258 COILED BASKETRY IN BRITISH COLUMBIA (ETH, ANN. 41 
The same women designated Figure 43, 7 (p. 236), as a butterfly, 
saying that the cross was the head. They declared that all checker- 
work designs with crosses were really ‘‘butterfly”’ figures. 
On the other hand, the series of sketches of imbricated butterflies 
corresponds to that of the eagle just given. Sketches 798-800 show 
beautiful realistic figures. Sketches 801 to 803 are much reduced. 
Finally in Sketches 704 and 705 only the wings are seen, while in 
Sketches 136, 151, and 305 there are mere triangles capable of various 
arrangements, only some of which are known as butterflies. 
In discussing designs there must be no confusion between the ele- 
ments composing them and the designs proper. 
Tlné’ka designs may serve as design elements. In rare cases, as on 
the two baskets described by Mr. Teit, they may tell astory. There 
the several figures of persons and objects occurring in the tale might 
for the sake of argument be considered as elements of the whole design. 
In geometric art, all designs, practically, consist of a combination 
of simple geometric elements. Only rarely do these figures forsake 
their true sphere as elements and rise to the status of designs. These 
are the infrequent cases of the use of large single figures, such as the 
diamond, real and false triangles, the chevron, ete. 
At least one band of the Thompson, namely, the Uta’mqt, are 
much inclined to regard certain of their patterns as half designs or 
parts of patterns which are considered as complete designs by the 
Upper Thompson and are called by different names. 
Thus the ‘‘bent” or ‘‘broken back” figure L, especially when in 
an inverted position [, is called a part of the ladder or step design. 
Indeed, some people consider the two as having the same origin. 
Diamonds, particularly if arranged in horizontal rows, and also 
chevrons are thought to be parts of an all-over design known as 
‘‘mesh”’ or ‘‘net.”? Many checker patterns which are not diamond 
in general shape are called half or part of the ‘‘ Indian rice” pattern, 
and all figures which are mere symbols are considered as parts of full 
designs. 
The index to the sketches includes a number of interpretations of 
these fragments (pp. 473 et seq.). 
APPLICATION OF THE DESIGN TO THE FIELD 
In the application of the design to the trapezoidal field of the 
burden basket the Indian woman encounters many technical as 
well as artistic difficulties. Although she may possess a clear idea 
of the design she intends to place on her basket before she more 
than finishes the bottom, it frequently happens that she is prevented 
from accomplishing what she proposes to do by the complications 
arising from the many points which require attention at the same 
time. The general form and structure of the basket, working the 
