Boas] APPENDIX 459 
“ee 
star figures and always interpreted checked patterns as “‘clusters of 
stars’’ rather than “clusters of flies’’ after the manner of the Lower 
Thompson. Other designs claimed by her exclusively are 10, 62, 
144, 201, 213, 349, 351, 368, and 390. Twenty-two additional designs 
were made by No. 21 in common with women of other bands, but 
only three were shared by No. 14, the other informant of her own 
group. These are Nos. 66, 391, and 427 of the sketches. Here is 
another situation comparable to that existing at Lytton between 
Nos. 17 and 18. No. 21 tried patterns also made at Spences Bridge, 
Lytton, Thompson Siding, and Spuzzum. Many of her figures, 
however, were the simple triangle and check designs so common 
everywhere. 
No. 14 was much more gifted and more particular in her selections 
than No. 21, but not as productive. Five were claimed only by her 
and four of these, Sketches 284, 311, 616, and 804, are not only 
different from each other but also unique. The fifth, Sketch 444, 
resembles Sketch 446 made by No. 21 as far as general structure goes 
and similar ideas have been evolved by other women. The balance 
of the work of No. 14 is far from ordinary. She evinces a strong 
preference for contrasting sections of black and white. Out of her 
20 designs 8 are of this character (Sketches 66, 215, 244, 254, 284, 
427, 440, 804). That she likes alternating rhythms, or one, two 
rhythms is shown in these sketches as well as in Sketches 288, 330, 
and 444. No. 14 shared decorative elements with the same bands 
and in some cases with the same women that No. 21 did. It is diffi- 
cult to account for the distinct patterns selected by the two; there 
was not even a difference in age as in the case of Nos. 17 and 18 at 
Lytton. 
Nos. 15 and 16 belonged to the Stlaxai’ux division. A number 
of their designs were recognized from the photographs. No. 16 
found about fifty, No. 15 about forty. Eleven were made by both 
women and included ‘“‘fly”’ patterns; slipped or plain diagonals on dark 
vertical stripes; chevrons with points down on dark vertical stripes; 
groups of vertical lines cut into alternate light and dark sections 
(see pl. 34, a); zigzags of vertical and horizontal sections, white with 
black outlines on either edge; large checks all over the basket; chey- 
rons without points, turning up on dark vertical stripes with white 
edges (see pl. 7, c); vertical zigzags of diagonal sections of three 
black and five white rows, alternating without intervening spaces; 
and a series composed of alternating black and white triangles (see 
pl. 39, c). 
No. 15 displayed a pronounced liking for vertical stripes, although 
oblique zigzags of horizontal and vertical sections and horizontal 
zigzags of oblique sections, especially with white centers and black 
edges, were also in favor with her. Her verticalstripes were adorned 
