largest basket in the collection, yet it is so well proportioned, notwithstanding the reduction of the number of repetitions to three, that an artistic design is produced. The warp coils grow successively narrower from the center, thus making the walls thin and flexible. Figures d and e contain modifications of the equal-armed cross, with an apparently new element in d, which is shown in e to be a derivation of the triangle. These two baskets are examples of one of the oldest designs. It is also seen in the upright basket, plate XXXII, c. The white in f suggests the rattlesnake rattle design.
Plate XXVIII introduces a new design which the Pimas call si’sitcutcufĭk, "very much figured" or "complicated." Analysis shows c and d to be much simpler than they appear at first sight. The elements in d are an equal-armed cross and parallel lines around it, with enlargements wherever they change direction. The effect of the whole is suggestive of a flower with four petals. In a the petals appear largely in white. This flower design is said to be of recent origin. Sala Hina, who is perhaps 70 years of age, declares that it was unknown in her girlhood days.
Plates XXIX, XXX, XXXI, and XXXII include a series of baskets from photographs representing basket collections in Sacaton. Many have the upright waste-paper basket form, and are recent. Nearly all the Pima baskets made during the winter of 1901–2 were of these shapes. Many are decorated with simple motives that depend for their effect upon repetition. A notable feature of the ornament is the introduction of badly executed human figures. Certain traders urged the basket makers to put as many human and animal figures as possible on the baskets. Truly we need a society for the protection of American art. The most successful of these designs seen by the writer is the Gila monster shown in plate XXX, n. However, it is but a sorry substitute for the old-time simple motives. These baskets serve also to illustrate the varied treatment of the geometric elements met with in the shallow baskets as applied to the convex surfaces of the upright forms.
In conclusion, it is believed to be advisable to add the names of the elements of the designs which the Pima basket makers regard as distinct. But two in the list refer to natural objects, namely, numbers 3 and 7 below. It is worthy of note that the continued inquiries of visitors have aroused the interest of the natives to such a degree that they have begun to devise plausible interpretations to symbols the meaning of which is absolutely unknown to them.
| 1. | Atc’uta, the black center of all baskets. |
| 2. | Ka’kiopĭns, "crossed lines" (pl. XXII). |
| 3. | Kâmʼketcĭt, "turtle," applied to a square design (pl. XXII). |
| 4. | Mav’spĭtchita, "locked together," the interrupted fret (pl. XXVI, e). |
| 5. | Mo’ûmvĭtcka, "triangular," all triangles and terraces. |
