successions of squares.

[Illustration: FIG. 318. Pattern produced by simple alternations of
light and dark fillets. Basketry of the Indians of British Guiana.]

Additional facility of expression is obtained by employing dark
strands in the vertical series also, and large, isolated areas of
solid color may be produced by changing the order of intersection,
certain of the fillets being carried over two or more of the opposing
series and in contiguous spaces at one step, as seen in Fig. 317. With
these elementary resources the weaver has very considerable powers of
expression, as will be seen in Fig. 318, which is taken from a basket
made by South American Indians, and in Fig. 341, where human figures
are delineated. The patterns in such cases are all rigidly geometric
and exhibit stepped outlines of a pronounced kind. With impacting and
increased refinement of fillets the stepped character is in a
considerable measure lost sight of and realistic, graphic
representation is to a greater extent within the workman's reach. It
is probable, however, that the idea of weaving complex ideographic
characters would not occur to the primitive mind at a very early date,
and a long period of progress would elapse before delineative subjects
would be attempted.

I do not need to follow this style of combination into the more
refined kinds of work and into loom products, but may add that through
all, until perverted by ulterior influences, the characteristic
geometricity and monotonous repetition are allpervading.

* * * * *

For the purpose of looking still more closely into the tendencies of
normal textile decorative development I shall present a series of
Indian baskets, choosing mainly from the closely woven or impacted
varieties because they are so well represented in our collections and
at the same time are so very generally embellished with designs in
color; besides, they are probably among the most simple and primitive
textile products known. I have already shown that several types of
combination when closely impacted produce very similar surface
characters and encourage the same general style of decoration. In
nearly all, the color features are confined to one series of
fillets--those of the woof--the other, the warp, being completely
hidden from view. In the preceding series the warp and woof were
almost equally concerned in the expression of design. Here but one is
used, and in consequenc