FIG. 343. Human figures from a Peruvian vase, done in
free hand, graphic style.]

In order that the full force of my remarks may be appreciable to the
eye of the reader, I give an additional illustration (Fig. 343). The
two figures here shown, although I am not able to say positively that
the work is pre-Columbian, were executed by a native artist of about
the same stage of culture as was the work of the textile design. These
figures are executed in color upon the smooth surface of an earthen
vase and illustrate perfectly the peculiar characters of free hand,
graphic delineation. Place this and the last figure side by side and
we see how vastly different is the work of two artists of equal
capacity when executed in the two methods. This figure should also be
compared with the embroidered figures shown in Fig. 348.

The tendencies to uniformity in textile ornament here illustrated may
be observed the world over. Every element entering the art must
undergo a similar metamorphosis; hence the remarkable power of this
almost universally practiced art upon the whole body of decorative
design.

[Illustration: FIG. 344. Human figure modified by execution in
concentric interlaced style of weaving--1/3.]

That the range of results produced by varying styles of weaving and of
woven objects may be appreciated, I present some additional examples.
Coiled wares, for instance, present decorative phenomena strikingly at
variance with those in which there is a rectangular disposition of
parts. Instead of the two or more interlacing series of parallel
fillets exhibited in the latter style, we have one radiate and one
concentric series. The effect of this arrangement upon the introduced
human figure is very striking, as will be seen by reference to Fig.
344, which represents a large tray obtained from the Moki Indians. The
figure probably represents one of the mythologic personages of the
Moki pantheon or some otherwise important priestly functionary,
wearing the characteristic headdress of the ceremony in which the
plaque was to be used. The work is executed in wicker, stained in such
bright tints as were considered appropriate to the various features of
the costume. Referring in detail to the shape and arrangement of the
parts of the figure, it is apparent that many of the remarkable
features are due to constructive peculiarities. The round face, for
example, does not refer to the sun or the moon, but results from the
concentric wea