surface of the tray did not afford room to project the body and limbs.

[Illustration: FIG. 345. Figure of a bird painted upon a Zuñi shield,
free hand delineation.]

Now, it may be further observed that had the figure been placed at one
side of the center, extending only from the border to the middle of
the tray, an entirely different result would have been reached; but
this is better illustrated in a series of bird delineations presented
in the following figures. With many tribes the bird is an object of
superstitious interest and is introduced freely into all art products
suitable for its delineation. It is drawn upon walls, skins, pottery,
and various utensils and weapons, especially those directly connected
with ceremonies in which the mythical bird is an important factor. The
bird form was probably in familiar use long before it was employed in
the decoration of basketry. In Fig. 345 I present an ordinary graphic
representation. It is copied from a Zuñi shield and is the device of
an order or the totem of a clan. The style is quite conventional, as a
result of the various constraints surrounding its production. But what
a strange metamorphosis takes place when it is presented in the
basketmaker's language. Observe the conventional pattern shown upon
the surface of a Moki tray (Fig. 346). We have difficulty in
recognizing the bird at all, although the conception is identical with
the preceding. The positions of the head and legs and the expanded
wings and tail correspond as closely as possible, but delineation is
hampered by technique. The peculiar construction barely permits the
presentation of a recognizable life form, and permits it in a
particular way, which will be understood by a comparison with the
treatment of the human figure in Fig. 344. In that case the interlaced
combination gives relievo results, characterized by wide, radiating