_Ordinary features._--The relieved surface characters of fabrics
resulting from construction and available for decoration are more or
less distinctly perceptible to the eye and to the touch and are
susceptible of unlimited variation in detail and arrangement. Such
features are familiar to all in the strongly marked ridges of
basketry, and much more pleasingly so in the delicate figures of
damasks, embroideries, and laces. So long as the figures produced are
confined exclusively to the necessary features of unembellished
construction, as is the case in very primitive work and in all plain
work, the resultant patterns are wholly geometric and by endless
repetition of like parts extremely monotonous.
In right angled weaving the figures combine in straight lines, which
run parallel or 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 the example given
in Fig. 297 the series of filaments interlace, not by passing over and
under alternate strands, as in the preceding set of examples, but by
extending over and under a number of the opposing series at each step
and in such order as to give wide horizontal ridges ribbed diagonally.
[Illustration: FIG. 297. Diagonal combination, giving herring bone
effect.]
[Illustration: FIG. 298. Elaboration of diagonal combination, giving
triangular figures.]
This example is from an ancient work basket obtained at Ancon, Peru,
and shown in Fig. 299. The surface features are in strong relief,
giving a pronounced herring bone effect.
[Illustration: FIG. 299. Peruvian work basket of reeds, with strongly
relieved ridges.]
Slight changes in the succession of parts enable the workman to
produce a great variety of decorative patterns, an example of which is
shown in Fig. 298. A good illustration is also seen in Fig. 286, and
another piece, said to be of Seminole workmanship, is given in Fig.
300. These and similar relieved results are fruitful sources of
primitive decorative motives. They are employed not only within the
art itself, but in many other arts less liberally supplied with
suggestions of embellishment.
[Illustration: FIG. 300. Effects produced by varying the order of
intersection. Seminole work--1/8.]
Taking a second type of combination, we have a family of resultant
patterns in the main distinguishable from the preceding.
[Illustration: FIG. 301. Surface effect in open twined combination.]
[Illustration: FIG. 302. Surface effect of twined, lattice combination
in basketry of the Clallam Indians of Washington Territory--1/8.]
Fig. 301 illustrates the simplest form of what Dr. O.T. Mason has
called the twined combination, a favorite one with many of our native
tribes. The strands of the woof series are arranged in twos and in
weaving are twisted half around at each intersection, inclosing the
opposing fillets. The resulting open work has much the appearance of
ordinary netting, and when of pliable materials and distended or
strained over an earthen or gourd vessel the pattern exhibited is
strikingly suggestive of decoration. The result of this combination
upon a lattice foundation of rigid materials is well shown in the
large basket presented in Fig. 302. Other variants of this type are
given in the three succeeding figures.
[Illustration: FIG. 303. Surface effect in impacted work of twined
combination.]
The result seen in Fig. 303 is obtained by impacting the horizontal or
twined series of threads. The surface is nearly identical with that of
the closely impacted example of the preceding type (Fig. 292). The
peculiarities are more marked when colors are used. When the doubled
and twisted series of strands are placed far apart and the opposing
series are laid side by side a pleasing result is given, as shown in
Fig. 304 and in the body of the conical basket illustrated in Fig.
307.
[Illustration: FIG. 304. Surface effect obtained by placing the warp
strands close together and the woof cables far apart.]
[Illustration: FIG. 305. Surface effect obtained by crossing the warp
series in open twined work.]
In Fig. 305 we have a peculiar diagonally crossed arrangement of the
untwisted series of filaments, giving a lattice work effect.
[Illustration: FIG. 306. Decorative effects produced by variations in
the radiate or warp series in an open work tray. Klamath work--1/4.]
Fig. 306 serves to show how readily this style of weaving lends
itself to the production of decorative modification, especially in the
direction of the concentric zonal arrangement so universal in
vessel-making arts.
The examples given serve to indicate the unlimited decorative
resources possessed by the art without employing any but legitimate
constructive elements, and it will be seen that still wider results
can be obtained by combining two or more varieties or styles of
binding in the construction and the embellishment of a single object
or in the same piece of fabric. A good, though very simple,
illustration of this is shown in the tray or mat presented in Fig.
286. In this case a border, varying from the center portion in
appearance, is obtained by changing one series of the filaments from a
multiple to a single arrangement.
[Illustration: FIG. 307. Conical basket of the Klamath Indians of
Oregon, showing peculiar twined effect and an open work border--1/8.]
The conical basket shown in Fig. 307 serves to illustrate the same
point. In this case a rudely worked, though effective, border is
secured by changing the angle of the upright series near the top and
combining them by plaiting, and in such a way as to leave a border of
open work.
Now the two types of construction, the interlaced and the twined, some
primitive phases of which have been reviewed and illustrated, as they
are carried forward in the technical progress of the art, exhibit many
new features of combination and resultant surface character, but the
elaboration is in all cases along lines peculiar to these types of
weaving.
Other types of combination of web and woof, all tapestry, and all
braiding, netting, knitting, crochet, and needle work exhibit
characters peculiar to themselves, developing distinct groups of
relieved results; yet all are analogous in principle to those already
illustrated and unite in carrying forward the same great geometric
system of combination.
_Reticulated work._--A few paragraphs may be added here in regard to
reticulated fabrics of all classes of combination, as they exhibit
more than usually interesting relievo phenomena and have a decided
bearing upon the growth of ornament.
