386 REPOKT OF NATIONAL MUSEUM, 1902, 



for a short distance the weaver changes her plan, omits the bark or 

 the \'arn warp altogether, but continues the twining process, catching 

 the warp in every other half turn of the twine. Again, there will 

 1)0 a row oi" two of ordinary twined weaving with straight warp, wdien 

 she returns to her zig'zag method, covering the entire surface there- 

 with. At the top of the bag an inch or less of plain twined weaving 

 in which the warps are vertical and included in pairs brings her to the 

 outer border, where all the warps are twisted together and turned back 

 to be fastened off in the texture. In an old example in the National 

 Museum long, cut fringes are sewed to the upper margin and to the 

 sides of the bag. 



The photographs of the twined bag shown in Plate 131 were taken 

 by William Orchard, of the American Museum of Natural History, and 

 presented to the National Museum by Harlan I. Smith. On one side 

 a mguntain lion and the other an eagle with geometric figures are 

 shown in l)lack. The te(;hnic of this particular example -from left 

 to right Avould ])c live vertical rows of plain twined weaving; nine 

 rows of mixed warp, but plain weaving; a course of braided 

 warp in which the four elements of two rows of warp are braided 

 together and included in the twine. On the other side is a similar 

 administration. The middle portion shows zigzag twined w'eaving, 

 figured. Above this is a row of three-ply twined weaving, as 

 among many of the Western tribes; above this three rows of plain 

 twined weaving in openwork including all the warps. At the top the 

 warps are twisted and fastened into the texture. It must be clearly 

 understood that the figures which show black on the outside — that is, 

 the eagle and the lion — will be white on the inside, necessarily. The 

 colors used in the small specimen of the National Museum are the nat- 

 ural color of the bark mixed with brown, black, and blue yarns. The 

 National Museum is indebted to Andrew^ John, a Seneca Indian of 

 New York, for a number of specimens of modern Iroquoian twined 

 ware from corn husks. 



There was a decided lack of coiled ))asketry in all this vast region. 

 Every kind of hand-woven ware was known. Algonquian, Iroquoian, 

 Siouan, and Muskhogean tribes of the present, and all the cave-dwell- 

 ing, mound-building, ancients, seem, so far as the evidence points, to 

 have known little of coiling. 



From this hasty survey of ancient hand weaving in ])asketry and 

 the other receptacles, as well as in matting, webbing, sandals, and 

 such products of the textile art as resemble basketry, it is now allow^ed 

 to examine their modern representatives in the southern portions of 

 the same area. 



In the States of North Carolina, South Carolina, Georgia, Florida, 

 i^labama. Mississippi, and Louisiana are man}" Indians still living,^ 

 remnants of theCherokees (Iroquoian); Choctaws, Creeks, Chickasaws, 

 and Seminoles (Muskhogean), and the almost vanished Attakapas and 



