13 



Adjacent Areas Westward. 

 GROUP II: CREE, OJIBWA, BLACKFOOT. 



Ranging from the Montagnais westward almost to the 

 Rocky mountains, we find the double-curve with weakening 

 force pervading the designs of the Cree and Blackfoot. In the 

 beadwork of both, as well as in some Cree quill work, the double- 

 curve appears quite frequently, often in familiar guise, again 

 almost lost in floral complexes. Even the Sarsi share the motive 

 with the Blackfoot. Examples are shown in Figs. 19 and 20. 



The Ojibwa, contrary to what might be expected, show 

 even less of the double-curve than their neighbours, their art 

 being so overwhelmingly floral. One example is shown in 

 Fig. 21, though of doubtful identity. 



The Missisauga, nevertheless, are so close to the true area of 

 the double-curve that they employ it quite commonly. 



GROUP IV: SAUK AND FOX, MENOfdlNl, 

 POTTAWATOMI. 



In a rather ill defined though probably a wide area in former 

 times, south of the Great Lakes, among the northern members 

 of the central Algonkian group, we find a distinctive series of 

 designs, forms of which appear in Figs. 22 and 23. They occur 

 with great frequency, chiefly among the Sauk and Fox,Menomini, 

 and Pottawatomi, in beadwork and quillwork, and we also find 

 them in Winnebago designs (Fig. 24). Here, if we pay at- 

 tention to the foundation unit, we will observe the true incurving 

 brackets enclosing interior decorations. This is identically the 

 double-curve motive, modified to the extent of having very much 

 broadened or thickened lines. This interesting series is closely 

 related to the true double-curve series, showing only a divergence 

 in detail. No studies have as yet been undertaken in this field of 

 art, though Mr. A. B. Skinner reports that the Menomini, among 

 whom these designs are very characteristic, attach no symbolism 

 to them, considering them all in a vague way as floral decorative 

 Affects. 



