HOLMES.) (JEOMETRIC CHARACTER OF ADOPTED MOTIVES. 233 



creature — as, for exami)le, a bird — executcil Ly distant and unrdati'd 

 peoples, are rediiced in corresponding styles df faluic to alirmst iili'ii- 

 tical shapes. This conventionalizing force is further illustrated by tlie 

 tendency in textile representation to blot out differences of time and 

 culture, so that when a civilized artisan, capable of realistic pictorial 

 dclinrati-.n of a lii-li .>rdrr. ininMlin-rs a fi-urr into a cntain l\>nu of 

 c.iai-sc lalirir li.' ai'rivcs at a ivsiilt aliiKist idciitiral withtlial readied 

 by II. e savayv using the same. win. lias n.. graphic language heymid 

 tlie rudest outline. 



A niimber of examples may be given illustrating this renuirkable 

 piiwiTiif textile combination over ornament. I select three in which 

 the human li-iire is |.ivsi>nted. One is chosen from Iroquoiau art, one 

 fiMin Digger Indian art. and one from the art of the Incas — jjeoples 

 unequal in grade of culture, isolated geographically, and racially dis- 

 tinct. I have selected specimens in which the parts employed give 

 features of corresponding size, so that comparisons are easily insti- 

 tuted. The example shown in Fig. :338 ilbist lal i 's a 

 liar to the wampum belts of the Iroquois and tli 

 quite unlike oidinaiy wea\ing It is tiken fi ni 

 of what is 'Luov, n as the Penn wampum belt Th 

 strands ccmsists ot n^llow stiijis of bu( kskm tin 

 posing SLiies ot tlue i Is ue se^\ ed holdiu,, ni plac( 



Fio. 338. Fig ires fr n the Pe | I It 1 k the e t il t ] 1 1 i work. 



drical shell beads. Purple Ijeads are employed to develop the figures 

 in a ground of white beads. If the maker of this belt had been re- 

 c^uired to execute in chalk a drawing depicting l<rotherly love the 

 results would have been very different. 



My second illu.stration (Fig. 339) is drawn from a super!) example of 

 thebasketryof the Yokut Indians. )f California. Tlie two figures form 



