BOAS] GEOMETRIC FORMS 321 
one size. Such designs as sketch 259 (p. 319) and such obtuse 
triangles as those in sketch 260 (p. 319) are unusual in Salish art. 
Some undoubted parfléche derivations are numbers 270 (p. 319) and 
323-325; and 326, 327 on Plate 84. One characteristic Plains feature 
is the junction of the apices of two opposed triangles until the figure 
has become a full or half hourglass. 
In summing up the position of the triangle in Salish art it may be 
said that it is perhaps the most common figure, if we except the check, 
which can hardly be called a square. It differs from the other geo- 
metric figures so far discussed in possessing one general name, to- 
gether with comparatively few secondary terms which, while quite 
unrelated in regard to one another as representing a variety of objects, 
are fairly definitely controlled by one of three conditions—serial 
position, surface treatment, or supplementary combinations; and 
are apparently a little less open to whimsical interpretation than 
lines and angles. Considering its comparatively rare appearance as 
an isolated complete element, this fact is very striking. 
In regard to the general term arrowhead, it can not be argued that 
the figure is always considered as a representation of the object 
for which it is named. Rather the contrary, for the people them- 
selves say it is merely a general designation. The presence of 
secondary names associated so clearly with quite definite treatment 
of the element confirms this statement. Other connotations than 
those given above sometimes occur, especially in connection with 
triangles in vertical stripes. These are hair ribbon, snake, cater- 
pillar, etc., and seem to refer entirely to the broad bands elaborately 
subdivided rather than to the conspicuous element which decorates 
them. There are a number of triangles with more or less supple- 
mentary treatment. It is difficult to decide whether they should be 
assigned to geometric or realistic art. Such are sketches 322 and 
338-341 (pl. 85). Certainly their likeness to the objects for which 
they are named is very striking, yet on account of the lack of inter- 
mediary series showing the process of conventionalization they have 
been perforce included with the purely geometric forms. 
THe SQUARE AND RECTANGLE 
If the check were properly included among the squares and rec- 
tangles as a design element it might be said that it is the most com- 
mon one of the simple geometric figures, for designs in checker are 
exceedingly numerous. It is, however, simply one stitch as a rule and 
its square form is merely incidental. To just what extent the people 
recognize its shape as being the same as that of larger squares is not 
known. There are some instances of square checks composed of two 
stitches, either of which alone is a rectangle, indicating at least that 
the women are accustomed to square checks, and try to keep them 
uniform in shape; but occasionally oblong checks are used through- 
