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 
