448 REPORT OF NATIOISTAL MUSEUM, 1902. 



Plate 170 represents three granary baskets of the Hupa Indians in 

 the Harve}" collection. The figure shown on the right is used as a 

 cover for the granar}-. These baskets furnish excellent examples of 

 form and decoration, as well as technical processes, among this Atha- 

 pascan group. It has been mentioned before that we have here an 

 example of acculturation through women of an art created b}^ the 

 conservative sex. If a number of Hupa men of Athapascan stock 

 broke into this area and took to themselves wives of the country the 

 weaving processes would not be changed, so that in an}^ one of these 

 baskets will l)e found, beginning at the bottom, three-strand twined 

 weaving; above that two-strand plain-twined weaving, and over the 

 surface decoration in overlaying. On the granary baskets the trian- 

 gular and rectangular elementary forms are worked into vertical 

 stripes, the basis of which is the bent line, or zigzag, forming the 

 ornamentation, the leaves of grass alternate with the foundation color 

 by laying a strip of the former on the latter and exposing it or turn- 

 ing it under at will. Dr. Goddard, in his paper published by the 

 University of California, gives the following symbolism: 



The isosceles triangle the Hupa calls "rattlesnake's nose" (Luwminchwuw); 

 right-angled triangles made with a hoi-izontal line meeting a vertical line are called 

 "sharp and slanting" (chesLinalwiltchwel). Oblique-angled parallelograms are 

 very frequently used. The name given them is "set on to^i of one another" (niLkut- 

 dasaan). Another design, which lacks beauty on account of its jagged appearance, 

 is called "grizzly bear his hand" (mikyowe mila). Another figure is called "frog 

 his hand" (tewal mila). A third design has angles projecting upward with the 

 vertical lines on the outside of the figure and the oblique lines sloping inward and 

 downward. This jjattern is called "swallow's tail" (teschechmikye) or "points 

 sticking up" (chaxcheuiieL). 



When the isosceles triangles (called Luwminchwuw) are grouped one above 

 another they are called Luwminchwuw nikutdasaan ("snake's nose piled up"). 

 When these figures come back to back so as to form diamonds alternating with tlie 

 background they are called Lokyomenkonte ( "sturgeon's back" ). When the figure 

 apex is superimposed on a trapezoid the name cha is given to the design. These 

 figures are nearly always so connected as to encircle the basket, when the name 

 LenaLdauw is given to it, signifying "it encircles." A design which seems to be 

 the trajjezoids superimposed is called LekyuwineL ("they come together"). The 

 conception of the design seems to be that of the second variety of triangles back to 

 back. A series of rectangular parallelograms superimposed so that each higher 

 one projects to the right of the one below it, the whole being bordered by a double 

 line conforming to the outline, is called kowitselminat ("worm goes round" or 

 "worm's stairway"). The oblique-angled parallelograms in pairs, with the upper 

 one at the right, are the designs most frequently found on the hats. They are found 

 in series on the storage baskets (djelo). Usually even numbers are emi:)loyed, jjre- 

 serving the symmetry of the zone. Designs in red often have horizontal lines in 

 black. Oblique lines in white often run across the design. When such lines run 

 through the oblique-angled parallelogram they are called niLkutdasaan mikiteweso 

 ( ' ' one-on-the-other its scratches " ) . 



Plate 171 represents a basketmaker from the Hupa Reservation in 

 northern California, wearing one of the beautiful twined basket hats, 



