The Double=Curve Motive in North- 

 eastern Algonkian Art. 



Introductory 



In the following brief paper is presented a review of a very 

 characteristic and widespread motive in decorative art, brought 

 to light through investigations during the past few years among 

 the Algonkians of the northeastern area embraced in the valley 

 of the St. Lawrence river and the contiguous regions north and 

 south of it. The tribes of the area among whom the motive 

 referred to is so predominant are chiefly the Montagnais and 

 Naskapi of the Labrador peninsula, the Mistassini of Lake 

 Mistassini, the Micmac of the Maritime Provinces of Canada, 

 the Malecite of St. John river, New Brunswick, and the Penobscot 

 and Passamaquoddy of Maine. Among certain tribes adjacent 

 to these the motive is also more or less prominent. The motive 

 itself is what may be termed the "double-curve", consisting 

 of two opposed incurves as a foundation element, with embellish- 

 ments more or less elaborate modifying the enclosed space, and 

 with variations in the shape and proportions of the whole. This 

 simple double-curve appears as a sort of unit, capable of being 

 subjected to such a variety of augments, not infrequently dis- 

 tortive, as to become scarcely recognizable at first or second 

 sight. Fig. 1 shows some varieties of the primary foundation 

 element with deep angular, or shallow curves. Fig. 2 introduces 

 modifications of the interior by the addition of ornaments ranging 

 from the simplest to the most elaborate forms, these being from 

 Penobscot, Micmac, and Montagnais specimens, while Fig. 3, 

 from a Penobscot cradle-board, is the most elaborate example 

 so far encountered in this area. Figures of the most confused 

 appearance, produced in beadwork or carved on wood surfaces 

 in the art manufactures of the tribes mentioned, may generally 



