448 COILED BASKETRY IN BRITISH COLUMBIA [eTH, ANN. 41 
proposed number, she would measure down to the bottom of the 
first figure from the coil just finished and then invert her splint in 
order to see how high the basket must be to include the fourth figure 
and whether or not this height would be too great for the length and 
width of the basket when completed with the proper flare. If the 
height appeared correct, then she would continue her work without 
more ado, but if she discovered that a proper height would necessi- 
tate cutting off part of the top figure she was then obliged to alter 
her original plans and make the basket a little higher than it should 
be for what she considered correct proportions. 
If she discovered that the top figure would have to come aboye 
where the rim really should be and the introduction of four figures 
would make the basket too deep for the other proportions, she con- 
tented herself with three figures. If a few intervening coils would 
be left between the completion of the top figure and the rim, she 
might introduce a different small figure to fill this space, or if she 
was very particular about the height and there was not room for 
such a design she might introduce a portion of the elemental figure. 
This, she said, was often done. 
Mrs. Paul agreed with the information furnished by No. 29 in 
regard to designs. In addition, she discussed some others. The 
chevron design (fig. 122, 30) she called a “broken zigzag;” Figure 
122, 31 and 32, were all forms of the “step” design or ‘‘bent end 
design broken.” She had made them all, and also a variation of a 
common design (fig. 122, 33), which was considered by her to look 
better on a small basket than one with three complete squares 
(fig. 122, 34) if there was not room for any more, because the first 
figure appeared complete in itself, while the second seemed cut down 
to suit the size of the basket. The latter was called “bent and 
joined.”” She had recently made a variation of the ‘‘mouth”’ design 
(fig. 122, 35) in black lines and filled the partially inclosed square 
spaces with white imbrication. Formerly she had used the same 
pattern in a vertical serial arrangement. The common ‘‘mouth” 
design was a meander. (Fig. 122, 36.) Those she made she consid- 
ered fragments. Patterns she called “leaves”? she made either in 
imbrication or beading. She also made variations of the ‘‘cross”’ 
design. 
No. 26. Annie belonged to the Lower Uta’mqt and was a member 
of the Spuzzum Band. Her parents also lived there. She was 30 
years old but had made only a very few baskets, and they were small 
and of fancy shape. She had made rattles. The ornamentation on 
her work was effected as often by beading as by imbrication, and 
this was true even of the rattles. She liked basket making but 
had very little time for it since she had too much housework and was 
busy with her children. 
