240 



IN RELATION T( 



>KM AND ORNAMENT. 



nary graphic representation. It is copied from a Zufli shield and is 

 the device of an order or the totem of a clan. The style is quite con- 

 ventional, as a result of the various constraints surrounding its pro- 

 duction. But what a strange metamorphosis takes place when it is 

 presented in the basketmaker's language. Observe the conventional 

 pattern shown upon the surface of a Moki tray (Fii;-. :Ui;). We have 

 difficulty in recognizing the bird at all. al1li<iui;li the cnuception is 

 identical with the preceding. The posit itjus uf the head and legs and 



'^ jJniiiiiiliiil 



Fig. :«(). Figure of a birii \ ii i i 1 nil tray, textile delineation. 



the expanded wings and tail r oiuspond as closely as possible, but 

 delineation is hampered h^ ttLlinique The peculiar construction 

 barely permits the presentation of a recognizable life form, and per- 

 mits it in a particular way. which will be understood by a compari- 

 son with the treatment ..f "the human fl,i;ure in Fi.i;-. 344. " In that case 

 IlieinUTla.-.Mlc.inl.inati.in -ives ivli, .v.. results, chararterize.lliy wide. 

 radiating rihs and narrow, inei msjiiendus. edneentrie lines, which 

 cross the ribs in long steps. The power of expression lies almost 

 wholly with the concentx'ic series, and detail must in a great measure 

 follow the concentric lines. In the present case (Fig. 346) this is re- 

 versed and lines employed in expressing forms are radiate. 

 The precise effect of this difference of construction upon a particu- 



