132 INDIAN- 01 I Hi. PLAINS 



we observe that often the U-shaped turn is made to 

 carry the beaded border around the hairy tail of the 

 dec]' left, or sewed, upon the skin from which the gar- 

 ment was made. The tail t nit naturally falls just 

 below the yoke because the dresses arc fashioned by 

 joining the tail cuds of two skins by a yoke, or neck 

 piece. Bence, it seems more probable that the pattern 

 was developed as a mere matter of technique and that 

 later on the Teton read into it the symbolism of the 

 turtle, because of some fancied resemblance to that 

 animal and because of some special appropriates 



The preceding remarks apply exclusively to objects 

 in which the motive was chiefly decorative. There 

 was another kind of artjin which the motive was mainly 

 religious, as the paintings upon the Blackfoot tipi, the 

 figures upon the ghost dance shirts of the Dakota, etc 

 Such drawings, as with heraldry devices (p. 100). were 

 almost exclusively the work of men. Another sugges- 

 tive point is that this more serious art tends to be 

 realistic in contrast to the highly geometric form of 

 decorative art . 



In general, an objective study of this art suggests 

 that the realistic, decorative, and other art seem to 

 have been greatly developed on the northeastern border 

 of the area, while the geometric was most accentuated 

 on the southwestern. Thus on the northeast, beyond 

 the limit of our area, the Ojibway especially possessed 

 a highly developed pictographic type of ail while the 

 Ute (Shoshoni) of the extreme southwest of the area 

 seem to have practised no such pictographic art hut 



