15 
Adjacent Areas Westward. 
GROUP I1: 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 1V: SAUK AND FOX, MENOMINI, 
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 
effects. 
