458 COILED BASKETRY IN BRITISH COLUMBIA _ [eru. ann. 41 
of the other informants. Thirteen appeared also at Coldwater, but 
of these only three were seen nowhere else. They are all extremely 
varied in subject and treatment. There are divided vertical series 
of triangles (Sketches 278, 281); some conventional butterflies, a 
number of fly patterns, zigzags and foot and duck figures of all degrees 
of elaboration. No. 18 must have been in touch with the work of 
many other women, for she used designs seen in all the other bands, 
although it is impossible to say where these originated. She avoided 
patterns used by No. 17. The latter was also clever but old. It 
seems as if No. 19 may have played the part of a go-between in some 
cases, for she shared a number with both. Nevertheless there are 
only a few made only by Nos. 18 and 19. 
No. 19 was the third versatile Lytton artist. From her study 
of the sketches-she found over 40 designs that she had tried, two very 
simple ones being claimed only by her (Sketches 320 and 490). 
Arrowheads are numerous-on her list. There are-four single triangles, 
two plain, turning up or down, and two subdivided into two color 
fields, one vertically through the center, the other horizontally by a 
line near the base. There is also a realistic arrowpoint. Her ladder 
designs are like those of No. 18, except the half triangles seen in 
Sketches 288 and 289. She had one horizontal arrangement of half 
arrowheads, one of whole figures, an all-over of half arrowheads, 
and another of whole ones. About a quarter of her patterns were 
arranged vertically, five horizontally, five obliquely, a few all-over, 
while the rest were nondescript. She made a number of checker 
figures. It seems probable that she knew Spences Bridge people or 
that designs traveled freely between groups in the two places. Sketch 
529 shows an especially noteworthy pattern which appears to have 
been used only by Nos. 1 and 19. 
The Gladwin designs so specified in the notes are very few and 
only three are credited to that locality and nowhere else, yet the 
two informants, Nos. 12 and 13, were very active basket makers who 
gave full and valuable information and who said that they did not 
make many of the patterns popular elsewhere simply for that reason, 
but rather chose rare designs. Sketches 26 and 91 are of designs 
claimed only by No. 12, while in Sketch 495 the position of No. 13 as 
sole maker is not disputed. Both sisters used Sketch 435, which is 
known also at Lytton, Coldwater, and among the Uta’mqt, and one 
design credited to No. 12 was used also at Spences Bridge. 
Nos. 14 and 21 lived at Potato Gardens, a settlement of the Nicola 
band. Nineteen designs were recognized only by No. 21, an indi- 
cation of the extent of her creative genius, or if not that, of her 
taste for the unusual. They include tipi (773, 820), bow and arrow 
figures (829), checks (454, 455, 473), grave box (360), and several 
uncommon star designs, among them three represented by sketches 
220, 319, and 610. It may be recalled that the Nicola were fond of 
