ribs and narrow, inconspicuous, concentric lines, which cross the ribs
in long steps. The power of expression lies almost wholly with the
concentric series, and detail must in a great measure 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