A Study of the Textile Art in its Relation to the Development of Form and Ornament | Page 6

cross at uniform distances and angles. In radiate weaving, as
in basketry, the radial lines are crossed in an equally formal manner by
concentric lines. In other classes of combination there is an almost
equal degree of geometricity.
When, however, with the growth of intelligence and skill it is found
that greater variety of effect can be secured by modifying the essential
combinations of parts, and that, too, without interfering with
constructive perfection or with use, a new and wide field is opened for
the developmental tendencies of textile decoration.
Moreover, in addition to the facilities afforded by the necessary
elements of construction, there are many extraneous resources of which
the textile decorator may freely avail himself. The character of these is
such that the results, however varied, harmonize thoroughly with

indigenous textile forms.
To make these points quite clear it will be necessary to analyze
somewhat closely the character and scope of textile combination and of
the resultant and associated phenomena.
We may distinguish two broad classes of constructive phenomena
made use of in the expression of relieved enrichment. As indicated
above, these are, first, essential or actual constructive features and,
second, extra or superconstructive features.
First, it is found that in the practice of primitive textile art a variety of
methods of combination or bindings of the parts have been evolved and
utilized, and we observe that each of these--no matter what the material
or what the size and character of the filamental elements--gives rise to
distinct classes of surface effects. Thus it appears that peoples who
happen to discover and use like combinations produce kindred
decorative results, while those employing unlike constructions achieve
distinct classes of surface embellishment. These constructive
peculiarities have a pretty decided effect upon the style of ornament,
relieved or colored, and must be carefully considered in the treatment
of design; but it is found that each type of combination has a greatly
varied capacity of expression, tending to obliterate sharp lines of
demarkation between the groups of results. It sometimes even happens
that in distinct types of weaving almost identical surface effects are
produced.
It will not be necessary in this connection to present a full series of the
fundamental bindings or orders of combination, as a few will suffice to
illustrate the principles involved and to make clear the bearing of this
class of phenomena upon decoration. I choose, first, a number of
examples from the simplest type of weaving, that in which the web and
the woof are merely interlaced, the filaments crossing at right angles or
nearly so. In Fig. 291 we have the result exhibited in a plain open or
reticulated fabric constructed from ordinary untwisted fillets, such as
are employed in our splint and cane products. Fig. 292 illustrates the
surface produced by crowding the horizontal series of the same fabric
close together, so that the vertical series is entirely hidden. The surface

here exhibits a succession of vertical ribs, an effect totally distinct from
that seen in the preceding example. The third variety (Fig. 293) differs
but slightly from the first. The fillets are wider and are set close
together without crowding, giving the surface a checkered appearance.
[Illustration: FIG. 291. Surface relief in simplest form of intersection.]
[Illustration: FIG. 292. Surface relief produced by horizontal series
crowded together.]
[Illustration: FIG. 293. Surface relief produced by wide fillets set close
together.]
The second variety of surface effect is that most frequently seen in the
basketry of our western tribes, as it results from the great degree of
compactness necessary in vessels intended to contain liquids,
semiliquid foods, or pulverized substances. The general surface effect
given by closely woven work is illustrated in Fig. 294, which
represents a large wicker carrying basket obtained from the Moki
Indians. In this instance the ridges, due to a heavy series of radiating
warp filaments, are seen in a vertical position.
[Illustration: FIG. 294. Basket showing ribbed surface produced by
impacting the horizontal or concentric filaments. Moki work--1/8.]
[Illustration: FIG. 295. Alternation of intersection, producing oblique
or spiral ribs. Piute work--1/8.]
[Illustration: FIG. 296. Radiating ribs as seen in flat work viewed from
above. Moki work--1/4.]
It will be observed, however, that the ridges do not necessarily take the
direction of the warp filaments, for, with a different alternation of the
horizontal series--the woof--we get oblique ridges, as shown in the
partly finished bottle illustrated in Fig. 295. They are, however, not so
pronounced as in the preceding case. The peculiar effect of radiate and
concentric weaving upon the ribs is well shown in Fig. 296.

By changes in the order of intersection, without changing the type of
combination, we reach a series of results quite unlike the preceding; so
distinct, indeed, that, abstracted from constructive relationships, there
would be little suggestion of correlation. In