BOAS] IMBRICATED DESIGNS 239 
There are many common arrangements not mentioned here, which 
may be seen in the photographs, and others are taken into account 
in the sketches themselves, which often give not only the pattern 
itself but its arrangement. While Mr. Teit says that this classifi- 
cation is not complete, he thinks that the great majority of figures 
are included in it. 
Vertical arrangements include the alignment of figures one above 
the other in an open formation, two or three or more series occupy- 
ing one face (pls. 15, c; 25, ¢, d; 26, a—f), or the confinement of 
patterns to vertical stripes having straight edges, which appear like a 
ribbon on which the designs are set (pls. 10, b; 11, a; 12, a, b; 26, 
c, d, e, h; 51, f, 7). These are imbricated in dark or light straw or 
bark, while the figures are wrought in contrasting colors. Such 
vertical stripes are very popular as decorative schemes. Whether or 
not this idea also came from the Lillooet is not known at the present 
time. As a method, it bears marked resemblance to that employed 
by them on low-walled, long storage baskets (pl. 15, a, b), as well as 
to the droppers which are pendent stripes extending down into the 
lower field from the upper. (Pls. 18, c; 29.) Plate 30 illustrates the 
use of the droppers by the Lillooet. Vertical lines decorated with 
various types of patterns may be observed in a-e, g, and k. There 
are, however, also a variety of designs used in the field ordinarily 
occupied by the droppers. Isolated lines occur in Plates 30, 1; 51, ¢, 
and 58, a; triangular figures in Plate 30, m; beaded horizontal stripes 
in Plate 30, h; and a number of larger figures may be seen in the 
remaining illustrations on this plate. 
Whatever the origin of the stripes may be, the Thompson have 
given to them something of their own individuality and have adopted 
them to the extent of almost supplanting many of the other artistic 
forms that once prevailed so widely. Of necessity the figures in the 
“vibbons” are small, and in this respect they resemble most of the 
other elements which are combined in different ways on typical 
Thompson products. They are also infinitely varied. Since from 
many points of view they have influenced the modern art to a great 
degree, and since there are so many possible ways actually in use of 
subdividing these long narrow spaces into figures, it seems best to 
postpone a discussion of them until the last and to dispose first of 
the horizontal and “all-over” distributions and of large designs 
which are not in series. 
There are two varieties of horizontal arrangement. The first is 
in several series or bands; the second is composed only of one, 
which generally encircles the basket about the middle, but more 
rarely in the upper half. The simplest figures are mere lines, as 
has been said before. Sometimes these are interrupted by small rec- 
tangles divided into three sections. (Pls. 21, d; 27, d.) Except for 
