almost universally practiced art upon the whole body of decorative
design.

[Illustration: FIG. 344. Human figure modified by execution in
concentric interlaced style of weaving--1/3.]

That the range of results produced by varying styles of weaving and of
woven objects may be appreciated, I present some additional examples.
Coiled wares, for instance, present decorative phenomena strikingly at
variance with those in which there is a rectangular disposition of
parts. Instead of the two or more interlacing series of parallel
fillets exhibited in the latter style, we have one radiate and one
concentric series. The effect of this arrangement upon the introduced
human figure is very striking, as will be seen by reference to Fig.
344, which represents a large tray obtained from the Moki Indians. The
figure probably represents one of the mythologic personages of the
Moki pantheon or some otherwise important priestly functionary,
wearing the characteristic headdress of the ceremony in which the
plaque was to be used. The work is executed in wicker, stained in such
bright tints as were considered appropriate to the various features of
the costume. Referring in detail to the shape and arrangement of the
parts of the figure, it is apparent that many of the remarkable
features are due to constructive peculiarities. The round face, for
example, does not refer to the sun or the moon, but results from the
concentric weaving. The oblique eyes have no reference to a Mongolian
origin, as they only follow the direction of the ray upon which they
are woven, and the headdress does not refer to the rainbow or the
aurora because it is arched, but is arched because the construction
forced it into this shape. The proportion of the figure is not so very
bad because the Moki artist did not know better, but because the