In all the primitive weaving with which we are acquainted definite
reticulated patterns are produced by variations in the spacings and
other relations of the warp and woof; and the same is true in all the
higher forms of the art. The production of reticulated work is the
especial function of netting, knitting, crocheting, and certain
varieties of needlework, and a great diversity of relieved results are
produced, no figure being too complex and no form too pronounced to be
undertaken by ambitious workmen.
In the following figures we have illustrations of the peculiar class
of primitive experiments that, after the lapse of ages, lead up to
marvelous results, the highest of which may be found in the exquisite
laces of cultured peoples. The Americans had only taken the first
steps in this peculiar art, but the results are on this account of
especial interest in the history of the art.
An example of simple reticulated hand weaving is shown in Fig. 308. It
is the work of the mound builders and is taken from an impression upon
an ancient piece of pottery obtained in Tennessee.
[Illustration: FIG. 308. Incipient stage of reticulated ornament.
Fabric of the mound builders.]
Fig. 309 illustrates a bit of ancient Peruvian work executed on a
frame or in a rude loom, a checker pattern being produced by arranging
the warp and woof now close together and now wide apart.
Open work of this class is sometimes completed by after processes,
certain threads or filaments being drawn out or introduced, by which
means the figures are emphasized and varied.
In Fig. 310 we have a second Peruvian example in which the woof
threads have been omitted for the space of an inch, and across this
interval the loose warp has been plaited and drawn together, producing
a lattice-like band.
[Illustration: FIG. 309. Simple form of ornamental reticulation.
Ancient Peruvian work.]
[Illustration: FIG. 310. Reticulated pattern in cotton cloth. Work of
the ancient Peruvians.]
In a similar way four other bands of narrow open work are introduced,
two above and two below the wide band. These are produced by leaving
the warp threads free for a short space and drawing alternate pairs
across each other and fixing them so by means of a woof thread, as
shown in the cut.
Examples of netting in which decorative features have been worked are
found among the textile products of many American tribes and occur as
well in several groups of ancient fabrics, but in most cases where
designs of importance or complexity are desired parts are introduced
to facilitate the work.
_Superconstructive features._--These features, so important in the
decoration of fabrics, are the result of devices by which a
construction already capable of fulfilling the duties imposed by
function has added to it parts intended to enhance beauty and which
may or may not be of advantage to the fabric. They constitute one of
the most widely used and effective resources of the textile
decorator, and are added by sewing or stitching, inserting, drawing,
cutting, applying, appending, &c. They add enormously to the capacity
for producing relievo effects and make it possible even to render
natural forms in the round. Notwithstanding this fact--the most
important section of this class of features--embroidery is treated to
better advantage under color phenomena, as color is very generally
associated with the designs.
[Illustration: FIG. 311. Open work design embroidered upon a net-like
fabric. From a grave at Ancon, Peru.]
One example of lace-like embroidery may be given in this place. It is
probably among the best examples of monochrome embroidery America has
produced. In design and in method of realization it is identical with
the rich, colored embroideries of the ancient Peruvians, being worked
upon a net foundation, as shown in Fig. 311. The broad band of figures
employs bird forms in connection with running geometric designs, and
still more highly conventional bird forms are seen in the narrow band.
Appended ornaments are not amenable to the geometric laws of
fabrication to the extent observed in other classes of ornament. They
are, however, attached in ways consistent with the textile system, and
are counted and spaced with great care, producing designs of a more or
less pronounced geometric character. The work is a kind of embroidery,
the parts employed being of the nature of pendants.
These include numberless articles derived from nature and art. It will
suffice to present a few examples already at hand.
[Illustration: FIG. 312. Basket with pendent buckskin strands tipped
with bits of tin. Apache Indians--1/8.]
Fig. 312 illustrates a large, well made basket, the work of the Apache
Indians. It serves to indicate the method of employing tassels and
clustered pendants, which in this case consist of buckskin strings
tipped with conical bits of tin. The checker pattern is in color.
[Illustration: FIG. 313. Basket with pendants of beads and bits of
shell, work of the northwest coast Indians.--1/4.]
Fig. 313 illustrates the use of other varieties of pendants. A feather
decked basket made by the northwest coast Indians is embellished with
pendent ornaments consisting of strings of beads tipped with bits of
bright shell. The importance of this class of work in higher forms of
textiles may be illustrated by an example from Peru. It is probable
that American art has produced few examples of tasseled work more
wonderful than that of which a fragment is shown in Fig. 314. It is a
fringed mantle, three feet in length and nearly the same in depth,
obtained from an ancient tomb. The body is made up of separately woven
bands, upon which disk-like and semilunar figures representing human
faces are stitched, covering the surface in horizontal rows. To the
center of these rosette-like parts clusters of tassels of varying
sizes are attached. The fringe, which is twenty inches deep, is
composed entirely of long strings of tassels, the larger tassels
supporting clusters of smaller ones. There are upwards of three
thousand tassels, the round heads of which are in many cases woven in
colors, ridges, and nodes to represent the human features. The general
color of the garment, which is of fine, silky wool, is a rich crimson.
The illustration can convey only a hint of the complexity and beauty
of the original.
[Illustration: FIG. 314. Tassel ornamentation from an ancient Peruvian
mantle.]
We have now seen how varied and how striking are the surface
characters of fabrics as expressed by the third dimension, by
variation from a flat, featureless surface, and how all, essential and
ornamental, are governed by the laws of geometric combination. We
shall now see how these are related to color phenomena.