ons of the various classes of forces and phenomena
pertaining to this theme may be more fully elucidated by the aid of
illustrations. Woven mats, in early use by many tribes of men and
originating in the attempt to combine leaves, vines, and branches for
purposes of comfort, are flat because of function, the degree of
flatness depending upon the size of filaments and mode of combination;
and in outline they are irregular, square, round, or oval, as a result
of many causes and influences, embracing use, construction, material,
models, &c. A close approach to symmetry, where not imposed by some of
the above mentioned agencies, is probably due to esthetic tendencies
on the part of the artist. The esthetic interest attaching to such a
shape cannot be great, unless perhaps it be regarded, as all
individuals and classes may be regarded, in its possible relations to
preceding, associated, and succeeding forms of art. The varied
features observed upon the surface, the colors and patterns (Fig.
286), pertain to design rather than to form and will receive attention
in the proper place.

[Illustration: FIG. 287. Tray having decided esthetic attributes of
form. Obtained from the Apache--1/2.]

In point of contour the basket tray shown in Fig. 287 has a somewhat
more decided claim upon esthetic attention than the preceding, as the
curves exhibited mark a step of progress in complexity and grace. How
much of this is due to intention and how much to technical perfection
must remain in doubt. In work so perfect we are wont, however
unwarrantably, to recognize the influence of taste.

[Illustration: FIG. 288. Pyriform water vessel used by the Piute
Indians--1/8.]

A third example--presented in Fig. 288--illustrates an advanced stage
in the art of basketry and exhibits a highly specialized shape. The
forces and influences concerned in its evolution may be analyzed as
follows: A primal origin in function and a final adaptation to a
special function, the carrying and storing of water; a contour full to
give capacity, narrow above for safety, and pointed below that it may
be set in sand; curves kept within certain bounds by the limitations
of construction; and a goodly share of variety, symmetry, and grace,
the result to a certain undetermined extent of the esthetic tendencies
of the artist's mind. In regard to the last point there is generally
in forms so simple an element of uncertainty; but many examples may be
found in which there