BoAs] BEADED DESIGNS 235 
the many similarities between patterns produced in the two kinds of 
technique. He has been unable to determine whether the imbri- 
cated designs are derived from beaded designs or vice versa, since no 
actual history is known. It seems as if imbrication as a technique 
may have been the result of an attempt to solve the problem of 
obtaining a continuous line of color without the mtervening coil 
stitch always necessary in beading. 
From the series of simple beaded designs given by Mr. Teit in 
Figures 42-45” it seems that some of the most likely combinations, 
such as two rows of over and under one, alternating, were not seen 
by him, although several rows of this technique occur occasionally. 
2,2 ZAZA 
1 3 
. u YZ LZ PZ 
BPesPe SEEPS aoee oe Seo 
5 6 
Lola 2 OFA G9 9 opm 
Z Z Z 11 
9 
2aAB 
10 
[a Ba Ma Bs 
| TENS | UNS 
N | NSS | NSS 
| ONAN | UNS 
|| NNN | NNN 
N | NNN | NNN 
a ee 
15 
~ 
> 
Fic. 42—Beaded designs 
The very simple combinations have given way to more complicated 
forms, and even these are falling into disuse, for beading is going out 
of style. 
Nos. 6 and 12, Figure 42, sometimes formed connected patterns 
covering the whole surfaces of baskets. They were also used in 
bands. Nos. 4 and 8 were common in bands three to five coils wide, 
between which bare spaces of equal width were left. No. 14 was a 
very frequent pattern. All of the others shown were used in bands 
of different sorts with bare spaces between them. Nos. 1-5, 7-10, 
and 16 were at times employed as borders along the rims of baskets. 
Some baskets were ornamented with two or more patterns, such as a 
border, for instance No. 1 or 5, which covered one or two coils, and 
«2 In these sketches diagonal shading indicates red, solid black, black. 
