Boas] APPENDIX 457 
(352) or triangles, which were called “beads,”’ ‘‘flies,” or a “star,” 
according to the arrangement. Of the remaining thirty-six, some of 
which were common, such as Sketches 225, 245, 257, thirteen were 
arrowhead patterns in a variety of groupings—single, plain, and 
subdivided vertically by a change of color into two sections; vertical 
series, points down, in plain color or with a rhythm of three consecu- 
tive colors; or plain and light framed on a dark stripe. There was 
another series, points up, with a heavy black outline as a frame which 
touched the triangles along the corners at the sides. There were 
two series of half triangles facing left with points down, both 
unframed. One of these was in plain color with the base of each 
triangle barred with white (Sketch 289); the other presented the 
elements in alternating colors (Sketch 288). Several other of her 
best creations may be noted by referring to her list. There is no 
evidence to show that she preferred framed to unframed series. She 
liked horizontal arrangements composed of two to five layers of long 
narrow rectangles in alternating colors, which formed continuous 
lines about the basket. Checker designs numbered only four. The 
one, two, three color rhythm was noted several times in her work 
and also one, two, one, or one, two, one, two, one. In common with 
several Spences Bridge women she made many patterns which Nos. 
18 and 19 did not use. Probably this was because part of her 
family belonged there and she herself grew up there. Then, too, she 
was an old woman and had no doubt seen many designs in her day. 
She shared more designs with No. 19 than No. 18 had with either. 
Several rather unusual ones were made only by these two. (See 
Sketches 72, 141, 293, 301, 464.) A few also were repeated at Spences 
Bridge and at Spuzzum. There are only four patterns employed by 
both 17 and 18, and all of them were found at Coldwater and one at 
Spences Bridge. Four others used by No. 17 but not by No. 18 were 
seen at Coldwater, but two had been made also by a Nicola woman 
and one by a Spuzzum basket maker. Considering that any patterns 
used by both women were used elsewhere and that these were so few, 
we may perhaps conclude that Nos. 17 and 18 did not like one another 
or else one another’s work, for it is hardly credible that they were 
not acquainted. Sketches 225 and 245 are of patterns common to 
all the Lytton women and found among most of the other bands. 
Sketch 36 is of a simple little figure found only at Lytton and made 
by several of the women. On the other hand, No. 17 knew the 
Thompson Band designs as well as Spences Bridge and Spuzzum 
patterns, which No. 18 never used except in rare cases when they 
were also attempted by No. 19, through whom she may have obtained 
them. 
No. 18 was very clever. There are 15 designs claimed only by her. 
(See Sketches 78, 121, 131, 161, 169, 357, 388, 410, 447, 476, 591, 685, 
714, 716,858.) Perhaps altogether No. 18 used more designs than any 
