460 COILED BASKETRY IN BRITISH COLUMBIA [erH. ANN. 41 
with a variety of designs, various checker arrangements, or combina- 
tions of rectangles, zigzags, triangles, chevrons, slipped and plain 
diagonal lines. Some were groups of vertical lines in alternating 
colors. This preference may in part be accounted for by the fact that 
the Stlaxai’ux live on the Fraser River not far from Upper Lillooet 
territory where droppers, vertical stripes, and fly designs are prevalent. 
No. 16. A large proportion of the patterns made by this woman 
were arranged also on vertical stripes, the elements being checks, 
chevrons, diagonal lines, triangles, meanders, and rectangles. She 
used vertical and horizontal compound zigzags, consisting of several 
parallel lines in alternating colors, which were necessarily of oblique 
sections, “leg” designs, large all-over checks, groups of vertical stripes 
of alternating colors, sometimes cut into short lengths by the same 
device, “grave box,” “mouth,” “butterfly,” ‘flying bird,” and sey- 
eral other patterns. Her versatility and the fact that she was more 
than a spasmodic worker are evident from this large array of diver- 
sified conceptions, but that she was influenced by Lillooet styles is 
apparent. 
Considering the number of designs worked by these two Stlaxai’/ux 
informants, it is rather peculiar that only about a third of them were 
common to both. It is another proof of the large collection of designs 
upon which the people could draw through the enormous deyelop- 
ment which the art had experienced, the inventive genius of certain 
individuals, and the fact that the tastes of any woman were not 
necessarily controlled by standards set by small local groups but 
that she more often sought not to duplicate the products of her 
neighbors. 
From the Thompson Band there was only one informant, No. 20, 
who is represented by nearly thirty designs. Eleven are credited 
only to her and comprise groups of short double lines (48), single (106) 
and triple (107) lines forming ‘‘waves of two turns,” in other words, 
zigzags; a few checker or “bead” patterns (403, 418, 424, 503) ; a ver- 
tical stripe with alternating narrow and wide dark diagonal lines on 
a light ground (Sketch 39); a “tipi”? (822), an ‘eye’ (511), and a 
square crossed by diagonals (415). They are all rather simple. 
The remainder of her figures are also made at Coldwater, Spences 
Bridge, Lytton, Nicola, Spuzzum, or somewhere in that neighbor- 
hood. There are the widely known ones (see Sketches 225, 245, 315, 
316); the two ‘‘cloud” figures (Sketches 202 and 204), also seen at 
Spences Bridge and Lytton; two ‘“‘big star’? designs duplicated at 
Nicola; checkerwork and zigzags. None of them are unusual except 
Sketches 202, 204, and 215. 
The Coldwater women Nos. 22 and 23 might be regarded as pro- 
fessionals in the same sense as Nos. 17 and 18 at Lytton and 25, 27, 
and 29 at Spuzzum. No. 22 made at least 32 patterns, 13 of which 
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