a midrange ratio of five to one for the period 1920-1940. 19th-century warps were colored handspun wool or cotton string, then switched to white handspun wool in the early decades of the 20th century. Position in Navajo religion Weaving plays a role in the creation myth of Navajo cosmology, which articulates social relationships and continues to play a role in Navajo culture. According to one aspect of this tradition, a spiritual being called "Spider Woman" instructed the women of the Navajo how to build the first loom from exotic materials including sky, earth, sunrays, rock crystal, and sheet lightning. Then "Spider Woman" taught the Navajo how to weave on it. Because of this belief traditionally there will be a “mistake“ somewhere within the pattern. It is said to prevent the weaver from becoming lost in spider woman’s web or pattern. Use of traditional motifs sometimes leads to the mistaken notion that these textiles serve a purpose in Navajo religion. Actually these items have no use as prayer rugs or any other ceremonial function, and controversy has existed among the Navajo about the appropriateness of including religious symbolism in items designed for commercial sale. The financial success of purported ceremonial rugs led to their continued production. Weaving styles and designs 1st, 2nd, and 3rd phase Chief Blanket Ganado Two Grey Hills Red Mesa Outline or Eye Dazzler Teec Nos Pos Klagetoh Chinle Crystal Burntwater Wide Ruins Storm Pattern Newlands Raised Outline Coal Mine Mesa Raised Outline Yei Yei be Chei Pine Springs Germantown (old and contemporary) Sand Paining or Mother Earth Father Sky Spider rock design Pictorial Rugs Burnham Design Eye Dazzler JB Moore plate rugs Double and Single saddle blankets Diamond Twill Two Faced Blue Canyon Many of these patterns are handed down from one weaver to the next generation of weavers who live within the same area. Because of this tradition older rugs can be traced back to a geographic location where it was produced. Critical study Until recently, anthropologists have dominated the study of Navajo textiles. Most historic examples of these works belong to ethnological collections rather than fine art collections, which means items have been exhibited and analyzed with an eye toward normative or average works rather than emphasizing technical or artistic excellence. These priorities have artificially inflated the market value for items of inferior craftsmanship. In general, this tendency has affected most non-European art to some