acteristic. The
triangle predominates in figure 294, but the details are worked out in
rectangular patterns, producing the terraced designs so common in all
Pueblo decorations. Rectangular figures are more commonly used than
the triangular in the decoration of the exterior of the bowls, and
their many combinations are often very perplexing to analyze.

[Illustration: FIG. 292--Rectangle with single line]

[Illustration: FIG. 293--Double triangle; multiple lines]

[Illustration: FIG. 294--Double triangle; terraced edges]

[Illustration: FIG. 295--Single line; closed fret]

[Illustration: BUREAU OF AMERICAN ETHNOLOGY

SEVENTEENTH ANNUAL REPORT PL. CLXIV

FOOD BOWLS WITH GEOMETRIC ORNAMENTATION FROM SIKYATKI]

[Illustration: FIG. 296--Single line; open fret]

[Illustration: FIG. 297--Single line; broken fret]

[Illustration: FIG. 298--Single line; parts displaced]

In figure 295, starting with the simple encircling band, it is found
divided into alternating rectangles. The line is continuous, and hence
one side of each rectangle is not complete. Both this design and its
modification in figure 296 consist of an unbroken line of equal
breadth throughout. In the latter figure, however, the openings in the
sides are larger or the approach to a straight line closer. The forms
are strictly rectangular, with no additional elements. Figure 297
introduces an important modification of the rectangular motive,
consisting of a succession of lines broken at intervals, but when
joined are always arranged at right angles.

[Illustration: FIG. 299--Open fret; attachment displaced]

[Illustration: FIG. 300--Simple rectangular design]

Possibly the least complex form of rectangular ornamentation, next to
a simple bar or square, is the combination shown in figure 298, a type
in which many changes are made in interior as well as in exterior
decorations of Pueblo ware. One of these is shown in figure 299, where
the figure about the vessel is continuous. An analysis of the elements
in figure 300 shows squares united at their angles, like the last, but
that in addition to parallel bands connecting adjacent figures there
are two marginal lines uniting the series. Each of the inner parallel
lines is bound to a marginal on the opposite side by a band at right
angles to it. The marginal lines are unbroken through the length of
the figure. Like the last, this motive also may be regarded as
developed from a single line.

[Illustration