional
effects are produced by covering certain portions of the filaments
with straws of distinct color, all being woven in with the fabric. By
other devices certain parts of the fillets are made to stand out from
the surface in sharp points and in ridges, forming geometric figures,
either normal or added elements being employed. Another device is
shown in Fig. 331. Here a pattern is secured by carrying dark fillets
back and forth over the light colored fabric, catching them down at
regular intervals during the process of weaving. Again, feathers and
other embellishing media are woven in with the woof. Two interesting
baskets procured from the Indians of the northwest coast are shown in
Figs. 332 and 333. Feathers of brilliant hues are fixed to and woven
in with certain of the woof strands, which are treated, in the
execution of patterns, just as are ordinary colored threads, care
being taken not to destroy the beauty of the feathers in the process.
The richly colored feathers lying smoothly in one direction are made
to represent various figures necessarily geometric. This simple work
is much surpassed, however, by the marvelous feather ornamentation of
the Mexicans and Peruvians, of which glowing accounts are given by
historians and of which a few meager traces are found in tombs. Much
of the feather work of all nations is of the nature of embroidery and
will receive attention further on. A very clever device practiced by
the northwest coast tribes consists in the use of two woof strands of
contrasting colors, one or the other being made to appear on the
surface, as the pattern demands.
[Illustration: FIG. 330. Ornament produced by wrapping certain light
fillets with darker ones before weaving. Mexican work.]
[Illustration: FIG. 331. Ornamental effect secured by weaving in
series of dark fillets, forming a superficial device. Work of the
Klamath Indians.]
[Illustration: FIG. 332. Baskets ornamented with feather work.
Northwest coast tribes--1/4.]
[Illustration: FIG. 333. Baskets ornamented with feather work.
Northwest coast tribes--1/4.]
An example from a higher grade of art will be of value in this
connection. The ancient Peruvians resorted to many clever devices for
purposes of enrichment. An illustration of the use of
extra-constructional means to secure desired ends are given in Figs.
334 and 335. Threads constituting a supplemental warp and woof are
carried across the under side of a common piece of fabric, that they
may be brought up and woven in here and there to produce figures of
contrasting color upon the right side. Fig. 334 shows the right side
of the cloth, with the secondary series appearing in the border and
central figure only. Fig. 335 illustrates the opposite side and shows
the loose hanging, unused portions of the auxiliary series. In such
work, when the figures are numerous and occupy a large part of the
surface, the fabric is really a double one, having a dual warp and
woof. Examples could be multiplied indefinitely, but it will readily
be seen from what has been presented that the results of these
extraordinary means cannot differ greatly from those legitimately
produced by the fundamental filaments alone.
[Illustration FIG. 334. Piece of cotton cloth showing the use of a
supplementary web and woof. Ancient Peru.]
[Illustration FIG. 335. Piece of cotton cloth showing the use of a
supplementary web and woof. Ancient Peru.]
_Superconstructive features._--In reviewing the superconstructive
decorative features in the preceding section I classified them
somewhat closely by method of execution or application to the fabric,
as stitched, inserted, drawn, cut, applied, and appended. It will be
seen that, although these devices are to a great extent of the nature
of needlework, all cannot be classed under this head.
Before needles came into use the decorative features were inserted and
attached in a variety of ways. In open work nothing was needed but the
end of the fillet or part inserted; again, in close work, perforations
were made as in leather work, and the threads were inserted as are the
waxed ends of the shoemaker.
The importance of this class of decorative devices to primitive
peoples will be apparent if we but call to mind the work of our own
Indian tribes. What a vast deal of attention is paid to those classes
of embroideries in which beads, feathers, quills, shells, seeds,
teeth, &c., are employed, and to the multitude of novel applications
of tassels, fringes, and tinkling pendants. The taste for these things
is universal and their relation to the development of esthetic ideas
is doubtless very intimate.
Needlework arose in the earliest stages of art and at first was
employed in joining parts, such as leaves, skins, and tissues, for
various useful purposes, and afterwards in attaching ornaments. In
time the attaching media, as exposed in stitches, loops, knots, and
the like, being of bright colors, were themselves utilized as
embellishment, and margins and apertures were beautified by various
bindings and borders, and finally patterns were worked in contrasting
colors upon the surfaces of the cloths and other materials of like
nature or use.
