Now, as primitive peoples advance from savagery to barbarism there comes a time in the history of all kinds of textile products at which the natural technical progress of decorative elaboration is interfered with by forces from without the art. This occurs when ideas, symbolic or otherwise, come to be associated with the purely geometric figures, tending to arrest or modify their development, or, again, it occurs when the artist seeks to substitute mythologic subjects for the geometric units. This period cannot be always well defined, as the first steps in this direction are so thoroughly subordinated to the textile forces. Between what may be regarded as purely technical, geometric ornament and ornament recognizably delineative, we find in each group of advanced textile products a series of forms of mixed or uncertain pedigree. These must receive slight attention here. [Illustration: FIG. 325. Coiled basket ornamented with devices probably very highly conventionalized mythological subjects. Obtained from the Apache--1/8.] Fig. 325 represents a large and handsome basket obtained from the Apache. It will be seen that the outline of the figures comprising the principal zone of ornament departs somewhat from the four ruling directions of the textile combination. This was accomplished by increasing the width of the steps in the outline as the dark rays progressed, resulting in curved outlines of eccentric character. This eccentricity, coupled with the very unusual character of the details at the outer extremities of the figures, leads to the surmise that each part of the design is a conventional representation of some life form, a bird, an insect, or perhaps a man. By the free introduction of such elements textile ornament loses its pristine geometric purity and becomes in a measure degraded. In the more advanced stages of Pueblo art the ornament of nearly all the textiles is pervaded by ideographic characters, generally rude suggestions of life forms, borrowed, perhaps, from mythologic art. This is true of much of the coiled basketry of the Moki Indians. True, many examples occur in which the ancient or indigenous geometric style is preserved, but the majority appear to be more or less modified. In many cases nothing can be learned from a study of the designs themselves, as the particular style of construction is not adapted to realistic expression, and, at best, resemblances to natural forms are very remote. Two examples are given in Figs. 326 and 327. I shall expect, however, when the art of these peoples is better known, to learn to what particular mythic concept these mixed or impure geometric devices refer. [Illustration: FIG. 326. Coiled tray with geometric devices probably modified by ideographic association. Moki work--1/4.]