M SIKYATKI]

[Illustration: FIG. 288--Single line with triangles]

[Illustration: FIG. 289--Single line with alternate triangles and
ovals]

[Illustration: FIG. 290--Triangles and quadrilaterals]

[Illustration: FIG. 291--Triangle with spurs]

In figure 288 the double triangles, one on each side of the encircling
band, are so placed that their line of separation is lost, and a
single triangle replaces the pair. These are connected by the line
surrounding the bowl and there is a dot at the smallest angle. In
figure 289 there is a similar design, except that alternating with
each triangle, which bears more decoration than that shown in figure
288, there are hourglass figures composed of ovals and triangles. The
dots at the apex of that design are replaced by short parallel lines
of varying width. The triangles and ovals last considered are arranged
symmetrically in relation to a simple band. By a reduction in the
intervening spaces these triangles may be brought together and the
line disappears. I have found no specimen of design illustrating the
simplest form of the resultant motive, but that shown in figure 290 is
a new combination comparable with it.

The simple triangular decorative design reaches a high degree of
complication in figure 290, where a connecting line is absent, and two
triangles having their smallest angles facing each other are
separated by a lozenge shape figure made up of many parallel lines
placed obliquely to the axis of the design. The central part is
composed of seven parallel lines, the marginal of which, on two
opposite sides, is minutely dentate. The median band is very broad and
is relieved by two wavy white lines. The axis of the design on each
side is continued into two triangular spurs, rising from a rectangle
in the middle of each triangle. This complicated design is the highest
development reached by the use of simple triangles. In figure 291,
however, we have a simpler form of triangular decoration, in which no
element other than the rectangle is employed. In the chaste decoration
seen in figure 292 the use of the rectangle is shown combined with the
triangle on a simple encircling band. This design is reducible to that
shown in figure 290, but is simpler, yet not less effective. In figure
293 there is an aberrant form of design in which the triangle is used
in combination with parallel and oblique bands. This form, while one
of the simplest in its elements, is effective and char