No other art so constantly and decidedly suggested embellishment and
called for the exercise of taste. It was the natural habitat for
decoration. It was the field in which technique and taste were most
frequently called upon to work hand in hand.
With the growth of culture the art was expanded and perfected, its
wonderful capacity for expression leading from mere bindings to
pretentious borders, to patterns, to the introduction of ideographs,
to the representation of symbols and mythologic subjects, and from
these to the delineation of nature, the presentation of historical and
purely pictorial scenes.
And now a few words in regard to the character of the work and its
bearing upon the geometric system of decoration. As purely
constructive ornamentation has already been presented, I will first
take up that class of superconstructive work most nearly related to
it. In some varieties of basketry certain bindings of the warp and
woof are actually left imperfect, with the idea of completing the
construction by subsequent processes, the intersections being gone
over stitch by stitch and lashed together, the embroidery threads
passing in regular order through the openings of the mesh. This
process is extremely convenient to the decorator, as changes from one
color to another are made without interfering with construction, and
the result is of a closely similar character to that reached by
working the colors in with warp and woof. In a very close fabric this
method cannot be employed, but like results are reached by passing the
added filaments beneath the protruding parts of the bindings and,
stitch by stitch, covering up the plain fabric, working bright
patterns. Fig. 336 is intended to show how this is done. The
foundation is of twined work and the decorating fillets are passed
under by lifting, with or without a needle. This process is
extensively practiced by our west coast tribes, and the results are
extremely pleasing. The materials most used are quills and bright
colored straws, the foundation fabric being of bark or of rushes. The
results in such work are generally geometric, in a way corresponding
more or less closely with the ground work combination.
[Illustration: FIG. 336. Grass embroidery upon the surface of closely
impacted, twined basketry. Work of the northwest coast Indians.]
A large class of embroideries are applied by like processes, but
without reference to the construction of the foundation fabric, as
they are also applied to felt and leather. Again, artificially
prepared perforations are used, through which the fillets are passed.
The results are much less uniformly geometric than where the fabric is
followed; yet the mere adding of the figures, stitch by stitch or part
by part, is sufficient to impart a large share of geometricity, as may
be seen in the buckskin bead work and in the dentalium and quill work
of the Indians.
Feather embroidery was carried to a high degree of perfection by our
ancient aborigines, and the results were perhaps the most brilliant of
all these wonderful decorations. I have already shown how feathers are
woven in with the warp and woof, and may now give a single
illustration of the application of feather work to the surfaces of
fabrics. Among the beautiful articles recovered from the tombs of
Ancon, Peru, are some much decayed specimens of feather work. In our
example delicate feathers of red, blue, and yellow hues are applied to
the surface of a coarse cotton fabric by first carefully tying them
together in rows at regular distances and afterwards stitching them
down, as shown in Fig. 337.
The same method is practiced by modern peoples in many parts of the
world. Other decorative materials are applied in similar ways by
attachment to cords or fillets which are afterwards stitched down. In
all this work the geometricity is entirely or nearly uniform with
that of the foundation fabrics. Other classes of decoration, drawn
work, applique, and the like, are not of great importance in
aboriginal art and need no additional attention here, as they have but
slight bearing upon the development of design.
[Illustration: FIG. 337. Feather embroidery of the ancient Peruvians,
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
geometricity, being fixed to surfaces and margins without close
reference to the web and woof. They include fringes, tassels, and the
multitude of appendable objects, natural and artificial, with which
primitive 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 branches
of art. If the surface 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 geometric
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 painted upon pottery, rocks, or skins. In primitive times both
the texture of the textiles and the habits of the decorator, acquired
in textile work, tended towards the geometric style of delineation,
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. Illustrations of this
are given in the next section.
* * * * *
I have dwelt at sufficient length upon the character and the
tendencies of the peculiar system of embellishment that arises within
textile art as the necessary outgrowth of technique, and now proceed
to explain the relations of this system to associated art.
In the strong forward tendency of the textile system of decoration it
has made two conquests of especial importance. In the first place it
has subdued and assimilated all those elements of ornament that have
happened to enter its realm from without, and in the second place it
has imposed its habits and customs upon the decorative systems of all
arts with which the textile art has come in contact.