e fundamental series of fillets the weaver resorted
to unusual devices in order to secure certain desired results. In the
first place the black horizontal series of filaments does not
alternate in the simplest way with the brown series, but, where a wide
space of the dark color is called for, several of the brown strands
are passed over at one step, as in the head and body, and in the wider
interspaces the dark strands pass under two or more of the opposing
strands. In this way broad areas of color are obtained. It will be
observed, however, that the construction is weakened by this
modification, and that to remedy the defect two additional extra
constructive series of fillets are added. These are of much lighter
weight than the main series, that they may not obscure the pattern.
Over the dark series they run vertically and over the light obliquely.

[Illustration: FIG. 341. Conventional human figures from an ancient
Peruvian basket.]

It will be seen that the result, notwithstanding all this modification
of procedure, is still remarkably like that of the preceding examples,
the figures corresponding closely in kind and degree of geometricity.

The fact is that in this coarse work refinement of drawing is
absolutely unattainable. It appears that the sharply pronounced steps
exhibited in the outlines are due to the great width of the fillets
used. With the finer threads employed by most nations of moderate
culture the stepped effect need not obtrude itself, for smooth
outlines and graceful curves are easily attainable; yet, as a rule,
even the finer fabrics continue to exhibit in their decorations the
pronounced geometric character seen in ruder forms. I present a
striking example of this in Fig. 342, a superb piece of Incarian
gobelins, in which a gaily costumed personage is worked upon a dark
red ground dotted with symbols and strange devices. The work is
executed in brilliant colors and in great detail. But with all the
facility afforded for the expression of minutely modulated form the
straight lines and sharp angles are still present. The traditions of
the art were favorable to great geometricity, and the tendencies of
the warp and woof and the shape of the spaces to be filled were
decidedly in that direction.

[Illustration: FIG. 342. Human figure in Peruvian gobelins, showing
characteristic textile convention. From chromolithographs published by
Reiss and Stuebel in The Necropolis of Ancon.]

[Illustration: