e figure; single line with feathers]

In the design represented in figure 333 there are two triangular
figures, one on each side of a median line, in relation to which they
are symmetrical. Each triangle has a simple key pattern in the middle,
and the line from which they appear to hang is blocked off with
alternating black and white rectangles. At either extremity of this
line there is a circular dot from which extend four parallel lines.

[Illustration: FIG. 335--Compound rectangle, triangles, and feathers]

A somewhat simpler form of the same design is found in figure 334,
showing a straight line above terminating with dots, from which extend
parallel lines, and two triangular figures below, symmetrically placed
in reference to an hypothetical upright line between them.

[Illustration: FIG. 336--Double triangle]

Figure 335 bears a similarity to the last mentioned only so far as the
lower half of the design is concerned. The upper part is not
symmetrical, but no new decorative element is introduced. Triangles,
frets, and terraced figures are inserted between two parallel lines
which terminate in round dots with parallel lines.

[Illustration: BUREAU OF AMERICAN ETHNOLOGY

SEVENTEENTH ANNUAL REPORT PL. CLXVII

GEOMETRIC ORNAMENTATION FROM AWATOBI]

[Illustration: FIG. 337--Double triangle and feathers]

The design in figure 336 is likewise unsymmetrical, but it has two
lateral triangles with incurved terrace and dentate patterns. The same
general form is exhibited in figure 337, with the introduction of two
pointed appendages facing the hypothetical middle line. From the
general form of these pointed designs, each of which is double, they
have been interpreted as feathers. They closely resemble the
tail-feathers of bird figures on several bowls in the collection, as
will be seen in several of the illustrations.

[Illustration: FIG. 338--Twin triangles]

[Illustration: FIG. 339--Triangle with terraced appendages]

[Illustration: FIG. 340--Mosaic pattern]

Figure 338 is composed of two triangular designs fused at the greatest
angles. The regularity of these triangles is broken by a square space
at the fusion. At each of the acute angles of the two triangles there
are circular designs with radiating lines, a common motive on the
exterior of food bowls. Although no new elements appear in figure 338,
with the exception of bracket marks, one on each side of a circle, the
arrangement of the two parts symmetri