be resolved into one or more of these double-curve brackets with 

 interior ornamental fillings. An attempt to analyse the highly 

 complex curve designs which appear in intricate combination 

 upon decorated surfaces from this region at first generally results 

 in confusion to the eye, the curved interlacing figures taking on 

 definite outlines only after the underlying unit element has been 

 determined. We find the brackets in different positions, some- 

 times on end, sometimes in doubles back to back, and sometimes 

 upright. This complexity in the general character of the figures 

 throughout the whole area, appears in the series of plates accom- 

 panying this paper (Plates I-X) illustrated from the collection of 

 the Geological Survey of Canada and the Heye collection. 



If we accept the double-curve as the primary element in the 

 art of the region, then the floral designs and geometrical figures 

 form a class subordinate in importance, which we may term the 

 secondary class. The realistic floral patterns and the geometrical 

 designs run with great similarity through the whole northeastern 

 region. The former include the three lobed figure, the blossom, 

 bud, leaf, and tendril. The latter include the cross-hatched 

 diamond, circle, oval, zigzag, rectangle, and serrated border. 

 Both classes are easily recognizable in practically all the tribes 

 of the group, incidentally showing, in the geometrical patterns, 

 not a little resemblance to characteristic Eskimo forms. 



In some tribes of the northeastern group, particularly the 

 Naskapi, our primary or double-curve element is found almost 

 exclusively, while as we proceed westward the floral elements 

 appear, as among the Montagnais, gradually growing in impor- 

 tance until we reach the Great Lakes region, where the secondary 

 floral forms take up almost the whole field. So, too, south of the 

 St. Lawrence the primary and the floral elements merge, the 

 former losing character and the latter taking on more prominence 

 with each succeeding tribe to the westward. 



This transition shows quite clearly in a comparison of the 

 figure groups from the different tribes. It will be seen that among 

 the tribes west of an approximately direct line from the lower 

 end of Hudson bay to New England,the double-curve as a primary 

 motive gives place to the realistic floral designs and becomes 

 merely secondary or extremely modified. 



What the origin and history of the double-curve design may 

 have been it seems unsafe to say. It occurs most abundantly 



