lar figures with three parallel lines
extending from them are found so constantly in exterior decorations,
and are so strikingly like some of the figures elsewhere discussed,
that I have ventured a suggestion in regard to their meaning. I
believe they represent feathers, because the tail-feathers of certain
birds are symbolized in that manner, and their number corresponds with
those generally depicted in the highly conventionalized tails of
birds. With this thought in mind, it may be interesting to compare the
two projections, one on each side of the three tail-feathers of this
figure, with the extremity of the body of a bird shown in plate CXLI,
_e_. On the supposition that a bird figure was intended in this
design, it is interesting also to note the rectangular decorations of
the body and the association with stars made of three blocks in
several bird figures, as already described. It is instructive also to
note the fact that the figure of a maid represented in plate CXXIX,
_a_, has two of the round designs with appended parallel lines hanging
to her garment, and four parallel marks drawn from her blanket. It is
still customary in Hopi ceremonials to tie feathers to the garments of
those who personate certain mythic beings, and it is possible that
such was also the custom at Sikyatki. If so, it affords additional
evidence that the parallel lines are representations of feathers.

[Illustration: FIG. 309--Crooks and feathers]

[Illustration: FIG. 310--Rectangle, triangles, and feathers]

[Illustration: FIG. 311--Terraced crook, triangle, and feathers]

[Illustration: BUREAU OF AMERICAN ETHNOLOGY

SEVENTEENTH ANNUAL REPORT PL. CLXV

FOOD BOWLS WITH GEOMETRIC ORNAMENTATION FROM SIKYATKI]

In figure 308 a number of these parallel lines are represented, and
the general character of the design is rectangular. In figure 309 is
shown a combination of rectangular and triangular figures with three
tapering points and circles with lines at their tips radiating instead
of parallel. Another modification is shown in figure 310 in which the
triangle predominates, and figure 311 evidently represents one-half of
a similar device with modifications.

[Illustration: FIG. 312--Double key]

[Illustration: FIG. 313--Triangular terrace]

One of the most common designs on ancient pottery is the stepped
figure, a rectangular ornamentation, modifications of which are shown
in figures 312-314. This is a very common design on the inter