holmes.) MODIFICATION OF ORNAMENT THROUGH TECHNIQUE. 461 



other direction. If an ornament originating in the constructional char- 

 acter of a woven fabric, or remodeled by it, and hence rectilinear, should 

 be desired for a smooth structureless or featureless surface, the difficul- 



ty, free-hand form. b, form imposed by fabric. 



Fig. 4-2 —Forms of the same motive expressed in different arts. 



ties of drawing the angular forms would lead to the delineation of 

 curved forms, and we would have exactly the reverse of the order 

 shown in Figs. 482 and 483. The two forms given in Fig. 484 actually 



a, free-hand form. b, form imposed by masonry. 



Fig. 483. — Forms of the same motive expressed in different arts. 



occur in one and the same design painted upon an ancient Pueblo vase. 

 The curved form is apparently the result of careless or hurried work, the 

 original angular form having come from a textile source. 



Fig. 484. — Variations resulting from change of method. 



Many excellent examples illustrative of this tendency to modification 

 are found in Pueblo art. Much of the ornament applied to pottery is 

 derived from the sister art, basketry. In the latter art the forms of 

 decorative figures are geometric and symmetrical to the highest degree, 

 as I have frequently pointed out. The rays of a radiating ornament, 

 worked with the texture of a shallow basket, spring from the center and 

 take uniform directions toward the margin, as shown in Fig. 485. But 



