Boas] APPLICATION OF DESIGN TO FIELD 287 
Doctor Haeberlin says: 
At the last corner she gets into difficulties, for this is the place where the 
jump occurs, or where the coil begins and ends. The arrangement there is as 
shown in sketch b of Figure 75. 
The symmetry in this basket is excellent, as is the balancing of 
color. It is secured first by the very careful circumference spacing 
of the vertical designs and secondly by the treatment of the corners, 
where more space is allowed between the designs than elsewhere. 
SmaLtL Designs ON VERTICAL STRIPES 
There are a number of baskets decorated with vertical stripes 
and similar patterns where the subdivision into small designs has 
involved more difficulties and consequent errors than the placing 
of the stripes themselves or the treatment of the corners. Indeed it 
frequently happens that the basket wall is exceedingly well subdi- 
vided, so that at first glance the entire basket presents a remarkably 
symmetrical appearance, but upon examination the subdivision of 
the stripes or similar patterns into small designs reveals a multitude 
of small errors. This fact seems to indicate that the two problems 
are utterly different, allied though they appear to be, and that the 
case of basket making is analogous to that of sculpture, painting, 
music, or any other of the fine arts. There are those artists who have 
broad conceptions and splendid ideas which they can sketch in a big 
way very effectively, but when it comes to execution the work had 
better be left not simply to artisans, but to artists who finish their 
work with the utmost nicety and attention to detail. The real 
artist who possesses both of these qualifications to a marked degree 
is occasionally found, here in British Columbia as elsewhere, as we 
have seen from such specimens as those portrayed in Figures 57 and 
59 (pp. 270, 272) where every point is perfect. 
We have already discussed some baskets which displayed small 
errors (if the term may be allowed as meaning smaller in size), as 
well as those of spacing on the basket itself. The baskets about to 
be discussed are to be regarded almost exclusively from the point of 
view of the little errors made in stitches and color, because these are 
the more conspicuous points in this group. Nevertheless some of the 
old mistakes in spacing are evident and will be noted briefly. 
It should not be inferred that these so-called small errors are 
regarded as of any less importance artistically, mechanically, or 
psychologically than those of the other type. They are controlled in 
part by some of the same principles, but their smaller rhythms, the 
necessity for closer attention to the detail of the stitch, the very fact 
that smaller spaces are involved as well as color and more minute 
and numerous repetitions of an idea, give the situation a different 
aspect. 
