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.