800 REPOET OF NATIONAL MUSEUM, 1902. 



making the best of her limitations. Bein^- contined to angular ele- 

 ments, having no opportunity to introduee tiic curve, except so far as 

 the ])ody of the basket itself made straight lines cur^'ed, it became 

 necessary to rack her ingenious Ijrain to satisf}' her cravings for ex- 

 pression of the beautiful with straight lines only. (See Plates 56-59.) 



{/) Comqylcx jxitterns. — The most striking artistic effects in basketr}^ 

 are realized when the simple lines, l)ands, and geometric figures are 

 united and modified to suit the weaver's fane}-, to fit the general shape 

 of the object, and oftentimes to correct a miscalculation on the part 

 of the maker. The effect of lines is changed by ])reaking, curving, 

 setting at different angles, widening, and coloring. Geometric figures 

 become subsidiary to and are lost in m3'thological compositions, but 

 the}" are the organic parts of the whole design. 



Plate 60 will illustrate what is here said al)out the production of 

 intricate designs by combining two or more of the separate elements 

 ill the foregoing ])aragraphs. In every one of the Ixnvls shown in 

 this plate a circular form in basket work is attained by using material 

 of the same color in the coiling at the bottom. From these central 

 beginnings designs in triangles, s([uar(\s, rectangles, and poh^gons are 

 built up into lal)yrinthian decorations for the whole surface. In the 

 middle figure of the bottom row five patterns radiate from the central 

 circle, each one of which is made up of three groups of rectangidar 

 figures in black and white. Specimens are in the collection of J. W. 

 Beidiam. 



Plate 61 will interest the student as an example of bold design, being 

 the American eagle, with expanded wings. It will surprise him to 

 note how, with the use of straight-line figures before mentioned, some 

 little life is given to the neck and to the talons of the bird by the fine 

 marking of stitches, which lend themselves somewhat to curved eti'ects. 

 It can not be said, however, that this treatment is a success. 



ORNAMENTATION THROUGH COLOR 



Quite as much as form, the colors in basketry are an element of 

 beauty. As in basket forms the sense of pleasure is awakened bj^ the 

 mass, by the minute elements, and by the shape of patterns or designs, 

 so it is with colors. One does not know which to admire the most — 

 the subdued shades of the natural materials, the pretty effects of the 

 infinite variety of hues in the stitches, or the combinations of patterns 

 in ornamentation through colors furnished by Nature's laboratory, 

 which the importunate Indian women of America have secured in their 

 tireless quest. The gamut of shades runs from pure white through 

 the yellows and browns to sooty black, and age only ripens the effects. 

 The peculiar golden shade of an old piece from California will set the 

 connoisseur\s face aglow. No doubt a part of this admiration springs 

 from association of ideas such as age, rareness, the seeming disparity 

 between the maker and her art, and, maybe, the pride of ownership. 



