716 EXPEDITION TO ARIZONA IN 1895 [BTH. ANN. 17 
whose works have already been quoted in this memoir. The terraced 
forms from the exterior of food bowls here considered are highly 
aberrent; they may be forms of survivals, motives of decoration which 
have persisted from very early times. Whatever the origin of the 
stepped figure in Pueblo art was, it is well to remember, as shown by 
Fia. 315—Key pattern; rectangle and triangles 
Holmes, that it is “‘impossible to show that any particular design of the 
highly constituted kind was desired through a certain identifiable series 
of progressive steps.” 
For some unknown reason the majority of the simple designs on the 
Fig. 316—Rectangle and crook 
exterior of food bowls from Tusayan are rectangular, triangular, or 
linear in their character. Many can be reduced to simple or multiple 
lines. Others were suggested by plaited ware. 
In figure 312 is found one of the simplest of rectangular designs, a 
Fia. 317—Crook and tail feathers 
simple band, key pattern in form, at one end, with a reentrant square 
depression at the opposite extremity. In figure 313 is an equally 
simple terrace pattern with stepped figures at the ends and in the 
middle. These forms are common decorative elements on the exterior 
of jars and vases, where they occur in many combinations, all of which 
