Boas] APPENDIX 455 
a great many designs as their own and a lack of inventive genius 
on the part of No. 19, who has only a very few belonging to her. 
No. 27 also has only a very few designs of her own. For her the 
occurrences in common with other individuals are ‘seventy-cight, 
while she mentions only three as her own. 
The most common forms which belong to the whole area are 
triangles, particularly arranged in vertical series, and checkerwork. 
In the following I give some data relating to the individual makers. 
No. 1 of Spences Bridge made a great many varieties of checker- 
work patterns and a surprising number of step, cloud, or mountain 
designs, both upright and inverted. Sketches 204 and 496 are good 
examples. She made a number of ladder designs, both framed and 
unframed, in vertical and oblique sequence, as well as a vertical 
series of whole triangles. These pointed either up or down. She 
_ had a vertical series of whole triangles and another divided into two 
halves by a white line, both pointing down, and a series of framed 
diamonds of alternating colors, and the odd figures seen in Sketches 
700 and 701, but a Lytton woman also made 700. There are not 
many designs used by No. 1 which were not made by women at 
various points down the river. 
No. 2, although the daughter of No. 1, did not seem to share with 
her many designs, and those they both used included very common 
examples such as the plain, single solid triangle, point up; the vertical 
series of plain triangles points down, the one-line zigzag composed 
of horizontal and vertical sections, the step or cloud pattern in its 
simplest form, two checker patterns and a vertical stripe with diagonal 
lines running from side to side, called ‘‘twisted.”” Only one has 
been noted which was made by No. 2 alone (Sketch 568); while she 
made several in common with Nos. 3 and 6 of the same band, designs 
that were also known at Nicola, Lytton, and Spuzzum. The pat- 
terns of No. 2 covered a much wider range of variation than those 
made by her mother. She did not seem to prefer any particular type. 
The designs of the Spences Bridge women and similar ones encoun- 
tered in other bands do not necessarily indicate that the women knew 
one another. For instance, No. 1 from Spences Bridge made a great 
many designs in common with Nos. 17 and 18 from Lytton. All three 
produced many baskets and designs. They were probably much 
interested in the subject and familiar with most of the patterns on 
baskets in their own locality and on those of other neighborhoods 
that they happened to see. 
No. 3, Spences Bridge, was fond of crosses or ‘‘stars”’ and zigzags 
of all sorts, but especially horizontal and vertical zigzags composed of 
oblique sections. A number of designs given in the sketches seem to 
have been made only by her. These are 115, 116, 119, 171, varieties 
of zigzags, and 328, 340, 341, 501, and 627, all of which are rather 
53666°—28——30 
