LAUFER, THE DECORATIVE ART OF THE AMUR TRIBES. 27 



into figures resembling the capital letter R. In this appendage the usual form 

 of the conventionalized fish may easily be recognized. 



The knife-case seen in Fig. 6, Plate ix, is manufactured of sturgeon-skin. 

 The lines of the decorative design, which stand out in relief, are produced by cut 

 ting the cuticle away with a knife. Considering the brittleness of the material 

 and the difficulty of its execution, the regularity of the forms and the graceful 

 sweep of the lines are most admirable. The ornamentation consists of a clever 

 combination of compound spirals and conventionalized fishes, so arranged that 

 the whole forms a coherent structure. Above are to be noted two convention 

 alized fishes with round heads at both ends. Then follow two spirals of four 

 windings each, terminating in a double loop. Below them is a palmetto-like 

 figure, from which spirals arise on both sides, and under these are single conven 

 tionalized fishes. Then follow two spirals joined to the figure above, which seem 

 to be conceived of as cock-bodies, since the curved band evolving from them corre 

 sponds to the form of the cock s neck. 



A tapestry of rather old Japanese workmanship is represented in Fig. 7, 

 Plate ix. The motive of the pattern is a double spiral, of a somewhat angular 

 form, due to the technique of weaving. Here are seen spirals with two 

 offshoots, and again others in pairs, one of which has four branchlets and 

 the other one branchlet. These embellished spirals appear in the same manner 

 on our Siberian patterns, where they have undoubtedly been proved to be 

 closely connected with the cock-ornaments. This Japanese pattern may also 

 tend to symbolize conventionalized birds, in which heads, body-spirals, and feet 

 may be discerned. 



Fig. i, Plate x, shows part of the decoration on the side of a birch-bark basket. 

 The leading motive is the realistic representation of cocks of Type B, the tail- 

 feathers being turned toward each other, and the heads on opposite sides, but so 

 turned that the birds look at each other. Under each of their beaks is a circle. 

 The wing-feathers are characterized by three, the tail-feathers by four, lobes. 

 Fishes are drawn on their bodies, but of two different forms, which agree in the 

 two outer and two inner cocks respectively. In the former the tail tapers to a 

 point, while in the latter it is bifurcated. The two inner cocks have, besides, a 

 circular figure just below the neck, which is missing in those placed outside. The 

 cocks are encircled by double lines, which are gracefully adapted to the form of 

 the body, and are adorned above with flame-shaped lobes approaching in form 

 those representing wing and tail feathers. In the centre of the design are two 

 strongly conventionalized cocks, whose heads lie on the extreme sides, turned in 

 the direction of the cocks above mentioned. Body and wing-feathers are marked 

 by two equal spirals. This entire decoration is bordered above and below by a 

 chessboard-like pattern. The vivid power of motion which pervades this whole 

 composition shows a wonderful degree of artistic ingenuity. 



In the next illustration (Fig. 2, Plate x) is seen a painting across the top 

 of the right-hand portion of a pair of fish-skin leggings. The ornament itself is 



