286 REPOET OF NATIONAL MUSEUM, 1902. 



and narrow bands. The lower, or inside, basket has its surface envel- 

 oped in embroidered weaving of excellent character and is wrought in 

 three colors. The specimen is in the collection of L. H. Brittin, of 

 Edgewater, New Jersey. 



MOSAIC ELEMENTS IN DECORATION 



The composition of the basket, its molecular elements, so to speak, 

 is guided largely by the materials. In cross section they are in their 

 coarsest forms round, then half round, resulting from splitting whole 

 stems. The finer sorts arise from further subdivision of stems, being 

 roundish on the outside and flat within; or flat on both surfaces, as 

 in the Canadian ash splints and the flat foundations of Fraser River 

 baskets; or ribl)on-like, as in basketry made of palm leaves; or thread- 

 like, as in the coiled basketry of the Pomo, sewed with split sedge 

 root as fine as pack thread. These various kinds and grades of mate- 

 rials in their tractability are dependent on climate, latitude, and ph3"to- 

 geography in the first place, and finally upon the maker's grade of 

 culture, on the form and function she had in mind, as well as on the 

 higher forms of fine art, social rivab-y, and mytholog3\ (See Plate 45.) 



In ultimate structure, basketry is free-hand mosaic or, in finest 

 materials, like pen drawings or beadwork, the surface being composed 

 of any number of small parts — technically decussations, stitches, or 

 meshes, practically separate from one another so far as tlie effect on 

 the eye is concerned. These mosaic parts are with some materials 

 quite flat on the outer surface, as in the ])est matting and bags, while 

 in others they stand out on account of the coarseness and rigidity of 

 the wood. The object of mosaic ordinarih^ is to produce aflat surface 

 for pavements or floors. The term " mosaic," here used as a simile, 

 applies to such as is seen in mural decoration, where projections and 

 depressions are wrought into artistic designs. In nmch basketry the 

 separation of the stitches and exposure of a warp l)eneath having 

 another color have precisely the same effect. In many examples the 

 stems and roots are thoroughly soaked and rendered plastic and then 

 pressed home, the parts being forced together, in which case the little 

 elements become spindle-formed or hexagonal. Mosaic effects in 

 basketry may be — (a) Tessellate, as in checker or twilled weaving; 

 (h) concentric, as in wicker and twined weaving, and (c) radiate in all 

 coiled weaving. These must be kept in mind. 



Unity in variet}^, the underlying principle of all a\sthetic composi- 

 tion, finds its first step illustrated in the making up of a basket. The 

 perfection of an Indian basket in its artistic technic is monotony, or 

 monotechny, if such a word existed. In looking at a clumsy bit of 

 work done by a child, or a beginner, one is aware of painstaking 

 efl'ort to make all the checks or stitches alike, ending in failure. In 

 the most elegant pieces the victory is won, unity is achieved. With 



