328 REPOET OF NATIONAL MUSEUM, 1902. 



day/' Thus the Indian accounts for the moving of the sun. and thinks 

 not that the earth moves. 



The basket here shown is believed to be a copy of the same in which 

 the sun was stolen from the other world and brought to this. On 

 the bottom is a piece of polished a})alone shell cut round to represent 

 the sun. Below this is suspended a new moon, then a fish, and all 

 around the sides hang pieces of the same shell, which the Yuki say 

 represents the stars. (N. J. Purcell.) 



As before mentioned. Dr. Dixon relies on Mr. Purdy for the sym- 

 bolism on the Pomo basketry. The collection was made in 11)00, and 

 the names of designs given. Since that time more information has 

 come to Mr. Purdy, and some of the terms are changed. The U. S. 

 National Museum has the collection of Dr. J. W. Hudson for com- 

 parison, made some years earlier. The interpretations of the symbols 

 b}' the two men are quite as interesting a study in the psychology of 

 the collectors as of the Indian liasket women. From Dr. Hudson's 

 manuscript accompanying his collection the following notes on sym- 

 bolism are taken. The underlying thought in his mind is that each 

 separate social group of the Pomo has peculiar types of basketry 

 known by the keynote in the ornamentation, which is the totem of 

 that group. 



Both in painting and in feather decoration the following colors have 

 a signiticance with the Pomo: 



Red: bravery; i^ride. (Personified by the woodpecker.) 



Yellow: amatory; success; gaiety; fidelity. (Lark.) 



Blue: demoniac cunning; perfidy. (Jay.) 



Green: astuteness; discretion; watchfulness. (Duck.) 



Black: conjugal love; beauty, ((^uail.) 



White: riches; generosity. (Wampum.) 



The following interpretations of signs were given by Dr. Hudson 

 in connection with his collection of basketry secured b}' the U. S. 

 National Museum: 



Baiyalcan (Baiyak, net mesh). Same as Mr. Purdy' s. The design is an alterna- 

 tion of dark and light stjuares between two boundary lines. 



Bishekamak, deer's hoofs or trail made by those animals in the mud. Very rare 

 pattern, once common to the Taco ( Yukian) of Potter Valley. Consists of two right- 

 angled triangles joining so as to rej)resent the track of a deer's hoof. 



Bisheniao, deer's loins, the mottles on the buck's rump when struggling out of the 

 slime of Clear Lake at the creation. Parallel lines with the inclosed space filled 

 with dark and light parallelograms. 



BisJu'o, deer's teeth, seen by the primal Indians when that animal called to them 

 for help as he struggled in the mud. A row of little squares with open spaces 

 between. 



Danokakca, Mountain Waters tribe, totem of a tribe once living 6 miles north of 

 Ujiper Lake, in the mountains at the headwaters of McClure Creek, and a close affin- 

 ity and neighbor of the Pomo of Potter Valley. A band of equilateral triangles in 

 two colors alternating. 



