BoAS] LYTTON DESIGNS 331 
While the outline is here all important it does not mean that the 
figures are necessarily executed merely in outline. It may seem that 
some of the sketches belong more properly with the strongly con- 
ventionalized group, or at least that there are as good arguments for 
this classification as for the one which has been made. It must be 
admitted that this is true, but at the same time it must be remembered 
that even realistic patterns are necessarily stiff and angular in bas- 
ketry work, a fact which detracts from their realistic character. 
These sketches, 785 to 859, are as near realistic representations as 
are to be found in all the designs. Not all that are made are shown 
in this group; a number of others appear to good advantage in the 
photographs. Others may occur, for realistic designs are never 
standardized and probably seldom exactly duplicated; therefore they 
are not often generally known to the basket makers as a whole. 
OBJECTS REPRESENTED BY DIFFERENT FIGURES 
Having discussed the geometric figure and its interpretation as a 
representation of various objects it is highly interesting and instruc- 
tive to look at the matter from the opposite point of view, namely, to 
study the representation of the object by means of different geometric 
forms. This frequently occurs where objects bearing the same name 
may be of quite different shapes, such as beads, clouds, designs for 
dresses, or embroidery patterns, flowers, houses, leaves, necklaces, 
and parfléche patterns which have been copied in basketry. But 
there are also other objects which in their general outline do not vary 
among individuals of the class, but which are nevertheless repre- 
sented by means of entirely different geometric forms. The alpha- 
betical list on pages 463 to 472 contains a large number of design 
names with reference to the illustrations on Plates 78 to 94 and to 
the photographic reproductions of baskets. A comparison of the 
representations proves the lack of a fixed relation between design 
name and form. Such a comparison strengthens the conclusions 
already drawn, that in addition to mere shape the important con- 
sideration of surface treatment frequently becomes the determining 
factor in giving the design its name. Objects represented by only a 
few similar forms are not included in this series. 
LYTTON DESIGNS 
It has been intimated several times in the course of this book that 
the people who live around Lytton are particularly ingenious and 
gifted basket makers. They have originated a number of unusual 
shapes and seem to have evolved a few designs which are peculiar to 
themselves, although some of them certainly give evidence of foreign 
influence. 
