[171 BULLETIlsr 39, UNITED STATES NATIOISTAL MUSEUM. 



On the outside there is the appearance of a two-ply string laid along 

 the warp stems, while on the inside the texture looks like plain twined 

 weaving. The reason for this is apparent, since in every third of a 

 revolution one element passes behind the warp and two remain in 

 front. 



Fig. 26. 

 three-ply braid; a, outside; 6, inside. 



(b) Three-ply hraid. — In three-ply braid the weft elements are held 

 in the hand in the same fashion, but instead of being twined simply 

 they are plaited or braided, and as each element passes under one and 

 over the other of the remaining two elements, it is carried inside a 

 warp stem. This process is better understood by examining the upper 

 parts of figs. 24 and 25, and 26 a 



and h. On the surface when the 

 work is driven home, it is impossi- 

 ble to discriminate between three- 

 ply twine and three-ply braid. The 

 three-ply braid is found at the start- 

 ing of all Pomo twined baskets, no 

 matter how the rest is built up. 



Fig. 27 shows a square inch from 

 the surface of a Hopi twined jar. 

 The lower part is m plain twined 

 weaving; the upper part is in three- 

 ply twine. Philologists have come 

 to the conclusion that the Hopi are 

 very mixed people. The three-pl}^ 

 work shown in this figure is a Ute 

 motive. The U. S. National Mus- 

 eum collections represent at least seven different styles of basketry 

 technic practiced among the Hopi people of Tusaj'^an. 



(c) Three-ply., false embroidery. — In Tlinkit basketry the body is 

 worked in spruce root, which is exceedingly tough. The ornamen- 

 tation in which mythological symbols are concealed consists of a species 



17M4-02— 2 



Pig. 27. 

 three-ply and plain twined work. 



Report U.S.N.M., 1884, pL 38, flg. 67 



