HCSSELLJ ArtTIFACTS 137 



would have suggested tlie swastika. The large basket, i, has three 

 parallel lines, a larger number of folds, and an unusually large center 

 of unrelieved black. Baskets c, d, and e exliibit slight modifications 

 of the fret, in c the parts of thg iimer circle being four in number and 

 in e five. The design in /is a fret of four folds, and the fret is the 

 principal motive also in some of the upright baskets show'n in plates 

 XXIX and xxx. Basket gr shows an equal-armed cross in white and a 

 series of fourliroken linesthatpass, in the form of a whorl, fi'om near 

 the center to the margin after each taking one and a half turns around 

 the basket. Basket h combines the fret and whorl, there being seven 

 radiating lines that reach the margin after half a turn each. 



In plate xxin, a, is shown a rare form — a liat disk, ornamented 

 with a whorl of six broken lines, an intermediate form between the 

 fret and the whorl. In h there is an unusual treatment of the dark 

 center, elsewhere invarial)ly a solid disk of black. It looks as if the 

 maker had changed the design after starting the six rather irregular 

 bars of black from the center. In c the six radiating lines advance 

 toward the periphery by the interpolation of an independent motive 

 that will be seen later in upright shapes. Baskets d and e are orna- 

 mented with five pairs of whorled lines that contain scpiares of black, 

 which may also l)e regarded as an independent motive. In / the 

 number .5 again reappears and also the simple motive of c, but this 

 time in white on a black ground. This is called b}^ some the "coyote 

 track." It is well siiown in plates xxix and xxx. 



Plate XXIV, a, illustrates a combination of the broken whorled 

 lines of the preceding plate with a pattern obtained by the chil- 

 dren at school in an early stage of their instruction in drawing. .\t 

 the margin is the diamond pattern that has the effect of netting. 

 In h, although the lines do not radiate from the center, they have 

 something of the whorled effect, and they unite with the fret of the 

 preceding illustrations a new element — the terrace — which is so com- 

 mon on the ancient pottery of Arizona. The parts are in five, there 

 being two reduplications of the unit in the outer row to one in the 

 inner. In c the parts are again in six. The central portion is difli- 

 cult to analyze, but the outer repeats the terrace, together with a fret 

 that by its breadth of line at the center suggests the form of the 

 cross known as the swastika. Basket d has the fret combined with 

 the terrace, being similar to the first basket in the last figure. The 

 parts of the design in tiiis plate ai'c in four, five, and six. 



Plate XXV, a, depicts a form of ecpial-armed cross that we shall 

 later see passes into another type of design that is complicated, yet 

 pleasing, namelj', the llower pattern. Baskets with the design shown 

 in a are cjuite common. In b the attenuated arms may be likened to 

 the limbs of some giant spider. They will be seen to be nearly the reverse 

 of the white arms of the design in basket c. Basket d represents a 



