368 ARTS AND CRAFTS OF GUIANA INDIANS [ETH. ANN. 38 
which I have adapted (fig. 178 A) for comparison with the follow- 
ing series illustrative of the dog. The motif of the dog (fig. 178 B) 
forms a very interesting study as constituting the basis of many of 
the designs. The entire animal, with raised ears (¢), is viewed from 
the front. It is standing on its hind legs (f/) with all limbs extended 
outward and the male genitalia (vy) fully exposed. The remaining 
10 illustrations (figs. 179, 180, 181) all indicate the hind legs cwm 
annewis, the artistic representation of which shows a marked de- 
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Fic. 182.—Hourglass pegall side-panel patterns. Meaning unknown, even to their makers. 
velopment in figure 179 A, B, as compared with its degeneracy in 
figure 181 B, C. Dance gives a picture practically identical with 
figure 179 A, as the “ Spirit of the sheep,” an explanation which, in 
view of the physically characteristic attributes of the male animal, 
easily becomes intelligible. 
446. The meanings of a few of the patterns (fig. 182) have been 
lost, even to the makers themselves. They were taught them by their 
fathers, but they have forgotten what they were supposed to rep- 
resent. 
