BoAS] GEOMETRIC FORMS 323 
face’’ are given by individual bands, the Nicola using the former, the 
Lytton the latter. The large elaborately subdivided squares (see 
sketches 417 and 418) are recent introductions and have been called 
“stars.” That shown in sketch 416, however, is given an entirely 
different set of meanings, the most significant of which is ‘“‘ parfléche.” 
The others are ‘‘contracted middle,” ‘arrowhead,’ and ‘‘cloud.” 
Many designs composed of checks or squares are also called em- 
broidery patterns, in addition to the other interpretations offered, 
indicating that they may have had their origin in quill embroidery. 
Single rectangular figures are slightly more common than squares 
and so, also, are their interpretations as stars (see sketch 424), 
beads (sketches 423, 424, and 514, p. 325), or moss cakes (sketch 
420, pl. 85). Rectangles subdivided into stripes crosswise are often 
called caterpillars and dentalia. The various combinations of rec- 
tangles follow rather closely those of squares, and the interpretations 
given in most cases are practically the same. 
Intersecting lines forming squares in an all-over pattern are some- 
times called net design, as in sketch 362, where small diamonds have 
been introduced at the intersections to represent knots. When 
rectangles are the result of such crossed lines (sketches 435, 436), 
the design is frequently called “patch.”” Notched rectangles such as 
those pictured in sketches 505-507 do not properly belong to the 
group but are placed here because they do not fit in elsewhere unless 
it is with the right angles with one long side, from which it is quite 
possible that they were derived. Sketches 505 and 506 are called 
“hand pointing”’ and ‘“‘head design” or ‘‘duck’s head,” respectively. 
The latter name particularly recalls the right angle. The notch in 
sketch 507 is ignored in the interpretations given, which seem to 
depend solely on the arrangement of the element. It is called 
necklace, design on dress, flying bird, or beads. 
On the whole, it is quite apparent that the square and rectangle 
play subordinate parts whenever they occur in basketry designs, 
unless they are checks. In the minds of the artists, if anything can 
be inferred from the character of the names or interpretations ap- 
plied to these figures, the surface treatment or the arrangement 
controls the characterization. While the square and rectangle 
are recognized separately as beads, dentalia, stars, etc., according 
to their subdivision, their combination into different groups, form- 
ing bands or ‘necklaces’? or “clusters,” is the important factor 
when several are concerned. It does not seem that any clear 
distinction is drawn between the square and rectangle as elements, 
either in the names employed or in the treatment of the figures in 
designs. For nearly every design constructed with squares there is a 
corresponding one composed of rectangles, interpreted in prac- 
tically the same way. 
