GRAPHIC ART OF THE ESKIMOS. 807 



In Alaska, however, concentric circles and nucleated rings have been 

 utilized to explain concepts other than the similar patterns which occur 

 elsewhere in the world, referring to other widely distinct origins and 

 concepts. (Compare with variants on plate 17.) 



The concentric rings, being so generally widespread, survive in the 

 Kongo region and in Tangier, where the design may owe its origin to 

 the introduction of Mohammedanism and the Byzantine style of orna- , 

 mentation; upon Roman lamps in the ruined church of St. Louis, in 

 Carthage; and in numerous localities throughout northern Europe as 

 rock sculpturing^, arid in bronze and other jewelry and ornaments. 

 America has many petroglyphs in which this design is found, the 

 greatest number being upon the basalt rocks in the arid desert south 

 of Ben ton, Owens Valley, California. 



By these references to the occurrence in widely separated localities 

 of like designs, I do not for a single moment desire to convey the 

 impression that the belief is entertained that this is the result of 

 migration through the ordinary trade, or culture channels, as Mr. 

 Haddon designates them, but rather of independent development, 

 being evolved from very diverse originals and concepts. It is certain, 

 nevertheless, that in some instances religious symbols are carried 

 among peoples to whom they are artistically or technically foreign, and 

 to whom the signification would be meaningless but for the explanation 

 accompanying them. 



In Alaska several different versions are given to account for the 

 origin of the nucleated circles, plain concentric rings, and rings with 

 dentations. Reference to like forms in other regions is made elsewhere. 



Mr. Haddon 1 remarks with reference to such figures that &quot; there is a j 

 great tendency for spirals to degenerate into concentric circles j exam 

 ples could be given from New Guinea, America, Europe, and elsewhere. 

 In fact, one usually finds the two figures associated together, and the 

 sequence is one of decadence, never the evolution of spirals from cir 

 cles. The intermediate stage has been aptly termed a bastard spiral 

 by Doctor Montelius that is to say, concentric circles to which the 

 recurved junction lines give, to a casual glance, the appearance of true 

 spirals. &quot; 



Interesting instances in support of Mr. Haddon s statement are found 

 in the development of decorative designs among various tribes of 

 Indians, in which the textile designs were ultimately imitated in a 

 free hand style, thus gradually converting the angular into curved 

 figures, as in the meander patterns so common in the basketry and 

 pottery designs of the several pueblo tribes. 



In northern Europe and elsewhere in the Old World coils of withes, 

 cords, and other textile strands were imitated in metal, as may be seen 

 in many of the prehistoric relics of Scandinavia and France. 



Associated with these patterns are series of figures consisting of 



1 &quot;Evolution in Art/ p. 93. 



