other words, to an esthetic impulse that prompts man to emphasize the form of the object that he has made. [Illustration: Fig. 51. _a_, Part of soapstone kettle; _b_, _c_, _d_, Ivory combs, Eskimo.] In a number of cases the form is not so much accentuated as rather set off, closed in and separated from the surrounding space by a formal limitation, a marginal line, thickening of the rim or a sharp crest, by which means the individualization of the object is attained. Quite often these limiting bands develop into decorative fields and serve the double purpose of limitation and of decoration. They may attain an individuality of their own. When the surface itself is decorated, these lines or ornamental bands serve the additional purpose of limiting and closing the decorative field. Examples of this kind are very numerous. We find them in borders of our rugs, in architectural decoration, when the corners and roof lines of a building are formed by ornamental stone work, in book binding,—in short in practically all forms of modern decorative art, but no less in primitive art. Blankets of the Alaskan Indians (see figs. 269 et seq., pp. 259 et seq.), bronze work of ancient Scandinavia, prehistoric pottery of Europe and of Central America, gable boards of New Zealand houses, belts from New Guinea, baskets from British Guinea (fig. 81, p. 90) and wooden cups from the Congo region illustrate this tendency (fig. 52). [Illustration: Fig. 52. Wood carving, Bambala, Congo.] There are, however, many cases in which the decoration is so closely adapted to the form of the object that the stimulus for developing a closing outline is not felt. The decoration of the field appears as a picture fitted into the object. In still other cases the smooth, undecorated marginal field serves as a border setting off the central ornamented area. In basketry with radial decoration, we find often a lack of border designs and a tendency to let the ornament run right up to the rim where it seems cut off. Another characteristic trait of decorative art must be mentioned. Not only is the general form emphasized and limited, but its natural divisions are determining elements in the application of decorative patterns and bring it about that the decoration is arranged in distinct fields. This is very apparent in pottery in which a neck is set off from a body or in which the body is divided by a sharp angle into an upper and a lower part. Such types are found in prehistoric European art as well as in America (fig. 53). On pouches of American Indians (fig. 54) body and flap are treated as separate units. In moccasins, the uppers form a field separate from the rim (fig. 55). In clothing, the patterns on collars, pockets or sleeves are often considered as separate units. Wissler has called attention to the influence of the structure of garments upon their decoration[40].