224 TEXTILE AKT IN RELATION TO FORM AND ORNAMENT. 



Apache. It will be seen that the outline of the figures comprising 

 the principal zone of ornament departs somewhat from the four lailing 

 directions of the textile combination. This was accomplished by in- 

 creasing the width of the steps in the outline as the dark rays pro- 

 gressed, resulting in curved outlines of eccentric character. This 

 eccentricity, coupled witli tln^ very unusual rharactcr of tlii' details at 

 theouterextremitii'si.r the li^uivs. h-ads to tin- surmise tliat each part 

 of the design is a con\'eutioual representation ul' some life form, a 

 bird, an insect, or perhaps a man. 



By the free introduction of such elements textile ornament loses 

 its pristine geometric purity and becomes in a measure degraded. 

 In the more advanced stages of Pueblo art the ornament of nearly 

 all the textiles is pervaded by ideographic characters, generally 

 rude suggestions of life forms, borrowed, perhaps, from mythologic 

 art. This is true of much of the coiled basketry of the Moki In- 

 dians. True, many examples occur in which the ancient or indig- 

 enous geometric style is preserved, biit the majority appear to be 

 more or less modified. In many cases nothing can be learned from a 

 study of the designs themselves, as the particular style of construc- 

 tion is not adapted to realistic expression, and, at best, resemblances 

 to natural forms are very remote. Two examples are given in Figs. 



Fig. 3an. Coiled tray with geouietia ili'Mti s pii>lialilv modihed by ideographic a-ssoeiation, Moki 



320 and 327. I shall expect, however, when the art of these peoples 

 is better known, to learn to what particular mythic concept these 

 mixed or impure geometric devices refer. 



The same is true of other varieties of Pvieblo basketry, notably 

 the common decorated wickerware, two specimens of which are 



