XXXII BUREAU OF AMERICAN ETHNOLOGY 
coast. The course of development is from the essentially 
(though often crudely) symbolic to the conventional, and 
through various stages of conventionizing to forms and colors 
which, at first sight, would be regarded as decorative merely; 
accordingly the collection is important as a source of new 
light on the development of artistic concepts. At the same 
time, that course of developmental succession which it so clearly 
attests has been used successfully in tracing certain movements 
of the aboriginal population. It has long been known that, 
while most of the traditions of the Pueblo peoples recount 
migrations in a southerly or southeasterly direction, there are 
subordinate indications of a northerly or northeasterly drift 
from snowless lowlands or from saline and shell-yielding shores, 
and at least one of the collaborators (Mr McGee) has found 
indications of a culture migration from the once populous val- 
leys of Sonora, with adjacent refuges in the form of entrenched 
mountains, northward into the region of cliff houses, whence 
the mesa-protected pueblos seem to have sprung. Now, Dr 
Fewkes is able to trace a similar northward drift of the esthetic 
designs characterizing the aboriginal pottery of the Pueblos. 
This application of the researches in the development of 
esthetics among the American Indians is essentially new and 
is highly suggestive. Some of the results of the work are 
already incorporated in reports prepared for publication; others 
are held for comparison and elaboration as the research 
progresses. 
While in Zuni, and afterward at Sia, Mrs Matilda Coxe 
Stevenson gave special attention to the masks and other 
regalia used in ceremonies, and, as already noted, obtained a 
number of especially sacred masks. She found the ceremonial 
regalia to be essentially symbolic. The masks themselves rep- 
resent zoic deities, and their appurtenances are designed to 
express real or ideal attributes of the animals deified, while 
the associated regalia and insignia, including apparel and the 
paint applied to faces, bodies, and extremities, are symbolic of 
similar or related concepts. All of the symbols are conven- 
tionized in greater or less degree, yet the accompaniments of 
voice and gesture, and even the terms of the ritual, are designed 
