Technically it is not a difficult task to identify at sight the 

 double curves of the Iroquois as distinguished from those of the 

 Algonkians. Among the former the outcurves and series of droop- 

 ing scrolls or half curves, as appear in the figures (Fig. 10), are 

 very distinctive. The Iroquois figures are smaller and there is, 

 moreover, a dearth of the interior embellishments so frequent 

 in Algonkian design. (See also Plates VI, VII, XVI, XVII.) 



The almost total absence of similar designs among the re- 

 lated Cherokee seems significant. Only in a few figures 

 stamped on pottery do we meet with anything at all like 

 them. 



Delaware. 



Closely related in form to the Iroquois curve designs are 

 those of the Delaware. Specimens from both the Canadian and 

 Oklahoma Delawares show the same features, so we may regard 

 them as fundamental in Delaware art until some one gives us a 

 closer study of the field. Fig. 11 (a) shows examples, though 

 unfortunately we have no definite data at hand from the col- 

 lectors concerning the possible symbolism or even naming. One 

 is, however, almost tempted to guess, judging from neighbouring 

 instances, that the domes surmounted by the curves are geo- 

 graphical and celestial representations. 



Mohegan 



Only the most fragmentary evidence comes to hand to show 

 that the southern New England tribes shared the motive. In the 

 floral beadwork designs executed some years ago, by a very old 

 Niantic woman, living among the Mohegan, a modified double- 

 curve pattern was often manifested. Also in the designs painted 

 upon old Mohegan baskets we notice some figures almost iden- 

 tical with the Iroquois curves. 1 They evidently belong to the 

 same series. Examples are shown in Fig. 11 (b, c.) In Fig. 11 

 (d) is given a St. Francis Abenaki derivation of the motive, 

 though perhaps the interpretation is rather far-fetched. 



iTo be dealt with in a subsequent paper of this series. 



