[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: FIG. 301--Rectangular reversed S-form]
[Illustration: FIG. 302--Rectangular S-form with crooks]
Figures 301 and 302 are even simpler than the design shown in figure
300, with appended square key patterns, all preserving rectangular
forms and destitute of all others. They are of S-form, and differ more
especially in the character of their appendages.
[Illustration: FIG. 303--Rectangular S-form with triangles]
[Illustration: FIG. 304--Rectangular S-form with terraced triangles]
While the same rectangular idea predominates in figure 303, it is
worked out with the introduction of triangles and quadrilateral
designs. This fairly compound pattern, however, is still classified
among rectangular forms. A combination of rectangular and triangular
geometric designs, in which, however, the former predominate, is shown
in figure 304, which can readily be reduced to certain of those forms
already mentioned. The triangles appear to be subordinated to the
rectangles, and even they are fringed on their longer sides with
terraced forms. It may be said that there are but two elements
involved, the rectangle and the triangle.
[Illustration: FIG. 305--S-form with interdigitating spurs]
The decoration in figure 305 consists of rectangular and triangular
figures, the latter so closely approximated as to leave zigzag lines
in white. These lines are simply highly modified breaks in bands which
join in other designs, and lead by comparison to the so-called "line
of life" which many of these figures illustrate.
[Illustration: FIG. 306--Square with rectangles and parallel lines]
[Illustration: FIG. 307--Rectangles, triangles, stars, and feathers]
The distinctive feature of figure 306 is the square, with rectangular
designs appended to diagonally opposite angles and small triangles at
intermediate corners. These designs have a distant resemblance to
figures later referred to as highly conventionalized birds, although
they may be merely simple geometrical patterns which have lost their
symbolic meaning.
[Illustration: FIG. 308--Crook, feathers, and parallel lines]
Figure 307 shows a complicated design, introducing at least two
elements in addition to rectangles and triangles. One of these is a
curved crook etched on a black ground. In no other exterior decoration
have curved lines been found except in the form of circles, and it is
worthy of note how large a proportion of the figures are drawn in
straight lines. The circular 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