RissEr.i.j ARTIFACTS 139 



largest basket in the collection, yet it is so well proportioned, iiot- 

 witlistandini;; the reduction of the ninnber oi repetitions to three, that 

 an artistic design is produced. The warp coils iriow successively 

 narrower from the center, thus makinj; the walls tliin and flexible. 

 Figures (? and ( contain modifications of the equal-armed cross, witl> 

 an apparently new element in d, which is shown in c to be a derivation 

 of the trianijle. These two baskets are examples of one of the oldest 

 de.siirns. It is also seen in the upiicjht basket, plate XXXII, c. The 

 white in /suggests the rattlesnake rattle design. 



Plate XXVIII introduces a new design which the Pimas call si'sitcut- 

 ci-flk, "very much figured" or "complicated." Analysis shows c and 

 d to be much simpler than they appear at first sight. The elements 

 in d are an equal-armed cross and parallel lines around it, with enlarge- 

 ments wherever they change direction. The effect of the whole is 

 suggestive of a flower with four petals. In a the petals appear largely 

 in white. This flower design is said to be of recent origin. Sala 

 Hina, who is perhaps 70 years of age, declares that it was unknown 

 in her girlhood days. 



Plates XXIX, xxx, xxxi, and xxxii include a series of baskets from 

 photographs representing basket collections in Sacaton. Many have 

 the upright waste-paper basket form, and are recent. Nearly all the 

 Pima baskets made during the winter of 1901-2 were of these 

 shapes. Many are decorated with simple motives that depend for 

 their effect upon repetition. A notable feature of the ornament is 

 the introduction of badly executed human figures. Certain traders 

 urged the basket makers to put as many human and animal figures as 

 possible on the baskets. Truly we need a society for the protection of 

 American art. The most successfid of these designs seen by the writer 

 is the Gila monster shown in plate xxx, n. However, it is but a sorry 

 substitute for the old-time simple motives. These baskets serve 

 also to illustrate the varied treatment of the geometric elements met 

 with in the shallow baskets as applied to the convex surfaces of the 

 upright forms. 



In conclusion, it is believed to be advisable to add the names of the 

 elements of the designs which the Pima basket makers regard as dis- 

 tinct. But two in the list refer to natural objects, namely, numbers 3 

 and 7 below. It is worthy of note that the continued inquiries of 

 visitors have arou.sed the interest of the natives to such a degree that 

 they have begun to devise plausible interpretations to symbols the 

 meaning of which is absolutely imknown to them. 



1. Atc'rta, the black center of all baskets. 



2. Ka'kiopins, "crossed lines" (pi. xxii). 



.3. Kam'ketcit, "turtle," applied to a square design (pi. xxii). 



4. Mav'spitchita, "h)cked together, "the interrupted fret (pi. XXVI, p). 



5. Mo'ilmvitcka, "triangular," all triangles and terraces. 



