eccentricity, coupled with the very unusual character of the details
at the outer extremities of the figures, leads to the surmise that
each part of the design is a conventional representation of some life
form, a bird, an insect, or perhaps a man.

By the free introduction of such elements textile ornament loses its
pristine geometric purity and becomes in a measure degraded. In the
more advanced stages of Pueblo art the ornament of nearly all the
textiles is pervaded by ideographic characters, generally rude
suggestions of life forms, borrowed, perhaps, from mythologic art.
This is true of much of the coiled basketry of the Moki Indians. True,
many examples occur in which the ancient or indigenous geometric style
is preserved, but the majority appear to be more or less modified. In
many cases nothing can be learned from a study of the designs
themselves, as the particular style of construction is not adapted to
realistic expression, and, at best, resemblances to natural forms are
very remote. Two examples are given in Figs. 326 and 327. I shall
expect, however, when the art of these peoples is better known, to
learn to what particular mythic concept these mixed or impure
geometric devices refer.

[Illustration: FIG. 326. Coiled tray with geometric devices probably
modified by ideographic association. Moki work--1/4.]

The same is true of other varieties of Pueblo basketry, notably the
common decorated wickerware, two specimens of which are given in
Figs. 328 and 329. This ware is of the interlaced style, with radially
arranged web filaments. Its geometric characters are easily
distinguished from those of the coiled ware. Many examples exhibit
purely conventional elaboration, the figures being arranged in rays,