Boas} APPENDIX 461 
no one else claimed and 5 more shared with No. 23. One of these is 
the simple triangle seen practically everywhere, another the triangle 
subdivided in half vertically by a change of color. There is no 
doubt that a number of figures supposed to have been used only by 
this woman were really very common. Several are plain horizontal 
lines cut into short lengths by alternations of color (9, 11, 12). Others 
are Nos. 267, 268, 456, 493, 494, and 584. None are sufficiently 
unique to deserve comment except those given in Sketches 406, 417, 
604, and 615. The sketches show that a rather close connection of 
some sort existed between this woman and those at Lytton and 
Spences Bridge. Three somewhat unusual treatments of arrowheads 
are to be noted in Sketches 231, 247, and 272; the last two evidently 
used only at this place and among the Uta’mat. 
The designs credited solely to No. 23 are 8 of 28 that she made. 
They are a little out of the ordinary and include the representations 
of two animate objects, the “little man” (785) and the “little deer”’ 
(790). There is a single outlined “arrowhead” (223), a ‘“rain”’ 
design in spots (43), a “fish spear” (186), the Catholic cross (845), a 
double horizontal meander (187), and a very fine “flying goose” 
pattern (715). Beside these, there was some checkerwork, a few 
series of triangles, one of which (Sketch 252) is carried out in a three- 
part color rhythm; several subdivided single triangles; a key design 
arranged vertically; the Plains figure (Sketch 330), and other popular 
patterns in addition to an infrequent diagonal series of gradually 
increasing squares (Sketch 479). She does not seem to have been 
controlled in her choice of types of patterns by any habit; on the 
contrary, the character of the figures is remarkably diversified. 
Almost as great an industry was developed among the Lower 
Thompson as at Lytton, but there is no strongly pronounced differ- 
ence in art style between the two. No. 24 belonged to the Upper 
Uta’mqt, the remaining six, Nos. 25 to 30, were from Spuzzum. Forty- 
two designs made by No. 24 were discovered in the sketches, 14 
probably her own. She must have enjoyed working butterflies or 
butterfly elements, which constituted 10 of the set. Four, and 
another triangle design closely resembling them, were products of 
her own invention (Sketches. 103, 248, 649, 746, 748). There 
were 10 arrowhead patterns, Sketches 298 and 332 giving rather 
rare ones attributed only to her. Other designs attributed only 
to her were 108, 111, 521, 525, 528, 537, and 585. There were 
two types of ‘grave box” designs, one in all-over arrangement, the 
other forming a horizontal band, and a zigzag (Sketch 87). Checker 
designs are not plentiful but there are “eye” figures, four kinds of 
zigzags, one the blanket pattern, another a wave, a third a “‘pack- 
strap,” and the fourth (Sketch 79) a ‘“‘half pack-strap,” which, how- 
