92  SMITHSONIAN    MISCELLANEOUS    COLLECTIONS  VOL.    96 
style  3  there  is  also  a  general  tendency  toward  simplification  or  sub- 
ordination of  the  accompanying  ornamentation  with  the  result  that 
parts  of  the  surface  are  frequently  left  smooth  and  plain ;  this  is  in 
contrast  to  style  2,  where  the  profusion  of  small  circles,  straight  and 
curving  lines,  and  spurs,  together  with  the  practice  of  filling  in  the 
intervening  spaces  with  dotted  or  broken  lines,  is  suggestive  of  some- 
thing like  an  horror  vacui  on  the  part  of  the  artists.  While  the  rich 
and  diversified  ornamentation  of  style  2  is  effective  in  avoiding  even 
the  slightest  feeling  of  monotony,  the  smooth,  flowing,  and  somewhat 
more  restrained  ornamentation  of  style  3  (e.  g.,  plate  20,  figure  i  ; 
plate  27,  B)  is  in  its  way  even  more  pleasing. 
Style  3  is  especially  characteristic  of  St.  Lawrence  Island.  A  few 
examples  are  also  known  from  Bering  Strait  and  the  Arctic  coast 
(Jenness,  1928  a,  pi.  XIII,  c  ;  Mathiassen,  1929,  figs.  13  a,  14  b,  15  b), 
so  that  it  cannot  be  regarded  as  a  strictly  local  development  on  the 
island.  However,  it  is  nowhere  so  prominent  as  on  St.  Lawrence, 
where  it  may  have  first  appeared,  as  a  late  and  specialized  development 
from  style  2. 
There  are  seven  additional  examples  of  style  3  which  have  not  been 
illustrated,  all  of  them  harpoon  heads,  from  the  following  locations : 
cut  8,  32  inches;  cut  9,  depth  unknown;  cut  9a,  18  inches;  cut  13, 
54  inches;  cut  16,  37  inches;  cut  25,  18  and  39  inches. 
Finally,  there  are  five  specimens  on  which  it  cannot  be  definitely 
determined  whether  the  decoration  is  style  2  or  3 :  cut  15,  60  inches; 
cut  18,  38  inches ;  cut  19,  56  inches ;  cut  25,  81  inches  ;  cut  20,  12  inches. 
DECORATED   OBJECTS,  EARLY   PUNLIK,   FROM    MIYOWAGH 
We  have  now  to  consider  the  Punuk  or  intermediate  style  of  art 
from  Miyowagh.  Punuk  art  is  characterized  by  the  use  of  straight 
or  slightly  curving  lines,  which  in  contrast  to  those  of  Old  Bering 
Sea  art,  are  deeply  and  evenly  incised.  It  also  employs  perfectly 
round  compass-made  circles,  and  small  circular  pits  or  dots  either 
free  or  placed  at  the  ends  of  short  lines.  The  resulting  patterns,  though 
graceful  enough,  appear  rigid  and  mechanical  as  compared  with  the 
elaborate  flowing  designs  of  Old  Bering  Sea  art.  Furthermore,  there 
is  a  striking  difiference  in  technique.  Old  Bering  Sea  circles  are  in- 
variably somewhat  irregular,  having  been  made  freehand ;  these  and 
the  accompanying  lines  could  well  have  been  made  with  stone  tools. 
Punuk  ornamentation,  on  the  other  hand,  is  clearly  the  product  of 
metal  tools,  as  may  be  seen  from  even  a  cursory  examination  of  such 
typical  examples  of  the  art  as  those  from  levoghiyoq  shown  on  plates 
