l8 SMITHSONIAN MISCELLANEOUS COLLECTIONS VOL. 76 



In figure 86 we have represented a design made of white areas as 

 in figure 85 forming a cross with four arms. Few specimens of this 

 design have been found in the Mimbres Valley. 



The design (fig. 87) has elements of figure 86 and that shown in 

 figure 88 has an hourglass center. The last designs are unique, never 

 found in pueblo decorations. 



Figure 90 shows a unique design from a Alimbres bowl composed 

 of two units: one, white bars interlocking with parallel black lines ; the 

 other, white zigzags on a black base. 



The design on the food bowl shown in figure 91 is a cross formed of 

 white bands, and parallel lines surrounded by encircHng lines and 

 hachures arranged in groups. • 



The design on figure 92 may be reduced to two rings surrounding 

 a black central circular region. These two rings are made up of 

 alternating white triangles on a black ground ; but these triangles do 

 not correspond, to form rectangles, as one would expect ; the triangles 

 in the interior zone are more pointed than those of the exterior zone. 

 There seems to be no indication, however, that in making these double 

 designs a pattern was used, and the whole design afifords evidences of 

 having been drawn free-hand. 



In figure 93 we have a design depicted on a flat circular clay disk, 

 in Mrs. Watson's collection, slightly curved on one face and flat on 

 the other. The design is restricted to the curved surface ; the flat 

 side being undecorated. The use of this object is unknown, but it has 

 a likeness to one shown in profile in a previously published figure 

 where three men engaged in a game of chance are represented and 

 the stake is a bunch of arrows in a basket. 



Figure 94 shows a design of intricate character in which are intro- 

 duced a central undecorated area surrounded by a rectangular figure 

 with radiating extensions recalling figure 63. The peripheral portion 

 of this design is quite dififerent from those previously described in the 

 so-called friendship curve, a pueblo feature repeatedly found on picto- 

 graphs and pottery designs. It also occurs in various modifications of 

 Mimbres pottery. 



Figures 95 and 96 are simple designs that need no description and 

 can be readily understood by examination of the illustrations. The 

 element of artistic beauty in figure 95 that separates it from the 

 majority of other designs of the same general nature is a series of 

 dotted lines forming a tracery passing over the zone of parallel lines 

 surrounding the central figure. 



