ima Indians of Arizona--1/4.]

Two strongly marked, fret-like meanders encircle the vessel, the
elements of which are ruled exclusively by the warp and woof, by the
radiate and the concentric lines of construction. This is the work of
the Pima Indians of Arizona.

[Illustration: FIG. 324. Coiled basket with geometric ornament
composed of triangular figures. Obtained from the McCloud River
Indians, California--1/8.]

I shall close the series with a very handsome example of Indian
basketry and of basketry ornamentation (Fig. 324). The conical shape
is highly pleasing and the design is thoroughly satisfactory and, like
all the others, is applied in a way indicative of a refined sense of
the decorative requirements of the utensil. The design is wholly
geometric, and, although varied in appearance, is composed almost
exclusively of dark triangular figures upon a light ground. The
general grouping is in three horizontal or encircling bands agreeing
with or following the foundation coil. Details are governed by the
horizontal and the oblique structure lines. The vertical construction
lines have no direct part in the conformation of the design excepting
in so far as they impose a stepped character upon all oblique
outlines.

These studies could be carried through all the types of primitive
textile combination, but such a work seems unnecessary, for in all
cases the elaboration in design, relieved and colored, is along
similar lines, is governed by the same class of forces, and reaches
closely corresponding results.

* * * * *

We have observed throughout the series of examples presented a decided
tendency toward banded or zonal arrangement of the ornamentation. Now
each of these bands is made up of a number of units, uniform in shape
and in size and joined or linked together in various suitable and
consistent ways. In contemplating them we are led to inquire into the
nature of the forces concerned in the accomplishment of such results.
The question arises as to exactly how much of the segregating and
aggregating forces or tendencies belongs to the technique of the art
and how much to the direct esthetic supervision of the human agent,
questions as to ideographic influence being for the present omitted.
This is a difficult problem to deal with, and I shall not attempt more
here than to point out the apparent teachings of the examples studied.

The desires of the mind constitute the motive