I have now dwelt at sufficient length upon the character of the textile system of ornament and have laid especial stress upon the manner in which it is interwoven with the technical constitution of the art. I have illustrated the remarkable power of the art by which decorative elements from without, coming once within the magic influence, are seized upon and remodeled in accordance with the laws of textile combination. Pursuing the investigation still further it is found that the dominion of the textile system is not limited to the art, but extends to other arts. Like a strong race of men it is not to be confined to its own original habitat, but spreads to other realms, stamping its own habits and character upon whatever happens to come within its reach. Its influence is felt throughout the whole range of those arts with which the esthetic sense of man seeks to associate ideas of beauty. It is necessary, before closing this paper, to examine briefly the character and extent of this influence and to describe in some detail the agencies through which the results are accomplished. First and most important are the results of direct transmission. House building, or architecture as it is called in the higher stages, is in primitive times to a great extent textile; as culture develops, other materials and other systems of construction are employed, and the resultant forms vary accordingly; but textile characters are especially strong and persistent in the matter of ornament, and survive all changes, howsoever complete. In a similar way other branches of art differentiated in material and function from the parent art inherit many characters of form and ornament conceived in the textile stage. It may be difficult to say with reference to any particular example of design that it had a textile origin, for there may be multiple origins to the same or to closely corresponding forms; but we may assert in a general way of the great body of geometric ornament that it owes something--if not its inspiration, its modes of expression--to the teachings of the textile system. This appears reasonable when we consider that the weaver's art, as a medium of esthetic ideas, had precedence in time over nearly all competitors. Being first in the field it stood ready on the birth of new forms of art, whether directly related or not, to impose its characters upon them. What claim can architecture, sculpture, or ceramics have upon the decorative conceptions of the Digger Indians, or even upon those of the Zuni or Moki? The former have no architecture, sculpture, or ceramics; but their system of decoration, as we have seen, is highly developed. The Pueblo tribes at their best have barely reached the stage at which esthetic ideas are associated with building; yet classic art has not produced a set of geometric motives more chaste or varied. These examples of the development of high forms of decoration during the very early stages of the arts are not isolated. Others are