ure follow the
concentric lines. In the present case (Fig. 346) this is reversed and
lines employed in expressing forms are radiate.

[Illustration: FIG. 346. Figure of a bird executed in a coiled Moki
tray, textile delineation.]

The precise effect of this difference of construction upon a
particular feature may be shown by the introduction of another
illustration. In Fig. 347 we have a bird woven in a basket of the
interlaced style. We see with what ease the long sharp bill and the
slender tongue (shown by a red filament between the two dark
mandibles) are expressed. In the other case the construction is such
that the bill, if extended in the normal direction, is broad and
square at the end, and the tongue, instead of lying between the
mandibles, must run across the bill, totally at variance with the
truth; in this case the tongue is so represented, the light vertical
band seen in the cut being a yellow stripe. It will be seen that the
two representations are very unlike each other, not because of
differences in the conception and not wholly on account of the style
of weaving, but rather because the artist chose to extend one across
the whole surface of the utensil and to confine the other to one side
of the center.

[Illustration: FIG. 347. Figure of a bird woven in interlaced wicker
at one side of the center.]

It is clear, therefore, from the preceding observations that the
convention of woven life forms varies with the kind of weaving, with
the shape of the object, with the position upon the object, and with
the shape of the space occupied, as well as with the inherited style
of treatment and with the capacity of the artist concerned. These
varied forces and influences unite in the metamorphosis of all the
incoming elements of textile embellishment.

It will be of interest to examine somewhat closely the modifications
produced in pictorial motives introduced through superstructural and
adventitious agencies.

We are accustomed, at this age of the world, to see needlework
employed successfully in the delineation of graphic forms and observe
that even the Indian, under the tutelage of the European, reproduces
in a more or less realistic way the forms of vegetal and animal life.
As a result we find it difficult to realize the simplicity and
conservatism of primitive art. The intention of the primitive artist
was generally not to depict nature, but to express an idea or decorate
a space, and there was no stro