cally about a line parallel with
the rim of the bowl imparts to the design a unique form. The motive in
figure 339 is reducible to triangular and rectangular forms, and while
exceptional as to their arrangement, no new decorative feature is
introduced.

The specimen represented in figure 340 has as its decorative elements,
rectangles, triangles, parallel lines, and birds' tails, to which may
be added star and crosshatch motives. It is therefore the most
complicated of all the exterior decorations which have thus far been
considered. There is no symmetry in the arrangement of figures about a
central axis, but rather a repetition of similar designs.

[Illustration: FIG. 341--Rectangles, stars, crooks, and parallel
lines]

The use of crosshatching is very common on the most ancient Pueblo
ware, and is very common in designs on cliff-house pottery. This style
of decoration is only sparingly used on Sikyatki ware. The
crosshatching is provisionally interpreted as a mosaic pattern, and
reminds one of those beautiful forms of turquois mosaic on shell,
bone, or wood found in ancient pueblos, and best known in modern times
in the square ear pendants of Hopi women. Figure 340 is one of the few
designs having terraced figures with short parallel lines depending
from them. These figures vividly recall the rain-cloud symbol with
falling rain represented by the parallel lines. Figure 341 is a
perfectly symmetrical design with figures of stars, rectangles, and
parallel lines. It may be compared with that shown in figure 340 in
order to demonstrate how wide the difference in design may become by
the absence of symmetrical relationship. It has been shown in some of
the previous motives that the crook sometimes represents a bird's
head, and parallel lines appended to it the tail-feathers. Possibly
the same interpretation may be given to these designs in the following
figures, and the presence of stars adjacent to them lends weight to
this hypothesis.

[Illustration: FIG. 342--Continuous crooks]

[Illustration: FIG. 343--Rectangular terrace pattern]

An indefinite repetition of the same pattern of rectangular design is
shown in figure 342. This highly decorative motive may be varied
indefinitely by extension or concentration, and while it is modified
in that manner in many of the decorations of vases, it is not so
changed on the exterior of food bowls.

There are a number of forms which I am unable to classify with the
foregoing