Even our artists and designers may learn much of great importance from the Indian. While to most of my readers it may come as a surprise that I claim great artistic powers for the Indian, yet no one can carefully study the basketry and pottery of the Amerind and not know the perfect justice of the claim. In my larger work on this subject[5] I have fairly discussed the ability of the Indians in this regard; and to those who are not aware of the vast debt the white race owes to the aboriginal woman in artistic as well as other lines, I earnestly commend a perusal of that masterly work by a conscientious and thorough student, Otis T. Mason, of the Smithsonian Institution, entitled “Woman’s Share in Primitive Culture.” [5] Indian Basketry and How to Make Indian and Other Baskets. In reference to their basketry, however, more than a mere passing mention is required. The Indian weaver shows marvelous ability in the creation of form, color, stitch, and design. Turning to Nature for her original inspirations she is not a mere copyist of what others have done. All her forms are based upon utility, and therefore meet the first and highest requirement of all art when applied to articles that are to serve a useful purpose, viz., adaptation to use. There is no reversal of principles in manufacture, as is so often the case with white workers who value appearance, so-called ornament, finish, etc., rather than adaptation to purpose or utility. Wherever anything is allowed to usurp the place of this primary element, the work is doomed even before it is made. On the other hand, frankness, honesty, simplicity, directness, characterize the manufactures of the Indian. They are to serve such and such a purpose; that purpose is openly denoted. The result is that, to the unperverted eye, the artistic work of the unspoiled Indian is as perfect in form as it can be. There is no wild straining after unique effect; no fantastic distortions to secure novelty; everything is natural and rational, and therefore artistically effective. [Illustration: ONE OF THE FINEST YOKUT BASKETS IN EXISTENCE.] In color, too, the original work of the Indian weavers, before the vile aniline dyes were forced upon them by the “civilized” and “Christian” traders and missionaries, was above criticism. The old baskets and blankets are eagerly sought after, at fabulous prices, by the most refined and critical of artists and connoisseurs because of the perfection of their color harmonies. In every good collection are to be seen such specimens that are both the admiration and despair of modern artists.