ient potter, who was in the habit of modeling his wares
within baskets, seems to have conceived the idea of building his
vessels by coiling just as he built his baskets. The surface exhibits
coiled ridges like basketry, as shown in Fig. 353, and the textile
character was further imposed upon the clay by marking these coils
with the thumb and with implements to give the effect of the
transverse series of filaments, and the geometric color patterns of
the basketry were reproduced in incised lines. When these peoples came
to paint their wares it was natural that the colored patterns native
to the basketry should also be reproduced, and many more or less
literal transfers by copying are to be found. A fine example of these
painted textile designs is shown in Fig. 354. It is executed in a
masterly style upon a handsome vase of the white ware of ancient
Tusayan. Not only are the details reproduced with all their geometric
exactness, but the arrangement of the designs upon the vessel is the
same as in the textile original. Nine-tenths of the more archaic,
Pueblo, ceramic, ornamental designs are traceable to the textile art,
and all show the influence of textile convention.

[Illustration: FIG. 353. Earthen vase built by coiling, exhibiting
decorative characters derived from basketry.]

[Illustration: FIG. 354. Ceramic ornament copied literally from a
textile original.]

Another peculiar class of transfers of a somewhat more indirect nature
may be noticed. All the more advanced American nations were very fond
of modeling the human form in clay, a large percentage of vessels
having some trace of the human form or physiognomy. Now, in many cases
the costume of the personage represented in the clay is also imitated,
and generally in color, the details of the fabrics receiving their
full share of attention. Such an example, from a sepulcher at Ancon,
is shown in Fig. 355. Here the poncho or mantle thrown across the
shoulders falls down upon the body in front and behind and the stripes
and conventional fishes are accurately reproduced. In this way both
style and matter of the textile decoration are introduced into the
ceramic art.

[Illustration: FIG. 355. Textile patterns transferred to pottery
through the copying of costume. From The Necropolis of Ancon, by Reiss
and Stuebel, Pl. 94.]

It will be seen by these illustrations that there are many natural
methods, automatic or semiautomatic in character, by which the one art
re