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. 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. 
1To be dealt with in a subsequent paper of this series. 
