Textile and fictile arts are, in their earlier stages, to a large extent, vessel making arts, the one being functionally the offshoot of the other. The textile art is the parent, and, as I have already shown, develops within itself a geometric system of ornament. The fictile art is the offshoot and has within itself no predilection for decoration. It is dependent and plastic. Its forms are to a great extent modeled and molded within the textile shapes and acquire automatically some of the decorative surface characters of the mold. This is the beginning of the transfer, and as time goes on other methods are suggested by which elements indigenous to the one art are transferred to the other. Thus we explain the occurrence, the constant recurrence of certain primary decorative motives in primitive ceramics. The herring bone, the checker, the guilloche, and the like are greatly the heritage of the textile art. Two forms derived from textile surfaces are illustrated in Figs. 351 and 352. In the first example shown, herring bone patterns appear as the result of textile combination, and in the second a triangular checker is produced in the same way. In Fig. 352 we see the result of copying these patterns in incised lines upon soft clay. [Illustration: FIG. 351. Herring bone and checker patterns produced in textile combinations.] [Illustration: FIG. 352. Herring bone and checker figures in fictile forms transferred from the textile.] Again, the ancient potter, who was in the habit of modeling his wares within baskets, seems to have conceived the idea of building his vessels by coiling just as he built his baskets. The surface exhibits coiled ridges like basketry, as shown in Fig. 353, and the textile character was further imposed upon the clay by marking these coils with the thumb and with implements to give the effect of the transverse series of filaments, and the geometric color patterns of the basketry were reproduced in incised lines. When these peoples came to paint their wares it was natural that the colored patterns native to the basketry should also be reproduced, and many more or less literal transfers by copying are to be found. A fine example of these painted textile designs is shown in Fig. 354. It is executed in a masterly style upon a handsome vase of the white ware of ancient Tusayan. Not only are the details reproduced with all their geometric exactness, but the arrangement of the designs upon the vessel is the same as in the textile original. Nine-tenths of the more archaic, Pueblo, ceramic, ornamental designs are traceable to the textile art, and all show the influence of textile convention. [Illustration: FIG. 353. Earthen vase built by coiling, exhibiting decorative characters derived from basketry.] [Illustration: FIG. 354. Ceramic ornament copied literally from a textile original.]